Based in Denton, Texas, Record Hop is a band rooted in the underground rock/noise sounds of the 1980s and 1990s. They played their first show in the winter of 2002 and have released two albums and toured the midwest and Texas. Record Hop's most recent musical release is an eponymous 10 song document of their time spent recording at Chicago's Electrical Audio with Steve Albini. This session marks the studio debut of long time friend Tony Wann on the drums. Music: Written and Performed by Record Hop Musicians: Ashley Cromeens - Guitar, Vocals Scott Porter - Guitar Tony Wann - Drums Cory Ward - Bass Other info: -Recorded at Electrical Audio in Chicago, IL by Steve Albini -Mixed at the Echo Lab in Argyle, TX by Justin Collins -'Maths' mixed by John Congelton -Mastered at Chicago Mastering Service in Chicago, IL by Bob Weston -Cover art by Nevada Hill -Insert art by Tony Wann Reviews ************ from Paste Magazine 'Signs of Life 2008: Best Music Scene - Denton, Texas' By Dave Sims on November 21, 2008 Ashley Cromeens' menacing feminine howl creates a subversive tension with the rhythm section's low-end ballast. What Joe Carducci called "The Heavy," Record Hop has bottled and kept locked in a closet near it's rehearsal space. ************ from The Dallas Observer By Merritt Martin Published on April 09, 2008 It might be first instinct to say that Denton's Record Hop made a deal with the devil, or with God, or with another spirit entirely to produce it's eponymous second full-length release. Alas, it was none of the above. Rather, the deal was struck with unassuming Shellac frontman and Chicago-based underground music icon Steve Albini (Pixies, Nirvana). Albini's recording techniques and the group's natural-if not stupefying-maturation (both in performance and songwriting) found each other like friends-with-benefits after a night at a balls-out rock show. Tracks such as 'Rest Stop Murders' and 'End of Line' are portraits of balance, showcasing the quartet's ability to tame noise and metal with intelligent melody and vocals both beseeching and ass-kicking. Ashley Cromeens' ability to scream as well as actually sing recalls the know-how of Kim Gordon and the seduction of Polly Jean Harvey-just take in 'Slugworth' or 'Skirtchaser' for proof. Meanwhile, guitarist Scott Porter has taken to slaying his parts with an amazing grace and passion developed since the group's debut disc, Pareidolia. Cory Ward also offers a fine selection of bass lines to the mix, showing a musical knowledge that clearly expands well beyond rock 'n' roll, and Tony Wann's newish percussive presence isn't lost either-his work is precise and muscular, but never overwhelming, standing out on the songs 'Maths' and 'Clique.' Record Hop is a flat-out success. With it, Record Hop has taken indie rock through a gauntlet of metal, hair and primal urge-and then left it to vent it's anger and lust in your CD player. Also from The Dallas Observer: Best Local CD Release Record Hop's Record Hop (TXMF) Record Hop's self-titled sophomore record stormed out of the gates when it was released in late March, offering listeners a furious, ferocious, angst-filled update on the post-grunge sound of the '90s. Is it groundbreaking? Maybe not. But, more than anything, it's a work of art-and clearly a labor of love for it's members (front woman Ashley Cromeens, guitarist Scott Porter, bass player Corey Ward and drummer Tony Wann). Standout tracks 'Skirtchaser,' 'Maths' and 'End of Line' showcase this incredibly loud band's ability to throw out lightning-fast riffs and beats without batting an eye and also offer Cromeens' gritty vocals the perfect backing. Produced in Chicago by Steve Albini (Pixies, Nirvana), Record Hop was able to do it's influences quite proud on this release.