The TVD Storefront

TVD Radar: Taking
Back Sunday celebrate
20 years with 2LP vinyl comp, in stores 1/11

VIA PRESS RELEASE | Taking Back Sunday have unveiled the track listing and format details, for their 20-year anniversary compilation, Twenty. The 21-song collection will be released on January 11th and spans all seven of their full-length albums; 2002’s Tell All Your Friends, 2004’s Where You Want To Be, 2006’s Louder Now, 2009’s New Again, 2011’s Taking Back Sunday, 2014’s Happiness Is, and 2016’s Tidal Wave.

The set also features two new studio recordings, “All Ready To Go” and “A Song For Dan,” tracks which hint at the direction that Taking Back Sunday are heading in the coming years. Available via Craft Recordings, Twenty will be released on CD, digital, and a 2-LP gatefold vinyl package. “All Ready To Go” will be released as an instant grat. single with all D2C and digital album pre-orders, on November 19th. In addition to the aforementioned formats, Taking Back Sunday are offering an exclusive 2-LP “panther’s eye” vinyl edition of the compilation, plus new merchandise via the band’s official store. Also available is a “koi pond” vinyl variant, offered exclusively from the Craft Recordings web store (in a limited quantity) or via your local independent record store.

Throughout 2019, Taking Back Sunday will be embarking on an extensive worldwide tour, paying tribute to their catalog – and their fans – with full album performances. Visit for the latest confirmed dates (new show announcements coming soon) and more information.

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TVD New Orleans

Mr. Blotto to record live album at the Maple Leaf Bar, 11/16–11/17

It’s kind of surprising that the Chicago-based jam band, Mr. Blotto, has never played in New Orleans. The two principal members of the group, bassist Mike and guitarist Paul Bolger, have been coming to the city for decades and have great stories about wandering the decadent streets of the French Quarter as children. That oversight in Mr. Blotto’s long history will be rectified this weekend when they play two epic shows at the Maple Leaf Bar. Both nights will be recorded for an upcoming live album.

Besides childhood memories of hippies washing their hair using rainwater runoff flowing from French Quarter downspouts, the brothers have has also visited the city numerous times over the decades. Paul even busked on the streets in his younger days.

Mike says, “We grew up in musical household; our Dad loved listening to (the) Preservation Hall (jazz band).” The bassist even took a solo road trip from Chicago to South Bend, Indiana in the 1980s to see what the fuss was all about. Though he was more into punk and metal at the time, he said, “it was one of the most profound shows I’ve ever seen.”

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The TVD Storefront

Graded on a Curve:
The Cars, The Cars

I’ve always hated The Cars for no particular reason, the same way I’ve always hated Pauly Shore for no particular reason. Except I have lots of good reasons for hating Pauly Shore, and come to think of it I have at least one good reason to hate The Cars too–they embody all of the worst attributes of New Wave to me.

Their cold, hard, airbrushed music strikes an anti-human note to my ears–it’s all so mannered and manicured and metronomic and perfect, the sound of a Lamborghini being operated under scientific conditions on an antiseptic indoor racetrack in neutral Switzerland, where all the trains run on time.

When it comes to diagnosing the problem I have with The Cars, allow me to turn to that great rock ’n’ roll doctor Keith Richards, who once said, “Everyone talks about rock these days; the problem is they forget about the roll.” And there you have The Cars in a nutshell. “Good Times Roll” is a pretty good rock song, but there’s no roll in it; it’s all machine-tooled detachment and metronome, rock for robots wearing skinny piano-key ties.

But hey, lots of people want to be robots, and who can blame ‘em? Robots don’t have to feel, and being human is a walk in the park only if you ignore the eyes of all those sager-toothed emotions ready to pounce from the bushes.

So who am I to gainsay The Cars? They’re great at what they do, and what they do on their 1978 debut The Cars is assembly line a uniquely sanitized brand of mid-tempo New Wave music (the closest these guys get to punk get up and go is “Don’t Cha Stop”) designed not to make you feel, but to make you not feel; only on the brilliantly dark “All Mixed Up” do I sense even the faintest traces of human emotion, and I’ll betcha Ric Ocasek is still beating himself up about it.

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The TVD Storefront

TVD Premiere: Little Person, “I’m Happy to
Be With You”

Mellow NYC-based quartet Little Person specialize in a whimsical blend of sedated indie rock that falls somewhere between Courtney Barnett and The Shins.

