Art Show Friday!

This Friday, I will be a featured artist at DNA galleries during Live on the Plaza along with The Dirty Fabulous. From their website:

The Dirty Fabulous is exhibiting 3 original works along with 4 archival reproductions. These works are created with acrylic and oil on metal and are a part of an ongoing series since 1993. “The Dirty Fabulous produces relics of the modern American psyche in large-scale mixed media paintings and drawings. Referencing diverse historical, literary and pop subjects. The compositions are littered with symbolic imagery that is part satire, personal musing and broken alchemy….”

We are also excited to feature the work of Jeff Sparks this month whose works and are painstakingly stippled in a process he likens to painting in that he works “… over the same area multiple times to build depth and detail, similar to working from an under-painting.” His works are inspired by mythological and occult stories, theology, philosophy and the occult.”

Jeff 1 Jeff 2

For more info:

If you can’t make it Friday, the work will be featured throughout the month. Hope to see you there!

More Metal Creeping In

I have been listening to a lot of metal lately from the large collection that Alex and I recently acquired. I haven’t yet gone through it all in depth though nor made any notes so that I can do a write-up. I’m kind of busy (or at least I should be) with prep for the show next month. Just to keep things going though, here is a taste.

Black metal legends Carpathian Forest. Have fun.


I also highly recommended Wolves in the Throne Room if you are a fan of SUNN0))), Randall Dunn, or anything in that musical realm. (There are some new SUNN0))) things coming down the line that will probably show up here in the near future.)

Here is a short description of Black Cascade taken directly from their bandcamp page:

Black Cascade is characterized by a heavy and powerful analog sound and a deft touch with songwriting and arrangement. The crumbling roar of decidedly old-school tube amps unite with layers of mossy analog synthesizer and cataclysmic percussion. Blazing and crystalline Metal riffs slowly collapse and shift into ritualistic dirges that invoke endless rain falling upon the ancient cedars of the pacific North West.


You can pick up a copy of the new WITTR album Celestite in a gate-fold clear vinyl format (Celestite is the instrumental companion piece to the recently released Celestial Lineage album.) along with a bunch of other cool stuff here:

T-shirts are just $15, the vinyl is $25. Pretty sweet deal.

— JS

Bass Drum of Death

Hello all, I am excited to present a piece from our new friend Charles. He was gracious enough to donate his time and energy to write up a post for the club. I urge everyone to let him know how much you like it (even if you continue to completely ignore all of my posts.)



Being new here, I want to get something off my chest and it needs to be addressed. I am a self-proclaimed hipster (the first step to fixing any problem is admitting you have one; “Hi guys, my name is Charlie and I’m a hipster.”). OK, now that that is out of the way, let’s get into the music.

I’m a relatively new fan of BDoD, the Oxford, Mississippi based dirty garage rock band, but a fan nonetheless. Their name alone should have scared me away, being the hipster I am, but I gave them a listen and did not regret. I dig the lo-fi, do-it-yourself vibe they have. That vibe exists because that’s pretty much what they do. John Barnett basically said, “Hey, I’ve got a bass drum and a guitar and I want to make music. Let’s do this.”

It worked.


Ignore the bad video. It was 2008. Just listen.


Since starting in 2008, BDoD has released two EPs (Stain Stick Skin {2008} and High School Roaches {2010}) and two full-length albums with a third on the way (GB City {2011}, Bass Drum of Death {2013}, and Rip This due in October). I’m pretty excited to for it. Some bands are meant to change things up and try new sounds that still infuse a little of the early styles from their music, but BDoD is not one of those bands. Sure their music has gotten a little bit more complex, but not much, and quality has gone up, but that’s because of better recording. You won’t hear a song from them and not know it’s them. What you hear is what you get. There new single, Left for Dead, still has the same vibe as their early stuff.



