Monthly Archives: September 2022

New Release Section:
The Chills, “Scatterbrain-Storms: Outtakes”

VIA PRESS RELEASE | Dunedin’s finest, The Chills, follow their acclaimed seventh studio album Scatterbrain with a special US tour exclusive 7″ “Scatterbrain-Storms: Outtakes.” Released digitally on 27th September for the world to hear, this special EP features three brand new tracks “The Dragon with the Sapphire Eyes,” “No One Knows Better Than Me,” and “Nowhere,” A 7″ will then be exclusively available to fans at shows on their upcoming US tour with Jane Weaver who will be bringing her full live experience with her band to the US for the very first time.

“We felt these were too good not to be released and were actually the first three songs we wrote for Scatterbrain before its lyrical tone and musical direction became established. It was important to us to offer fans something special on the tour.”
Martin Phillipps

A thought provoking and evocative stock take from a man who has lived through good times and bad. But now, the world is a different place and optimism is in short supply. Viewed from the perspective of a man understanding his age and indeed his own mortality, Scatterbrain is underpinned, as ever, with catchy melodies and an incisive turn of phrase; it takes a mature look at matters arising with a side order of perspective.

Scatterbrain is a life passing before your ears as uncertainty increases and fake news rumbles on; during which aliens invade, Phillipps scales the walls beyond abandon as he probes the minutiae of worlds within worlds and the hourglass fills. Scatterbrain is a landmark album from one of the great modern song writers, it’s pure pop music for the new normal and we can’t wait to see how it ends.

Recorded at Port Chalmers Recordings Services, “Scatterbrain-Storms: Outtakes” was produced by Tom Healy with assistance from Tom Bell. The Chills are Martin Phillipps, Oli Wilson, Erica Scally, Callum Hampton, and Todd Knudson.

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Graded on a Curve:
Kolb,
Tyrannical Vibes

Kolb is the bedroom pop project of one Michael Kolb, who’s stepping out from his long term role as touring member of the electro-pop outfit Water From Your Eyes to deliver a trim nine-song set, issued by the Ramp Local label, out digitally on September 30, with vinyl due on October 21. Catchy and substantial even as the music’s bedroom origins are quickly ascertained, Tyrannical Vibes welcomes help at the microphone from fellow Brooklynites Ani Ivry-Block (of Palberta), Carolyn Hietter and others as Kolb plays guitar, bass, keyboards and more.

In terms of fidelity, Tyrannical Vibes is crisp and vibrant, with Kolb earning the bedroom pop descriptor through the nature of the song’s construction. It’s pretty clear the nine cuts are not the byproduct of a band, even as the thrust is multidimensional and full. Opener “Cruising” begins in the choppy-quirk zone but makes a slick transition into strum mode (with an undercurrent of power pop, even) as Kolb’s Princely falsetto binds it all together.

One of the record’s strong points is that Kolb doesn’t always take the vocal lead. It’s Carolyn Hietter’s voice up front in “I Guess I’m Lucky,” which leans into the sophisto side of gal-sung indie pop while keeping tabs on the strummed string angle, and with Hietter’s brief sax solo an added treat as Kolb enunciates up a storm in the backing spot.

It’s Ani Ivry-Block singing on “Internal Affairs,” a decidedly electro-pop-inclined cut, although appealingly urgent and artily pulsating, or put another way, lacking in clichéd moves. And Ivry-Block’s delivery is warm and full and human. From there, Kolb sings lead on both the densely layered “Jean-Luc,” which lyrically references the cornerstone Nouvelle Vague director Jean-Luc Godard (RIP), and on “Ectoplasm,” where the driving electro-pop feel of “Internal Affairs” is combined with some bell-like tones, outbursts of raw guitar, and Kolb’s vocal alternating between a new wave croon and agitated post-punk shouts.

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In rotation: 9/28/22

Vinyl Sales Rise While Streaming Revenues Plateau: …Let’s get to the good news first. Vinyl sales rose by 22% in the first half of the year, with almost 22 million units sold. This brought in about $570 million, which accounts for about 10% of the recorded music revenue generated in the U.S. Despite facing numerous supply chain issues, the vinyl industry keeps growing, with current factories expanding and new ones coming online. Even so, the wait time for a release hasn’t changed much, with deliveries that stretch out as long as 9 months still being reported. CDs weren’t so lucky, however. After a huge sales increase of almost 21% in 2021, they fell back down to earth in the first half of this year, decreasing by 2.2%. That’s not a lot, but it does return to a degenerative trend where the format has been losing its popularity every year.

