#i love this album so fucking much i wish they still printed it on vinyl

[unscharf-an-den-raendern]

Rating my new LPs - Part 2

Pink Floyd - Wish You Were Here

This shows me why I started collecting records. If I listened to this on shuffle, I’d probably skip most of the songs but when listening to it as a whole it’s great. There are some albums that sound better when you listen to them as a whole and this is one of them.

Speaking of skipping: Even though side B of my copy has at least three scratches, it only skips once or twice.

Shine On You Crazy Diamond is just *chef’s kiss*

People on Reddit are telling me it's a wonder I found this cause Pink Floyd records are very hard to find in record stores. They also had Dark Side of the Moon for 20€ but I didn't want to make my grandpa pay that much. 20€ is pretty much my limit for used records, except for a few I really want and which you can't get any cheaper.

Queen - Greatest Hits

First song is Bohemian Rhapsody a.k.a the song everybody likes.

I’ve got the European re-issue which means Under Pressure is on it. Queen and David Bowie in one song. That bass line. All of it is just perfection.

Freddie and David must be having a great time in the afterlife now 😭

ABBA - Voulez-Vous

My goal is to own all ABBA studio albums. I still need five but they’re all cheap and very common.

What can I say? ABBA fucking slaps. There is no bad ABBA song.

Also this one’s got I Have A Dream on it and that song always takes me right back to my childhood.

And Does Your Mother Know? That one’s on  Greatest Hits Pt. 2 too but I love it. It’s impossible not to dance to it.

ABBA - Super Trouper

Unfortunately there’s something stuck in the first few grooves on my copy, so the first song on both sides skips pretty often. Which sucks a little since the first song on side A is Super Trouper and that’s one of my favourite ABBA songs. Maybe I can fix it with the vinyl cleaning fluid I ordered.

And the previous owner also did something you should never do to a record: They. touched. the. fucking. grooves. And now it’s got finger prints on it. Remember kids: Only hold your record on the label or on the sides, never on the grooves.

I’ve got the French pressing instead of the German one. There’s no difference except for the label. I just think it’s cool to have a pressing from another country since most records I own are German pressings.

Nena - ? (Fragezeichen)

Not as good as their debut album (which is one of my fav albums) but still nice to listen to

One song is just them singing "Der Bus ist schon weg" (we missed the bus) very fast for 16 seconds.

This one still got the original price tag on it. 17.90 DM. I got it for 2€. Neue Deutsche Welle records are really cheap and I love it.

My copy is the club edition. It's the exact same album as the regular version except that it wasn't sold in stores, only to members of the Bertelsmann vinyl club. Makes it a bit rarer than the regular version but since NDW records are so cheap it doesn't make it more valuable.

Nena - Feuer und Flamme

This one use to belong to a girl called Sandra Müller. I love used records with things written on them.

Unfortunately Sandra didn't care for this record properly. It's got a lot of crackling. It skips. But I guess that's fixable by cleaning it, it seems to be caused by dust not scratches.

I only bought this for Irgendwie Irgendwo Irgendwann. It also got Haus der drei Sonnen but I like the duet version with Peter Heppner more.

Ein Brief is a beautiful song.

ABBA - Arrival

I've got the Italian pressing and now I know the Italian word for "side". It's "lato".

And it's in excellent conditon. It looks and sounds like it was played only a few times if at all. Maybe the previous owner wasn't into ABBA. Good for me.

Dancing Queen is a great song but the problem with it is that it starts to get annoying if you listen to it too much. Fun Fact: Dancing Queen can be used as a song to do CPR to.

The Beatles - 1962-1966

I’ve got both best of albums now. All The Beatles bops and they’re a lot cheaper than the original albums.

The album is the German pressing but the cover is from the UK pressing. Buying used records is like a box of chocolate. You never know what you're gonna get.

But wait there’s more. This one’s not only got the usual two records in it, it’s got an additional third one - another German pressing of the first record. Which unfortunately has a scratch but hey, I can choose between two German pressings when I listen to this. And I only payed 9€ for this!

And there’s even more. One of these pressings was never sold on Discogs. Only 4 people have it in their collection and 14 are looking for it. WTF What the hell did I stumble upon? Like I said, this was 9€.

A Hard Day’s Night a.k.a. the song that’s partially responsible Kraftwerk even exists because Karl listened to it and decided he wanted to become a professional musician.

Listening to this and 1967-1970 back to back is great to hear how The Beatles developed. First they were all like “Hi, we’re nice guys from Liverpool singing about love” and then they were like “I’m gonna sing a poetic text about the universe now”.

I was thinking “hey, the sides seem to be unusually short”. They are, they’re just 14/15/17 minutes long.

#shut up charlie

[vinylexams]

Heavy Heavy Low Low - Courtside Seats to the Greatest Fuck of All Time⁠

⁠ @heavyheavylowlow38 #heavyheavylowlow #hhll #deathwish @deathwishinc⁠ ⁠ I’ve been lucky as hell recently to snag insider info on some killer reissues and this one is no exception. You all already know how much I love HHLL, especially Turtle Nipple…, and through serendipity I got connected with Robbie from the band a few months back. I got to hear about how they are coming back to life after some years focusing on other projects, growing up and growing out, and evolving as musicians and artists in the process. They’ve worked with Twelve Gauge Records to put Courtside Seats on vinyl for the very first time and after they announced it on their platforms and immediately sold it out, they’re pressing another batch that you and the HHLL lovers in your life can and should snag before that pressing sells out, too!⁠ ⁠ What’s even more exciting is that I got to pick Robbie’s brain in typical VE fashion and he’s indulged me with all sorts of info about what they’re up to, whether or not we can expect new music, and some feel-good stories about huffing air duster and ripping shit up in an old warehouse on the California coast. Here it is in its unedited glory, but first…head to the website to pre-order your copy and then head to Robbie’s Indiegogo campaign to learn more about his upcoming short firm that’s scored by Nick from Tera Melos! ⁠https://deathwishinc.com/products/heavy-heavy-low-low-courtside-seats https://www.indiegogo.com/projects/morning-deliveries-short-film#/

