today’s 20th-anniversary poll question…

how has your record collection changed in the past 20 years?

stephen pastel: bigger, better. stricter adherence to cataloguing principles. new, old… I feel I can find it and connect it up. in a good place with this.

hannah grass widow: when I was really young, I would sometimes buy records because the album cover looked cool. maybe the band name sounded familiar but in general I took a lot of risks. I didn’t have a cool big sister or the internet. I had the radio and my local record store.

stephen the real tuesday weld: I have one now.

jeffrey honeybunch: gone back to used vinyl, which I originally pared down due to routine changes of address. have become much less preoccupied with objects in general, and am fine with just having the song on a file. totally done with CDs — too much of negative impact on the environment, and simply not that satisfying to hold in your hands.

daniel handler: it’s ballooned out of control. not being broke will do that. but the pop-to-classical ratio remains about the same, I think.

rachel blumberg: it’s gotten more eclectic. I’ve learned about so many more genres of music.

andrew eggs/talk it: I have more records now.

gaylord cf/wfmu: I have more jazz and classical LPs; not so coincidentally, that’s music I can enjoy live in venues with seats.

clarissa cf: the “things I love” section grows, and not as slowly as I’d have guessed it would at this point. the “things I can’t get anybody to take off my hands” section is completely out of control.

gordon the fan modine: I’ve never had more than a small rotating collection and now I listen to a lot of internet radio. you don’t really need much more than WFMU and RDIO these days.

fran cannane: in essence probably not much except for addition of MP3s.

james dump/yo la tengo: it’s a mess.

corin tucker: I try and only buy a few vinyl records a year that I think are classics, due to space. I still have my favorites I’ve collected on tour like x-ray spex, prince 7-inches and weird finds like that.

pete paphides: I don’t much bother with CDs anymore.

stephin the magnetic fields: I’ve given up on following both rock and disco, which I used to think of as the two poles of pop music. I have a lot more folk, and I have everything ever released on numero. their amazing eccentric soul series makes me hear the 70s in ways I couldn’t have at the time.

ian musical chairs: it’s expanded exponentially as I’ve gotten into record-dealing. I listen to a wider range of music now, though I still love a great pop song as much as ever.

dawn cf: I buy fewer 7″s.

joe pines / foxgloves: I now have 3 copies of 69 love songs: one that gail o’hara instructed me to buy in greenwich; one that I bought so the band could sign it; and one that leonard honeymoon diary gave me because he’d realized he didn’t actually like it.

jennifer o’connor: my record collection has always been in flux even when I was more of a collector, but yeah, now I have quite a range of everything from vinyl and cds to mp3s, etc. I have a hard time sometimes knowing which format to purchase a record in.

allen clapp: it became more digital over the past 10 years, but now it’s getting more analog again. I kind of forgot for a while how much fun it is to listen to music on vinyl, reel-to-reel, etc…so now I have records and jackets scattered all over my music room again..it feels wonderful. it’s still as eclectic as ever.

bridget st john: physically it is less cohesive and quite scattered = some of it is digital downloads lurking on my computer, some cds and still have some cassettes and some vinyl – I find there are fewer albums that I have bought that I want to listen and relisten to as a whole.

gene booth: chronologically ordered (almost there!); also, 1969 has grown by like two feet in the last two years. no vinyl yet in 2012.

the legendary jim ruiz: it’s just gotten a lot bigger. I love the “let’s empty the vaults” attitude taken by labels concerning ’50s and ’60s artists. want everything lulu released on decca between 1964 and 1966? no problem! I can’t imagine the lengths you could go or the money you could spend to get even most of those tracks in 1992.

tim dagger: more cds, less vinyl (though I still do buy vinyl) and I still don’t download things.

michael white: much like myself, it’s larger and has too much ballast.

shaun brilldream: just got bigger.

gail cf: it got larger, then smaller: I wish I could have my record collection (vinyl) back, all the stuff I got rid of when I moved.

 

chickfactor international travelogue: notting hill/bayswater, london!

