Monthly Archives: March 2018

TVD’s The Idelic Hour with Jon Sidel

Greetings from Laurel Canyon!

She rides unclothed through the streets of Coventry / Upon a great cockhorse hair to her knees / I wore a Minotaur’s Mask and I played the Moon Cow / I was the last to see her anyhow / No one’s gonna lay eyes to see / Lady Godiva and me…

Easter break in the canyon finds us driving south to Long Beach for Passover. Years ago “Passover in the OC” would have seemed like a strange thought, but in 2018 it will be a relief. I’m grateful to have the fellow Sidel/ Fineman/ Berman clan within 50 miles of us.

Also this week, visiting from Thailand, we had my brother and sister-in-law staying with us. Our family has become a fun and yummy melting pot of cultures. Sometimes we function like a herd of kittens, but we try to give ourselves purpose. Props to my uncle Elliott and cousin Elisa for making this weekend special for the kids. Hopefully they won’t get too carried away with egg hunts and video screens.

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TVD Live Shots:
Nils Frahm at Thalia
Hall, 3/24

Berlin composer, pianist, and producer Nils Frahm wowed sold-out crowds at Thalia Hall last Saturday and Sunday night.

A true virtuoso, Frahm’s setup alone was most impressive and included multiple vintage instruments (pianos, organ, synthesizer, etc.) and speakers. More so, his performance was transfixing, almost meditative. As we watched him build his songs before our eyes, no one dared miss a note. The room was so still, we might as well have been holding our breath.

Frahm’s North American tour continues through April before heading to Europe for the summer.

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TVD Radar: Bruce Springsteen: The Album Collection Vol. 2, 1987–1996, limited edition box set in stores 5/18

VIA PRESS RELEASE | Vinyl collection includes Springsteen’s four studio albums from the era, plus two EPs and a double-LP live album.

On May 18th, Columbia Records/Legacy Recordings will release Bruce Springsteen: The Album Collection Vol. 2, 1987-1996, a limited-edition, numbered boxed set composed of material recorded and released by Springsteen for Columbia Records during that period. The long out-of-print LPs are available remastered for the first time on vinyl. In addition to Springsteen’s four studio albums from the era, the boxed set includes a special 12” of 1988’s live EP “Chimes of Freedom,” Springsteen’s 1993 two-LP MTV Plugged special, and the first-ever vinyl release of the 1996 “Blood Brothers” EP for a total of 10 discs. All of this material comes in recreations of the original packaging, accompanied by a 60-page book featuring rarely seen photos, memorabilia and original press clippings from the period.

For The Album Collection Vol. 2, remastered albums from acclaimed engineer Bob Ludwig and Springsteen’s longtime engineer Toby Scott have been pressed on vinyl for the first time. The albums were transferred from the original analogue masters using the Plangent Process playback system. 1987’s Tunnel of Love and 1992’s Human Touch have also been expanded across two LPs to maximize audio quality.

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LEEDS’ Royston Langdon,
The TVD First Date

“My art teacher, Mr Jones, whom I loved dearly, gave me his copy of Andy Warhol’s Velvet Underground featuring Nico LP. Back then, I played in a school band with his son, Matthew, who played drums, poorly. It wasn’t long before the record became the closer friend.”

“I’m listening to it now. We share a common history in the same way I do with my human friends. It’s a being. It has a life force. Like you and me. I love that about my record collection. We’ve stumbled together, with reference. A map of sorts as to where we came from and who we are now.

From the first beatific hit of the xylophone on “Sunday Morning” I was taken away to another place where everyone has enough of everything. Transcendence. Abundance. Nico. They’ll never be another voice like hers. The Femme Fatale embodying feminine Goddess. Sexy and scary, sensitive and stern at the same time.

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TVD Video Premiere: KLYPH, “Eins (Valley)”

PHOTO COURTESY OF KLYPH | KLYPH is the nom du musique of electronic artist and guitarist Cliff Hines. We’re proud to present the debut of his self-directed music video, “Eins (Valley).” Not only did Hines direct the video, he plays all the music, (guitar, vocals, electronics) and mixed and mastered the recording.

