Monthly Archives: November 2019

In rotation: 11/25/19

By TVD HQ | Published: November 25, 2019

Can Those Involved in Physical Goods Survive the Big Distribution Debacle? I can remember Jim Caparro, former president of PGD and WEA distribution, making a comment in the early 2000’s that some day all distribution from the majors would most likely be out of the same warehouse. The reason? A cost savings by each, with not having to have their own back room and staff. He was a bit ahead of the game but in April of 2019, this became a reality. Direct Shot, a third party warehousing system, already distributed Universal Music and Sony. This also included goods from their independent arms, the Orchard and In-Grooves. Around the beginning of the year it was announced that WEA and its independent distribution arm ADA would join the club and also be distributed through Direct Shot. This was after a year of offering buy out packages to staff involved in physical goods and a good 50% of them taking the packages, as they were not guaranteed jobs if they stayed.

Norfolk, UK | Seven of Norfolk’s best record shops: Vinyl is now well and truly back with British record stores selling over 4.5 million records per year collectively. These are the best places to go crate-digging in Norfolk. Soundclash: The county’s only independent record shop selling new vinyl, expect to find a wide variety of music from the latest indie, punk and psychedelic rock to funk and soul. The shop is the only one in Norfolk to participate in Record Store Day, making it a must visit for the event’s exclusive releases. Soundclash also has a wide range of reasonably priced secondhand LPs and singles as well as a selection of new CDs. Fine City Sounds: One of the best in the county for secondhand records, spread across two floors, Fine City Sounds mainly focuses on rock and pop with specialised sections for punk, metal and 60s LPs on its top floor. On the ground floor there is a plethora of singles from a wide array of genres along with used CDs and box sets. The shop also sells second hand record players and other related equipment…

Bury, UK | HMV opens up its Bury store to unsigned acts: When you walk into a record store great music is just what you expect to find. But one Bury outlet has been mixing things up by bringing talented unsigned artists to the masses in a series of in-store gigs. Bury HMV has just wrapped up its first season of an innovative initiative — opening its doors and its shelves to underground bands and musicians in a bid to help them boost their exposure and land their big break. The Live and Local campaign not only offered seven artists the chance to have their releases sold and promoted in-store, but also saw them play unique, free to attend gigs in the shop. Steve Toolan, HMV Bury’s store manager, said: “The response and support that we have had from our customers and general public has been phenomenal and surpassed our expectations.

Wausau, WI | Cover Art Was Part Of The Thrill: One thing that is not available for today’s music consumers is the fabulous cover art that was found on LP’s. Great photography, graphic design, liners notes etc were all part of the music listening experience. CDs couldn’t compete and MP3s or downloads?…fuggidaboutit. I mention this because it was Nov 21 of 1967 that the 3rd Lp from The Who appeared. It was called Sell Out and featured pictures of the band using real products in humorous ways on the front and back covers. I dont remember how this album came into my possession but it was a really intresting musical step for the band. It included a stone cold classic in “I Can See For Miles” along with some other tunes that grew on me like Armenia City In The Sky and Tattoo. The album also included fake radio jingles and commercials around the songs making it sound like a radio broadcast of the day.

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TVD’s The Idelic Hour with Jon Sidel

By Jon Sidel | Published: November 22, 2019

Greetings from Laurel Canyon!

I’m on, I’ve never burned brighter / How’s the wine where you live? / Bet it’s expensive / One day we’ll share a glass together and ride the dunes / I’m writing too / There’s a definite vibe / You can’t be pure and in love / In the corner in blue / Is my name (In the corner)

It’s a very cool morning in the canyon. Not to sound like a “Californian,” but now that Mercury has gone out of retrograde, it feels like the angels will allow winter to proceed. And my my, this week we had a lot of electronic devices go haywire around here.

All said, we head into turkey week. Let’s celebrate and be grateful with some of the best news of 2019: Part 2 of my annual countdown of favorite “Idelic Hits”—the songs and/or artistry that made life just… way better dude!

I won’t write too much about 2019 this morning, but I will tip my cap to the Idelic Artist of 2019.

