What's Spinning?

Photo by Yoon Kim at Sluice Fest 2019.

Ashleigh Jackson writes Sluice Fanzine and orchestrates Sluice Fest, a mostly all-locals DIY music festival in Huntsville, Alabama that happens every year in August.

Name of record/artist:

Beauty and the Beat by The Go-Go’s was released in 1981 on I.R.S. Records

What emotion does this record invoke for you?

This record makes me feel nostalgic even though I didn’t start listening to it until a couple of years ago. It reminds me of running around town with nothing to do and nowhere, in particular, to be with my friends in high school, especially the track “This Town.”  

What is your favorite instrumentation part on this album?

The bass in particular is really strong. It plays a lot of key elements on this record that bring up a lot of emotion. If you try to listen to just the bass without the other instruments it could have been on a completely different record. Margot Olavarria played bass on this record and she had different intentions for the sound of the band, going more towards a sound that’s similar to Buzzcocks. It really shines through and I wonder what it would be like if the album as a whole had gone in that direction.

Does this record bring back any memories for you?

The track “Tonite” takes me back to driving my friends to shows at Excalibur in Decatur. Back then we were listening to a lot of No Cash, Descendants, and Black Flag, but that track reminds me of being in a state of excitement that comes about when you’re about to do something cool. “How Much More” reminds me of dating as a teenager. The song is cute and catchy but it’s also pretty sad. It captures the excitement of having a crush on someone and the heartbreak of it not being reciprocated. 

What are the highlight tracks?

Without a doubt my favorite song is “Automatic” – it’s such a cool song to me. It’s the most complex song on the album.

Describe the album artwork

The album artwork is all the girls wrapped in white towels with cucumbers over their eyes and face masks on with a blue and pink pastel gradient in the background that looks like a painting. It’s like having a big sleepover with your girlfriends. 

RAPID WORD ASSOCIATION - What is the FIRST word that comes to your head

Empowerment.

This record is the first time that you see an all-female band that wrote and played all their own songs. For myself, as a woman, that’s a really important thing to see, especially now that we have all these new bands popping up in town. 

Why should we listen to this record?

This record is honestly really cool and everyone should listen to it at least once. It’s way more than just “We Got the Beat” and “Our Lips are Sealed.” Both of those are obviously good songs and stand out on their own, but there’s more to it if you dig a little and listen to the album in its entirety. 

What's Spinning? Transgender Dysphoria Blues by Against Me!

Tell us in a couple of sentences about you/LV Girls Rock

 Salutations! My name is Ty McMaster and I am a trans feminine songwriter, guitarist, bassist, and vocalist from Bucks County, PA. I’ve been a part of Lehigh Valley Girls Rock for about a year now. LVGR is a nonprofit dedicated to empowering girls, women, and trans & nonbinary folks through music and art.

 Name of record/artist

 Being that it was recently the five-year anniversary of the record, I have been revisiting Transgender Dysphoria Blues by Against Me!

 What emotion does this record invoke for you?

 Apprehension, teetering on excitement. I was not out as trans when this album was released. In fact, I didn’t entirely know what the trans experience truly was UNTIL Laura Jane Grace came out in 2013. It was a completely new state of experience, and I felt so proud of her for living her truth. Unbeknownst to me, this album planted a seed in the back of my brain that would slowly flourish over the course of two years. I adore this record, but at the time I simply thought the euphoria I was feeling was a form of empathy towards Grace herself. I couldn’t truly connect to this album because I wasn’t trans, right? Right…? The apprehension and excitement were a dichotomy I couldn’t understand at the time. Now I feel full-fledged euphoria when I blast this in my car.

What is your favorite instrumentation part on this album?

I have two. The opening guitar riffs to tracks 6 and 10 are two of my favorite Against Me! riffs of all time. Though they both convey wildly different emotional dynamics, I get so pumped up whenever I hear them. Also, those tones??? MA’AM????

Does this record bring back any memories for you?

I’ll never forget my initial listen to this album. Hearing the opening lines of the title track clobbered me square in the jaw. I was genuinely breathless for a few moments. I always recall the power I felt, hanging onto every word Laura sang. Once I realized and named my own gender dysphoria, that power grew exponentially, and many of these songs became the anthems that comfort me when I am at my most dysphoric. It also makes me think of the drives I would take with my best friend Charles, replaying this album full blast.

 What are the standout tracks?

My knee-jerk reaction is to say the whole album, because it is truly a masterpiece, start to finish. However, I will concede and state that “Black Me Out” is my absolute favorite song. Not only is it the perfect closer, but it is the song that has always been most empowering to me. One of my favorite pastimes is howling the chorus at the top of my lungs. There is a specific kind of rebuke in cursing out the people who seek to demoralize, oppress, and erase you. I also can confirm it is 200% what many trans people want to shout at bigots on a normal basis. Aside from that song, “Transgender Dysphoria Blues,” “True Trans Soul Rebel,” and “Two Coffins” are definite standouts for me as well.