Today, we have the pleasure of premiering the twin brother fronted band’s newest single “I’m Happy to Be With You.” It’s a deceptively simple number that is brimming with melodic sophistication and evocative imagery. “We dance through the living room,” sings Nicky Weinbach while brother Max joins in harmony, “Dreaming like stars who have conquered the moon.” Before long the simple arrangement has been caked in tape echo and wind sound effects, demanding a second listen to fully absorb the loveliness that proceeds the decay.

Both Weinbach brothers started their careers in musical theater, still putting on a throwback-style variety show from time to time, but it was their mutual love of classic 1960s pop records that led them down their current path. “I’m Happy to Be With You” is the follow-up single to their acclaimed EP “I Feel Fine.”

The band’s Nicky Weinbach details, “At the time of the song’s inception, Max had left to teach English in Paris for a year while I stayed at home in Los Angeles, having forfeited the opportunity to attend acting school, also in Paris, due to financial constraints. When I dropped Max off at the airport and said goodbye for the year, the idea for ‘I’m Happy to Be With You’ was born. It’s perfect for the pre-Thanksgiving season and might speak especially to those who are away from their families for the holidays.”

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The TVD Storefront

Graded on a Curve:
Eric Dolphy,
Musical Prophet

The discography of the late and very great Eric Allan Dolphy remains one of the gleaming jewels of ’60s jazz, but he’s still too often summarized as an outstanding, highly distinctive collaborator who produced one true masterpiece as a leader. Resonance Records’ Musical Prophet: The Expanded 1963 New York Studio Sessions is poised to help eradicate this misnomer, reissuing two superb but frequently underrated LPs in mono with 85 minutes of additional material and contextualizing it all with a 100-page book offering a range of perspectives and a wealth of photographs. Featuring the outstanding bassist Richard Davis and the recording debt of trumpeter Woody Shaw, it’s out on 3LP for RSD Black Friday.

Eric Dolphy died tragically young in Berlin on July 29, 1964. A quarter century later, he was still routinely described, casually in conversation but also in newspaper/ magazine articles and even reference books, as a free jazz musician. The fact that he contributed to Ornette Coleman’s epochal and still radical Free Jazz session aside, in the copious notes to this set, flautist and release coproducer James Newton mentions (which is to say, it’s not a major statement) that during the time-period covered by this set, Dolphy wasn’t playing “free.”

The observation comes in the midst of an extended reflection on the multiple facets and influences that constitute Dolphy’s artistry, and it’s right on the money. No doubt many are thinking the clarification need only be made that the man belonged to the era’s jazz avant-garde, and that’s true, but the distinction should be made that, even as he’d been derided by moldy figs (prominently in the pages of Down Beat) as playing “anti-jazz,” Dolphy wasn’t a particularly strident contributor to the movement.

Well okay, but then what was he? A little further into the liner booklet, saxophonist Sonny Rollins nails it with pith: “He was an experimental musician.” To this it can be added: a master of three horns, and an individualist on each. There are of course many examples of instrumental doubling, and less frequently, tripling in jazz, but Dolphy’s excellence on alto sax, the demanding bass clarinet and flute goes beyond the status of rarity. On all three, his playing is amongst the most instantly recognizable in jazz.

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A morning mix of news for the vinyl inclined

In rotation: 11/14/18

Edwardsville, IL | Trusty Chords Record Shop brings vinyl back with Edwardsville grand opening: Once again, after several years, vinyl is back in Edwardsville following the grand opening of Trusty Chords Record Shop this past weekend. Colin Anderson and Scott Brunkhorst are the owners of the shop, located in the Montclaire Shopping Center, at 1514 Troy Road, Suite C, in the breezeway of the center. Trusty Chords is open from 11 a.m. to 8 p.m. Sunday through Thursday and 11 a.m. to 9 p.m. on Friday and Saturday. The store primarily offers vinyl records, as well as CDs, T-shirts, posters, toys, books, and turntables. The store will also buy, sell and trade goods now that they are open. “I think the store fits in with the culture of Edwardsville,” Anderson said. “Edwardsville is just growing so much…It’s going to need a record store.”

