Given the sheer volume of what we’ll call “Going Out Guides” that rear their heads daily, weekly, monthly, seasonally, we like to fancy ourselves as a “Staying In Guide” every now and again. Records and turntables tend to mandate it.
And records also mandate a keen ear and some attention to what they’re played on—and the music that spinning disc of plastic is revealing. Yet, there IS something to the notion that record collectors may not be “audiophiles” per se, but we do care quite considerably that our investments are being listened to and heard properly.
So, allow us to invite you to come out to pursue some of the very best reasons to simply—stay home.
The Capital Audiofest 2014 returns to the region this Friday, Saturday, and Sunday to the Sheraton Hotel in Silver Spring, Maryland bringing with it the very best in contemporary and vintage gear, a list of exhibitors far too long to list, guest speakers, raffle items, and a healthy dose of inspiration as to what that man cave—or woman cave—could house to give those records you’ve been stashing away a proper airing.
From yesterday interview with Fozzy’s Chris Jerico:
What can we expect from the new Fozzy album, Do You Wanna Start a War?
The only rule we had with this record is that we had no rules. We didn’t want to make a record that was like anything that we had ever done before. We wanted to take our sound to the next level. You know, a lot of bands can kind of fall into a trap of doing the same record over and over again, and that’s fine. We love bands like Iron Maiden, Metallica, we love Avenged Sevenfold but we also love Queen and Pink Floyd, Zeppelin and the Beatles, bands that would make a different record every time. There was really no rules or chains as to what kind of songs they would do.
I mean, if you look at a Queen record, there would be a metal song, a rock song, a pop song, a dance song, a rockabilly song, a ballad. It was all good, because it was Queen. That’s what we wanted to do, just make a really diverse record with good songs. I think that’s the difference. There’s some songs that are more danceable songs, you could hear them at a dance club. There’s songs that you could hear at a strip club, there’s songs you could hear at an R&B club, but they are all good, they are all heavy and they’re all Fozzy, and that’s what we wanted to do.
“A lot of people say that vinyl sounds warmer or just better, but I think that’s an overstatement. A lot of new vinyl is not pressed well and it sounds tinny and squashed—but grab a Rolling Stones album from the ’70s out of a bin at the thrift store for $.50 and you will be knocked backwards by the sonic depth and detail.”
“I like vinyl for a lot of reasons—rich sound, having a cool keepsake thing, vinyl records often appreciate in monetary value because of their scarceness, and I tend to like indie labels and indie artists and often they’re the biggest purveyors of vinyl. Plus I need coasters like anyone else. But you don’t like vinyl in a vacuum—you like vinyl because you like the artists on vinyl.
Plus I need coasters like anyone else. But you don’t like vinyl in a vacuum—you like vinyl because you like the artists on vinyl.
Vinyl is temporary. Record stores are temporary. Musicians are temporary. Songs are forever.”
Need a dose of technodelica to kick start your weekend? We’re delighted to debut Bür Gür’s “Orchard Hearse” vid do to just that. And we’ve got the duo’s Corbin and Makan on the records that have informed this trippy bit of studio wizardry.
Ratatat, Ratatat | “I definitely listened to this one a whole lot when I was younger. I always loved the song “Cherry”—it has these awesome, layered guitar tones that filter in and out. A lot of their techniques were super inspirational to me when I was first learning how to produce. If you listen to my first solo album Mirror Stage, you’ll definitely hear a lot of reversed guitars and drums.”
Postal Service, Give Up | “This album was definitely on repeat for a good chunk of my high school days. It always really resonated with me for some reason. Dntel, the guy that made all the beats is probably one of my favorite musicians. Listening to it at this point I am still super inspired by his production. I love his subtle production style… his songs always feel very earnest to me.”
Ever since they popped onto the larger scene somewhere around 2010, the Philly based minimal synth sounds of Void Vision have been a tour de force for stone cold electronic music fans.
Fortunately for those of us here in the nation’s capital, Void Vision will be gracing Black Cat with their very first DC appearance, as part of Technophobia’s Bleeding Hands Remixes, Cassette Release Party (along with the electro doom sounds of Baltimore’s Curse), on July 19th. As such, the fine folks in Technophobia thought it only fitting to ask Shari Wallin of Void Vision a few questions, to get DC better acquainted.