UK | ‘There’s endless choice, but you’re not listening’: fans quitting Spotify to save their love of music: Former streaming service subscribers on why they have ditched mod cons for MP3s, CDs and other DIY music formats. Meg Lethem was working at her bakery job one morning in Boston when she had an epiphany. Tasked with choosing the day’s soundtrack, she opened Spotify, then flicked and flicked, endlessly searching for something to play. Nothing was perfect for the moment. She looked some more, through playlist after playlist. An uncomfortably familiar loop, it made her realise: she hated how music was being used in her life. “That was the problem,” she says. “Using music, rather than having it be its own experience … What kind of music am I going to use to set a mood for the day? What am I going to use to enjoy my walk? I started not really liking what that meant.” It wasn’t just passive listening, but a utilitarian approach to music that felt like a creation of the streaming environment. “I decided that having music be this tool to [create] an experience instead of an experience itself was not something I was into,” she reflects. So she cut off her Spotify service, and later, Apple Music too, to focus on making her listening more “home-based” and less of a background experience.

Buffalo, NY | Record Theatre redevelopment into The Monroe kicks off with financing secured: he long-awaited redevelopment of the former Record Theatre complex on Main Street in Buffalo into retail and commercial space has begun, after the partners behind the $7 million project secured the construction financing they needed to get started. The development team, led by Jason Yots of Common Bond Real Estate, is transforming the cluster of buildings at 1786 Main St. and 1040 Lafayette Ave. into The Monroe, featuring a combination of 17 affordable workforce apartments and 11,000 square feet of street-level commercial space. Located at the corner of Main Street and Lafayette Avenue, the vacant 34,000-square-foot complex consisted of four properties and structures on Main and Lafayette, all dating to the 1920s. Formerly known as the Monroe Building, the primary building at 1786 Main was originally an automobile showroom for Monroe Motor Car Co. and others, before it became a well-known music store for several decades under former owner Leonard Silver.

Pro-Ject unveils new turntable and vinyl noise reduction system: Time for an upgrade? Pro-Ject is launching a new turntable, called the ​​Debut PRO S, as well as a vinyl noise reduction system, Vinyl NRS Box S3, this September. Joining the original Debut PRO, the Debut PRO S is capable of playing 33, 45 and 78 RPM records. The new model also features a 10” S-shaped tonearm, and a heavy aluminium platter, which has a ring of TPE damping to help reduce resonance. It comes with a Pick-IT S2 C cartridge pre-installed. The turntable is available now for £799. The Vinyl NRS Box S3 connects between the phono stage and the amplifier, and uses a digital signal processing algorithm to improve playback. The company claims this “effectively removes noise and ‘crackles’ from older, worn vinyl records — restoring your listening experience to like the record was new again.”

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TVD Live Shots: 
Roger Waters at the Chase Center, 9/23

Roger Waters brought his “This is Not a Drill” tour to San Francisco’s Chase Center for two nights of Pink Floyd classics and solo highlights from the 79 year old’s decades of music. With the tour having been delayed for nearly two years it was no surprise that the San Francisco crowd was lined up outside waiting for doors to open in anticipation of an epic evening of music to follow.

Not one to shy away from politics, Waters preempted the inevitable whining before the show even started, suggesting by way of a public announcement that anyone that considers themselves a fan of his music but not his politics “might do well to f*** off to the bar right now.”

As the show kicked off promptly at 8:30 pm with “Comfortably Numb” it was admittedly difficult for the audience to grasp the stage. Set up in the round and shaped like a cross, the entire stage was segmented into four sections divided by a 12-sided cross-shaped screen. Different points of the arena could only see certain band members and Roger himself was no where to be seen. As the band launched into “The Happiest Days of Our Lives” the massive screen raised above the stage revealing Roger and his band in its entirety; suddenly it all made sense.

