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Intolerance Records doesn't limit itself to one genre like so many other labels out there. We believe in getting good music out to the masses. We are intolerant of anything less than perfection.
On our label you will find Industrial, Experimental, Scratchtronica, Ambient, Hip Hop, Rap, Drum n Bass, Dark Wave, Funk, Glitch, Psychedelic and more styles!
We have new releases coming out all the time.
We are located somewhere in Ohio. We are not open to the public. Please don't ask to come over and hang out. I will tell you no.
If you have some media you wish to submit, music, video, whatever, send me a link to it.
INTOLERANCE TIMELINE:
1974 Birth of J Shepherd, founder of Intolerance Records.
1975 J seems particularly fond of his toys that make noise or produce music. Coincidence?
1976 J observes quietly as his father plays drums for his band. His fathers band practiced once a week in a smoke filled basement and J wouldn't miss it for the world.
1977 More explorations and observations into this wonderful thing called music. J recalls "writing" songs in his mind by taking concrete sections of songs he'd heard on the radio and mentally placing them over other parts. This was the first recorded use of "mental sampling".
1978 On trips to grandmothers house, J was the only grandchild allowed to play her Baldwin organ. Other children his age would pound on the keyboard, while J was picking out tunes, adding melodies and basically composing mini masterpieces. J's mother recorded him a few times but the location of these recordings is unknown.
1979 J plays his fathers drums when he's not around, unknowingly practicing for what would become his odyssey. Later in 1979 J records sound effects around the house and neighborhood with a hand held tape recorder. He would then take the sounds home and catalog them onto another tape recorder for later use.
1980 J writes a comedy/horror script and records all the vocal parts himself using different voices and adding his own sound effects. He then acts it out as a puppet show to his neighborhood friends causing most of them to tell their parents and not be allowed to come over anymore. These recordings remain unreleased but a sample of one of them can be heard on the album "Basement Hatred".
1981 J records his own beats on his fathers drums and then adds live keyboards and vocals, recording them open air onto a second tape recorder.
1982 J discovers rap music and buys all the records he can find, studying the beats and breaks carefully. This allowed him to record and catolog the beats, breaks and melodies that he liked.
1983 J would make crude "remixes" of songs by playing one turntable and using the record and pause buttons on the built in tape player on the all in one unit. These tapes remain unreleased.
1984 J rewires his Casio PT-38 so he can play along with breaks from his mixtapes and record it onto a second tape recorder. This tape remains unreleased.
1985 J obtains a Casio CT-102. Although physically a larger keyboard, it has fewer features than the PT-38 and is more of a performance instrument. A few unreleased recordings are made. Using store bought books about computer game programming, J writes a music program for his commodore 64 that plays primitive beeps and blips in arrangements of his choice. These proved to be perfect accompaniment to the bleeps and bloops of his Casio keyboards.
1986 J obtains a Casio SK-1 and discovers the world of digital sampling. Although it's only 8 bit PCM sampling at 9.38 kHz with a sample time of approximately 1.4 seconds, it's better than what he had access to previously. He continues to experiment with early forms of scratching, mixing and breaks on a single turntable and three Casio Keyboards.
1987 J receives his first guitar from his father as a birthday present. It was a bright red Gibson Epiphone. Not a nice guitar by any stretch of the imagination, but it would do for the few years to come. He practiced night and day through his Crate G40XL amplifier, writing lyrics and basslines for when he would have access to a bass guitar and microphone.
1988 Through a series of shady business dealings, J ends up with an Ibanez Rickenbacker Bass guitar. J works an entire summer and saves every penny toward the purchase of his dream guitar, the BC Rich Warlock in black. The instrument arsenal has begun.
1989 J became lead singer and guitarist for the punk band, "Toxic Shock" with James Westbrooks on bass. James Stenger helped write lyrics. Mark Hurd would sit in on lead guitar occaisonally. A demo tape was recorded on a boom box, duplicated and a photocopied cover was made. The tape was all the rage around school. Intolerance Records was born.
J acquired a two-track reel to reel recorder from the 1960's. Very vintage, even by 80's standards, but it allowed the use of separate microphone placement and stereo recording. "Decimation" was born, which proved to be more of a death punk metal project. "Decimation Demo" was created to shop around potential venues. Along with Mark Hurd, Adam Blanding and Atom Wiley, J played all around Ohio in bars and clubs, mostly at places where the band members were too young to get in.
