Category Archives: TVD Washington, DC

Play Something Good with John Foster

The Vinyl District’s Play Something Good is a weekly radio show broadcast from Washington, DC.

Featuring a mix of songs from today to the 00s/90s/80s/70s/60s and giving you liberal doses of indie, psych, dub, post punk, americana, shoegaze, and a few genres we haven’t even thought up clever names for just yet. The only rule is that the music has to be good. Pretty simple.

Hosted by John Foster, world-renowned designer and author (and occasional record label A+R man), don’t be surprised to hear quick excursions and interviews on album packaging, food, books, and general nonsense about the music industry, as he gets you from Jamie xx to Liquid Liquid and from Courtney Barnett to The Replacements. The only thing you can be sure of is that he will never ever play Mac DeMarco. Never. Ever.

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TVD Live Shots: The Wombats, Courtship,
and Nation of Language at the 9:30 Club, 1/8

UK Indie-pop artists, The Wombats made a stop at DC’s 9:30 Club earlier this week on an icy-cold Monday night. In spite of the bad weather, fans managed to pack the venue for a cozy night of solid performances.

In anticipation of their upcoming release, Beautiful People Will Ruin Your Life, The Wombats have embarked on a promotional tour through the US that will last until the latter part of January. The tour will pick back up in March with European dates deep into the summer. The album itself will be available in signed vinyl editions and arrives in stores on February 9.

The record’s lead single, “Lemon To A Knife Fight” has been featured on the band’s website since November and is said to have been written by singer Matthew Murphy after a David Lynch binge then subsequently having an argument in the car with his wife while motoring on Mulholland Drive, of all places.

The Wombats performance on Monday was solid and Murphy seemed to be a good form vocally, right in line with energetic bass player Tord Overland Knudsen and speedy drummer Dan Haggis.

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Play Something Good with John Foster

The Vinyl District’s Play Something Good is a weekly radio show broadcast from Washington, DC.

Featuring a mix of songs from today to the 00s/90s/80s/70s/60s and giving you liberal doses of indie, psych, dub, post punk, americana, shoegaze, and a few genres we haven’t even thought up clever names for just yet. The only rule is that the music has to be good. Pretty simple.

Hosted by John Foster, world-renowned designer and author (and occasional record label A+R man), don’t be surprised to hear quick excursions and interviews on album packaging, food, books, and general nonsense about the music industry, as he gets you from Jamie xx to Liquid Liquid and from Courtney Barnett to The Replacements. The only thing you can be sure of is that he will never ever play Mac DeMarco. Never. Ever.

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Save the Date: The
DC Record Fair returns
to Penn Social, 2/18!

Back for its 9th year is Washington, DC’s (almost) twice yearly record rummage, The DC Record Fair which sets up shop on February 18, 2018 in the cavernous confines of downtown Washington, DC’s Penn Social.

As with each event, we’ll have 40+ vinyl vendors from up and down the East Coast, the DJ line up, the bar, the food, raffle items up for grabs just for coming through the door, plus the random other surprises that make the DC Record Fair a special community event.

Our friends at the Fillmore Silver Spring put together the above feature a while back that outshines any descriptive copy we could devise—hit play.

Mark your calendars! 
THE DC RECORD FAIR

Sunday, February 18, 2018 at Penn Social, 801 E Street, NW
11:00–12:00, Early Bird Admission $5.00
12:00–5:00, Regular Admission $2.00

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Play Something Good with John Foster

The Vinyl District’s Play Something Good is a weekly radio show broadcast from Washington, DC.

Featuring a mix of songs from today to the 00s/90s/80s/70s/60s and giving you liberal doses of indie, psych, dub, post punk, americana, shoegaze, and a few genres we haven’t even thought up clever names for just yet. The only rule is that the music has to be good. Pretty simple.

Hosted by John Foster, world-renowned designer and author (and occasional record label A+R man), don’t be surprised to hear quick excursions and interviews on album packaging, food, books, and general nonsense about the music industry, as he gets you from Jamie xx to Liquid Liquid and from Courtney Barnett to The Replacements. The only thing you can be sure of is that he will never ever play Mac DeMarco. Never. Ever.

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TVD Live: David Rawlings at the Lincoln Theatre, 12/6

PHOTOS: RICHIE DOWNS | David Rawlings and his band takes to the empty stage as they would if they were around during the end of the Industrial Revolution 150 years ago or more. At the Lincoln Theatre in Washington last Wednesday, with two guys in big hats and two women in long cotton dresses, they rather resembled a rural string band that could have assembled on anybody’s porch a century ago or more, picking out music, interlocking rhythms, and singing harmonies about many of the same kinds of concerns. Americana indeed.

Rawlings may first have come to notice as the backing guitarist for his partner Gillian Welch, who, happily, is also part of the his band. But here, the smiling, good-natured Rawlings is front and center. His voice is OK at best; his songs often simple constructions. What jumps out, and what brings the audience, are his guitar solos.

He had a few guitars on hand, but mostly used one mighty mahogany 1935 Epiphone Olympic, with a sprucewood arched top. It seemed a tiny instrument – less than 14 inches wide — for all he brought out of it. With a tone midway between the high, bright sound of a mandolin and the deeper tones of a more conventional guitar, he flatpicks his way into a superhighway of inventive melody with one turn inspiring the next, faster and faster, but never losing its soul or appeal.