You have a lot of gear when you play live, how do you deal with that logistically?
Well, I’ve managed to cut things down a little over the years, but what really helped was getting a large case for some of my smaller synth modules and drum machines. Most of it fits in there and then I use velcro to secure it all into place. It saves a lot of setup time. It’s hard though because I keep buying new gear and wanting to add it to the live setup.
What originally inspired the sound of Void Vision?
I’ve always been drawn to the piano and electronic sounds ever since I was very young. Video game music and dance / techno music were the first things I got into since that was what was immediately around me. As a weirdo kid in 1994, you really couldn’t avoid being influenced by NIN in some way of course. I suppose that was one of the first bands that really opened up my mind to the ways in which any kind of sounds imaginable could be used to make music.
Synthesizers were exciting because they weren’t like the typical rock band instrumentation and the possibilities seemed endless. So I started playing around with keyboards and sampling and making my own sound libraries when I was 12. Then I started reading a lot of musical biographies and discovering the electronic music of the past. I found the early experimental electronic music especially inspiring since I was from a culturally devoid suburban environment. I sincerely felt like I had been born in the wrong place and time. I think a lot of my music may be an attempt to experience what I feel like I missed out on, and to find a place of comfort.
Join The Vinyl District at Den of Thieves to launch a monthly all-vinyl DJ night curated by the editors of TVD to celebrate the analog dimension—and it kicks off this Thursday, July 17.
The third Thursday of every month we’ll program the DJs and give away some slabs of vinyl in various formats: 45s, 10s, and 12-inches. This week we present DC’s own, Sol Power All-Stars. This crew have had their mixes featured on the Okayafrica blog and described as a “diaspora dance collective who typically pull sounds influenced by Cuban beats, Lagos discos, and Rio de Janeiro beach parties when making selections for their infectious live sets.”
They recently released an afro house banger 12” on BSTRD Boots which connects the dots between Haiti, Africa, and New Orleans. Expect a sweaty, exhilarating party experience!
RSVP ON FACEBOOK!
Perhaps you weren’t up early this morning when we turned on the lights at TVD HQ with a full review of this slab of brilliance:
“Sam Cooke is one of the prime architects of 20th century music. Concise accolades frequently falter into overstatement, but in this instance the praise is offered sans hyperbole. The easiest way to test this claim is through ABKCO’s Portrait of a Legend 1951-1964; initially released on compact disc in 2003, it immediately vaulted to the forefront of Cooke compilations, and that it’s now available on double vinyl in a gatefold sleeve retaining Peter Guralnick’s splendid liner notes is cause for celebration…
As its title explains, the set runs the gamut of Cooke’s studio run, though it begins not with a selection from his first Soul Stirrers session, instead choosing “Touch the Hem of His Garment,” a crucial ’56 gospel track delivered not long before he elected to cross over into the secular market. Bluntly, this was dangerous territory; spreaders of the “Good News” (getting to the root of the word Gospel) had to be very careful when going pop, and Cooke wasn’t just any sanctified singer. As part of the Stirrers, he was famous in the field.
Dave Wakeling is crunched in the back seat of TVD’s rambler, rattling down DC’s Constitution Avenue, singing the vocal part from a new track still in the works for a forthcoming release. He’s joined in song by his iPhone sputtering out the groove-infused ripper—and here’s its debut for our ears. (It’s the track after the opening credits in the vid below.) That voice, I’m thinking…one of those that can sing the phone book and a party begins.
Dave is animated, literate, political, irreverent—critiquing DC’s architecture, global politics, World Cup, Thatcherites, and swearing like a sailor throughout. He’s full of stories from time spent in the US Capitol as well—from his days with Greenpeace on U Street to a collab with Theivery Corporation.
And then there’s the music—new music in the form of a full length, For Crying Out Loud which is presently in production and arrives in tandem with a Pledge Music Drive to fund the record. Your pledge comes with a bevvy of opportunities to spend time with Dave in much the same manner as we find ourselves at present. In fact, his phone is pinged with every new pledge to the then recently launched campaign, and the pings follow us throughout the afternoon amidst a trip to DC’s Som Records.
You can join in and be richly rewarded for your pledge to fund the English Beat’s new LP—from which 10% of the proceeds will be donated to the globally impactful, Doctors Without Borders. For now however, let’s go record shopping, shall we?
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