On his KLYPH project, Hines uses electronics to transform and layer his guitar into soundscapes, accompanied by analog synths, glitch dance drums, and ominous robotic vocoder vocals. The sound is edgy and mixes dark dance grooves with frightful textures, dreamscapes and otherworldly sounds. The work evokes some of his influences including Nine Inch Nails, Kraftwerk, and My Bloody Valentine.

Hines is a zealous musical polymath whose work spans numerous genres. Well regarded in the New Orleans progressive music scene, he also tours with legendary songstress Rickie Lee Jones, plays with the percussionist Mike Dillon in his namesake band, and is the guitarist/ sound designer for jazz trumpeter Christian Scott’s critically acclaimed, Centennial Trilogy. The work is composed of lots of heavily processed video created in After Effects. The glitchy visuals mirror the cold and manic world created within the song.

KLYPH will perform live at the Dragon’s Den on April 19 and the full, as-yet-titled EP will appear early in the summer via Bubble Bath Records.

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Graded on a Curve:
Jerry Lee Lewis,
Southern Roots: Back Home to Memphis

For Jerry Lee Lewis, 1973 was the worst of years and the best of years too; despite a brief turn in prison, the death of a son, a divorce (his fourth), and rampant drug and alcohol abuse, the Killer still turned out two seminal LPs with The Session… Recorded in London with Great Artists and Southern Roots: Back Home to Memphis.

The latter LP is nothing short of a miracle; Jerry Lee somehow managed knock off ten galvanizing performances even though he was, by all accounts, out of control even by his own berserk standards. When he wasn’t abusing legendary producer Huey “The Crazy Cajun” Meaux, the heavily medicated Lewis was threatening to kill a photographer and generally being a dyspeptic old cuss. “Do you wanna try one?” asks Meaux doing the proceedings. “If you got enough fuckin’ sense to cut it,” replies the orneriest cage-rattler to ever hail from the friendly state of Louisiana.

Let’s make one thing clear from the start; neither LP comes close to recapturing the anarchic feel and demented energy of Lewis’ early recordings, or the deranged ferocity (subtlety? toss it out the goddamn window!) of his hair-raising live performance with the Nashville Teens at Hamburg, Germany’s Star Club in 1964. His vocals are lazier, and his piano playing less a frenzied hammering at the gates of Hell, the place he’s always figured will be his final destination. It may have been the pills, but the old piano burner almost sounds relaxed at times.

In short, on Southern Roots The Killer proves there’s more than one way to skin a cat. He lays back in the groove and waxes sly and lewd by turns, sounding randy even at his most relaxed and pretty copacetic for a guy who has just threatened to murder another guy for having the audacity to point a camera his way. Whether he’s singing the songs of Doug Sahm or Isaac Hayes or breathing life into novelty tune about a haunted house, Jerry Lee mostly plays it cool but isn’t afraid to blow volcanic hot when the mood strikes him.

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In rotation: 3/30/18

Record Store Day 2018: Vinyl Lovers Unite: Since 2007, an ever-growing community of record lovers old and new have been eagerly anticipating their one-off, yearly fix of all things rare, exclusive and just plain awesome in the world of round, revolving platters. And this year’s wait is nearly over, with Record Store Day 2018 happening simultaneously all around the world on Saturday, 21 April. Every year sees a mouth-watering list of new, rare and often highly limited edition records make their way into record stores for the first time on one exclusive day. This year’s list of titles is no exception, with some of the big ticket items including limited and rare releases from David Bowie, Prince, Courtney Barnett, Nas, The Cure, Tumbleweed, Daddy Cool, Pink Floyd and Led Zeppelin. And this is barely scratching the surface!