Clarksville, TN | Record shop ‘AndVinyl’ brings music back to downtown Clarksville: …Tony Shrum and his younger brother, Matt, moved back to Clarksville from California in January 2017. They had lived here for two years and attended Kenwood schools while their mother was stationed at Fort Campbell. It would be a huge understatement to say these two guys love music. But they especially enjoy vinyl played on a turntable via a diamond-tipped needle. After moving back to Clarksville, Tony Shrum noticed an absence of music shops, including those that carried vinyl. Music shops are everywhere in California. He searched all over town for a record store — not a CD store, mind you, but a vinyl record store. All he found were records at various flea markets…The shop is open for business, but they’re still a few weeks from the official grand opening planned for Nov. 24, which is also Small Business Saturday.

London, ENG | Three new record shops opened in London last week: Three new record shops have opened in London in the past week. Following the launch of a new Honest Jon spot in King’s Cross and World of Echo on Columbia Road, online independent record shop Bleep opened its first physical pop-up store, Bleep x, in Dalston on Saturday (10th November). Operating from now until February in its new east London HQ, Bleep x is open 10am-7pm, Monday-Thursday, 10am-8pm Friday-Saturday and 10am-6pm on Sundays. Last December, online magazine nd label The Ransom Note opened a record shop in East London. Back in June, Moby sold his entire record collection for a charitable cause. Last year, VinylHub created a crowd-souced map that pinpoints all the best record stores in the world.

Reykjavík, IS | What Have We Won?: World’s Greatest Record Store: If you trust viral listicles and industry insider books—and who wouldn’t—then trust and believe local record shop 12 Tónar is the world’s greatest record store. Sit down Amoeba Records! The accolade was given by self-described ‘journalist and crate-digger’ Marcus Barnes, who recently compiled the 80 best record shops on the planet into one book. Marcus then published his 10 favourites online on NME, which is where we were made aware of this incredible honour. The Reykjavík institution is known for its incredible selection of local musicians and older Icelandic efforts. Not only is it run by Icelandic artists, but those working there are so knowledgeable about music, they’ll hand select records for you based on your taste. In the basement, they have couches with CD players and headphones, so it’s basically a late 90s Sam Goody, which was the place-to-be at the time. Bring your friends, it’ll be sick!

David Bowie, Kate Bush, Nick Cave, and more to re-release classic albums on blue vinyl in aid of Unicef. Ultra-limited editions are up for auction and prize draw. A host of classic albums by the likes of Kate Bush, David Bowie, Amy Winehouse, Coldplay and Jimi Hendrix are getting a super-limited reissue on blue vinyl in aid of Unicef. Only 50 copies of each record will be available. One of them is available to bid on in an auction, as will a huge set of every record. The remaining 48 copies will be available in a prize draw. Tickets are £5 and multiple entries can be purchased. You can find out more, and try and get your hands on copies of the record here. The full list of releases is as follows

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TVD San Francisco

TVD Live Shots:
The Struts, The Wrecks, and Thunderpussy at
the Fillmore, 11/9

With their second album, Young & Dangerous, fresh out of the hopper, The Struts have the perfect reason to return to the states for a proper headlining tour. “The Body Talks Tour” hit The Fillmore in San Francisco on a Friday night for a sold-out evening of music.

The high-octane evening kicked off with opening sets from Thunderpussy and The Wrecks. Both bands clearly brought a good number of their own fans and proceeded to deliver incredibly energetic sets for the packed house. Whoever curated the tour lineup knocked it out of the park.

The Struts took the stage at 10PM and launched into “Primadonna Like Me,” the new album’s first single. Even though the record has been out only a few days, the San Francisco crowd clearly came prepared, ready to sing and dance along with front man Luke Spiller whose antics served to rile the already boisterous crowd.

Guitarist Adam Slack, it would later be revealed, was operating on minimal sleep after the previous evening’s Victoria’s Secret Fashion Show … clearly moving a little slowly as he sipped Lite Beer from a can, but his fingers flew across those frets when the moment demanded it. Bassist Jed Elliott and drummer Gethin Davies seemed to have fared much better from the previous night’s festivities and appeared to relish in Slack’s discomfort.

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TVD Chicago

TVD Live Shots:
Jim James at the
Vic Theatre, 11/9

On a freezing fall night in Chicago, Jim James filled the sold-out Vic Theatre with more than just bodies.