It’s still grungy. It’s still aggressive. It’s still Bass Drum of Death (even if it’s more guitar driven). It’s still something you can listen to and do whatever you want. Want to take a road trip? Bass Drum of Death. Want to cook supper? Bass Drum of Death. Want to play volleyball with a monkey? Bass Drum of Death. OK maybe not the last one, but you get my point. It’s music that is unapologetically exactly what it is. It’s punk, garage rock. That’s it. Nothing more; nothing less.


If you’re only going to listen to one song: Nerve Jamming.


If you get the chance to see them live, which is a strong possibility with a new tour happening right now, do it. If you get a chance to talk to them and tell them how good they are, don’t because Barnett already knows it. They put on a hell of a show though, so go see them. And pick up Rip This when it comes out in October.




I took the liberty as editor, of adding the tour info for everyone as well as a preview of the self-titled album from last year. Enjoy, and as always, show your support and buy it if you like it. —Jeff


Sep. 04
The Basement
Nashville, TN

Sep. 05
40 Watt Club
Athens, GA

Sep. 09
New Orleans, LA

Sep. 11
Spanish Moon
Baton Rouge, LA

Sep. 12
Bottletree Cafe
Birmingham, AL

Oct. 01
The Demo
St Louis, MO

Oct. 02
Chicago, IL

Oct. 03
Horseshoe Tavern
Toronto, ON

Oct. 05
Signal Kitchen
Burlington, VT

Oct. 06
The Middle East Upstairs
Cambridge, MA

Oct. 08
Santos Party House
New York, NY

Oct. 09
The Barbary
Philadelphia, PA

Oct. 12
Grey Eagle
Asheville, NC

Oct. 13
Atlanta, GA

Oct. 19
The Echo
Los Angeles, CA

Oct. 20
Great American Music Hall
San Francisco, CA

Pain is Beauty

So, today is the one year anniversary of the release of Chelsea WolfePain Is Beauty, and to commemorate that she has released a new video for Kings.

She has also reduced the download price of the album on bandcamp to just $3.99! Three days only so get it now, it is one of my favorite releases of the last year, I highly recommend it. Just ignore all of the lame Lorde loving fake new goth girls that have latched on to her lately. (Oooh, I’m so witchy. I’m gonna play with my tarot cards and talk about the moon all the damn time.) It’s great for her sales, but is unfortunate for her image as a good artist.
I’m sorry if that offends anyone (not really) but in case you haven’t noticed already, I hate most people and I’m irritated by everything.
I am a very pleasant person.



I have some other exciting news, that might help to mitigate the bitterness that I just spewed above at half of the young female population of the world. I will be putting up some new posts by a guest writer who could possibly become part of the family here. This means that we will hopefully be getting posts at more regular intervals than the somewhat sporadic rate at which I have been releasing mine. I understand that he is an avid movie watcher like me, so we might also be adding a movie review section as well. I am getting a little ahead of myself here though.
Here’s to the future.

— JS

Warpaint (The Lost Posts: third and final)

Okay, here is the last post that I wrote up several months ago. I’m finally getting around to putting it up here.
I guess these young ladies are pretty popular now, so I doubt any of this will be new to many of you. I think I just read that Love Is To Die was featured on an episode of True Blood. I’ve never watched the show, but I know how fanatic some people are about it. Oh well, good for them.

This is totally unrelated, but any of you that might follow my IG account saw that Alex and I had an amazing record store bargain bin experience the other day and walked away with a huge stack of metal CD’s for less than a dollar a piece. Now when I say metal, I’m talking about real metal, not Metallica or any of that weird sing-songy new stuff that supposed metal fans are always listening to. Anyway, after I have had a thorough listen through all of them I will probably be writing up some stuff here for no one to read. (I know you read it Alex, but I think you are the only one.)


I have no idea where this is from, but it makes me giggle and is relevant to the above comments.