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TVD Live Shots: Plain White T’s, The Mowgli’s, and New Politics at the Fillmore, 11/19

By Alan Snodgrass | Published: November 22, 2019

The Plain White T’s are currently crossing the United States on their “3 Dimensional Tour” along with tour mates The Mowgli’s and New Politics whose ample set times make the tour like a triple-headliner (possibly the reason for the “3D” tour name?).

New Politics kicked off their opening set in San Francisco with a trio of tunes from their brand new record, An Invitation to an Alternate Reality, to an enthusiastic crowd. After 10 years as a band, this three-piece came across as rejuvenated, effortlessly working a crowd which was largely not familiar with the new music. Of course there was time for the hits and New Politics wrapped up with the crowd favorites including their hit, “Harlem.”

After what seemed like a particularly long set change, The Mowgli’s took the stage. At this point it was pretty clear that anyone who was coming was already there. 20/20 hindsight points to a smaller venue with less open space as a wiser option, but both the bands and the attendees made the most of it and the Bay Area is not surprisingly a sucker for The Mowgli’s set closer, “San Francisco.”

The Plain White T’s finally took the stage at 10:20 in front of what appeared to be a mostly-intact crowd in spite of the late hour on a Tuesday night and proceeded to light up the room. A healthy dose of tunes from 2018’s Parallel Universe was augmented by a smattering of songs from their other releases and, of course, they couldn’t ignore “Hey There Delilah” which teed up the evening closer, “Our Time Now.”

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TVD Live: Hozier at
the Anthem, 11/18

By M. L. Rio | Published: November 22, 2019

Monday night, freezing rain, and there’s a queue outside the Anthem that stretches all the way to the rideshare drop-off loop. It’s a motley group, ranging from teen- to middle-aged and representing eclectic social and sartorial demographics. There’s as much flannel as there is glitter. The line lurches along until everyone is swept inside with a wave of a security guard’s magic wand. The auditorium is a dark high-ceilinged dome, vaguely churchlike. It makes sense—an assignation in the House of God made Hozier famous in the first place.

But the people packed into the Anthem didn’t just come to hear “Take Me to Church.” They listen attentively to opening act Angie McMahon, an Australian singer-songwriter whose waifish appearance and guttural vocals are somehow reminiscent of Joni Mitchell and Patti Smith at the same time. (She’s fantastic, by the way. Folks who skipped her missed out.)

When the main attraction makes his way onstage, the audience worships him, loves every song, knows all the words. It’s not just music; it’s more like a religious experience, complete with gospel choirs and rays of celestial light. There’s something hagiographic about Hozier—a gangly bearded Irishman with the voice of a soul singer and the sublimely morbid sensibility of a Romantic poet. He seems like he’d be equally at home in an Irish bog or a boneyard in Baton Rouge, crooning to a lover or howling at the moon.

But as normal indoor concerts go, this one is thoughtful, absorbing, and impeccably produced. What’s most impressive is the cohesive artistic vision: intricate lighting cues are in constant conversation with the music, while the projections fluently transform from live feed to animation to news reels and abstract film, all designed to heighten the mood.

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TVD Premiere:
Used Cassettes,
“It’s My Night”

By Mike Olinger | Published: November 22, 2019

South Korea-based, beach jangle quartet Used Cassettes have remained consistent in their output of beautiful and bittersweet rock ‘n’ roll. But after nearly ten years and five albums and grinding in Seoul, the winds of life sent the members in separate directions and the band went on hiatus.

The bassist set off and built a beach hut in Sri Lanka, the lead guitarist got married and moved back to Vancouver, and the other two, well, no one’s quite sure what happened to them. But before they embarked on a “hiatus,” they laid down their final and most poignant record to date, the self-titled Used Cassettes.

We’re happy to premiere the album’s single, “It’s My Night,” which may very well be the last offering from this wonderful group. Sounding a bit like a groovy hybrid of Beachwood Sparks and Nirvana, the song manages to be both languid and soothing—while rocking hard. It’s also deliberately self-aware, shedding light on the often egotistical tendencies of young men who live wily lives, unhinged from the responsibilities of adulthood.

The band shares, “We often see our own actions as more just, more important than those around us. ‘It’s My Night’ takes this premise and softens its edges with catchy melodies and tight time changes, reflecting some of the wry humor in our often myopic lives.”

