Monthly Archives: March 2022

The Spring 2022 DC Record Fair returns to Penn Social, 4/3!

The DC Record Fair returns to Penn Social on Sunday, April 3—and just like every year we’ll have 35+ vinyl vendors from up and down the east coast, DJs, drinks, food, and loads of records designed to put a welcome hurt on your bank account. You’ve been warned.

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

The Spring 2022 DC Record Fair DJs are:
11-12: DJ John Murph
12-1: Crown Vic’s Weird World
1-2: Rick Taylor (WFTBO) with special guest Vivien Goldman
2-3: Soul Call Paul
3-4: DJ Retrospect
4-5: Leon City Sounds

Mark your calendars!
THE DC RECORD FAIR
Sunday, April 3, 2022 at Penn Social, 801 E Street, NW
11:00–12:00, Early Bird Admission $5.00
12:00–5:00, Regular Admission $2.00

RSVP and follow via the Facebook event and watch this space for updates!

Posted in TVD Washington, DC | Leave a comment

TVD Live Shots:
The Go-Go’s at the Masonic, 3/24

While we were away.Ed.

After reschedulings, venue changes, cancellations, and postponements, the show that never seemed to quite make it to a Bay Area stage finally came to pass. That’s right, Belinda, Jane, Kathy, Charlotte, and Clem (yes, you read that right—Clem Burke of Blondie on drums) hit San Francisco’s Masonic Auditorium for what would prove to be well worth the wait.

With no opening act and a no-frills stage setup, The Go-Go’s stormed the stage at 8:15 and proceeded to wow the near-capacity crowd of mostly Gen X’ers apparently out for date night from the first notes of “Beatnik Beach.” Belinda was the “punk rock ballerina” spinning around barefoot mid-stage while Kathy, Charlotte, and Jane held down the backup harmonies and Clem showed why he was the perfect stand-in behind the kit for Gina Schock.

And where was Gina you might ask? Sitting right there on the side of the stage enjoying the show as much, if not more than the most enthusiastic fans in the house. If you were worried you’d miss out on Gina’s flair for the hype, not to worry—she happily borrowed the mic from Belinda a few times to intro the band and unnecessarily point out how great the band sounded (everyone there already knew).

With a 90-minute set, The Go-Go’s were able to easily cover all the bases in their catalog with most of Beauty and the Beat peppered amongst hits from their other three albums as well as “Club Zero,” released in 2020, the band’s first new song in nineteen years!

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TVD Live Shots: Mdou Moctar with Emily Robb at the 9:30 Club, 3/22

While we were away.Ed.

A packed to the rafters 9:30 Club in Washington, DC hosted Tuareg guitarist and songwriter Mdou Moctar as he wound down the US leg of his Afrique Victime tour on March 22.

Philadelphia guitar goddess Emily Robb kicked off the night. Performing alone, Robb provided support to this tour promoting her first solo album How to Moonwalk. While some of her instrumentals were fuzzy and, as others have noted, lacking in melody, others had a decidedly blues bent. All were loud and raw and, without vocals, even meditative and hypnotic. Dressed in traditional robes, Mdou Moctar and his backing band (Ahmoudou Mokadassane, Souleymane Ibrahim, and Michael “Mikey” Coltun) then took the stage for a loose and joyful hour-long set.

If you are unfamiliar with the Mdou Moctar’s backstory, gather ‘round. Moctar is based in a desert village in rural Niger, called Agadez. Growing up in a conservative family that disapproved of electric music, Moctar built his own guitar with almost no instructions, using items like bicycle cables, reclaimed wood, and bits from a sardine can. His self-taught shredding—which has earned him the moniker “Hendrix of the Sahara”—spread via mobile phone data cards, a popular local form of distribution. Moctar eventually won approval from his community by writing, producing, and starring in the first Tuareg language film, a remake of Purple Rain.

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TVD Live Shots: Nation of Language and Glove at the Lodge Room, 3/20

While we were away.Ed.