After waiting patiently for a new Warpaint release for so long, then very impatiently (The Fool was released in 2010), I got a little nervous about how a new album might sound. I feared the dreaded sophomore slump, plus the fact that there had been no news of a followup for so long was not giving me a lot of confidence in a new album, if one were to happen at all. Then they finally let out two official pre-release tracks from a new album, Biggy and Love Is To Die. With bated breath I listened to the aforementioned tracks, then hung my head in dismay. That’s it? I waited this long and this is it?

Don’t get me wrong the songs aren’t bad, I just think that I set my expectations far too high. When I first heard the Exquisite Corpse EP and the quickly following LP The Fool, I was excited, really excited. Unfortunately, years of listening and searching for new and lovely sounds creates a jaded ear. That is exactly why it filled me with such giddy anxiety (like waiting in line for a roller coaster) to listen to each song from the then newly discovered to me, Warpaint. I was so infatuated that I think I listened to the EP four times consecutively before I even considered putting something else on. Both the EP and LP stayed in fairly constant rotation at home and in the car for quite some time after that. The strange thing about those two releases is that in regard to the music, there isn’t exactly anything groundbreaking happening. There are in fact quite a few fairly obvious reference points, but not presented in such a manner as to make it feel like a rip-off, it’s quite the opposite. Instead the songs sound more like they have been constructed by musicians that truly love and appreciate their influences. When those influences shine through, rather than attempt to hide them, they are handled more as an homage to which the listeners can nod in appreciation along with them. But the handling is done with far more skill and far less kitsch than when people ham-handedly attempt to plaster their movies with references (read copies) to the movies they love and call it an homage, as happens so often with countless terrible horror movies. (I feared that others reading this might feel the same negative connotations from someone calling something an homage as much as I do. We aren’t talking about horror movies right now though, you don’t want to get me started on that or we’ll be here all day so I’ll get back to the point.) The songs are terribly catchy and sound as if they are songs that you have known and loved for years, yet you are hearing them for the first time. It was that good for me.

So I think you can understand my apprehension about listening to a new album, it couldn’t possibly create the same thing for me. Anyway, I got the new self-titled LP. While it cannot be for me what the first EP was, it is still quite good. I think they still have a bit of magic left in them, and maybe after getting the second album out of the way they can be relieved of some of that followup album tension (if they ever had it, I know I would. Lord knows, Jeff Buckley did.) When listened to as a whole, the album is far better than what the two singles suggested. I think one of the problems that I have with the album is not a fault with the songs themselves but with the production. It’s sometimes hard to put you finger on things like that, but if you put them side by side you can definitely hear the difference. The earlier recordings are more raw, befitting the songs, whereas this newer batch of recordings has been too polished which doesn’t work well for a non-technical band that obviously doesn’t have a lot of vocal training. It’s an unfortunate side effect of getting more studio money for big name producers I guess. For one thing, they’ve all but entirely lost the dark, airy, atmospheric 4ADness that was so prevalent on that first EP, and turned it into a Coldplay album. It’s good, but they’ve taken some of the steam out of it for me. Just listen to Bees or Elephants from the two previous releases, then listen to either of the singles for Warpaint, neither of the tracks from Warpaint are the standouts that either of those two previous tracks are.

Yes, that is Theresa Wayman, the bathtub suicide girl who kills herself over Sean Bateman in The Rules of Attraction.

Who knows maybe neither were yet ready for release, but I would have put out Drive or Son, the album closers, as singles before either of the ones that they did. Or maybe I’m just saying that because that is what is playing now as I am typing this.

Okay, so after scanning back through, I was definitely just saying that because it was what was playing, haha. I like them, but that doesn’t mean that they have the oomph and marketability that the single picking guy is looking for in a single. But I really do think that I would have chosen Hi in lieu of one of the two that were released, probably Biggy.

Enough of my blathering. Listen to it and form your own opinion.

If there is any confusion from that mess I just wrote, I am recommending Warpaint – S/T, I just can’t say it’s an essential listen. And who knows, if you are unfamiliar with them, then maybe it’s better to start here and work back to the older material. Just make sure you actually do get to the older material.