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notting hill/bayswater, london (part two)

by jessica griffin, the leader of fantastic london pop group the would-be-goods, mum to an oxford student, foodie and psychology enthusiast, among many other things. she has lived in the neighborhood for 23 years! chickfactor can attest to the super-greatness of al waha as mentioned below…

best venues: the tabernacle, powis square.

best record stores: rough trade, 130 talbot road.

best thriftstore: fara, 10 elgin crescent.

cheap eats: books for cooks (great cookery book shop with test kitchen and café at the back), 4 blenheim crescent. taqueria, 139 westbourne grove. royal china (daytime only, for dim sum). tawana (authentic, friendly thai), 3 westbourne grove.

not so cheap eats: al waha (best lebanese in london), 75 westbourne grove. hereford road, 3 hereford road.

vegetarian-friendly eats: ottolenghi, 63 ledbury road; al waha (see above).

best drinking holes: cock and bottle (splendid traditional pub), 17 artesian road.

best coffee or tea houses: during the summer and early autumn, the temporary pavilion next to the serpentine gallery, kensington gardens. a different architect or artist designs the pavilion each year.

cool cinemas: gate picturehouse, 87 notting hill gate.

best used bookstores: notting hill books, 32 palace gardens terrace.

best local bands, artists, writers, designers: simon fisher turner (film music composer and erstwhile king of luxembourg).

parks and green spaces: kensington gardens, bayswater road (or kensington gore).

unmissable highlights: artisan du chocolat (best chocolates — and hot chocolate — in london, or maybe anywhere), 81 westbourne grove. leighton house museum, 12 holland park road, kensington.

photo of jessica by gail o’hara. 

 

dump reissues!

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basically chickfactor has been into dump ever since we heard it and we have no idea why the rest of the world has been lazily ignoring it since its early ’90s brilliant genius recordings. now FINALLY some label has gotten the good sense to reissue some dump! at last! for chrissakes, what is wrong with the indie labels in the u.s. — um, matador, hello? if enchanté had the dosh, we’d have started the feeding frenzy way back in the day. instead we just forced james to play at our chickfactor parties.

earlier this year we saw the release of a new dump 12″ single called “nyc tonight,” try not to let the fact that it is a g.g. allin cover put you off! now chickfactor has the exclusive international news scoop that morr music of germany has the excellent wherewithal to reissue these first two dump albums that you see pictured here: I can hear music & superpowerless! according to james mcnew (also of yo la tengo, a band you may have heard of), these two will be available on vinyl (for the first time), CD and digital, with new artwork and lots of extra bells and whistles and bonus tracks! dump even had to consult chickfactor to find out the dates of all their shows from the olden days because apparently chickfactor is the only one who remembers (or wrote down this kind of thing). so there you go! there is no release date yet but we will surely be the first to have the scoop so check back with us. and hopefully all the other dump recorded work will be available soon on vinyl too!

here’s some way old fun stuff james wrote for chickfactor: brazil food diary. lambchop interview. and a mini interview here.

 

today’s poll question! chickfactor parties

can you recall something memorable that you’ve witnessed at a chickfactor party?

stephin the magnetic fields: james mcnew (dump) playing “sunshine, lollipops and rainbows” right after september 11. everyone was sobbing.

daniel handler: I remember my slowly realizing that lois was lois, but I think I kept pretty cool about it.

bridget st john: being completely ignorant of the aislers set’s music and briefly exchanging words backstage with a seemingly reticent linton – and then watching their set and being much affected and surprised by her powerful presence and energy – I love this band!

gaylord cf/wfmu: at the most recent chickfactor party in new york, I saw more people of color than ever in the audience.

janice cf: adrian tomine showing up for the softies set!

michael white: the aluminum group, at the 10th-anniversary soiree in new york, not so much playing a gig as performing a tag-team sit-down comedy set that happened to be broken up with some of the best love songs of the past 20 years.

clarissa cf: I once accidentally walked in on [redacted] making out with [redacted]. it was cute.

rachel blumberg: seeing both small factory and aisler’s set reunite. never imagined either might happen. both were amazing. more than memorable. I can think of something very personally memorable to me, which was when a certain person and i got love potion dumped all over us or something during the first night of the shows at the bell house. ahem.