Split into two sets with an intermission between, the first act was a walk down memory lane for Waters with anecdotes around the setlist and his personal history narrated on the big screen and providing a unique way to provide context to the music without burning a bunch of time for between-song chatter.

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TVD Live: Riot Fest, 9/16

It is hot in Chicago. When I think about a festival in September, I think sweater weather and dress as such. As I walk from my car I realize this was not wise. It feels like we’re in the middle of the summer, and the crowds I see around the stages reflect this too. It’s shaping up to be a hot and sweaty Riot Fest this year.

I’m eager to see Foxy Shazam. I’ve heard they are very energetic, and this is the perfect way to start a festival weekend. Frontman Eric Nally and pianist Sky White steal the show with their stage presence, really commanding the crowd and connecting with anyone they make eye contact with.

I bounce over to catch Wargasm, an electronic rock duo from London. They recently toured the United States with the popular nu metal band Limp Bizkit, and you can see that the London duo took influence from the heavy hitters with their live performance which was entertaining from start to finish.

It’s nice to see Riot Fest veterans The Descendents and Taking Back Sunday on this year’s roster. Their sets are back to back and their stages are side to side, which makes it much easier for the shared crowd to catch both acts.

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Graded on a Curve:
Shaun Cassidy,
Wasp

Celebrating Shaun Cassidy on his 64th birthday.Ed.

If David Bowie was so weird, how come former teen hottie Shaun Cassidy’s cover of “Rebel Rebel” on his 1980 LP Wasp makes the Bowie original sound so … tame? Sure, Bowie’s half-pooch self on the cover of 1974’s Diamond Dogs is what you might call weird even though his dog dick’s been airbrushed out, but Shaun doesn’t have to resort to such gimmickry–he looks just like his White Anglo-Saxon Protestant (as in WASP!) self on the cover of Wasp, although he seems understandably nervous cuz he’s got a stinging insect on his face.

Often derided as a last ditch effort to resuscitate Cassidy’s moribund career, Wasp was produced by Utopian Todd “I’ll produce something/anything” Rundgren, who might have turned the album into a New Wave Bubble Freak masterpiece. Unfortunately, Sir Wizard and True Star stopped short at “Rebel Rebel” (more about which later), and filled the rest of the LP with what are largely workman-like covers of largely pedestrian material.

Wasp includes three Utopia songs–exactly three more, if you do the math, than any sane listener wants to hear. None deviate much from the originals, which is to say they’re once, twice, three times redundant, which in corporate terms means they’d be given severance packages and shown the door. Except wait: the title track is fascinating indeed: Shaun shouts “Hey cowboy, didn’t you used to be a faggot bartender in the West End?” (the lyric sheet reads “packy back” but I know homophobia when I hear it ), then confuses New Wave with punk (“You’re looking mighty New Wave/I hardly recognize you with that shish kabob through your face.”) In short it’s a hoot, in large part because it betrays poor Todd’s complete ignorance of current events.

The other two Rundgren tracks are useless: on “Selfless Love” Cassidy gets his heart broken and threatens to jump off a mountain, which is a pretty selfless thing to do if you ask me. “Pretending” gives Shaun the chance to get all theatrical, and gives the impression he’s auditioning for a role in Cats.

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UK Artist of the Week: Yellow Bellies

Brighton-based alt-rockers Yellow Bellies prove they’re ones to watch with the release of their scuzz-filled new single “Frankie,” out now.

Channeling the likes of Weezer and Pixies, Yellow Bellies put a modern spin on ’90s-infused rock, creating a sound that is full of fun and fierceness. Talking about the single the band elaborate, “I think we’ve all been in a relationship where either you or your partner over dramatically play the role of self-sabotaging heretic, heralding oneself as a martyr for love. And in this track she goes by ‘Frankie.’ So the songs really about that side of oneself that you hate to admit you either still have, or have experienced in the past.”

Having already made a name for themselves in their adopted home of Brighton, Yellow Bellies are now setting their sights on the wider world. Their eclectic sound journeys through many a genre, but at its core, Yellow Bellies provide a brutally honest expressionist appeal for the modern day craze.

“Frankie” is in stores now.

