WIN AN OF MONTREAL/DEERHOOF PRIZE WITH CDs AND TICKETS TO THE SHOWS!

polyvinyl duck clubOur friends at Duck Club Presents and Polyvinyl Records have given us some goodies to give away to you in anticipation of Of Montreal‘s (Nov. 5 El Korah Shrine) and Deerhoof‘s (Nov. 8 Neurolux) Boise shows next week!

Send an email with the subject “Duck Club” HERE by noon Monday, Nov. 4, for a chance to win a pair of tickets to both shows along with CDs of Of Montreal’s Lousy with Sylvianbriar and Deerhoof’s Breakup Song. The winners will be drawn at random and notified on the afternoon of the 4th.

RVSP to Of Montreal HERE
RVSP to Deerhoof HERE

ANTSY MCCLAIN RETURNS FOR BENEFIT CONCERT OCT. 4 – BUY A VETERAN A TICKET AT THE RECORD EXCHANGE!

AntsyMcClainW-1024x749Interested in honoring our military veterans while at the same time assisting the Idaho Suicide Prevention Hotline? You can by buying a ticket for a veteran to attend a special benefit concert for the Hotline.

Antsy McClain and the Trailer Park Troubadours will return to Boise’s Egyptian Theatre on Oct. 4 to celebrate the Hotline’s first year of service and to help the Hotline go 24/7. General admission tickets are $25 and available at The Record Exchange, online at egyptiantheatre.net or at the Egyptian Theatre box office (700 W. Main St., Boise).

You can purchase a ticket for a veteran at The Record Exchange or online. If purchasing for a vet at the store, simply come in, buy the ticket and we’ll take care of the rest. If you’re purchasing for a vet online, you must call the box office to have the ticket set aside. The box office phone number is (208) 345-0454.

Idaho has the sixth-highest suicide rate in the U.S., and suicide is the second-leading cause of death for adolescents and young adults in Idaho. For several years, Idaho was the only state without its own hotline serving residents statewide. After a collaborative effort throughout the Gem State, the ISPH was organized in October 2012 and began taking calls in November 2012.

The Hotline provides emotional support, risk assessment, crisis intervention, linkages to local services, and/or follow-up for persons with potential suicide risk factors, empowering callers to look at options and make their own decisions.

When the Hotline first opened, it offered services from only 9 a.m.-5 p.m. Monday-Friday. It recently expanded to 9 a.m. to 9 p.m. Monday-Friday. Outside those hours, all calls to that number are answered by the Lifeline Network, not by Idahoans who are more familiar with state and local services. The Hotline’s number is 1 (800) 273-TALK (8255).

“Late-night hours and weekends can be critical times for people in crisis,” said John Reusser, Hotline director. “It’s always better having Idahoans helping Idahoans. Expanding hotline hours to 24/7 as soon as possible is the surest way to do this.”

Reusser also pointed out that veterans are at high risk of committing suicide.

“Recent studies indicate that the suicide rate for veterans and active-duty military is more than double the civilian suicide rate,” Reusser said. “We want to let Idaho veterans know we are here for them, and we also want to thank them for their service.”

Reusser added, “While Antsy is coming to help raise awareness of the need for a 24/7 Hotline, he’s also coming to spread his form of medicine: music and laughter. We’d all be better off observing what he calls the Aluminum Rule: Thou shalt enjoy the ride. When you purchase your tickets to the show, please consider buying an additional ticket to give to a friend or family member who is a veteran.”

Reusser also pointed out that even if you don’t know a veteran, you can still buy a ticket for one. Call or visit the Egyptian Theatre’s box office no later than Oct. 1 to purchase the ticket. Tell the box office employee that the ticket is for a veteran. A ticket will be set aside at the box office for a veteran. The ISPH and several veterans organizations will ensure that veterans get the tickets.

The Oct. 4 show will be Antsy McClain and the Trailer Park Troubadours’ fourth benefit concert in Boise, the last one being two years ago. Antsy and the Troubs have been busy in those two years, releasing a new CD, Living the Dream, in 2012. Antsy also has been working with veteran PBS producer Peter Berkow, who is producing a 13-program series featuring Americana musicians. The series will include one show with Antsy and the Troubs and another featuring Antsy and multi-instrumentalist Joe Craven.

For more information regarding the Idaho Suicide Prevention Hotline, contact Hotline Director John Reusser at (208) 258-6990 or jreusser@mtnstatesgroup.org.

For more information regarding the concert and Antsy McClain and the Trailer Park Troubadours, contact Al Bunch at (208) 861-5052 or alvinbunch@gmail.com.