Lucky Seven in Stoke Newington Church Street really is closing down – thanks to 50% rent hike: Lucky Seven is a quirky music store in Church Street where you can lose yourself among stacks of vinyl and good vibes. It’s been open for eight years and proven a big hit among the muso community, with collectors – including famous musicians like Tjinder Singh, Thurston Moore, John Power, Bob Geldof and Carl Barât – flocking in to stock up on records. The Gazette first ran a piece about the shop closing down in 2016. In the event, it was able to stay open as a temporary measure due to a site reprieve – but now it looks as though the music really is over. Owner Jason Gore told the Gazette: “There is definitely still a place for record shops in east London. Vinyl is still a good commodity to sell but I just haven’t been able to make it work here. Church Street is notoriously expensive.

Popular Marion record shop set for grand re-opening: The record store formerly known as Joe’s Records will have a grand reopening event and sale Saturday, April 21. The store, now known as Hard Copies, relocated from the Illinois Star Centre Mall in Marion to Marion Centre on Illinois 13 near Rural King in February. “We’ve spent the last couple of months getting reorganized and settled, and we’re finally ready to show off our awesome new space,” co-owner Josh Stockinger said. The reopening coincides with Record Store Day, a bi-annual event that celebrates the unique culture of vinyl records and independent music stores across the world…”It’s basically Christmas for record collectors,” he said.

Four Landmark Paul McCartney Albums For Multi-Format Reissue: Four albums from the rich and storied catalogue of Paul McCartney will be issued in a variety of formats by MPL/Capitol on 18 May. The titles are 2013’s NEW, 2005’s Chaos And Creation In The Backyard, the 1978 Wings compilation Wings Greatest and the Thrillington album, recorded in 1971 but not released until 1977. All four releases will be available in single CD digipak and 180 gram black vinyl single LP editions, and will also be made available for the first time in limited edition, 180 gram colour vinyl pressings. Each of the vinyl LPs will include a download card…Wings Greatest was the first retrospective of Paul’s post-Beatles work, and went platinum in the US and UK among many other chart achievements…It will now be available as a limited edition blue vinyl 180gram vinyl LP with download card and 20” x3 0” poster.

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TVD Radar: Garbage Version 2.0, 20th anniversary vinyl reissue in stores 6/22

VIA PRESS RELEASE | Garbage today announced the release of the 20th anniversary edition of their legendary second album Version 2.0. Due for release on Stunvolume/PIAS on June 22, the package will feature the whole original album, as well as 10 B-sides from the era. Visit for updates on standard and deluxe vinyl formats. The typically visceral “Lick The Pavement” is the first offering from the reissue and is out today. “Version 2:0 is in my opinion the quintessential Garbage record,” shared Garbage singer Shirley Manson. “We are all very grateful to the millions of people who took it to their hearts at the time it was released and to those who continue to love on it still.”

Initially released in May 1998, Version 2.0 spawned fan-favorites such as “Push It”, “I Think I’m Paranoid,” and “Special.” Shortly after its release, the Recording Industry Association of America honored the album with a platinum certification for exceeding 1 million units sold. Version 2.0 went on to sell over 4 million copies worldwide. The album was nominated for a total of four Grammy Awards, including Album Of The Year and Best Rock Album. The album’s third single “Special” was further nominated the following year for Best Rock Song and for Best Rock Performance by a Duo or Group. The video for “Push It” was nominated for eight MTV Video Music Awards.

Speaking about the enduring legacy of the record, the band’s drummer and co-producer Butch Vig explains: “Version 2.0 is the sound of a band growing up, evolving, and more than anything, gaining confidence. When we started recording, we made a conscious decision to not re-invent ourselves, but rather take everything we learned from our debut album and filter it through the new digital technology we were grappling with. Sonically, the album has moments of razor-sharp clarity and soft beauty. Indeed, it’s possibly our best album.”

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Alana Davis previews Love Again at the Little Gem Saloon, 3/31

Guitarist and bandleader Marc Stone has made a side career bringing singers who haven’t played in a while back into the spotlight. On Saturday night, Alana Davis, one of the leading lights of the folk/pop boom of the late 1990s will make her first appearance in New Orleans in twenty years. She will be playing at the Little Gem Saloon with Stone and his band along with special guests trombonist Delfeayo Marsalis and bassist Reggie Scanlan. The show will be a sneak peak of sorts at her new album, Love Again, which is due in stores in May. It is her first album since 2004.

