thieves

oh... the bandcamp page says this but i'll state here as well preorders ship on 9/15 (already have the records in hand, just need to assemble everything), but the download is immediate.

This is my album. Instrumental electronic stuff influenced by Warp Records, Casio Keyboards, and other various cheap electronics. First pressing /100. Les Cousins Dangereux is a project by Cleveland, Ohio area musician Tim Thornton. "All Sprinkles" is his official debut album. All sounds recorded by Tim Thornton, April 2008-July 2011 in Suite 309. Mastered at 12k Mastering by Taylor Deupree (12kmastering.com). Vinyl master cut by Clint Holley at Well Made Music (wellmademusic.net). Pressed at Gotta Groove Records (gottagrooverecords.com). Cover design and screen printing by Darby M. Dixon III for Folded Note Design (foldednotedesign.com). First pressing on random color vinyl with screenprinted cover (slightly different than digital cover). First pressing is 100 copies. Comes with free digital download and 14 page booklet. Full album stream and pre-order with free digital download at: http://lescousinsdangereux.bandcamp.com/

i had to pass up a $2.99 copy of that dee-lite 12" yesterday so i could rush to get my cat from a groomer that he was trying to murder. hoping it's still at the store on friday

we already have a few australian clients at gotta groove... RIP Society is one of my favorite clients to press records for, they put out such great stuff

i got a few great 12" at the used bookstore a couple weeks ago sagat - fuk dat (you may know it as "funk dat," especially if you were a beavis & butt-head fan) wreckx-n-effect - rump shaker k7 - come baby come notorious b.i.g. - mo money mo problems r. kelly - bump 'n grind

i was wondering when i was going to see one of those /100 red copies of the no heroes repress we did

i need something good to put on my portable crosley turntable while i'm touching myself

lovin' all the rose melberg stuff... i have the supercrush 7" but i think i'll just be buried with it. it was one of the first 7"s i ever bought.

lovin' all the rose melberg stuff... i have the supercrush 7" but i think i'll just be buried with it. it was one of the first 7"s i ever bought.

yeah it depends from record to record, sometimes it's a bit tougher on a light label with a dark image somewhere on it. but as for labels that are mostly all one color and severely bubbled like the one pictured, a quick bend in each direction will crack the top label right off.

more than two variants per pressing

i think it's actually kinda cool that artists get a big album sales jump when they die, it seems like a good way to pay respect to the art

Ha. I'm just calling them what the pressing plant called them. -J. must be a bunch of jokers working at that gotta groove place

to clarify the 150 dropdead ones are what the kids call 'splatter'

usually you want records to run the weight the molds on the machine were machined to run. most modern molds are machined to make ~140g records (older ones around 120g). it's not to say you can't make a heavier record on those molds, but you can really sacrifice sound quality on the first couple of songs running records heavier than the molds intend. the gotta groove standard weight machines tend to run 140g color and 150g black no problem, and we get well over that on some jobs, but only when we're lucky enough to have it allow us to run that heavy. running too heavy means the vinyl has very little opportunity to fill the grooves at the edge of the record, so if your cut isn't just right and/or the stamper isn't completely flat, you could get serious nonfill on heavier records. 180g records are run on a completley different machine for all the reasons i've just described. they need to start with a bigger biscuit, and the record is a completely different shape/profile than a standard weight record.

i've seen this pretty frequently around cleveland. hodad's is in the process of closing, but they had a bit of weird al last time i checked.

didn't say they necessarily had to sound bad, just that they were an example of form over function

both of these can be actual cutting issues, the pre-delay definitely is. i hear it a lot on really loud metal records during the quiet parts, too. and to the folks saying that sibilance is all in recording, that's not entirely true. some minor sibilance problems can be accentuated by cutting the lacquer too hot (which seems to be the case with this release)

yeah it just raises the noise floor by quite a bit. if the record is loud music/mastered loud/not too long per side, it'll all help, but this and picture discs are the definition of form over function that caters strictly to vinyl fetishists

Bananarama - s/t (London, 1984) Bangles - Different Light (Columbia, 1985) James Chance & The Contortions - Buy (Ze, 1979) Icu - Chotto Matte A Moment! 2LP (K, 1998) Claudine Longet - The Look Of Love (A&M, 1967) Beach Boys - Surf's Up (Brother/Warner Bros., 1971) XTC - Dear God 12" (b/w Extrovert, Earn Enough For Us, Grass) (Virgin, 1987)

yeah this puzzled me as well. i built these when i was renting: don't know why i made them so small, i need to make some more

the crazy colored ones are a technique we've playfully called 'vinyl bong' at gotta groove. it basically allows us to switch the color every 5th or 6th record, with each transitional one having some crazy effects (sometimes up to three transitional records in a row). it makes for tons of swirling/marbling and countless 'variants' on a relatively small run. we pressed 100 copies of our former intern's 7" using the technique and i'd say he has at least 30 'variants' in his run.

remember that limp bizkit song where fred durst talks about all he wanted was a pepsi

i have a record up on the wall at work that looks like someone took a shit on a black record. it's an effect i wish we could do (doo) for a whole run, but it was a bit of a fluke.

This continues to be nothing short of a clusterfuck. How do they have more if it was /100? i love that no one believes my numbers