Oblivions

Yeah Yeah Yeahs, The Strokes and Interpol were the big 3 that came from that same Brooklyn, NY scene in the early 2000s. The National were there too but broke a few years after. Maybe I'm overestimating the general vinyl fan's knowledge of that time period but it seems super, super obvious as a clue for a YYY repress of that early record.

Feels way too on the nose for a first clue, unless they've given up trying to pretend they aren't repressing Fever.

Feels like it's something to do with New York? My mind goes to the Blueprint 3 which had a New York themed single, hasn't been repressed, would be a 'big name', and it fits in the Beyonce-sphere which is all the rage amongst many VMP posters.

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It's good to know that Lynch has added an extra layer of confusing elements beyond those I can actually catch with my eye balls and ears.

Something like "HAS ANYONE SEEN DENNY (wrong name but I forget what it was)?" Basically, he shouted the name of one of the dudes in one of the bands we've seen so far during those outros. The character is played by David Lynch's son but I don't think he's been referred to by name or appeared outside of being the guitarist during one of the outros.

Over the last 2-3 years, record labels have sent me enough free/bonus tapes with my vinyl orders that I finally gave up and got a cassette deck. Thankfully, I had a co-worker who gave me her Marantz SD455 for free. I say this just as an example of someone who isn't really into tapes getting sucked into the tape fad.

Just got mine in earlier today and I decided to make an unboxing video, for those who are still waiting for theirs and want an idea of what to expect. I uploaded it to Youtube.

I think on page 2 or 3 someone posted a humorous but touching story about buying a new car the week after 9/11 and how he debated whether to use the recent events as leverage to save money/get free add-ons and whether that would make him a terrible person or just a smart negotiator. Like the best VC humor, it was honest, real, and didn't rely on hacky punchlines. Everything else has been pretty bad though.

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Most people won't mind if the case has been replaced but, if you plan on selling it, you can avoid a lot of potential headaches by mentioning upfront that you've replaced the generic plastic case. That will be helpful to anyone who, for whatever reason, expects and wants the original generic case.

Wow. I don't know Feldman's history as a writer/producer for recent Blink but this definitely sounds like it could be a 2017 Blink song.

Lauren Records is the best. Sign up for their Record Club if you have the cash and want awesome records, like this Katie Ellen LP, auto shipped to your door.

http://forum.vinylmeplease.com/index.php?threads/official-june-17-guess-thread.4529/page-188#post-345716

I think we are supposed to keep the links in our signature. I also think you probably know this but the sweet referral money tastes better than not being yelled at on VC feels.

Do as stated above. Note that, if the seller selects the "return and refund" option, PayPal will require you to return the record and you'll have to pay the return shipping yourself. PayPal doesn't force sellers to pay the return shipping. So, be aware of that and don't get distracted from your original goal by having a meltdown toward PayPal. The good news is PayPal has an opt-in service where they'll cover up to $30 worth of shipping on returns for items you purchased using PayPal. Go here to opt in and learn more: https://www.paypal.com/us/webapps/mpp/returns

Kevin Morby's last record Singing Saw was great. He's been steadily building a fan base and deserves a little bit of extra exposure, however, throwing him to the VMP subscriber wolves worries me a bit. He's an artist you find on your own, sit with for a while, and slowly develop a soft spot for. He's not an artist who lays down the sickest jazz drum beats you've ever heard within the first 30 seconds of the record. He's not an artist who finally makes you realize that you love the blues! He's not an artist who "breaks" an unknown scene/ genre for you as a discerning but new vinyl collector. He doesn't mash hip hop with bluegrass and give you a piece of future music history for your shelves. He's just a dude who plays slow dreamy-folk songs that are better than you think they're going to be.

I prefer to call the album 'sleep-w'll beast' with a British accent.

Is this argument necessary as a means to provide an opportunity for one to counter-argue that Bleep's legitimacy is, in fact, too concrete to allow for said quitting?

That's good news for people who want Fiona but don't want to lock into 3 month. (My link is in my signature below)

It doesn't diminish or enhance. It just changes it. I think the listener/reader is the one who brings the value system to it. In my case, I would want to have as few variants, formats, alternate track listings, etc., as I place positive value in the idea that the work is more of an art piece than a commercial product and that there is a definitive version of the record that the artist/band had in mind. If someone isn't aware of a portion of the context, whether it is the amount of different formats or the back story that inspired the concept of the record, that missing context won't affect the meaning they get from the album/book/work. And the difference wouldn't be in how much they enjoy something but what kind of meaning they get from the album. It would be a different experience/meaning than that of someone who researched all the formats and read articles about how the album was made and why, etc. Again, it would be different; not necessarily better or worse.

I get what ya mean. IMO, the band/label puts out the songs and the product, so they aren't removed from how the context of an album is formed. I'm a firm believer in the philosophy that meaning = text (the actual music) + context (the formats it exists in, the time it exists in, the surrounding narrative) + reader (the listener, their subjectivity) and that we can only really control 1 of those (the reader/listener/ourselves). The other two are what they are, even if you try to ignore certain elements of them. Long story short, I think you can shrug and say "Who cares, I guess" when a band/label pumps out 7 pre-order variants (which is what I do as a non-variant collector) but it still effects the way we absorb the music. If I had control over everything, I'd prefer the record be simply the record as much as possible, and a simple two variant pressing with minimal color gimmicks is closer to that.

I dig when there are only 1-2 variants of a larger release like this. Sometimes, when there are a half dozen variants, the balance between physical commodity and art/music can skew a little too much toward the former. It's a small, subtle thing but it can be noticeable enough to affect the way someone views a particular album.

I think this is the cover art.

Also, and maybe this is more to the general audience in case anyone is in a similar boat, keep in mind that this pressing has had some issues (locked grooves and skips). So, if you buy from VMP, it'll be easier to get a replacement sent to you for free than if you buy from some moody teenager in Oklahoma who just wants your $80 and would rather you eat his shorts than help you get a replacement.