Milk Teeth Took My Heart Out On A Platter…

Damn. It’s been nearly a year since I last posted anything. Sure there have been plenty of records picked up and enjoyed but somehow inspiration didn’t necessarily hit hard enough to make a post on any of them. May as well re-up the posting with Milk Teeth.

Hailing out of Bristol, England, Milk Teeth are a relatively new band that are playing a very loud style of music that teeters on grunge worship and spazzed-out punk. Sounds like a perfect mix of noise. And it is. Initially stumbled on the band via a posting on VC that listed comparisons to Nothing, Pity Sex, and Nirvana. All bands I’m already a fan of and into. As any self-respecting indie music fan should be.

So. Ventured over to their Bandcamp page and got immediately hooked. So much so that I jumped to order their soon-to-be released EP Sad Sack from Venn Records. In the UK. So that meant a pricey cost courtesy of the ever-awesome exchange rate. But all is well that ends well. The record came in and it’s fantastic. Pink cover and minimal art. Heavyweight as it feels, vinyl on a white with color splatter. No insert. But that’s OK.

The band tours relentlessly in Europe. And much to their success, they signed up with Hopeless for distro and label in the U.S. And the Sad Sack EP got reissued for the U.S. market. This time the art and vinyl color got changed. Cover and art is green now and the vinyl, a bit thinner, is on a clear with green splatter. A few things got changed up as mentioned, including having an inner sleeve with lyrics and picture. Pretty nice actually.

Make note that the OG pressing from Venn Records was limited to 300 copies and hand-numbered in the back of the jacket. No idea how limited the Hopeless pressing is. Maybe around 500 copies? That’d be a pretty standard run.

As soon as Sad Sack came out, I wrote up a review for the other music site. Feel free to check that out here.

I’m hopeful that Milk Teeth will make their way to the U.S. for a tour or two soon. With the exposure they’ve been getting and they great music they play, it’s a no-brainer to come Stateside and rock out with people here. If they do, I want to hang out with them and have a great time.

 

 

Newmoon – Invitation To Hold 7″ EP

It feels as though at times Touché Amoré‘s Jeremy Bolm and I would be best friends in music. The guy has incredible taste in music and a lot of the bands that he’s into, I am as well. he loves Nine Inch Nails, so that’s a no-brainer. With his Secret Voice label, he has been putting out some releases by some really great bands that may have gone unnoticed. It started with releasing the Single Mothers 7″ and most recently, the label’s eighth release is by Newmoon.

Newmoon hail from Belgium, a country that has produced quite a few great bands, especially hardcore and metal ones. Their debut release is the 7″ for Invitation To Hold. The music is everything that is great in this newgaze and dream pop movement that has been all over in the past two or so years. Newmoon though, set themselves apart in being a truer representation of the shoegaze and indie pop sounds from the 90’s out of the Manchester scene.

The 7″ EP is available on two colors: Opaque Pink and Opaque Yellow. Each is limited to 1,000 copies. A rather larger run than previous releases by Secret Voice.

The artwork and design were done by Nick Steinhardt of Touché Amoré. If you know some of the previous design work he has done for bands and their releases, then you know he’s very adept at making the art and design fit flawlessly with the album they accompany. The floral motif and vibrant colors that adorn the Invitation To Hold 7″ EP are a very visual representation of the music contained within and perfectly projects Newmoon‘s style of music.

In my opinion, this is the perfect band and release for anyone who loves that 90’s shoegaze and indie music but also has been getting into current bands like Whirr, Nothing, Death of Lovers, and the short-lived Center Of The Sun.

You can still snag the 7″ from the good folks of Deathwish Inc. here.

Now, to butter someone up for a test press of this 7″. Ha!

 

 

 

An Open Letter To SLINT’s ‘Spiderland’

There is something to be said when you’re an obsessed fan over a certain band or even record. For the hardcore record collectors, that means getting each and every single variant and pressing and release version there is. At least if you’re a completist asshole like myself. There is no denying my undying love with the 90’s Louisville hardcore and punk scene. It’s been mentioned and posted about ad nauseum. Living In Louisville at the time, I was involved in the scene as a fan and I got not only see some great bands whose music shaped who I became and still am, but also I was able to make lifelong friendships with.