INTERVIEW

First and foremost, it’s been a minute since we’ve heard from Heavy Heavy Low Low and then out of nowhere you sprang back to life in 2019. What motivated you all to pick up this project again? I’m not sure what motivated it. We had always been trying to jumpstart the whole thing again for some time and I think that it might have been a case of everyone’s lives slowing down and examining that time with a weird reverence. I can only speak for myself. The boys are all in school or doing their own thing.

I imagine you’ve all been working on different projects since HHLL went on hiatus. Do you have anything that you or the rest of the band have worked on that you’d love us to know about? Danny has gotten pretty popular in the Kendama world. Chris is studying various forms of martial arts. Roo is endlessly going to school and currently scoring independent films. Chip is heavily involved in competitive fishing. I’ve been making short films when the situation and my wallet allow it. We’re all crazy excited about finally owning Courtside Seats on vinyl for the first time. Aside from bringing that album onto the vinyl medium, the pre-order page notes that there’s new artwork, too. What can we expect from that? When we made the CD we weren’t expecting to sell any really.. I did the art and Matthew printed them all at his job. Him and I folded every crease, glued the o-cards and vacuum sealed them all. I think it sold out almost completely at the record release show. We made the same amount of records as we did the original cd (500). The artwork for the original CD pressing was done on sketch paper without any comprehension of what could be done with drawn art and a scanner. Matthew was the computer wizard and back then, young and silly, it was all done on the cuff. The new art is a bit more modern and plays with mortality. Court-side Seats to The Greatest Fuck of All Time being a front seat view of a an ordinary, bumpy ride through life. I’m proud of it. What’s it like to bring back an album from the earliest parts of the band’s career? Do you still identify with the music? It is odd. It was a truly surreal time and place. We were out of our fucking minds. We recorded it in Mountain View, Ca in this giant warehouse that tapered into gutted office spaces. It was a weird white collar tomb on the outskirts of Silicon Valley right before the real tech boom. In the big part of the warehouse where we’d enter there were giant mounds of clothes meant to be donated to some third world country. We’d burrow tunnels in them and do huge dramatic flips from pike to pile. There was an aisle of outdated medical equipment waiting to be sent that we’d stalk through in the dark. It was a strangely magic place. Once you got through the warehouse you’d get to these office stations that had been fashioned into recording studios and that’s where we birthed this thing. We were so misguided. The amount of compressed air that we inhaled should have killed us. I contribute a significant drop in IQ to that shit. Smoking copious amounts of weed from gravity bongs. Recording with a hip hop producer, Deegan. Never a disagreement. It still feels like it was some strange purgatory of youth. I don’t miss it, but it was beautiful. Does this mean there’s hope of having Everything’s Watched, Everyone’s Watching on vinyl sometime, too? So, there was a guy who was very adamant about putting that record out on vinyl. We had a dialogue going for the better part of a year and apparently he had been in contact with Rhino Music and Warner, the two companies that hold the licensing to that album. He had received word that it’d cost an impressive amount of money, but he still wanted to shoulder it. Mind you, this dude didn’t have a label, he just wanted to put this thing out and apparently hadnt thought that all out. Time goes by, I’m waiting, not worrying one way or the other. One day I get a link from a friend, a Christian college website detailing that dude had been arrested for kidnapping and assault. Very sad situation. Dude seemed semi normal. Anyway, that was the last effort I’d seen put into that. I’d love to contribute new art to that release if any go-getter wants to try their luck. I’ve loved everything HHLL put out, but Turtle Nipple is in my top 10 list of favorite albums of all time. What was the writing the recording process for it like and how did the band feel about the new creative directions on it? EWEW was half previously recorded material re-recorded and half material written a year prior, kind of forced into a studio with producers we had no previous rapport with. Those producers/engineers were incredible human beings (RIP Tom Pfaffle! See you in the mindfog) but we were very young punk kids thrown into a foreign land where we had our agents visiting and there were platinum records on the wall and it was a total barrage of privilege and excess. It was beautiful, don’t get me wrong, but I don’t feel soul in that record. Turtle Nipple is a dense trip through time and the record I’m most proud of in our discography. I don’t remember how long we had to record it, I do remember that it was the only time we’d been given to experiment and layer our sensibilities in an environment that catered to them. Sam (Pura) was a perfect conduit to that vibe and time and space and it really came out just how it should have. I think about that album as a 70s exploitation directors filmography.. it veers violently from genre to genre and while most of the stories are fiction and far from personal testimony, theirs a peek into some shared insanity contained throughout. George Cosmatos wandering through a punk club on an edible. I think that that album is our bands true personality. Sam is a member of our band whether he’s playing with us or engineering for us. He gets us. I love the idea of an alternate reality where we had lasted a bit longer and did an album with Steve Albini. He’d probably hate us, but I love those ‘What If?’ Scenarios. I’ll ask the question EVERYONE has been asking so it’s on the record somewhere: Does this mean we can expect new material or a new album soon? Maybe even a tour? We have a new EP in the works. We have some of it recorded with Sam. We’ve posted a couple clips on Instagram. We’re incredibly busy and spread out in our personal lives. Chip in TX, Dan in FL, Roo in OR, Rob and Chris in CA. Adulthood is a bitter, pulpy drink! We are going to be playing again. We won’t be leaving the West Coast. We had our fill of middle America and the travel involved. We have talked to some of our buds from our early days of touring about playing alongside (opening for) them for a limited run in 2020. I think that qualifies as a tour. Also, if anyone wants to fly us to Europe to play a festival in 2020, we’d like that. It’ll be an interesting year. How does it feel to be welcomed back by so many adoring fans who still love your music and are hoping for more after a long hiatus? It’s incredibly humbling. I have heard from people throughout the years about how we had affected them and it was always just strange to me. I’m pretty self deprecating, so I just don’t understand how some shit I wrote could mean much to anyone. My mind is just a shotgun blast of panic. I guess all of ours are? I love my band mates and their talents, though. So I understand the sorta sirens draw to the greater extent. I think they only got to show themselves slightly, too. Weird existence. Give us a piece of band trivia you’ve never shared in an interview before! Gees. There is a step-in part to most 15 passenger vans. It is a black, hard plastic. It meets with where you close the sliding door. When we had no bottles to pee in, we would just piss in ‘the step’. This thing was a den of germicidal activity. Trash and piss I don’t think we ever truly cleaned that thing. What’s odd is that we so rarely got ill on tour. The Step kept us healthy on a steady diet of trash and piss and general scum. Finally, this isn’t a question but the hidden track on Turtle Nipple is a fucking masterpiece and I wanted you to know. Thank you! I think that may have been my idea to add some weird 70s funk into an old track of ours. I think it turned out cool, but I think it betrays our vibe on that album! I wish it’d have devolved into some weird, primitive Altered States shit.