I believe I truly felt hearts and souls expanding as the My Morning Jacket frontman led us on a spiritual journey in the form of his music. Stripped down to just his voice and a guitar—with occasional drum accompaniment by Dave Givan—James’ lyrics took on a poignancy that resonated to the core.

Given the current state of our divided country, we could all stand to revisit his discography, including this year’s Uniform Distortion and Uniform Clarity. His fall tour carries on to a few more stops before concluding in Louisville on November 23rd.

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The TVD Storefront

Novo Amor,
The TVD First Date

“Growing up in the age of CDs—which quickly turned into the age of mp3s and illegal downloads—my interest in owning vinyl only arrived once I hit around twenty years old.”

“I think my first vinyl purchase was the album Early In The Morning by James Vincent McMorrow. It soundtracked my 2011 and 2012 and was a turning point in my musical tastes. I was never much into traditional Irish or Celtic folk, so to hear banjo, mandolin, and acoustic guitar arranged around melancholy pop songs was just incredibly refreshing at the time. Songs like ‘We Don’t Eat’ and ‘Hear The Noise That Moves So Soft And Low’ really inspired my writing style back when I first started recording. This record ushered me into the worlds of Keaton Henson, William Fitzsimmons, Fleet Foxes, Bon Iver etc.

I would occasionally visit old record stores around Cardiff and pick up cheap vinyl of artists I knew but hadn’t given much of a chance to. I’d essentially be judging a book by it’s cover, which was fine when I was going home with Fleetwood Mac, Art Garfunkel, and Carpenters records for 50 pence a pop.

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UK Artist of the Week: Koto Kill

Today’s Artist of The Week is a raucous one-man show whose latest project is blisteringly spectacular. Koto Kill—aka DJ and producer Gabriel Ralls—creates full-throttle electronic rock that is packed with a punch. His upcoming mini-LP “Fight Us All” arrives in stores this week, and we’re extremely proud to introduce him as this week’s UK Artist of The Week.

Every track on “Fight Us All” features a different female vocalist, and each one is just as ferocious as the next. Koto Kill’s most recent release is the delicately industrial “Fire Down” featuring smooth sultry vocals from the extremely talented Judith Haustein. Compared to other tracks on the EP, this one feels slightly less industrial but it’s still undeniably mesmerizing nonetheless.

Haustein’s slick, haunting vocals ooze delicately over the twinkling sounds of the sitar, whilst distortion-heavy guitar riffs give the track the urgency it deserves. Think Nine Inch Nails meets Little Dragon and you’re almost there. Also featured on this magnificent EP are B3NDU, Beatrice Bonnano, Anelise Kunz, Emily Magpie, and Dolly Daggerz—each woman using their own authenticity to their advantage, creating fierce sounds over Ralls’ electrifying soundscapes.

“Fight Us All” is in stores on 16th November via Dystopian Disco.

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The TVD Storefront

Graded on a Curve: Confessin’ the Blues

Curated by The Rolling Stones with a cover painting by the band’s guitarist Ronnie Wood, Confessin’ the Blues is a 42-track dive into a fount of musical richness that inspired them as young British lads and has continued to impact their sound to varying degrees ever since. As an introduction to the blues, expert fans will surely note omissions, but when considered in relation to the band’s work and their advocacy of the form, it all goes down easy. Well, except for one thing, and we’ll get to that below. It’s out now on 2CD, 2LP, and a bookpack of five 10-inch records inspired by the shellac discs of the 78RPM era, with a portion of the proceeds benefiting Willie Dixon’s Blues Heaven Foundation.

Bluntly, Confessin’ the Blues has been assembled not for the seasoned blues hound but instead with the intent to stimulate enthusiasm for the form, largely through multiple connections to The Rolling Stones’ substantial body of work. Many aficionados will no doubt gaze upon these selections with a critical eye and with no undue deference to the Stones as curators (a term that in this case is just a fancy way of saying they made a compilation). Fitting the description of aficionado, I can say that with a few omissions and points of overemphasis, plus the aforementioned bigger snag, they did a fine job.

