The relentless pulse of time breathes fresh life into the echo of distorted guitars and anguished vocals as Virginia’s iconic hardcore outfit, Pageninetynine, makes a long-awaited resurgence this summer. Their landmark albums, Document #8 and the Singles collection, are being reissued on Persistent Vision Records in conjunction with a series of reunion performances in Richmond, New York, and Toronto (see the details below).
Pageninetynine, often shortened to pg.99, is not merely a band making music, but rather, a group of artists constructing an intricate tapestry of raw emotion. Today, their formidable legacy returns to the foreground as pre-orders launch for the reissues of “Document #8” and “Singles collection LP”.
“I’m still proud of a lot Document #8 managed to achieve for me personally, in a song writing sense. What stands out to me the most these days would be the staying power of Document #8 and how it manages to still resonate with people as the years go by.” – commented guitarist and songwriter Mike Taylor.
“Document #8”, originally manifested in the hands of Kurt Ballou at GodCity Studio back in 2001, serves as an ode to the tenacity of youth. The album delivers a rollercoaster of emotion, careening from fiery passion to tranquil, droning instrumentals. More than a simple collection of songs, “Document #8″ is an emblem of the power of punk, the potency of friendship, and the compelling pull of creativity.
After years of being out of print, the arrival of a new partnership between Pageninetynine and Persistent Vision, a burgeoning Richmond, Virginia-based label, sees this iconic album preparing to resonate with a fresh generation of listeners. This reissue includes an added bonus – two additional songs, originally released on the now out-of-print split 7″ with City of Caterpillar.
Beyond “Document #8”, the band’s “Singles” full-length is also being reissued, another step in Pageninetynine’s bold reintroduction. The “Singles” collection paints a portrait of a band never content with stagnation, but rather one constantly evolving within their genre. This body of work brings together a rich array of the band’s non-album material, from their original demo tape and early EP to compilation tracks and split 7″s.
This collection spans the band’s initial trajectory from 1997 to 2003, offering fans both old and new an insightful peek into the band’s creative journey.
“The ‘Singles’ collection documents a band that was constantly experimenting and organically growing within the realm of heavy music.” – Persistent Vision Records
As the Pageninetynine camp stirs, guitarist and songwriter Mike Taylor delves into the creative process behind some of their key songs, breathing life into the pages of their past while setting the stage for an anticipated return.
Words by Mike Taylor:
Cip Len Rae
At the time of recording this song we had committed to quite a bit of releases, maybe more than we could have technically produced but we were work horses and wanted get everything done.
We had invited a few friends into the studio. One of them being Brandon Evan’s (City of Caterpillar) to help us with vocals because we were such fans of his stuff at the time, with him doing Kilara and Monotonish Fuck. We had also invited Jeff Kane (COC) into the studio as well to play some guitar here and there. He had been doing this amazing sludgy hardcore/punk band called Akuma as well as recently joining Monotonish Fuck (who eventually turned into City of Caterpillar).
We were trying to kick out one more fast heavy song and Jeff mentioned he had a song. This would end up being CIP LEN RAE. He showed Johnny the track and the two of them wrote it on the spot together in the studio and then tracked it. I believe Jeff played bass as well. It’s the only Pageninetynine song I haven’t played on. Chris learned the song quick enough to put vocals on it. I had even tried to give singing on this song a shot and at 5 seconds into the track you can actually hear a voice say “I actually can’t do this” which was me giving up on trying to sing the song. We found a lot of humor in just keeping on the track to see if anyone could tell, so it’s still there.
Diagram for a suicide:
This was another interesting last minute track where I was trying to write a sort of homage to a horror movie score with the single bass note pulsing and all the effects of the guitar sorta sounding like synths a little. Very improvised. We tried to play it once at the Nerco fest in Baltimore at John Hopkins university and it was a disaster. It was hard to tell what was happening because of course we didn’t sort out numbers for the changes and just kept it free. Never played it again. Maybe we will someday!?
Goin South:
I’ve always loved this track. We really wanted to have some more atmosphere to drop in here and there through out a record. This track was simply done by Johnny on his piano at our practice space in Great Falls VA. I think it’s utterly beautiful and mournful. We were huge fans of the “Chumming the Ocean” track by Archers of Loaf and I can hear that a lil in this song. We also added chimes as there were plenty of chimes outside Johnnys home there in the woods.
More Complicated Than a Sci Fi Flic:
This is the first song we ever wrote and to this day continues to be in every set. I would even venture to say we’ve played it at almost every show we’ve ever played. There’s two versions of this track on the singles comp. One is an early version from our demo recorded by our bass player at the time TL and the other is from one of our early sessions with Mike Bossier at Oblivion Studios.
However, on the original release of this song from the Oblivion session we had included a killer sample at the end of the song from the movie “Heathers”. We had actually cut the a lil bit of the dialogue and put it together to make one cohesive sample. Unfortunately when putting together the singles collection we couldn’t trace the original sample so it didn’t end up on there.
Members of Pageninetynine have been deeply embedded in the local Virginia scene, contributing to bands such as City of Caterpillar, Enemy Soil, and Pygmy Lush, amongst others.
This return isn’t just a nostalgia trip but rather, a chance to dive back into the pool of influence they’ve left in their wake, a pool that continues to ripple outward.
In its totality, the return of Pageninetynine, through both reissues and reunion shows, is more than an exercise in nostalgia. It’s a testament to the band’s legacy, their undying relevance, and the influence they’ve exerted on the punk and heavy music scene. It’s the kind of resurgence that doesn’t just rehash the past, but breathes life into it, finding new ways to connect with fans across generations.
As these albums find their way back onto turntables, and the band takes the stage once more, the enduring spirit of Pageninetynine is certain to echo through the world of music once more.
A re-emergence not just for the purpose of reminiscing, but a testament to the enduring quality of their work, an homage to the resonance of a creative spirit that refuses to be boxed in or muffled.
As these albums find their way back onto turntables and the band takes the stage once more, the enduring spirit of Pageninetynine becomes a palimpsest for the ages – a testament to the cyclical nature of music, and a promise that true artistry, regardless of the passage of time, never loses its touch.
The comeback of Pageninetynine is not merely a return, but a harmonious resurgence, rippling through the current music scene, and undoubtedly shaping the soundscape for years to come.
Pageninetynine live:
August 4 – Richmond, VA at Richmond Music Hall w/ Catharsis, NØ MAN, Ghouli
August 5 – Brooklyn, NY at Saint Vitus w/ Catharsis, NØ MAN, Corrode
August 6 – Toronto, ON – New Friends Fest w/ The HIRS Collective, Cloud Rat, and more
