TVD Los Angeles

Hey, Shopkeeper: LA’s The Record Parlour

We’re thrilled to be able to talk to one of our favorite local crate digging establishments in Hollywood, The Record Parlour. Just over a year old, not only does the shop have an incredible collection in house, they can find you just about any title you have your heart set on—they found for me the Pointer Sisters’ Steppin in under 24 hours—and they possess one of the things LA is best known for—vibe.

Stepping into The Record Parlour is like stepping back into time, or stepping into the dream world of any music gear geek. They have on display loads of vintage amps, microphones, and my personal favorite, a Fender Rhodes—most of the pieces in, or getting into working condition.

The store has been building a name for themselves for putting on some of the most exciting and unique in-store shows and showcases in town, from pop-up shows with bands like Vintage Trouble to the event we are honored to be a part of this Friday, November 21—Will Dailey playing live with his band, with the entire performance being recorded and transferred directly to vinyl.

Please introduce yourself. Who are you and what do you do at The Record Parlour?

We are Chris Honetschlaeger, founder of The Record Parlour in Hollywood and Chadwick Hemus, store manager and partner.

How long has the store been open?

We first opened our doors in August of 2013.

But I heard that record sales are in decline—what made you want to open a record store?!

The “vinyl format” was more interesting to me than unreliable record sales figures from dubious sources. Double-digit growth in new record players and triple digit growth at vinyl pressing plants were a better indicator of the market opportunity for me. The Record Parlour is growing steadily month over month since opening and our store focuses on original releases versus new releases.

What is the last record your store sold?

We just sold 20 Zappa records to one guy about 15 minutes ago using Instagram.

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TVD Dallas

TVD Live:
Noah Gundersen at
The Loft, 11/16

PHOTOS: AMANDA DEERING | In the deep pauses between lyrics, The Loft was so quiet on Sunday night you could hear only the slightest rustle of a jam-packed crowd and the subtle creaking of the venue’s wooden floor. Nary a chuckle, nor a bout of side chatter, nor even a clank of bar glasses—only the silence of an audience completely transfixed by Noah Gundersen.

At the age of 24, Gundersen has already mastered the art of live performance. Of connecting so deeply with his audiences, drawing us in and quieting even the most fan-girlish among us. On a wintry Dallas night, hundreds cozied up together in the second story of The Loft to see the musician and his sister, Abby, perform a sold-out show. Yet, it still felt like the most intimate performance you’ve ever seen.


Opening with “Isaiah,” the Gundersens progressed through songs both new and old throughout the set—tracks spanning two EPs and a recent LP, as well as brand new songs yet unheard.

Through the ebbs and flows of songs like “Cigarettes” and “Family,” the brother-sister duo’s perfectly harmonized voices transcended from gorgeous, goosebump-inducing bellows to a barely-there whisper and back again. The contrast between his raw and weathered tone and her crystalline one, between highs and lows, sound and silence, dark and light: it all felt unsettling. But then, that, that is artistry—inspiring people, yet at the same time making them feel mildly uncomfortable.

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TVD Washington, DC

TVD Ticket Giveaway: Death From Above 1979 at the 9:30 Club, 12/1

The boys are at it again! After announcing their break-up in 2006, Death from Above 1979 reunited in 2011 to appease the public demand for a performance, embarking on a year long tour. Three years later, the duo found themselves back on the road and back in the studio.

A decade since the release of their debut album You’re a Woman, I’m a Machine, the Canadian punk-rockers announced the release of their second album back in June. Titled The Physical World, Death from Above 1979’s latest release hit the online shelves this past September. According to Death from Above 1979 members Sebastien Grainger and Jesse Keeler, the album was “written and recorded between 2012 and 2014 in some real life Rorschach test where past and present are perfectly symmetrical and equally terrifying.”

In support of their album release, Death from Above 1979 is embarking on an international tour. The duo recently announced UK tour dates, but prior to crossing the pond, Grainger and Keeler are performing across the U.S. and Canada. Among their stops is a show at the 9:30 Club on Monday, December 1. Don’t have tickets yet? No worries, we’re giving away a pair!

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The TVD Storefront

Needle Drop: Twist, “Slums And Seaports”

Ever wonder what a collaboration between Nancy Sinatra and Ty Segall might sound like?

