Part four of the TVD Record Store Club’s look at the new and reissued releases presently in stores for April, 2020. Part one is here, part two is here, and part three is here.
NEW RELEASE PICKS: GRID, Decomposing Force (NNA Tapes) Featuring Matt Nelson (Battle Trance, Elder Ones) on saxophone, Tim Dahl (Child Abuse, Lydia Lunch Retrovirus) on bass, and Nick Podgurski (New Firmament, Feast of the Epiphany) on drums, this is GRID’s second album after a self-titled debut in 2017 (that one’s still available on cassette, this one’s on LP), though last year they also collaborated with Lydia Lunch on a sweet track as tribute to key Beat writer Herbert Huncke. Decomposing Force is a brutal but also atmospheric slab of post-free jazz-molten noise-Industrial strength improv scorch that should briefly cheer up those who are perpetually saddened by the lack of biannual releases from Borbetomagus. It’s not quite as hammer-down as that trio (notice I said atmospheric) but it definitely has the potential to be a room clearer. So, don’t play it during quarantine. Unless you’re hanging with a bunch of Wolf Eyes fans, in which case the party’s just getting started. What a lucky fucker you are. A
Harkin, S/T (Hand Mirror) Although she has a ton of experience as a touring musician along with a few studio credits including Waxahatchee’s Out in the Storm, this is the debut from Katie Harkin, which is also the first release on the ambitious new label she’s formed with her partner, the writer Kate Leah Hewell (they describe Hand Mirror as a “creative community,” with literary publications and live events part of the plan). The eponymous effort is a solid one, reinforcing her background along with smarts in choosing collaborators; the set features the drums of Stella Mozgawa (Warpaint) and Jenn Wasner (Wye Oak, Bon Iver). Additionally, Harkin reveals savvy in combining a live foundation with electronic elements including samples and synths.
As said, savvy: the record doesn’t really go in for an electro-poppy sound but is instead mildly reminiscent of the sorta “serious” high-tech album statements that occasionally emerged during the 1980s, though even with a few post-Gothy strains and Kate Bushy motions, this general tendency doesn’t feel like a calculated state of affairs (which is to say, maybe you won’t hear it, and it might’ve not been her intention). Part of why has to do with Harkin’s guitar playing, which is most assertive early (vaguely like Barney Sumner in early New Order in opener “Mist on Glass”) and late (in closer “Charm and Tedium”), but the biggest reason is that it’s clear Harkin isn’t striving to fit into any sort of stylistic niche. Her songs are as strong as her singing, and I’d say this is a promising record, but really, she’s already essentially delivered. A-
Los Angeles, CA | Facing an uncertain future, Amoeba Music launches GoFundMe campaign: ‘We are in trouble’: Things were looking bleak for Amoeba Music even before the COVID-19 crisis closed in on California. Foot traffic was dropping. The flow of tourists was dwindling. And the familiar faces often obscured by rows of endless records had all but disappeared as they grew apprehensive of their tactile, treasure-seeking hobby. On the Monday that Amoeba shuttered for the foreseeable future, all three of their record shops had collectively generated about a third of the sales they normally make in a day. Now, as the duration of the closure creeps past a month, San Francisco manager Tony Green says there’s very little money coming in — and the bills aren’t going away. “It’s been tough going for all three stores, and COVID-19 has taken our condition from serious to critical,” he said.
Chicago, IL | Pandemic can’t scratch virtual Record Store Day: Beverly Records, 11612 S. Western Ave., has always displayed a knack for staying on the cutting edge of a business linked to yesterday. Its “Facebook Live Shopping Event” on Thursday, April 23, at 7 p.m., will be the most recent example of an old hound dog coming up with cheap tricks to give the people what they want. With Record Store Day 2020 shelved during the pandemic, Beverly Records’ men at work ironed out the kinks to connect directly through technology to help shut-ins get the latest in vinyl releases and re-releases that they otherwise would have purchased after standing in line in the morning dew. “We have been busy picking out some really cool records, and now they are ready for distribution,” said Beverly Records Owner Jack Dreznes, whose connections in the industry have helped him secure many coveted recordings. Facebook users can tap into Beverly Records’ live video feed, and they can expect the following from the comfort of home: Two records will go up for sale at the same time. The viewer posts the comment “claimed” to purchase the record displayed. After the Facebook event, Beverly Records will contact the buyer to complete the sale.
