CATE LE BON IN-STORE APRIL 23 (4PM)

2093Cate Le Bon will perform live at The Record Exchange (1105 W. Idaho St.) at 4 p.m. Wednesday, April 23. As always, this Record Exchange in-store event is free and all ages. Cate Le Bon is opening for Franz Ferdinand at the Knitting Factory later that evening and we have tickets for sale at the store!

ABOUT CATE LE BON

cate le bonCate Le Bon is an artist hailing from Carmarthenshire, rural West Wales and is currently a resident of Highland Park, Los Angeles, having relocated across the pacific to record her latest album Mug Museum.

Her first album Me Oh My was released on Gruff Rhys’s Irony Bored label in 2009 and was followed by CYRK (OVNI/Turnstile) which was released to widespread acclaim in 2012 and saw her play live across the world. A frequent collaborator, Cate sang the duet ‘I Lust You’ with Gruff Rhys on Neon Neon’s Mercury nominated debut album ‘Stainless Style’ and also features on ‘4 Lonely Roads’, from the forthcoming Manic Street Preachers album ‘Rewind The Film’. Perfume Genius features on the Mug Museum song ‘I Think I Knew’.

Having finished live commitments for CYRK towards the end of 2012, Le Bon returned to Wales to write the songs that would become Mug Museum. The album is informed by a period of taking stock after a bereavement. “Following the death of my maternal Grandmother I felt a very palpable shift in the roles that we’d all become accustomed to within the female line of the family which, for the first time, had me mulling over the importance of my place and purpose within this female chain” says Le Bon “The album’s theme emerged from and circulates around these maternal familial relationships and this period of a calm, lengthy, intent consideration in turn drew other relationships into the Mug Museum”.

With Le Bon subsequently relocating to California, Mug Museum was recorded at the recently opened Seahorse Sound studios, Los Angeles. Produced by Noah Georgeson (who is perhaps best known for his work with Joanna Newsom and Devendra Banhart) and Josiah Steinbrick, Mug Museum is an album that lets in the sunlight and space and relocates the West Wales lilt in Le Bon’s voice to an equally apposite West Coast setting.

In the studio Le Bon assembled a band of friends from both continents such as multi-instrumentalists Sweet Baboo and H. Hawkline and Nick Murray from White Fence. As well as describing the personnel involved in Mug Museum, ‘Welsh – Californian’ is a phrase that captures the album’s sound: melodic, confident and wrapped in a hazy psychedelic gauze.”I wrote the majority of the record in the home country but a few songs were finished out here in the run up to recording” says Le Bon “I’m sure Los Angeles has bled into the recordings somehow but exactly how I do not know”.

Throughout Mug Museum Le Bon’s voice changes register to both dramatic and emotional effect. This is beautifully exemplified on ‘I Think I Knew’, a duet with Perfume Genius, one of the album’s most atmospheric tracks and one on which two distinctive personalities combine to produce a performance of rare alchemy.

From the bewitching circular riff of the album’s opener ‘I Can’t Help You’ to the closing title track that sees Le Bon accompanied by piano and the occasional burst of double-tacked clarinet, Mug Museum’s reflective song-writing weaves around a richly detailed framework. Like all museums it is a contemplative space, a personal world that is open to everyone. As these ten songs attest Mug Museum is also a unique and dreamlike edifice, created by an artist at the height of her powers.

100.3 FM THE X PRESENTS SEVENDUST NEW ALBUM SIGNING SUNDAY, APRIL 20; PRIORITY-LINE WRISTBAND AVAILABLE!

1888732_10152305950103959_3975776078364466037_n100.3 FM The X presents the Sevendust new album signing at 3 p.m. Sunday, April 20 at The Record Exchange (1105 W. Idaho St.) during Record Store Day Weekend. As always, this Record Exchange in-store event is free and all ages. Sevendust is performing at Knitting Factory later that evening and we have tickets for sale at the store!

Want priority line placement at the signing? Purchase Sevendust’s new album Time Travelers and Bonfires and we’ll give you a VIP line wristband! (There will be a secondary line for customers without wristbands, which will follow the VIP line.) The first 25 people to purchase Time Travelers and Bonfires also get a free ticket to the Knit show!