ADDITIONAL RESOURCES:

idahosuicideprevention.org
facebook.com/IdahoSuicidePrevention
unhitched.com
antsy.net
egyptiantheatre.net

ABOUT ANTSY MCCLAIN AND THE TRAILER PARK TROUBADOURS

Antsy McClain and the Trailer Park Troubadours are based in Nashville, but they’re as far from country’s mainstream as you can get. The band’s moniker is a tip-off that everything isn’t exactly serious, but Antsy McClain isn’t a novelty act. The Troubadours are a revolving cadre of top-notch pickers who can play cowboy jazz, Tex-Mex waltzes, country ballads, and soulful R&B dance tunes without breaking a sweat. McClain adds his songwriting, a relaxed tenor with the understated elegance of all good country singers and a storyteller’s gift of gab to the proceedings for a show that’s both down-home and high tone.

Antsy McClain was born Ronnie Joe McClain in 1962. He grew up in a succession of small trailer parks in Kentucky, Ohio and Tennessee with his Avon-selling mother and a father who drove a Wonder Bread delivery truck. His upbringing has colored his music and outlook on life ever since. “People hear the phrase Trailer Park Troubadours and expect to see something out of an episode of Cops or Jerry Springer,” McClain says in his good-natured drawl. “But we don’t take the low road. There’s no blue material. When we sing about adult themes and relationships gone wrong, it’s not in a jaundiced way. We always deliver some semblance of hope. We’re about lightness and laughter and positive energy. Our shows stir up the endorphins and get you interested in living. Life is too short to dwell on the negative.”

McClain grew up with eight-track tapes and vinyl, falling under the spell of ’70s singer/songwriters in his youth. Jim Croce, still a big favorite, led him to James Taylor and John Denver. As he got older he discovered Lynyrd Skynyrd, AC/DC and other noisy rock bands. His mother’s collection of Motown albums and groove-heavy music was complemented by his dad’s interest in George Jones, Dolly Parton, and Tammy Wynette. Although they lived in secluded small towns, his musical taste was as eclectic as the music he makes with today’s Troubadours.

HEY MARSEILLES IN-STORE OCTOBER 1!

hey marseillesHey Marseilles will perform live at The Record Exchange (1105 W. Idaho St., Downtown Boise) at 6 p.m. Tuesday, Oct. 1. The band is playing Radio Boise Tuesday at Neurolux later that evening and we have tickets for sale here at the store! As always, this Record Exchange in-store event is free and all ages!

ABOUT HEY MARSEILLES

HeyMarseilles_LinesWeTraceFive miles south of downtown Seattle is the neighborhood of Columbia City—a leafy stretch of old brownstones and new condos which, according to local legend and loosely interpreted census data, boasts the most diverse zip code in America. Not far from Columbia City’s main drag, amidst a swirl of languages and colors and food and accents, sits a 100-year-old, two-story house that’s home to the world-weary, seven-piece orchestral-pop ensemble known as Hey Marseilles.

World-weary in spirit if not in practice: Hey Marseilles first won hearts across the U.S. with its 2010 debut, To Travels and Trunks, an album that reveled in the education and inspiration only globe-trotting exploration can provide. With Matt Bishop’s lyrical wayfaring abutting an instrumental palette that embraced folk tradition—accordion, strings, and horns; gypsy, Gallic, and classical—To Travels and Trunks gave musical voice to the universal longing for unfettered freedom. NPR called the record “sublime and heartfelt.”

A lot has changed in the world since 2010—that house in Columbia City, for instance. The vacillations of the economy allowed Hey Marseilles violist Jacob Anderson to acquire it in 2011; he and his younger brother, cellist and producer Sam Anderson, helped renovate it. Since then, most of the band has lived in it, and the entirety of their new album was written and recorded in it. Not surprisingly, Lines We Trace is not about going out and searching. It’s about finding you’re already where you need to be.

Make your way back home again, Bishop sings on the dusky ballad “Café Lights.” I am here still.

The 12 songs on Lines We Trace represent a band steady enough in its sound—poignant, panoramic, unreservedly gorgeous—that it can expand beyond it. The string section that hums throughout “Elegy”—quintessentially sweeping, Hey Marseilles style—shifts into finely composed abstraction for the song’s final minute. Colin Richey’s skittering rhythm on “Bright Stars Burning” is a gentle breakbeat, a sly nod to atmospheric drum ‘n’ bass. “Madrona” and the album-closing “Demian” are Hey Marseilles’ first fully instrumental songs, a pair of echo-laden piano-and-cello dirges that are simultaneously solemn and sumptuous. “Dead of Night” trots along on an almost-funky, waltzy swing and gives the album its titular lyric, trumpet triumphant as Bishop sings, The lines we trace have a thousand ends/We’ll count the ways we can’t begin/And stay in our homes, remain on our own…

Throughout, Philip Kobernik’s accordion is less pronounced than previously, Nick Ward’s guitar more so. The result is less old-world, more new school. An update. A progression. A musical analog to a line Bishop sings in “Looking Back”: If you’re looking back that’s all you’ll ever see.