#heavyheavylowlow #hhll #deathwish #vinylrecords #vinylcollectionpost #metal #nowplaying #vinyls #recordcollector #vinyladdict #vinyligclub #vinylcollective #vinylexams

[star-trekkin-across-theuniverse]

Escape, pt 1

Author’s Note: This fic is part of a series, all titled off the songs on Awesome Mix Volume 1. I am not finished it - there’s still 3 or 4 songs to go. PLEASE, FOR THE LOVE OF ALL THINGS HOLY, let me know if you like this one or not - I don’t have to post it if you all hate it. <3 

TAGS ARE OPEN FOR THIS - LET ME KNOW IF YOU WANT ADDED :)

Summary: When Peter Quill wears out Awesome Mix (Volume 1), he drags the team to Terra to find someone to repair it.

Word Count: 3179 Tags: @samaxraph99 @shewhorunswithfandoms @distinguishedqueenofbooks @anyakinamidala @anotherotter @little-study-bug  @rampant-salamander @goodnightwife @wanderingkat77 @bluebird214 @superwholockedbeauty @eyeofdionysus @all-time-foes @girl-next-door-writes @feelmyroarrrr Warnings: This is a lot smuttier than I usually write? But not this chapter.

“Pinnnnnnaaaaaaaa Coooooollllaaaaadaaaaaaaaaaaas –“ The tape was distorted, stretched. It was to be expected after 25 years of constant use. In fact, it was a miracle it had last as long as it had. Peter knew that, but it made his heart ache to know that Awesome Mix (Volume One) was worn thin. It was one of the only things he had left from life on Terra. He had even less to remind him of his mother, who was beautiful right up until the last breath escaped her. He rubbed at his chest absently and wondered out loud if the air filters in the Milano needed changing. His eyes were irritated, and kept watering. He walked out of the cockpit, muttering about space dust and allergies.

Gamora rolled her eyes, but elbowed Rocket in the ribs when he moved to contradict Peter. Rocket scowled at her. “What? He’s crying!” He whispered.

“And you watered Groot for months with your tears. Yet you won’t let us remind you of it,” she scolded. Rocket glanced at Groot, still and stoic. He was growing at least. It was a good thing the salt tears hadn’t killed him.

Peter reappeared and took over the controls, keying in a long sequence of coordinates wordlessly. Rocket shot a worried look at Gamora, then one at Drax. They weren’t coordinates that he recognized immediately, and they were distant. He brought up the destination on the console in front of him and threw his hands up in disgust.

“Terra? A whole universe to look after, and we’re headed to Terra? Shoot me now!” Rocket bellowed. Drax looked up, concerned. He was slowly becoming used to the rest of the group’s use of hyperbole and exclamation, but he still had difficulty discerning when they were serious. When he saw that neither Peter nor Gamora had moved to kill their crewmate, he relaxed.

“Someone there will know this tech. Someone there will be able to help me restore my cassette,” Peter explained. They shot into hyperdrive and left Knowhere behind.

