Totem Terrors are no strangers to The Vinyl District, so it seems only natural for them to be our Artist of the Week this week. Having already released distortion-heavy, post rock singles “Big E” and “Narrowman,” Totem Terrors are set to release their second album Hard Science, out on June 29th.
Totem Terrors are a band with so much to give; Hard Science is overflowing with chanting vocals, distorted guitar riffs, and a whole load of attitude. If you’re into the likes of Big Black and Swans, Totem Terrors will not disappoint you.
The duo—Max Hicks (vocals, bass, and drum programming) and Rosie Smith (vocals, guitar, and synth)—have already picked up airplay from BBC 6 Music and Amazing Radio and will be touring throughout the Summer.
Greater Manchester’s most in the know radio host Shell Zenner broadcasts the best new music every week on the UK’s Amazing Radio. You can also catch Shell’s broadcast here every Wednesday at TVD.
“Featuring tracks from Our Girl, Bad Suns, Bully, HOLY, and Martha Ffion.Sun Club Interviewed, Oscar on the bandstand, Even The Stars Tips…” —SZ
The Western Hemisphere has just entered prime beach season, which of course means swimming, soaking up rays in the sand, sipping upon cold beverages to help counteract the swelter, and for beings of adventuresome and athletic nature, the riding of major waves. But if one is faced with landlocked circumstances a perfectly acceptable alternative is cranking up Anthology Recordings’ reissue of the OST to Stephen Spaulding’s surf film Bali High. Gills-drenched in appropriate vibes, it also spotlights the ingenuity of musician-composer Michael Sena. It’s out now on 2LP/CD/digital.
Whilst enduring my teenage years a steady rise in clumsiness unfortunately became tangible, and thusly skateboarding, skiing, and surfing essentially got lumped together as activities best avoided in the safeguarding of physical health. However, I did enjoy skate and surf rock (I know not of a corresponding mountain genre of the slopes), though gradually clear was that a lot of surf music didn’t actually impact the listening diets of those having shaped up the subculture.
A whole bunch of real estate spreads out between the coasts of the United States, and a significant portion of surf rock served that market in a manner kinda similar to Exotica; residing closer to the root of true surf was Dick Dale, The Ventures, The Chantays, The Surfaris, and more so scads of obscure regional acts, a high number of them hailing from Southern California, but surf music’s reality was undeniably somewhat messy. For instance, many quickly adapted to hot rod themes in hopes of expanding audiences instantaneously snatched away by the tsunami of the British Invasion.
So the story goes, anyway. In 1966 The Endless Summer appeared, giving voice to a legitimate way of life amid the death throes of faddishness. Scored by The Sandals (or Sandells, who curiously went on to contribute the soundtrack to Dick Barrymore’s ’67 skiing doc The Last of the Ski Bums), Bruce Brown’s documentary is the obvious starting point of any tour through surf culture’s audio-visual component.
See the San Diego Record Store That Collapsed From Too Much Vinyl: Thrift Trader’s second floor gave way from being overstuffed with boxes of LPs
SLASH: I Think There’s Something To Be Said For The Sound Quality On Vinyl: “I grew up in the age of vinyl, which is a huge contrast to what it feels like to purchase an album now and what that felt like as a fan, from sonic quality to artwork…”
New Order Announce New Album: Music Complete: 25th September 2015, “The album will be released on CD, download and limited edition clear vinyl. In addition, there will be an exclusive 8-piece deluxe vinyl collection that includes the album plus extended versions of all 11 tracks on coloured vinyl…”
David Bowie Readies Five Years 1969–1973 Box Set, Six remastered albums, two live albums, a compilation of non-album cuts: “The box—12 CDs or 13 LPs—includes six remastered studio albums, two live albums, and a compilation called Re:Call 1. Re:Call features non-album tracks and previously unreleased material from that period…”
Songbyrd hits the right note: A new experience for music and food lovers, “The collection of records for sale at Songbyrd is small, but carefully curated. ‘I feel like we’ve started to get a following of people who know that they’re very quickly going to find something,’ Lapan says about the collection, which is comprised of mostly new and some used albums…”
Vinyl collectors fair comes to Kendal: “The Kendal vinyl record collectors fair returns to the parish hall at Kirkland on Saturday from 9am until 3pm…”
How To Love Your Vinyl – Care, Maintenance & Storage: “Care is critical to the performance and longevity of your vinyl. Understanding what it needs to play – and stay – at its optimum is a learning process…”
My Morning Jacket scorched their way through three sold-out shows at the historic Chicago Theatre, proving to all who witnessed that they are still one of the greatest live bands ever to grace the stage.