Applause greeted nearly every solo and the rest of the band rose to join his musicality. Guitarist Willie Watson, formerly of the Old Crow Medicine Show actually has a better voice (but is self-effacingly ineffective on bongos the one time he tried). Fiddler Brittany Haas of Boston bluegrass band Crooked Still who is often heard on Prairie Home Companion, often sounds, like Rawlings, as if she’s playing more than one instrument, the approach is so full and musical. Welch, of course, keeps the rhythm locked down on acoustic guitar and bolsters the harmonies throughout. And a couple of times, thankfully, was featured on some of her own songs, from “Wayside/Back in Time” to “Look at Miss Ohio.”

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Play Something Good with John Foster

The Vinyl District’s Play Something Good is a weekly radio show broadcast from Washington, DC.

Featuring a mix of songs from today to the 00s/90s/80s/70s/60s and giving you liberal doses of indie, psych, dub, post punk, americana, shoegaze, and a few genres we haven’t even thought up clever names for just yet. The only rule is that the music has to be good. Pretty simple.

Hosted by John Foster, world-renowned designer and author (and occasional record label A+R man), don’t be surprised to hear quick excursions and interviews on album packaging, food, books, and general nonsense about the music industry, as he gets you from Jamie xx to Liquid Liquid and from Courtney Barnett to The Replacements. The only thing you can be sure of is that he will never ever play Mac DeMarco. Never. Ever.

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TVD Live: Joe Henry at Jammin’ Java, 12/5

A saving grace of not exactly being a household name is the ability of fans to hear the music of someone like Joe Henry in such an intimate setting as Jammin’ Java, a strip mall oasis in a Virginia suburb outside of DC.

A hushed crowd of 100 or so is perfectly suited to the nuanced chamber-folk with a jazz flourish that Henry produces with his fine LA band. Henry’s deep voice matches his brainy songs that often march to deliberate beats. Still quite youthful at 57, he began the show Tuesday solo, deconstructing one of his most enduring, enigmatic tunes, “Trampoline.”

Then he was joined by his longtime band that includes Patrick Warren on keyboards, David Pilch on bass, the inventive Jay Bellerose on drums and percussion, and Henry’s son Levon on tenor saxophone and alto clarinet – an expressive instrument that snaked its way into a lot of songs, providing the perfect mournful undertone.

Another Henry who wasn’t a relation — jazz saxophonist Vincent Henry — sat in for a few songs and he and the younger horn man seemed to have a good time playing off of one another. It was a trip to watch Bellerose work — for some songs he’d have both sticks in one hand handling the set, while the other was reserved for tambourine. He knew when to build and when to hang back. There was nothing standard about his approach.

Henry said he was reluctant to use a gig as a way to promote new product — “and yet,” he added, before going into the first of what would be nine of the 11 cuts from Thrum, his 14th solo album, released in late October.

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TVD Live Shots: Descendents at Rams Head Live, 12/1

For a band whose mantra contains the phrase “couldn’t sell out a telephone booth,” Descendents, the long running California-based foursome, have been dishing out clever, slacker satire for years, clearly underestimating just how deep their influence runs and how un-nerdy they really may be. Last Friday night, the enthusiastic crowd at Rams Head Live in Baltimore got a chance to witness this for themselves—and to pay their respects to a band who deserves more than their share.

When it comes to melodic punk, the Descendents are practically the forefathers of the genre, particularly for emo-core. In fact, I’d argue that the band inspired that label altogether. Mixing classic hardcore sounds with singer Milo Aukerman’s metallic vocal sensibilities and often fast paced lyrics, the band rose to prominence in the California punk scene after their formation in the late 1970s. Stylistically, the Descendents have been tagged with many labels from pop-punk, skate-punk, power-pop, and emotional-hardcore. The band’s upbeat tempos are regularly infused with melodic bass lines and harmonic guitar breaks. Toss in a scoop of well sung melodies—usually with lyrics about coffee, flatulence, defecation, and sometimes just about a girl—what you get is a mix of relatable, fun, and heartbreaking songs.

Since the glory days of post-hardcore, the Descendents’ style has become wildly pervasive. Along with Dag Nasty, Buzzcocks, and The Queers, the Descendents’ sound has directly influenced Nirvana and Green Day, and their influence lingers on The Offspring, Pennywise,  NOFX, Good Charlotte, Taking Back Sunday, and the abominable Blink 182. The 2013 documentary, Filmage is a worthwhile look at the band’s history and features interviews with members of Black Flag, Fugazi, and Minutemen. There’s also a Descendents brand IPA, “Feel This Coffee,” from Mikkeller Brewery. The beverage is named after a track from their latest album and another Descendents mantra—their love of coffee.

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Play Something Good with John Foster

The Vinyl District’s Play Something Good is a weekly radio show broadcast from Washington, DC.

Featuring a mix of songs from today to the 00s/90s/80s/70s/60s and giving you liberal doses of indie, psych, dub, post punk, americana, shoegaze, and a few genres we haven’t even thought up clever names for just yet. The only rule is that the music has to be good. Pretty simple.

Hosted by John Foster, world-renowned designer and author (and occasional record label A+R man), don’t be surprised to hear quick excursions and interviews on album packaging, food, books, and general nonsense about the music industry, as he gets you from Jamie xx to Liquid Liquid and from Courtney Barnett to The Replacements. The only thing you can be sure of is that he will never ever play Mac DeMarco. Never. Ever.

Read More »

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  • SUPPORTING YOUR LOCAL INDIE SHOPS SINCE 2007


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