Vinyl is Not a Fad

Posted on by Brandt Hart

Vinyl is not a fad. As much as corporations like Best Buy and Hot Topic would love to stand on the ashes of independent record stores and capitalize on vinyl’s apparent trendiness, the reassuring truth remains that black wax is not just what’s “in.” Over half a century of existence solidifies the LP’s purpose as beyond whimsical. That amount of time sends words like “cool” and “hip” sliding into the drains to describe things like skinny jeans and thick-rimmed glasses. So take heart. Don’t be convinced that records are just 12×12 squares to throw in the corner and point to when the conversation dulls. Vinyl is much more than that.

Vinyl is a perpetual treasure hunt. Our love of looting isn’t contained to gathering stars in Mario or searching treasure chests in Skyrim. It’s thumbing through stacks and stacks and stacks and — sweet Lord — they have this one. You scan your periphery to see if anyone has noticed and might ambush you on the way to the cashier, because, God knows, this is the holy grail of records. And then a new holy grail climbs atop the pedestal. It could be waiting up there for months, or years even. Because vinyl can’t be downloaded or torrented. It’s acquired by searching shops, attics, flea markets, boxes and basements. Not by searching Google.

Vinyl is a commitment. A commitment to part ways with 15 to 30 dollars of that legal tender for which we spend the majority of our day slaving away. There’s not much in the way of music that our generation feels obligated to pay for these days. A subconscious notion exists that our abundant concert ticket purchases, festival attendances and free advertisement on our t-shirts allows us to supplement ourselves with free music. We will buy records though. But vinyl can be like Russian roulette. Sometimes we pull the trigger before we even know if we’ll like the album. Usually we do. Or sometimes our brains get splattered all over the turntable as Make Believe plays from the speakers…

Vinyl is a commitment. A commitment to the idea that a band has siphoned every last drop of their creative energy and watched it solidify into an album. An album. A collection of songs. Not a playlist. The idea is almost lost on us today as we press shuffle on our ipods and drop 99 cents for the only song we actually wanted to hear. Sit down for a few minutes. Follow one single instrument. Interpret the lyrics your own way. Have an actual conversation with someone about the music instead of filling the silent voids with Netflix and Xbox. There’s a reason albums similar to Dark Side of the Moon don’t exist these days. We don’t have the patience for them anymore.

Vinyl is an opportunity for education and enlightenment. The enlightenment is not gained just through purchase or acquisition — only the opportunity. Vinyl is a library in your home. And, as with any library, there’s nothing against recreational use and exploration. Records can be used to stumble and tumble down analog hills into valleys of genres we never knew existed. It can send us back in time and allow us to — gasp — relate to our parents. Or it can send you to the outskirts where the line between music and noise is blurry. And guess what? You get to decide what side of the line to stand on.

There are so many little things that vinyl is. Pulling lent from the needle. Alphabetizing your stack and, as time passes, your shelves. It’s cringing when your friend tosses Zeppelin IV carelessly to the side and drops the needle like an anvil on the next selection. It’s anticipating that spot in the song where you know the record skips. But there’s one thing exceedingly more important than the rest, and it may be the concept we are least aware of.

Vinyl is not a battle between analog and digital. It is a battle between physical and digital. And it’s a battle that has been waged on all aspects of our lives as we cloak ourselves in today’s modern technology. Everything physical is slowly withering and morphing into combinations of ones and zeros. The pages of books. The ones that used to get stuck together when we tried to flip them. Now we flip them with a swipe of our finger. Phone calls where two human voices bounced between satellites have become text. Print media is a novelty. Our money exists only as arbitrary numbers in some account that has no actual location. The trend is evident, and music has not been spared. Compact discs have been deemed dead technology -drowned by MP3 files. Music today is double-clicks on HD screens. No continuity. No concept.

