Okay, so I’m posting a lot of articles from Analog Revolution. That’s cause I *am* analog revolution. 

I’m pressing this record, and I’m So Damn Excited about it. 

I want all of my friends, all of the people I know, to listen to this music. 

Listen to it, and tell me what you think. Let me know what you love, and what you hate.

I’m going to be pressing these in my living room. I’ll post pictures. It’s awesome. 

analogrevolution:

This is a track from the four track EP from Noble Thieves. - Order Here.

It is being pressed by Analog Revolution Records, as a 10” Mono Poly-Blend 45RPM EP. 

We’re pressing these things by hand, in my living room. It’s fucking crazy.

Guys, i wrote a thing. Please read it and let me know what you think. 

(and you can find Analog Revolution on tumblr, too.) 

shairaralleta:

It’s not yet finish but I’m too eager to post this. >:)) 

I love it. Make more vinyl art! 

midcenturymodernfreak:

1960s HMV Store | 363 Oxford Street, London | Electrical Appliances, Stereophonic Players, & Vinyl Records
HMV stands for His Master’s Voice, the title of a painting by Francis Barraud of the dog Nipper listening to a cylinder phonograph, which was bought by the Gramophone Company in 1899.
Via: 1 | 2

Wow. I wish. That this was our store. It’s so pretty.  midcenturymodernfreak:

1960s HMV Store | 363 Oxford Street, London | Electrical Appliances, Stereophonic Players, & Vinyl Records
HMV stands for His Master’s Voice, the title of a painting by Francis Barraud of the dog Nipper listening to a cylinder phonograph, which was bought by the Gramophone Company in 1899.
Via: 1 | 2

Wow. I wish. That this was our store. It’s so pretty. 

midcenturymodernfreak:

1960s HMV Store | 363 Oxford Street, London | Electrical Appliances, Stereophonic Players, & Vinyl Records

HMV stands for His Master’s Voice, the title of a painting by Francis Barraud of the dog Nipper listening to a cylinder phonograph, which was bought by the Gramophone Company in 1899.

Via: 1 | 2

Wow. I wish. That this was our store. It’s so pretty. 

analogrevolution:

This is a british 45. You can tell from the green writing around the edges (at a glance) or from the words “Mfd. in U.K.” under the copyright date.

British 45s sound great. 

I have a copy of the American version of the “Paperback Writer/Rain” single and a British copy. They are both spotless, clean, and well cared for. The American copy is noisy. It just has a lot of surface noise. You don’t really notice it when you listen to it, and it sounds good. If it was the only copy I had ever heard, I wouldn’t be complaining. 

But then I put on the UK copy. And there just isn’t any surface noise. It is dead quiet. The music is clearer and their is no noise behind it. No hiss, no crackle, just a perfect fucking single. 

I hope that, one day, the singles and LPs we’re pressing at Analog Revolution sound as good as the one coming out of the UK in the 60s and 70s did. 

Famous Blue Raincoat. That’s the record he’s playing, I’d bet money on it. (Is that even supposed to be a sad song? I don’t think it matters.) 

Famous Blue Raincoat. That’s the record he’s playing, I’d bet money on it. (Is that even supposed to be a sad song? I don’t think it matters.) 

(via swordfish--trombones)

infoneer-pulse:

Curators and scientists worked together to recover the audio recorded on Alexander Graham Bell’s earliest records, recorded at his Washington, D.C., Volta Laboratory. Carlene Stephens, a curator of the National Museum of American History, sought out scientists at the Lawrence Berkeley National Laboratory in Berkeley, California, who had figured out how to play back sound from a 1860 phonautograph recording. They worked with the Smithsonian to recover the sound from Bell’s recordings by using a 3D camera to create depth images of the surface of the record. With audio software to recreate the waveforms, we can now listen to recordings from the 1880s. This short documentary was produced by Ryan Reed for Smithsonian magazine, and you can read more about the history and listen to more audio files on the magazine’s site.

» via The Atlantic

This band opened for The Kills and Jeff The Brotherhood when they played their most recent tour. 

The lead singer is a tiny blonde girl with a pixie cut. She spent most of her time on stage on her knees, grinding against the lead guitarist. This is not a bad thing.

The music is catchy. It has a pop/punk feel to it, but in a sincere and entirely unironic way. It feels familiar, even the first time you listen to it. (at least it did for me. ) 

Listen, Enjoy.

Insound has the vinyl for $12. Anyone want to get it for me, for my birthday? 

http://www.insound.com/Hands-of-Fire-12inch-Hunters/P/INS102121/

Bo Diddly 

Bo Diddly/I’m a man 

Shelac/Clay 78 RPM single. Circa 1955. 

This is one of my favorite pieces from my personal collection. Pressed into a remarkably brittle clay, this is the quintessential song of early rock and R&B. 

I’ve been sitting on this one for a while. I picked it up a few years ago at an estate sale, because it was too awesome to pass up, but I’ve never owned a record player that was designed for playing 78s. 

I’ve still got it. I’ve only listened to it twice, the first time shortly after I purchased it, the second time last night as I recorded audio samples using a friends turntable. To be frank, it was amazing. 78s sound… just different. What they lack in fidelity they make up for in character, in force. They transform familiar songs into something wholly other.

On the table we used it played through without skipping. It was a bit noisy, but that is the way of these things. As I said, I’ve recorded some audio samples, and I will post them soon. 

I honestly don’t want to get rid of it. I’m even less inclined to upon hearing it again, but I can’t justify keeping it without the ability to listen to it.

I’m planning on selling it, but I’d like to avoid eBay and the like.  It’s a really cool, and rather obscure find, and I thought I’d give the folks here at tumblr the first crack at it. 

I’m asking $50 for the record, plus shipping. We can handle payment through paypal or google checkout. 

More photos (and an audio sample) available upon request. 

And if my advertising has offended your delicate sensibilities, let me know that too. I don’t want to alienate any of my followers. 

infoneer-pulse:

I used to buy a lot of MP3s. I don’t anymore. That’s not to say I don’t listen to MP3s. I have about 10,000 of the little guys squeezed like vienna sausages into my iTunes music folder, and I listen to them a lot. But when I buy music today I buy it on vinyl. I’m no audiophile, no retro hepcat, but my ears tell me that music sounds better on vinyl - warmer, more nuanced, less shrill - and I make it a point to listen to my ears. Also, I’ve rediscovered the pleasures of looking at the art work on record jackets. Thumbnail images are pretty weak substitutes. In fact, they suck.

But the decisive factor in the transformation of my purchasing behavior, as a marketer would say, wasn’t aesthetic. It was the decision by record companies to start giving away a free digital copy of an album when you buy the vinyl version. Hidden inside the sleeve of a new record, like a Cracker Jack prize, is a little card with a code on it that let’s you download the digital files of the songs, often in a lossless format, from the record company. So I no longer have to choose between the superior sound and packaging of vinyl and the superior mobility of digital. When I’m near my turntable, I spin the platter. When I’m not, I fire up the MP3s.

Buy the atoms, get the bits free. That just feels right - in tune with the universe, somehow.

» via Rough Type

I frequently take this a step further. If I own a physical copy of something, be it a cassette, a CD, an LP, a book, or a magazine, I do not hesitate to download a digital copy (through less than official channels, if that is my only option.) 

I paid for it. I own it. Right? (Well, no. Most copyright lawyers would disagree. But seriously, it’s kind of a ridiculous argument.) 

Karen Elson - The Ghost Who Walks