No matter how many times I see this band live, they do not cease to amaze and impress me. Each night was unique and special—not one song was repeated throughout the course of their most recent Chicago residency. But a couple of things were consistent every night: they jammed their asses off for 2.5 hours and their light show was spectacular (like, DAZZLING).
These guys are true masters of their craft and damn it’s truly something special to see. Between Jim James’ gorgeous, swirling voice (which sounds stronger than ever, I might add), Carl Broemel’s backing vocals and guitar solos (and don’t forget about his sexy sax solos!), Patrick Hallahan’s commanding presence (best hair ever) and extraordinary drum skills, (Two Tone) Tommy Blankenship’s thumping bass and debonaire suits, and Bo Koster’s piano wizardry (clearly the keyboardist with mystique), the men of My Morning Jacket filled the historic venue with their songs and—more importantly, spirit.
Kevin Sekhani, the former vocalist for the Mercy Brothers and longtime member of the Austin music scene, releases his solo debut today on Louisiana Red Hot Records.
A native of Lafayette, Louisiana, his new record combines the influences of southwest Louisiana and the progressive Americana of Austin.
With backing from musicians who have worked with Son Volt, John Mellencamp, and Patty Griffin, the new album layers instrumentation including violin, mandolin, accordion, and acoustic guitars exuding the feeling of back porch jam on a Louisiana Saturday night.
“I used to work in a record store. It was (and still is) called Toonerville Trolley, owned by a lanky, tufty haired dude named Hal March. Hal’s shop was shotgun style, a long hallway front door to back with CDs and box sets as you walked in by a hand cranked register—shelves of vinyl by the bathroom in crinkled plastic sleeves.”
“When Hal was working there was always loud and fucking weird music playing, distorted free jazz solo saxophone explorations recorded in a basement somewhere. He would tell me about shows he’d gone to, shows you would have to wear the kind of headphones you’d use when lawn mowing for hours or directing airplanes down a runway.
I loved working at Toonerville and I made no money. My paycheck went towards buying out Hal’s stock at wholesale price so I guess NEITHER of us made any money, but he had a kid to lock the doors for him when he wanted to go home or take a day off.
Anybody who has listened to Def Leppard at any point in their life has their own personal, lasting memory of the band during their thirty-five-year career—a group of young, brash Brits greeting the States in rock anthem style with “Hello America,” Joe Elliott’s Union Jack shirt nearly ubiquitous on MTV, or “Pour Some Sugar On Me” propelling them to superstardom.
Rather than relics, Def Leppard has both fully embraced their past and moved into the present—exuding a youthful energy and sounding top-notch. Prior to embarking on a U.S. tour with Styx and Tesla, we had a chance to chat with the band’s iconic lead singer, Joe Elliott.
While Joe may not share the same enthusiasm for the vinyl format as some of our readers and staff, he both embraces its history and sees its place from a musician’s perspective as his side project, the Down ‘n’ Outz, released a vinyl EP for Record Store Day 2015 in the UK. Joe gave us a look at Def Leppard’s past, present, and potentially long future, as only he could.
As we go to press, it’s been announced that the band’s guitarist, Vivian Campbell will be taking a hiatus from the road due to the return of the cancer he’s fought bravely in recent years. It’s in this light that Joe’s comments on the band’s future prove both thoughtful—and prescient.
Hi Joe, how are you doing?
Excellent, not too bad at all.
Good to hear! You’re about to kick off a huge summer tour with Styx and Tesla. How did that combination come together?
These combinations are all suggested tours made on the premise that we want to tour with people that we are familiar with or the audience are familiar with. In other words, kind of like the old ’60s package tours, if you like. I’m a huge fan of these old Fillmore West and Fillmore East—or even the Marquee London posters—with The Who on the same bill as The Move or Amen Corner or Humble Pie, or something like that. Not just bands that are “special guests,” which I hate.
We’ve always said to agents through our management, “Throw suggestions at us who we could go out with.” That’s why every ten years or so, you’ll see us out with the likes of Bryan Adams ten years ago, Journey, Poison, we’ve been out with Styx and REO [Speedwagon] before, Cheap Trick, Heart, you know. These bands are multi-platinum bands.
We toured with Tesla back in ’87-’88 when we were doing the Hysteria tour for most of that tour. When they went away, we went out with bands like L.A. Guns, Queensryche, or Europe. These bands are all selling two, three million albums, so we were always out with well-known bands, and I think it makes a better night. Ticket prices, especially these days, you know, parking, and ten dollars for a beer. You’ve got to make it a value for the money. I think that should start at 7:30, not at 9:00.
