THE VINYL STRAW - COLLECTORS EDITION BOXSETS AND HOW NOT TO PACKAGE THEM

A tale of record collecting woe...

Last Friday, two packages arrived for me. I am one of these people you read about who spend money on "vinyls" (grrr) and who buy deluxe editions of releases by certain bands. I also buy ridiculous things like every 7" version of People Are People that I come across, but that particular Depeche Mode related problem is the subject of everything else I write, so we'll leave that for now.

The two packages that arrived for me were the triple coloured vinyl version of I Am Easy To Find, the new album by The National and the deluxe boxset version of the most recent Foals album Everything Not Save Will be Lost - Part 1. The National's album came direct from The National's Cherry Tree fanclub and the Foals album direct from their online store. Both cost in the region of £50 each. 

For that money, you'd expect some care would go into sending a package that a lot of thought has already gone into. The National's album comes in triple vinyl in a tri-fold sleeve and is a lovely thing. That release was packaged up perfectly - a strong cardboard outer box contained another cardboard package inside which the record had been vacuum packed for extra safety. Although the actual vinyl was send in the sleeve inside its own inner sleeve (usually a no-no), the vacuum packing had kept it in place and it arrived in pristine, unblemished condition. Great.

As soon as I opened the Foals package however, it was clear something had gone very wrong.

The Foals Collector's Edition boxset promises this:

- Special edition box with additional vinyl sleeve to fit the equivalent Part 2 vinyl upon release

- 24 Page hardcover book

- Album on 12" violet coloured 180g vinyl

- Exits 7" vinyl single exclusive to this set

It also adds digital singles and a signed piece of artwork. All rather tempting if you're a person like me and if you've been playing the superb Everything Not Saved Will Be Lost - Part 1 incessantly since its release.

The first thing I noticed was the the spine of the box which didn't exactly fill me with confidence:

The front of the "hardcover" book is also torn:

Needless to say, the top and bottom corners are bashed and crushed.

Somewhat tentatively then, I opened the box. It came as no real surprise, when I found the album in this state:

The album had been left in its inner sleeve when dispatched and, having just been bunged into a box with no support, the inevitable happened. The sleeve is ripped on the right hand side and, doubtless because the vinyl was given room to roam about in transit like some sort of violet coloured marauding beast, the seems on the neighbouring page of the book are nicely ripped.

There is also the 7" of Exits which is found a couple of pages on inside the book. Hilariously, it was in worse condition than the album:

Exits had successfully exited its sleeve. The record is also damaged for additional good measure:

What a lot of shoddy shite.

I put up some of these posts on Instagram on Friday night and people responded, telling me that they had had similar problems withe the Foals boxset. One had even returned it at his own cost, only to be sent another that was in even worse condition.

With few exceptions (DFA, Mute, Hand Drawn Dracula to name three diverse companies). record companies obviously don't give a toss about how they send out orders because, as long as there are people like me in the world, they will be given bundles of cash for different versions of albums. I only bought the Foals box as I'd enjoyed their album so much on Spotify in the first place. Being an old fashioned type, I still feel that an artist should benefit from their labours so I wanted to get my hands on a cool version of what is a superb record. I ordered it and then whoever packaged it chucked it in a box, kicked it around a bit and then sent it to me. Thanks. Thanks very much.

What's the point of this post? I don't know. I'm fucked off that I've again bought something that is treated with no care at all once I've paid over my money. I can't even be bothered asking for a swap as I fear I'll just have to write another blog talking about another smashed up box. Contrast Foals packaging with that of The National and it's even more frustrating. Other labels or acts like I've mentioned above or, for example, the superb way in which Nine Inch Nails handle their packaging, are unfortunate exceptions to the general rule that those in charge of Foals' packaging have steadfastly abided by.

I imagine most of you who read this will have had similar issues. I hope this post helps people consider packaging a bit more from a 7" single all the way up to the most madcap of boxsets. I don't think it will however as, frankly, very few record companies actually care.

Everything Not Packaged Properly Will Be Lost - Part1 to infinity.....

"SO WHY DEPECHE MODE?"

How many times do I get asked that? Last Thursday, for example, my firm hosted a quiz for clients. I was the quizmaster and wrote all the questions. One of the answers was Just Can't Get Enough (not one for the DM purists I know) and I mentioned the band both during the quiz and in the e-mail I sent the next day thanking everyone for coming, said e-mail referencing the fact that Depeche had been mentioned more times than was probably reasonable during what was an event promoting my firm. 