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Graded on a Curve: Steppenwolf, Steppenwolf

By Michael H. Little | Published: November 22, 2019

Steppenwolf’s most excellent eponymous 1968 LP is one helluva debut. If it were a waif, I would take it in, buy it lots of cool video games, and send it to Yale. Hopefully it would provide for me in my old age.

Even your pet goldfish knows Steppenwolf derived its name from Hermann Hesse’s 1927 novel of the same name. But your goldfish is wrong. In an exclusive 2018 interview with yours truly, Steppenwolf lead singer John Kay confessed he actually took the name from CNN anchorman Wolf Blitzer. Said Kay, “Wolf lived next door and I can tell you with absolute certainty he’s a werewolf. On full moons he used to chase rabbits across my backyard on all fours, howling. The next night he’d be back on CNN, looking his normal self. But if you looked closely, you could see flecks of blood in his hair.”

Steppenwolf’s origins can be traced to the Toronto band the Sparrows. In 1967 by Kay and two other members of the Sparrows relocated to Los Angeles, changed their name, and recruited two additional members, one of whom would later be handed his walking papers after–wait for it–his girlfriend convinced him to avoid LA because it was going to be leveled by an earthquake and fall into the sea. Hasn’t happened yet, but better safe than sorry.

Steppenwolf and Kay–who is legally blind, but not probing stick, seeing-eye dog, Jose Feliciano blind–came out of the starting gate running. Steppenwolf spawned two immortal songs, the best known of which has become the official anthem of outlaw motorcycle gang everywhere. The LP’s other songs aren’t as well known, but they all kick ass and take surnames.

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In rotation: 11/22/19

By TVD HQ | Published: November 22, 2019

Wrexham, UK | Wrexham to host ‘bumper’ record fair: A record fair believed by organisers to be the largest in Wales will be held in Wrexham this weekend. On Saturday (November 23) VOD Music bring their last record fair of the year with a total of 33 stalls on the day. Ty Pawb will host the event, which runs from 10am to 4pm and is free to enter. Vinyl, CDs, DVDS, Pop Art, memorabilia, merchandise and more will be available with some of the UK’s top record dealers attending. Organisers have said the day will offer “collectables, bargains and a great social event for like minded music lovers”. There will also be DJ sets throughout, as well as street food stalls, a bar, art gallery and market stalls that occupy the venue.

Bromsgrove, UK | Final Vinyl Record and CD Fair of 2019 takes place in Bromsgrove this weekend: The biggest Vinyl Record and CD Fair in Bromsgrove returns for one last event of 2019 this Sunday, November 24. The event at the Bromsgrove Hotel and Spa takes place between 10am and 4pm and boasts more than 40 stalls selling thousands of records – from rarities to bargains and everything in between. There will be classic rock, 90s Brit Pop, reggae, hip-hop, punk, dance, soul, rock ‘n’ roll and more on offer. There is free on-site parking when registering at the hotel, along with a cafe, restaurant and cash machine if people run out of money. Visit www.midlandsrecordfairs.co.uk.

Waterloo, CA | Fueling the vinyl revival: Alumnus co-founds company that makes modern, automated record presses: The idea of designing and building a modern new machine to produce old-school vinyl records came totally out of left field for James Hashmi. Equipped with a 2007 degree in mechanical engineering from the University of Waterloo, he’d spent years establishing a career in medical technology, not traditional manufacturing. But when he looks back almost five years later, leaving medtech to help fuel the vinyl revival – now an estimated $1-billion annual industry – actually seems like a natural progression. Hashmi, 36, was a visual artist and multi-instrument musician before pursuing mathematics, science and a career in engineering. Now, as a co-founder and chief technology officer at Viryl Technologies in Toronto, all of those passions are in play together.

Tāmaki Makaurau, NZ | Interview: ‘A Short Run: A Selection Of New Zealand Lathe-Cut Records’ Exhibition: Currently showing at Tāmaki Makaurau’s Objectspace gallery until the end of November, A Short Run: A Selection Of New Zealand Lathe-Cut Records is an exhibition presenting an eye-popping array of lathe-cut records – an affordable polycarbonate plastic alternative to vinyl pioneered and manufactured by Peter King in Geraldine from the late 1980s onwards, locally produced for artists in limited editions as low as 20 units. Curated by musician and designer Luke Wood (The Hex Waves, The National Grid), A Short Run makes tangible a significant selection of ‘underground’ or ‘obscure’ musical activity from throughout Aotearoa, and brings to light such scarce artefacts as Aldous Harding’s sophomore record, of which there are only 40 copies in existence.