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Graded on a Curve: Andrew Cyrille, Elliott Sharp & Richard Teitelbaum, Evocation

Evocation documents a 2011 performance held at the NYC music space Roulette, organized by curator-vocalist Thomas Buckner as part of his long-running Interpretations series at the venue, that brought together Andrew Cyrille on drums and percussion, Elliott Sharp on 8-string guitarbass, bass clarinet, and electronics, and Richard Teitelbaum on piano, computer, and sampler. The brilliant and unpredictable results of this creative meeting are out September 30 on compact disc in a six panel wallet and on cassette tucked into a wraparound paper sleeve through the auspices of the Infrequent Seams label.

Even over the long span of decades, it’s easy to pinpoint how I first heard Andrew Cyrille. ‘twas Unit Structures, pianist Cecil Taylor’s 1966 masterwork for the Blue Note label, which I purchased in ’89, shortly after graduating from high school, on CD, as vinyl was rapidly disappearing in most suburban record stores at that point. Gripping and beautiful, Unit Structures served as my gateway into dozens of Cyrille’s recordings, including a bunch more with Taylor.

There was also Cyrille’s input on Charlie Haden’s Liberation Music Orchestra for Impulse from ’69, Marion Brown’s Afternoon of a Georgia Faun for ECM from 1970, plus Grachan Moncur III’s New Africa and fellow Taylor alum Jimmy Lyons’ Other Afternoons, both released in ’69 as part of the BYG Actuel label’s rapid-fire burst of avant-freedom.

Of Evocation’s three participants, Cyrille has the deepest ties to jazz tradition, having debuted on record in support of the great saxophonist Coleman Hawkins on The Hawk Relaxes, recorded in 1961 and released by Prestige subsidiary Moodsville. However, Cyrille’s albums as leader or co-leader are obviously more representative of his approach, starting with debut What About?, an LP of consummate solo drums released as part of the BYG Actuel series mentioned above.

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In rotation: 9/27/22

Edmonton, CA | Audiophiles stoked over new record store: Record stores in Edmonton may lose some of their out-of-town customers as Sunrise Records is set to open a new location in St. Albert Centre. Music lovers will soon have a new place to shop as the Canadian chain outlet Sunrise Records is set to open a location in St. Albert Centre. In a Sept. 12 Instagram post, the manager of specialty leasing for St. Albert Centre, Joshua Thomas, said, “The secrets’s out!!!” “We could not be more excited!!! Stay tuned as we gear up for their opening on [Oct.1].” For local record collector and Alberta Gaming and Liquor Commission employee Jessica Chapman, it’s about time a record store opened in the city. “It’s really exciting to see something new and something that’s popular with the younger generation come to the mall,” Chapman said in an interview. “As a record collector as well, I’m excited to have a place that’s just down the street that I can go to buy some new vinyls.

Norwich, UK | Lanes vintage store founder launches independent record label: A city entrepreneur has launched a record label for “working class musicians” having already found success with his Lanes vintage store. Jack Ames is the co-owner of Lowell in Pottergate, a record and vintage clothing shop. He has now launched Lowell Records geared toward helping Norwich musicians have their music pressed to vinyl in an “affordable and sustainable way at the highest quality.” The shop, which opened early last year, has already proved a hit meaning Jack felt confident enough to move on to his next project. He said: “There needs to be someone who’s really trying to help new musicians get their leg up in an industry that’s growing exponentially every year. “For the time being we plan to keep it local. I don’t think there’s a necessity to find bands from further away when there’s so much good music in Norwich.” The brand has partnered with Detroit-based records company, Third Man Pressing, to create the vinyls.

Oran, DZ | Iconic Algeria record store’s fortunes revived by DJ Snake: Legendary Algerian music label Disco Maghreb, which launched the careers of some of the Rai folk-inspired genre’s most famous stars, has seen a revival thanks to a hit song by DJ Snake. This week, the label’s miniature headquarters at a long-shuttered record store in the eastern city of Oran will receive another prominent guest: French President Emmanuel Macron, whose official visit will be focused on outreach to youth in the North African country. Owner Boualem Benhaoua, 68, said he has “so many memories in the music, so many memories with Rai singers, they all came through here.” Cheb Khaled, Cheb Mami, Cheb Hasni and Cheba Zahouania are among the most famous stars of the genre, which emerged in 1920s Oran but became a major world music genre, particularly popular in Algeria’s former colonial ruler France.