— JS


I’m throwing this in here just for fun because I am an eternal fan of Duran Duran and this song in particular, regardless of what anyone else may think of them.

Pyramids/Horseback and The Observatory

I’m kind of busy right now, so just listen to this and think of me.



As always, show your appreciation and support the artists when you can.


Also, if you are in the Oklahoma City area, I am contributing a couple of small pieces to the SOCIETY’s third anniversary show. Alexandra has some stuff in there too. Come by and check out some arts and musics, it’s free.


Friday August 8th 7:00pm – 11:oopm @ the SOCIETY in the Plaza

1609 Blackwelder Ave. #4

Oklahoma City, OK


Maybe I’ll see you there.

Until next time.

— JS

Benji (Lost Posts pt. 2)

I have left everything as it was when I first wrote this however many months ago that was. The portion at the end about William Schaff was somewhat time sensitive, but I wanted to leave it in anyway to bring attention to it even if the donations aren’t possible anymore. The links are probably still valid so you should check them out anyway.   — JS

I did something very stupid, actually I guess it is what I didn’t do that was stupid.

So as you might remember from the recent post about Mark Kozelek and Sun Kil Moon, I discussed how I felt he has been maundering a bit musically and that I think everyone would really enjoy it if he would give us a bit more than the nylon string guitar and his vocals. He has proven repeatedly in the past that he is more than capable of it. Well, I also mentioned at that time, I think, that there was a new record slated to be released, Sun Kil MoonBenji. It has now been released, but at that time you could make pre-orders on Caldo Verde for the album on vinyl, which I think I might also have mentioned that you are as likely to find his vinyl at the record store as you are to find a unicorn with a doctorate in your guest bathroom. I had every intention of ordering it, I really did. Maybe I’ll get lucky and he will come play nearby again and I can buy the record there like I did with the last one. Not likely though.

You might be asking yourself why I would care so much if my love for him has been waning. As you might expect, or at least I would since I didn’t make that order, this album gives us much more and I have probably already listened to it more times than the last two albums combined. His material seems to be becoming progressively more autobiographical in a way that can be a little bit uncomfortable and/or painful at times, as if putting diary entries to music, but because nothing is omitted there are also moments of levity and passages about just living that keep it from being too oppressive. Mark definitely lives under the pall of a very strange cloud, although I think that he is more than a little like me in this regard, and he would likely be the first to admit that most of that darkness and pain is self-induced. The strangeness comes from the more than usual number of odd occurrences that have touched his life of which he sings on Benji. He is also more than aware of the incongruity of some of his beliefs and emotions as he sings of having a charmed life and being able to live without it in I Can’t Live Without My Mother’s Love and then later in I Watched The Film The Song Remains The Same the lyrics touch on the depressing wisdom and introspection that only comes from growing older and closer to the end, which courses through all of the last half of the album. The album grows increasingly darker now as I am writing about it, and I am not ashamed to admit that it brings me to tears at least once every time I listen to it. In my defense and to mitigate some of the “wuss” thoughts going through your heads right now, I have only ever listened to it while I am alone, which is most of the time, and I probably have some emotional issues as evidenced by the fact that I am constantly disturbed by the dearth of real meaning in our lives and the inanity and pointlessness I see everywhere.
Whoa, lighten up man.
Okay. I’m alright now.

So the music, yes the music, I haven’t written a word about it yet. It has also progressed and has more of an openness to it, the performance is a little looser but lends itself well to the nature of the songs, like early Tom Waits or Leonard Cohen (Yes, Chris I know your feelings about those two. I still say you are wrong.) In more contemporary circles it has reminiscences of Will Sheff, although a little more in the lyrical content and vocal style than the music, since as I’ve pointed out repeatedly Mark’s music has grown less complicated and layered in these last few releases, much unlike most of Okkervil River’s output. He did mix it up a bit on this one though, both with the music and the vocals, instead of the typical echoey effect that you might find on the vocals, he does some layering where he accompanies himself. There is even some brass in the closing track, which is unusual for him.