Although only a few years older than myself, SLINT were already a band whose name and music were whispered in reverence and almost like kept a secret in the scene. By the time, the Spiderland LP was released, it was already treated as a peak of the artistic music scene in town. And it deservedly was. Great record that was unlike anything else I had heard at the time and since. Funny enough I never owned a copy of the record on vinyl, so when Touch & Go rolled out the very massive box set for the remastered edition earlier this year, I jumped all over it. Especially with all added material like demos, the documentary DVD Breadcrumb Trail, signed book edition, etc. But alas, I received it and didn’t get around to opening it. So T&G later on opted to release a more singular edition of just the record with the DVD. I ordered that as well figuring it would be a more accessible listening copy.

To say that that this reissue is spectacular would be an understament. From the Green & Black Swirl color choice for the 180g vinyl on the more limited edition version to the gatefold and 12 page booklet inside, this is what all great reissues should look like.

The remastering by Bob Weston on these recordings is beyond great. Sure there was an uniqueness and rawness to the original recordings as they were and that was part of the charm that set Spiderland and Slint apart from everyone else. But the remastered recordings open up the sounds and feels as though each and every instrument and note breathe in a more spacious landscape. Nothing is taken away from the original magic found in the record. It feels as though listening to the record for the first time ever with a new set of ears and understanding.

Watching the Breadcrumb Trail DVD proved to be a very emotional task. In a nutshell, I was right there in the music scene at the time and knew personally a lot of the folks featured in the documentary. It was heartwrenching specifically to see someone like Jason Noble, who I had met a number of times, in what looks like his last days before passing away from cancer. It also made feel extremely nostalgic to see some of themembers of bands like Maurice, Kinghorse, and Rodan, as not only I got to see them a number of times back then, but also being reminded of some of the friendships I still have with a few people and the few lost as well. And of course it made me want to see a more comprehensive documentary or film covering the entire Louisville hardcore and punk scene of those days.

Slint’s Spiderland is one of those record that never leaves you. Once you listen to it for the first time it stays with you and gets ingrained into your mind and heart. Musically and lyrically, it’s jagged and non-linear and won’t make sense to any passive music fan. But to someone who truly sees and hears what is beyond the surface, a true gem of music is in your hands. That heart and passion in the music and within yourself, is what makes a great record that will stand the test of time and changes of music scenes and tastes.

As I’ve grown older and expanded my tastes in music and gone beyond just aggressive music, Spiderland will be one of those top whatever lists records that will never lose its place and I can always go back to at any time. Immense gratitude for Slint to have created this. It means a lot to a lot of people including myself.

 

A little more of Nothing

Nothing are red-hot nowadays. Quite understandable being that they’re a great band putting out some great music. Their Guilty of Everything LP sold out with the quickness and a repress was issued. Just as limited as the initial run, this one is on tri-color vinyl and the jacket art has been reversed. I think that reversing or even altogether changing the artwork on reissues and represses is always a nice touch. Adds a newness to the release.

Limited to 500 copies for mailorder only from Relapse, as mentioned it sold out quick. Regular black copies are still available. Don’t sleep on this band or record if you have so far.

And now to hunt down and butter someone up for the ever-elusive clear friends-only version of the record. C’mon Relapse, you know want to give it to me! Unless. I already have it.

Hmmmmm….

Nothing – Guilty Of Everything

Ya know. This is one of those albums that I have been eagerly anticipating since it had been announced and even more so after seeing the band last year with Whirr in Tampa. Needless to say, expectations were high for this. And this sure as hell delivered. Nothing have upped the ante from their previous recordings and hit one out of the park with Guilty Of Everything.

I can spare you all the details and review-like nonsense. If you’ve listened to this album and band, then you know. But hey, if you feel inclined to read  more clinical approach for a review, peep this here then.

The album itself is awesome. Design-wise and packaging are sparse and minimal which hints at allowing the music to speak for itself. That’s the kind of stuff I love about some releases. Let’s not get too hung up on cover art or design but instead focus on the music. The cover itself is simple in  the embossed white flag. It works.

Three editions/colors made for this one. The white vinyl with regular cover. Also on black vinyl. And a more deluxe edition that has a wraparound o-card and the vinyl is a white and black split. It also came with a slipmat.

As with any and all Relapse Records releases, there is always elusive clear vinyl edition limited to 100 which is always for bands and employees of the label. Every so often some pop up on eBay and Discogs at absurd prices.