A jangle of bells warned Roxanne that she had a customer. She ran her hand through her hair and tied it back before leaving the shop books in the backroom and coming to the counter. The music store had been her salvation for years, and as much as she hated to admit it, it wasn’t making money. Not anymore. Not now that mp3s and iPods and digital music was taking over. She kept it open as a hobby, paid her staff because they were passionate about music. But sooner or later, she was going to have to consider closing the doors. It would be the end of an era. When the store had opened, in 1978, it had been part of a big chain. When the chain had gone under in 2001, Roxanne had been quick to buy the location. It was a standalone shop on a busy retail street. At the time, the street was on a downturn, but the whole hipster thing had happened and now it was the cornerstone of a quirky consumer renaissance. They specialized in vinyl, but also carried used CDs, cassettes, and stereo equipment. When Roxanne had purchased the building, she’d gained access to the basement. That turn of events had been what made keeping the store open worthwhile. There were literally thousands of dollars of merchandise that had never seen the light of day down there. Albums that had been critical failures by bands that had fallen apart and then gained cult status, band t-shirts that had been written off for loss because there were only three size smalls left. They’d rebuilt the store into something new, and gained a reputation as being helpful, friendly and having a quirky variety of hard to find items. It made them one of the most popular music stores in Portland. And if Roxanne wasn’t crazy about the hipsters that paid the bills, she never really let anyone see it. It just wasn’t her scene. At thirty-four she’d already seen the world, been chewed up and spit out and found out what was important in life. She remembered the music the hipsters were frothing at the mouth for when it first came out. She often laughed to the guys that she was a hipster before it was cool to be a hipster.

The guy who’d walked in was not a hipster. His legs weren’t skinny enough, first off. His pants were some multi-pocket variety, but they weren’t loose like cargos usually were. They very nearly clung to his thighs. Roxanne felt her mouth go dry, and she quickly looked up. T-shirt, ox-blood leather biker jacket. Definitely not a hipster. His t-shirt was just a touch too tight, and his pecs were just a touch too perfect. She swallowed thickly and looked at his face. Guys with bodies that great usually didn’t have great faces.

“Oh, fuck,” she breathed. He was gorgeous. She couldn’t tell if his hair was red, or brown, and settled on calling it auburn. It didn’t matter really; it was his jaw that knocked her out. Strong, chiseled, and with the exact perfect amount of stubble. He walked with confidence, and Roxanne felt her interest deflate. Hot guys with that much swagger were usually total d-bags. She plastered her best customer service smile on her face, cursing the Sunday girl for no-showing for her morning shift.

“Hi, how can I help you?” She tried to look as bland as possible. It wasn’t going to be hard. She was dressed for bookkeeping in the back. Ratty band t-shirt that was three sizes too big, garish print leggings. No make-up, hair up in a severe ponytail. The guy leaned on the counter, and smiled. Predatory. Roxanne shuddered.

“My cassette needs repair.” He had a peculiar accent that she couldn’t place. Midwest maybe? Sorta-south?

“Your cassette? The deck?” She tried to clarify.

“No, the tape. It’s stretched.” He pulled it out of his jacket and placed it reverently on the counter between them. It was well worn, the plastic case scuffed, the hand-lettered label peeling up on one corner. It had to be twenty years old if it was a day, but it was in better shape than any of the cassettes she might have had hidden away under her bed.

“You can’t repair tape that’s stretched. You need to replace the whole thing,” she explained. Cassettes were really old technology. Maybe he didn’t remember. Or maybe he was younger than he looked. The rumpled vulnerability that fell across his face took at least five years off her guess. She’d figured he was her age. But thirty would be young enough to not quite remember cassettes well enough to remember how easily mix tapes got wrecked.

“But I need to repair it.” His accent was really distracting. Roxanne made eye contact with him, and immediately wished she hadn’t. There was panic in his eyes, and she watched him blink, trying to stem the tears that were welling up.

“The best I can do is burn you a CD of the stuff on the tape or load it to an mp3 player. If the case has liner notes from whoever made it for you, I could probably do that by tomorrow,” she blurted, trying to stop his reaction. He blinked slowly and narrowed his eyes.

“A CD?”

“Compact disc. It was the industry standard for, like, 20 years.” Roxanne quirked an eyebrow at the guy. Hot, but weird. They always have something wrong with them. No matter how pretty and flawless they seem, men always had something wrong with them once you peeled back the layers.

“Right,” he responded. He almost looked like he was following her. “My, uh, vehicle. It doesn’t have a CD player.”

“Ooh! Well no wonder you seemed confused. A CD’s not gonna help much, is it? And really, CDs aren’t the industry standard anymore anyhow. If you have an mp3 player, I could load it on that, and if you don’t have a cassette converter, I just so happen to have a few on clearance,” Roxanne felt a bit like an idiot, but the feeling passed quickly, as she realized the guy was staring blankly at her again.

“You’re gonna have to start over. And this time, speak English.” He was definitely weird. And where was that damn accent from, anyhow? She’d been all over the States, and through Canada, and she couldn’t place that accent.

“Where’ve you been for the last ten years? Russia?” Roxanne realized it sounded rude, but the guy was weirding her out a little. And after nearly twenty years working at this particular music store, that was saying something.

“Something like that. Listen. How about you pretend I am a complete idiot. I will also pretend I am a complete idiot. But I am a complete idiot that wants the music on that cassette, and I’m a complete idiot that will spend a ridiculous amount of money to ensure I have it. Can you set me up with a way to have that music, and listen to it, in my vehicle and when I’m out? You know, doing stuff?” He asked. Roxanne nodded.

“Sure. I’m going to assume you need a whole digital set-up. Gimme twenty-four hours and I’ll have it sorted for you,” Roxanne said. “Actually, make it 48. I have some stuff tonight.”

“It have anything to do with this?” He pointed at a flyer sitting by the cash register. “Starlady and the Astronauts, Live at the Aladdin.”

“It might.” Roxanne smirked.

