Valencia Record Stores

I only spent a short weekend in Valencia but it was nice to get away from the cold and rainy Dutch weather and enjoy some sun as well as the Valencian cuisine - first and foremost the famous paella. 

Eating Paella Valenciana at the beach

While most foreigners think of it as the typical Spanish dish, in Spain it is considered clearly Valencian - I was strictly warned during my first visit to Andalucia not to eat paella there because it wouldn't be the real thing. Likewise a visit to Valencia wouldn't be complete without a paella lunch. Locals never eat it for dinner, real paella restaurants -as opposed to tourist traps- are only open from 1 to around 4 in the afternoon. The name paella just means "frying pan" in the Valencian language, which is basically a form of Catalan. The current form of the dish evolved during the 18th century in the Albufera lagoon just south of the city, then famous for its rice fields and now as a national reserve with rich biodiversity. The original recipe (paella valenciana) contains chicken, rabbit, certain vegetables and, of course, rice. The seafood version (paella de marisco) is also considered authentic, but the more changes one makes the more one risks disapprovement. Adding chorizo (which actually sounds like a great idea) is tantamount to a culinary atrocity. No Valencian (or indeed any Spaniard) would commit such treason against a national treasure.

And, with food out of the way, we can talk about my other favorite occupation when in a new city: browsing for records and CD's at the local record shops. I knew from the beginning that would be interesting since Valencia is Spain's 3rd biggest city with a population of 1 million (or 2,5 mil. if you count the whole metropolitan area). There were bound to be some good record shops - and sure enough there were, though time restrictions meant I couldn't visit them all. Opening times vary, though -typically for Spain- all shops are closed during lunch/siesta time (roughly 2-5 P.M.). If you want to keep on record browsing during these hours there's always the local Fnac shop (vinyl LPs €18-25, many CD offers from €5). Don't bother with MediaMarkt or Corte Inglés. While these chains usually have a music department, the ones I visited in the city center didn't. Two of the best record stores in the city can be found right next to the city's bullfighting arena (Plaza Del Toros): Digital Records (Carrer de Castelló 5) has a nice vinyl selection. Spanish music, jazz, classical and alternative rock, both new (€5-25) and second hand (€20+). Harmony (at the passage, Dr. Serra 9) looks smaller but it's quite packed. Here you'll find a lot of rock (metal, psychedelia, oldies and alternative) both new and used. Used vinyl typically goes for €5-10 (€20 for rarer items), new for €12-30, typically just under €20. Used CD's between €4-9, new ones €8-18. Of course all prices are only current as of early 2020, but by making comparisons one can surmise which shops are relatively cheaper and present the best bargains. A short 5-minute away (Carrer de Pelai 12) you can find Acetato Discos, a must for fans of psychedelic rock, both Spanish and international. New LP's cost around €25, used ones typically €15 (€30 for collectibles). On the next street (Convent de Jerusalem 11) there's Discos Chachacha. It's not an especially well-ordered shop, there's just a lot of old vinyl lying around. In the front there are two stalls of random LP's (80's, classic rock, whatever). One is either €5 or €8, the other is a bit more expensive. Inside you'll also find many LP's for €2,5-3. I didn't stay long but I had the feeling that it's a good place for bargains. 

Moving a bit further south, you'll find yourself in the old Arabic neighborhood (Russafa) which is widely consider Valencia's new Soho, sporting a lot of tapas bars, restaurants etc. Here (Carrer de Russafa 41) can find Discocentro, a shop selling a lot of cheap (€2-5) used CD's and DVD's, and Ultrasound (Carrer de Cuba 49) which will be of interest for DJ's as it is the only shop I visited with a big variety of 12' singles, techno and electronic music. There's also a nice collection of used LP's (80's, some older jazz or rock for €5-20, but typically €10). Back in the city center (at the pedestrian street Carrer de la Mare de Déu de Gràcia 6) there's Discos Oldies. Here you'll find a lot of Spanish bands, psychedelia  and classic rock. CD's cost €2-7 (used) or €7-17 (new). LP's between €6-20 (used) or €15-20 (new). Often you'll find the same new LP €2 cheaper than other shops. There's also a big selection of 7' singles (a lot of them for 50 cents), worth a search for those collecting singles.