And speaking of Relapse. Some people have taken it upon themselves to shit all over the band because they are with Relapse, a predominantly metal and heavy music label. Why get so wrapped up in that detail? Sure, it’s an odd signing choice, but isn’t what matters most is that the band will be on a solid label that will push them and get them greater exposure? Look at a label like Deathwish Inc. They’re purveyors of aggressive music but have also released some non-heavy bands and music. Hell, they put out the Death Of Lovers EP!

Just enjoy the music for what it is. How hard is that?

And oh yeah. The pressing info on this release thus far: Black/White deluxe /500; White /750; Black /1,250; Clear /100.

Get Well.

A Little Bit Country…

If 20 years ago you had told me that today I’d be listening to other genres of music besides hardcore, punk, and metal, I would’ve scoffed at the mere though of it. If one of those genres was country music, I would’ve called myself a sellout and probably kicked my own ass. It’s a given that as time passes, most music fans find other styles of music to get into and appreciate and enjoy. If you’re as hardcore as I am (pun intended), then you don’t care and have no shame whatsoever in exploring all of the music that is out there regardless of what it may be. It’s the mentality of being open-minded and accepting that I learnt from hardcore and punk music which has allowed me to delve into music from different scenes and sounds including country.

It’s by now no secret that I love Taylor Swift. She may have started as straight-up country pop but nowadays has veered more into pop sounds. A few months ago, a good friend of mine who happens to also be into music at the same obsessive level as I am, told me to check out Kacey Musgraves. He figured I’d dig her style of music. I did. And I am hooked. Although her album Same Trailer Different Park came out in March of last year, and has won numerous awards all across, I didn’t get around to getting the record itself til recently.

Simple packaging. No insert. The record itself feel heavyweight so that was a nice surprise. More a major label release, it’s well-done.

Musgraves’ style of music is deeply-rooted in country but delves into some Americana, bluegrass, and even folk. Lyrically, she goes into some bitter topics such as infidelity, hypocrisy, and loss of individuality. She has a very sharp and venomous tongue. She could easily be in the genre of outlaw country music with the likes of Johnny Cash, Willie Nelson, and Emmylou Harris.

Spin magazine placed Same Trailer Different Park as the number one country album for 2013 and noted that Musgraves ”

She’s the Venom to Taylor Swift’s Spider-Man, and a poison we can’t live without.” That is a perfect way to describe her and her music style and sound.

I also managed to come across a couple of other vinyl release from Musgraves. One being a 7″ single with the tracks “Blowin’ Smoke” and “Dandelion”. It looks to be that the 7″ was released prior to the album. The same friend who turned me on to her, picked it up for me at a recent show of her he caught.

The covers are screenprinted and give it a very indie feel to it.

Along the way I also tracked down a promo copy of the LP with a CMA “For Your Consideration” sleeve. Or rather, wrap-around vellum sleeve. Much like the Taylor Swift RED red vinyl, this is also sent out to members of the voting entity for the CMAs.

It is on black vinyl. So no real surprise or novelty there outside of the vellum sleeve.

Someone asked me to describe Musgraves’ music to them recently. I just plainly told them that to me, it feels like honky tonk punk. It may sound country, but it has a lot of punk attitude and feel. Hell, could also be called alt-country. But that’s going overboard now.

Have A Nice Life – The Unnatural World LP

The whole mentality and terminology of “underground music” seems a bit played out and antiquated nowadays with all the so much access we have in the internet and websites and message boards and whatnot. But every so often though, a band or even music scene, will slip through the cracks and still be truly unknown except via word of mouth or some band reppin’ a shirt or boasting about some band on an interview. Thanks to my friendship with Aaron Turner, I came to find out about Connecticut’s  Have A Nice Life. He casually mentioned that he was a fan and has been listening to them a lot at the time. So I got curious. Checked them out and got hooked right from the get-go.

I’m not really in the mood tonight, drunken or even otherwise, to spill the background on this band. If you know who HANL are, then you know. If not, do a little digging and you will pleased at what you find. HANL are a band, properly a duo of musicians in Dan Barrett and Tim Macuga, who have been making music for some time now since meeting up in college. Their music straddles plenty of lines of post-whatever. But it’s lo-fi bedroom recordings that are still aggressive and thought-provoking and eye-opening. If you’ve heard their stuff, especially their 2008 debut LP Deathconsciousness, then you have not only been blown away, but also know. You know.

