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mrewest

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  1. Haha
    mrewest reacted to Derek™ in PO NOW: DEFTONES- Ohms (9/25)   
    We've established he's a guy but verdict is still out on the exact size.  Please clarify.
  2. Like
    mrewest reacted to jrodan in PO NOW: DEFTONES- Ohms (9/25)   
    lol, i ordered the clear w/ zine and a hoodie and got shipping notice last monday. it has been stuck on label created since even before last monday. same deal, 9/25, yet no movement whatsoever. ended up emailing them and they said sometimes it can take 48-72 hours for the shipping to update. i replied back, "hey thanks for restating what was already said in the initial email, but its been 168 hours since i got shipping notification and perhaps you could figure your shit out." they have not yet responded to that.
  3. Haha
    mrewest got a reaction from Juturna90 in PO NOW: DEFTONES- Ohms (9/25)   
    Label Created
    09/25/2020 - 4:55 P.M.
    United States
     
    —————
     
    Updated: 10/03/2020 4:19 P.M. EST
    Tracking Status
    Shipment Ready for UPS
          Scheduled Delivery
    When the shipment arrives at our facility the delivery date will be updated.
    —————————————
    this is taking so long that it’s too fucking cold for the shorts i ordered now
  4. Haha
    mrewest got a reaction from Plarocks in PO NOW: DEFTONES- Ohms (9/25)   
    Label Created
    09/25/2020 - 4:55 P.M.
    United States
     
    —————
     
    Updated: 10/03/2020 4:19 P.M. EST
    Tracking Status
    Shipment Ready for UPS
          Scheduled Delivery
    When the shipment arrives at our facility the delivery date will be updated.
    —————————————
    this is taking so long that it’s too fucking cold for the shorts i ordered now
  5. Like
    mrewest reacted to RockPuppetz in I bought 2,000 records when I was 18 for 40$ , My vinyl journey   
    man this post is long lmao 
  6. Thanks
    mrewest reacted to AlexH. in This fucking guy. (Virgil)   
    Talking shit is why the internet exists. It's good.
     
        He ran Suburban Home Records, a low-to-mid-tier punk label. Circa 2006 he founded Vinyl Collective, which consisted of:
    A Proboards forum, which through an arcane series of events eventually became this website here A vinyl-only distro – pretty novel at the time as the vinyl revival was just starting to take off. At that point the main punk/hardcore options were basically No Idea and Interpunk and some smaller players, and they had their pluses and minuses but mostly they just carried punk records. Virgil carried all that, plus like, rap reissues and other random stuff, and he'd try to get stuff people asked for, so he was like a one-stop shop. and finally, a vinyl-only label – again, very novel at the time. He pressed vinyl for labels that didn't want to deal with it, including a ton of stuff from Ferret & Red Scare, and big bands like Minus the Bear, Norma Jean, & Portugal the Man. People loved this guy, and the stuff he licensed sold big for the most part. He used his newfound clout to continually expand his operation, growing his distro and putting out a ton of music via Suburban Home. A lot of it was like alt-country/raspy-punk-guy-goes-acoustic type stuff, and I can't imagine any of it holds up at all (I do like the LaGrecia album he put out and I wanna say Stereotyperider was good?) Every release came out on multiple colors, there were limited preorder packages with bottle openers and posters and shit, all the collector gimmicks you can imagine. He started a (frankly pretty great) split 7" series called Under the Influence where bands covered artists who influenced them, and somehow roped in like every artist that was big on Punknews in 2008 to contribute. Some of those singles came out on 3 colors. 
     
    In retrospect, the first warning sign that he was stretching himself too thin was probably the Cooperative. He hatched this scheme to get 200 people to chip in 60 bucks as an investment, and that money would be used to license, manufacture, and distribute an album that didn't exist on vinyl. Everyone in the Co-op got a copy of the rare color of the record, and the money from selling the remainder of the pressing would go towards the next release. In theory, a never-ending stream of records for 60 bucks! People were gaga over this idea. Shares in the VC Co-Op sold out in minutes. At least one person had a full-blown meltdown on the message board over the fact that they had missed out on buying a share. Personally I had set an alarm but overslept and missed it by minutes. I was so pissed!
     