Overall it is a slightly new direction for him, while retaining his recognizable style. There is a moderately lighter feel to it, even in the cover art that still looks like a Red House Painters, Mark Kozelek, Sun Kil Moon cover, but this time it’s in full color which is a departure. Maybe this new perspective will provide us with a new and exciting chapter like what Michael Gira, despite what some detractors have said about him, has continued to do with his musical career.

In a somewhat related topic, William Schaff (not the same guy as Will Sheff), the artist that has provided the beautiful artwork for nearly every Okkervil River release is struggling to keep his home from being foreclosed. As a visual artist I fully understand how difficult it is being continually broke and unable to function without the almost constant support of some very generous people in your life. So if you find that you have a little extra, please consider giving a little to support him or visual artists in general (that means me.)

There are some really great gifts you can get for making a very modest donation.
This might have to be my next step, haha.

— JS

Sophiebear and Catnip Cassettes

This is marginally related to what I am doing here but I thought I would post something a little more lighthearted than the usual fare. When I asked why no one ever wants to comment, I was informed that I can come off as intensely opinionated and maybe less than inviting of viewer participation.

So, I am sorry.

I actually would really quite enjoy a bit of discussion here, instead of feeling like I am just talking to myself like a crazy person.

Alex got some toys for the kids from the lovely people at toobadmice.


cat-cassette-back catnip-cassette-full   sophie-playkitty-cassettesophie-cassettepooped-kitty

You can visit them and get your own handmade organic kitty toys at:

Sophie had a good time with her cassette. She could smell it as soon as I got in the door with it and made it nearly impossible to get those pictures of it without her silly nose in there trying to grab the package.


She also likes to help pick out the records.




Record Rip-offs & Wax Trax Dance Parties: AKA Your Mind Belongs To The State (The lost posts pt.1)

I’ve noticed a very alarming trend. Hopefully I am just having really bad luck, but of the last ten or so vinyl purchases I have made, all new, none used, only one of them came with a download certificate. It’s bad enough that I used to be able to purchase records for, oh I don’t know, certainly not what is being asked for them now, but now I am not to be given my rightful download for an album purchase as well? These guys are like drug dealers, telling you ‘hey, come buy this vinyl please, we’ll give you a digital copy with it, pleeease.’ Now that they’ve given everybody a taste, and for whatever reason, buying vinyl has amassed widespread appeal like it is a new thing or something, all the prices are going up in ridiculous increments as well as these pushers getting all Orwellian on us.

“Here’s the vinyl you must have. We have now decreased the price to $34.99 (previously $20 but all records have been committed to memory holes) for your pleasure.”

“…and the download?”

“There was never a download comrade.” (As he calls in your thoughtcrime.)

“Thank you INGSOC” (I’m already dead.)

Now I find myself shaking my head in disgust when I catch myself saying things like, “Hey, this is only $15. That’s cheap.” When compared with the preponderance of them going for well over $20 or even $30 for a single release, and it’s not unheard of for some of them to be as high as $50, a fifteen dollar album is cheap I suppose. Anyway, I will try to be happy despite the increasing prices, that due to the growing popularity of vinyl that now even old releases that were hard to come by or never saw a vinyl release at all, are becoming more widely available. Take for instance SlowdiveSouvlaki, I was very excited to find this recently, but to my dismay it was thirty-five dollars! This has gotten more than a little out of hand in my opinion. I reluctantly purchased it because, well, I really wanted it. After getting home with it and tearing into my purchase I found myself once again empty-handed where a download was concerned. Alex just laughed at me while retrieving the download certificates from her purchases. Thanks Alex.

