“I definitely attribute my appreciation for vinyl to my high school boyfriend. I don’t know how he knew so much about music, but he was always seemed ahead of the listening curve.”
“He happened to have a turntable, from which he proudly played plenty of music, but the albums that really stuck of my novice ears were Fragile by Yes, Trespass by Genesis, and Starless and Bible Black by King Crimson. He also turned me on to jazz too, and one of the first records that I can recall purchasing was Miles’ Davis’ Bitches Brew. I also enjoyed getting lost in the visual world of album covers, liner notes, and gatefolds. Sure, vinyl’s not as portable as mp3s, but I love how its large format requires a grounding, immersive experience.
I’ve lived in three different group homes in the past three years, and instead of having a TV as the focal point of the common space, we had a turntable. In recent years, it seems that I mostly purchase vinyl from contemporary musicians, often times after seeing them put on a good show. I want to support touring musicians, as I know many people who are on and have been on that musical path. When I first moved to DC, I befriended Sean Peoples of Sockets Records as well as a few bands involved with that local label, like Buildings and Hume. That gave me an intimate glimpse of the commitment, challenges, and rewards of doing DIY runs of vinyl pressings. And it inspired me.
While recording my first album Dérive, I explored the possibility of pressing it on vinyl. Ben Schurr, my main sound engineer, strongly encouraged me to do it. He’s obtained plenty of experience self-releasing music through his label Blight Records as well as with Philadelphia’s Edible Onion. Like Sockets Records, seeing these labels’ craft and dedication further convinced me to give it a go.
I feel like musicians should have recordings, the way visual artists have portfolios. Making a record allows you to display and, if you choose, distribute your work. To me, albums can be performances of a certain kind, a one-time occurrence, an offering from an artist. I admire musicians that have a strong success with harnessing the internet to spread their music, but I knew that I wanted this album to have more than a digital home.
I’m really grateful that my friend Thomas Seim of Deep Woods Collective told me about Furnace Pressing for manufacturing vinyl. They’re local, super friendly, and supportive. If you ever plan on self-releasing a vinyl record, just give yourself enough resources and time. Seeing the album come together in all of its stages was an interesting and exciting learning experience. It helped me understand and appreciate the vinyl medium even more.
I’m glad that I’ll have this record to offer during future shows. I’ve been preparing a special performance for the release show, collaborating with friends to create live renditions of the album. I’m really looking forward to composer Ethan Foote’s string arrangements which he’ll perform on select songs, joined by members of the string ensemble Invoke (Nick Montopoli on violin and Geoff Manyin on cello). The show will be a balanced blend of songs from Dérive as well as new material.”
—Marian McLaughlin
The release show for Marian McLaughlin’s Dérive takes place this Thursday, 1/16 at DC9. RSVP on Facebook.
Marian McLaughlin Bandcamp