The cornerstones are well-represented, with a due spotlight cast upon less-celebrated yet still crucial figures, but a slew of deep cuts and even a couple of obscurities make this more than a basic primer. That many of the selections have been recorded and performed by the Stones (a whole bunch on the 2016 album Blue and Lonesome) surely lent ease to the compiling, but as Confessin’ the Blues plays it becomes clear that a fair amount of thought went into the contents. Maybe not a big deal, but it’s worth noting, as they probably could’ve just generated a track-list by pressing random on Keith Richards’ iPod.

Naturally, particular emphasis is given to post-WWII Chicago. Muddy Waters and Howlin’ Wolf are represented with four songs each, though it’s the former who reigns as the champ of this collection, opening it all with the song that gave the Stones’ their name (the still galvanizing “Rollin’ Stone” from 1950) and closing with “Mannish Boy” (appropriately, the original version from ’55).

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A morning mix of news for the vinyl inclined

In rotation: 11/13/18

San Clemente, CA | Vinyl spins its way back into the heart of San Clemente, California: Meet the man behind the turntable at Moldy Toes Records. Tom Rule drills T-shirt racks into a 4-foot divider in the middle of his new shop as “Seven Year Ache” by Rosanne Cash spins in the background, blaring out the intermittent noise of the electric tool. Off of the main drag in downtown San Clemente, California, one post unsympathetically sticks out just before the row of establishments comes to an end. Moldy Toes Records displays a logo of a disheveled man with a look of anguish and an electrocuted hair-do. The figure strikingly resembles Rule, the owner of the establishment. “Black Sabbath or Tom Waits?” asks colleague Greg McCaughey. Tom Waits (of course). Changing the mood, he turns on “The Heart of Saturday Night.”

Valdosta, GA | Old-School Vibes: Young entrepreneur opens vinyl store. The sounds of jazz musician Yusef Lateef permeated the atmosphere at Vibes and Stuff Record Shop, a quaint storefront in Remerton with an appreciation for vinyl. An old-school record player sits to the left of the cash register, just off the entrance, while the likes of Stevie Wonder, Mariah Carey, Black Sabbath and Nirvana in rare form grace the walls to the right of the front door. Le’Shawn Taylor, who has always had a fondness for hip-hop, opened his store Sept. 1. A Tribe Called Quest song, “Vibes and Stuff,” inspired the name. A 2017 Valdosta State University graduate, the store opening comes one year post-college for Taylor. Examining the roots of hip-hop was intriguing to a young Taylor, who absorbed the genre’s history and its originality. “Once I get caught on to something, I obsess over it, and I have to learn everything about it like what are the roots of it,” he said.

London, UK | Bleep to open brick-and-mortar record shop in East London. The Dalston pop-up, which opens today, is scheduled to run until February. will open a pop-up record shop called Bleep × today on Kingsland Road. The online record retailer’s physical pop-up will open at 10 AM on November 10th and is scheduled to stay open until February of next year. They’ve got three or four in-store DJ events scheduled per month so far, including one this Sunday with Floating Points’ label, Melodies International. To celebrate they’ve also got an upfront exclusive 12-inch available at the shop: Le Stim’s A Tribute To Muhammad Ali, a 1980 disco gem that Melodies International has remastered and reissued. They will be holding regular in-store events, album launches, DJ sets, talks and demonstrations, plus partnerships with prominent labels and brands in the electronic music world.

Eagles of Death Metal have a vinyl only covers album coming out: Bug-eyed desert speed freaks Eagles Of Death Metal have a new record coming out – a mad vinyl-only release that’s all cover versions. And it’s called – get this – Pigeons of Shit Metal. That’s because once, back in the day, the mad rock vehicle of Josh Homme and frontman Jesse Hughes were supporting Guns ’n Roses at a gig, and Axl Rose was mean to them. Word is, they were upsetting his crowd. Not to get into who is or isn’t at fault, when Axl took the stage following his public’s lukewarm reception to Eagles of Death Metal, he screamed out “HOW DID YOU LIKE THE PIGEONS OF SHIT METAL”. Which has to sting. Like, you’re a hairy guitar band that’s been invited to open for the Sweet Child ‘O Mine Guys, this is your big chance, your big moment to shine. Wanna cringe hard? Here’s the Eagles official response to that

Reverb Launches a New App to Help you Buy and Sell Records: If you think the current vinyl record comeback is just a temporary fad, think again. With vinyl sales on the rise, Chicago startup Reverb is doubling down on its effort to make buying and selling records even easier. Reverb announced Friday that it has launched a new mobile app for vinyl owners. The new iOS and Android app lets you browse from Reverb’s collection of new, used and rare records, and sell items from your collection right from your phone. Reverb launched its record marketplace, Reverb LP, back in December. Since then, the startup says it has surpassed $1 million in total record sales on the platform. “More than just a website, we’re creating an online community where buyers and sellers from all over are connecting over records, CDs, and other pieces of physical music that were previously out of their reach,” Reverb LP President Dan Melnick said in a statement.