 Describe the album artwork

Oh my, excellent challenge. The cover is completely white, with what appears to be a graphic black and white image of a breast that is likely being observed and scrutinized. I’ve taken it to be representative of our society's obsession with basic biology, coupled with the insistence that secondary sexual characteristics determine gender/femininity. It stands as an excellent criticism of the trans misogyny and sexism that trans women face every day. There is also a subtle theme of violence against trans women, which is still a widespread issue, especially for trans women of color.

 RAPID WORD ASSOCIATION- what is the FIRST word that comes to your head when this album comes on?

 Power. Power expressed; power reclaimed; power reborn. Nothing but pure power.

 Why should WE listen to this record?

 This album was released during a time where trans voices were still underrepresented in all media. We were just on the precipice of wholly screaming our existence into the cultural conscience. We were just meeting Laverne Cox on Orange Is the New Black and Janet Mock had released her groundbreaking memoir, Redefining Realness. In the mainstream punk world, trans representation was virtually non-existent. Laura Jane Grace introduced many young punks to a life outside of restrictive gender expression. I know that for me, as well as many young queers who grew up loving punk music, her coming out was the spark, the moment of realization that we all needed. She snarled a new way of living and expressing into a genre that was rife with misogyny, offering an aggression that many of us felt, but weren’t sure how to express. This album deserves your time because trans voices deserve to be heard. Transgender Dysphoria Blues is a visceral look into the trans experience, offering emotion, language, and stories that deserve to be treated as valid. There’s a lot to learn from these lyrics. That being said, Laura’s is only one voice, and a white voice at that, so be sure to listen to other trans voices as well, such as Jackie Shane, Vivek Shraya, Shea Diamond, Anjimile, and so many more. There is a rich and vast cornucopia of intersectional trans experiences. Let them color your life with love.

What's Spinning? Très Oui - Poised to Flourish

Shamus McGroggan Co-Founder / Producer of Tape Swap Radio located right here in in the Lehigh Valley chats with us about What’s Spinning? In this record of the month series.

First of all, could you tell us a little about Tape Swap Radio?

Tape Swap Radio is a music series that I started with musician/recording engineer Matt Molchany. Our goal is to spotlight all the great DIY and independent music happening in the Lehigh Valley. We record live sessions with bands either at Matt's Bethlehem recording studio Shards or on the roof of the historic Cigar Factory building in Allentown. We then release the sessions on our bi-weekly radio show on WDIY 88.1 FM, along with putting audio and video online. Since launching Tape Swap on the air in 2013, we've expanded to include things like a concert series and an annual punk rock flea market.

Name of record/artist
Très Oui - Poised to Flourish

What emotion does this record invoke for you?

Surprise and anticipation. This album puts me in the mood to take whatever the world is going to throw at me. If you listen to it, right off the bat, it's bristling with energy. But it's not a break-neck erratic energy. It's more of a sustained steady burst. For that reason, it's a go-to choice for car rides. The lyrics also have a sense of figuring out your place in the world, so there's a bit of self-reflection wrapped up in there as well. But it's definitely a living in the present album.

What is your favorite instrumentation part on this album?

If I had to pick one part, it would be when the horns lightly creep in on "One Track Mind." Up until that point, you don't hear them at all, so they kind of catch you off guard. This is on song 4 out of 10, so it's still early enough in the album. It's the moment in the album that made me go, "OK, they aren't just sticking to the same formula on every song here. They're really creating their own world." Along with the lazy pace that the song takes, it creates an almost film noir-esque atmosphere.

Does this record bring back any memories for you?
Seeing them play most of these songs live comes to mind. We hosted the band at Lit Roastery in Bethlehem as part Tape Swap's concert series last year. They floored me and I immediately had to get the record. My only regret was that we didn't get to record a session with the band since they were on tour from Austin, TX and on a tight schedule.Since I've gotten the record, I've mostly come to associate it with driving around the Lehigh Valley. This is a perfect driving album.

What are the highlight tracks?

Since I've already mentioned "One Track Mind," I'll talk about "Red Wine & Dry Ice," the second song on the album. When they played this song live, I remember guitarist Nate Cardaci hitting his pedal for the start of the chorus, and a wall of sound just wrapped around me. It was an amazing feeling. It makes me want to listen to this song as loud as possible just to recreate it. "Red Wine & Dry Ice" is probably one of the catchiest moments on the album too, so it's an ideal starting point for anyone trying out the band. "Séance" is another ear worm that will stick with you. "Off the Rails" stands out for the interplay of instruments. The band members' dynamics are a lot of fun to follow. When they add in some keyboard to this song, it sounds like the most natural choice in the world. It's almost like they can do no wrong.

Describe the album artwork

From the liner notes, I know that the artwork was done by Russell Etchen who is a Los Angeles-based artist, I really don't know anything about him except this seems to be his signature style. The front cover is a red square enclosed in a deep blue blue border. Inside the red square are fragmented blue lines. It almost looks like when you tried to create a design out of text, so my mind goes to those old dot matrix printers or message boards in the early internet days. This is more abstract, though, like you're looking at a flowing river. It also vaguely reminds me of those Magic Eye designs.

RAPID WORD ASSOCIATION- what is the FIRST word that comes to your head when this album comes on?