PHOTOS: JULIA LOFSTRAND | Nation of Language is the band I am most excited about. They have captivated me, stolen my heart, and infiltrated my dreams. Their music taps into my internal state: questions of existence, post-punk and new wave motifs, ruminations of self and love.

Maybe we are all the same no matter what our choice in music, but this concoction gets me. “September Again,” off of their Introduction, Please is a song I’ve had on repeat. Repeat is an unusual experience for me. I have not found myself in a loop like this since I discovered Joy Division’s, “Love Will Tear Us Apart” and The National. Releasing Introduction, Please (2020) and their latest album A Way Forward (2021) during the pandemic could have shelved any emerging artist, so I have also learned not to hype up new music I come across until I see it live. I feared an anti-climax.

Openers, Glove, a 4-piece post-punk outfit presented a clear message. As Batcave progenies, the influence of Wire and Bauhaus is there. Cohesive and stylistically balanced, they are a steadfast part of the post-punk revival scene that seems to, judging by the crowd, have interest from a multi-generation of fans.

Nation of Language had a two-night residency at the Lodge Room in Highland Park. This is a pivotal moment as the band is on the brink of taking off. The crowd knows it and the band feels it. There is no label PR ploy generating this buzz, it’s stemming from radio shows and DJs genuinely gunning for them solely because they are fans.

Last October saw them performing a live session on Seattle’s KEXP. January brought a performance on The Late Show with Stephen Colbert with “Across That Fine Line.” At the Lodge Room, KCRW’s own Travis Holcombe had a DJ set before and after their show. Many recognize their imminent ascension and want to be a part of it, myself included. I covered the first night for TVD, and by the night’s end I made sure I had a ticket for night two.

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TVD Radar: Prince, Prince and The Revolution: Live 3LP
set in stores 6/3

VIA PRESS RELEASE | James Brown had the Apollo. Jimi Hendrix had Monterey Pop. And Prince had Syracuse, New York’s Carrier Dome—the March 30, 1985 Purple Rain Tour stop that was beamed to millions live via satellite and captured for posterity in the Grammy Award-nominated concert film Prince and The Revolution: Live, and which has since gone down in history as one of the most iconic live recordings in pop and rock history.

For the first time, this powerful performance by Prince and The Revolution has been remixed from the original 2” multitrack master reels and the film has been digitally enhanced onto Blu-ray video with selectable stereo, 5.1 surround and Dolby Atmos sound. Prince’s late-career and Grammy-nominated recording engineer, Chris James, remixed the recently discovered source audio, which had remained archived in Prince’s legendary Paisley Park vault for over three decades. The new release of Prince and The Revolution: Live will be available June 3, 2022, and marks the first time that the concert will be available on vinyl (as a 3-LP set) and on CD (as a 2-CD/Blu-ray set).

In conjunction with the physical formats, Prince and The Revolution: Live is also the first Prince release to be made available to supporting digital streaming platforms in spatial audio, as it will be delivered in Dolby Atmos. The first preview track, the jaw-dropping show opener “Let’s Go Crazy,” was made available today. Pre-order Prince and The Revolution: Live and hear “Let’s Go Crazy” here.

Additionally, a limited run Collector’s Edition of the iconic performance will be available exclusively from the official Prince Store. Housed in a luxe foil box, the set includes the remixed and remastered audio pressed onto 3 colored LPs (purple, red, and gold vinyl), 2 CDs, the Blu-ray video, an expansive 44-page book complete with never-before-seen photos of the Purple Rain Tour, new liner notes highlighting stories and memories from all five members of The Revolution, and a limited run 24 x 36 poster. The Collector’s Edition was designed by Grammy-nominated artist Mathieu Bitton and Grammy-nominated creative director and Prince associate Trevor Guy.

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Paperback Writer: A Beatles Book Roundup

Fans of The Beatles have no shortage of excellent new books related to the group to read these days. A slew of tomes that cover a wide variety of topics have come out lately and all are not to be missed.

