Monthly Archives: July 2022

In rotation: 7/22/22

New-gen vinyl buyers are ‘serious, dedicated and valuable.’ Research firm MusicWatch has been diving into its data on the new generation of vinyl buyers in the US: those born in 1989 or later. It found that nearly 80% of them have started buying vinyl in the last five years, and that while 37% of them say they buy it to display, 78% intend to listen to their LPs. Yes, that means a crossover: “some records jockey between the wall and the stylus,” as MusicWatch’s Russ Crupnick put it. Another finding: one third of these new-gen buyers say that they buy vinyl to support their favourite artists: “They overwhelmingly believe it is important to support artists beyond just listening to their music.” Interestingly, packaging – artwork and the design of the record itself – appear to be bigger motivators for buying than audio quality.

Ocean County, NJ | One stop shop: A guide for all things vinyl around Ocean County, NJ: It’s been about two months since moving to New Jersey, but if you took a look around my apartment you’d think my fiancee and I just moved in last weekend. It’s definitely a work in progress. …Usually, when I shop for records, I’ll just go to an antique store, which New Jersey has a plethora of, and browse their selection. That’s always fun because antique shops I think have the most eclectic stock of records. But if you’re looking for a store that specializes in vinyl, there are a few right here in Ocean County that are worth visiting.

Portland, OR | Shopping For Vinyl Records With A Portland IPA In Hand? Yes Please! Wouldn’t it be cool if you could stroll through aisles of vinyl records and cassettes with a Portland IPA in your hand? Really wish I’d thought of this idea! Black and White rock posters on the walls, aisle of record bins, and the beer. The bar will stay simple, sticking to six taps including Rainier and a rotating cider. The rest of the taps will generally focus on Pacific Northwestern beers, in particular things made in Portland; a nearby beer cooler will have a wider collection of beers, ciders, and non-alcoholic options. The Record Pub will open its doors officially on Friday, July 22 at 11 a.m.

Marquette, MI | Find Some Classics At The Latest Vinyl Record Show And Sale This Weekend In Marquette! Your latest chance to check out and buy some classic and new vinyl records is happening in Marquette this weekend. Jon Teichman, organizer of the latest Ore Dock Record Show & Sale, spoke about the event today with Mark & Walt in the Morning. Teichman said from Noon to 11:00 p.m. each day, from this Thursday, July 21st until Sunday, July 24th, the pop-up vinyl record show will be held in the Community Room at the Ore Dock Brewing Company at 114 W. Spring Street in downtown Marquette. He also shared some stories about previous record sale finds, including a special Jackie Gleason collection from 1962! Teichman added that thousands upon thousands of new & used vinyl records, CDs, posters, cassettes, books, and t-shirts will be available and trades welcome!

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TVD Live Shots: Pitchfork Music
Festival, 7/17

WORDS AND IMAGES: HAYLEY PARKER | 1:30PM: The ground may be muddy but the goal is clear—finish off Pitchfork Music Festival day 3 with a bang!

1:45PM: L’Rain takes the early stage, a 6 piece band who embodies the vibe of Pitchfork. Laidback, easy to listen to, and an all around good vibe. The lead singer, Taja Cheek AKA L’Rain jokes “I feel responsible for the weather. I’m sorry.”

2:30PM: Chicago local KAINA shows her home city how it’s done. Described as a “soft, savory voice that’s sharp enough to remind you of what happens when you get too close to the sun” on her website, I couldn’t agree more.

2:45PM: At first glance, you would be forgiven for seeing Sofia Kourtesis and expecting some more laidback, Indie melodies. Boy, would you be wrong. Head banging and experimental house music exudes from the Peruvian DJ, proving that you can’t judge a book by its cover and giving the crowd something to marvel at.

3:20PM: Hip hop group Injury Reserve takes the green stage. A two man show, rapper Ritchie with a T sits on a sound speaker and addresses the crowd: “It’s gonna be a good show.” The audience is undoubtedly hanging on every word of the set, with the producer Parker Corey matching the energy.

4:00PM: A break from the rapping, Erika de Casier serves relaxing beats with a side of sultry tones on the opposite side of the park. There’s something quietly flawless about this act, and despite no headbanging or jumping, the crowd is mesmerized by the simplicity.

4:15PM: Natural Information Society has replaced BADBADNOTGOOD after a Covid induced drop out. An eight piece ensemble, multiple instruments ring out amongst a crowd of picnic blankets. This is the ultimate zone out and vibe acoustic music, and the crowd knows it.

