Some first dates do indeed turn into second ones, and this week we’re taking a look back at some unique introductions from bands with new releases or tours for 2013. —Ed.
“Vinyl is my preferred format for listening to music, not because of its nostalgia, but because I feel it’s the best way to experience my coveted recordings.”
“Whether it’s David Bowie’s Low, or SUNN O )))’s Black One, Tyler The Creator’s Goblin, or Mogwai’s Zidane: A 21st Century Portrait, it’s the ritual of taking the record from its dust jacket and placing it upon the turntable. There is aways that wonderful anticipation of what’s to come—then musing over the cover art.
I spend endless hours trawling for vinyl pressings of music that are sacred to me. Not so much about acquisition, but the experience that comes from listening once the record of my desire has been sourced.
I am currently reveling in the sublime cinema of The Black Ryder, the deeply profound songwriting of Anton Newcomb’s BJM, as well as Salem, oOooO, Boris, Pavarotti, Callas, Mahler, Joy Division, Primal Scream, David Sylvian, Grinderman, The Roots, Neu, Television, Sleep, Patti Smith, Television, Lou Reed, and this is only the tip of the iceberg.
There are simply not enough hours in a lifetime to listen intently to all the music I long to hear. I do not Tweet and rarely blog as I am engaged in listening, reading or creating, all organic participative acts. I notice a need in present times to define and impress with our limited knowledge of high culture while missing out on the act for which these beautiful gifts of sound where birthed by their creators.
Music has taken me from New York City to Lhasa, Tokyo to London, Paris to Mumbai, Rio to Sydney, and back again. I am grateful for her gifts and the alchemical mystery that is vinyl.”
—Ian Astbury, 5-17-12