Davis’ sultry voice and sophisticated sense of melody set her apart from many of her contemporaries right from the beginning of her career. In 1997, she burst on the scene as a neophyte in the music business and was signed out of the blue by Elektra Records.

Her breakout debut, Blame It On Me, was named one the top 5 albums of 1997 by Time magazine and propelled her from a total unknown to a festival headliner with singles in heavy rotation on radio and MTV, a Top 40 hit, and a Grammy nomination.

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Johnny Mathis,
The TVD Interview

Johnny Mathis’ music has become synonymous with romantic pop ballads. Since his early hits with “Chances Are,” “It’s Not for Me to Say,” and “Misty,” he’s been recording and performing for decades, occasionally returning to the charts with things like his 1978 Number 1 “Too Much, Too Little, Too Late” with Deniece Williams.

He’s released a truckload of albums along the way, evidenced by the massive 68-disc collection The Voice of Romance: The Columbia Original Album Collection which arrived in stores late last year. He’s not strayed from contemporary sounds, as his Johnny Mathis Sings the Great New American Songbook, produced by Kenny “Babyface” Edmonds, includes hits from Pharrell Williams, Adele, and Bruno Mars among others.

This month, Real Gone Music and Second Disc Records have started a new series re-issuing Mathis’ albums from the 1970s. The series begins with Raindrops Keep Fallin’ on My Head, which includes covers of the title song as well as “Everybody’s Talkin’” and “Bridge Over Troubled Water,” and Johnny Mathis Sings the Music of Bacharach & Kaempfert, which includes his rendition of “The Look of Love” and “I’ll Never Fall in Love Again” from Burt Bacharach, as well as versions of Bert Kaempfert’s work that includes “Danke Schoen,” “Spanish Eyes,” and “Strangers in the Night.” Both will be available as stand-alone CDs for the first time in the U.S., and both come with extra tracks.

We talked to Mathis about these recordings and more, from coming up through jazz to meeting The Beatles.

Your ’70s albums are just being reissued, starting last week with Johnny Mathis Sings the Music of Bacharach and Kaempfert and Raindrops Keep Fallen’ On My Head, a collection of songs from that period. What do you remember about those?

I had just started going to England on and off, and then on one of my occasions I just went on across the channel to Germany. I’d always been a fan of the music of Bert Kaempfert, and got a chance to work with him.

Ha! I hope I’m not giving out too much information but I had never had schnapps before. So I went over there and we got pretty heavy into schnapps before dinner and what have you. So now when I listen to that, I kind of remember that!

But, you know, you do so much in your life, especially at an early age when I was running all over the world singing. I even ended up in Brazil—places where I had to learn the language a little bit. It was fun to sing—some of it worked and some of it, ha ha ha, maybe…

You had worked with Bacharach quite a bit.

Yeah, Bert was really early on, he was very businesslike about his music, which I loved, and as I got to know him over the years, appreciated it. He jumped right in when I was available to sing single records and we became friends. I think he was in the publishing business with Mitch Miller, as some of the young writers were at the time.

Yeah, I got really lucky. He wrote a couple wonderful songs for me. I guess he wrote them for me—you never know, you know. I found out that later on, these people who came to me and said that they just wrote it just for me had written it 20 years before. But it didn’t really matter as long as we got the song.

They were waiting for you to come along.

I guess, I guess. Gullible as I was, I believed it.

The other album coming around had a lot of contemporary songs from that time, from Jimmy Webb to Paul Simon. Those songs really hold up don’t they?

Yeah. I’ve always enjoyed singing songs of the day, songs that people listen to over and over again, and I got a chance in my career to sing almost everything that I ever wanted to. And it’s fun because there are special recordings that I did, for instance religions albums, that were just for special people who wanted to hear that.