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TVD Live Shots: Anna Rose with Annie Stokes at DC9, 11/17

By Rachel Lange | Published: November 21, 2019

On Sunday night, an intimate, low key crowd gathered at Washington DC’s DC9 to see New York rocker Anna Rose, with support from local singer songwriter Annie Stokes.

Anna Rose Menken, who goes professionally by Anna Rose, has music in her DNA. Her father, renowned composer Alan Menken, is perhaps best known for his scores for Disney films (such as The Little Mermaid and Beauty and the Beast). In contrast, however, Anna Rose’s style is much more rock and roll. Her sound has been described as an amalgam of blues, rock, and grunge and she cites such female greats as Stevie Nicks and Janis Joplin as influences.

Her latest album, The Light Between, is described as more of a singer-songwriter’s foray into Americana, having been recorded in (and likely influenced by) Nashville. To a fan of rock music, she has a welcome sound: backed by a four-piece band, she possesses a beautiful voice, but the songs are not pretty. Gritty and guitar laden, they tell stories of those who are lost and restless. Underscoring her influences, in concert her performance of “Bury Me Deep” leads to a gorgeous rendition of “Rhiannon.” Warm and enjoyable, Anna Rose’s music goes down like sips of fine bourbon. In short, she’s terrific.

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TVD Live: Marshall Crenshaw at City Winery, 11/16

By Roger Catlin | Published: November 21, 2019

Marshall Crenshaw’s tours these days take different forms. Sometimes he goes solo, other times he shares the stage with the Bottle Rockets. He was the lead voice for a Smithereens tribute tour earlier this year as well. But Saturday for a show at City Winery in Washington DC, he fronted a trio that gave both muscular backing to his tuneful, timeless songs and a loose, fresh approach to many of them.

It began with the opening “There She Goes Again,” whose bounce slowed with a more relaxed beat. The sprightly song had kicked off his landmark self-titled album in 1982 that’s still a favorite of Crenshaw fans and to which the singer returned a couple of other times for show high points, “Cynical Girl” and “Someday, Someway,” which with he ended the set.

But other songs may have better used his group, which boasted bassist Jared Michael Nickerson, who has played with Charlie Musselwhite, Freedy Johnston, and Vernon Reid and drummer Dan Hickey, who played for years for They Might Be Giants, and also Joe Jackson, Joe Cocker, The B-52’s and Cyndi Lauper.

The jazzy “Fantastic Planet of Love” was well suited for their instrumental flights; the hard-charging “Better Back Off” got a slower, almost country approach. The looseness overall may have been the inevitable result of not rehearsing, the singer admitted. Crenshaw extolling the practice of Dean Martin in approaching his TV variety show the same way. But it also meant the show had a spontaneity throughout.

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TVD Radar: Mariah Carey, “All I Want For Christmas Is You”
vinyl in stores 12/20

By TVD HQ | Published: November 21, 2019

VIA PRESS RELEASE | Just in time for the holidays, the incomparable, multi-platinum, multiple Grammy award-winning global superstar Mariah Carey (the best-selling female artist of all time with 18 Hot 100 #1 hits) releases Merry Christmas (Deluxe Anniversary Edition) today. The legendary icon commemorates the 25th anniversary of her landmark holiday album—Merry Christmas—with a definitive two-disc set, wrapping it up with previously unreleased recordings, bonus material, and new packaging. Physical albums and merch from the official artist store also ship today. Merry Christmas (Deluxe Anniversary Edition) is now available everywhere in stores, online, and at all streaming platforms!

Mariah’s chart-topping song “All I Want For Christmas Is You” will also be released in a variety of single configurations, all scheduled to ship on December 20! This will be the first time in history that the single is receiving a commercial release in the US. This morning she also shared a brand new music video, “All I Want For Christmas Is You (Unreleased Video Footage).” Bridging eras, this version consists of previously unseen footage from the original “All I Want For Christmas Is You” video shoot in Upstate New York in 1993.