    There was all sorts of stuff around the voting process and making teams and narrowing down the list that I was not there for, but in the end, the first Co-Op release was The Falcon – God Don't Make No Trash, on a 10". As I recall, it did okay. There were some concerned murmurs as Virgil revealed that the record had cost slightly more than anticipated as 10"s cost more to manufacture, but they were reassured that it wouldn't affect the master plan and everything would be fine. The next release was The Jealous Sound – Kill Them with Kindness, on a double LP. A double LP, surprisingly, also cost more than anticipated, and sales were soft. Next up was A Wilhelm Scream – Mute Print, and a sort of complete discography for Gaslight Anthem side project This Charming Man, both relatively straightforward single LP releases. It should be noted that this all took fffooorrreeevvveeerrr. According to Discogs, the first (and only) 4 releases came out in 2008, 2009, 2010 and 2011. In between each release, 200 people are milling about the message board waiting impatiently for any kind of update on what should theoretically not take 3 years.
     
    While this is happening, Virgil's operation is continuing to expand. He's hiring people and moving into bigger spaces, Suburban Home is putting out tons of music, and at some point there are too many plates spinning and things start taking a turn. He sells "VC for Life" memberships where for $1000 you get everything they release, forever. He takes preorders for Volume 2 of Under The Influence, with promised artists including The Gaslight Anthem and Minus the Bear, which never materializes. For most of VC's run, all his releases were pressed through Pirates Press as they were the only place that was doing all the splatters, hazes & splits that he utilized extensively, but at a certain point he switches to a domestic plant. Later the word from the rumor mill is that he was so in debt with Pirates Press that they wouldn't take new orders from him. Virgil starts blowing out inventory under the guise of clearing out space, doing big bundles of LPs and 7"s for dirt cheap.  Labels who were distro-ing with VC start posting threads on the message boards that they've not been getting paid for months. Some of them get deleted, including a legendary one where Tre from Deathwish tells Virgil to answer his email and give him his money, in so many words. People start asking to sell back their shares in the co-op as it becomes clear that it's a sinking ship.
     
    While this is all happening, Virgil announces a mother freakin' craft beer tour.
     
    In early 2011, the bottom finally falls out and Virgil shutters Vinyl Collective, leaving tons of labels, bands and customers in the lurch. He liquidates everything through eBay and his own store, and disappears for a good while, although according to Discogs, Suburban Home put out a handful of releases between 2011 and 2015. The most valuable asset at that point was the message board, and he sold it(?!?) to ShopRadioCast and Academy Fight Song Records, another label that flamed out spectacularly pretty soon after. And now here we are! Virgil basically lost everything, but he pops up again every few years with an interview in some Colorado alt-weekly about his new business doing promotion for craft distilleries or whatever. He's an ideas guy!
     
    It's wild to think that there are people who are regulars here who have no idea about Virgil or Suburban Home. Personally, it was one of the first online communities I was a part of, and although I don't post as regularly anymore, it is comforting to have at least one familiar place that hasn't been swallowed whole by Facebook or Reddit. Long live VC!
     

     
  7. Like
    mrewest reacted to bjorn in PO NOW: DEFTONES- Ohms (9/25)   
    I listening to the whole thing on vinyl yesterday after streaming it a bunch of times. It sounded even better on my speakers vs. headphones. That listening experience basically erased every quibble I had and probably cemented Ohms as my second favorite Deftones album. I threw on Gore right afterwards and realized how disjointed and awkward that album is, not to mention the production, which was fatiguing and made it even tougher to get through. I revisited KNY in the past week as well and still love it, but I think Ohms edges it out just a bit. I need to tackle SNW again, that's the one I overlook the most.
  8. Like
    mrewest reacted to mcpherson123 in PO NOW: DEFTONES- Ohms (9/25)   
    Thanks for asking, man. I love dissecting this shit.
     