But then when you do the contemporary music that’s available all over the place, it sort of keeps you in the moment, and that was fun for me. I had certain responsibilities as a singer and also contractually to my record company to do as much as I could and wide-ranging, as far as musical genres were concerned. But when I sang the songs of the day, that constantly changed all the time.

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Graded on a Curve:
New in Stores, March 2018, Part Five

Part five of the TVD Record Store Club’s look at the new and reissued releases presently in stores for March, 2018. Part one is here, part two is here, part three is here, and part four is here.

NEW RELEASE PICKS: Cavern of Anti-Matter, Hormone Lemonade (Duophonic) Consisting of multi-instrumentalist Tim Gane and drummer Joe Dilworth, both ex-Stereolab, plus synth specialist-electronic manipulator Holger Zapf, Cavern of Anti-Matter’s sound is inextricably linked to Krautrock. Unsurprisingly and undisguisedly so, as opener “Malfunction” is a 16-minute motorik excursion that for many will justify the purchase of this 2LP all by itself. Even more impressive is the territory covered in the tracks that follow, which travel quite a distance by the end of side four. As the trio operate sans vocals, the range adds extra value. There are a few moments recalling Stereolab, but had I been ignorant to the association upon listening, it’s questionable I would’ve made the connection. Fine stuff. A-

XOR Gate, Conic Sections (Tresor) Detroiter Gerald Donald has been one of techno’s most reliably interesting practitioners, and amongst a load of projects and collabs, most prominently Drexciya and Dopplereffekt, he’s also issued material under a bunch of pseudonyms, the most well-known perhaps being Arpanet and Heinrich Mueller. His latest venture/ moniker is XOR Gate, the tag borrowed from linguistic or electronic logic, with the music taking the form of eight themes all edited together as one 30-minute track where “waveform and synthesis merge entirely with emotions.” If this all seems somewhat (or considerably) obscure, don’t be intimidated, as this tangibly Germanic excursion is not a bit dry, and to my ear would make a fine companion to this week’s other new release pick. A-

REISSUE PICKS: V/A, Rumbita Buena: Rumba Funk and Flamenco Pop from the 1970s Belter and Discophon Archives (Pharaway Sounds) This continues my crash course in the Spanish genres of the title, a line of study I’m happy to be making, though from a personal perspective, I suspect the best way to engage with this material is through well-selected comps. Of which this is one; Rumbita Buena puts its weakest track right up front and then blossoms, the funkiness hearty rather than flashy and the pop rooted in substance over the saccharine. Plus, there are all sorts of cool twists; I especially dig Los Candelos’ hard rock guitar-infused “Te Estoy Amando Locamente” and Teresiya’s truly zonked gipsy yé-yé gem “El perro de San Roque.” Are there handclaps? Goddamn right there are handclaps. A-

The Damnation of Adam Blessing, S/T & The Second Damnation (Exit Stencil) Two slabs of hard rock from ’69-’70 that come with the Paul Major seal of approval. The Damnation of Adam Blessing hailed from Cleveland and got signed by United Artists, who by all accounts screwed the pooch in promoting them. For the first LP, the band’s psychedelic roots are a lot more obvious, but amid cool covers of “Morning Dew” and “Last Train to Clarksville” their original material makes clear that the “should’ve been” status isn’t hype. But an even better barometer of their worth relates to their second LP topping the debut. Comparisons have been made to Grand Funk, but I dunno if those guys (whose early stuff I like) had a song as killer as “Back to the River.” Vocals steer refreshingly clear of caterwauling. B+/ A-

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TVD Radar: Here to Be Heard: The Story of the Slits US screenings with director Q&A

VIA PRESS RELEASE | Director William Badgley (Kill All Rednecks) has announced a US screening tour of his new documentary, Here to Be Heard: The Story of the Slits that premiered at the BFI London Film Festival. All of the screenings will include a Q&A with Badgley and special guests. Q&A guests include The Slits’ own Palmolive, Allison Wolfe (Bratmobile/Ex Stains), and Jennifer Shagawat (Shellshagg). More guests to be announced. Dates and Q&A details here.