Scarborough, UK | Bill Broadmore, owner of Scarborough shop Dyscworld Music, has died aged 61: The owner of well-known Scarborough record store Dyscworld Music on St Thomas Street has died. William Broadmore, known as Bill, died suddenly on Monday April 6 at Scarborough Hospital at the age of 61. Bill was born in Birmingham to the late Sylvia and Brian on January 25 1959 and leaves behind one brother, Christopher. His parents had first visited Scarborough for their honeymoon and the family visited the town almost every year for a holiday before moving permanently in 1982. Bill became good friends with a couple Pete and Jill Smith who ran bookshops in Scarborough. He helped out in the shops and sold some of his own vinyl record collection in them before Pete and Jill opened Books and Records on St Thomas Street. This went on to become Dyscworld Music when Bill purchased the shop and quickly grew a stock of music to suit all tastes, attracting both locals and holiday makers. Speaking to The Scarborough Evening News in 2009, Bill said: “For me it’s just fantastic to be running a business that is also your hobby.
Cornwall, ON | Cornwall area mourns the loss of local musician and business owner: The Cornwall community is reeling from the unexpected passing of Larry “Bud” O’Byrne on Thursday. The 40-year-old father of two was an avid musician and participated in stand-up comedy shows. He was perhaps most well-known as owner and operator of Buds Records and Kool Things, which he opened last year. Located in Leduc’s shopping centre, the store was a headquarters for several of the city’s record collectors and lovers of music alike. Following O’Byrne’s passing, several members of an online vinyl collector’s group he founded shared their fondest memories of the man. “He will be greatly missed in the vinyl community and as a good community member of Cornwall,” said Richard Houle. “Between his shop, the record shows he put on, his auctions, and his Facebook group, Bud gave us something this city never had; a sense of community among us collectors,” stated another member. “He loved vinyl and was an immediate friend to anyone who loved vinyl too. His shop was a hang out, I’d go once a week just to flip through records and I know I’m not alone.”
A list of albums delayed due to coronavirus: Music artists are being forced to postpone their upcoming albums amid the coronavirus pandemic. As the coronavirus crisis develops and lockdown continues, many music acts are postpone album releases they had scheduled in for the coming months. The current climate means artists are unable to condut their full promotional schedules as they would have originally intended – including radio, TV and other public appearances – as they would have originally intended. Closure to CD manufacturing and vinyl pressing sites has also led to some projects being held off. Another big factor is HMV’s absence from the high street; they temporarily shut their doors from March 22 and are operating online only. Read HMV’s full statement here. HMV, along with major supermarkets, are among the leading retailers for CD and vinyl in the UK. Supermarkets stated they are currently not prioritising entertainment products in their shops.
VIA PRESS RELEASE | 30amp Circuit, an award-winning Philadelphia-based non-profit promoting health and wellness for working musicians and its producing partners Craig Kaplan of Hashtag Multimedia and Our People Entertainment, have announced Love From Philly, the first of its kind virtual citywide music and arts festival scheduled for May 1 through May 3.
The three-day webcast spread across three different virtual stages will livestream at LoveFromPhilly.Live in conjunction with Nugs.net and feature a who’s who of Philadelphia’s music and arts community, including performances by Kurt Vile, G. Love, Eric Bazilian, Schoolly D, Kurt Rosenwinkel, Ursula Rucker, Mondo Cozmo and many more. All festival proceeds will be distributed through grants issued by 30amp Circuit to benefit Philadelphia entertainment professionals suffering medical, social and economic hardships caused by COVID-19.
“The idea for this event was developed to help and showcase Philadelphia’s unique musical culture and to provide a public vehicle for donations to benefit musicians and indie music venue workers. These are the people who form the core of the Philadelphia Music Scene,” says 30amp Circuit founder Andy Hurwitz. “All festival proceeds will go to grants for Philly musicians, entertainment professionals and indie music venue workers. Love From Philly will be remembered as Philadelphia’s response to the care and well-being of entertainment and arts professionals in a time where social and economic continuity was halted.”