Bruce Spizer continues to write and publish some of the best books on the Beatles. Along with Mark Lewisohn, he is one of the foremost experts on the group in the world. Spizer started out by writing and publishing several books that dissected the history of the group, primarily through the volumes he wrote on the record labels that released the group’s music, with an emphasis on Vee-Jay, Parlophone, Capitol, and Apple.

His books about Apple Records also covered solo recordings from members of The Beatles. These oversized editions were sturdy, hardcover books, with slick color art, heavy on detail, and truly definitive works. They are not just for the serious reader of books on The Beatles, but also for those who love beautiful books filled with a myriad of images related to the group’s recorded output. For several years now, Spizer has changed direction and is writing and publishing books that focus on individual albums and are in a more compact 9 x 9 format.

The latest book in this Albums Series is The Beatles Magical Mystery Tour and Yellow Submarine (498 Productions). Like the previous editions in the series, the text gives an informed look at the music and times, with additional contributions from Spizer’s regular collaborators and fan recollections.

The books make wonderful companions to the deluxe reissue packages on the music of The Beatles that have come out since Sgt. Pepper, although this latest book works better in tandem with the respective film reissue packages. Serious fans of The Beatles will want to have all of the books Spizer has written and published on the group and keep them close to their collection of the music and films of the group.

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Graded on a Curve:
Alan Braufman,
Live in New York City, February 9, 1975

Having emerged as part of New York City’s avant-garde spiritual jazz loft scene of the 1970s, saxophonist and flautist Alan Braufman is still active, having cut an LP in 2020 and with another on the way. Alongside these fresh excursions sits a handful of choice reissues and archival releases, with the latest, Live in New York City, February 9, 1975 available April 8 as a 3LP/ 2CD/ digital set on the Valley of Search label. Documenting a recently unearthed 94-minute concert originally broadcast over radio shortly after Braufman’s first album was recorded but before its release, it features an inspired band that includes bassist William Parker and multi-instrumentalist Cooper-Moore.

In late June of 2018, the Valley of Search label reissued the Valley of Search LP, Alan Braufman’s debut, originally put in the racks by the India Navigation imprint in 1975 with a lineup of Braufman on sax, Cooper-Moore (then known as Gene Ashton) on piano, dulcimer, and recitation, Cecil McBee on bass, David Lee on drums, and Ralph Williams on percussion.

The return to widespread availability of Braufman’s debut was a sweet and surprising turn of events, throwing a vivid spotlight on an exceptional improvising unit and with an underheard contributor to the ’70s NYC avant-garde experience as the organizational catalyst. Just as unexpected and equally as cool was the arrival of Live at WKCR May 22, 1972 in 2019, offering nearly 18 minutes of scorch and rumble from Braufman on sax and Cooper-Moore on piano on a one-sided LP in a limited edition of 250 (with copies still available via Bandcamp).

Spread across five sides of vinyl, Live in New York City, February 9, 1975 is a much more expansive affair, recorded in a church (per Valley of Search’s online trailer) that apparently doubled as radio station WBAI’s Free Music Store, with host Susan Mannheimer announcing two sets (she also contributes liner notes to the release) by Braufman on sax and flute, Cooper-Moore on piano, the ashimba (a self-built 11-note xylophone made from discarded wood) and recitation, William Parker on bass, John Clark on French horn, Jim Schapperoew on drums, and Ralph Williams on percussion.

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In rotation: 3/31/22

Amsterdam, NL | Amsterdam record shops quickly sell out of Foo Fighters albums after drummer’s death: Foo Fighters albums are in high demand in Amsterdam after the death of drummer Taylor Hawkins on Friday. Record stores in the Dutch capital almost completely sold out of the rock band’s albums over the weekend, AT5 reports. Hawkins was found dead in a hotel room in Colombia on Friday night. The cause of the 50-year-old drummer’s death is not yet clear. Colombian authorities reported finding over ten different drugs in his body, including THC, antidepressants, and painkillers. But it is not yet clear whether he died from an overdose. Monique Webster, Foo Fighters fan and employee of Amsterdam record store Concerto, was devastated by the news of Hawkins’ death, she said to AT5. “It’s indescribable what I felt,” she said. “He could just go wild. He was a beat on the drums. He could also sing. That was so great about him. He was a musician at heart. That was noticeable in everything.”