Yuba City, CA | Show up and play: New open mic venue in Yuba City: Sound Annex in Yuba City is quickly approaching its one year anniversary. This new record store features a variety of LPs, CDs, DVDs, tapes, and more in addition to its in-house music lessons and other fun community events. Starting with “Friday Freakout” in July, owner Chris Holmes has opened up the shop’s parking lot to accommodate live music and host a series of monthly open mics. These “pop-up” style events are usually advertised on social media with funky titles and alternative artwork that appeal to the area’s “hip” demographics. Sound Annex’s third and newest open mic, “Show Up Pop Up,” is scheduled from 6 to 10 p.m. on Saturday at 529 Plumas St., with set up starting at 5 p.m. “This is an outdoor event that will feature local artists, paintings, sculpture, handmade gifts, vintage jewelry, vinyl records and more. Show Up Pop Up is for local artisans and creatives to showcase their work and sell to the public.”

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TVD Live Shots: Iron Maiden with Trivium at the Honda Center, 9/21

The first of two sold out Iron Maiden shows was nothing less than spectacular for the 10,000+ in attendance in Anaheim on Wednesday night. It was if someone flipped a switch and miraculously transported fans within the Honda Center, well… Somewhere Back in Time. This performance had everything one would expect at an Iron Maiden show—amazing pyro, a killer set list, unbridled energy (courtesy of Steve, Dave, Adrian, Bruce, Nicko, and Janick), and of course—EDDIE! Combine that with the most rabid and insatiable metal fans on the planet, and this show had all the ingredients necessary for a powder keg of TNT to be detonated within the heart of Southern California. For many, it was Maiden’s best live performance in over a decade. For me, it was a dream come true.

For those that know me, it’s no surprise that Iron Maiden is one of my all-time favorite bands. I’ve been a fan since I was introduced to Piece of Mind back as a teenager in 1983, and there was no turning back from that point forward. That album changed my life, and my appreciation for what I consider true Heavy Metal. Many have asked me where my obsession with Iron Maiden actually came from. Maybe it was Steve Harris’s unmistakable baselines? Maybe it was Bruce’s high-pitched screams? Maybe (just maybe) it was Maiden’s unmistakable imagery. While I’ll probably never be able to pinpoint it, I’m sure it was all of the above and so much more over lifetime of killer albums and amazing live shows with a band that I consider true rock royalty.

Kicking off the festivities on Wednesday night was none other than Trivium. Hailing from Orlando, this killer quartet has been kicking ass and taking names since 1999, and their opening set at Honda Center was no exception. As lights dimmed, Matt Heafy walked out center stage, threw up some “horns” to the thousands now in attendance, and immediately stuck out his trademark tongue as the band launched into “Silence in the Snow.”

Lighting was eerily moody throughout Trivium’s abbreviated 7-song set, but Heafy, along with Corey Beaulieu (guitars), Paolo Gregoletto (bass), and Alex Bent (drums) pulled from the pain and gifted the masses one incredible opening set. My favorites from the evening included “The Heart From Your Hate” and “Strife,” while others gravitated toward “The Shadow of the Abattoir.”

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TVD Live Shots:
Three Days Grace at
the O2 Forum Kentish Town, 9/15

It’s easy to write off Three Days Grace as just another alt-metal band from the early 2000s, but that would be the cliched thing to do and the easy way out.

The fact that they have a record 17 number-one singles is a testament to how they stand out by a long shot among their peers and the long line of copycats being snatched up by major labels after they hit it big with their self-titled debut. Even I was a bit hesitant when I heard “I Hate Everything About You.” But I was quickly sold on “Home” as I thought this was one of the best rock songs from that entire decade. Great lyrics, chunky riffs, and even a bit of passion and soul in the chorus. It sounded like this guy was singing from the actual experience of this story happening to him, right there.

I have to admit I lost track of the band after original frontman Adam Gontier left, but I was intrigued when I saw that they were coming to London. I hadn’t seen these guys since I lived in Austin, Texas, more than thirty years ago. Now fronted by former My Darkest Days singer Matt Walst, the band is still going strong, having just released their latest album, Explosions. They don’t seem to tour very often in the UK, so I was interested to see what the crowd would look like. American alt-metal bands from that era were a bit hit and miss when they hit London, but this show was sold out. 