4:30PM: Injury Reserve is interviewed in the Doordash backstage area, answering questions about their formation as a band and past experiences. Notably, they speak about how they were booked to play at the back of an Italian restaurant in Stockholm which led them to creating an improvisatory sound for their album.

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TVD Live Shots: Pitchfork Music
Festival, 7/16

WORDS AND IMAGES: HAYLEY PARKER | 1:45pm: Aaaand we’re back! CupcakKe is getting the party started with some sensual beats, telling the audience if they’re not good in bed… they can leave. Passionate fans line the front fence while concert goers eager to catch their fave acts trickle in for Pitchfork Music Festival, day 2.

2:13PM: CupcakKe is getting more sensual by the minute, with her explicit lyrics and moans ringing out loud across the park to an equal mix of stunned onlookers and fans who knew what to expect. With numerous children running around, my only hope is that their kid-safe headphones are blocking out the expletives.

2:15PM: Could it be? Sun! The picnic blankets are out in full force despite the soaked ground.

2:30PM: The Linda Lindas are the cutest band I’ve seen yet, coming out in drawn on whiskers and colorful attire. They have the crowd jumping and singing along instantly with their quirky vibe. I overhear someone say “are they singing about their cats because they haven’t had their hearts broken yet? Love that for them.” I later Googled the band to realize they ranges in age from a mere 11-17, but you would never know it based on their stage presence.

2:58PM: I was thinking about stopping by and getting a complimentary Monster, but after The Armed’s performance I’m feeling more alive than ever. HOLY ENERGY! We had hair flips, painted faces, and full on catapulting into the crowd. My early bet for “most jumping on stage” for the weekend.

3:20PM: Hyd is giving all the ASMR vibes during their set, with powerful whispering evolving to violent screams. The juxtaposition has the audience captivated, along with her smooth dance moves the electro-pop artist gained more than a few fans this weekend.

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New Release Section: Robyn Hitchcock,
“The Shuffle Man”

VIA PRESS RELEASE | Robyn Hitchcock has announced the long awaited release of Shufflemania!, arriving via Tiny Ghost Records on 21st October. Pre-orders—including limited edition blue vinyl, classic black vinyl, CD, cassette, and digital download, are available now exclusively at www.robynhitchcock.com.

The veteran British artist’s first full-length collection in over five years, Shufflemania! is heralded by the mischievous first single, “The Shuffle Man,” available now on all streaming services. The single features instrumental and vocal accompaniment from musician/ producer/ artist Brendan Benson.

“The Shuffle Man is the imp of change, the agent of fortune” explains Hitchcock.”He throws the cards up in the air and leaves you to deal with where they fall. He is the exhilaration of chaos—with fast hands and a stovepipe hat.”

Recorded in locations around the world over the pandemic era, Shufflemania! offers up 10 gloriously ingenious new Robyn Hitchcock songs in just under 40 minutes—a “proper pop album” as nature intended. Songs like “Midnight Tram To Nowhere” and the optimistic, album-closing “One Day (It’s Being Scheduled)” are state-of-the-art Hitchcock, manifesting his signature wit, miraculous gift for melodic craftsmanship, and striking humanity in a world gone mad.

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TVD Radar: Jesse Davis, Jesse Davis first US vinyl reissue in stores 9/9

VIA PRESS RELEASE | Throughout the 1960s and ’70s, Native American guitarist Jesse Davis (a.k.a. Jesse Ed Davis) was the “go-to” sideman for a remarkable group of musicians.

Starting in the mid-sixties he toured with Conway Twitty, then become a key part of Taj Mahal’s band, playing on several albums and tours including an appearance on The Rolling Stones Rock and Roll Circus. And let’s not forget he paired up with Leon Russell to play on Bob Dylan’s single “Watching the River Flow”—followed by accompanying George Harrison during the Concert For Bangladesh. By now, he’d caught the eyes and ears of ATCO Records, who released his debut LP Jesse Davis in 1971 featuring Leon Russell, Eric Clapton, Gram Parsons, Merry Clayton, Ben Sidran, John Simon (producer of The Band), Alan White (of Yes), and many others including Delaney Bramlett behind the mixing desk.