Here to be Heard: The Story of the Slits tells the story of the young women pioneers of the mid-70s Punk era from a female point of view. Contemporaries of The Clash and Sex Pistols and the pioneering godmothers of the musical movement known as “Punky Reggae,” it runs from the bands’ inception to its end in 2010 coinciding with the death of lead vocalist, Ari Up.

Film includes interviews with Don Letts (former Slits manager / Punk documentarian), Viv Albertine (Slits guitarist), Ari Up (Slits vocalist), Palmolive (Slits founder / first drummer), Tessa Pollitt (Slits bass player), Bruce Smith (Slits second / PIL drummer), Hollie Cook (Slits vocalist / keyboards / percussion), Vivien Goldman (NYU’s Punk professor), Dennis Bovell (producer of The Slits album CUT), Paul Cook (Sex Pistols drummer), Gina Birch (Raincoats bass player), Adrien Sherwood (producer / long-time friend and collaborator of the band), and many more, as well as previously unseen footage and recordings of the band.

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Dany Laj & The Looks, The TVD First Date
and Video Premiere
“Left Right to One”

“It was sometime in 1994, likely spring or summer. I was 14 years old.”

“I grew up in a small town named Kirkland Lake in Northern Ontario, Canada, about 6 hours north of Toronto. Now, I’ve been around records for most of my life. I mean, in an age where people had long since converted to cassette and, later on, CDs, being by far the most popular mediums at the time. At least that’s what it was like for the most part, where I was from.

At that time everyone had some old records hanging around the basement. The passionate music lovers would keep and cherish them, the rest would let them sit there or get rid of them. Which was great for me, ‘cause pawn shops (or ‘new & used stores,’ like we called them over there) had gems for very cheap. At the very least, I could snag some LPs for free off of one of my friends parents, or homes/establishments trying to make some space.

Which brings me to hearing the freshest thing I’d ever heard at that time. My parents owned a small construction company. One day, one of their employees, Dan, who was likely picking up the rubbish from one of the sites they were working on, had sifted out a couple of boxes of 45s. I skimmed through the boxes of singles, which turned out to be from a collection that was previously owned by the local radio station, CJKL.

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Graded on a Curve: Motörhead,
No sleep ‘til Hammersmith

On which the late metal minimalist/ genius/ proud-to-be-a-lummox Lemmy Kilmister delivers the hard rock goods live in a couple of halls not including London’s Hammersmith Odeon. No sleep ‘til Hammersmith features Motörhead at their ferocious and pummeling best, and is the perfect corrective to the lyrical excesses, grand themes, and emphasis on musical virtuosity that characterized much of the metal then popular. Call them the anti-Rush.

With the able assistance of “Fast” Eddie Clarke on guitar and backing vocals and Phil “Philthy Animal” Taylor on drums, Lemmy bangs out some tunes (most of them of unfashionably short length and unfashionably fast tempos), announces in DIY fashion that Motörhead is its own damn road crew, and demonstrates that his very hoarse bark has real bite.

Kilmister possessed not a whit of glamor and about as much charm, but that’s exactly what made him so lovable; he wasn’t good looking, his tonsils hardly made the little girls swoon, and when push came to shove he was the perfect antithesis of, say, Robert Plant. “No Class” is addressed to (or so I suspect) some anonymous groupie hanger-on, but Lemmy would no doubt have agreed it applied to him as well; he had about as much class as your average lorry driver, and never pretended to have better manners than your average lorry driver.

In short, you could relate to Lemmy Kilmister. He sang about all of the things you cared about, and said fuck it to the darkest depths of Mordor. He was a creature of the road and of the tedium and excesses that entailed, didn’t give a shit about Xanadu or hobbits, and didn’t want to write the next “Stairway to Heaven” either. He was down to earth, didn’t look like he placed a very high premium on personal hygiene, and probably would have come in handy in a bar fight. He’s as close as English music has ever come to producing an outlaw country musician.

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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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