The O2 Forum in Kentish Town was jammed to the gills. The crowd was a mix of new and old fans alike. One younger guy I ran into said he’d never heard of Three Days Grace and that he was more of an Ed Sheeran fan, but his girlfriend dragged him to the gig as she was a massive fan. I saw them on the way out, and it looked like he had converted.

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Graded on a Curve:
Bryan Ferry,
Live at the Royal Albert Hall 1974

Celebrating Bryan Ferry on his 77th birthday.Ed.

Bryan Ferry’s solo discography commenced in deceptively lowkey fashion with a pair of covers albums in 1973-’74. The setlist for BMG’s Live at the Royal Albert Hall 1974 draws from those records as it showcases the man’s sturdy, distinctive pipes and equally unique interpretive skills plus a killer band including guitarist Phil Manzanera, guitarist-musical director John Porter, pianist-violinist Eddie Jobson, bassist John Wetton, drummer Paul Thompson, and saxophonist Chris Mercer. 

An eternally sharp dresser with an erudite croon, Bryan Ferry can be synopsized as the high priest of chic. However, the sheer brevity of this designation ignores the atypical and occasionally downright oddball aspects of his personality; the art-school (big on Duchamp, he was), the art-rock (bandmate of Eno, he was), the smoky late-night lounge (a persistent component in his image, it was), the jetsetter (ditto), the student of pop (as revealed in numerous interviews and journalistic portraits over the years). All are traits that have fortified his work both with Roxy Music and as a solitary operator.

If you know Bryan Ferry’s solo debut These Foolish Things and its follow-up Another Time, Another Place, then you’re already hip to what transpires on Live at the Royal Albert Hall 1974. With the exception of “A Real Good Time,” a Ferry original from Roxy Music’s Country Life (released roughly a month prior to this performance), all the songs are drawn from his first two, and the only other non-cover is the title track from his second.

If you don’t know those records but do know Ferry, perhaps picking up the career thread at Roxy’s Siren (with its big hit single “Love is the Drug”) or maybe having just absorbed a latter portion of his long tenure as the Svengali of suavedom, this archival set needs a little contextualizing. Because for some, the contents, at least as represented on those solo LPs, inspired some head-scratching.

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Graded on a Curve:
Deep Purple,
Concerto for Group
and Orchestra

I guess you had to be there. You should be glad you weren’t there. If you’re not glad you weren’t there you should schedule an appointment with a psychiatrist immediately. She won’t be able to help you, but she will take your money and urge you to come back so she can take more of your money.

The “there” I’m talking about was the Royal Albert Hall in September 1969, where Deep Purple collaborated with the Royal Philharmonic Orchestra on a concerto composed by organist Jon Lord with lyrics written by vocalist Ian Gillan. I will state from the outset that said collaboration was more than just a misbegotten child—it was a harbinger of worse to come from the likes of Procol Harum, Rick Wakeman, and Caravan. Deep Purple have a lot to answer for.

Rock music was moving in a classical direction at the time, a trend that would ultimately leave us cringing to the neo-classical abominations of Wakeman and, God help us all, Emerson, Lake & Palmer, who dispensed with the live orchestras in favor of their own adaptations of classical chestnuts. But Deep Purple were the first, the pioneers of pomp and circumstance, and hence occupy a place of honor in the Museum of Musical Monstrosities.

The Concerto for Group and Orchestra is composed of three movements, or four too many in my opinion. You get exactly what you’d expect, pretension piled upon pretension to create a veritable mountain of pretension you’d be a fool to scale without harness, carabiners, and jackhammer-grade ear protection.

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In rotation: 9/26/22

Dallas, TX | Best Vinyl Store: Forever Young. The giant jukebox-shaped arch over the door at Forever Young makes a great photo backdrop, but if you’re scouting for a setting with vinyl records as props for your latest TikTok video, go embarrass yourself elsewhere. Forever Young is a destination for true-blue lovers of music, in all mediums and all ages. Filled with troves of CDS, vinyl and cassettes, the massive store has a room dedicated to rare records. There’s an unmatched assortment of memorabilia, such as vintage Beatles masks and velvet Elvis paintings, and new posters that are perfectly priced for broke teenagers. If you’re looking for a Sir Mix-a-Lot T-shirt (because why wouldn’t you be?) and to grow your album collection, this must be the place.