But vinyl is not only durable physically, but metaphorically as well. And I believe we love it for all the reasons stated above; but above all else, we love it because it is tangible. We can hold it. We can watch it spin on the turntable and be hypnotized by it. We can observe the album art, feel the weight of the wax and know that it’s real. It’s a miniscule piece of the collective musical archive in this world, but still a piece. It’s one thing that hasn’t been consumed by technology and the digital age in which we so obliviously thrive. Vinyl gives an artist something real in return for the very real time they have committed to their craft- which must be much more rewarding than being granted 12 digital files on iTunes. Vinyl is dusty. Scratched. F*cking old. But it’s something that can be held in our hands and only works properly when spinning at 33 revolutions per minute. And that’s much more than a fad.

Lydia: ‘Illuminate’ Tour

Posted on by Rebecca Smith

There truly is nothing better than being at a show surrounded by dedicated and enthusiastic fans. It feels as if time has stopped, and the only thing that matters in the world is about to walk out on stage and put on a show just for you. I was lucky enough to be a part of that phenomenon at Lydia’s sold out show in Atlanta, where the band played their beloved album Illuminate from start to finish.

Lead singer Leighton Antelman walked out to the middle of the modest stage with white sheets in the background, illuminated (no pun intended) with colorful lights. They began to play “This Is Twice Now,” a sort of melancholy song that the crowd sang along to with fervor. Transitioning into “A Fine Evening For a Rouge,” an initially calm track that climaxes towards the end, the crowd belted out “don’t you ever get lonely!”

When Antelman began to play “I Woke Up Near The Sea,” the crowd lost it, and I heard someone proclaim, “This is what I came here for – this damn song!”  With hard-hitting drums and powerful lyrics – which Antelman had to scream to be heard over the crowd’s raucous singing – it’s not surprising this song is a fan favorite.

“Hospital” started, and Antelman alternated between singing softly to yelling and dancing around the stage during the drum and guitar solos. For “Fate,” he asked for some vocal support from the crowd, which was happy to oblige.

What started out as a bitter ode to a misguided love affair, “Sleep Well” turned surprisingly upbeat. Former band member Mindy White had a prominent role on the track, a responsibility given entirely to the crowd as Antelman supervised, blown away at their ability (and enthusiasm) to sing her part.

“Stay Awake” is another crowd favorite that starts out slow but packs a powerful punch. The crowd once again belted out every lyric, never missing a beat. The song climaxed, and Antelman did a wonderful job trying to sing over the crowd during this up-tempo track.

“All I See” started out with ominous guitar and keyboard, making the song a mix of beautiful and creepy. A steady drum beat and Antelman’s suggestive lyrics combined to make this mellow track superbly sexy.  “One More Day” followed the pattern of the album’s tendency to switch from mellow to upbeat without warning. The song features a beautiful guitar solo, pulled off with excellence.

“Now The One You Once Loved Is Leaving,” a track that heavily features White on the album, was sung almost entirely by Antelman with grace (though, of course, he had some help from the audience).

It isn’t difficult to see why this album resonates so deeply with fans. An amalgamation of soothing guitar and keyboard that morphs into intense cautionary tales of broken hearts accompanied by high impact drums is Lydia’s recipe for success. However, the special ingredient to this tour seems to be the devoted fans that follow Antelman faithfully in and out of his moody lyrics, stirring the pot of a delicious dish that anyone can appreciate.

Be sure to check out our interview with Lydia here!

How To: Flawless Skin

Posted on by Kate Foster

I like to think of my bright lipsticks, dramatic liner and eye-catching shadows as my style accessories. And my Little Black Dress? Flawless skin. Unfortunately, obtaining it is easier said than done, but after nearly a decade of oily, acne-ridden skin and about a million products, I think I may have found the secret recipe. It’s all about a combination of prevention and covering up with products that won’t make the problem worse. And though this regimen won’t work for everyone, I tend to think that if it works for me, it can work for almost anyone.

Step 1: Prevention

1.  Wash your face with an oil cleanser twice daily. Yup, oil. It’ll sooth dry skin, of course, but also help prevent acne. This is because when the skin is dry, it overcompensates by producing more oil than necessary. Using an oil wash will bring your skin back to its equilibrium. I’m a fan of DHC Deep Cleansing Oil.