Now that I have vented my spleen about something that I clearly paid for willingly, I can write about something hopefully less spiteful with the caveat that it is entirely possible that I will relapse into complaining. I have a predisposition toward seeing the world as an execrable heap. I just put on my happy face for you guys.


So, while on the same record store excursion that robbed and confounded me, I found some wonderful little gems in the new arrivals used bin. Apparently someone had dumped off some of their old DJ vinyl to my pleasure. Amidst the dust and crap records I found Meat Beat ManifestoStrap Down 12″ the sound defence[sic] policy remix (the original Sweatbox release from 1988.)

This is pretty cool since as far as I can tell it isn’t really on any of the proper releases that I have other than my old Wax Trax Storm The Studio double 33 12″ (which happens to still have the old mail order sheet listing all of the vinyl LPs for $8 and 12″ singles for $5! If only I could still order from it.) and in yet another incarnation on Armed Audio Warfare as Give Your Body Its Freedom.

Happily after listening to all of them again recently, they are all definitely different and I think I prefer the Sweatbox single version that I just got. Yay me!


Something else that I grabbed out of the bin, and this is funny because I just wrote about them in the Soap&Skin post, is Front 242Headhunter v1.0 b/w Welcome to Paradise v1.0.

“I’m looking for this man to sell him to other man”

Hahaha, you can’t beat that. Now if only I could find the Bigod 20 single for The Bog with Jean-Luc De Meyer of Front 242 lending his voice to the track. They’re almost a pair, they fit together so well. Both are dance-floor favorites that you are sure to hear if you ever find yourself in the darker recesses of the dance clubs of 1989. If you are confused as to how you should move to the music you can either do some ‘dodge the bats’ moves or, and this is more appropriate for both of these tracks, the militant stomping in place to the beat dance. Now that you are EBM ready, put on something black and let’s hit the floor! Just leave the cloves at home, I will not tolerate those things.


Another single, also from the late 80s, that I got was Severed HeadsHot With Fleas.

While not my favorite track by Mr. Ellard, I quite enjoy them and will always pick up a Severed Heads single when I happen upon one. (Apparently he is of the opinion that making electronic music has become far too easy, unlike when they started in the 70s, and is focusing most of his attention into making video games. I am inclined to agree with him.)

That video has absolutely nothing to do with the single that I purchased, but it is one of my favored Severed Heads songs. It’s from the 1994 album Gigapus, I think I was one of about five people who purchased the album. If you are interested there is a Sevcom bandcamp website with almost all of this stuff and Tom Ellard solo. Most of the albums can be yours for just $5 US and a few of them are ‘name your price.’ I am definitely going to be getting a few of them. I pretty much burned up my cassette copies of Come Visit The Big Bigot and Rotund For Success back when I could fill up my little red Geo Metro for six dollars and then drive all over the country avoiding life. I really miss that car. While I’m at it, I really miss gasoline for under a dollar too. The tracks Harold and Cindy Hospital, Legion, and Propellor/FM Stations Blow Up in particular were my jam. Check them out here:

You should go to the site and look around. I particularly enjoy Tom’s commentary on each of the albums.



I also picked up the Chris + Cosey – Obsession 12″ single (Play it again Sam Records.) The artwork is only mildly NSFW. I think you’ll be okay.

This is not an official video, there probably isn’t one. This is just some video that someone has added to the music track, but it is probably more entertaining than staring at an image of the album cover, that was the other option. Plus it’s very weird and kind of fitting, sort of misogynist, but fitting. It’s actually far more NSFW than the artwork. Oh well.

For anyone unaware of this, Chris + Cosey (Chris Carter and Cosey Fanni Tutti) were a couple of the somewhat lesser known members of Throbbing Gristle, of which other members went on to form Psychic TV (Genesis P’Orridge) and COIL (Peter “Sleazy” Christopherson.) I don’t have much from Chris + Cosey. I do have a Carter Tutti (basically the same thing with a different name) recording from a live radio show in 2004 that I think I enjoy more than any studio releases I’ve yet heard. This has no direct relation to the previous statement other than Cosey’s involvement but, Mrs. Tutti lends her vocals to one of the more haunting versions of Idumæa on Current 93 – Black Ships Ate The Sky, although you don’t get to the Idumæa portion of the song until around the nine minute mark. It’s very dark, I like it a lot.