So here we are in 2014 and they have released a proper follow-up in The Unnatural World LP. A co-release between their own Enemies List Home Recordings label and The Flenser out of San Francisco, this new release finds the band treading some new ground production quality-wise but also retaining that same lo-fi style. It’s all haunting and heavy as fuck. Really.

The reason the usually insular and removed ELHR decided to partner up with Flenser for the release was simple. A better access to distro and handling of the release. Not saying that ELHR was a mess with releases. Just overwhelmed given the popularity that HANL and all related artists and music came to  face as of years later and when you’re basically and one-man operation, you need some help. Flenser made sense in partnering up with.

The release of the new LP, The Unnatural World, went off not only without any hitch, but it’s also a fantastic LP itself. In the limited of 300 Clear with Ox Blood Haze color to the overall packaging, this thing is top-notch. Simple and elegant all around really.

Honestly, I can’t say enough great things about this release. I have listened to it multiple times enough that it’s ingrained in my psyche. That’s not just the fanboy speaking saying that it’s great. It simply is great. It’s everything and anything that a post-metal record should. But it goes further beyond than what the trappings of that category may have. It’s a piece of art. On the music site I write for I did a review of the release (read here) and I have to admit that it was a pain in the ass to write. Mostly because I felt  that it’s such a great and perfect record in my jaded opinion and I wanted to do it justice. It was close to impossible to put into words how phenomenal The Unnatural World is.

As with most bands and music that we feel are close to the heart and want to keep to ourselves and not share with anyone else, Have A Nice Life are one of those band easily. I don’t want some joe-schmo hipster asshole catching wind of this band and their music. We all have those bands in our repertoire that we don’t to share with anyone else and keep them a secret. But with HANL, it’s going to be hard to hold on. They’re getting out there and being exposed. And it may be bittersweet, but they do deserve the recognition for creating great music and art. As much as my selfish heart will ache at knowing that.

It’s all about WHIRR and NOTHING.

Ever since this whole newgaze scene exploded, I got hooked as I’ve always been a big fan of the whole shoegaze and Brit-pop music from the ’90s that it has so influenced it. It’s a resurgence of noisy shoegaze and dream pop. Some bands have taken a more aggressive and inventive approach and of course two of those bands are Whirr and Nothing. I could easily post at length at how much I’m into both and have sought out everything they’ve put out. As an ardent fanboy, of course I’ve also looked into other side band any member have been in or are currently doing.

Most notably in recent months is Death Of Lovers. They came about  in a collaboration of members of Whirr and Nothing after the two bands tour together last year. Two already-great bands coming together? I was giddy as a schoolgirl to say the least. After a few months of speculation and teasing, their debut EP, Buried Under A World Of Roses,  was release by Deathwish Inc. To say that it’s a slice of noisy shoegaze heaven would be an understatement. It’s a solid EP, although short in just four songs, and it’s so complex and layered that each listen yields something new.

Death Of Lover is comprised of Nick Bassett  of Whirr, Domenic Palermo, Brandon Setta, and Kyle Kimball, all of Nothing, and keyboardist Cecilia Liu. All together have created something unique and simply beautiful. I am floored at how much I love this EP and band. Call it a new obsession. Then again isn’t all music that you love basically an obsession?

One thing I have to say about the vinyl colors and overall package design is that they’re all unique. In a way simple and ornate but I feel that they overall point is just that: simplicity and a sense of minimalism to allow the music to speak for itself. And boy, does it. Ever listened to music so intense and emotionally heavy that it makes your heart ache and you shed a tear or two? That’s what I get from Death Of Lovers.

Further down the rabbit hole I also came across Night Sins, which is the other band that Nothing drummer Kyle Kimball is in. In Night Sins, Kimball is the vocalist mainly but also the principal songwriter. So it basically it’s his project. They have a sound that is akin to Sisters Of Mercy and solidly 80’s Goth. Insanely layered as well and a lot going on to take it. In 2012 they release their debut LP, New Grave, on Italian label Avant!

And now most recently this year, Night Sins put out their second LP, To London or The Lake. Again, another example of post-goth music executed flawlessly.

If you keep following me down the rabbit hole still, we now find Swan Dive. This is the other band from Nothing guitarist Brandon Setta. Swan Dive are still  within the newgaze genre and style but a little more noisy and punk. There is a faster pace to their music that puts them on another level and goes beyond what the other bands are doing. They just put our their debut 7″ EP, Fly Toward The Sun. A few colors available for this one in a very limited run.