Mariah Carey’s official D2C Store offers an “All I Want For Christmas Is You” CD single with several versions of the title classic, as well as “Hero” performed live from The Cathedral of St. John The Divine. The Cassingles come in red or green cassettes featuring “All I Want For Christmas Is You” and festive, collector’s pop-out decorations on the packaging. The 12” Vinyl and 7” Vinyl also include the festive pop-out decorations.

Among the bonus material, the two-disc set boasts the audio from her unforgettable live performance at The Cathedral of St. John The Divine on December 8, 1994 in New York City. For the first time ever, fans can relive this historic fundraising event that notably benefited The Fresh Air Fund and Camp Mariah. By generating over half a million dollars, it stood out as one of the largest fundraising events ever for The Fresh Air Fund in at least 30 years, if not the greatest throughout its 117-year existence.

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TVD Premiere:
Gibson Wilbanks,
Gibson Wilbanks

By Mike Olinger | Published: November 21, 2019

Georgia-based back porch folk duo Gibson Wilbanks are keen to bring back good old-fashioned music, conceived in country, simmered in soul, and sung from heart.

It’s fitting that the band is dropping their debut record on vinyl, as this is really the ideal format to digest their high fidelity 8-song debut. Both singers possess a rich vocal tone, which when combined, makes for a classic sounding blend that elevates the sum of its parts. The tracks are adorned with smooth production nuance, yet the embellishments are minimal, allowing the two singers enough room to explore their potent harmonies.

Standout tracks like the plaintive “Oh Sweet Baby” and the cinematic “Green Grass High Tides” make one ponder how “Bro-country” ever came to dominate the genre. “We feel that the Country Music lovers are starved for real bands with thoughtful lyrics,” the duo assert. “Like Zappa says, ‘Music is the only religion that delivers the goods.’ And when it doesn’t, it doesn’t last or stand the test of time.”

Gibson Wilbanks’ limited edition vinyl release is available to purchase via Bandcamp.

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Graded on a Curve: New in Stores for November 2019, Part Three

By Joseph Neff | Published: November 21, 2019

Part three of the TVD Record Store Club’s look at the new and reissued releases presently in stores for November, 2019. Part one is here and part two is here.

NEW RELEASE PICKS: Oiseaux-Tempëte, From Somewhere Invisible (Sub Rosa) Described as an evolving collective rather than a band, Oiseaux-Tempëte (translates as Storm Petrels) was formed in 2012 by multi-instrumentalists Frédéric D. Oberland and Stéphane Pigneul. This recorded incarnation features vocalist G.W. Sok formerly of The Ex, electronic producer Mondkopf, drummer Jean-Michel Pirès of Bruit Noir, violinist Jessica Moss of Thee Silver Mt. Zion, and multi-instrumentalist and producer Radwan Ghazi Moumneh of Jerusalem In My Heart. It was Moumneh who initiated this lineup by inviting the quintet of Oberland, Pigneul, Mondkopf, Pirès and Sok to Canada for live shows, with Jerusalem In My Heart reforming to play alongside them.

This is presumably how Moss, who’s based in Canada, got involved. She’s a welcome addition to an ensemble sound that covers a wide range of possibilities as the tracks, a few of them lengthy, unfurl. To call From Somewhere Invisible experimental is fitting, but the collective’s thrust is also quite structural, but with a looseness that never quite tips over into spark-of-the-moment improvisation. Horns emerge, as do electronics, and the way Sok speaks rather than sings really reinforces this as an intellectually vibrant art-rock shebang. We could also call it a post-rock throwdown, but in doing so I feel it’s necessary to specify that this record, had it not been issued by Sub Rosa, could’ve easily fit on the roster of Constellation Records (Moss and Moumneh obviously help promote this observation). A

Dopolarians, Garden Party (Mahakala Music) A spectacular CD of avant-jazz from a new label, with an undercurrent of sadness, as it documents the final studio recording of percussionist Alvin Fielder. He’s joined here by tenor saxophonist Kidd Jordan, alto man Chad Fowler (who also plays a little saxello), bassist extraordinaire William Parker, pianist Christopher Parker, and vocalist Kelly Hurt. As said, Garden Party is inextricably tied to the avant-garde, but don’t get the idea that this is a big group exhale of freedom’s breath (worry not, there are a few sweet blasts). This is a compositionally rich batch of music (totaling just over an hour), with three of the six selections credited to Fowler. Everything maintains a high level of quality, but Hurt’s title track, complete with warm storytelling, nearly steals the show. A

