Record #710: Man Mountain – Infinity Mirror (2018)

One of the things I love about vinyl is that the medium allows additional space for creativity. I don’t often talk about packaging on this blog, preferring instead to talk about the music itself, but it’s one of my favorite things about records.

In fact, it’s one of the reasons I started collecting vinyl in the first place—even before I was convinced of the sonic superiority. There are things that a packaging job can do to enhance the aesthetic of an album that a digital copy of the artwork simply can’t. Die cut sleeves, spot gloss, colored vinyl, post cards, etc.

But Infinity Mirror has one of the more interesting packaging jobs I’ve seen in a long time. This pressing is released on a picture disc that, when spun on a turntable, creates an animation.

And even though I haven’t been able to experience it with the same success as that video (I still haven’t figured out the optimal frame rate), it’s not a complete loss, as the music is really enjoyable anyway.

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Record #707: Cloakroom – Further Out (2015)

Speaking of Bobby Markos

Despite the fact that Cloakroom are the standard bearers for the amp-blowing, doom tinged slacker shoegaze that I love so much (see also: Lume, Greet Death, True Widow), I don’t listen to them too often. Yes, I’ve seen them live. Yes, I already owned two of their albums. But I didn’t seek those out as much as I happened upon them.

But recently I realized how dumb this was. I’ve loved every Cloakroom song I’ve ever heard. I know they’re great…why do I always forget that when I go to choose a record?

Upon that realization, I intentionally sought out Further Out, their genre defining 2015 full-length. Five years without this disc was too long.

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Record #706: Baroness – Blue Record (2009)

My love affair with Baroness wasn’t an immediate one. Even after becoming a fan, it took me a while to be fully convinced.

But delving into their back catalogue the last few months, I have realized that they are one of the best bands around. Despite the diversity of their sonic palette, everything they do is absolutely untouchable.

This realization has bid me to systematically buy my way through all of their albums, which brings me to The Blue Record, their wonderful second record.

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Record #705: Native – Orthodox (2013)

The Northern Indiana/Southwestern Michigan music scene is an interesting beast. While my hometown of South Bend is the de facto center of it, we’re close enough to other cities that bands that are born out of towns within an hour drive from us end up cutting their teeth in Chicago or Indianapolis or Grand Rapids instead.

Sometimes, this leads me to discoveries of local(ish) bands that I didn’t even realize were somewhat local to me (see also: Lume, Locktender, Cloakroom).

Earlier this year, I had the similar realization (or reminder, rather) that the mathy, heavy post-hardcore outfit Native were also localish (from Michigan City, but played mostly in Chicagoland).

It shouldn’t have been much of a surprise—after all, Native is fronted by Bobby Markos, the bassist of the aforementioned Cloakroom. And while his rumbling, heavy bass strings are a through line between the two bands, that’s about where the comparison ends.

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Record #704: Dashboard Confessional – The Places You Have Come to Fear the Most (2001)

Now this is more like it.

No more weird live versions or late-career tracks from a compilation that is clearly a cash grab.

This here is the real deal: the long-awaiting vinyl pressing of the seminal emo classic The Places You Have Come to Fear the Most, an album that has been equally revered and reviled—usually by the same people at different periods in their life.

But having long since past the point of shame, I can now embrace this album as wholly as I did when I was a shaggy haired, ripped-jean, cardigan-clad, square-frame-bespectacled emo kid.

Wait…I guess things haven’t changed that much…

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