Six years after Bishop first got together with Kobernik and Ward to jam at Seattle’s Gasworks Park, Hey Marseilles is an experienced band with a slew of major festivals (Bumbershoot, Sasquatch!) and a national tour under its belt. They’ve come a long way—only to find themselves back home.

Put another way, as Lines We Trace suggests, sometimes you don’t have to go far to find a meaningful experience. Sometimes the comfort of the familiar is all you need to grow.

FRIGHTENED RABBIT IN-STORE SEPT. 27; BUY THE ALBUM, GET A FREE TICKET!

frightened-rabbitFrightened Rabbit will perform live at The Record Exchange (1105 W. Idaho St., Downtown Boise) at 7 p.m. Friday, Sept. 27. The band is performing at Knitting Factory later that evening and we have tickets for sale here at the store! As always, this Record Exchange in-store event is free and all ages!

Be one of the first 25 people to purchase Frightened Rabbit’s new album Pedestrian Verse and get a free ticket to the Knit show!

ABOUT FRIGHTENED RABBIT

frrbtFor Scott Hutchison, the songwriting inspiration can come from anywhere.

From a Scottish sitcom about a larky soldier who’s served in Iraq. A break-up, his own usually – a recurring theme, it seems, judging by the incisive, compelling accounts of heartache sprinkled through Frightened Rabbit’s three previous albums, Sing The Greys (2006), The Midnight Organ Fight (2008) and The Winter Of Mixed Drinks (2010). A shit family Christmas that only got worse come Boxing Day. Or from a roomful of American fans mainlining a long-lost Celtic connection while also hoovering up a powerful British indie-rock band with a folk heart and a soulful love of their heritage. Frightened Rabbit are proudly Scottish, and adored on native soil, but their songs also seem to take on greater resonance and power the further from home they travel.

Ideas might have come on any one of the ten or so US tours undertaken by the band, each bigger, noisier, rowdier, more special than the last – there aren’t many British bands who can match Frightened Rabbit, formed by this thoughtful former art student nine years ago, for the level and intensity of their American success. Or they can come via a hero peer on the Scottish music scene, in this case onetime Arab Strap dipso-poet Aidan Moffat.

Or Hutchison will take inspiration from the shortcomings he himself sees in the songs he wrote for his band’s last album.

“With ‘The Winter Of Mixed Drinks’ and what I tried to do there…” begins Frightened Rabbit’s founding member and singer, “…and the things about that I didn’t like that I wanted to make better this time… The last record was purposefully open and vague in its imagery. But I wanted to write dense poetic songs again. And that was a kick off into State Hospital.”

In early 2012, the five-piece was ready to make their fourth album. But their producer of choice wasn’t available, and Hutchison was kicking his heels. And that, too, fed into a song. “Home From War” was partly catalysed by the original pilot for ‘Gary Tank Commander,’ a Scottish comedy that has gone on to become a cult show north of the border.

“He’s a guy back from Iraq and he’s just bouncing about, he’s got nothing to do, doesn’t know what to do with his life any more. ’Cause he’s been structured and regimented for that amount of time. It’s really funny but I found it quite interesting and sad.”

Suitably inspired, and rather than sit on their hands, the band hired a house in Kingussie in the Scottish Highlands and trucked a load of instruments and studio gear up from Glasgow. They then spent three weeks writing and playing and recording and writing and playing some more.

Three songs were immediate keepers: “Home From War,” inspired by that aimless squaddie, a Pixies-meets-Coldplay giant that’s sure to become a live favourite; “Off,” an intimate, chorally atmospheric tune written in one quick afternoon; and “Wedding Gloves,” a yarn about a couple who try to rekindle love by digging out and putting on their matrimonial garb. It’s narrated by Moffat, to whom Hutchison entrusted the writing of the verses.

“He totally got what I wanted,” beams Hutchison, who finagled the ex-Arab Strap man’s involvement via a drunken, late-night email. “He said to me, ‘Right, you want me to be a sexual Yoda?’ I was like, ‘Aye, if you like!’”