“They any good?” He asked. Roxanne took pity on him. She was curious what she was going to find on the cassette because the guy seemed oblivious to modern technology. So maybe the rock he crawled out from under hadn’t kept up with the times.

“Can I tell you a secret? On their last tour, the lead singer from Pixie Stix discovered that one of the guys in their opening act had a master’s degree in astronomy. They then discovered that another big band had a guy with a PhD in metallurgy. When the tour was over, they all got together and started jamming about space and stuff, and one thing led to another and they decided to do a show. They’re all still with their bands and all. But it’s like an alt-pop Traveling Wilburys. And maybe the names involved are smaller,” Roxanne explained.

“Who are the Pixie Stix?” He asked. Roxanne quirked an eyebrow again.

“Russia? Or outer fucking Mongolia? They’re the biggest thing to come out of Portland in years,” Roxanne exclaimed, pointing to a life-sized cardboard cut out from the band’s recent release. The guy shrugged. She felt a shudder of embarrassment for her outburst, but he didn’t seem the least bit fazed.

“I guess I just love the classics,” he admitted. Roxanne smiled.

“Well, there’s nothing wrong with that,” she agreed. “I’m gonna need your name, and some way to contact you.”

“Peter Quill. I haven’t set up contacts yet. I’ll just come by in a couple of days.” He picked up a copy of the concert flyer and stuck it in the same pocket he’d been storing the cassette.

“Okay, Pete. I’ll have your system ready for you on Tuesday. If I’m not at the counter, ask for someone to grab Roxanne.” She scribbled a few notes on a post-it and stuck it to the cassette. He smiled, and once again, Roxanne was struck with how hot he was.

“I’ll see you Tuesday, Roxanne.” He wandered over to the Pixie Stix stand-up. “Why can’t you see their faces?”

“Look at the name of the album,” Roxanne explained.

“Everyman?” He read off the bottom of the stand-up. “Oh, I get it. Cool. How big are they? Like, local gig big?”

“Major label and selling out stadiums big. Triple platinum album big.” Roxanne could feel herself blushing.

“And they did their most recent record launch here?” Peter asked, as though he didn’t think it possible.

“They’re really active in the local scene, despite their success. Give back to the community, and all that,” Roxanne blurted.

“And the lead singer is sneaking out to do a concert with a bunch of other dudes tonight?” He pressed.

“Yeah,” Roxanne nodded. “It’ll be pretty awesome. But remember, it’s a secret.” Roxanne contemplated correcting his assumption that the lead singer was a guy, but changed her mind. He probably wasn’t going to the concert anyhow. Mr. I guess I just love the classics was probably going to sit in his mother’s basement and listen to Barry Manilow.

“Sure,” he nodded. Roxanne rummaged around in the box behind the counter to try to find a cassette deck while Peter looked around the store. The bell jangled, letting her know he’d left, and she headed to the back to find what she was looking for.

The din in the bar was just as loud as anything he’d heard in any bar anywhere else in the galaxy. Some things were universal, he supposed. He made his way to the bartender and ordered a beer before he made his way through the crowd of people and over to a table near the front of the stage. He was glad he’d left his jacket on the Milano. It was hot, and either there was no air conditioning or it couldn’t keep up with the crowd. It seemed, to Peter, that maybe more than just he knew about this special band line-up. The crowd was filled with excited conversation. But when he strained to listen in, he discovered that most people had come just because they loved live music. He never once heard the name Pixie Stix, and he almost thought maybe they weren’t a big deal until a girl in a tank top splashed with their name sat down at his table.

“This seat taken?” She dropped her purse on the table and started rooting around for something inside it.

“Well, no, but –“

“Awesome. Have you heard of this group before? I haven’t heard of this group before. At least, I don’t think I have. But the Aladdin always books good bands, so I figured, even though it’s a Sunday, it’s worth coming. I hope it’s a good band.” She spoke too quickly, and Peter had a hard time keeping up. She pulled a tube of lipstick from her purse and lined her lips, making an elaborate show of blotting on the cocktail napkin beside Peter’s drink. He raised an eyebrow. “I heard that the guitarist tonight is from Dr. Schrödinger’s Kitty.”

“I have no idea who that is,” Peter admitted.

“Oh my god, seriously? They opened for Pixie Stix on their European tour last spring,” she explained. “The guitarist is some sort of super smart science dude. Apparently everyone in the group is. I think I’ve figured out where the bass and drum players are from, just by googling Portland science and music, but I can’t figure out the lead singer.”

“What the fuck is a google?” Peter asked. The girl looked at him and shook her head. Before she could answer, the band came out on stage and launched into their first set. The audience cheered as they recognized some of their favourite local musicians, and Peter took a slug from his beer. They were good. There was no singer on stage, which Peter thought was weird until he heard the vocals starting. When the singer ran on stage at the swell of the end of the first verse, the crowd went nuts.

“SHUT THE FUCK UP, THAT’S ROXY RAIN!” The girl grabbed his arm and shook him. When he looked blankly at her, she pointed at her chest and flicked her tank top at him. “From Pixie Stix!”

“The lead singer from Pixie Stick is a woman?” He asked. The girl furrowed her brow and shook her head.

“Where have you been for the last five years?” She grabbed her purse and moved to another table, closer to the stage. Peter felt himself getting more into the music as the set progressed, and when the opening riffs of Moonage Daydream came on he realized that they’d been alternating covers of space-themed songs with original music. He liked it all, but the familiarity of some of the songs caused a flood of memories to rush forward. Things he hadn’t thought about in years, since leaving Terra. The lyrics of the song pulled at him back to reality and he found himself watching the lead singer, watching her movements, and the way she sang. It was no wonder her band was huge. Her stage presence was amazing and she was hot. He felt a tug of lust and recognized that that feeling also probably helped boost album sales. The lead singer of Pixie Stix was sexy, she knew it, and she used it.