But supergroup aside, this record is a flat-out roots-rock classic, with Jesse’s inimitable personality bubbling through every laconically-sung lyric and tasty lick. Never before reissued on vinyl here in the States, we are pressing this one in forest green vinyl. (For those wanting to know more about Jesse, check out the documentary Rumble: The Indians Who Rocked the World.)

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Graded on a Curve:
Plus 1 Atlanta: Concert Ephemera From a Storied Metropolis 1962–2003

Following a hefty volume focused on the Athens, GA music scene, Chunklet Industries’ latest tome Plus 1 Atlanta: Concert Ephemera From a Storied Metropolis 1962-2003 is a 214-page oversized paperback loaded with scans of show flyers. Spanning the years of the title, the majority of the inclusions were created to promote local attractions, though out-of-towners are also featured, often with Atlanta-based openers. Along with a handful of essays, amongst them a foreword by David Cross, an intro by publisher Henry H. Owings, an afterword by Bill Kelliher of Mastodon, plus pieces by Kelly Hogan and Jared Swilley of the Black Lips, the contents offer a vivid portrait of Atlanta’s musical history.

Published last year by Owings and Chunklet, and with its second printing currently available, Plus 1 Athens: Show Flyers From a Legendary Scene 1967-2002 is a wonderful resource for music lovers, and in particular those who have engaged with the documented locale from a distance, perhaps thinking of the town, or better said, as reinforced in the book’s title, the Athens scene, as being dominated by Southern new wave and college radio jangle (e.g. B-52’s, Pylon, Love Tractor, and of course, R.E.M.).

Plus 1 Atlanta does something very similar for a much larger city. Obviously, it’s a given that a municipality of Atlanta’s size will have a sturdy musical infrastructure. But unlike Athens, or Austin, or New Orleans, Memphis, Nashville, or Chicago, and more recently, Seattle, Chapel Hill, or Portland, OR, music is unlikely to be the first (or even the second or third) thing to come to mind when thoughts turn to Atlanta. It’s no shock that much of musical interest transpired in Atlanta over the decades; rather, Plus 1 Atlanta reinforces the notion that every city is a music city whether this fact is well-known or not.

Unsurprisingly, the Athens and Atlanta books feature some overlap, and notably Owings himself, who lived in Athens for a stretch prior to moving to Atlanta, where he’s spent over half his life. As a firsthand witness, he brings a unified approach to both projects, and additionally he contrasts the two, with Atlanta portrayed as a place that, if being far short of cutthroat, fostered a sense of competition (maybe desperation is a better word) that found bands tearing down or covering up the flyers of other bands.

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In rotation: 7/21/22

Chicago, IL | Meteor Gem opens its doors to Chicagoland’s trve metalheads: Chicago’s newest record store specializes in all things metal. Meteor Gem occupies a garden-level boutique at 3082 N. Elston, and its stock is so laser-focused on extreme music—including death, doom, black, post-, and progressive metal—that the records in just one subgenre outnumber the entire metal inventory of many local shops. Owner Mikhail Fedyukov has been involved in Chicago’s heavy underground for about a decade, booking and occasionally performing at DIY shows. He began selling records online about five years ago, and when the pandemic hit, he decided to devote all his working hours to that pursuit. “I had a small vinyl warehouse in my one-bedroom apartment,” he says. Fedyukov launched Meteor Gem’s website in January 2021, signed the lease for the Avondale brick-and-mortar location in February 2022, and opened the store on July 1.

Guelph, CA | A ‘love letter’ to Guelph: Royal Cat Records releases new zine: It’s in Guelph, and it’s about records, punk and junk: meet Grunk, Royal Cat Record’s long-awaited zine. After “many personality crises and a worldwide pandemic,” Royal Cat Records is finally launching their long-awaited zine, Grunk. The 21-page, self-published, small-batch magazine is “a loveletter to our dumb little city from a couple of record-collecting junk lovers,” featuring comics, playlists, album picks, an interview with a renowned cartoonist, and tidbits of trivia about the Guelph music scene. Bryan Munn, who owns Royal Cat Records with his wife Kara, has been toying with zine making since he was a child, making little comic books with the help of his dad’s photocopier. He was just as captivated by zine culture when he met Kara in the 90s. Together, the two punk rockers started making small zines, manually binding them together and giving them out to anyone who would read them.