Come May 2012, Frightened Rabbit’s producer was finally available. Leo Abrahams was Brian Eno’s assistant for 11 years, so on top of being a great guitar player, he’s a man well-versed in free-thinking. “He was definitely up for shaking things up, and he has plenty of soul and understanding” – all perfect qualities for the band’s new songs and fresh perspective.

A month in Monnow Valley studio in Wales did the job. The EP’s opening two songs, “State Hospital” and “Boxing Day” – the latter a mordant yet defiant account of that Yule hell – have been pulled from those sessions.

Only “State Hospital” appears on Pedestrian Verse. The bulk of the other songs “have a different atmosphere” from the remaining new songs on the EP. “I don’t know how to describe it… I mean, we did consider them all for the album, but they just didn’t work. But I was really fond of what we got out of those three weeks of creative freedom.”

ANATHEMA IN-STORE SEPTEMBER 26; BUY THEIR NEW CD, GET A FREE TICKET TO THEIR KNITTING FACTORY SHOW!

Rod Maurice_anathema_ (17)Anathema will perform live at The Record Exchange (1105 W. Idaho St., Downtown Boise) at 5:30 p.m. Thursday, Sept. 26. The band is playing the Knitting Factory later that evening and we have tickets for sale here at the store! As always, this Record Exchange in-store event is free and all ages!

Be one of the first 25 people to buy their new album Universal (available Tuesday, Sept. 24) and we’ll give you a free ticket to the Knit show!

ABOUT ANATHEMA

Anathema have been at the forefront of the UK rock/metal movement for many years. They began their journey as pioneers of melodic heavy music, influencing a myriad of bands to follow them, before outgrowing all genres and limitations as they fearlessly explored new territory and new ways to express feeling through sound.

Formed in Liverpool in 1990, the band’s sound and musical vision have continually evolved over the ensuing years while always remaining true to their original goal of creating forward thinking, meaningful, passionate and honest music.

The line-up is really a collective of two families who were quite simply born to do it. Anathema consists of brothers Vincent and Daniel, alongside childhood friends John Douglas and his sister Lee, who is an incredible singer in her own right. Live they are joined by the third Cavanagh brother, Jamie and Daniel Cardosa.

There is a deeper bond in the group that transcends usual band politics, ego, and self-interest. They have a shared vision: to make the most incredible music they possibly can, and it seems, despite the lavish praise heaped on the band for their past work, that they are now taking their work to a whole new level.

The band’s first four albums, Serenades (1993), The Silent Enigma (1995), Eternity (1996) and Alternative 4 (1998), were released on Peaceville Records. Following these four albums the band moved to the now defunct Music For Nations where they released a further three albums, Judgement (1999), A Fine Day To Exit (2001) and A Natural Disaster (2003), which was hailed as ‘darned near essential’ by Metal Hammer.

With each release, they moved beyond the boundaries of limited scenes and pigeon holes, creating a complex and emotive atmospheric sound.

In August 2008, the band released Hindsight, a semi-acoustic album featuring old and new favourites from the band’s career, with new arrangements utilizing acoustic, electrical and orchestral instruments. The album was released on Kscope, a sister label of Peaceville.

This proved the start of a successful partnership with Kscope, which continued with 2010 studio album We’re Here Because We’re Here, which was awarded Classic Rock’s Prog Album of the Year as well as a host of other accolades. The producer of WHBWH, Steven Wilson (Porcupine Tree), has described it as “definitely among the best albums I’ve ever had the pleasure to work on.”

In late 2011, Kscope also released the Falling Deeper album, which continued where Hindsight left off, featuring brand new arrangements of songs and haunting melodies from the band’s earliest days as pioneers and co-creators of an entire genre of heavy music.

This was followed in April 2012 with Weather Systems, the band’s new studio album. Weather Systems was equally well received as its predecessor, receiving rave reviews around the world and charting across Europe.

It debuted at #14 in the German top 40 chart and it also reached the top 20 of the national charts in Poland (#9), Holland (#18), Finland (#15) and the top 40 in Norway (#29) and France (#31). In the UK it reached number #10 in the indie chart and #50 in the national chart. The album once again took the #1 place in the Prog magazine Critics Choice awards and Anathema were voted number one in the band of the year category in the readers’ poll.

The band also won the award for best live event at the inaugural Progressive awards, rightly recognizing the band’s incredible live experience. Honed over years of performing together, the band now display a rare understanding and confidence, which wowed fans across the world during the lengthy world tour that followed the release of Weather Systems.

The European part of this tour opened with a special one-off gig at the ancient Roman theatre of Philippopolis with the Plovdiv Philharmonic Orchestra. This special evening was filmed by the respected director Lasse Hoile and a concert film and live CD of the evening, titled Universal, will be released Sept. 24.