Velocity Girl

Marrying the feedback-drenched sonic assault from the British shoegazer scene using the melodic immediacy of classic pop — a strategy critics dubbed “bubblegrunge” — Velocity Girl surfaced among the most successful and acclaimed indie rock and roll bands of the first ’90s. Their root base lay down in the short-lived Gotterdammacrats, which produced in Silver Originate, MD in Sept 1988 throughout the nucleus of vocalist/guitarist Archie Moore, bassist Kelly Riles, guitarist John Barnett, and drummer Berny Grindel. Barnett exited following first functionality, and after playing some gigs being a three-piece, the group welcomed vocalist Bridget Combination in the summertime of 1989 and followed the name Speed Gal, borrowing the moniker from an early on B-side with the then-obscure United kingdom music group Primal Scream. As the entire year drew to an in depth, the band produced its documented debut with “Time clock,” a contribution towards the compilation THE TYPE of Heaven WOULD YOU LIKE?, the first discharge over the fledgling regional label Slumberland. Drummer Jim Spellman changed Grindel in nov 1990, and after completing the one “I Don’t Treatment if You Move,” Combination still left the lineup early the next year; she shortly resurfaced in another seminal D.C. indie music group, Unrest. Vocalist Sarah Shannon was tapped as Mix’ replacement unit, and weekly after adding second guitarist Brian Nelson — Moore’s bandmate in the pioneering Dark Tambourine — Speed Girl moved into the studio room to record its discovery solitary, 1991’s “My Neglected Favorite.” The record was a significant college radio preferred, and brought the group towards the attention from the Sub Pop label, which released a break up single featuring Speed Young lady and fellow D.C.-region music group Tsunami in early 1992. Speed Girl continued to be with Sub Pop to concern its 1993 full-length debut Copacetic — a much-acclaimed arranged offering the singles “Crazy City” and “Audrey’s Eye,” its ingratiating noise-pop strategy demonstrated pivotal in growing Sub Pop’s picture beyond that of only a Seattle grunge label, and at that time Copacetic was the next biggest vendor in the business’s history, behind just Nirvana’s Bleach. The follow-up, Simpatico, was a lot more effective, generating the small hit “Sorry Once again.” 1996’s Gilded Stars and Zealous Hearts was much less satisfying creatively and commercially, nevertheless, and after completing the record Shannon relocated to Seattle. The group’s times were obviously numbered, and a U.S. tour culminated within a farewell present at Baltimore’s 8×10 Membership that Sept. After Velocity Gal dissolved, Shannon, Riles, and Spellman reunited in the short-lived Starry Eye, while Moore — who also helmed a aspect task, the Heartworms — afterwards resurfaced as an associate from the acclaimed the Sunday People.