Klamath Falls, OR | For the record: Klamath record store holds rock trivia night: A local business in Klamath Falls has set the bar exceptionally high when it comes to musical entertainment here in the Basin with its monthly trivia night. The brainchild of Kurt Liedtke, as well as owners and founders, Jimmy and Sarah Turner, Rock Trivia is an event that is certain to satisfy even the most fastidious music critics. In a cozy theater room located in the back of the store, a score of Klamathians volunteered as tributes to compete for the title of Rock-n-Roll Historian of the month. Liedtke organizes the questions in the form of a slide show, playing clips from music videos for each of the songs and artists in question. This month, the game was broken up into three rounds: Oneders, Gibberish Lyrics and Rip-Offs. The Oneders category consists of popular songs by one-hit-wonders, artists who are known for only having one hit single. Songs such as “Mambo No. 5” and “What Does the Fox Say” were reasonably popular upon their release; yet no one in attendance could recall the artists that recorded them.

Newcastle, UK | Hunter Record Fair has vinyl lovers in a spin: Vinyl lovers will be in a spin this weekend. The Hunter Record Fair is back on the calendar, after a COVID-enforced hiatus, with a huge array of bargains, rarities, LPs, 45s and more set to adorn the Kotara High School auditorium, between 9am and 4pm, on Saturday 23 July. There, devotees face the enviable choice of thousands of albums across all genres of music, including country, rock, soul, metal, punk, pop, hip-hop, jazz, blues, reggae, rockabilly, folk, R&B, ska, alternative, house, hardcore punk, electro, indie, new wave and noise. “We’re really looking forward to it,” organiser Dan Phelan said. “I think 2019 was the last time we staged the event. “So, hopefully, it’ll make a positive return. “Stallholders from around the country will offer a massive range of both new and second-hand vinyls and CDs.”

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TVD Live Shots: Pitchfork Music
Festival, 7/15

WORDS AND IMAGES: HAYLEY PARKER | 1:50PM: Did I just step into a dream? The rain has cleared and Ethel Cain’s angelic voice rings out across Union Park. Pitchfork Music Festival 2022 is back, baby!

2:16PM: Is it too early for dinner? There’s an impressive line up of food options this year including fair favorites, the classic Island Noodles and “farm to fest” options for every appetite.

2:30PM: Philadelphia locals Spirit of the Beehive serve a side of chill vibes along with a standout performance, getting the early crowd buzzing from the first note.

2:45PM: Word is Tkay Maidza has dropped out, replaced by the stunningly talented Monaleo.

2:50PM: 5 minutes late to a 15 minute set, the audience is getting antsy, with chants drifting in and out.

2:56PM: The schedule might have been off but the vibes definitely weren’t! An emotional Monaleo takes the stage, thanking the audience for their warm welcome and playing their viral hits. She goes between being sassy and fierce to shy and softly spoken in a matter of seconds, and the crowd is hanging on every word.

3:20PM: Rapper Wiki takes the stage. I’m not one for rap music usually, but this guy wearing an Oscar the Grouch tee has captivated both myself and the entire audience. If they weren’t fans of him before, they definitely are now.

4:00PM: I make my way through the crowd intensely watching Wiki and overhear “Wait… this dude’s white? He’s mad talented.”

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TVD Radar: Sun Ra,
The Futuristic Sounds of Sun Ra 60th anniversary reissue in stores 9/16

VIA PRESS RELEASE | Craft Recordings proudly announces a 60th-anniversary edition of The Futuristic Sounds of Sun Ra. A standout title in the Afrofuturism pioneer and innovative jazz artist’s extensive catalog of recordings, the 1962 album marks Sun Ra’s first recording with his band, The Arkestra, in New York after relocating from Chicago. Produced by Tom Wilson (whose credits include titles for Bob Dylan, the Velvet Underground, and the Mothers of Invention), The Futuristic Sounds of Sun Ra has long been considered one of the avant-garde artist’s most accessible albums.

This special reissue features all-analog re-mastering by Kevin Gray at Cohearent Audio, while the LP has been pressed on 180-gram vinyl at RTI. As a bonus, the CD and LP packages include Tom Wilson’s original liner notes, plus insightful new essays by jazz historian Ben Young, as well as by Irwin Chusid, who not only administers the musical estate for Sun Ra, but is also a journalist, radio personality, and the author of the forthcoming book, Sun Ra: Art on Saturn — The Album Cover Art of Sun Ra’s Saturn Label. Landing in stores on September 16 and available for pre-order today HERE, this edition will also be released in stunning hi-res digital audio.