All artists performing on Love From Philly will be participating from home. The three stages with corresponding dates are below with a complete schedule of performances to be announced shortly.
VIA PRESS RELEASE | The Universal Hip Hop Museum and Mass Appeal have teamed up with YouTube to host Hip Hop Loves NY, a live stream simulcast honoring healthcare workers on the frontlines of the COVID-19 fight in New York. Set to air on Thursday, April 23 at 6PM EST, the event will be amplified by Socialive, an enterprise video creation and live streaming platform, and pushed across Universal Hip Hop Museum’s social media pages and streamed live on the Mass Appeal YouTube channel.
Featuring some of the biggest names in Hip Hop, viewers will see live appearances from Ice T, Kurtis Blow, Mike Epps, De La Soul, Naughty by Nature, Biz Markie, Dave East, Chuck D, Kid N Play, Sugar Hill Gang, Big Daddy Kane and more! Hosted by Video Music Box’s own Ralph Daniels, the benefit event will also see guest appearances from community and political leaders including New York State Assemblyman Michael Blake, New York City Deputy Mayor Phillip Thompson, Borough President of the Bronx Rubén Díaz Jr, Brooklyn Borough President Eric Adams, and New York City Public Advocate Jumanne Williams, while witnessing first-hand accounts of medical workers who are currently on the frontlines.
Proceeds raised from Hip Hop Loves NY will be donated to SOMOS Community Care, a network of over 2,500 healthcare providers throughout New York City and The Bronx Community Relief Effort, an effort focused on meeting the most essential needs in the Bronx as a result of the global pandemic via Text-to-PLEDGE, the official event donation service provider.
My intro to Chicago’s The Claudettes came back in 2018 via Dance Scandal at the Gymnasium!, a set that not only confirmed the accuracy of the descriptions of a blues-punk merger, but greatly exceeded the dual expectations I’d formulated for the record.
On one hand, I was bracing for either the growly revamping or de(con)struction of mid-20th century electric blues nugs (particularly as The Claudettes’ then and current four-piece lineup began as a duo). On the other hand, once I’d learnt of founder-constant member-pianist Johnny Iguana’s prior work in the bands of Junior Wells and Otis Rush, I was thinking the content might swing over to the opposite side of the spectrum. That is, the highly (one might even say overly) reverential. What those predictions didn’t account for was vocalist Berit Ulseth as she brings appealing soul music verve to the proceedings. Plus, Iguana was striving for a sound that is unmistakably contemporary.
Gymnasium saw the band working with Grammy-winning producer Mark Neill, and for this follow-up they tap into the expertise of another Grammy winner in Ted Hutt, whose credits include Gaslight Anthem, Violent Femmes, and The Devil Makes Three. The results extend the full-bodied sound of their prior effort, with drummer Michael Caskey and bassist Zach Verdoorn (who also plays guitar and sings) a capable rhythm section. Along the way, the band pulls off the difficult feat of being clearly roots cognizant while never sounding like a dusted-off relic (the tag of indie blues is an apt one).
Iguana’s piano is a constant and welcome element as his playing is a natural part of a sound that smartly puts Ulseth’s skills up front. As this set unwinds there’s considerable pop savvy on display, and in spots the LP is kinda like a 21 century version of what Jerry Wexler, Tom Dowd, and the Dixie Flyers were doing with assorted singers circa the early 1970s. High Times in the Dark is not a bit hackneyed, which is an absence worth celebrating.
“I was born in the ’90s and all I remember as a kid is how my dad would have Ozzy, INXS, Bowie, and KISS blaring through his soundsystem.”
“As a 2-year-old in diapers, I didn’t care how the music played. I didn’t even know what music actually WAS, I just knew it made me happy; it filled me with joy. As I got older and my CD collection grew, my dad brought me into his office, or “Man Cave” per se, and said, “Come here, I want to show you how true musicianship and artistry sounds on vinyl.”
He put on U2’s 1980 Another Time, Another Place: Live at The Marquee London, and my whole world changed; the clarity of Bono’s voice, the soaring of Edge’s guitar. The sound of that vinyl had such a beautiful and full mix that it completely filled me with inspiration, passion. “I Will Follow” hooked me, and I fell in love. My dad gave me that vinyl to start my collection, because he knew I was hooked.