Millersville, PA | Local record stores preserving music and culture: From the bright and colorful interior, customers can just barely look out into the street through the boarded posters at Mr. Suit Records. For music fans, trying to find where to get the latest in CDs, vinyls, and respective equipment frequently boggles the mind, especially if you have no idea where to go or where to start. Whether you are a lifelong Lancaster resident or new to the area, there are a wide variety of record stores and music shops in town, all of which strive to provide both new releases and rare classics in a relaxed, welcoming atmosphere. If you are looking to browse, then the Snapper has you covered! Here are some unique and captivating record stores in Lancaster, as well as some fun facts and information about each of them.

London, UK | Meantime presents Record Store Day Live festival: Meantime Brewing Company is giving London music fans real cause for celebration with the announcement of Meantime presents Record Store Day Live, a day-long festival of live music taking place at the magnificent Meantime Brewery in Greenwich, South East London, on Saturday 9th April. The event will celebrate Meantime’s ongoing partnership with Record Store Day, which celebrates its 15th anniversary in 2022 and continues to support independent record shops around the world. All proceeds from ticket sales for the event will be donated to War Child, Record Store Day’s official charity partner. Record Store Day Live will be headlined by performances from soulful singer-songwriter Samm Henshaw, and Hak Baker who blends indie, folk and rap with his self-titled G-folk sound. Henshaw’s debut album ‘Untidy Soul’ was released in January to huge acclaim, and was followed by a sell-out UK tour including the O2 Shepherd’s Bush Empire in late February. Baker recently performed a huge show at the Camden Roundhouse and released the ‘Misled EP’ at the end of 2021.

Brisbane, AU | Turn it up for Record Store Day: Celebrate Record Store Day in Fortitude Valley and show your appreciation of independent record stores, DJ stores and recording studios of all genres. As Brisbane’s live music mecca, the Fortitude Valley Special Entertainment Precinct continues to hero and nurture the city’s renowned music-based entertainment industry. The Valley will transform into a five-hour jam fest when Record Store Day festivities take over Brunswick Street Mall. From 10am-3pm enjoy DJs sets from the Valley’s Catalog Music, QUIVR as well as DJs from other stores to soundtrack your weekend. Browse the Valley Record Store Day markets on Brunswick Street Mall for vinyl and vintage wares as well as partake in Brisbane Greeters Tours looking at the history of some iconic music venues.

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TVD Live Shots: Yungblud, Palaye Royale, Upsahl, and poutyface at the Warfield, 3/17

While we were away.Ed.

Anyone driving down Market Street in San Francisco this past Thursday evening could not have possibly missed the line snaking from under the entrance of the Warfield down the street and around the corner onto Turk Street. Emblazoned on the marquee, “Yungblud” who was set to take the city by storm on his Life on Mars Tour. If you’ve been wondering what the emo kids have been listening to while waiting for MCR to finally play some shows, step right on it.

Openers poutyface and Upsahl kicked things off with a battle of the power trios that had the packed house more than happy to appreciatively play along. But when Palaye Royale took the stage, things kicked into overdrive with their incredibly energetic set that had the now-packed pit area up front losing their shit.

With a scrim draped across the front of the stage, the crowd got antsy waiting for Yungblud to take the stage and things only got more tense when lights finally went down, the house music was turned off, and the crowd waited in silence for what seemed like forever. Talk about building anticipation.