Arriving on this planet long before his time—or perhaps at the very right moment—Sun Ra (1914–1993) was one of the most unique talents in the history of recorded music. A bandleader, keyboardist, composer, arranger, poet, philosopher, and dreamer, Ra’s creativity knew no bounds. Frequently accompanied by The Arkestra—his loose, musical collective—the imaginative artist kept fans on their toes with his breadth of musical styles, his use of new audio technology, and his otherworldly costumes throughout his four-decade-long career. In his essay, Irwin Chusid delights that “Sun Ra was many things, but consistent and predictable don’t apply.”

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Graded on a Curve:
Frank Zappa,
New Releases in
Stores Now

2022 has shaped up to be quite the year for fans of Frank Zappa and the Mothers of Invention. The Mothers 71 has been released as an 8-CD box set and a 3-LP vinyl edition. The Zappa/Erie set has been issued as an album-sized, 6-CD set, and Rainbow December 10, 1971 has been issued as a 3-LP vinyl set. Three of these releases are interconnected. The Mothers 71 CD box includes the entire Rainbow Theatre concert, which came roughly six months after the four Mothers 71 Fillmore shows.

The Mothers 71 reissues are beloved for many reasons and these new reissues are the best to ever be released. These performances were recorded using then cutting-edge live sound technology with the use of a 16-track machine. There was also a ¼-inch tape used with a 2-track machine for a live line mix. Given the size of the group and the superb concert-hall acoustics of the Fillmore East theatre, the original live analog tape recordings sound excellent more than 50 years after the fact.

Although some of the original analog 16-track recordings were lost or haven’t weathered 50-plus years of storage and tape preservation, the 2-track tapes are used as back-up here to fill in the gaps of chronicling so extensively these historic concerts. All the performances where the group was joined for encores by John Lennon and Yoko Ono, owned by the Lennon estate, make their complete debut on this new reissue. Some of those recordings were previously released by Zappa and others were released from Lennon and Ono on their Sometime in New York City album, originally released in 1972.

The critical historical aspects and advanced technological nature of these concert recordings is enhanced by the poignancy of these dates, which marked the conclusion of the short, roughly five-year run of the two Bill Graham Fillmore venues in New York and San Francisco. 1971 was a key year for Fillmore concerts, resulting in seminal live album recordings, including The Allman Brothers Band Live at the Fillmore East, non-rock gems Aretha Live at Fillmore West, and Live at Fillmore West from King Curtis, as well as Spread Your Wings and Fly: Live at the Fillmore East from Laura Nyro, which was recorded in 1971 but not released until 2004.

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Timely and brilliant, Courtney Barnett’s Anonymous Club documentary premieres at Brain Dead Studios

Often referred to as the voice of a generation, Australian singer-songwriter/guitarist Courtney Barnett has developed a cult following for her self-deprecating lyrics and raspy guitars. Thrust into the spotlight as an unintentional spokesperson for depression, her music speaks to audiences who feel disconnected from the current culture of toxic positivity. More than just a documentary, Anonymous Club brings the viewer into the honest midst of her mental health struggles.

Shot on a 16mm camera by director and longtime Courtney Barnett music video collaborator Danny Cohen, the documentary traverses three years of live footage and snippets from an audio diary Cohen implored her to keep. At the heart of film is the portrayal of a solitary artist driven more by compulsion than a singular passion. “I sing angrily, and lost my voice because of my anger,” she says, as she paces around a room one night after a live show.

This angst, an ingrained part of her personality, is dissected when she shares she’s had depressive moods since she was ten with thoughts of being an emo kid before knowing what emo is. She talks about breaking down on stage and crying through a song because she’s so depressed, and the crowd is like “WTF.” It was a liberating experience for her she admits with a sense that she needs these songs as much as her audience relates to them. Songs are her form of communication and connection.

Barnett has been releasing her music on Milk! Records, a label she started back in 2012. Uncontrolled by executives, the film shows her grappling with the collective narrative she’s created. On one hand she understands that showing up in the world wholly as herself is helping people, but on the other, we see intense rumination that her art is futile, and she can’t be of service to anyone if she can’t even help herself.