At the age of 20, I made an impulsive decision to move to Brooklyn. I had never lived away from home before, so it was a pretty big deal. Dad drove me all the way as Mom waited patiently for text and call updates. I had packed my life, and my first and only vinyl was sitting safely on my lap throughout the whole ride.
The band called E hails from Boston, with a lineup composed of Jason Sidney Sanford on guitar and homemade devices, Thalia Zedek on guitar, and Gavin McCarthy on drums. Complications is their third full-length, a welcome if concise set delivering rock trio dynamics as smart as they are heavy. All the members of E sing and contribute words, with some of the lyrics wielding what can perhaps be best described as coincidental timeliness. This only adds punch to an already powerful record that’s out April 24 on vinyl, compact disc, and digital through Silver Rocket/Lokal Rekorc.
It’s accurate to call E an underground rock supergroup, though the principals’ prior achievements are a bit more varied than is normally the case in this often-anticlimactic scenario. To begin, Gavin McCarthy played drums in Boston’s indie-punk-jazz-math rock outfit Karate for the entirety of their 1993-2005 run, the group only ending due to the persistent hearing problems of guitarist Geoff Farina.
Roughly a decade before Karate’s formation, Thalia Zedek emerged on the Beantown scene in Dangerous Birds, a band not long for this world, and followed that by joining the terrific if also short-lived Uzi. Next, she was in the underrated Live Skull. After that, she moved into the ‘90s as part of Come with guitarist Chris Brokaw. Finally, she started the Thalia Zedek Band.
Zedek’s amassed credits surely contrast with McCarthy’s lengthy tenure in Karate, but Jason Sanford’s been the one constant in the seven different lineups of Neptune, a group that sprang to life not through a want ad tacked to a record store corkboard, but in connection to Sanford’s sculpture project, from whence he began building numerous instruments including scrap metal guitars, thumb pianos, oscillators, a feedback organ, and a viola-like instrument utilizing bass guitar strings and a guitar pickup.
Los Angeles, CA | Amoeba Music Co-Founder Discusses Store’s GoFundMe Drive: ‘We’re Trying to Keep the Culture Alive.’ With a staff of close to 400 furloughed, high rents on a current location and big costs to move to the new one, the physical media mecca is asking for help — even as Marc Weinstein explains how the vinyl boom kept them going this long. It seems wrong, on some level, to think of a for-profit retail store as a cultural institution in the same way we think of performance halls, museums or other centers of the arts. But for Amoeba Music, a lot of people are willing to make an exception. The same goes when it comes to applying a term like mecca to Amoeba in an actually more-or-less religious sense. So when the behemoth shop announced it was going to shift locations in Hollywood recently, there was a cognitive shift as music fans (and Blu-Ray buffs, too) began considering the idea of bowing toward Gower instead of Cahuenga. Now, there are some more worrisome concerns for customers of the Hollywood outpost that serves as a symbol of the last stands record stores everywhere are taking on behalf of cloud-free music. The coronavirus crisis threatens to put a crimp in plans to either reopen for a season at the current Sunset Blvd. locale or easily move to the new one on Hollywood Blvd.
Alpharetta, GA | Comeback Vinyl offers virtual record store, curbside pickup to Alpharetta community while physical doors are closed: Music has always been a priority in Comeback Vinyl co-owner Alex Vernon’s life, he said. He and his mother, Karen Vernon, shared a strong bond over music for his entire life, he said, which led him to becoming a DJ in college. His passion for music is why he opened his first record “store” inside an Alpharetta antique mall with his mom in 2012, a mall she and a friend opened together. He said it was not an official storefront at this point but a section of the antique mall. “I went to my first concert with [my mom], listening to new albums when they came out together on CDs … so [my parents] gave me a turntable for Christmas [one year], and I started buying records,” Alex said. “[My mom and I] started going through all her records together and buying collections together to put into this antique mall.” Alex said initially this was a way for him to build his record collection and for him and his mom to bond, but it kept growing into a bigger store inside the mall, then a 700-square-foot storefront.