Twist is the musical partnership between singer Laura Hermiston and producer Brian Borcherdt (best known as a member of the Canadian electronic band Holy Fuck). The band has slowly been releasing music throughout 2013, culminating in the single “Slums And Seaports” which plays like a minted garage nugget—raved up ’60s pop rock and injected with a hardy dose of shoegaze.

The interplanetary Western vibes of the single lock in well with the latent distorted rhythm track, making for a blistering, psychedelic second half. The tension builds to an almost excruciating climax while Hermiston’s vocals remain as tranquil as a summer stroll. A strange sonic dichotomy that the song’s title seems to hint at.

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Shell Zenner Presents

Greater Manchester’s most in the know radio host Shell Zenner broadcasts the best new music every week on the UK’s Amazing Radio and Bolton FM. You can also catch Shell’s broadcast right here at TVD, each and every Thursday.

“I’m back on air as usual! Today I talked to my Dad about dreams. He wanted to be a professional footballer or cricketer. Whats your dream? It can be as big or as small as you like. We’re going to talk dreams…

My ROTW is by the awesome The Wharves, The Bay—gorgeous harmonies and retro tinged indie pop! Three tracks incoming as per… This week’s #Shellshock is by Elderbrook and it’s called “Could.” It’s a lovely slice of electronica forthcoming on Black Butter Records whose vocals recall alt-J. You’re going to LOVE it.” —SZ

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The TVD Storefront

Graded on a Curve: Rhyton, Kykeon

Rhyton specialize in blending the sonic traditions and instrumentation of Greece and the Middle East with rock trio firepower of an oft improvisational nature. That might read as a recipe for self-indulgence, but the results, while certainly psychedelic in effect, also wield the discipline of top-notch jazzmen. Kykeon, their third LP and second for the Thrill Jockey label, continues their explorations to great reward; it’s a record that plays as strong as its cover is beautiful.

Rhyton consists of Dave Shuford, aka the leader of D. Charles Speer & the Helix and a former participant in the activities of the No-Neck Blues Band, Rob Smith of the Bronx band Pigeons, and Jimy SeiTang, a gentleman also associated with the No Neck scene but primarily known for the outfit Psychic Ills and his electronic solo project Stygian Stride.

The New York City-based No-Neck Blues Band, or NNCK for short, was part of a thriving underground of outsider rock business that came to a head in the midst of last decade. Some of the contributors to this scenario were able to engage, if not the mainstream, then at least larger audiences via Freak Folk and the New Weird, but the deep-psych/improv-rock/free folk of NNCK proved resistant (though not really by intention) to crossing over.

Of course, this isn’t a tidy assumption, since Wolf Eyes managed two discs of noise brutality on Sub Pop during the same era, but it does feel largely accurate. And so it’s doubly interesting how Rhyton’s latest is so downright easy on the ears. It does bear mentioning however that Shuford’s not exactly a novice to rock gestures of possibly wide(r) appeal.

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TVD San Francisco

TVD Live Shots: Slayer and Exodus at the Fox Theater, 11/11

Slayer photographed by Jason Miller

The year was 1988. I was fourteen and it was the beginning of my adolescent rebellious stage. It was the first time I had heard Slayer and my intro to the band was the song “South of Heaven.” It was a departure from their previous album as they had slowed things down significantly, but somehow they managed to turn up the evil factor a notch or two. This moment changed my life. I had discovered my new favorite band.

Never in my wildest dreams did I think that twenty five years later I would be watching this band play one of two sold out nights at one of the most beautiful theaters in the country. Slayer is not just a metal band—they have become a way of life for a lot of metal fans around the world. The one thing you will never hear a critic or fan say, “Slayer returned to their roots on this tour.” Because they never left them behind. There are few bands these days that can lay that claim.

Slayer photographed by Jason Miller-2

The second the blood stained curtain with the enormous Slayer pentagram on it dropped, the onslaught had begun. It would go on for nearly two hours as the band pummeled the capacity crowd, playing below 4 upside down crosses and a giant evil skull. These guys sounded better than I have ever heard them before and they looked completely in control.

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TVD Live: Ex Libras at
93 Feet East, 11/12

It’s a dreary Wednesday night but there’s a buzz in the heart of East London’s Brick Lane—Ex Libras are about to hit the stage.