One thing that surprised me that night was that many people said "Are they still going?" This was a bunch of people who, it must be said, had performed very well during my Synthpop Intros Round, all professing a knowledge of early 80's synthpop, including Just Can't Get Enough, yet none of the knew that Depeche were still going. Once I explained that they were, and I did so in the briefest way I could, every single one of them said, "Why Depeche Mode?" with a couple saying "Surely they were finished by the time you discovered music?"

Ok, that's a compliment as I'm 42 years old, but that aside, those reactions were odd.

So why Depeche Mode? What makes them stand out among all other bands? What continues to draw me to them after all these years? I adore many, many bands - R.E.M., The Pixies, The Smiths, Kraftwerk, New Order, Joy Division, Nine Inch Nails to name a few older ones, The Insomniac Project, Priest, HQFU, Machines In Heaven, Everything Everything, Nailbiter, Beliefs, to name a few newer, many of whom I've found thanks to this blog.

But, above them all, there will always be Depeche Mode. Yes, the most recent years haven't matched the highs of, say, 1986 to 1993 in terms of experimentalism as pop music, but my love for them has never wavered. Sounds Of The Universe tested it certainly, but I took that as an album being a vehicle for a tour and saw numerous shows and met numerous wonderful people, a feat repeated in 2013/14 with the wonderful Delta Machine and the even bigger number of shows I saw, catching up with old friends and making even more new ones. 

I'm not, or at least I don't think I am, one of those fans who obsess over every Depeche detail there is. You might chuckle at that, given the nonsense I've written over 4 years of this blog, but I do like to see myself as one of the more rational Depeche Mode fans. Ok, there's a huge record collection that mocks that claim, but, among the DM tribe, I'm fairly normal. My 3 shows in 5 days on the Delta Machine tour is seen my non Mode pals as the actions of a man on the brink of a breakdown. To my Depeche friends, it's seen as a less than impressive attempt at keeping up with them.

I just paused to ask myself why I'm even writing this at 00:45 am on Sunday 9 October. Well, the reason is this: I've just come home from a night out with friends where I told them about unconfirmed Depeche Mode tour dates on what may, or may not, be the 2017 tour. (I won't mention what appears to be the name of the tour here as it's not confirmed). I also, with unnecessary excitement, told me wife about it in the taxi on the way to meet our friends. I then came home, did the usual last Facebook check of the night (you ALL do that) and saw what bears to be a new official picture of the band.

And with that, all thought of sleep passed and I started hunting out information. Information that I know will be speculation until Tuesday's press conference, but information I need to have all the same. I've already set aside an hour when I should be actually working for Tuesday's press conference. A press conference by a band? A press conference where they'll no doubt announce an 18 month campaign that we could already predict about 80% of the details. But, and here's the thing, it's a Depeche Mode press conference, where new Depeche Mode information will come to light.

So why Depeche Mode?

Because no other band inspires this sort of nonsense in a man that should know better given his age

Because Enjoy The Silence genuinely changed my life

Because of Stripped

Because of The Sun And The Rainfall

Because of the last minute of Strangelove on 101 where Martin sings "Strangelove" repeatedly

Because of that harsh but glorious metal bashing sound halfway through It's No Good

Because of The Things You Said

Because of the World In My Eyes video, teasing us with World Violation footage

Because of Precious

Because of the dark perfection of Ultra

Because Violator is the single most inspirational album of all time

Because Martin brought But Not Tonight back to such heartbreaking perfection in 2013

Because of so many other things, too numerous to name here

But ultimately because they are Depeche Mode.

And that is why Depeche Mode.

ELECTRONIC INSPIRATIONS 4: NINE INCH NAILS - BROKEN EP

It's not all synthpop you know. I was first belatedly introduced to Nine Inch Nails when I left school in 1992 with Pretty Hate Machine. You all know that album and how it brilliantly fused Depeche Mode's Black Celebration with, well, anger. I went to University in Aberdeen claiming to be a Nine Inch Nails fan and, just after I'd started up there, bought the cassette (ask you parents or cool friends) of new e.p. Broken, expecting another Pretty Hate Machine. It turned out not to be the case but of all Nine Inch Nails hugely impressive catalogue, even against the absolute titan that is The Downward Spiral, Broken still stands out for me and is still my favourite. Electronic music doesn't all have to be clean crisp synths - sometimes it works just as well when it's loud, shouty and basically a noise. Broken was released on cassette, cd and a superb vinyl e.p. with free 7" featuring the two extra tracks discussed below. I still don't have the vinyl, so if you're reading this and want to send me it....