Boise, ID | Record Exchange adapts to serve customers virtually on usually busy day: For musicians who make a living by playing shows in Idaho, this pandemic hasn’t been easy — and the record shop that supports them has had to close their doors. Despite this, the local music scene is still alive and well behind closed doors in Boise, and its players are now showing up for each other in a big way. If this past Saturday played out as planned, Idaho’s diehard music fans would have lined up outside of The Record Exchange on Idaho Street, itching to get their hands on some freshly-pressed vinyl. But this year, the only soundtrack that played — was crickets. But what I’m finding is, inside our homes, that might not necessarily be the case. I asked some of our social media users to share with me what music is helping them cope — during this time of uncertainty. For me, it’s The Velvet Underground. But for Marisa Lovell, it’s Neil Young. For Steven Bowman, it’s Billy Joel’s greatest hits — and for others it’s instrumental Disney songs, or a variety of other artists and genres. “There have been scientific studies done in multiple different fields that show that music is healthy,” The Record Exchange Marketing Director Chad Dryden said. So while music is there for us in this time of crisis — despite being closed, The Record Exchange wants to be there for us too.
Palm Springs, CA | Pandemic Stories: Get to Know a La Quinta Record Store Owner Who Picked the Perfect Time to Take His Business Online: I miss being able to go to record stores. When we’re not in the midst of a pandemic, much of my time and money is spent flipping through and purchasing vinyl that I may or may not need. On the plus side, this means I’ve amassed a substantial collection that will last me through the quarantine—but I’m still having withdrawals from visiting Finders Thrift and Vinyl. Finders, as you’d guess from the name, is part thrift store, and part record store, on Calle Tampico in La Quinta. Matt Lehman is the owner who keeps the shop packed with rare finds and classics at great prices. Most of the records I own came straight from his famous discount bin. In recent months, Lehman has been working on taking the record-store portion of his business online, using the name Spatula City Records. Turns out his timing could not have been better. “I was extremely lucky when this whole quarantine came down,” Lehman said. “I had been building Spatula City Records for over three months, with the intentions of launching in May. The day I shut down Finders was a Tuesday, and I spent the next three days working as hard and as fast as I could to get the site up…”
Why The Recorded Music Landscape Might Look Different By Year’s End: There are so many unknowns in the world brought about by COVID-19, and unsurprisingly, how the recorded music industry will come out the other side is one of them. Luckily we live in a world of data these days, but sometimes it’s not easy to tell what we’re looking at until we gain some distance from situation and it appears we have a ways to go before that happens. That said, it’s somewhat certain that the recorded music side of the music business will undergo some big changes and will probably look different by the end of the year. Let’s examine what we know today, and how that might influence how things could play out…One of the surprises of our imposed isolation so far is that music streaming hasn’t taken off off the way everyone anticipated. In fact, streaming in the U.S. is actually down by 9.9% during the first four weeks of quarantine compared to the first 10 weeks of the year. In the meantime video streaming, YouTube and television viewing has gone through the roof. What this means is that auto commute time listening has more of an effect on streaming usage than anyone expected, and when given the choice, consumers will always turn to content based around picture rather than audio only.
VIA PRESS RELEASE | Bringing an evening of star-studded entertainment to you on Wednesday 22nd April, ‘For the Love of Scotland’ is set to be an incredible night as it raises money in aid of Masks for Scotland.
With an impressive line-up already announced, Scottish stars Fran Healy (Travis), Karen Gillan and Simon Neil (Biffy Clyro) will also join presenter Edith Bowman as she brings viewers a night of heart-warming content in a bid to reach the £200,000 target for the crowdfunding initiative Masks for Scotland. Edith will chat to some of Scotland’s biggest names in film, music, literature and the arts, as well as sharing stories from the public about the community spirit being seen across the country during this difficult time. Set to be a night to remember, ‘For the Love of Scotland’ will bring together an evening of entertainment and appreciation as Bowman and her guests give thanks to medical staff across Scotland.