It’s been four long years since their debut album Suite(s) impressed music fans across the board. These three boys from Hounslow built their own recording and rehearsal space, lovingly called “The Shed” and this is where they birthed their first few releases as a band. Shortly after Suite(s), EP “Cut(s)” was released and their fan base slowly grew and the press had taken notice.

After this short burst onto the scene, they almost disappeared as quickly as they’d appeared. In the time they’ve taken out, they’ve experimented and moulded their sound, smoothed the edges, and that’s very much evident tonight from the new songs and frontman Amit’s performance.

Every word is a bullet now—Amit emotes this power more than ever before on stage, even during their “older” songs. But let’s stick to the new for a second… “Leap Of Faith” is massive, it feels like the venue is being sonically stretched and pitted against the band’s will. The audience is fully engaged and newer fans seem intrigued. “Woe” is another new track that showcases their strength as a live unit—Ross’ drum beats are tighter than ever, Kieran on the keys gives the track a dreamy depth which marries perfectly with Amit’s powerful vocals.

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The TVD Storefront

TVD Kickstarts: A Girl
I Know, The Lost Tapes

If you’re to scroll all the way down to the bottom of the page you’re reading at present, to the left you’ll note an homage to two people who inspired TVD. You’ll recognize too then why Carolina Hoyos’ Kickstarter campaign struck a chord with us here at the HQ. The upside? There’s still time to extend the good karma to this warm, talented performer. As she told us via email this week:

“Right before I took 2 years off to care for my Father through his cancer treatment, I quietly (unofficially) released an EP and named it “A-Siders,” because it’s the first side of my intended full length release on vinyl, called The Lost Tapes.

The Lost Tapes as a collection has always felt like we’d discovered old, abandoned tapes and then added a modern sound to them. Now that my Dad is healthy and I’ve found my way back to releasing this record, I named my Kickstarter campaign “My Lost Tapes” because when you care for someone with cancer, you can get real lost with the process of your own life, trying to save someone else’s.”

The unreleased B side feels like a relaxing sunny Sunday afternoon of dreamy listening, while the more rocking A side is your Friday night out partying. The “A-Siders” is available right here.

The Kickstarter campaign for “The Lost Tapes” extends until Saturday, December 6, 2014, and there’s some nifty incentives for those of you interested in the vinyl aspect of this project. Probably because you’re reading this now.

A Girl I Know Kickstarter | Facebook | Twitter

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The TVD Storefront

Graded on a Curve:
Ohio Players, “Funky Worm” b/w “Paint Me”

Occasionally you run across a song so unutterably strange you’re left speechless. Such is the case with the 1973 single “Funky Worm” by the great Ohio Players, who bequeathed us such fabulously funky tunes as “Love Rollercoaster” (“Say what?”) and “Fire.” “Funky Worm” inexplicably rose to No. 1 on the Billboard R&B charts, despite it’s, er, rather odd vocals and subject matter. But if I’m surprised it was a big hit I have no doubt it’s a fantastic song, infused with high humor and featuring several high-pitched Moog synthesizer solos that have been sampled, at last count by one source, by some 183 artists including Dr. Dre, Ice Cube, and N.W.A.

The Ohio Players were formed way back in 1959 as the Ohio Untouchables, but broke up and reformed several times. But talk about your perseverance; they were still together (having changed their name to Ohio Players) in 1973, when the band finally scored a hit with “Funky Worm” off their Pleasure LP. The song was written by the band’s then keyboardist Walter “Junie” Morrison, who split in 1974 and went on to record several solo albums before joining Parliament-Funkadelic.

“Funky Worm” is odd for the simple reason that it’s basically a conversation between a member of the band and “Granny,” who I suspect is another member of the band, although I’ve had zero luck in finding out who delivered her lines. Granny is introduced to a Mr. Johnson by his secretary while a funky groove plays in the background, and she delivers her introductory lines (“Me and the Ohio Players gonna tell you about a worm/He’s the funkiest worm in the world/Okay, sing it, fellas”), at which point the guys in the band sing about the worm, who lives six feet down and “who only comes around/When he wants to get down.”

Those six feet are odd, being grave-deep and all, but I don’t think the song has anything whatsoever to do with death, although the following tune, “Our Live Has Died” reprises the “six feet down” trope in a more meaningful setting. Nor is the worm a metaphor for a cock. No, it’s a worm she’s talking about, who “when he comes out of his hole sounds something like this,” at which point Morrison plays a freaky solo.

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