Jangle. I mean, they do bring the jangle pop, and bring it well.

Why should WE listen to this record?

It's well made, has great songwriting, and has plenty of replay value. The band is based in Austin but some of the band members have a connection to the Lehigh Valley, so there is a local connection as well. Band members Nate Cardaci and Seth Whaland had previously played in the band Literature who was on Slumberland Records, so if you enjoyed that band, you'll definitely enjoy Très Oui. Even if you've listened to other Slumberland bands like the Pains of Being Pure at Heart, Weekend, or Veronica Falls, Poised to Flourish will be up your alley.

What's Spinning? The Great Unwashed - Clean Out of Our Minds

Chris, is the owner of Quattro Music Company located in scenic Thomas, West Virginia, he specializes in used and vintage instruments.  He fills DIBS in about his record of the month and if you are in the area make to check out his cool shop.

Name of record/artist:  The Great Unwashed - Clean Out of Our Minds

An About: “The Clean is an indie rock band that formed in Dunedin, New Zealand in 1978, and have been described as the most influential band to come from the Flying Nun label, whose repertoire included many major components of the "Dunedin Sound".[1][2] Led through a number of early rotating line-ups by brothers Hamish and David Kilgour, the band settled on their well-known and current line-up with bassist Robert Scott.[1] The band name comes from a character from the movie Free Ride called Mr. Clean.[3]”

What do you do when you’re a little independent rock band that suddenly writes a hit song?  The Clean managed to do just that.  Their single “Tally Ho” is still were guarded among audiophiles as being one of the better pop songs ever written. Probably the best song that ever came out of New Zealand for sure. But the pressures and the expectations placed upon the small band became too much and pretty quickly.

They took a break, Robert Scott started the amazing band The Bats but David and Hamish keep working.  Enter The Great Unwashed.

DIBS: What emotion does this record invoke for you?

CHRIS: Pure inspiration.  The idea that it takes good equipment, money, a perfect voice, flawless talent and a marketable face is what it takes to make music is such a farce.  This is the sound of thrift store guitars, grandma’s autoharp, cheesy keyboards, a cheap tape recorder, a little reverb, a great dose of boredom and the need to create. Those are the true elements of lasting music.  The lack of expecting a return on the investment one makes to write music.

DIBS: What is your favorite instrumentation part on this album? 

CHRIS: I mean... all of it.  I just think it’s a spare sounding record, all the pieces are important.  If I have to choose one thing it’s the low fidelity of it. There is so much constant texture (especially on vinyl) that its the instrument that isn’t being spoken of but it would be missed if it wasn’t there.

DIBS: Does this record bring back any memories for you?

CHRIS: Mostly it takes me to the place of when I first started writing music.  It’s not off-putting.  It doesn’t say to the listener “hey, you can’t do this, kid... leave the rock stardom up to the gods among humans”.  I feel like so much music is regarded as otherworldly, as stars aligning and making a once in a lifetime achievement.  Music should be more terrestrial than that.  We all can make music if we want to.

DIBS: What are the highlight tracks?  

CHRIS: I could name my favorite tracks, but I won’t.  We live in an age of the “Single” of rapid disinterest and instant gratification.  This a record to listen to from start to finish.  On a little bit of too early morning with coffee and a book, maybe slightly hungover, and let it be the way it was meant to be heard.

DIBS: Describe the album artwork

CHRIS: Ambition is not a word I would use to describe this records art.  It’s almost an afterthought.  Also a hands-on design.  The “outside the lines” flowers and the old school punk collage back cover just says “we did this” from back to front and start to finish.  A true independent record.

DIBS: RAPID WORD ASSOCIATION - What is the FIRST word that comes to your head when this album comes on?  

CHRIS: Boredom. This is the sound of people with time on their hands, maybe it’s a gen x thing.   The need to create while also destroying.  Knowing that this isn’t going to be played on the local rock station but there is a need to make in spite of a bleak outlook at the world. 

DIBS: Why should WE listen to this record?

CHRIS: Being from 1982/1983 as far the song writing and recording goes it’s important.  We have a preconceived notion of what the 1980s sort of felt and sounded like as far as music goes. I think we know, there’s always music in the scenery, the periphery. But I think there are some records that really doesn’t sound of their time. This is certainly one of them.  I certainly would think that Pavement probably wouldn’t be quite Pavement without this record, as well as a lot of other indie acts certainly knew and owe a great deal to The Brothers Kilgour.   It just displays a record collection that I don’t believe was being overly represented at this time. Now, I think we all agree how brilliant some of the middle era Kinks records were, Syd Barrett, The incredible string band, The Byrd’s county records and the post-punk scene as a whole... bands like Television Personalities, Swell Maps, Young Marble Giants and The Undertones specifically.  Just the fact that this is the New Zealand band.  If you aren’t aware, there has been an incredible underground music scene in NZ for many many years. I’m always fascinated by What small pockets of a community can create independently of the world as a whole. It’s definitely something that doesn’t happen as much anymore because we're all interconnected.  But there was a time region cities and entire countries developed unique fingerprints of sound based solely on the fact that they were isolated. It’s an important lesson to learn, live where you live.