Review of BadBadNotGood’s “IV” at Modern Vinyl

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From the opening notes of “And That, Too,” IV was not only instantly recognizable as BadBadNotGood (the newest artist featured through Vinyl Me Please and their monthly subscription program) but also an album defining the quartet as an act that’s more than just “that jazz band that plays hip-hop.” There’s a point on that opening cut where the CS-60 synthesizer rides a low note for so long, I felt like I was hearing the voice of God. It’s intense.
Read the complete review of BadBadNotGood's IV at Modern Vinyl. Published on 8/1/16

G.L.O.S.S.’ “Trans Day of Revenge” recommended at Modern Vinyl

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Over Labor Day weekend last year, I saw Olympia hardcore act G.L.O.S.S. play at a bar and grill in Kansas City. They played at the end of a five or six band bill, pushing the limits of when the show needed to be over. And at the time, all they had released was their five-song demo, but even with just those few songs, the place was packed. They pushed the guys to the back before the last song, and brought all the ladies to the front. G.L.O.S.S. doesn’t have patience for your hurt cis male feelings, guys – they’ve got bigger problems with which to deal.
Read all of the MV Recommends piece on G.L.O.S.S.' Trans Day of Revenge at Modern Vinyl. Published 8/1/16

The Grindhouse Sounds of Isaac Williams at Cinepunx

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Nearly every afternoon last week, my wife came home to me blasting music out of my laptop while I read on the living room couch. Despite a stack of half a dozen vinyl LPs awaiting review, I couldn’t stop listening to Isaac Williams’ Soundcloud mixtapes. Going back four years, Williams’ mixes all cull their sounds from cult and exploitation film scores and trailers, but the shapes they sonically take are astonishingly diverse.
Listen to all of Williams' best tracks at Cinepunx. Published 8/1/16

U2’s “Hold Me, Thrill Me, Kiss Me, Kill Me” video at Cinepunx

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Back in March, Noisey ran a piece entitled Fuck ‘Trainspotting’! ‘Batman Forever’ Was the Soundtrack That Truly Epitomized the Nineties, wherein J.R. Moores put forth the opinion that the Trainspotting soundtrack is highly overrated, while Batman Forever’s is highly underrated. He’s coming from a British point of view, but he does make the very astute observation that Batman Forever “wrestled the Dark Knight from the sweaty clutches of graphic novel-reading grownups and rightfully handed him back to the kids.”
Read the From the Stereo to Your Screen column on U2 and Batman Forever at Cinepunx. Published 89/1/16

Q&A with Magnus Sellergren of Videogram at Starburst Magazine

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Sweden's Magnus Sellergren is better known to you as Videogram, composer and maker of synth-driven cult film score homages, such as last year's fantastic romp through the genres, Pre-Cert. His upcoming album, for Cineploit Records, is a bit more tightly-focused. The Gladiatori dell'ApocaliseEP pays tribute to the likes of The New Barbarians,Mad Max, and Exterminators of the Year 3000, and while a few cuts have that trademark horror disco sound, longtime Videogram fans will discover a whole new side of the musician. We spoke with Sellergren about the direction he's taken with Gladiatori dell'Apocalise.
Read the Q&A at Starburst Magazine. Published 8/1/16

Q&A with Jack Womack at Starburst Magazine

flying saucers Author Jack Womack is best known for his DryCo series of dystopian science fiction novels – 1993's Elvissey won the Philip K. Dick Award that year – but for the past fifty years, he's been collecting all manner of printed material related to UFOs. His collection is now known as the Jack Womack Flying Saucer Library and lives as part of the archives at Georgetown University's libraries. Womack's collection has been summed up by the author in a forthcoming book for Boo-Hooray and Anthology Recordings, entitledFlying Saucers Are Real. We spoke with Mr. Womack about this ‘visual history of the genre.’ Read the Q&A at Starburst Magazine. Published 8/1/16

Q&A with Water Tower Music’s Peter Axelrad at Starburst Magazine

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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.
Read the Q&A with Peter Axelrad at Starburst Magazine. Published 8/1/16

Review of the ‘Computered Love’ compilation at Modern Vinyl

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The compilations released by Private Records are a solid deep dive into the early electronic dance music and disco of the late ‘70s and early ‘80s Europe. Many of the cuts on their latest, Computered Love, chart a different course than what the label’s best known for though, which is a sort of space disco.
Read the complete review at Modern Vinyl. Published 7/28/16

Review of Rooftop Vigilantes’ ‘Let It Be’ at Modern Vinyl

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At this point, naming your record Let It Be means you’re referencing both The Beatles and The Replacements, running the risk of roaring past simple cheek and bordering on outright hubris. That said, when your album cover features someone in a Yoda mask drinking a Bud Light, you’re probably more on the cheeky side.
Read the complete review at Modern Vinyl. Published 7/25/16

Q&A with Vinyl Me, Please’s Cam Schaefer at Modern Vinyl

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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.
Read the complete Q&A at Modern Vinyl. Published 7/25/16