Last but not least among the records I visited, also in the center, Devil Records. A nice little shop at a small pedestrian street (C/Cerrajeros 5) with all sorts of rock music (e.g. classic rock, psychedelic, punk, metal), it sells T-shirts, CD's (€7-15) and vinyl, both used (€5-20, many choices under €10) and new (€15-30). Cool logo, too! Due to time limitations I didn't get to visit any of the record stores north of the center, so I'll just post links and addresses here. These include: Discos Amsterdam (Av. de Pius XII, 2) at the Nuevo Centro neighborhood, and La Ragazza del Piper (de la Corona 35) taking its name from a legendary 60's Roman mod club. With a name like that, I'd expect some very interesting findings, I'm sorry to have missed it. Even further from the center there's Capra Records (Carrer d'Enric Navarro 30) which seems to specialize in reggae and V.P.R. Records (Plaza Rafael Atard, near the airport). "V.P.R." stands for Vomito Punk Rock, so I'll let you guess what kind of music it sells. To round it up, there are a couple of bars that also serve as record stores: Splendini Bar i Discos (Carrer de Sogorb 10) and Monterey (Carrer de Baix 46). They're supposed to be open on evenings, but they were closed when I swung by. Well, hopefully there'll be a next time. This visit to Valencia was enjoyable but short.

Devendra Banhart "Ma" 2019****

I recently saw Devendra play in Rotterdam's Annabel stage. In some respects he was quite different from the youth I remembered seeing at the AN Club in Athens, 15 years ago: the salt-and-pepper beard, the way he acted as the leader of his band instead of "just one of the guys". In other ways, he was the same: his openness and sweetly awkward demeanor, for example. An air of Peter Pan-ness and unworldliness that I guess only artists can afford. He mostly played songs from his last 3 albums (the ones I didn't own, though I fixed that deficiency on the spot). My girlfriend remarked that he was "more pop" this time while I was thinking "jazzier". I guess we were both right and that the songs, like the man, have evolved while retaining something singular.

Case in point, his latest album "Ma". Its luscious laid-back sound and judicious arrangements are certainly more mainstream than the psychedelic lo-fi folk of his early records. Where the Latin touches once seemed idiosyncratic, now they seem to be integrated in an easy listening approach. "Love Song" for example has that lounge feel, while "Ami"s mellow sax is pure 70's yacht rock. Thankfully the arrangements are always tasteful and clever, never overtly sentimental, while the laid-back guitar sound throughout the album is also quite enjoyable. It opens with him asking in his trembly Donovan/Bolan-esque voice "Is This Nice? Do You Like it?" as if he's really eager to please. Not what you expect from an "indie" artist, but it's true that the quirkiness of the music here never gets in the way of its listenability, making it one of his most accessible albums. "Kantori Ongaku" for example manages to mingle Latin and Japanese influences to produce a pleasantly light and breezy tune. Incredibly the album is at once pretty consistent in mood but also very varied in style: "Memorial" is reminiscent of Leonard Cohen, "Carolina" of Gilberto Gil, and "Abre las Manos" of Manu Chao. The latter expresses his concern and support for the people of his native Venezuela in the difficult times they are facing, always from a human perspective and without politicizing. "Now All Gone" is strange, featuring a slow trip-hop rhythm with a chorus reminiscent of Indian tribal chanting. "Taking a Page" has some trippy Asian parts, and "October 12" is another hushed bossanova ballad. "My Boyfriend's in the Band" is the closest he gets to his late '00's California rock style, while "The Lost Coast" is a hazy atmospheric piece. Closing ballad "Will I See You Tonight?" pairs him with 60's folk chanteuse Vashti Bunyan for a result that reminds me of certain Tindersticks duets from the 90's. Just like the music, the cover artwork (surely by Devendra himself as usual) makes a break with the past, replacing the intricate penwork of his previous albums (which I quite liked) with a striking and somewhat primitive oil painting of flowers. As for the album title, I've read two different explanations: one maintains that the album is a celebration of motherhood and the nurturing spirit, the other one suggests that it comes from the Japanese word "Ma" (間) which translates as "negative space", "pause" or "the space between two structural parts". I'm inclined to go with the latter explanation, seeing as there is a strong Japanese air in the record (among the most obvious: "Kantori Ongaku" is a tribute to Yellow Magic Orchestra leader Haruomi Hosono and features a Japanese chorus). More probably the singer knew of both meanings and chose a term that is open for interpretation. Final thought: seeing as Devendra's manchild voice is a bit too cute anyway, wrapping it in a cloud of warm woodwinds and strings risks sounding too polished, as in missing an edge. Which this album doesn't always avoid, but that's not too important when it contains some of the most charming music I've heard this year. Even if you're a snubby intelectual who likes edgier stuff, you can't deny it makes for delicious ear candy.

