details are slowly trickling in.  May 15-17 in my parking lot during the days in bars at night.  Parking lot shows will have booze and food. 
Heres whose in so far:
Dead Luke, Pink Reason (backed by Electric Bunnies), Psychedelic Horseshit, Box Edlers, Hibachi Stranglers, Menthols, Smith Westerns, Night Of Pleasure, Estrogen Highs, Rot Shit, Electric Bunnies, Jacuzzi Boys, TeePee, Melted Sunglasses, Slippery Slopes, Lil Daggers, Church Of My Love and more to come

The debut album from the mysteriously veiled French dude, Yussuf Jerusalem just recently came out on Floridas Dying, titled A Heart Full of Sorrow. Also having played under the banner of Yussuf Jerusalem and the Riders of Allah, the imagery on his myspace site pokes at Western Culture's embedded fear of cave dwelling dudes in black hoods whose jihad-fueled hatred burns in the secluded cliffs of a mountain in Afghanistan. Coupled with the death metal imagery on his debut album, which visually brings to mind old world monks casting spells in burlap ropes, one might expect something completely different from this record once the needle hits the grooves. But these are different times we are living in, and now a band that plays weird, folky, and vaguely gloomy music can open their debut release with a death metal tune if they want. Mr. Jerusalem proves so by doing just that, as if his intent were to scare off the toe-dipping hipsters before the record slips into the good stuff.

The next song is the title track, which plays out perfectly sounding like something you'd hear from Roky Erickson before his big flip-out with a gloomy waltz that maniacally builds into the chorus, and is perfectly glossed over with fuzz. But as the album plays on, Yussuf crams the sinister hits from all sorts of angles, leaving the 60s garage by the wayside for self-loathing bedroom twang in "The One You Really Want," to the perfectly self-assured and hooky "We Ain't Coming Back." A great album all around and a perfect choice for Florida's Dying's first full-length release.
-FROM VICTIM OF TIME


This slab checks in as a pretty strong debut full of lo-fi goodness from this Frenchman. YJ's A Heart Full of Sorrow LP on Flordia's Dying blasts a grim piece of pure black hate at the top of the platter but quickly moves into friendlier waters that churn evenly between garage laced pop and a blurry new wave haze. Tapping into pretty catchy territory that feels tip of the tongue nostalgic on first listen, much of the album is quick mixtape fodder that would easily bring curious responses from any recipients. With eyes cast firmly on the bedroom floor YJ brings the soft touch of pop to the bummer psych ward and the results become firmly swirled in your brain. All told, with the exception of the black metal grind of the opener, Yussuf peaks some pretty strong interest. Add this alongside a stunner earlier this year from Cheveu and France's underground is looking more interesting every day.
-RAVEN SINGS THE BLUES

first review up on terminal-boredom.com
here it is:
Jeanie & the Tits do everything right that "tough" girl-bands like The Winks (one of my least favorite bands EVER) do absolutely wrong. I could go through the checklist, but let's just make it simple by saying Jeanie and her pals are those girls who hang out on the railroad tracks drinking and smoking and fucking off and giving each other homemade tattoos. They are not mall-punk ex-cheerleader hags who curse too much and spit on purpose just to prove they're "punk rockers". Jeanie and her gang got nothing to prove. And not to say they aren't feminine, 'cuz they sure are, but you know what I mean...anyway, three songs of primo gal-trash, really hazardous and Lewd sounding, A-Side gives the finger to the sluts and the boys, without sounding like Riot Grrrl retreads or cutesy girl boppers. Excellently raunchy guitar sound and the chick playing drums is a real tough banger. The B-Side is the most though, "Brain Rot" has a dum-dum riff you could get high off of and a deadbeat demeanor that would make any number of punk losers envious. I got more than I bargained for out this one. B-Side = 2007 mixtape staple. Scum stats: 100 on blue vinyl with hand colored sleeves, the rest on grey/marble.

victim of time
Easter is right around the corner, so what better way to welcome the cutest, fluffiest, and rising-from-the-deadest season than with the aptly-timed release of the debut 7" by Miami's The Electric Bunnies on Florida's Dying Records. This record from the mysterious Floridian band, comes packed with three songs of noise-driven and punishingly great sludge-pop heaven that run the gamut from nervous to nerveless and stick right in your skull at first poke. The A-side's lead off, and instant smash hit is "Eskimo," (check it out HERE) a track so bubblegummy and sunny sounding you can just tell they're really glad they're not stuck up in the North with us suckers still getting snowed on in April. The Zeros really nailed this similar sound with songs like "Hand Grenade Heart" back in the 70s, and The Electric Bunnies hit the same infectious stride and then dump a loud-humming food processor on top of it. By this time, you can already tell something's warming up inside you, and yes, it's the record, but you better get yourself ready. The next track, "Eat Worms," has got to have one of the best recording/production awards from 2007 handed to it. The song orgiastically bleeds black blood out of the speakers and makes you shudder with pleasure as the puked-up, echo-fucked guitar squelches drive you literally over the edge. Explosive, powerful, and right to the point, yet with an authentic, grimy personality that seems like it could drive these dudes right up the, uh, charts! Although we've already got a home run single going here, the B-side may cause a few noses to turn, yet it's really just a small part of a 3-song glimpse into their vast spectrum of fuzzy musical personalities. So look out all you over-categorizers, this band takes a little from the best of all angles so that usually guarantees a great knack for exciting song writing is somewhere in the formula. After playing this about ten times in a row, it's become apparent that it's an essential piece of modern punk without boundaries that if you're lucky, you can still pick up right HERE or at their record release show April 20th at Copper Rocket Pub in Orlando.