ABOUT SEVENDUST

Sevendust-Time-Travelers-BonfiresA truly meaningful song will always stand the test of time. It won’t ever age, and its impact will only grow stronger as the years go by. Moreover, its melody will spark the same kind of emotion regardless of the era. That sentiment holds true for Sevendust‘s tenth offering, Time Travelers & Bonfires [7Bros. Records/ADA Label Services].

For the album, the gold-selling hard rock stalwarts re-recorded six classic tracks acoustically and cut another six new acoustic numbers. Despite inception at different moments over nearly two decades, all twelve tracks converge upon one distinct journey.

It’s a ride that the Atlanta outfit—Lajon Witherspoon [lead vocals], Clint Lowery [lead guitar, backing vocals], John Connolly [rhythm guitar, backing vocals], Vince Hornsby [bass], and Morgan Rose [drums]—invited fans along for as well. Those same supporters have been urging Sevendust to cut an acoustic album since 2004’s live CD/DVD, Southside Acoustic Double-Wide.

“For the last ten years, people have been talking about it,” smiles Witherspoon. “They kept asking us to do a full record like that. So, we had to do something unique and very special for them.”

For the first time, they engaged their diehards via PledgeMusic. In the midst of supporting their ninth effort, 2013’s Black Out the Sun, which debuted at #1 on Billboard’s Top Hard Music Albums chart and #18 of the Top 200 Albums chart, the boys initiated a PledgeMusic campaign to fund what would eventually become Time Travelers & Bonfires. The response proved overwhelming, to say the least.

Within 60 days of a planned 130-day campaign, the band exceeded 155% percent of its goal, offering incentives ranging from dinner with the members to a jam session at a pledger’s home. The idea initially spawned from Connolly and Hornsby’s experience utilizing the platform to successfully fund the 2012 debut from their side project, Projected.

“That was the first time I got familiar with the whole idea of fan-funding,” recalls Connolly. “It worked out so well that it felt obvious to try for Sevendust. People get to buy in on the front end, and they get some killer exclusives in return. We were floored by the amount of support we received. At the end of the day, it’s about the fans. This gives them more power. They make us. We cut out all of the middle men and went right to crowd.”

“We’re a people’s band,” adds Lowery. “We’re very accessible. We’ve toured these same cities for almost twenty years, and we’ve become family with everyone who comes out to the shows. They have a tremendous amount of loyalty to us, and we wanted to bring them into the process of making the record.”

Rose says, “We got to see firsthand how much the people who support us really care. We’ve never taken them for granted. It was amazing to be able to do this record together with them. This is their record.”

The audience actually had the opportunity to choose which songs Sevendust would re-record via a poll on Facebook. As a result, they chose the six “classics” from the catalog that would appear acoustically when they hit Architekt Music Studios in Butler, New Jersey last December. Among those, their signature anthem and the set’s first single,”Black,” takes on a whole new life. Preserving the original’s intensity, the group transposes it into a hypnotic and haunting gem.

“That was literally the first song I ever wrote in 1993,” Connolly says. “It was demo number one before we were even Sevendust. It’s amazing that everyone wanted to hear it in this form. As far as we’ve gone and as many things as we’ve done, that one is the epitome of what Sevendust is. That’s the embryo and the nucleus. We built this from zero, and it’s incredible to revisit where everything began.”

Hornsby goes on, “It’s probably the song we’ve played the most out of our catalog. To do it acoustically shows the longevity and strength of it.”

Elsewhere on the record, “Come Down” begins with an ominous guitar before building into a soulful and soaring refrain from Witherspoon. The singer explains, “Everything came together easily. This one felt so natural. It’s dedicated to those people we’ve seen past. We want to see them again. It says, ‘Come on back until we’re all done, and then we’ll go back up together.’ Experience and live what we’re going through now.”

There’s also an extremely heartfelt tribute to Connolly’s recently deceased father within “The Wait.” It’s a song that speaks loudly to all of the members and anybody else who’s ever lost someone.