    So overall, my issues with the album are all like you said, minor qualms. Its really nothing drastic at all.
     
    So, I first want to say that I get your hang up on the Error chorus. And yes, that song in its totality is Goddess-level gorgeous. Literally the entire second half is like a free jazz full band explosive flourish filtered through the style of Deftones at their most spacey/psychedelic but modern. Like, I can't believe how much that didn't register in my first 15 listens to the album. When I finally took the time to realize what a gem of pure musical bliss that passage is, it just floored me and totally floored me that I couldn't recognize it until message board communities hit me over the head with it.
     
    I love your assessment of "sugary" as a potentially negative overage in music. I completely identify with that sentiment. And so its interesting that that phrase perfectly encapsulates my hangup with so much of the "mood" of Urantia. It feels fuckin' "sugary" but not just that, it has the gross misfortune of not just being sugary but also recalling some of the cheesy tonality of 80's rock/pop "sugar" like Huey Lewis or Eddie Money and I know that LITERALLY, that is a fucking stretch and I woudln't really expect ANYONE else to understand it and feel that way like I do. Its just something in that melodic structure overall that taints some aspect of the whole song for me but I DO want to ensure you that I actually do really feel myself getting over that hang up and really seeing it differently.
     
    Now I completely get your assessment of the sugary aspect to the chorus of Error and I honestly feel that too, it just so happens that its particular flavor of sugar is one that almost always really works for me. Again its something about the melodic and harmonic structure that comes from the combination of all the timbres involved. I think what it also is, is that Urantia feels way more like a Crosses song to me, and I only really liked about 2 or 3 tracks from that project and it was a certain type of "sugary" that just hit me all the wrong ways.
     
    For me Palms has its own types of sugar in it but it still feels more like... I don't know.. "big boy sugar" or "wise learned man sugar." The kind of sweetness that doesn't fall into your "guilty pleasure" category. Crosses felt more "guilty" and something about Urantia recalls that feeling for me. But I have to say that as a song structurally and with all the bells and whistles of those odd female voice playback samples it really does create a seriously cool atmosphere in parallel with the meat of the song which I find less favorable.
     
    The last thing I want to say about Urantia is that I'm quite certain the lyrics tell the tale of a homicidal stalker describing his exploits in crossing some major boundaries with the subject of their predation. Seems like it ends in a murder/suicide as well. So the lyrical tale holds all of this juicy, psychotic Lynchian noir intrigue which I find very interesting but there are still those hangups about the "melodic sugar" problem which for me feels like a consistent melodicism throughout the entirety of the track with little to no resolution away from the melody structure that doesn't sit well.
     
    Thanks for asking. I really feel like it helped me to articulate even for myself what the problem is for me.
     
    Oh and with The Spell of Mathematics, I totally understand where you're coming from on the outro but I actually love it. In fact, with that track in particular, knowing how long it was supposed to be I was hoping that those keys were going to lead to one more round of the more aggressive motifs of the song coming back to take us out but when it was just the keys leading to This Link Is Dead, I was a bit disappointed. That said, re-listening to the song repeatedly has had me just appreciating all of the magnificent passages of it that are there and the extent to which they are repeated in the structure and I've totally resolved my need to hear them restate an aggressive passage after the keys but before it ends. Now I just really appreciate the atmosphere the keys add to the album overall.
     
    This album is amazing and it took me a while to realize I was in love with it, but it really has taught me to stop anticipating the flow of the structures of each song by simply knowing the track lengths ahead of time and hoping they'll give me more of the part I want before I can see tracks coming to a close and I'm instead just learning to appreciate the payoff parts while they're actually happening and not trying to rewrite/restructure in my head what could have been that I was hoping for. Does that make any sense?
     
    Also, The Spell of Mathematics is pure bliss in every single part of the structure. It might be a perfect song for me.
     