2.  Apply a salicylic acid cream like Philosophy Clear Days Ahead Oil-Free Salicylic Acid Acne Treatment & Moisturizer. If you have combination skin, just apply to your T-Zone.

3.  Morning: finish with an SPF 30+ sunscreen, but make sure it’s oil-free. I’m obsessed with Eucerin Daily Protection Moisturizing Face Lotion.

Night: It’s never too early to start thinking about anti-aging. I love moisturizing, anti-aging serums like Clinique Repairwear Laser Focus Wrinkle & UV Damage Corrector.

Step 2: Covering Up

1.  Apply a liquid foundation in your shade, starting from the T-zone and blending outward with a Beauty Blender sponge. Try Revlon PhotoReady Foundation, and find your shade by matching it to your jawline rather than the back of your hand.

2.  Pat concealer under the eyes and on any blemishes. Almay Smart Shade CC Concealer and Brightener does double duty.

3.  Finish by brushing a sheer layer of bareMinerals Matte Foundation over the T-zone, and spot-pat it onto blemishes to fully cover up.

4.  Add blush, bronzer and/or highlighter of your choice to accent your flawless skin. I prefer cream or mousse formulas for a more natural look.

SXSW 2014: Lime Cordiale x Vinyl Mag

Posted on by Emma Cramer

Quintet Aussies Lime Cordiale came quite a long way from their home of the northern beaches of Sydney to play at the massive and chaotic live music scene of SXSW. With a voice and sound that can’t help but bring up comparisons to Alex Turner (Arctic Monkeys) and The Kooks from us writers at Vinyl, this group is definitely deserving of your undivided attention with their up-beat indie rock distinctive of the land down under.  We caught up with brothers Oli and Louis Leimbach midway through they week at SX to talk about their experience in the USA, working with Daniel Denholm, and their biggest influences.

VM: 2013 was a huge year for you guys, touring all across Australia to promote your second EP, Falling Up the Stairs. How was that experience for you guys?

Louis Leimbach: Amazing! We all felt solid about that EP and the shows went splendidly. We started the year with an amazing festival on the east coast, so that defiantly pushed us a lot, and we also supported some bands that we adored.  We were super vibing on all of the shows out of our hometown, which had great turnouts.

VM: How did you come up with the band name Lime Cordiale?

LL: Our last name has ‘Lime’ in it, and we stole the ‘Cordiale’ from a French musical festival ‘Musique Cordiale’ we were attending when we first started playing together.

VM: How has it been performing and making music as brothers in the same band; does that ever cause tension or disagreements within the band?

LL: I can’t really imagine doing this without a sibling. There is never any backstabbing, and we can read each other perfectly. Sure, there is tension, but that makes for something good to write about.

Oli Leimbach: Despite being brothers, we get along really well. We have similar vision.

VM: How was the experience of having the EP produced by Daniel Denholm?

LL: Daniel is a strange guy. One of those wackos that would be naked under his trench-coat playing music all night long in the dark by himself. But a musical genius who totally gets us, and we fully respect him. We worked hard finding a sound that mimicked our personalities and presence for about six months. We put down about 20 tracks and picked out the best five.

VM: Being from Sydney Australia, how has that influenced your sound?

LL: There is definitely a distinct sound coming out of us at the moment – maybe that has something to do with it? We come from a surfy town that like to party and dance so we’ve definitely adapted our sound to its groovers.

VM: Are there any particular musicians or bands that shape your music? 

LL: A lot of old soul, deep house, reggae and psychedelic music. Some of our favourites are Bonobo, Citizen Cope, Charles Bradley, Amy Winehouse, Tame Impala and Crowded House.

VM: How has your music evolved since the beginning?

OL: When we first started out we were playing much smaller venues and mainly just acoustically. But as we started playing bigger places, we had to adjust our sound to less of a sit down and listen and more of a stand up and dance type of feel. Its all about playing something that people can dance to.