gordon the fan modine: stephin merritt debuting a dozen or so of the 69 love songs at under acme on a uke way before the record came out. you booked that right? (yes. —editor)

jennifer o’connor: lots of things. 3 favorites include: seeing dump doing his solo  looping pedals thing for the first time, aislers set at the 10th anniversary show at fez, gail singing “fuck and run” during the cover girls set.

fran cannane: chickfactor parties are always in the wrong hemisphere but my memory is appalling so I would not recall anyway…

corin tucker: have I been to one? that one at fez? I remember mary timony on stage in braids?

dawn cf: mary timony/joan wasser (later to be policewoman) duo performance.

james dump/yo la tengo: I saw the cannanes beat and rob an audience member at a 1995 CF show at acme.

kendall mascott: I loved seeing brilliantine at the blue cabaret.

gail cf: more euphoria than anyone should be allowed to have. I have a record of them that I will someday publish. along with some footage!

tim dagger: sigh…have never been to one.

chickfactor 17 is out this fall on paper!

chickfactor 17: sneak preview poll question!

how has music changed in the past 20 years?

allen clapp: seems like there’s more tolerance for melody now than there was 20 years ago. everything back then was so aggressive and serious! ugh. I think the world has loosened up a lot since the early 90s. thank goodness.

dawn cf: lots.

stephin the magnetic fields: the enormous changes in every genre between 1972 and 1992 are obvious. changes since ’92 are subtle (country, dance music, children’s music) to nonexistent (cabaret, rap, metal, musical theater, rock, gospel, jazz, soundtracks). In chickfactor’s core genre of cheaply made strummy rock, there hasn’t even been a new guitar effect.

gordon the fan modine: hmmm. has it?

stephen the real tuesday weld: there seems like there is an awful lot of it.

corin tucker: obviously the format has gone digital and people find new music in a different way now. there also seems to be many many more bands than there were in 1992. unfortunately there are still very few great bands.

james dump/yo la tengo: haven’t really been paying attention.

ed shelflife: more bands and less labels.

jeffrey honeybunch: everything is accessible which has its good points (josef k video’s on youtube) and bad (I can’t tell if the josef k–influenced band is new, or something old I missed out on).

michael white: it barely has; only its delivery systems have been revolutionized.

gaylord cf/wfmu: music has changed more between 1960 and 1970 than in the 42 years that follow.

shaun brilldream: we have a healthy post-oasis indie scene now. more record labels too.

andrew eggs/talk it: the 1992 music economy is unrecognizable today because it depended on narrow channels to distribute music, channels that are by and large irrelevant now.

bridget st john: It’s a more level playing field – with the will and a little wherewithal any one who chooses can make music and has a good chance to be heard.

clarissa cf: there is much less new music that is my idea of a good time, and much more that is 20-years-younger people’s idea of a good time. I’m fine with that.

fran cannane: a lot of use of the vocoder. more silly talent shows encouraging bad music. a lot more cover versions being hits perhaps?

gene booth: popular music is incredibly subtle and diverse now — thanks nirvana you really did change everything.

jennifer o’connor: the idea of what passes for a song in many cases these days is a joke.

pete paphides: it’s more freely available and, as with anything which is more freely available, its monetary value has gone down.

gail cf: the underground disappeared in the 1990s when the internet happened and maybe even before.

daniel handler: has it? I keep hearing music that I think is new and turns out to be old, or vice versa.

ian musical chairs: the mainstream has embraced an indie sound; indie bands have embraced commercials and other licensing opportunities (now the only reliable sources of income for bands). most commercial rock music is otherwise basically the same as in 1992 (grunge) and aside from the occasional interesting production job, top-40/dance music seems pretty the same too except for the overuse of auto-tune which will sound silly in a few years.

tim dagger: mp3/downloads.

joe pines / foxgloves: the sundays stopped. belle & sebastian started. I got better at writing songs, and was lucky enough to record some of them with a few tremendous people. it arguably became easier to filter out what you didn’t like. which may, come to think of it, mean that contemporary culture is even worse than I think.