 

 

 

 

Broken was recorded by Trent Reznor in the aftermath of  TVT, the label that released Pretty Hate Machine insisting they wanted a carbon copy follow up. Never one to do what anyone told him to, Reznor set about recording Broken and making it a loud, disorted wall of anger and it remains a wall that stands today. Using the industrial scene as an influence, Reznor somehow manages to mix extreme noise with melody, producing six songs that  on the one hand no doubt scared off many expecting Pretty Hate Machine  part 2 but  on the other enchanted many more people that he or indeed anyone probably though possible. Yes, there's the shock value of the videos and the apparent snuff film Broken  designed to accompany the release, but ignore all that and focus on the music.

 

Opener Pinion is essentially the rage filled cousin of Kraftwerk's Geiger Counter albeit louder and not quite as subtle. It is played frustrating low in volume however, or at least that's the case if you're listening to it on a Walkman (again, ask your Mum and Dad) because when track two, the outrageous and outrageously godlike genius marvelousness of Wish kicks in, your head will explode if you are fooled in to turning up the volume to hear what Pinion is all about. Wish  is easily one of my favourite songs of all time and I still love it as much now as I did on first listen. Drums that sound like they're being played by ten people, sheer noises, guitars that are so distorted that they could explode a planet and electronic music so heavy that you can't fail to move parts of your body you haven't moved in ages. When I saw them in 2014 at the Hydro, this song was the highlight. The whole place vibrated it was so loud. Amazing. Wish  is one song you must hear from Broken - check out the video below. Last is next, continuing the sonic attack and again featuring teenage angst like lyrics from a man that wasn't in his teens any more. All that said, when I've had a crap day at work, I usually reach for this e.p. I tends to help. Last also features a rather marvellously sleazy guitar solo at 44 seconds in which is a real joy.

 

 

The cheerily titled Help Me I Am In Hell is a short instrumental which then leads to the punishing, enjoyable and most electronic track on here, Happiness In Slavery. This is one track that can only ever sound good played at ear killing volume. It's immense. Finally, the e.p. ends on Gave Up which seems to employ an octopus as a drummer and manages to have one of the catchiest choruses you'll hear in a song that is so distorted and relentless that you feel drunk listening to it.

 

There are two more hidden tracks too. On the cd, they are tracks 98 and 99 which you have to skip to, on the tape they are right at the end of the otherwise blank side two and with the vinyl they are available on an accompanying 7" which seems far fairer. The first U.S cd pressings featured them on a 3" cd with the main release. Extra track number one is a cover of Adam And The Ants Physical (You're So) which is just bloody tremendous and the second is Suck, a cover of a Pigface track which, again is quite brilliant.

 

Broken is one of those records that is special to me, partly because of the time in my life I got it but also because it still sounds fresh now. It's a rewarding listen and is tight and focussed which later Nine Inch Nails releases like The Fragile lack in places. It's hard not to love a record that is just this loud and angry. I'd recommend it to anyone. If you feel really brave, try the remix e.p. Fixed  which drops all pretence of melody and spends 40 minutes or so smacking you around the head. It's good too, but Broken  is the real star

THE ALMOST PREDICTABLES 2014

It's December 1st so it seems an appropriate time to hand out this year's Almost Predictables. As ever, it's a random assortment of what's gone on this year musically and given that this year didn't feature a new Depeche Mode album (I'm not counting Live In Berlin), there's a gap at the top of the Album Of The Year list waiting to be filled. So let's start there....

ALBUMS OF THE YEAR

A top 16 this year. That seemed a satisfyingly random enough number.