“I was thinking about my dad a lot,” he sighs. “I decided I would just write, and whatever comes out comes out. I wanted to channel him without trying. I initially wanted to sing it, but I couldn’t make it through. I showed it to the guys without telling them who it was about. They immediately loved it. Then, I told them the story after the fact. Lajon started crying when I said it was my dad’s song. It’s extremely personal, and my brothers hooked me up on it.”

“It’s such a heavy song,” agrees Lowery. “My father had passed too, and John and I shared that. It means a lot to both of us. There’s a therapeutic release that we shared.”

“That one gives me chills,” Rose adds. “I have a hard time listening to it. It reminds me of my own Nana. I think it’s the deepest and most emotional song we’ve ever written.”

The album title itself reflects its two halves, with the Time Travelers being the old songs and the Bonfires representing the new ones. Witherspoon explains, “When you play those old songs, it puts you back in that time and place mentally. They’re like Time Travelers. The Bonfires have that fresh and new fire. It’s a great juxtaposition.”

“We’re bringing the old songs into a new format,” claims Hornsby. “It’s like time traveling and breathing fresh life into something we’ve spent so much time with. Also, after all these years together, we are time travelers.”

Ultimately though, this is for that “family” who have been with Sevendust since day one. They gave the group three consecutive gold records starting with their self-titled 1997 debut and followed by 1999’s Home and 2001’s Animosity. They’ve packed sold-out shows around the globe, and they elevated the likes of their eighth offering Cold Day Memory in 2010 to a career-high chart position of #12 on the Billboard Top 200. Still, there’s more road to travel.

“We’re blessed to still be doing this,” Witherspoon leaves off. “We wanted to give everybody something to hold on to. I hope they enjoy it. It feels like a magical experience to me, and I just want to say, ‘Thank you.’”

RECORD EXCHANGE RECORD STORE DAY WEEKEND EVENTS

THURSDAY, APRIL 17
St. Paul and the Broken Bones Record Store Day Weekend Kickoff In-store (presented by 94.9 FM The River and Boise Weekly) 6pm
Free bicycle parking provided by Boise Bicycle Project
Full event details HERE.

FRIDAY, APRIL 18
– RSD Exclusives Listening Party/‘Last Shop Standing’ film screening 6pm — free Payette Brewing Co. beer/Pie Hole pizza* and tons of raffle prizes, including drawings for the first five places in line on Record Store Day! Michael Bunnell, Record Exchange Owner, Executive Director of the Coalition of Independent Music Stores and Record Store Day Founding Board Member, will lead a Record Store Day Q&A at 6:30pm.
– 20% off used CDs, vinyl, DVD/Blu-ray and cassettes!
Free bicycle parking provided by Boise Bicycle Project
*While supplies last
Full event details HERE.

SATURDAY, APRIL 19
400 exclusives released — open 9am-10pm; Gift Shop opens at 8am for line. Free drip coffee & Guru Donuts (courtesy of New West Records)* 8-9am! The Record Exchange will stay open until 10pm on Record Store Day.
Go Listen Boise buskers and bake sale on the sidewalk (10am-7pm)
Pie Hole pizza for sale
– 20% off used CDs, vinyl, DVD/Blu-ray and cassettes!
Free bicycle parking provided by Boise Bicycle Project
*While supplies last
Full event details HERE.

SUNDAY, APRIL 20
Sevendust new album signing 3pm — get a VIP line wristband with purchase of Time Travelers and Bonfires (out April 15).
– 20% off used CDs, vinyl, DVD/Blu-ray and cassettes!
Free bicycle parking provided by Boise Bicycle Project
Full event details HERE.

ESCAPE THE FATE SIGNING THURSDAY, FEB. 20; PRIORITY-LINE WRISTBAND AVAILABLE WITH CD/LP PURCHASE!

escape the fate 700Escape the Fate will visit The Record Exchange (1105 W. Idaho St.) for an album signing at 4 p.m. Thursday, Feb. 20. As always, this Record Exchange in-store event is free and all ages. Escape the Fate is performing at Knitting Factory later that evening (7 p.m.) and we have tickets for sale at the store!

Want priority line placement at the signing? Beginning Monday, Feb. 10, purchase Ungrateful on CD, deluxe CD or vinyl prior to the event and we’ll give you a VIP line wristband! (There will be a secondary line for customers without wristbands, which will follow the VIP line.) The first 25 people to purchase Ungrateful also get a free ticket to the Knit show!