He got lost in the music and roared to his feet with the rest of the crowd at the end of the concert. On the way out, he willingly dropped the cash for a t-shirt before heading back to the ship.

Once back on the Milano, he flopped down in the pilot’s chair and spun around to face the crew, dopey grin plastered on his face.

“Did you meet a woman? I thought you said you were going to go listen to music?” Gamora immediately began interrogating him.

“I saw a band play. They were awesome,” he sighed. “Their lead singer was super hot. I want to meet her.”

“So meet her,” Rocket shrugged.

“Not really that easy. She’s a rockstar. Like, hugely famous,” Peter explained.

“How do we find out more about her? Track her down? I would take her for you,” Drax offered.

“Somebody said something about the google tonight. I don’t know what the google is, but it apparently has information about musicians on it,” Peter offered.

“Seriously kid, how long has it been since you’ve been back to Terra? Google is a online information system, linking most of Terra,” Rocket explained.

“Like the info bank on the Milano?” Peter asked.

“Yeah. Only with information exclusive to Terra,” he continued. Peter leaned back in his chair and rubbed his chin.

“I’ve got another day to wait until my cassette will be fixed. We should find a google portal so I can search for her.” He chewed his lip.

“You said yourself she’s hugely famous. You won’t be able to find her using this info bank. Famous people guard their privacy, Peter,” Gamora scoffed. Peter shrugged. “If you want to work your questionable sexual magic on the women of Terra, maybe choose one who is more attainable.”

“Well, maybe I can just get a new poster then.” He pushed himself out of his chair and headed to his bunk. His ears were still ringing from the concert and he had a lot of questions for Roxanne from the music store when he saw her next. He’d apparently missed out on a lot of music, if the concert was any indication.

#Guardians of the Galaxy fic #Guardians of the Galaxy fic with OFC #Peter Quill x OFC

[stormyrecords-blog]