1990 J continued to practice his guitar technique and began to perfect his own unique style. Much of this is due to the myriad of musicians he has played and practiced with in the past and present. Learning something from each of them and making it his own. Some of the musicians from that era were Gavin Dorby, Mark Hurd, TJ Hughes, Insane Shane Derry, Tim K, Atom Wiley, John Shepherd (J's Father) and others.
1991 J created "Basement Hatred", an album recorded entirely on a borrowed mini four-track recorder. This album swayed away from the usual anger and filth that J was known for and was extremely psychedelic and experimental in nature. The entire album was made in his mother and step father's basement in Canal Fulton, Ohio.
1992 J performed as guitarist with "Silent Religion" alongside now famous classical guitarist Scott Schramp on lead guitar, Scott's brother Patrick Schramp on bass, Atom Wiley on drums and Rod Thompson as vocalist for their high school talent show. They performed a "Metallica" cover song called "Enter Sandman."
1993 J moved the Intolerance Records offices to Tulsa, Oklahoma. J met Brian Firth that year and realized his graphic design talent. Firth became head art director at the Intolerance Offices in Tulsa.
1994 J got a Tascam Porta Stuidio 424 four-track recorder of his own and his first Boss DR-5 drum machine. "Slugwrench" was born and released "Demo Tape One". Although this was another tape only release with a photocopied cover, local media outlets were more than happy to review and write about this eccentric one man electronic band who was somehow producing sounds they'd never heard before. Critics would later refer to Slugwrench's musical programming and recording techniques as "using every trick in the book, and even some that aren't in the book!"
1995 Journalist and longtime adversary, turned cohort, David "Slave" Basteri was brought on the Intolerance team as Producer of the first four Slugwrench projects. His tireless efforts proved invaluable throughout the years to come. Slave was sent to England on the mission to seek out the photographer of the one photo of Dead Princess Di so SLUGWRENCH could use the photographer on a shoot for an upcoming album. That photographer was Hornelieus Gertrite. Not only were his Princess photos a smash on the underground release of "Die Di Die," but Hornelieus later became known as D.J. Gagball and was a major influence and contributor to the "Slugwrench" project.
1996 Slugwrench released "Demo Tape Two". Slugwrench started playing out around Tulsa. A few times as a solo act, usually J playing guitar or keyboard alongside a sequencer. Later live drummer Aeroin Jabbs was added for a two man live performance. Ultimately, bassist Tampon Plasticimer, keyboardist DJ Chris(T) and drum machine player, DJ Gagball were added with Aeroin and J for a complete live band. This live Slugwrench project went on to play dozens of shows around the country and a couple outside the US.
1997 Slugwrench Demo Tape Three is released. Media frenzy continues. Although it is generally unheard of, Slugwrench is already getting radio play from the demo tapes. Later that year, through the help of one of J's technical associates, P Measter, Slugwrench is brought into the (partial) digital realm with the use of a CD burner and the release of "The Slugwrench Demo CD" which was a combination of all the Demo tapes, plus a few more songs.
1998 The solo project that all this was started for initially, the full length cd, "Prole" was finally released in the summer of 1998. Many reviews later, and many tour dates later, Slugwrench, Prole has sold 22,000 copies World Wide. Not bad for an album as experimental and obscure as this one. Another intervening variable to be considered is that the major chains won't even carry "Slugwrench" on the shelves. You have to ask for it, or in many cases have the merchant order it for you.
From the middle of 1998 through the beginning of 1999 J began signing artists to his struggling label. Enter the artist known only as ^|SiCk0|^ from Germany... J discovered him while on The Nazi Death Camp Tour with Slugwrench. Neither ^|SiCk0|^ nor J spoke each others language, but ^|SiCk0|^ simply handed J a CD and the rest is history. ^|SiCk0|^ went on to create Sickness Volume One, Sickness Volume Two and BADACID (not part of the Sickness series). There were also several rare unreleased demo and experimental tracks.
1999 And of course through all this, beginning some time near the end of 1998, while visiting his parents in Akron Ohio, J discovered DJ Korpserape, another extremely mysterious Intolerance artist. J went to an underground barefisted deathmatch in an Akron slum where one of the fighters had something to say to J. After winning the fight, Korpserape came up to J, recognizing him from Slugwrench and handed him a demo CD. Korpserape became the only member of the drum and bass, industrial, gloomwave, pop sensation called "Wasteful Consumption Patterns" or "WCP". J produced his album with him and released "Solder" on Intolerance. However, due to circumstances beyond J's and Korpserape's control, the album didn't get released nor distributed until 2007.