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TVD Live Shots: Slayer, Lamb of God, Anthrax, and Obituary at the SSE Arena, 11/3

Has it really been 37 years? I remember discovering Slayer as a teenager based on the fact that they were the scariest band in the world and I was on a mission to piss off my parents. The satanic artwork that graced their album covers and t-shirts not only looked super cool, but was fascinating to a rebellious young kid looking for his place in the world.

Slayer’s music took you to another world at another time where excess was defined only by how extreme one could push contrary religious views and how heavy music could become.One could argue that Slayer has evolved into a brand, but one that was built around a relentless fan base and one that answered to no one. I spent a tremendous amount of time listening to Slayer in my youth and that time has undoubtedly influenced not only my taste in music but also who I am as an individual—rebellious, curious, questioning everything, and continuously pushing the envelope in everything I do.

So it’s bittersweet that I get to see Slayer live one last time. I’ve seen these guys numerous times over the years, and I guess that I took it for granted as I thought they would go the KISS route and tour for another decade, extracting every last ounce of value out of touring. But they decided to do something that few legacy artists do; bow out gracefully at the top of their game. That’s precisely what this show was about. How does a band wrap up a remarkable career spanning nearly four decades of chaos, ups, downs, tragedy, record label battles and mainstream media backlash? By going out with a bang, literally and figuratively.

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The TVD Storefront

TVD Radar: Library music compilation, Unusual Sounds in
stores now

VIA PRESS RELEASE | In the heyday of low-budget television and scrappy genre filmmaking, producers who needed a soundtrack for their commercial entertainments could reach for a selection of library music: LPs of stock recordings whose contents fit any mood required. Though at the time, the use of such records was mostly a cost-cutting maneuver for productions that couldn’t afford to hire their own composer, the industry soon took on its own life: library publishers became major financial successes, and much of the work they released was truly extraordinary.

Various Artists: Unusual Sounds, out today on Anthology Recordings is a 20 track compilation that encapsulates the niche and fascinating subculture of library music. Genres were spliced, conventions dispensed with, and oftentimes hybrid music of astonishing complexity was produced. Elements of rock, jazz, soul, even twentieth-century avant-garde composition were all utilized, and no stone was left unturned. As a result, some of the best library music defies all categorization, reflecting the individualistic quirks and artistry of the various musicians who made it.

The compilation includes compositions by Brainticket founder Joel Vandroogenbroeck, KPM Allstars John Cameron and Keith Mansfield, Montenegrin-born composer Janko Nilović, and the Italian film composer Stefano Torossi amongst others.

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The TVD Storefront

TVD Radar: Ariana Delawari’s acclaimed
doc We Came Home LA/DC screenings

VIA PRESS RELEASE | “Ariana Delawari’s We Came Home—A beautiful journey of the heart.”David Lynch

Afghan American artist and activist Ariana Delawari has announced the digital release of her critically acclaimed documentary We Came Home distributed by TIME via iTunes today. Directed by Delawari, Produced by Yasmine Delawari Johnson and Emily Lynch, and Executive produced by Alexandra Johnes (Amazing Grace, Holy Hell, Frame by Frame, The Square), We Came Home tells a unique perspective of the history of Afghanistan, the connections of family, and the power of music. The film is featured in iTunes “Recent Discoveries” section and can be purchased here and will soon be available for rental.

The film will be screened in Washington D.C. at Eaton Workshop along with a panel discussion and musical performance by Delawari of songs from her album Lion of Panjshir (released by David Lynch). In conjunction with the digital release, Delawari and Fereshteh Forough, Afghan Founder and President of Code to Inspire have collaborated to create a new free app called Afghanistan Connect, a platform consolidating information on reputable organizations that are rebuilding Afghanistan within various aspects of society.

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