Los Angeles label Blank City Records was formed this year by Marc Sallis, former bassist for the Duke Spirit, and Brandon Burkart, of The Saint James Society. The label specializes in releasing music to flexis made from vintage medical x-rays, Ã la Russian roentgenizdat bootlegs from the ’50s and ’60s. The Blank City x-ray flexis are playable on standard record players, with the label focusing primarily on developing and releasing music from L.A. artists. The label’s first release was The Saint James Society’s Covered In Blood EP, which sold out in less than 24 hours.
With a myriad of options for vinyl subscriptions, there’s no end to who can curate new listening experiences for you. Still, there’s nothing quite like the hand-picked, personal touch that comes with a recommendation from a local record shop. One such record shop is combining those two worlds.
Philadelphia’s Creep Records, along with a physical store in the Northern Liberties section of the city, has been a record label for over 20 years, releasing albums by the likes of Plow United and more. Here, each subscriber has legit record store employees making picks for them each month. We reached out to Creep’s manager, Will Angelos, via e-mail and asked him some questions about this new spin on an old idea.
Rusted Wave — those who released the amazing Wet Hot American Summer soundtrack — recently launched a Kickstarter for a vinyl release of Anthony Marinelli and Brian Banks’s score to the 1988 western, Young Guns. Despite the star power of the film, which starred the likes of Emilio Estevez, Kiefer Sutherland, Charlie Sheen, Lou Diamond Phillips, and Dermot Mulroney, the score’s never been released in any format. It’s rather amazing to think about, especially as the 1990 sequel saw not only the release of Alan Silvestri’s score, but an attendant 11-track album by Jon Bon Jovi, titled Blaze of Glory, which was a collection of songs “inspired” by the film.
Read the full interview and preview at Modern Vinyl. Published 9/14/16
After a lengthy hiatus, fans of film and television scores now have a second volume in the very excellent Music of DC Comics series released by Water Tower Music. Encompassing everything from the very recent, with Junkie-XL and Hans Zimmer’s work on Batman V Superman: Dawn of Justice, and the very nearly antique Columbia Pictures serial Batman and Robin from 1949, there’s something which will appeal to DC Comics fans the world over.
As the press release states, this is ‘a collection for DC Comics fans, created by a DC Comics fan.’ Executive album producer Peter Axelrad produced both this album and The Music of DC Comics: 75th Anniversary Collection, released in 2009. He was kind enough to answer some questions about the two compilations and their varied musical selections.
Record subscription service Vinyl Me, Please is at this point, a phenomenon. Billed as “the best damn record club,” it’s managed to make #mailday fun again, a monthly record paired with cocktail recipe, custom artwork and more. Hell, even the release announcements are anticipated and marked days for collectors.
I’ll admit: I was skeptical, at first. Why not just walk down to your local shop, hand them $25, and ask for something they think is good? Well, some of us aren’t lucky enough to have that shop, and some of us just like getting stuff in the mail.
All of that said, how the hell do they pick this stuff out? What makes this “the best damn record club”? We called up the company’s head of label relations, Cam Schaefer, and proceeded to ask him exactly that, just 10 minutes after he got home from a camping trip in the Colorado mountains.
In its original incarnation, Lawrence Field Day Fest featured the sort of games played during elementary school field days. Those games have gone by the wayside in favor of three days of the best local music the area has to offer. Past years have focused on indie and rock acts, but the fifth edition has the fest branching out with more bands and artists than ever before.
In addition to the fest spotlighting Girls Rock Lawrence, there will be three different local labels showcasing their acts.
The Pitch spoke with the folks behind the Record Machine, High Dive Records and Datura to find out what they have to offer attendees this year.
Read the complete feature on Field Day Fest 5 at the Pitch. Published 7/12/16
Getting a big package of singles in the mail is always exciting, especially when you’re not expecting them. It’s bittersweet to open the box and realize that these are the last singles overseen by the late Windian Records‘ head honcho, Travis Jackson. Jackson died unexpectedly earlier this year when hit by car as he worked on a road construction crew.
Looking at the note, which was right on top of the stack of singles when I opened the package, I basically burst into tears. Now, I don’t claim to have known Jackson very well, but he’d been helpful with providing some promo stuff for review and play on the podcast, and every interaction I had with him was kind and excited and full of life.
It’s strange to think that a man who I never met in person would be missed so much, but Jackson’s verve for music and excitement for what he was doing with Windian was infectious, and you wanted him to succeed. Eric Brady will continue the label on, and the music looks to be coming strong. Continue reading →
Josh Berwanger put out a new single! And it’s part of the too Much Rock single series! And it has a cover of the Jags’ “Back of My Hand” on the b-side! I literally responded to the initial news of this with a linked article on Facebook and something along the lines of “THE FUCKING JAGS?!?!”
But, really, everybody: I’m a huge fan of Josh berwanger as a musician and just a guy to chat with in general, and this might be my favorite thing he’s thus far done. “Oh Bis!” has been part of Bernwager’s live sets for a while now, and the fact that he uses the word “bozos” has always endeared the song to me. Continue reading →
With his new label, Too Much Rock, Kansas City’s Sid Sowder might have the most revelatory approach to releasing music you’ve ever heard: “I used to run a label for years where I worked very hard and lost a lot of money. Now I’m just pressing the 7-inchess and giving them to the band. I lose the same amount of money and I get to say F-U to the ‘industry’ part of the record industry.” Continue reading →
The scads of reissue labels which have appeared over the last few years all seem to have their focus — Death Waltz has a John Carpenter / Fabio Frizzi thing going on, focusing on grimy, creepy things; One Way Static is tackling Wes Craven’s exploitation years; and Waxwork appears to have the ’80s splatter genre tied up. Giallo Disco might be the only label putting out music that fits that soundtrack niche, yet it differs in one notable aspect — these albums aren’t soundtracking anything other than a great dance party.
Situated out of Berlin and Vienna, and respectively ran by Anton Maiof and Gianni Vercetti Balopitas (aka Vercetti Technicolor), Giallo Disco rocks your socks with creepy, yet totally danceable tracks that hearken back to late ’70s and early ’80s analog synth soundtracks. There’s heaps of Moroder here, but everything is still unique. Maiof and Balopitas were both kind enough to answer questions via e-mail about the label and its future plans. Continue reading →