New Years Eve 1999 J found himself in New York City for the celebration. Not in Times Square, but in the basement of CBGB's trying to score some herb, he ran into Roy O'Banion and Miles Blackwell from Akron. They called themselves "The Drugatix" and were playing for pennies on the street to support a blossoming inhalant habit. J knew Roy from childhood and couldn't stand to see him in that condition so he flew him and his bandmember, Miles, back to Akron to get them cleaned up. Helping them with their song structure and recording, J signed them to Intolerance and produced their debut album.
2001 J makes a few new Slugwrench songs for the next Slugwrench album which has not been released as of this writing.
To create another avenue to sell his artists music, as well as other music and goods, J opens up a series of stores called STOCKADE with then business partner, childhood acquaintance, Vince Moore (330-313-0300) who would eventually lock J out of the Stockade business account and change locks on all remaining stores. J decided to part ways and have the store and label owned by himself without a partner. J was ready to split everything 50%, like the ownership and that's when Vince Moore decided to steal all of J's merchandise, equipment, fixtures, etc., and open his own store. The case is currently in litigation, although it's looking like J will win, as he deserves.
2002 J moved the Intolerance offices to Akron, Ohio. Due to low budget, the offices were located in a poor part of town. One morning while going in to work, J finds a white rapper sitting on his front stoop smoking a blunt and freestyle rapping. The rapper introduces himself as JBone and offers J some of the blunt in his rap. J notices by the smell of the blunt that this isn't low grade commercial, happily accepts and invites JBone in to hear more. JBone became Intolerance Records' first serious hip hop, gangsta rap project. JBone was an instant success with his club hit "Asswork Titshake." Not only is his flow sick, but his beats will kick your ass.
Later in 2002, JBone introduced J to T0b0R and DJ Mekadog who together form Dog Vs Cat. Dog Vs Cat got signed to Intolerance and released 300 gold vinyl records and 500 purple vinyl records. These scratch records, with breaks and samples, sold out quickly to DJ's around the world. Dog Vs Cat is responsible for inventing the cross genre known as scratchtronica incorporating turntablism with live electronics and other elements of hip hop. Intolerance needed a way to better promote the Dog Vs Cat albums and CD's. A year long tour was planned but after the record release party, J soon realized that Dog Vs Cat needed something else to enhance the live show. There was no way either of the members could rap or sing while playing their highly technical instrumental parts. Luckily JBone knew Wally Boy Wonder from previous cyphers in Akron and invited him to join the tour. A whole new set of songs were created to incorporate Wally's unique flow and rhythm.
2003 J needs an opening line up for a Dog Vs Cat Xmas Party Show. In Broken Key, DJ Ninja and 308 were chosen. Out of the three acts, 308 stood out with his original techno sound and was signed to Intolerance with his album, "A Piece of the Action." J remastered it and it was later released in 2006.
2004 DJ MekaDog from Dog Vs Cat teamed up with Duma Love, who has done previous work with Cibo Matto, Sean Lennon, The Beastie Boys, and others to create MekaDoom. J helped out on a couple of songs and took executive producer role, but nearly the entire album was recorded in MekaTron Cubicle and produced by MekaDoom alone. MekaDoom was signed to Intolerance and released in 2008.
2005 JBone teams up with Da Black Chinese and Young Fade to create the "3 Kings". Two songs were made and the future was looking promising for this young Trio when tragedy struck. Due to circumstances beyond any of their control, regretfully, this project had to be nixed and was never released. J still wishes it could have been otherwise.
2006 MekaDogg was running and playing in a meadow (like all dogs love to do) when a bright white light appeared as a pillar from the sky. Within that pillar materialized a creature known as Alien420 holding a standard six string electric guitar. That's not even the amazing part of the story. The amazing part is the sounds that eminate from Alien420's instrument and spaceship pedal board. MekaDogg and Alien420 are in the studio full time working to create the full length album which is currently unreleased as of this writing.
2007 Intolerance is currently in contract negotiations with several artists working to bring you, the listening public, what they deserve. Good music. Not genre specific, and even crossing genres. Everything is welcome as long as it's worthy. Intolerance Records exists because of it's intolerance with cheesey, crappy, radio tunes. Now go do something worthwhile.
Every Single Time by Wasteful Consumption Patterns
Add to My Profile | WCP Myspace
Plan 37 by SLUGWRENCH
Add to My Profile | Official Slugwrench Website
SLUGWRENCH Rapes & Pillages
..
Add to My Profile | Official Slugwrench Website
Some Douchebag Does Acoustic WCP Voice Cover
Add to My Profile | WCP Myspace
^|SiCk0|^ - Pqgdls
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