Medway Towns UK-based Bob Collins is most prominent as part of the increasingly revered and long defunct ‘80s band The Dentists, but in contemporary terms he fronts the Full Nelson, a trim pop-rock unit radiating a classique vibe without faltering into throwback. Loaded with melodies and riffs, Telescopic Victory Kiss is bold in its dedication to the basics; it’s available now on CD via Jigsaw Records.
Formed in 1984 and extant for roughly a decade, The Dentists were but one thread in indie pop’s magnificent weave. Occasionally aligned with the C86 uprising, The Medway group wasn’t part of that compilation’s original sequencing, though “Peppermint Dreams” was included on Cherry Red’s expanded NME C86 Deluxe set from last year.
Like many yanks, this writer made his acquaintance with The Dentists through Dressed, the 1992 CD issued in the States by Homestead Records. 23 tracks deep, it culled material from inaugural ’85 7-inch “Strawberries Are Growing in My Garden (And It’s Wintertime),” the Some People Are On The Pitch They Think It’s All Over It Is Now LP from the same year and three EPs: ‘85’s “You and Your Bloody Oranges,” ‘86’s “Down and Out in Paris and Chatham,” and ‘87’s “Writhing on the Shagpile.”
After an admirable run they called it a day in ‘95. Individual members have remained musically engaged since, though nothing thus far has managed to equal The Dentists’ gradually rising stature. Regarding Collins, as early as ‘92 he was helping to comprise the three-piece side-combo Ascoyne d’Ascoyne; their fine 3-song slab of melodic garage punk “Just the Biggest Thing” was issued on producer and Medway vet Wild Billy Childish’s Hangman Records.
How Tech is Powering This Vinyl Record Shop: “…In an age where most music is streamed or downloaded, Paramita reimagines the shopping experience, stocking only vinyl records and cassettes. Customers sample songs from a tablet in a special digital listening lounge, but only after chatting with one of the shop’s four partners — versed in everything from hip hop to jazz to noise and punk. These simple conversations connect listeners to new artists and genres…”
“Oregon Company Finds Its Groove In Vinyl: A trio of entrepreneurs has opened what they believe is Oregon’s first vinyl record pressing plant. Cascade Record Pressing is delivering orders from an industrial space in Milwaukie…”
Wax Stacks Storage and LP Record Crates (no tools/screws): “You love your vinyl collection. Do you love your crates? Wax Stacks are made from Baltic Birch. No tools. No hardware. Built to last.”
Kim Gordon’s ballet score to be released on vinyl, 250 copies will be pressed: “Last year, Sonic Youth’s bassist-vocalist Kim Gordon was commissioned to create music for Inversions, a ballet conceived by New York artist Nick Mauss. Now the audio is to receive a limited edition vinyl release…”
Vinyl Records Led to Floor Collapse at Hillcrest Business: Fire Officials “Too many vinyl records stored on the second floor of a Hillcrest building caused a collapse that damaged a popular thrift store. Thrift Trader on University Avenue near Normal Street suffered significant damage when the second floor collapsed overnight.”
PHOTOS: RICHIE DOWNS | On the heels of the release of their third studio album, Best Coast took over the east coast Tuesday night as they played to a sold-out crowd at DC’s 9:30 Club. It was a familiar setting for the band who was there for the third time as headliners for a packed house, as front-woman Bethany Cosentino pointed out about halfway through the show.
Technically a duo, they were accompanied by a drummer, bassist, and additional guitarist for the live show, because it seems Bobb Bruno has yet to master playing all of these instruments simultaneously. While both members of the duo have versatile musical backgrounds, they seem to have found a groove within their surf-rock sound.
Although on the recorded tracks the vocals are usually layered beneath reverb, there were no such effects for the live show. However, Bethany’s vocals were strong enough to carry the songs without any issue. They definitely brought their A-game to the 9:30 Club, but with a casual attitude crafted by years of playing festivals and headlining shows.
All jokes aside, New Jersey is a pretty great place. While it has a lot to offer as a state, it also has a rich musical history of which many people remain unaware. Everyone knows Sinatra and The Boss, but there’s much more.
Tune in to Garden State Sound with Evan Toth to explore the diverse music with connections to New Jersey. You’ll hear in-depth interviews with some of Jersey’s best music makers and have the opportunity win tickets to some of the best concerts in the state.
“This week, we continue to prepare for the Cape May Singer Songwriter Conference, but also stretch out a little. There is a nice set between two Jersey boys: Tony Bennett and Bill Evans, and a wacky American standard. Much more, of course.
