This blog hasn't seen a lot of action in a few years. I built it on Squarespace in 2019 to fill the time between classes and continued to use it as a writing outlet during Covid-19 quarantine. Then, once I was able to get back out in the world and go to shows, the posts dried up.

So, where have I been?

Well... I got a new job, bought a home, and continued gathering up material to write about on this blog. I've written some things too—most of which is in nearly finished states. It's been sitting in my drafts folder.

I've also been building out the infrastructure to make my goals for this website more attainable. I've developed a library of scripts to help in preparing files for sharing and built a brand new platform to blog to live on. Farewell Squarespace, hello Eleventy.

I'm a big proponent of loving where you publish. The old site was fine, but had its limitations and costs. Part of my inability to publish came from the shame of letting my billing cycle complete for 4 years straight while the plans for a replatforming swirled in my head. $200/y for a business page is fine. That cost cannot be justified for a music blog, not when alternatives exist.

The new site is hosted for free on GitHub pages and I've built out a bunch of custom snippets that will let me format tracklists and other media embeds how I want them. There's more metadata on each post, including mirrored or archived links where I find that old links have died. The site is also static with minimal client-side Javascript, so it's very fast! I hope you like it.

For the geeks who care: I've kept the old urls as they were, but will switch to a /YYYY/MM/title format going forward.

While I don't have search on this version of the site, I've fleshed out the tag archives to make them easier to search. I plan to build a complete archive page with article titles that will be ctrl+F'able. More plans available on the roadmap.

I've also been sharing material to YouTube. I haven't promoted it much, but this project does have a channel that I've been populating with rarities that are hard to find elsewhere. Recent uploads include:

• Bacon Ray's 1994 self-titled cassette (reupload)

• Two releases from Nate Ruess (The Format, Fun.) and Sam Means' (The Format) first band This Past Year / Nevergonnascore

• Stacy Clark's debut EP (the first time this has ever been shared online)

• Some demos from By A Thread

• A higher-resolution copy of The Panic Division's "Versus" music video

• A rare punk / ska compilation

• Some '90s Christian Hardcore from PA

• Fall Out Boy TTTYG Director's Cut Q&A clips

• Some high-def live footage from some gigs I've been to (Including The Beths, The Hotelier, and Milk Carton Kids)

In terms of written content, I have some of that too!

I got ahold of a bootleg DVD of a Copeland show in 2006 that was barred from sale by the band's label. The label's owner has since sold it to me. 🤫

I've published a long-in-progress discography of Christopher Browder (Mansions), which dates back to the very beginning of his musical career. I did this to prove out a format I intend to use for other bands and musicians. I'm working on a sessionography as well, which will document all the live session recordings the band has done and make the audio available to download.

The site's about page has been expanded with information on how to contribute (please contribute!) and there's now a blogroll-style list of other archiving endeavors that relate to what I'm doing here.

That's it for now. More to come. Thanks for reading.

Chloe Moriondo's Blood Bunny tour kicked off in Cleveland last night with a sold out show at Mahall's Twenty Lanes.

The line for the gig wrapped around the building prior to doors with dozens of fans and their parents waiting eagerly to get inside. Chloe and opening act Addison Grace made appearances at the building’s side-window to wave hello to those standing in the adjacent gas station’s parking lot.

Grace kicked off the show with a solo acoustic set, followed by Jackie Hayes in the first of three supporting performances on the tour. It was a one-two punch of sugar and spice with Grace’s sweet melodies warming up the crowd for Hayes’ high-energy two-piece performance.

Chloe’s set, which was packed with tracks from her new record, some old favorites, and two unreleased tracks ("Sammy" and "Bloodhound") was accompanied by a lovely cover of The Cranberries' eternal hit "Linger." You can watch that performance above.

Editorial Note: Clearly, the video I captured isn't as well composed at it could be. The Mahall's stage has a mere two-foot rise from the floor (if that… I didn’t bring my yard stick last night). This makes it difficult to see much unless you're right up front. As a tall person, I find it morally incorrect to impede the view of the short in situations like these. I hope the audio will suffice.

The new songs, both about dogs, came as a surprise. Blood Bunny came out in May. It was followed by an acoustic EP in July. She told the crowd last night to expect a new EP soon, on which the song “Sammy” will be found. This one falls in line with her previous material. It’s a whimsical song about her blind dog of the same name. The second unreleased track, “Bloodhound,” is a departure into hyperpop. Heavy vocal effects met with frantic dog barks brought an entirely new energy to the room just as the set met its end.