ABOUT ESCAPE THE FATE

Escape-the-Fate3.jpg?94a171While their previous, self-titled album found them taking their sound in a more muscular direction, Escape the Fate find their knack for melody again on their fourth album, Ungrateful. Though the album retains a lot of the heaviness of their last effort, there’s a soaring quality here that feels like the band is opening its sound up more, allowing the big moments to go in whatever direction is natural rather than trying to give everything a hard edge. With more room to stretch out, it definitely feels like Escape the Fate are moving into more familiar — and more comfortable — territories, making Ungrateful an album that feels like a return to form for the band.Allmusic.com

Originally from Las Vegas, Escape The Fate features Craig Mabbitt, Robert Ortiz, TJ Bell and Max Green. The band’s fifth studio recording and first for Eleven Seven Music, Ungrateful, is an example of the foot-to-the-throat intensity combined with soaring choruses that has set the band apart from their contemporaries.

OUTBURN Magazine says of the album, “Ungrateful is a marauding alt-metal manifesto that establishes that Escape The Fate just might be entering their prime.”

The album was co-produced by John Feldman, Monte Money and Brandon Saller (Atreyu) and mixed by Josh Wilbur.

THE RECORD EXCHANGE PRESENTS AN EVENING WITH YO LA TENGO MAY 14 AT THE KNITTING FACTORY – WIN TICKETS!

yo la tengoThe Record Exchange presents An Evening with Yo La Tengo Tuesday, May 14 at the Knitting Factory (doors 7:30/show 8:30). Tickets are available now at The Record Exchange, (866) 468-7624, ticketweb.com and knittingfactory.com. WIN A PAIR OF TICKETS HERE.

Yo La Tengo are in many respects the quintessential critics’ band: in addition to their adventurous eclecticism, defiant independence, and restless creative ambition — three qualities that virtually guarantee music press acclaim — the group’s frontman, Ira Kaplan, even tenured as a rock scribe prior to finding success as a performer. So frequently compared to the Velvet Underground that they even portrayed the legendary group in the 1996 film I Shot Andy Warhol, the Hoboken, New Jersey-based Yo La Tengo have explored the extremes of feedback-driven noise rock and sweetly melodic pop, shading their work with equal parts scholarly composure and fannish enthusiasm. Prolific and mercurial, they have ultimately transcended their myriad influences to ensconce themselves as a beloved institution of the indie community.

The core of Yo La Tengo (Spanish for the outfielder’s cry of “I’ve got it!”) is comprised of singer/guitarist Kaplan and his wife, drummer/vocalist Georgia Hubley. After forming the band in 1984, they placed an advertisement seeking other musicians to round out the lineup, requesting applicants who shared their fondness for the Soft Boys, Mission of Burma, and Arthur Lee’s Love. A number of bassists and lead guitarists passed through the band’s roster during its formative years, but after bowing in late 1985 with the single “The River of Water,” backed by a cover of Love’s “A House Is Not a Motel,” Yo La Tengo’s membership appeared to stabilize with the additions of guitarist Dave Schramm and bassist Mike Lewis prior to the sessions for 1986’s full-length roots pop debut, Ride the Tiger, produced by former Mission of Burma bassist Clint Conley.

However, both Schramm and Lewis exited in the wake of the record’s release, leaving Kaplan to assume lead guitar duties. Bassist Stephan Wichnewski signed on for 1987’s New Wave Hot Dogs, a more assured outing that brought the group’s Velvet Underground obsession to the fore via a cover of the early VU composition “It’s Alright (The Way That You Live).” Not only did Kaplan’s introverted, half-spoken vocals and buzzing guitar work closely recall Lou Reed, but Hubley’s rock-steady drumming and breathy backing turns simultaneously conjured memories of vintage Maureen Tucker. Even better was 1989’s President Yo La Tengo, recorded with producer and guest bassist Gene Holder; opening with the droning squalls of the stunning “Barnaby, Hardly Working,” the record spotlighted the group’s sonic schizophrenia by including two Jekyll-and-Hyde versions of the track “The Evil That Men Do” — one a gorgeous instrumental, the other a blistering feedback freakout.