I have really got to make a list of what I own to prevent any unnecessary duplications from such compulsive purchases as to which I alluded in the Severed Heads section above, and looking at all of these singles has me thinking about it. It has happened more than once that I got home to find that the vinyl I just got, I already owned. Although, if I might be allowed to complain a bit more, I used to intentionally make duplicate purchases back when people didn’t buy records like they do now. During this time frame I would occasionally go to shops like Starship Records, which appeared from the copious overstock to be the graveyard of vinyl deemed no longer useful and therefore culled from the ever evolving DJ stacks, to peruse the tombs. It was rare that I ever paid more than a dollar or two for any of it and if I would happen upon something that I already owned and knew to be good, I would most often purchase it since the prices were so low, for the purpose of handing it over to a well deserving friend or someone desirous of it and not having the fortune of coming across it as I had. I guess that that is not so much complaining as it is lamenting a past never again to be. (Damn kids. Back in my day… hahaha)

Oh, I didn’t mention this before, but it is relevant. I had to pay about five dollars for every one of those singles. It doesn’t seem like a lot, but considering I could have bought the same thing only a year or two ago and I know this for a fact because I did in fact purchase several very similar releases at the same location, for maybe a dollar or two at that time, it’s obvious that the logic that the stores are having to pay more for the new releases and therefore having then to pass that expense on to the consumer isn’t wholly true and they are very clearly taking advantage of the growing appeal of vinyl to demand more for items that aren’t costing them any more to acquire than before. Those were the cheap ones. There was a Revolting Cocks single that I wanted, but it was $9. I just couldn’t do it, not for an old 12″ single. (I eventually picked it up on a later trip. I just couldn’t help myself.) I have one or two other Revco singles, probably purchased at Starship, that I likely got for a dollar. Go figure. I think that in the past most sellers would almost just give it away just to get it out of the way, and very few people really wanted it, so they were only asking a dollar or so because it was better than just slapping ‘FREE’ on it while having nearly the same effect. I know that some particular items are slightly more valuable, but having seen the change I can clearly tell that there is definitely a blanket increase that is happening now not based on any research toward an item’s collector’s value.

Oh well, I have caviled enough about this. It’s just the going rate now.

Yes, I know that I basically just referred to my own complaint as trivial— It is. I’m happy that there is new life in the record store market that I thought was all but extinct only a short while ago. I do understand that the records now are of a higher quality than they used to be, most on 180 gram vinyl, as well as a lot of gatefolds and fancy deluxe packaging. That’s all cool, but forty and fifty dollars a piece for individual releases is a bit extravagant. What is likely to happen is that the prices might begin to soften a bit if they find that their audience, like me, doesn’t feel the marked increase is warranted, or simply begins buying much less than we did before. We do all still have other avenues for acquiring the music, it’s why the record stores started going down the tank in the first place. And as far as the downloads are concerned, they should be included period, there is no defensible excuse for that.

We could all take yet another step back and actually start using tapes again, this is the Cassette Club after all. I’m sure there are plenty of hipster d-bags out there that are doing it anyway for other reasons (I don’t think I can possibly be that cool though.) So if you are that cool (read: hipster d-bag), send me your blank tapes and Omnibot will make a mix for you, he’s good at that, he’s from the eighties it’s all he understands.


But as for now this means that all of you are going to need to start sending money to me so that I can afford to continue buying the musics to type about to you here.

I will take monetary donations of any size, or records. Whatever works.


As always, buy the music when you can, but enjoy it either way, it’s why we have it.


— JS