new arrivals and halloween

stormy records13306 michigan avedearborn, mi 48126 313-581-9322 halloween is coming. we will have trick or treating her eint he shop os saturday oct 28th from 4 to 6pm, and many shops in east dearborn will be participating also. bring your shildren or you dog and we will have treats for them. then on tuesday we will be closing up early so we can give out candy in our neighborhood. THIS WEEKEND WE CHANGE THE CLOCKS. it's fall back time. also a great time to change the batteries in your smoke detectors. new arrivals for 10-26-17 Alvarius B: With a Beaker on the Burner and an Otter in the Oven - Vol. 1 Natural Wonder LP $22.99Alvarius B. on With a Beaker on the Burner and an Otter in the Oven - Vol. 1 Natural Wonder: "Volume One of three new LPs I am releasing simultaneously called Natural Wonder, this is the more melodic, savvy one and you might like it. Maybe I'm lying and it's the innocent, straight record so maybe you should get Vol 3 (ABDT 059C-LP) instead if you're in a darker mood. But that's not really true either. Or maybe it's one of those records that grows on you the more you continue playing it... like a cancer. The musicians who played on all three albums don't deserve to be involved in these kamikaze promotional descriptions so don't blame them for any of this. They played so well on these records, in fact they play much better than you do, and their performances deserve a 'Whammy,' which is the awards show where I'm in charge and the winners get to shoot members of the music industry academy dead in their seats. That's where it's all headed you know. . . . The modern world of record making has become so fucking dull and obedient that someone has to ram a poison dagger up your asses and since you're all under hypnosis, I promise you won't feel a thing. I could pay Dougie Jones to write this piece to match your intellect or hire a publicity company to promote it but who really gives a fuck? I'm still making records for myself and the rest of humanity doesn't speak my language anyway. By deciding to write my own album promos, I can perform some market research. For example, this album description text will undoubtedly be copy/pasted by most online retailers onto their respective sites because they don't write their own new album reviews or get too excited about music, they simply want to create the illusion that they're in business to sell records. So I could put something like: Fuck all website retailers that copy/paste this description onto their site because they are too fucking cheap, lazy or chicken shit to have an opinion to write individual album reviews -- and they probably wouldn't even notice while doing it. Anyway, back to my new album. These songs are pretty good, most likely way better than your songs, and I don't even have time to be a real songwriter, so what does that say about you? It says that you suck. And most of you do. But you should buy my new three album set because it's probably as good or better than any other LPs that will be released this year. But if you aren't ready to go all-in with confidence, then forget it. I don't want any mudskipper sub-species of the crayfish to buy my records. There are always a few speculators who'll pick up the extra copies you won't buy anyway." One-time pressing; Includes printed inner sleeve with lyrics and credits. Baird, Laura : I Wish I Were A Sparrow  CD $12.99lp also available $23.99"With a musical timeline dating back to her early childhood, Laura Baird is an exceptionally talented multi-instrumentalist and singer-songwriter, best known for her projects with her sister, Meg, as The Baird Sisters, and guitarist Glenn Jones. Baird's own sound stems from the Appalachian folk tradition, and she connects to it via family lineage -- her great-great uncle I.G. Greer's folk recordings for the Library of Congress are a large influence. Also woven in are classical composers like Bach and Satie, and modern day musicians such as Opal and Yo La Tengo. With this debut solo album, I Wish I Were A Sparrow, Baird plays odes to the traditions from which she learned, combining Appalachian balladry and the roughness of old field recordings, but there is also a dose of dreaminess and solitude that captures sleepy central New Jersey. This is where she departs from tradition, leaving the communal origins of folk music to capture the singular self. The lyrics also present an amalgam of old and new, with half of the songs, including 'Dreadful Wind and Rain' and 'Pretty Polly,' being passed down from the folk tradition, and the other half, including 'Wind Wind' and 'Love Song From The Earth To The Moon,' coming from Baird's own hand. While the most salient part of her previous Baird Sisters project was the melding of familial voices and various instruments, Baird's solo effort is centered around the combination of her virtuosic banjo playing and prominent but airy vocals." Cipriani, Stelvio : Bay Of Blood LP $34.99A Bay Of Blood (1971) is a film directed by Mario Bava, known for explicitly inspiring the Friday The 13th saga as well as for being the forerunner of the slasher genre, is undoubtedly one of the most inspirational masters of horror cinema. His magical use of camera zoom, off-field, and out-of-focus, and cynical and crude death set pieces, make it a masterpiece in which every scene exudes very personal and expressive poetry. Stelvio Cipriani's score, which develops a rich sequence of different themes and genres, and all accented by the evocative melodies and excellent orchestrations of the maestro, is brilliantly supported by the excellent rhythm performance of Enzo Restuccia on drums and Mandrake Som on the tumba and bongos. It is the voodoo-style percussion and violin that introduces the splendid original theme played by the maestro himself who plays piano, celestial, spinetta, harpsichord, and organ in the arc of the soundtrack. All in all, 21 tracks that make up the score: "Evelyn Theme", the bossa nova "Due Amanti", the dramatic and psychedelic "Un Cadavere Nel Lago", the Italian-style samba of "Giovani e Liberi", "Shake Giradischi", whose title is well representative, the tension the pursuit of "Inseguimento E Uccisione", the abstraction of "Ritrovamento Dei Cadaveri", and so many others. First time on vinyl; Edition of 500 (hand-numbered). NWW: Swinging Reflective 2CD $23.99Out of print for 17 years, Nurse With Wound's The Swinging Reflective was originally released in 1999. Features collaborations with Coil, Diana Rogerson, Jim O'Rourke, William Bennett, Legendary Pink Dots, Foetus, Current 93, David Tibet, Tony Wakeford, Inflatable Sideshow, Aranos, Chris Wallis/Peat Bog, and Tiny Tim. All tracks are remastered and it is the perfect partner for Swinging Reflective II (DPROM 134CD). Also features Steven Stapleton and Stereolab. This set is packaged with all new artwork; Comes in a heavy board, gloss laminated six-panel digipak. Ty Segall Band: Slaughterhouse  2LP $29.99"A reissue of the 2012 debut release by the Ty Segall Band on In The Red, featuring a bonus song not on the original release! The Ty Segall Band is Ty Segall (obviously), Mikal Cronin, Charlie Moonheart and Emily Rose Epstein. While Segall has released many incredible solo releases, Slaughterhouse marks the first time he recorded with his touring band. For this mini-album (originally released as a double 10-inch, but now expanded to a double 12-inch) the band recorded with Chris Woodhouse at the Hangar, turned their amps all the way up, set their fuzz pedals on 'obliterate' and commenced to kick ass and take names. Seriously, this record will melt your face. All of Segall's usual psych-pop sensibilities are present but Slaughterhouse adds the full-throttle, go-for-the-throat bombast that the band delivers in the live setting. The fuzz riffs, bratty howl and Cro-Magnon bashing culminate with a feedback freakout that's clearly the only sensible way to end a workout of this magnitude in shit to announce the debut release by the Ty Segall Band." Durutti Column: Paen to Wilson  2LP $32.992017 blue vinyl repress. 