Silver Spring, MD | ‘Love Your Stuff’: Silver Spring Shop Sells Curated Books, Records: Mojomala Books, Records & Cool Stuff has been attracting locals as well as customers from D.C. and Virginia to its Silver Spring store. Located off the beaten track in Silver Spring’s central business district, Mojomala Books, Records & Cool Stuff has been attracting local residents as well as customers from D.C. and Virginia to its store since early July. An avid collector since he was a young boy, Mojomala’s owner, Michael Abate, has amassed an impressive collection of record albums, clothing and books. Many of the items he had previously made available online can now be purchased in-person at reasonable prices at Mojomala, his curated store in downtown Silver Spring. Abate believes it’s his curation of the merchandise that makes his store stand out from the crowd. “What I’ve heard from customers is, ‘This is amazing. Every place I look, there’s something that’s interesting. It may not always be for me, but it’s cool. None of it is trash. It’s all quality stuff.”

Honolulu, HI | Inside the 15,000-strong record collection at Hawaii’s State Archives: A donation of two extensive collections is revealing new links to cultures at risk of being lost. Two of the world’s most comprehensive collections of Hawaiian music are now in the hands of the Hawaii State Archives in the heart of downtown Honolulu. In December 2021, a total of nearly 15,000 records almost entirely composed of Hawaiian music, with discs dating back to at least 1903, were donated to the organisation by the respective estates of Hawaii-born radio broadcaster Harry B. Soria Jr. and British-born, Toronto-based musician Michael Scott. From a collector’s standpoint, you could say this is the come-up of a lifetime — but that falls short of the true value at hand. Combined, these collections represent a direct connection to a long out-of-reach era of Hawaiian music and history, with the potential to form a greater understanding of the Islands’ heritage.

Iowa City, IA | Big Grove Vinyl Market returns to Iowa City, launches next month in Des Moines:It’s a fun atmosphere to sell records in,” Brian Brandsgard told Little Village of the aesthetics and energy Big Grove Brewery in Iowa City. “It’s just a perfect place to have it.” Brandsgard is the organizer of the Big Grove Vinyl Market, which he has held periodically at the brewery since it opened five years ago. Now, in the wake of the brewery’s recent expansion to Des Moines, Brandsgard is testing the waters there, too. Big Grove Vinyl Market, coming up on Sunday, Sept. 25 at Big Grove Brewery Iowa City and Sunday, Oct. 2 at Big Grove Brewery Des Moines, will feature vendors from across Iowa and Minnesota. Included on the list of those selling is Brandsgard himself, whose introduction to selling vinyl arose out of a period of tragedy in Iowa’s history.

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TVD’s The Idelic Hour with Jon Sidel

Greetings from Laurel Canyon!

Sitting at this party / Wondering if anyone knows me / Really sees who I am / Oh, it’s been so long since I felt really known

Fragile in the morning / Can’t hold on to much of anything / With this hole in my hand / I can’t pretend that we always keep what we find / Oh, yes, everybody splits apart sometimes

Living in the wake of overwhelming changes / We’ve all become strangers / Even to ourselves / We just can’t help / We can’t see from far away / To know that every wave might not be the same / But it’s all apart of one big thing

Oh, it’s not just me, it’s not just me / It’s not just me

New from Weyes Blood. These lyrics are a motherfucker—a really great reflection and I relate.

This week if felt like our city dodged the crossfire felt in cities around the world. The weather that I love to chat about was classic LA Indian summer conditions. Personally, I had a bump in my road. I had a bad reaction to my covid booster and was out for almost two full work days with a splitting headache.

For those hours, all of the things that keep me going—music, food, TV—were just too much for my consumption. I didn’t panic, but can’t help reflecting upon how grateful I am to be back to my computer, listening to music, and eating crunchy day-peppers and cucumbers.

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  • SUPPORTING YOUR LOCAL INDIE SHOPS SINCE 2007


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