VM: Anyone who you guys would love to play live with?

LL: Citizen Cope, Charles Bradley, The Growlers, The Strokes…

VM: Do you guys have a favorite song to play live?

LL: ‘Bullsh*t Aside’ is pretty fun the play live. It seems to get everyone grooving pretty hard.

VM: What bands were you most excited to see at SXSW this year?

LL: We had no plans, and that was the best plan. We just hopped from venue to venue, and because of that we now have a list of about 30 great bands we previously had never heard of. We made friends with a couple of them and now have some good U.S. connections and friends.

VM: How many shows did you play at SXSW? What was your favorite?

LL: At one showcase we played, the guitar amp blew up in the first song, so Oli just danced around for most of it. When you stuff up that hard at the start of your set, you just loosen up and stop worrying, because there’s nothing else to loose.

VM: What is next for Lime Cordiale?

LL: We’ve got a bunch of new songs we want to lay down when we return to [Australia]. Then head back over to hit the USA with some fresh new tracks.

 

Apr 08   ‘Play Us Your Hits’ Showcase @ MUSEXPO Los Angeles, CA
Apr 09   Casa Costa Mesa, CA
Apr 21   Bluesfest Byron Bay Nsw, Australia
Jun 11    The Catalyst Santa Cruz, CA
Jun 17   The Crocodile Seattle, WA

Baby Guru: ‘Marginalia’

Posted on by Alexis Tiedemann

Baby Guru is, once again, all over the board. Their new album, Marginalia, released in March via Inner Ear, is a collection of songs whose wildly diverse inspirations are apparent, with songs so distinctly different from one another, yet songs that flow together to create a coherent and unique album. What they lack in reasoning, they make up for in creativity on a record that takes the listener on a strange and interesting journey.

Baby Guru is, in their own words, “an ever evolving musical organism conceived by three childhood friends, in a basement, at the end of 2009.” A very unique band, the musicians rely on “unexpected spontaneity” and blend a combination of “kraut rock,” psychedelic music and African percussion to create a sound unlike any other.

Marginalia seems to draw inspiration from every type of music under the sun – and then some. Songs like “Marginalia” and “Turtle Hearts” are very modern-day Beatles, with Ringo-like drums and multiple clear, harmonizing vocals. David Bowie seems to have had a hand in inspiring spacey songs such as “Explain” and “We Need Some Space.” Baby Guru’s far-reaching influences are apparent in the almost Celtic-sounding electronic beat, “Exegesis” and the tribal sound of “Most of the Times.” No two songs are similar, and it makes for fascinating experience.

While every song is wildly different, the album as a whole is very synth- and keyboard- driven, creating an upbeat, indie-pop sound. It is fun and wild and different. While at first listen, it may seem a bit random and out-there, after a few times hearing the album, it certainly grows on you. The three members of the band, Prins Obi, King Elephant and Sir Kosmiche not only wrote the entire album, but recorded and produced it themselves, and in a world where most artists don’t even write their own songs, you’ve got to respect the band that can do it all.

Plus, there’s a groovy video to go along with the track, “Especially When,” that is incredibly entertaining. Featuring kaleidoscope shots of the band and a beautiful woman in a muscle car, the song makes you want to get up and dance. And maybe take a shot or two with a stranger in a leather jacket. It’s dangerous and psychedelic and very cool.

This consciousness-expanding album is open minded, fun, and certainly worth the listen.

Literary Style Icons

Posted on by Kate Foster

I’m sick of drawing fashion inspiration from movies and TV. It’s just too easy! Watch your favorite show, choose a clothing item you like, look it up, and BAM! It’s in your closet in a few days, and suddenly you’re Hannah Horvath. As is probably obvious, I’m more into the written word and the imagination that accompanies it. So when I’m envisioning the style of some of my favorite characters from novels, I know their sense of fashion has a touch of mine in it as well. Be inspired by my three favorite fictional fashionistas below – trust me, their style definitely thickens the plot.