  9. Like
    mrewest reacted to Derek™ in PO NOW: DEFTONES- Ohms (9/25)   
    Album equates to same-day shipping and arrival, so I dunno what you're talking about.
  10. Like
    mrewest reacted to mcpherson123 in PO NOW: DEFTONES- Ohms (9/25)   
    Right on! Of course, that status of potential future Palms material has remained the same since roughly 2015. I just gave up hope on it. Chino mentioned something about it in a recent interview regarding Ohms and his comments didn't sound super promising. He certainly didn't hint that it was impossible but he didn't make it seem imminent either. 
  11. Like
    mrewest reacted to mcpherson123 in PO NOW: DEFTONES- Ohms (9/25)   
    I finally listened all the way through and I am deeply loving the album. "Urantia" is the only weak track to me. Everything else has several reasons to be lauded. My attempt at a first solid listen from start to finish was thwarted multiple times and I ended up having to have my first full listen at work today. Sucky ambiance but it made the suckiness of work way better by being a "revelation".... or whatever. Cinema snobs love that word to describe anything positive in their critique of a film.
     
    And now I'm deeply regretting missing out on the clear press. Just thought it was too much but between the more ornate alternate cover print and the potential for the LP to be pressed on the real "crystal" clear PVC (my second favorite vinyl "color"), I'm feeling sore. Plus, I'm feeling like the "zine" would make up for the generally pretty minimalist album artwork. I do LOVE the mood and motif of the art that IS there but I really miss the dedicated vivid photography associated with the lyrics to each song like S/T and SNW had. I really wish that had become a regular practice for every album. This album deserves a similar treatment.
  12. Like
    mrewest got a reaction from Deathbyart in PO NOW: DEFTONES- Ohms (9/25)   
    First time through this morning and I was VERY impressed.  It’s such a smooth album from start to finish.  Every song perfectly flows into the next.  The production is jaw-dropping.  A complete 180 from Gore.
     
    You get a little bit of everything here.  Killer atmosphere, head-nodding grooves, blood-curdling shrieks, & banging riffs.  I don’t think I could ask for more.
     
    This will take many listens to fully unravel but I could see it being the best start to finish album they’ve made.  “The Spell of Mathematics” grooves so unbelievably hard.  And “This Link is Dead” fucking riiiips.
     
    Very stoked for repeated listens.
  13. Like
    mrewest reacted to tape in Is Dead Format coming back?   
    more like live format amirite
  14. Like
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  20. Like
    mrewest reacted to sugareggs in PO: NOTHING - The Great Dismal (10/30/2020) & The Great Dismal B-Sides 12" (10/8/21) - Up Next: Collab w/ Full of Hell 10/11 Midnight EST   
    Same boat. The Oxblood is cool though. New song rips. Curious to hear the rest. 
  21. Like
    mrewest got a reaction from N8TRU in Hundredth "Somewhere, Nowhere" out October 9, 2020   
    I’m legit obsessed with Bottle It Up.  I dunno it’s weird but hits the right notes for me.  Easily my favorite of the 5 songs released thus far.
  22. Like
    mrewest reacted to drds89 in PO [Sold out]: Cloudkicker - Solitude (and box set)   
    And Ben can finally get signed!!!
  23. Haha
    mrewest got a reaction from drds89 in PO [Sold out]: Cloudkicker - Solitude (and box set)   
    Dang and I thought I was boiz with Ben 😆
  24. Like
    mrewest got a reaction from seku in Post-VC: Official Post-Rock/Post-Metal Discussion v.2.0   
    Someone please make sure @Gumbo72203 is ok 😝
     
    https://www.rangesmusic.com/babel-confusion-of-tongues
  25. Like
    mrewest got a reaction from famousdrumer in Glass Animals - Dreamland (August 7, 2020)   
    I’m fine with his vocals on this album.  It’s the generic af radio pop beats at about all the same tempo.  Their whole “tribal groove” thing is what I love about them.  This is just dull.  And to have waited what, 6 years for this one?
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