‘For the Love of Scotland’s’ incredible A-list talent includes: Alan Cumming, Ally McCoist, Annie Lennox, Blue Rose Code, Sir Chris Hoy, Fran Healy (Travis), Ian Rankin, Irvine Welsh, Jack Lowden, James McAvoy, Janey Godley and Ashley Storrie, Jean Johansson, Judy Murray, Karen Gillan, KT Tunstall, Lauren Mayberry (CHVRCHES), Lorne Balfe, Mark Bonnar, Martin Compston, Ncuti Gatwa, Peter Capaldi, Peter Mullan, Rachel Sermanni, Richard Rankin, Sam Heughan, Sam McTrusty (Twin Atlantic), Sanjeev Kohli, Simon Neil (Biffy Clyro), Stuart Braithwaite (Mogwai) and Stuart Murdoch (Belle and Sebastian). Don’t miss out, set a reminder for the Facebook Live here.
The weekly series, which debuted with its first three episodes this week, catches a variety of visiting artists and tastemakers on Craft’s surveillance cameras, as they raid the record bins at the label’s Los Angeles headquarters. As they go through their loot, they’ll review their haul, offering insight into their musical heroes and early influences, while sharing anecdotes along the way. Artists will have their pick of Craft’s vast catalog of titles—from foundational jazz and rock albums to beloved soundtracks to punk classics—from such hallowed imprints as Stax, Prestige, Fantasy, Fania, Nitro, and Vanguard. The initial three episodes of the ongoing series feature alt-rockers Taking Back Sunday, jazz and fusion icon Chick Corea, and the legendary producer Scott Litt, while future installments will include the likes of Major Lazer’s Walshy Fire,Fran Healy of Travis, The Manhattan Transfer, The Zombies, and Poncho Sanchez, among others.
In the first episode, the members of Taking Back Sunday pocket a wide variety of titles, including Social Distortion’s 1998 LP, Live At The Roxy, Nathaniel Rateliff & The Night Sweats’ 2015 self-titled debut and R.E.M.’s best-selling 1992 album, Automatic For The People. Guitarist John Nolan is particularly excited about Music From The Motion Picture Popeye: The Harry Nilsson Demos, and The Violent Femmes’ 1983 self-titled debut, declaring, “You would think this is a greatest-hits when you look at the tracklisting.” Multiple members pull The Traveling Wilburys Vol.1 and Vol 3., as well as the Vince Guaraldi Trio’s timeless soundtrack to A Charlie Brown Christmas. Frontman Adam Lazzara is also thrilled to find the Iron Giant soundtrack, which he shares is, “One of my favorite movies…I’m really excited to listen to it.”
The second installment of Shoplifting snags the multiple GRAMMY® Award-winning artist Chick Corea. A groundbreaking jazz musician in his own right, Corea reveals his endless knowledge of—and deep regard for—the genre’s history, while offering heartfelt stories as he goes through his picks. They include 1958’s Relaxin’ With The Miles Davis Quintet. “All of these great tracks…were all first takes,” marvels Corea. “They’re all totally classic. It really embodies the essence of the spontaneity of jazz.”
PHOTOS: DOUG SEYMOUR | “My favorite thing in the world is a vinyl record. My second favorite thing in the world is talking ad nauseam about said vinyl record. Perhaps this will be less like a first date and more like being locked in a room with me at a party on some sort of upper, and you just made the enormous mistake of asking me how I feel about Astral Weeks. Hold onto your hats.”
“I knew that I was obsessive when I was little. I could tell the way other kids looked at me strangely when I got going on some conversational tear about nothing—they were not amused or enthused. But for the first several years of my life, I had nowhere to direct this behavior, so I just figured I was a freak or a psycho killer or something.
When I was ten, the movie adaptation of High Fidelity came out and I immediately realized that these guys were my long-lost friends. It would be me—age 10, John Cusack, Jack Black, and the other guy who looks like Michael Stipe. This would be my crew. We would talk about our top 5 records to listen to while on a date, even though I had never been on one. We would go for drinks after work and complain about stuff I would be secretly happy to be complaining about. We would make people feel bad about their shitty opinions. This was the dream.
I only had two problems here: first, these were fictional characters. Second, I was entering the fifth grade and making friends was not my forte. So I did what any of us does when we have an extra decade or so to kill; I built up my record collection, and then, I organized it.
Fancy a bit of infectious indie-pop to get you through the week? Well look no further than London’s Bengal Lancers. The quartet have just released their new single “I’m Still Here,” a thrilling track with a poignant message.