Lady Brett Ashley, The Sun Also Rises by Ernest Hemingway

“Brett was damned good-looking. She wore a slipover jersey sweater and a tweed skirt, and her hair was brushed back like a boy’s. She started all that. She was built with curves like the hull of a roaring yacht, and you missed none of it with that wool jersey.”

(Missoni skirt, Chanel jacket, Brooks Brothers hat, Accessorize Necklace, and Iro Staccia boots)

Daisy Buchanan, The Great Gatsby by F. Scott Fitzgerald

“For a moment the last sunshine fell with romantic affection upon her glowing face… then the glow faded, each light deserting her with lingering regret, like children leaving a pleasant street at dusk.”

(Proenza Schouler skirt, Tibi top, Cocktails in Celebration headband, Paul Andrew shoes)

Sybill Trelawney, Harry Potter series by J.K. Rowling

“…the doors of the Great Hall opened again. It was Professor Trelawney, gliding towards them as though on wheels. She had put on a green sequined dress in honor of the occasion, making her look more than ever like a glittering, oversize dragonfly.”

(Jean Paul Gaultier skirt, Oscar de la Renta top, Chesca shawl, Betsey Johnson boots, Dolce & Gabbana clutch)

All collages made through Polyvore.

Lydia x Vinyl Mag

Posted on by Rebecca Smith

The much-anticipated Illuminate Tour has had dedicated Lydia fans excited for months. We caught up with lead singer Leighton Antelman at his sold out show in Atlanta to figure out exactly just what it is about this album that is so important to fans. In the process, we also found out the indie singer’s feelings about Internet piracy, his preference of libation and the scoop on Lydia’s future projects.

Vinyl Mag: You guys have been on tour for exactly a month now – how has it been? Any major highlights [from the tour] we should know about?

Leighton Antelman:  Just that the fans have been crazy. This is probably one of the best tours we have headlined so far, and we’ve just been blown away by how cool the fans are.

VM: Not that anyone’s complaining, but why now? I mean, most bands wait until the 10th Anniversary of a beloved album to dedicate a tour.

LA: Well, it was just the five-year anniversary of Illuminate this past fall, and we just couldn’t fit it into our tour schedule for the fall. We didn’t want to just throw a tour together, so we decided to wait until spring to do it properly.

VM: What do you think it is about Illuminate that resonates so deeply with your fans?

LA: I mean, I don’t know. For me it’s just another record we did, but to the fans… they really like this album. Your guess is as a good as mine.

VM: Thinking back to the writing/recording of the album, is there anything in particular that sticks out in your minds as special? Did you sense at the time that this would be such an important album for you and your fans?

LA: It was our second album that we ever did, and it was kind of the first album that we took seriously. We weren’t at home just screwing around, but I definitely didn’t know it was going to be such an impact on the fans.

VM: You’re newest album Devil came out last year. How was writing and recording that album different from Illuminate and other albums from before your hiatus?

LA: This one was different, because I had a different team of people around me. Lydia has always kind of been a collective project. I just like to write and play with different people, because it keeps it interesting.

VM: How is it different to play a set that consists of an album in its entirety compared to a typical show? Are there any songs in particular you find it difficult to revisit after years of not playing?

LA: No, it’s actually really fun, because some of the songs we haven’t played in years. It’s something new, and we’ve been having fun with it. We’ve obviously never [played] a record all the way through, so the whole tour has been really new and cool for us in that regard.

VM: Back in November, you told us that some of the songs Mindy White [did vocals] on were difficult to play live.  How did you meet that challenge when playing on this tour?        

LA: Well, there are two other people that sing on stage with me now, and they’ll do some of the falsettos and harmonies and what not. Some of the parts that she sang, I’ve just adapted and made my own version of it.

VM: You guys have been touring for so many years now; do you have any interesting stories that would solidify Atlanta’s reputation for being totally weird?

LA: [Laughing] I don’t think you guys are totally weird.

VM: I mean, we are pretty proud of our weirdness.