TERMINAL BOREDOM
Debut single from this Floridian trio and it's pretty damn great. "Eskimo" leads things off, as it should, as it's the bona fide pop hit. Retardedly catchy and sing-a-long friendly, it shows how these guys have a knack for crafting wonderfully simple pop songs but aren't afraid to fuck with the prettiness a bit by adding a layer or two of warbling feedback underneath the whole thing. "Eat Worms" follows and while not as immediately satisfying as "Eskimo" it still oozes enough grubby spunk to garner repeated plays. The flip, "Counting Sheep", will probably piss some people off, but I love it. Sounding absolutely nothing like the band on the A-side (or how the band sounded live), it's a mutant lullaby with slow, hypnotic vocals over top of primitive, warbling synths and feedback with uber-primitive thud-thud-plink percussion. With three fairly different songs, all of them being high quality, and a solid live show I'd say there's yet another new band out there to pay attention to. More, please. (JG)
...Here's what this single has going for it: two eminently catchy tunes that sound nothing like each other. "Eskimo" is a fairly straightforward pop song, albeit a slightly warped one. The verse is built on the deadly one-two punch of a taut bass-line/handclap combination that serves as a nice prelude to a ridiculously awesome chorus. 'Eskimo" is followed up by "Eat Worms" which is more of a thud-thud blown out affair that benefits greatly from a bizarre hook (can't tell if it's vocal or instrumental) that repeats itself at the end of each line of the verse. I like it. On the B-side they lose me with an interminable song called "Counting Sheep" that is one of the more painful listens it has ever been my misfortune to stumble upon. If the goal of this song was to replicate the annoyance of not being able to sleep they did a bang up job. What takes this from just overlong and boring to realms of sonic torture I never dreamed possible is an ear-piercing click that repeats itself throughout the entire song. It feels like being chained to a wall and tortured by a dripping faucet just beyond my grasp. After listening to this for four minutes (or was it four hours?) I've determined that it sounds like the noise of a hammer hitting a stone on a Super Nintendo game. Did they sample "The Secret of Mana" or something?!?!?? Despite the lame 33rpm seven inch format - and b-side that makes the cries of a dog caught in a bear trap sound like the Kinks - the A-side is strong enough to make this a recommended purchase. You'll never need to flip it over though, trust me.(SB)

heres all the reviews so far
I've been to Mobile, Alabama twice and both times it sucked. The first time, we were invited to stay with a teen, who didn't tell his folks and whose folks were quite upset that they had two strange punkers in their house. The teen and his excited younger sibling fought for our visit with all the vigor you could expect from strangers. Finally we got to sleep outside, which was fine by us. The teen joined us all the while cursing his parents. He also curesed that Mobile was a place with nothing to do. I listen to the Hibachi Stranglers and I hear the same kind of "fuck you Dad"/"my town sucks" punk rock pioneered by the great Angry Samoans, who have a pretty strong hold on these folks. Great garage punk that flails about with much excitedness. A very pleasant surprise! 500 press on orange vinyl.
S-S Website

Mobile, Alabama's Hibachi Stranglers have just released one of the best debut singles of the year on Florida's Dying and their brokenly bombastic beauty of a trainwreck will make you a believer within seconds. Like the Black Lips seen through the eyes of a teenage Metal Mike, but without the 60s influences.
Victim Of Time

The Hibachi Stranglers debut came out last week on the southern Florida's Dying label. As the tunes on their micepiss site had promised, they lived up to a beautifully clamorous combination of drunkenly waltzing GUN CLUBish dins to eerie tunneled vocals interwoven with mobbish back-ups. On the A-side of this single, the Stranglers "Parking Lot" starts off with the most retarded, flat guitar chord that alternates channels, and then slides into a very Glue Wave fuzzed-out noise. As the barely sung/talk style vocals enter you realize that this band's sound comes from so many different angles at once. You can pick-out the sneer of the moronic brilliance of the Angry Samoans, but with sloppy and rambunctious backing vocals, and the guitar sounds as if it were played from an abyssal and metallic grave. On the B-side, they come completely unGlued with "Dub Devoid" with more echoed vocal tracks, weird and discomforting intonations that don't fall too far from the weirder Spits stuff, and lyrics that pelt out a caprice of doom-hearted glee.
Victim Of Time