When the curtain finally dropped all that bottled up energy was finally released and holy crap if the place didn’t go full-out nuts. Yungblud was out of the gates like a man possessed, sprinting from one end of the stage to the other feeding off the hyped-up crowd. Well, more like feeding off each other—not two songs into the set and Yungblud was gobsmacked, almost (but not quite) at a loss for words. Perhaps that’s what inspired him to plant a big smacking kiss on guitar player Adam Warrington’s mouth.

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TVD Live Shots:
Flogging Molly with Vandoliers and Russkaja at the Hollywood Palladium, 3/17

While we were away.Ed.

PHOTOS: JULIA LOFSTRAND | I didn’t know what to expect when I agreed to cover Flogging Molly at the Hollywood Palladium on Saint Patrick’s Day. “Are you into Flogging Molly?” I asked a guy next to me. “Seasonally,” he smiled.

Los Angeles based with most of its members from Detroit, Dublin-born guitarist/frontman Dave King is actually Irish. With their start as the resident Monday night band at LA’s Molly Malones, they’ve outgrown the bar band label and routinely sell-out large venues, even holding their own annual Salty Dog Caribbean Cruise featuring a line-up of legendary punk musicians. They are not a gimmicky Irish/punk band, but a group of talented musicians with a 20-year career who sound remarkable to this day.

I hold the same truth for the night’s two openers. The first, country-punk Texas natives Vandoliers—who go by a brand of “shithole country” as listed in their IG bio—sang a song about smoking cigarettes in the rain. They sounded great. The second opener, Russkaja—a polka-punk Slavic outfit with a metal undertone who hail from Vienna—brought lots of brass including a 100 year old tuba on stage. Drinks flying across the room, a fuck Putin message, and a cover of Avicii’s “Wake Me Up,” and I’d say that their set covered all the bases for the we are pacifists with no fucks given message they wanted to impart.

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TVD Live: Poguetry
in Motion at the Black Cat, 3/17

While we were away.Ed.

The Pogues and St. Patrick’s Day were always a natural combination to be celebrated by the Irish from any background. Many are the fans who clamored to see the Irish roots punk band on their annual March visits to the East Coast.

Nearly as welcome, then, is the tour by Poguetry in Motion, which played St. Paddy’s at the Black Cat in DC, for the first time in two years—shortly before the pandemic put a halt to their tour and nearly everything else in the performing world. There was some extra joy, then, at the simple pleasure of live music in a room full of grateful fans who had been unable to gather like this for a good long while.

Poguetry is the brainchild of Peter Richard “Spider” Stacy, the Pogues’ tin whistle player and late period sometimes frontman. While spending some time in New Orleans he crossed paths with the Grammy-winning zydeco outfit Lost Bayou Ramblers, realizing there were a few similarities to their approaches to roots music, if not their instrumentation (electric guitar and drums, but also fiddle and squeezebox).

Soon they were jamming on Pogues tunes and before long Cait O’Riordan, the original Pogues bassist, was on board as well. Carrying such key bona fides, a tour naturally followed. Their Black Cat show proved that with the penny whistle, the original vocals of O’Riordan and a steady drum (from the Ramblers’ Kirkland Middleton), they were able to conjure the best of things like “I’m a Man You Don’t Meet Everyday” from 1985’s Rum, Sodomy & the Lash, the source of so much material in the Pogues-centric set.

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Graded on a Curve:
The French Dispatch Original Soundtrack

The Oscars were telecast on March 27th. Hans Zimmer won best original score for Dune, “No Time To Die” by Billie Eilish and Finneas O’Connell won best original song. Although Wes Anderson’s The French Dispatch surprisingly received zero nominations, the film’s original soundtrack album should not be overlooked.

One of the delights of the films of Wes Anderson is the music. It’s no secret that Anderson is a huge fan of the key British bands of the mid-’60s, particularly the mod pop bands of the Swinging London period. This may be partially why many of his soundtracks are released through ABKCO Records, the label that owns the London Records/Decca years catalog of the music of The Rolling Stones that covers all of the group’s 1960s recordings.