Instantly reminiscent of Frightened Rabbit or The National, Bengal Lancers’ latest single is a classic take on British indie-rock. Some may say the genre is outdated and oversaturated, but we say it’s nostalgic and more popular than ever. Frontman Harry Sullivan’s deep, distinctive vocal soars over the pulsating drums and jangling guitars, conjuring a sound that’s both full of life and lyrically powerful.
“I’m Still Here” is a song about the struggles and the inability everyone can have in seeing the brighter side of life and coming to terms with our own place in the world—something that feels even more important in these trying times, and something we can all learn from.
Hazel English is an Australian American singer-songwriter currently residing in Los Angeles, but with a long stretch spent last decade in California’s Bay Area, where she moved from Melbourne in 2013. English has a couple prior EPs that’ve been combined into a longer showcase of her talents, but it’s the brand-new Wake UP! that’s designated as her debut full-length. Smoother and bolder than the indie pop that comprises her earlier work, a byproduct of working with producer Justin Raisen, the tidy 10-song set maintains stylistic continuity with what came before as it serves as a proper introduction for a widening listenership. It’s out April 24 on wax, CD, and digital through the Polyvinyl label.
Hazel English’s “Never Going Home” EP emerged in 2016, released then on vinyl, in fact. The “Just Give In” EP followed the next year, but its wax edition found it combined with the prior EP in a double 12-inch situation by Polyvinyl in the States (the labels Marathon Artists and House Anxiety took care of Europe), with the separation into equally weighted doses, five songs apiece, encouraging the perception of incremental progress within a relatively tight timeframe.
However, when the sets were combined on compact disc and digitally (with a bonus digital-only track missing on the CD but included with the vinyl’s MP3 download) they flowed sweetly enough that its likely a certain percentage of those listening considered the contents as one whole thing, and indeed maybe as her first album.
This is to English’s credit, as is the step forward that’s offered with Wake UP! Part of the progression is rather simple; the new record connects like she’s fronting a band rather than helming a project, which isn’t a knock on the EPs but just an observation of how English’s sound has bloomed. The growth is also beneficial to opener “Born Like” as it alternates a decidedly neo-’60s pop foundation (heard through the dexterous flair of the rhythm section, in particular) with big dream-pop bursts in the choruses.
Twin Cities, MN | With Record Store Day postponed, local shops are getting creative: A few months back, we’d have expected record stores throughout the Twin Cities to be teeming with visitors for Record Store Day. That annual event has been postponed from April 18 to June 20, another effect of the COVID-19 pandemic. But like the rest of us, record stores are learning to adapt to these retail-unfriendly times. They’re offering expanded online sales, “virtual browsing” where someone will flip through the racks with you, specially curated care packages, and online auctions. There’s even a new limited edition Trampled by Turtles EP, Sigourney Fever, available only through Down in the Valley and Electric Fetus as of today. So in honor of what would’ve been Record Story Day, here’s what’s up at your local record store. See you all in June, we hope.
San Francisco, CA | ‘A devastating loss’: SF record shops lament closures on what should have been Record Store Day: It was 8 a.m. on Record Store Day, and the line in front of Amoeba Music buzzed with anticipation, stretching down Haight Street and around the corner onto Stanyan. Though it was the first time in 12 years that the San Francisco location had opened at such an early hour, manager Tony Green estimates that at least 8,000 people visited his independent record shop that day, eager to get their hands on a limited edition release or sought-after relic to add to their collection. That was last year. Now, the shuttered shop, which would have celebrated Record Store Day this weekend, is depending on online sales as the annual event is postponed until at least June 20. But Green thinks even that seems optimistic. “Of course, it is a certainty that we could not do it the same way we have in the past, with a lot of music fan frenzy and close social interaction,” he told SFGATE, adding, “Our main focus right now is figuring out how the store will run when we finally get to reopen. I never thought that my job would ever involve tracking down N95 masks for our employees!”