REISSUE/ARCHIVAL PICK: The Springfields, Singles 1986-1991 (Slumberland) Part of Slumberland’s lasting appeal is in how they thrived as part of an indie pop trajectory that continues right up to now, with the label, as listed below, making worthy contempo contributions to the style. The imprint is also psyched to share influences and enthusiasms, which is what’s happening with this comp. The Springfields were Chicago based and featured Ric Menck and Paul Chastain, two dudes likely better known for the band Velvet Crush. The glorious post-Byrds jangle pop collected here was released by labels including Sarah of the UK, so take that as a sign of quality. Also cool is that the comp opens with both sides of the “This Perfect Day” 45 by pre-Springfields Menck/ Chastain outfit Choo-Choo Train. A

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In rotation: 11/21/19

By TVD HQ | Published: November 21, 2019

Why vinyl records have made major comeback: …In the process of cleaning up I also visited my collection of CDs and vinyl records, many going back to the 1970s. I also have a few shellac records which belonged to my mother, including her favourite “Shenandoah Waltz” from the 1950s…The record sleeves themselves were works of art and I recall the beautiful psychedelic renditions on many covers, which appealed to the youthful eye. When you buy vinyl today, it is like an investment. There are many people buying, collecting and reselling vinyl and it tends to retain if not increase its value over time so you can sell or pass it down to your children as an appreciating asset. There is something special about removing a well kept record from its colourful sleeve, wiping it down with an anti-static cloth and holding it by the edges before carefully sliding it down the spindle of a good quality turntable.

Baltimore, MD | Baby’s on Fire to soft open Fells Point location tomorrow, host festivities next week: Baby’s on Fire is set to open its new Fells Point location tomorrow, and fittingly the record store and cafe that is setting up a new coffee shop in another record store, The Sound Garden, will mark the occasion next week with a free concert. The local indie band PLRLS is performing a set on Nov. 27–the day before Thanksgiving–followed by music from DJ David K, aka Baby’s on Fire co-owner David Koslowski, the store announced yesterday. One night before that, four comics will perform as part of Ugly Baby: A Comic Show. But if you’re just dying to see the new cafe, housed in the Sound Garden’s old vinyl room, the soft opening starts tomorrow at 7 a.m. and promises coffee, scones, sandwiches and more. Sound Garden owner Bryan Burkert told Baltimore Fishbowl last April he approached Koslowski and his wife and co-owner, Shirlé Hale-Koslowski, about combining forces to “give the store a better vibe” and also boost foot traffic.

Phonocut lets you cut your own vinyl record: Vinyl records are back in our living rooms, with sales steadily growing in recent years to a level that could see the format outsell CDs for the first time since the mid-1980s. That’s great news for consumers, but for gigging bands and solo performers not signed to a major label, getting in on the vinyl action could be out of their budgets. That’s where Phonocut’s Home Vinyl Recorder might help. Essentially the device allows users to plug in an audio source (wireless connectivity is in development), place a blank vinyl record on the platter and push a button to start cutting a 10-inch vinyl record at home, at the studio or in the rehearsal space. Of course, you don’t have to be a musician to make the most of this system, you could just create the vinyl equivalent of mix-tapes to give to a loved one. Phonocut recommends that it’s “special recipe” blanks are used to ensure the “highest fidelity, longest durability and cleanest cut.”

Take Those Old Records Off the Shelf: For the past ten years, vinyl sales have been rising more than they have since cassettes first came out. Record stores have been opening back up around the country with events to promote their sales like the annual Record Store Day in April. More and more people are posting about their latest vinyl selection on social media. The question is why? Why are vinyl records coming back in an age of digital music like Spotify and Pandora that make listening to music cheaper and easier. People may argue that vinyl has a nostalgic aspect to it. …Senior, William Mangum, doesn’t get the whole vinyl phase . …However, Senior, Jesus Landa, would disagree with Mangum. “Vinyl just seems more real to me. It’s like holding tangible music in the palm of my hand.” he continues, “I definitely think it’s worth [paying] the extra money for vinyl. Owning music online doesn’t really feel like you own it.” Landa also agrees with the nostalgic aspect of vinyl, “…listening to the music through actual vinyl instead of blaring it through speakers calls to some people.”