Any fan and lover of music will agree that it’s always fun to track down and listen to any and all related bands of a band you love. I know I do. It expands the sound palette and exposes you to new music. Isn’t that the point at times of listening to music?

I always stress out that I will never have enough time in my life to listen to all the music and records and bands that are out there which appeal to me. I guess obsessing over certain bands and their roots and off-shoots are a good way to remedy that stress. Right?

I recently reviewed the Death Of Lovers – Buried Under A World Of Roses EP over at the music site I write for. Feel free to peep that review here.

Juan’s Record Nerdist Top List of 2013

A few things.

Just realized that last time I did top release list was 2011. Yikes!

And being that I, Juan, am the main dog here posting, may as well keep it going for the few of you who do follow and read this blog. All two of you.

So here’s my list of records of that WOW’ed me this year in some shape or another. Whether it was music or packaging or pretty colors. I will more than likely keep it close to my end of year list from he music site I formally write for. Just cuz I am lazy.

So here goes…the records that blew my socks off on 2013. In no particular order, of course.

Deafheaven – Sunbather 2xLP – Is it any surprised that this would be the first mention? I mean. It’s a record that as perfect as it gets? Not only from the deceivingly pink cover art (and there’s a reason for that. Look it up!) to the music contained within, Sunbather is an album that contains all this is best about this band. The release that took people outside of the aggressive music underground by surprise. It wasn’t a surprise to me. This album epitomizes what a balance of seemingly disparate styles and genres of music should be. All the best elements of black metal and shoegaze and ambient rolled into one mammoth of a beautiful masterpiece.

Black God – III – The Louisville hardcore punk machine that is Black Good keep at their promise of an EP each year with song no more than three minutes apiece. Fast and furious music for the jaded hardcore punks. Especially those who grew up with and love all the previous bands each member was in. And let’s not forget that in typical No Idea effort, multiple colors were at hand and some random surprises too. Awesome to see the label and band keep people on their toes.

 

Kacey Musgraves – Same Trailer Different Park –  Never surprised to find a non-metal/hardcore/punk album that I got hooked into. In this case, Musgraves may be a singer-songwriter in country and borderline Americana and bluegrass, but lyrically (and attitude) she is all punk rock. Weaving stories denouncing the hypocrisy of small-town America and celebrating doing what you want, when you want, this album may as well be honky-tonk punk rock.

 

Shai Hulud –  Reach Beyond The Sun –  Each time these metalcore giants release an album it’s a celebration. Sure enough they beefed things up in their sound and with former vocalist Chad Gilbert handling production and vocals, it was a complete throwback to their rawer sound and style. So glad they’re still at it. I didn’t get a good pic of the white vinyl but can imagine the packaging. Pretty standard.

 

 

Youth Code – Youth Code – Some bands get written off simply because they may sound too much like another band. I initially made that mistake with Youth Code. On first listen I weighed in too much on them being a carbon copy of Skinny Puppy. What I later realized was that although YC are deeply-rooted in the industrial sound, theirs is more with a punk attitude. And that’s what then clicked and I got hooked.

 

Whirr –  Around  –  The EP may have been short, but for the San Francisco newgaze band, this was a much noisier and heavier affair than previous outings. Their expanded sound lent to larger ambient landscapes of music that pushed Whirr into something new.

 

 

Nine Inch Nails –  Hesitation Marks –  It is now clear that with each new NIN album, you don’t know what to expect. Reznor threw everyone for a loop in not only announcing the return of NIN as a touring entity but also releasing a new album. A new album that was a culmination of the typical NIN sound and style borrowing from all previous records. May as well say that Hesitation Marks is the new classic NIN sound.

 

 

Pity Sex – Feast of Love – The fuzz-pop group polished up their sound a bit on this new album. Taking their established elements of shoegaze, pop, and fuzzed-out distortion, and adding a little bit of clarity, Feast of Love was a pretty album to listen to.

 

 

Oathbreaker – Eros/Anteros – Criminally underrated album released this year on Deathwish’s roster. To call this album a monstrous beast of heaviness would be scraping the surface. A heavy metallic exploration of love and hate and life and death, this was Oathbreaker’s mot complex and involved release to date.

 

The Civil Wars – The Civil Wars – After announcing putting the band on hiatus, the tension between Joy Williams and John Paul White was palpable in this album. The songs are heavy on emotion and thematically give a glimpse on the internal discord that led to the split of the group. This album is the sound of hearts breaking and souls being worn down. It’s a sad affair and felt very much human and a fragility that anyone can relate to.