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Graded on a Curve:
Color Green,
Color Green

Color Green is the Los Angeles-based duo of Noah Kohll and Corey Madden. Both are multi-instrumentalists, but guitar is the primary axe of the pair. On their self-titled full-length debut, co-released by the fine folks at ORG Music and the Aquarium Drunkard web magazine, they welcome a fair amount of assistance in fleshing out a bold and bright psychedelic rock sound. It’s an expansively jam-affiliated situation but with a firm handle on songwriting. Cosmic? Oh, yes indeed. The album, clearly designed to deepen unperturbed vibes, is out July 22 on vinyl, compact disc, and digital.

In the runup to this album, Color Green issued a pair of digital singles and before that, last year, a 4-song EP, with cassette tape the physical format chosen, tinted translucent green in a micro edition of 50, with the whole bunch sold exclusively through Instagram. And so, with this eponymous affair, the duo’s profile will surely be rising, particularly amongst folks into current sounds impacted by the Grateful Dead.

Now, if you’re thinking I might be overstating the Dead influence, please understand that in the thank you list on that earlier (also self-titled) EP, Kohll and Madden tip the hat to Jerry Garcia, specifically for his spiritual guidance. But it’s also necessary to point out that Color Green aren’t indulging in imitation as tribute. Instead, like Rose City Band, Garcia Peoples, Woods, Elkhorn, Wet Tuna and a few others, they are adapting and extending the innovations of the Dead (and other psychedelic acts in their orbit) in a contemporary underground context.

Opener “Warbling Sky” is perfect for a humid, sunny Sunday morning: it’s country-tinged, slow moving, spacious and soaring, at least until an uptick in the tempo and intensity arrive late in the track, with the grooving guitars insinuating some non-retrograde Southern Rock stuff. But there’s a touch of Garcia and Weir in there too, and that’s just fine.

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In rotation: 7/20/22

More than 19 millions records have been sold in the US already this year: A small increase on last year’s figures. Sales of vinyl LPs in the US rose to 19.4 million for the first six months of 2022, according to a report by Luminate Data. This figure represents just over 53% of all 36.5 million physical album sales in the US so far this year. The slight bump (from 19.2 million in the same period last year) suggests a slow down in the rapid 51% growth recorded across the whole of 2021. Sales in the first half of this year have skewed away from existing catalogue releases and towards newer releases. Former One Direction member Harry Styles broke the modern-era record for first-week physical album sales earlier this year, shifting 183,000 copies of his third studio album, Harry’s House, in May. The report unearths distinct demographic trends too. Among women, the younger Gen Z audience accounts for 34% of sales; while the older Millennial and Gen X generations tend to do the bulk of the buying on the men’s side, with 31% apiece.

Iloilo City, PH | Vinyl is not dead in Iloilo, hear it out: Anthology Iloilo puts Ella Fitzgerald, Coldplay, Fleetwood Mac, and Taylor Swift in one room where you are warmly welcomed by an office staple that supersedes all business requirements – the owner’s pet dog. In the heart of this La Hubre-curated record store in Ledesco Village, wooden-letter blocks pose a question that rings through today’s earphones: “Have you heard it on vinyl?” On a 2018 round up of Acoustic Fridays in Festive Walk Parade, a pop-up came with its own rhythm: a crate of vinyl records with Queen’s Greatest Hits starring front, just still and there. I would later know the owner to be hobbyist Arvin Gangoso, after a green transparent “An Evening with Billie Holiday” record I purchased as a High School graduation gift. Gangoso met the steady and fast rise in the demand for vinyl, and made space for Anthology in Iloilo City which he knew to lack vinyl record stores.

UK | Queen’s Greatest Hits sells seven million copies, breaking UK chart record: Queen have made UK chart history by becoming the first act to sell seven million copies of an individual album. Their first Greatest Hits collection, from 1981, is now owned by one in every four households in the UK, said the Official Charts Company. The record, which features classic singles like We Will Rock You and Bohemian Rhapsody, has been a perennial best-seller for years. It recently spent its 1,000th week on the UK album chart. Queen guitarist Brian May called the latest achievement “joyous news.” “No album has done this before in history,” he said in a statement. “Thank you, we appreciate it.” Drummer Roger Taylor added: “The British public and their infinitely-great taste have made this the biggest-selling album in history. “Thank you very much; we’re humbled and honoured. We salute you!