16. Leyland Kirby Presents V/Vm - The Death Of Rave (A Partial Flashback)
Originally running to over 19 hours of material, 2006's V/Vm 365 project saw Leyland Kirby release a track a day for a whole year. With this album, 8 tracks are taken from the project and presented in sometimes bewildering but always compelling form. Not an easy listen but a worthwhile one

15. The 2 Bears - The Night Is Young
One of two Hot Chip side projects on the list, The Night Is Young is The 2 Bears best work yet combining a nostalgia for 90's House music with bang up to date beats. The standout track is the marvellous Not This Time

14. The Juan MacLean - In A Dream
See Review here http://almostpredictablealmost1.blogspot.co.uk/2014/10/the-juan-maclean-in-dream.html

13. Jack White - Lazaretto
As ever, Jack White gives us a mix of styles, from country to White Stripes style blues rock. An excellent album itself, but the Ultra vinyl version enhances the experience. Heavyweight vinyl, playable labels, tracks at 78rpm, holograms and much more - a remarkable thing

12. New Build - Pour It On
See Review here http://almostpredictablealmost1.blogspot.co.uk/2014/10/new-build-pour-it-on.html

11. Future Islands - Singles
Forget the whole Letterman dance thing, this is an album that deserves attention for the music itself. Pushing towards an overly retro sound but never going too far, Singles is a fascinating mix of synthpop and Samuel Herring's unique vocal style. The band are proof that hard work and perseverance can still work in the modern music industry - take heart everyone

10. Liars - Mess
For me, what was most pleasing about Mess was that it was a fully electronic album that was a riot of noise and magic. The super limited vinyl was cool too as was the Record Store Day 12" that actually contained string within the vinyl

9. Pixies - Indy Cindy
I know some people were pissed off when the band's new ep's were repackaged as this album but the fact the Pixies were recording new material again was a joy. Ok, it's no Surfer Rosa, but Indy Cindy is full of really cool songs and the ones the played live weren't our of place at all when up against the rest of the band's impressive setlist

8. Thom Yorke - Tomorrow's Modern Boxes
A bit like Martin Gore, Thom Yorke struggles to do any wrong in my eyes. This surprise Bit Torrent only or fancy white vinyl release didn't bring the music industry to its' knees but it did contain some of Yorke's most satisfying work n a long time. If this is where Radiohead are headed, I'm excited.

7. Aphex Twin - Syro
See Review here http://almostpredictablealmost1.blogspot.co.uk/2014/09/aphex-twin-syro.html

6. Call To Mind - The Winter Is White
Call To Mind are one of the increasingly excellent list of bands on Olive Grove records roster and their debut album is a great work that deserves your attention. Full review here http://almostpredictablealmost1.blogspot.co.uk/2014/04/call-to-mind-winter-is-white.html

5. Mogwai - Rave Tapes
Rave Tapes is Mogwai's best album yet, combining noise and melody in a way that no other band has yet to work out. Remurdered with it's Kraftwerk gone post rock feel is the best example of that but the whole album is full of standouts.

4. Machines In Heaven - bordersbreakdown
I make no apologies for mentioning this band again, as they really are one of the most exciting bands to come from Scotland in ages. bordersbreakdown is their debut album and, on release,  pointed to an exciting future but any expectations one had for the band going forward were superseded by the band's outstanding Hindu Milk ep in November. Doc check out bordersbreakdown however because as debuts go, it's a hugely impressive release.

3. Erasure - The Violet Flame
I don't think many people thought Erasure were capable of matching some of their best work anymore, but The Violet Flame is their best release since the classic Chorus album. Full review here http://almostpredictablealmost1.blogspot.co.uk/2014/09/erasure-violet-flame.html

2. TV On The Radio - Seeds
This is a record that I simply can't stop playing. Like Mogwai, 2014 saw TV On The Radio produce their best album yet. Ok, it leans a little more towards the mainstream than previous releases but the band combine this approach with their usual sonic wizardry and it all works beautifully.

