Listen up

Strong reviews, long interviews, reports from small concerts only, and honest accounting of the money.

Long Player

The year of the empty Tuesday

Four rooms in this city can hold a band on a weeknight. Two of them are now booking Fridays only, and the touring circuit that made everything we write about is quietly closing from the middle out.
The year of the empty Tuesday

The band that only plays basements

The Long Wednesdays have turned down every room above ground for three years. It reads as a stunt until you look at what the rooms above ground were offering them.
The band that only plays basements

How we hear a record now

Nobody sits down with a record any more, including us, including the people who make them. An argument about what that has done to the second side.
How we hear a record now
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New Rotation

Hollow Parade — Fathom Street

The fourth record, and the first one that sounds like a decision rather than a habit. Forty-one minutes, no guests, and a second side that finally goes somewhere.
Hollow Parade — Fathom Street

Ivy Mensah — Cold Open

A debut recorded in eleven days in a room with one microphone, and it sounds exactly like that, which is either the point or the problem depending on the track.
Ivy Mensah — Cold Open

Perennial Static — Nine Fields

Nine instrumentals named after nine fields, and the joke is that you can tell them apart. A quiet record that rewards being played loud.
Perennial Static — Nine Fields
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Doors

Closing night at the Lantern Rooms

A hundred and eighty people, four bands, and a landlord who turned the lights on at eleven because the licence said so and there was no reason left to argue about it.
Closing night at the Lantern Rooms

Hollow Parade at the Brayfield

Four hundred people, a new record two weeks old, and a band who have worked out that the quiet songs are the ones that land in a room this size.
Hollow Parade at the Brayfield

First show: Marguerite Tide

Twenty-two minutes, six songs, and a guitar that went out of tune in the third one and stayed there. Unit 9, on a Tuesday, to about forty people.
First show: Marguerite Tide

Three hundred capacity is the whole argument

Below it a band loses money and learns something. Above it a band makes money and stops. The room in between is where everything we care about happens, and it is the room that is closing.
Three hundred capacity is the whole argument
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Sleeve Notes

How a riso sleeve gets made

Two inks, a drum that jams, a sixty-copy run, and a printer who will tell you at the outset which of your two colours is going to be wrong.
How a riso sleeve gets made

The Fathom Street sleeve, start to finish

One photograph, taken on the wrong night, and eleven weeks of arguing about how much of it to keep. The designer kept a record of every version and let us print it.
The Fathom Street sleeve, start to finish

In praise of the inner bag

The cheapest component in the package is the one that decides whether the record still plays in twenty years, and almost nobody spends anything on it.
In praise of the inner bag

Type on a twelve-inch

A record sleeve is read at two distances and almost nobody designs for the second one. What happens to a typeface at three feet in a rack.
Type on a twelve-inch
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The Rider

What a support slot actually pays

We asked eleven bands what they were paid to open a show this year and what it cost them to be there. Nine of the eleven lost money. Here are the numbers.
What a support slot actually pays

The tour that lost $4100

Fourteen dates, twenty-one days, one van, and a spreadsheet the band handed over on the condition that we printed all of it. We printed all of it.
The tour that lost $4100

Four rooms closed in Halbeck this year

Two lost their licence, one lost its lease and one simply stopped answering emails in March. The city now has eleven rooms under five hundred capacity, down from twenty-two in 2019.
Four rooms closed in Halbeck this year

How we count this

Where the numbers in The Rider come from, what we do when a band will only give us part of a figure, and the two things we have got wrong so far.
How we count this
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Deep Cuts

The second album that never shipped

Pale Interval pressed nine hundred copies in 2011 and destroyed eight hundred and forty of them. We found four people who own one and one person who remembers why.
The second album that never shipped

The reissue is now the release

More than half of what a small label presses this year will be something it already released. That is not nostalgia, it is a manufacturing decision, and it is changing what gets made new.
The reissue is now the release

What the tape remembered

A quarter-inch reel found in a house clearance turned out to hold a mix nobody had heard since 1994, including the two people who made it.
What the tape remembered
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