It’s another week of music in the Garden State! Tune in!” —EZT
The press release that accompanies Outblinker’s debut EP ‘Pink / Blue’ is like a punch in the face, only friendlier and with the added bonus that reading it meant that we couldn’t NOT listen to their latest release. And boy, they do not disappoint.
There are only two tracks on “Pink / Blue” and they take their names from the EP’s title. Opener “Pink” is like audio speed—there’s a little bit of a build up and then BAM—you are ears deep in synths making the kind of noises your mother told you to avoid, and noisy, driving guitar and drums pushing everything forward so urgently that you barely even notice the 11 min playtime. There are so many cheeky little licks throughout the song, that each time you hear it—depending on which instrument you decide to follow—there is something new to make you go “GodDAMN this is dirty!”
Now, if they were any other band, you’d use the second track to chill things out a little, maybe wind it down and show off their mellow side. Outblinker are not any other band. There is some respite in “Blue”’s build up, but once it peaks we’re dropped into a deliciously nightmarish John Carpenter vision of distortion and sweeping synthesisers.
When Janet Schiff pressed play on a CD of an old Wollensak reel-to-reel tape recording, Victor DeLorenzo didn’t know what to expect. They were listening to records when Janet asked if he wanted to hear her grandmother play the organ. He said yes. No, he wasn’t just being polite.
Marguerite Schiff, Janet’s grandmother, was an eccentric and beloved Wisconsin character. She was a gifted musician who sang and played piano, accordion, and organ and toured America doing just that. Marguerite and her piano were never separated; it went with her wherever she traveled—even to the Bahamas where she “wintered.” When the entire state of Wisconsin got to vote on the very first thing they’d ever see on television, they chose Marguerite.
“There were a few different songs that she played,” the Violent Femmes co-founder recalled. “When it got to this version of ‘Summertime’ well, to be quite frank about it… ‘Summertime’ is a wonderful song, but it’s been so overdone. But there was something about her version with just that organ; it was so ghostly and so hauntingly elegant the way she played it.”
The moment DeLorenzo heard the fifty-year-old recording, he knew it was a perfect project for his band, Nineteen Thirteen. Named for the year in which Janet Schiff’s cello was crafted, the “heavy chamber rock” trio make a habit of subtly blending both old and new sounds to create unique musical traditions of their own. Without a doubt, Marguerite would feel right at home with the band.
Rock flute is one of mankind’s greatest evils. An abomination so unsavory that, following Focus’ infamous flute work-out “Hocus Pocus,” the world’s 195 nations called for an emergency meeting in Geneva to put an end to the practice. The result was the Hocus Pocus by Focus Treaty of 1972, which was signed by 192 nations. Unfortunately, the 3 countries that declined to sign the treaty were Liechtenstein, the United Kingdom, and the United States. It is for this reason that we have South Carolina’s Marshall Tucker Band, a southern rock outfit that flaunted the flute in its songs, no matter how incongruous the combination.
But here’s the odd thing—more often than not, the damned flute works. It shouldn’t work, it literally can’t work, but work it does. It may induce severe cognitive dissonance in many individuals, and horrific Jethro Tull flashbacks in others, but if you listen long enough you’ll come to a grudging respect for the band’s obstinacy. If you don’t like the flute, they’re basically saying, we have a good idea where you can shove it.
Some history in brief: In 1972 a crew of Spartanburg boys changed the name of their band from the Toy Factory to the Marshall Tucker Band—a name they took from a blind piano tuner, whose name was inscribed on the key to their rehearsal space—and went into the studio to record their self-titled debut LP. Released in 1973, it turned out be a Southern rock classic, and the band (which consisted of Toy Caldwell on lead vocals, guitar, and steel guitar; Doug Gray on lead vocals; Tommy Caldwell on bass; George McCorkle on rhythm and acoustic guitars; Paul Riddle on drums; and Jerry Eubanks on flute and alto sax) never looked back. The band got by on excellent musicianship and a parcel of great songs by Toy Caldwell, who played a mean guitar and had a gruff and powerful voice to boot; if you don’t like the way he manhandles the great “Can’t You See,” one of my favorite songs Southern rock songs ever, you’re an incorrigible Yankee and likely to remain an incorrigible Yankee until the day you die.
Greater Manchester’s most in the know radio host 
All jokes aside, New Jersey is a pretty great place. While it has a lot to offer as a state, it also has a rich musical history of which many people remain unaware. Everyone knows Sinatra and The Boss, but there’s much more.