Get pumped for Rocket League with a new vinyl soundtrack: If you’ve been craving an analog answer to your Rocket League wishes, then iam8bit has a special gift just for you. The company has announced the Rocket League x Monstercat: Greatest Hits 2-LP vinyl soundtrack set! The fan-curated album is available for pre-order on iam8bit.com, and it will feature 18 tracks that include music by Slushii, Infected Mushroom, Tristam, Dion Timmer, Muzzy, Tokyo Machine, and more. Rocket League is known for its pulsing, addictive music, and now it can play in your home! If you pre-order the Rocket League x Monstercat: Greatest Hits soundtrack before midnight on December 2nd, you’ll receive access to exclusive Rocket League in-game bonus content! And this will be the only time you can get these bonus items. Check out what’s available…

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TVD Live: FKA twigs at the Riviera Theatre, 11/15

By Special to TVD | Published: November 20, 2019

WORDS AND IMAGES: JULIA SIMONE PAUL | The line for FKA twigs’ MAGDALENE tour at the Riviera Theatre wrapped around the building before doors even opened on Friday night. Her devout fans wanted to ensure they didn’t miss a moment of the magical experience that is a FKA twigs show. Don’t make the newbie mistake of thinking she puts on your typical singer-dancer concert. Yes, she does both sing and dance during the show—but they’re really just a few of the tools she has at her disposal to guide the audience emotionally.

This emotional shepherding began before the show even started. Ambient, pulsing music was playing as fans filled the theatre. It slowly swelled in volume as showtime came nearer, building up the anticipation. A large black curtain hid the stage from view, and as the music seemed to be reaching its apex and the house lights went dark, I expected the fabric to sweep away to dramatically reveal twigs.

Instead, she simply stepped through the middle of the curtain onto the few feet of visible stage. Clothed in a black and white outfit that looked inspired by Elizabethan era fashion (and a pair of tiny sunglasses), she had only a few white lights shining at her from either side of the stage. Twigs began a tap dance, accented with a simple music track that embellished the complex rhythms she was playing with her feet.

While this was much less elaborate entrance than I had predicted, it soon became clear that it was intentional. Just as with the music preceding the show, she was gradually building the excitement in the room. When finished with her tap dance, the white side lights began pulsing, and the music became richer. Finally, she began to sing. Her ethereal slow-jam, “Hide,” was the perfect bridge to the more upbeat numbers that followed.

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TVD Live Shots:
Jon Spencer and the HITmakers at Bar Brooklyn, 11/13

By Jason Miller | Published: November 20, 2019

STOCKHOLM, SWEDEN | The last of three trips of the year for me and my day job find me in Stockholm for the first time at the Swedish Search Summit where I’m the second speaker of the day. My topic, creativity for marketers, and what better way to get my head in the right place for an early morning speaking gig than to head down to Bar Brooklyn for the original king of garage punk—the one and only Jon Spencer. He’s taken a break from the Blues Explosion to bless us all with a solo record of sorts called Spencer Plays the Hits and taken to the road as The HITmakers.

He’s brought together an all-star group featuring the talents of Sam Coomes (Quasi, Heatmeiser) and M. Sord, but the real highlight here is the legend that is Bob Bert (Sonic Youth, Pussy Galore). Bert was on percussion, but it looked more like parts from a junkyard, including an industrial-sized coil and trash can that he played with a hammer. At first glance, it’s a pure what the fuck moment, but when it gets going, it works. While the HITmakers are not a massive departure from the noise rock genius of the Blues Explosion, they have a similar formula—loud, aggressive, groovy, and in your face.

Every time I see Jon Spencer live in any capacity, I can’t help but think he’s got to be the hardest working man in garage rock show business. This guy doesn’t stop moving the entire set. He’s like James Brown crossed with Stevie Ray Vaughan in the bizarro world. Bar Brooklyn filled up very quickly to witness the blistering 90 minute plus set that weighed heavily on the new record. But Jon and company threw us a few bones and a curveball with selections from his vast catalogue including a few Blues Explosion numbers that got the crowd going bananas. I swear I saw “Bellbottoms” on the setlist. It never transpired, and it didn’t need to.