Chloe Moriondo’s set decoration, following her sold out performance at Mahall’s.

Moriondo turned just 19 the day previous to the show. I mention this not to fall into the trap of saying “she’s such a good performer despite her age,” but because commanding an audience like she does so early in her career is worthy of remark. The performance was fantastic. She brings a nervously excited energy that you can hear in her laugh in the first seconds of the video above. It emanates through the room, infecting everyone.

She has a deep connection with her fans, which goes both ways. During all of the sets, you could hear repeated compliments thrown from various corners of the space to the performer on stage. “You look cool” or “you’re so amazing” were commonly heard, earning blushes and thank you’s from everyone on the receiving end. At one point, Moriondo checked in with the crowd to make sure they were staying hydrated. You hear this a lot at shows— it gets hot under the lights and surrounded by people—but rarely do you see a noticeable wave of fans leave their places in the crowd to fetch some water from the back bar when it’s suggested by the headliner mid-set.

If you get the opportunity, catch Chloe on tour. I believe she’s destined for greatness. I hope she continues to wield the influence she has on her young fan-base with continued positivity and for progressive action.

I received my first piece of physical media when I was about six years old. It was a tape cassette of Backstreet Boys’ second album Backstreet’s Back. I held a dance party in my bedroom that evening with all of my friends. We took turns, one by one, using flashlights from the top bunk of my bed as spotlights to fully reenact our childhood picture of a live show as the rest of us twisted and shouted to boy band mega-singles.

It wasn’t long after that I started asking for blank tapes. Through a friend, I learned that one could use these to record music from the radio. Armed with a six-pack of RCA blanks, I sat waiting for the DJ to introduce the next set of songs with my finger poised on the record button, ready to collect.

I still have some of those painstakingly curated mixes. Each of them are crudely labeled with my initials, “Mix,” and a number that corresponded with the order in which it was added to my shoebox of tapes. These are living, albeit dusty remnants of the impetus of my music collecting obsession. Be it a hobby or a compulsion, it’s a trait that has evolved in scope and size for more than two decades over many formats—both physical and digital.

As cassettes became outdated and personal computers gave us greater access to a network of web pages and digital stores, MP3 players became a prevalent way to carry media. The Creative NOMAD MuVo debuted in 2002 and the iPod followed in 2007. I purchased one from the Creative line in 2006, a MuVo V100 I think, a decade after my music collection began.

I lacked a meaningful Internet connection, so I populated my 512MB player with tracks transferred from friends’ flash drives or downloaded via long defunct audio search engines like Dogpile (still around, sans audio tab) and SingingFish at school. It was middle school when I started borrowing stacks of CDs from the local library to rip on my parents' 2004 Dell desktop computer. I pirated these to 128kbps MP3s and quickly filled my parent’s hard drive, which meant shoving a repurposed hard drive I picked up from Lord knows where.

With the collection growing so rapidly, I came to dislike the organizational preferences of Windows Media Player. As nice as Microsoft’s visualizations were, the passive nature of that player just didn’t scale. I think that’s when I moved to Musicmatch Jukebox, which worked just fine until its Yahoo! branded successor ruined the experience. My library moved to Winamp and stayed until I bought my first Macintosh in 2011.

From 2012 on, I started working in a journalistic capacity within the music industry. Like my parent’s old Dell, it didn’t take long to fill that shiny chrome laptop. I had to buy several Western Digital MyBooks to store the endless advances, mixes, and promos sent to me over WeTransfer, Dropbox, and emails (savages). These were rarely organized, tossed into folders titled “To-Do” or “Unsorted.” It’s a miracle that I can find anything from that period of my life, but I’m glad when I do. Those editorial gigs gave me access to music that I would have never otherwise have found.

To this day, my library is still fragmented into very specific segments based on the time period and devices I most commonly used at the time. I’ve spent weeks over the course of years in an attempt to consolidate these libraries into one master. It’s been slow going, delayed by the never-ending stream of new music I acquire and the desire to replace media with higher quality copies—where I can find them.

Despite what might sound like grumbling, organizing my music into properly titled folders and filling out ID3 tags is genuinely one of my favorite ways to pass time. The archival process is a soothing one that somehow sparks joy in my brain. Talking about it is fun too, but you wouldn’t hear that said by my romantic partner or a lot of my close personal friends. Conversation about bitrates, metadata, and obsessive collecting is generally reserved for like-minded weirdos I meet on the Internet.

With this blog, I’m giving myself a new outlet to journal the music I collect, how I collect it, the history behind it, and how I contextualize it all in the real world. Thanks for reading.