There are other sounds Anderson clearly loves, including the kind of sophisticated continental European film soundtrack and pop music sound that wouldn’t be out of place in movies from France or Italy that were made in the ’50s or early ’60s.

These tracks are all wonderful musical touchstones and add greatly to Anderson’s films by either placing appropriate period music in a certain scene, or serve as a counterpoint to contemporary action that adds a gauzy romantic verisimilitude to the film. If all that wasn’t enough, Anderson has employed on five soundtracks the music of French film composer Alexandre Desplat since Fantastic Mr. Fox in 2009. Desplat won one of his two Oscars for best-original score for the soundtrack music he provided for Anderson’s The Grand Budapest Hotel. Fantastic Mr. Fox and Isle of Dogs, both animated Anderson features, garnered Oscar nominations for him.

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TVD Radar: Blue Velvet Original Motion Picture Soundtrack 2LP Deluxe Edition in stores 4/23

VIA PRESS RELEASE | Blue Velvet is David Lynch’s unforgettable 1986 masterwork, starring Kyle MacLachlan as a curious college student, Isabella Rossellini as a tormented lounge singer, and Dennis Hopper as an emotional gas-sniffing psychopath.

Blue Velvet was Lynch’s first collaboration with his longtime composer and musical partner, Angelo Badalamenti, who channels Lynch’s unique vision with a dark, moody yet melodic score, at turns agitated and violent, soaring with sublime beauty, and hanging cool with ’50s-style jazz. The long-available single LP has been expanded by 60 minutes to a 2-LP Deluxe Edition with the addition of the famous 1963 recording of “Blue Velvet,” performed by Bobby Vinton, as well as previously unreleased film cues, alternates and outtakes entitled “Lumberton Firewood.”

Although Blue Velvet was scored more traditionally than later Lynch projects, the director and composer intended many tracks to be merely “firewood,” their term for raw orchestral sonorities to be edited and manipulated into sound design by the director. The Deluxe Edition packaging features liner notes by Tim Greiving, incorporating new interviews with David Lynch, Angelo Badalamenti, Kyle MacLachlan, and producer Fred Caruso. The cover features the original 1986 Italian movie poster art designed by Enzo Sciotti. Pressed on Marbleized Blue vinyl exclusively for RSD 2022.

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Graded on a Curve:
Roxy Music,
Roxy Music and
For Your Pleasure

Bursting onto the scene 50 years ago, Roxy Music’s blend of glam rock and art rock proved highly influential while being impossible to imitate, as the music of singer Bryan Ferry, synthesist Brian Eno, saxophonist Andy Mackay, guitarist Phil Manzanera, and drummer Paul Thompson was simply drenched in personality. On April 1, Virgin/UMe’s vinyl reissue program of the band’s eight studio albums begins with debut Roxy Music and its 1973 follow-up For Your Pleasure, both half speed mastered at Abbey Road Studios by the engineer Miles Showell. Bluntly, these four sides of wax are indispensable to any collection of 20th century rock music.

Looking back on it, it feels wholly appropriate to describe Roxy Music as coming out of nowhere in 1972. Their debut LP arrived sans any pre-release singles, with “Virginia Plain” b/w “The Numberer,” the band’s first 45, cut just short of a month after Roxy Music’s release, a short enough span that its hit A-side was added to nearly all later pressings of the album (on the subject, please note that Virgin/UMe’s release retains the sequence of the UK first edition).

The nature of the band’s arrival is nicely encapsulated by Roxy Music’s opening track “Re-make/Re-model.” After a passage of what might be intended as dinner party ambiance (shades of Ferry the pure sophisticate to come), Roxy explodes forth, maximally but methodically, and by song’s end it’s clear that in this particular outfit at this point in time, nobody was taking a back seat (well, except maybe bassist Graham Simpson, who exited after the LP’s release, with Rik Kenton stepping in for “Virginia Plain,” only to be quickly replaced on For Your Pleasure by John Porter).