 

 

Now. There were plenty of reissues and represses and whatnot this year. As always.

A few were noteworthy. I will have to admit that The Postal Service – Give Up 3xLP deluxe reissue was the clear winner. From the gatefold packaging to the ‘Loser Edition’ version and additional tracks and whatnot, it killed.

Having forced its way to be noted though is the repress of Brand New‘s The Devil And God Are Raging Inside Me 2xLP. Forget the fact that it was a mess from the sticker on jacket craziness to the import-only insanity, this was a hell of a reissue. Heavy-weight vinyl all around across all colors available, but also more affordable than finding an OG press copy on eBay.

Brand New – The Devil and God Are Raging Inside Me Over A Sticker On The Cover 2xLP

Oh, Brand New. For a band that is so emotionally-heavy in their lyrics and music, they bring out the best in people. Or not.

Each and every time a Brand New vinyl release is announced or rumored (as has been the habit lately by alleged music “news” sites who bank on rumors and take vague unfounded tweets or FB posts as “news”) a shitstorm always ensues. It was no different when word of a repressing of The Devil and God are Raging Inside Me was announced. What drew ire from the hardcore fans was that it was being reissued by Music On Vinyl which is an import-only company based in the UK. Add on top of that being that the pressing would be on a Red Marble out of 666. Start the scrambling to find out where to get copies from. Nevermind the cost from $40+ (it is an import after all) but some felt the need that they must have it even if they already had copies from the original Triple Crown and Academy Fight Song pressings from three years ago. (Click here for a trip down that memory lane)

Those who kept up with the drama on this release, mostly perpetuated by the nerds in Vinyl Collective, then you know what it all came down to. Biggest point of complaint was the big-ass sticker on the front of the jacket. Not on the plastic sleeve or wrap. On the jacket itself! A few brave souls tried to peel it off, some more successful than others. A few people jumped plenty of guns ordering from Amazon in Germany and UK banking on red marble copies. There were other Euro distros carrying it briefly. Stateside, Sound Stage Direct carried the red marble for a hot minute before selling out however few they may have had. Subsequent copies were to be on Black 180gram vinyl.

As expected, the entitlement issues by a few came up. “I deserve a red marble copy because I am the biggest Brand New fan on the planet” may have been a prevalent mentality of a few. Especially those who threw very public temper tantrums online across message boards. Ah, the internet. Giving the idiots a voice.

I got lucky ordering from Sound Stage Direct. I know they always carry the MOV titles and even though expensive since they’re imports, they always come through. So Red Marble copy secured. Although it felt silly since I already have almost every variant from the original pressing anyways. But I will chalk it up my OCD variant-whoreness with some bands and their releases.

More drama ensued when Shop Radio Cast announced that they had struck a deal with MOV to carry an exclusive color of the reissue. They’d be carrying a clear variant on 180gram vinyl limited to 2,500 copies. Plenty to go around and satisfy everyone. Right? Wrong! More and more people complained as expected because they felt that they had been misled by someone (usually pointing fingers at SRC as usual) and that it wasn’t fair. Things got heated even further when SRC announced that they had been able to secure a few copies of the Red Marble variant. Suddenly the hater machine went into overdrive. People “calling out” SRC for being shady or pissed off at MOV for scamming “deserving fans” and on and on and on. Typical day and business in the world of variant collectors and entitled record nerds.

But the clear variant is pretty nice.

At this point, where all copies of all colors have pretty much sold out everywhere, I am not 100% sure there is a single person who is 100% happy of having just secured a copy to listen to or even have in their collection. Hell, they can frame their copies and hang them on the wall for all I’d care, but I’d be more concerned in knowing if they’re 100% happy. Or even content.

This whole drama over this reissue has reached a level where it’s comical. And that’s been happening more and more lately with any records being released. Some people, especially the younger and newer record collectors, feel that they are owed something. Their entitlement issues are so inflated that if they don’t get their precious record in the color they want or “need”, then they throw a shitfit. Granted, it’s all online and on message boards. But if it were in real life, it’d be like watching that seven-year old child at Toys R Us rolling around the floor and punching the ground because mommy didn’t want to get them the new hot toy that week.

I used to get upset when I didn’t get that record I wanted. But then I grew up.

You’re never going to have or get all that you want. This is a reality of life.

Move on.