“Record stores changed our lives”: New doc “Vinyl Nation” celebrates Record Store Day at home: Kevin Smokler and Christopher Boone spoke to Salon about making their love letter to vinyl heads and indie stores. Vinyl heads, here’s your chance to celebrate Record Store Day from your own home while still supporting your favorite shop. The new documentary “Vinyl Nation,” is selling tickets for a virtual screening this weekend (April 18 and 19) with all proceeds donated to participating local record stores. Shot over the course of two years, “Vinyl Nation” visits indie shops nationwide and talks to musical experts and everyday collectors alike to spotlight the breadth and diversity of the vinyl fandom. What emerges is a fuller picture of how the record renaissance of the past 15-odd years is no longer the domain of the older, oddball or affluent; it’s a populist unifier. The doc was supposed to make its public debut at the Austin Record Convention in May, but won’t get that chance because of safe social-distancing.
Memphis, TN | Local book, record shops ‘essential’ to the city we want to keep: A signed, used hardcover of mystery writer Ross Thomas’ 1989 novel “The Fourth Durango.” A good-as-new used vinyl copy of the Chuck Berry compilation “The Great 28.” A remastered, good-as-new, used CD of The Clash’s 1979 album “Give ’Em Enough Rope.” A new paperback of the Larry McMurtry novel “All My Friends Are Going to Be Strangers.” Respectively, those were my most recent purchases at Burke’s Book Store and Goner Records in Cooper-Young, at Shangri-La Records on Madison near Overton Square and at Novel book store in East Memphis, all in the weeks just before our world mostly shut down. There are things I’m missing over the past few weeks: Having my kids in school. Being able to escape to a coffee shop to write. FedExForum “Whoomping” through an unexpected Grizzlies playoff race. Enjoying a bacon-and-egg grilled cheese and hibiscus tea from the Fuel food truck on a bustling Memphis Farmers Market morning. The mere prospect of lying on the lawn for a Levitt Shell concert. Going to the movies. But high on the list is this: Glancing over the stacks or flipping through the racks at book and record stores.
The Record Store: What Used To Be: VIBE takes a look back at record store release Tuesdays. Monday nights used to be unique. The anticipation for Tuesday mornings could barely be contained. Plans were made on how to ensure you could get to the mall and still make it to class on-time. Or, in many cases, how you were going to skip school altogether to sit with your newfound treasure. At one time, Tuesday mornings were the most significant moment each week for the music industry and music fans as new albums hit record store shelves. And unlike modern-day music consumption, decisions would need to be made. You couldn’t purchase every new release at $15 per CD. What album would sustain the listener’s insatiable music hunger until the next payday or allowance? In the “old days,” the second day of the week was about more than half-price movies; it was also the day that curious music fans found out who Cam’ron was or what this mysterious white boy from Detroit was all about. If the water cooler was the place to discuss politics and internal politics, the record store was the high school locker where jocks, hip-hop heads, goths, and others gathered to purchase the music of the day.
VIA PRESS RELEASE | World of Wonder Productions and the official 501(c)(3) of The Stonewall Inn, The Stonewall Gives Back Initiative, today announced that on Thursday, April 23rd at 8PM ET/7 CT, the partnership will present a live-stream concert event benefiting the LGBTQ+ nightlife industry directly impacted by COVID-19.
Hosted by Michelle Visage and Tyler Oakley, guests and performers at the event will include Alan Cumming, Allie X, Betty Who, Carlie Hanson, Darren Hayes, Dave Mizzoni, Greyson Chance, Issac Dunbar, John Cameron Mitchell, Kim Petras, Kristin Chenoweth, Leland, Lorna Luft, Matt Rogers, MUNA, Nina West, Our Lady J, Pabllo Vittar, Peppermint, Rufus Wainwright, Shoshana Bean, Todrick Hall, Troye Sivan, TUCKER, VINCINT and a special performance by Cyndi Lauper.
The event is being executive produced by Erich Bergen, who recently produced The Rosie O’Donnell Show fundraising event as well as the “Saturday Night Seder” streaming event which raised $2.9 Million. “I think this pandemic has made it even more clear just how vulnerable some of our communities actually are,” said Bergen. “We are coming together to respond to this crisis in a collaborative way, through music, which is the great unifier.”
Co-Producer and Golden Globe nominated songwriter and producer Brett McLaughlin adds, “So many careers are built and sustained by the support of the LGBT nightlife community. It’s our turn and duty to support them during this time of need. I’m so grateful that many of my friends jumped at the chance to give back when asked. This is going to be an incredibly special evening.”