1. Caribou - Our Love
Simply fantastic. See Review here http://almostpredictablealmost1.blogspot.co.uk/2014/10/caribou-our-love_14.html

So, congratulations to Caribou who takes away this year's Almost Predictable for Album Of The Year

THE ALMOST PREDICTABLE FOR SONG OF THE YEAR
There have been so many good tracks released this year that listing them would take too long. Go to Spotify, ITunes or whatever your choice of music provider is and seek out the following for maximum listening pleasure:

Not This Time - The 2 Bears, Love Look In Vain - New Build, Remurdered - Mogwai, Silver - Caribou, A Family Sketch - Call To Mind, Elevation - Erasure, Voodoo Mechanics - Machines In Heaven

If you're going to pick just one track, however, the make it Sinner by Atom Tree from November's Clouds e.p. It's an outstanding song and further evidence that Atom Tree are smarter than the average bear and are becoming a very exciting prospect indeed. Sinner wins the Almost Predictable for Song Of The Year and you can read a review of the e.p. here http://almostpredictablealmost1.blogspot.co.uk/2014/11/atom-tree-clouds-ep.html

THE ALMOST PREDICTABLE FOR GIG OF THE YEAR
After last year's Depeche Mode excesses (or perfectly reasonable in fact slightly fewer than I hoped gigs) I had decided that this year would see me attend far fewer gigs that usual. That didn't quite work out that way however, to no-one's surprise really. I'm so lucky living in Glasgow as there are so many venues that are constantly putting on great shows and this year I've seen loads of great shows this year ranging from Call To Mind at The Glad Cafe (http://almostpredictablealmost1.blogspot.co.uk/2014/04/review-call-to-mind-album-launch-party.html)  to Nine Inch Nails at The Hydro ( http://almostpredictablealmost1.blogspot.co.uk/2014/05/review-nine-inch-nails-hydro-glasgow-20.html) but the best show for me this year was not in Glasgow, but London with The Cure at the Royal Albert Hall in March. Like Nine Inch Nails, I'd long loved but never seen The Cure play live so the gig was never really going to be a let down. It far exceeded all my expectations though and it was a stunning show. The full review is here http://almostpredictablealmost1.blogspot.co.uk/2014/03/review-cure-royal-albert-hall-29-march.html

THE ALMOST PREDICTABLE FOR RECORD LABEL OF THE YEAR
As you may have noticed, I'm constantly amazed and therefore constantly going on about the music scene in Scotland. Bands, Record labels, podcasts and blogs are popping up all the time and keeping on top of it all is hard. This year there have been three standout labels for me. First up, Lost Map is one you should all check out (http://lostmap.com/ ) with its' roster of super artists such as Monoganon, Kid Canaveral, Randolph's Leap and Tuff Love whose forthcoming Dross e.p. will be one of 2015's early must have releases. Olive Grove Records are another favourite of mine (http://www.olivegroverecords.com/ ) and they bang out great release after great release from the likes of Call To Mind, The Son(s) and Skinny Dipper. Again, go and check them out,

The winner of this Almost Predictable is however, Hotgem which is home of Machines in Heaven and Atom Tree. The label has released two Atom Tree e.p's and an album and e.p. by Machines In Heaven and thus far it's played four, won four. Every release has been fantastic and if you want home grown, innovative and frankly marvellous electronic music, this is your go to place. Stop by Hotgem's Facebook page ( https://www.facebook.com/hotgemtunes?ref=br_rs ), read up on the label and then go and buy the music. Watch this label develop and watch its' artists get bigger and bigger

And finally....

THE ALMOST PREDICTABLE RANDOM MUSICAL THING OF 2014 (AKA SHOEHORNING DEPECHE MODE IN ONE WAY OR ANOTHER)
Predictably enough, this goes to Depeche Mode. Ok, Live In Berlin is flawed, not in HD, a bit all over the place and contains Dave dancing like a drunk uncle at a party, but it does have Martin singing But Not Tonight which is one of the greatest things I have ever seen live anywhere, so the award goes to Martin Gore for deciding to pick that song to play live. Send me an email Martin and I'll let you know where to pick up the prize

And with that, the awards ceremony comes to a close. It's been a great year for music both in Scotland and further afield and 2015 will no doubt be even bigger and better. For all things Scottish, keep an eye on the Scottish Fiction blog ( http://scottishfiction.blogspot.co.uk/ ) and an ear on its' podcast and once you've found bands you love shop at the labels or at Glasgow's, if not the world's finest record shop Love Music Glasgow ( http://www.lovemusicglasgow.com/ ). For any and all Depeche Mode related business do have a look at depechemode.com and Home http://www.depeche-mode.com/ and for rare Depeche Mode sounds, never miss my mate Glen Hammarstrom's superb Breathing In Fumes podcast https://www.facebook.com/BreathingInFumes?fref=ts

As for this blog, 2015 will have more DM related exclusive, more Scottish music scene things than ever before and the usual random bits and bobs. I'd be delighted to spend 2015 reviewing new electronic releases from both Scotland and further afield too, so if please feel free to send music to almostpredictablealmost@gmail.com

Thanks very much for reading the blog throughout the year too. The number of views has far exceeded anything I'd ever expected and the number of people in so many different countries that read it baffles me and makes me so proud. You're all very lovely.