This is not to suggest that Roxy Music lacked in restraint; “Ladytron” on side one of Roxy Music and “Chance Meeting” on the flip offer solid evidence of such, even amongst flare-ups of experimentation. However, Roxy’s reality during this era was much more inclined toward the audacious. In its own way, Roxy Music is as much a line in the sand as The Stooges’ Funhouse before it or The Ramones after.

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In rotation: 3/30/22

Tokyo, JP | Tokyo record shop Technique has closed indefinitely: Rocked by the pandemic, the beloved store will now focus on online sales. World-renowned Tokyo record shop Technique closed yesterday, March 27th, for an indefinite period. In a post on Instagram, the store said the “expansion” of the Covid-19 pandemic forced the closure. But the post, which has been translated from Japanese, also hinted at a possible return. “If the timing comes again, I would like to manage the store in a new way.” The voice behind the post is likely Technique manager Yoshiharu Sato, who, in a recent interview with Inverted Audio, said the pandemic initially caused the Shibuya shop to relocate to nearby shopping centre PARCO in 2020 because “people couldn’t come into the store, which was a problem.” But the new spot brought its own issues. “I guess it should’ve been obvious from the start,” said Sato, “but in PARCO—while there are a lot of people who visit and enjoy shopping—there aren’t many record buyers.”

Bournemouth, UK | Rocket Records in Bournemouth is Trader of the Week: A newly opened record shop owned by a power pair passionate about music: Rocket Records is our trader of the week. Bournemouth-based Rocket Records is home to an impressive collection of vinyl, posters and CDs, as well as music related DVDs, books and memorabilia. The store was opened last September by Spud and Nikki Dibley and has quickly become a ‘must visit’ for music fans. Nikki said: “We have a great variety here. “We probably have the biggest sections of Punk and Metal genres.” Spud added: “We do just about every genre of music. “We’ve had people from all over come to see us.” The pair have always been passionate about music, with both being regular festival goers and Spud having collected vinyl for 40 years.

Los Angeles, CA | On The Couch With Los Angeles’ Treasure Hunter: Zachary Wright’s Dirt Dog Records is too close to home. For now. …Wright is also the founder of Dirt Dog Records, based out of the living room of his apartment on the fringes of the Silverlake neighborhood of Los Angeles. It’s a dusty area of town, mostly laundromats, Asian-centric food markets and a Jehovah’s Witness hall. Wright and I were introduced to each other through a mutual friend, the drummer Jono Berenstein. Berenstein holds the beat for Brooklyn psych-pop outfit Dropper, Dirt Dog’s first official label sign. Their debut album Don’t Talk To Me dropped back in February 2022. Wright graciously invited me over to his domain to talk about the future of Dirt Dog, selling records out of his home, and, of course, to sample his collection.

Barnstaple, UK | 30-year-old record store is Barnstaple’s best kept secret: Wacky, niche and local – we delve inside Discovery Music: You could come to Barnstaple for years without ever stumbling across Discovery Music. Tucked away on a narrow side street in the shadow of the Imperial Hotel, stepping inside feels like entering a secret club. The shop is a vinyl emporium and music lover’s paradise. Records are stacked wall to wall, corner to corner, thousands upon thousands of them, in every genre imaginable. Overhead the ceiling is plastered in memorabilia and magazine pages, while underfoot the face of Phil Collins peeks out from a hole in the carpet. If it sounds bizarre, that’s because it is. Despite its relative obscurity, Discovery Music has been around for 30 years. It’s owned by Matthew Poulton – a man as delightfully eccentric as the shop he runs. Dressed in a top hat, bullet belt and pin-striped jacket, he looks like a cross between a rock star and ringmaster. He’s known in Devon as “Matt the Hat” thanks to his trademark headgear, which he’s never without.

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  • SUPPORTING YOUR LOCAL INDIE SHOPS SINCE 2007


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