Schramm returned to the fold for 1990’s Fakebook, a remarkable acoustic folk-pop journey through Kaplan’s record collection and a virtual family tree of Yo La Tengo reference points. A wonderfully low-key collection of covers ranging from forgotten nuggets (the Kinks’ “Oklahoma U.S.A.,” the Flamin’ Groovies’ “You Tore Me Down,” Gene Clark’s “Tried So Hard”) to absolute obscurities (Rex Garvin & the Mighty Cravers’ “Emulsified,” the Escorts’ “The One to Cry,” the Scene Is Now’s “Yellow Sarong”), Fakebook also included a handful of outstanding new originals as well as luminous retakes of the previous record’s “Barnaby, Hardly Working” and New Wave Hot Dogs’ “Did I Tell You?” The superb That Is Yo La Tengo EP previewed 1992’s May I Sing With Me, the first effort to feature permanent bassist James McNew (formerly of Christmas). A return to noise typified by the hot-wired nine-minute feedback saga “Mushroom Cloud of Hiss,” the record balanced out its extremist tendencies with the occasional sidestep into melodic beauty (“Detouring America with Horns”) and infectious indie pop (“Upside-Down”).

A move to the Matador label predated the release of 1993’s Painful, another winner informed by the atmospherics of shoegazer drones and dream pop. Bookended by radically opposed renditions of the track “Big Day Coming” — the first an organ-driven mood piece, the other an edgy guitar outing — the record pushed Yo La Tengo in a multitude of new directions, significantly expanding the trio’s palette of sounds and textures. Released in 1995, Electr-O-Pura continued the progression, zigzagging from dead-on British Invasion re-creations (the sparkling “Tom Courtenay”) to shimmering folk (the Hubley-sung “Pablo and Andrea”) to bracing sonic experimentation (“Decora”). After 1996’s Genius + Love Equals Yo La Tengo, a two-disc compendium of B-sides, compilation tracks, rare singles, and unreleased material, the trio resurfaced in the spring of 1997 with I Can Hear the Heart Beating as One; And Then Nothing Turned Itself Inside Out followed in early 2000.

The group also performed a three-night stint as the backing band for Ray Davies on his 2000 U.S. tour, and in 2002 released The Sounds of the Sounds of Science, a soundtrack to the undersea documentaries of French filmmaker Jean Painleve. That fall, they released the Nuclear War single, which featured several versions of Sun Ra’s epic, and that winter performed their second annual Hanukkahpalooza, an eight-night musical festival at Hoboken, New Jersey’s Maxwell’s, which also led to a special limited-edition EP of Christmas songs. Yo La Tengo released Summer Sun in spring 2003, and that year Georgia Hubley performed in Mirror Man, an avant-garde rock opera by Pere Ubu’s David Thomas.

In 2005, Matador Records paid homage to Yo La Tengo’s 20th year as recording artists with the career-spanning compilations Prisoners of Love: A Smattering of Scintillating Senescent Songs: 1985-2003 and A Smattering of Outtakes and Rarities 1986-2002. The band returned the following year with the strong all-new album I Am Not Afraid of You and I Will Beat Your Ass. Fuckbook, a covers album that the band released under the alias Condo Fucks, arrived in 2009, followed several months later by the full-length Popular Songs. The following year, the Here to Fall EP, which featured remixes by De La Soul, Rjd2, and Pete Rock, arrived. The group’s 13th album, Fade, was released in 2013. This album marked a departure for the band, as it was the first record since their 1993 breakthrough, Painful, not recorded with producer Roger Moutenot, but instead tracked with Chicago scene veteran and Tortoise member John McEntire.

BUY THE CD AT RX, GET A FREE TICKET TO THE SHOW AT KNITTING FACTORY!

The Record Exchange has partnered with the Knitting Factory to offer you a sexy deal on upcoming concerts: Buy the artist’s new CD at the RX and get a free ticket* to the show at the Knit!

Current concerts, with eligible CD titles, are listed below:

Pinback, Jan. 25, Information Retrieved

* While Supplies Last