LA: I have my other project, Cinema, and this is where we write and record, so I spend a whole lot of time in Atlanta. I probably spend the most of my time between Atlanta and home, so I’ve always thought it was pretty cool place.

VM: A little birdie – Vinyl writer and huge Lydia fan, Samantha [Gilder] – told me you were a big whiskey fan. Any recent favorites you want to share?

LA: [Laughing] Not really to be honest, I’m just a big fan of Jameson. It’s my go-to.

VM: This question is a bit political, but recently there’s been a lot of discussion about free online listening services like Spotify and Pandora and how they affect bands livelihood. What are your thoughts on them? Do you see them as a tool or a burden?

LA: I absolutely view it as a tool. I don’t understand when bands get fired [up] about music getting out for free. If somebody wants your record, they’re going to get it whether it’s free or not. I just think, even if it’s free, that just means more people coming out to shows, and who could be mad about that? I think you just have to embrace it at this point.

VM: Obviously fans are glad to have you back from hiatus and have had a positive response to your latest album, Devil, but what can we expect from Lydia in the future once the this tour wraps up?

LA: After this tour, we are going to take a month or two off. We already have a handful of songs; we just want to get some more.  We all write the songs and then just send them back and fourth to each other, and we’re getting very close to having enough for a new record, so we’re going to focus on that when we get home. It’s about time for that.

 

*Be sure to check out our review of the show, here!!

SXSW 2014: Blondfire x Vinyl Video

Posted on by Emily McBride

It’s no secret that we at Vinyl have love for Blondfire. It all started at South by Southwest 2013 when we saw them play a show at The Belmont with Sirah, Charli XCX, Icona Pop, Rockie Fresh, Action Bronson and Macklemore & Ryan Lewis (um…best lineup ever?).  Since then, we’ve been hooked.

We sat down with them at SXSW this year (after trying to meet up at a restaurant that no longer exists and getting super lost and confused), and they patiently held off eating a delicious-looking muffin to talk with us about their newest release Young Heart, finding band members through Craig’s List, what they love about South by Southwest and, of course, what’s next for them. Enjoy!

Apr 03    The Hoxton w/ The Sounds, Ghos…    Toronto, Canada
Apr 04    Imperial De Quebec w/ The Sounds, Ghos…    Quebec City, Canada
Apr 05    Corona Theatre w/ The Sounds, Ghos…    Montreal, Canada
Apr 07    Music Hall of Williamsburg w/ The Sounds, Ghos…    Brooklyn, NY
Apr 08    Union Transfer w/ The Sounds    Philadelphia, PA
Apr 10    Webster Hall w/ The Sounds    New York, NY
Apr 11    Fete Ballroom w/ The Sounds    Providence, RI
Apr 12    9:30 Club w/ The Sounds    Washington, DC
Apr 14    Terminal West w/ The Sounds    Atlanta, GA
Apr 15    The State Theatre w/ The Sounds, Ghos…    Tampa, FL
Apr 16    Grand Central w/ The Sounds    Miami, FL
Apr 18    Granada Theater w/ The Sounds    Dallas, TX
Apr 19    Emo’s w/ The Sounds, Ghos…    Austin, TX
Apr 21    Fitzgerald’s w/ The Sounds    Houston, TX
Jun 03    The Demo w/ Chain Gang of 1974    St Louis, MO
Jun 04    Woodland’s Tavern w/ Chain Gang of 1974    Columbus, OH
Jun 05    The Boot & Saddle    Philadelphia, PA
Jun 08    Brighton Music Hall w/ Chain Gang of 1974    Boston, MA
Jun 09    The Drake Hotel w/ Chain Gang of 1974    Toronto, Canada
Jun 10    Magic Stick w/ Chain Gang of 1974    Detroit, MI
Jun 11    Empty Bottle w/ Chain Gang of 1974    Chicago, IL
Jun 12    7th St Entry w/ Chain Gang of 1974     Minneapolis, MN
Jun 14    Marquis Theater w/ Chain Gang of 1974    Denver, CO