Why the sleeve to Closer by Joy Division was controversial: Who exactly are the mysterious figures on the cover of Joy Division’s final album? And why did the image prompt accusations of “bad taste?” Joy Division’s classic debut Unknown Pleasures features a sleeve design that spawned hundreds of pieces of merchandise and many more parodies. But what about their second album, Closer? What’s that one all about? Dressed in sober black and white, the cover artwork features the title of the album written in a font that looks like it’s been chiselled into marble, while a monochrome photograph appears to show four cowled figures grieving around a man lying on a bed. …Because Joy Division had an album cover showing a group mourning a dead associate, Factory were accused of poor judgement by some Joy Division followers, who were shocked when they saw the sleeve in the shops for the first time – the cover was literally a wake for the departed singer.

Rapid City, ND | Here comes the sun-warped vinyl: Why records should not be left in cars for too long: Dropping a vinyl record can scratch the disk and ruin the quality if it doesn’t break, but leaving that brand-new album in a hot car can do much more serious damage. Vinyl records have a melting point of around 200 degrees Fahrenheit — but if left in a hot car for too long, it will start to warp and lose its shape which could even render them unplayable. Placing a record in a dark spot such as under your seat can help, but Black Hills Vinyl strongly recommends placing it in a bag and taking it with you if you are out for an extended period of time. “The windshields act as a magnifying glass almost, and that amplifies the heat,” said Jory Andre from Black Hills Vinyl. “That is why even in the high eighties, you can still warp your records because it just magnifies all of that heat. On a sunny day, it’s around 80 degrees and you get in your car and you are baking. It is kind of that effect.”

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TVD Live Shots:
Sad Summer Fest at
City National Grove
of Anaheim, 7/9

ANAHEIM, CAIf there’s one thing pop punk fans know how to do, it’s throw a killer summer festival. This year’s Sad Summer Fest presented by Journey’s was no exception, with incredible performances by headliners Waterparks and Neck Deep. From start to finish, the energy in Southern California was palpable and the vibes were unbeatable. Whether you were moshing in the pit or dancing in the sun, there was something for everyone at The City National Grove in Anaheim on Saturday (7/9)—let’s dig in!

When Vans Warped Tour sadly fell by the wayside for good at the end of 2019, Sad Summer Fest eagerly stepped up and filled the pop punk void that was left by its departure. Now its 3rd year, this emo-infused extravaganza just keeps getting better and has positioned itself as one of the best up and coming music festivals in the US. And it had everything on Saturday: dancing bears, emo chicks, pool floaties, spicy pizza, and of course amazing music.

Admittedly, most of the bands performing on Saturday at Sad Summer Fest were outside my standard comfort zone. Metal is typically my “go-to,” but I must say that every performance I witnessed on Saturday (and I mean every performance) were as solid as they come. Fans of all ages literally had every word of every song of from Waterparks, Neck Deep, Mayday Parade, State Champs, Hot Mulligan, Hot Milk, The Summer Set, Magnolia Park, and Lip Candy memorized to a tee. Emotions were at an all time high as mosh pits and crowd surfers took center stage during some of the day’s most memorable sets of the day. I was immediately hooked.

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New Release Section: Blancmange, “Take Me”

VIA PRESS RELEASE | On 30 September Blancmange will release the new album, Private View. Marking a return to London Records, almost 40 years since the label released the band’s debut; the release is preceded by the track “Take Me.”

Of “Take Me,” Neil Arthur explains: “As usual I’m playing with double meanings and domestic references. Can you take me, in terms of the unpredictable aspects of a personality, or can you literally take me to our favourite place by the sea? And also how much does someone have to “take” before a relationship breaks down? How many times can your partner be expected to accept repeated mistakes? Where is the tipping point?”

Across the album, there’s a deft marriage of futuristic electronic sounds, Arthur’s unmistakable vocal hooks, and songs that veer from buoyant and joyful to dark and brooding. Benge returns as a key collaborator, and David Rhodes (Kate Bush, Peter Gabriel, Scott Walker) returns as the guitarist, having previously performed with the band on 1982’s debut Happy Families (as well as several other Blancmange albums).

In their post-punk early days, Blancmange made tape loops and experimental sounds with kitchen utensils, before developing into one of the definitive chart-topping British electronic pop acts. Since reforming in 2011 (Luscombe had to leave shortly after for health reasons) Arthur has harnessed a duality of experimentation and seamless pop melody to release a staggering 10 albums in the last decade. “I don’t know whether I’m on a roll but I feel something in me has been released,” he says. “I used to hold back and I didn’t trust myself. While I’m still full of self-doubt I’m now quite comfortable with it. This is it. We’ve only got one time around the block, so make the most of it.”

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