See you in 2015

BLOOD BLOOD - SUNDAY/WORSHIP

Blood blood is Davey Gwynne who is one third of blog favourites Machines In Heaven and his new solo release sunday/worship is something that fans of electronic music really have to get their hands on. The album, which was released on 24 August, is available free from the band's bandcamp page right here - http://bloodblood.bandcamp.com/album/sunday-worship

 

 

This really is a fascinating and, at times, brilliant album. At various times, you could be listening to Kraftwerk, Recoil, Ghosts era Nine Inch Nails and even Tangerine Dream. Lo-fi electronics clash with full on huge sounding productions, vocals occasionally float in and out, bleeps bleep and when it's all done you want to hear it again. Standouts for me are the Kraftwerk like korzybski, the Eno like leeloo and tribe-hell. The latter sounds in places like a remix of Depeche Mode's Stripped and has a mesmerising lead synth part running all the way through it.

 

For fans of electronic music, this really is a must. A hugely impressive release. 



REVIEW - NINE INCH NAILS, THE HYDRO, GLASGOW 20 MAY 2014

Wow. My ears are still vibrating. That was one of the best, loudest and most intense concerts I have ever been to. I'd never seen Nine Inch Nails before last night and the sheer bloody marvellousness of it all transported me back to my teenage/Uni borderline goth years which was a joyous thing. Support came from Cold Cave who did a good job of warming up the crowd who were already hungry for NIN. They played a mix of their newer tracks from Full Cold Moon and older stuff including one or two from the excellent Cherish The Light Years and didn't seem out of place in such a large venue. There are echoes of classic era New Order, Depeche Mode and even Erasure in their music which is no bad thing. Trust me on the Erasure reference - my mate John who was with me is something of an expert in that field. Wesley even name checked Mono in Glasgow as being his favourite restaurant so they couldn't fail to impress the home crowd.

Picture courtesy of Stephanie Gerber @StephaneeGerber

Nine Inch Nails came on to a mix of Pinion and The Eater of Dreams before appearing onstage like a terrifying, musclebound version of Kraftwerk and blasting through Me,I'm Not and Copy Of A. For the next two hours there was an aural and visual onslaught the sheer power of which is impossible to accurately convey in words. Once the synths were removed the live drums and guitars kicked in and gave new life to songs that were already pretty lively in the first place. Kudos especially to Ilan Rubin who among other things plays the drums like no other person on earth has before.

Nine Inch Nails - Gave Up (live Glasgow 20 May 2014)

We were treated to what you might call the band's greatest hits. March Of The Pigs nearly blew the roof off the Hydro and, when that was followed by an onimous version of Piggy, it dawned on me that I was watching tracks from The Downward Spiral being played live and that very nearly blew my brain. The Downward Spiral and Broken are two of my favourite albums of all time and seeing large chunks of them live for the first time ever was quite remarkable. Every song the band played added a new high to the night which, for me, peaked with an explosive version of my favourite NIN track, Wish. Absolutely remarkable. The versions of Eraser, Came Back Haunted and Head Like A Hole were out of this world too.

Trent Reznor really is a captivating frontman, He prowls the stage jumping around from scary sounding synths, to treated guitars and even to a piano solo on The Frail and never once do you take your eyes off him. This is a unique band and they deserve far more praise than they will ever get. It was as powerful as any gig I have ever been to and I really hope I get the chance to see them again. If you get an opportunity go and see them as soon as you can. 

Setlist: Pinion/The Eater of Dreams, Me I'm Not, Copy of A, 1000000, March Of The Pigs, Piggy, The Frail, The Wretched, Gave Up, Sanctified, Closer, The Warning, Find My Way, Disappointed, Came Back Haunted, The Great Destroyer, Eraser, Wish, Only, The Hand That Feeds, Head Like A Hole (ENCORE) The Day The World Went Away, Hurt