The Fact that this fantastic debut erupted from Mo-fucking-bile, Alabama has gotta send shivers down the spines of "punk mecca" inhabitants of every stripe. The HIBACHI STRANGLERS have that outta-nowhere greatness that makes you wonder just how they did it: the sont of Angry Samoans (the vox cause a double-take) coupled with a choppy guitar attack, precision trash production, and an intelligent handle on making god outta yer own feces. "Parking Lot" depicts a world of shit... yet remains one of the best tunes I've heard all year. Who knew? Get this or kick yourself come year-end top ten time. (MC)
MAximum Rock N Roll

The Hibachi Stranglers were ..1 on my list of bands-I-have-heard-of-but-never-actually-heard for quite some time based solely on their name. Hibachi Stranglers. Ridiculous yet cool. And for once, I'm not disappointed when finally hearing a band off said list. "Parking Lot" contains some eerliy Saunders-ian sounding stream-of-consciousness voxing (with great lyrics), backed by some doofy "oh-oh-oh-oh"-ings, while the rhythm section tumbles out some primo lo-fi low-end and muffled drumming. Then some cranked guitar steps in every few moments and just cleaves the whole thing apart. Ace-sounding punk damage. The B-Side took a few listens to finally sink in, but is nearly as good as the A-Side. The Metal Mikey-esque yammering is replaced with some alternating gang-yells and a monotone chorus delivered deadpan-style whilst the guitar player goes onna slashing rampage and the bass grumbles even deeper than before. Not what I was expecting at all, and a whole lot more than I was hoping for, this provides some from-left-field sounds inna definite punk-type vein. Florida's Dying's finest release to date. A+ record, will listen to again. Scum stats: first 100 on red vinyl with blue sleeve, the rest on black with white sleeve.(RK)
Terminal Boredom

MORE REVIEWS ADDED
Made it in 3 Terminal Boredom contributors' best of 2006
I was anticipating this one for a while, and it was more than I hoped for. Strange yet undeniably and sloppily punk-rock sounding. Rich Kroneiss
Not enough good punk rock out there, I tells ya. This 'Samoans through the oughts artpunk filter fills that gap nicely. Todd Trickknee
Fugged up, yet precise and coherent, creepy, over-the-top garage punk. Fresh, brash, instantly memorable. A masterpiece for the new millennium. Jay Litchfield

Skilled and obsessive mailorder patrons are probably well acquainted with Florida's Dying already. If you're in the dark, the strength of Our City Doesn't Stink All The Time, the debut release from THE HIBACHI STRANGLERS, oughta give you enough reason to become one of their customers. Assuming you caught my review of the single and issue or two back, you already know how stunned I was by this puppy. The unexpected wallop of this single stands as one of my favorite moments of last year and, judging by www.floridasdying.com, you might actually still be able to score a copy of this RIGHT NOW. Recommended! Mitch Cardwell's "Lets Get Hurt Column" Maximum Rock N Roll

HS talk the talk and walk the walk. Parking Lot and Dub Devoid are two brilliant low fidelity scorchers, hotter than the plastic seats of VW Beetle parked in the sun the whole day. Can I have some more of this, please?Lowcut Zine Top ten of 2006

PARKING LOT! Hibachi Stranglers are like the Angy Samoans stretched out and twisted into an Alabama Sunrise! Mutant head-dos, great guitars, WE LOVE IT!- Goner Records

May 19 Mobile@ Cellblock w/ Hibachi Stranglers
May 20 New Orleans @ Circle Bar
May 21 Memphis @ Murphy's w/ Gaucos
May 23 Milwaukee@ Eric Apnea's house w/ BBQ, Mind Controls, Two Gallants
May 25 Chicago@ Mutiny (day show) w/ Rat Traps, Feelers, Pedestrians
May 28 West Lafyette @ Zooleggers
May 29 Kalamazoo @ Kraftbrau w/ Black Time, Metal Teeth
May 30 Columbus @ Cafe Bourbon St. w/ Black Time, Cheater Slicks
May 31 Harrisonburg VA @ some basement show w/ Nervous Habits
June 1 Charlottesville VA @ Atomic Burrito w/ The Shieks
June 2 Asheville
June 3 Atlanta @ Lenny's Creteens play early.
We'll have the floridas Dying distro with us, and it will be your first chance to pick up the new Fashion Fashion/ Functional Blackouts record

the show was so fucking awesome...everyone was going crazy, a lot of people Ive never seen before....awesome awesome.  anyway, the pictures are up on the website and Im working on some questions to feature an interview in the next HURRICANE WATCH.

check out the pics

there is a zine out finally!  its pretty basic, but its the first issue...show listings, our releases, record reviews an interview with fashion fashion, etc.  they're being passed out and shows, its called HURRICANE WATCH so get one!

p.s. if for some reason you cant get your hands on one, email me and Ill send one to you if I can