2013 RSD release. Paean To Wilson is arguably Vini Reilly and the Durutti Column's most important and consistent piece of work since the demise of the original and seminal Factory Records in the early 1990s. It was commissioned by the MIF (Manchester International Festival of Music), in July of 2009. Vini had already composed pieces for Tony to listen to while he was ill in the hospital and it was from here that the project developed. The bonus disc first appeared in 2005 via Wilson's project F4, the fourth version of Factory Records. Originally it was a download-only release, Heaven Sent (It Was Called Digital, It Was Heaven Sent), then was issued on CD in 2010. Goat: Fuzzed In Europe LP $30.99When the masked Swedish collective Goat toured Europe in the autumn of 2016 to promote their then recently released third album Requiem, the band came up with the idea to record every show. On returning back to their home town of Korpilombolo, Goat painstakingly went through all the recordings and picked out six tracks to be released on a limited live album presented here, Fuzzed In Europe. Goat picked these six tracks in particular because they are different versions to what is found on their releases. Goat's live reputation is second to none -- since their first public shows in 2012, they have stunned audiences across the globe. The band's brand of danceable, tribal psychedelia is guaranteed to create mass hysteria from the wanting crowds -- Goat know how to create music that is made for the "head" as well as the "body". There are rumors of Goat disappearing into the hills, that they have hung up their masks now for good and have slipped away as quietly as they arrived on to the scene. Whether this is true or not, it can't be said, but even if they have or have not disbanded from public view, this is a great document of their immersive power to cherish. It celebrates a band completely at the top of their game. The eye popping beautiful artwork for Fuzzed In Europe was created by the great poster artist Adam Pobiak who has worked with everyone from Soundgarden to Justice and Swans to the Flaming Lips. Green/black splatter; Edition of 2000. Nocturnal Emissions: S/T 2LP $29.99Double LP version. Led by Nigel Ayers, Nocturnal Emissions was one of the first bands to use tape cutting, avant-garde art, and underground video works to create a stage experience that was cultivated by like-minded artists like Throbbing Gristle and Cabaret Voltaire. The band moved on to using samplers and electronic noise in their early '80s work, creating a twisted funk sound that would go on to influence everyone from Foetus to Negativland. They still utilized their former tricks, upping the ante with extremist performance art and more professional video displays. The group avoided signing to a major label, instead focusing on releasing their own music more effectively. They followed this path into the '90s when they started www.earthlydelights.co.uk, an incredibly detailed website that promotes their various ideologies -- they are strongly against the British monarchy and believe that citizens should have unlimited access to space travel -- and constant release schedule. The band has released countless tapes and CDs of their material, and continues to unleash their noise through their website. Nocturnal Emissions is a compilation of classic tracks from the early to mid '80s. Track selection by Alessandro Adriani. Graphic artwork by Simon Crab. Audio mastering by Rude 66. Battiato, Franco : Pollution LP  $32.99"Franco Battiato is often heralded as Italy's answer to Brian Eno. A quizzical composer/lyricist, Battiato turned pop music upside down in the early '70s with three classic LPs -- Fetus, Pollution and Sulle Corde Di Aries -- that formed a confluence of avant-folk sensibilities and analog electronics. Pollution from 1972 is the captivating follow-up to Fetus. Like its predecessor, the album features Baroque textures, motorik rhythms, weird tape effects and Battiato's perfectly oblique vocals. Upon hearing Pollution, Frank Zappa joyfully proclaimed it 'genius.' While Battiato's core group of collaborators remains largely the same as on his debut, this phenomenal band (joined by an eighteen-year-old Roberto Cacciapaglia on keys) appears even more in the foreground on Pollution. Out of the Ash Ra Tempel-like riffs and urgent guitar strumming emerge hypnotic grooves and cinematic flourishes, suggesting a futuristic meeting point between Stereolab and Ennio Morricone. Dedicated to the Centro Internazionale Studi Magnetici, Pollution touches on themes of environmental catastrophe. Futurist allusions seep in through eccentric lyrics (at times sung backwards) about hydraulics, magnetic fields, etc., yet listeners don't need to speak the artist's language to grasp his melancholy vision. With Pollution, Battiato solidifies not only his cult figure status, but also many of his forward-thinking ideas on rock 'n' roll. Superior Viaduct is honored to present the first-time domestic release of Pollution on vinyl. Reproducing the original gatefold jacket, this reissue is part of an archival series that chronicles Franco Battiato's masterful body of work from 1971 to 1978." Roach, Steve : Structures From LP $25.99"Steve Roach is one of the defining American artists of new age music, perpetually on a quest for silence and the suspension of time in his music. Structures From Silence is his third album originally released in 1984, and is his first purely textural album, with a smooth, dark, gentle atmospheres unlike any of his other albums. 'Full of purring drones and high notes that shimmer and fade. Like a desert mirage, these structures hover forever at the horizon, an oasis from the din surrounding it' --From Pitchfork's 'Best Ambient Albums Of All Time'. 'Steve Roach's Structures From Silence remains one of the most important ambient albums ever crafted. It isn't as high profile as similarly poised records from Brian Eno, but its enduring influence has been unmistakably visible in the three decades since its release.' --FACT Magazine. Remastered from the original tapes, this is the first vinyl reissue of the album since its initial release in 1984." Nazoranai: Beginning To Fall In Line Before Me, So Decorously, The Nature Of All That Must Be TransformedLP $29.99"Nazoranai is the supergroup of Keiji Haino, Oren Ambarchi and Stephen O'Malley. For close to four decades, Haino has been a legendary figure in Japan's avant-garde community through his commanding presence in the band Fushitsusha and numerous solo ventures. Ambarchi, a prolific electro-acoustic composer of heavy ambience and hypno-rock, has long stood at the leading edge of Australia's experimental music scene, while O'Malley remains a principle architect for the drone / doom metal project Sunn O))) in harnessing extreme sub-harmonic frequencies. Collectively, Nazoranai operates as a live recorded collaboration, although Haino is quick to point out the difference between the words 'nazoranai' (which in Japanese calligraphy means 'not repeating,' as in developing a distinct, individual style) and 'sokkyō' (referring specifically to improvisation). In this parsing of terms, the group separates themselves from the free-music scene, which can be just as convention-bound as the established genres from which improvisers hope to escape. On the trio's third album, Beginning To Fall In Line Before Me, So Decorously, The Nature Of All That Must Be Transformed, Nazoranai explore two side-long tracks of superb abstraction. Ambarchi and O'Malley provide the perfect brute-rock rhythm section to Haino's recklessly pure expression through instrument and voice. Blurred noise, dark hurdy-gurdy and thunderous harmonics build an accretive mantra of jagged electricity. While Haino's extensive discography resists easy interpretation, he constantly challenges himself to further his art by channeling the unknown. Shifting from his native Japanese to English, he asks: 'Do you still have a mystery?' This existential plea could apply to the artist's own deep inquisitions or stand to confront his audience about that which eludes their understanding. W.25TH / Superior Viaduct is proud to present Nazoranai's latest work, recorded at SuperDeluxe in Tokyo, which marks the band's first release on an American label."