**** for Is This Nice?, Kantori Ongaku, Ami, Memorial, Carolina, Love Song, Abre las Manos, My Boyfriend's in the Band, Will I See You Tonight?

*** for Now All Gone, Taking a Page, October 12

** for The Lost Coast

Dream Theater "Metropolis Pt. 2: Scenes From A Memory" 1999****

I recently presented Dream Theater's Images And Words in this blog. Coincidentally that was only a couple of days after their appearance in nearby Amsterdam, during which they played  Metropolis Pt. 2 in its entirety (to commemorate the album's 20th anniversary). Friends who went to the concert had a lot of praise for the band's performance. Apparently the album was meticulously recreated onstage despite the absence of original drummer Mike Portnoy - not an easy feat, but perhaps the only way to listen to it: you don't want to mess too much with a concept album such as the one I am about to present. 

Compared to Images And Words there is a direct connection but I also see an improvement in the following sectors: a) the concept album format makes the long instrumental passages and abrupt changes within the same song seem more palatable, as the songs aren't necessarily meant to stand on their own. Their lyrics, which I used to find indifferent, are now in the service of the story and therefore more meaningful b) La Brie doesn't constantly sing in the high register which allows him to interpret the various roles and display more sentiment c) The band seem to have added Pink Floyd to their list of influences, with Petrucci often trying a Gilmour-inspired psychedelic guitar style, in addition to his usual pyrotechnics d) the compositions seem to me to be better, no more over-reliance on generic metal riffs e) not that there was anything wrong with the previous guys, but new member Jordan Rudess on keys proves to be a perfect fit - and indeed has become their longest-standing keyboardist (currently in the band for 20 years). To return to the connection of Metropolis Pt.2 to Images And Words, that album contained a track named "Metropolis Pt. 1" that turned out to be very popular. The "Part 1" of the title was added playfully as an afterthought but fans took it seriously and kept asking for the sequel. So the band sat down to write "Part 2", and they had to devise a story to make sense of "Part 1"'s cryptic lyrics, which is how they ended up with a whole album of material. As it turns out, the story is about a person ("Nicholas") who has troubled dreams brought about by memories of a previous life (I know! let's just accept it, shall we?). So he goes to hypnotherapist who puts him under ("Scene One: Regression"). The album opens with the hypnotists' instructions followed by a short acoustic piece that sounds like a snippet ripped out from Pink Floyd's The Wall. The same can be said of two excellent ballads we encounter later ("Scene Five: Through Her Eyes" and "Scene Eight: The Spirit Carries On"), especially regarding Petrucci's guitarwork (emotive rather than bombastic) and female backing vocals. "Scene Two: I. Overture 1928" is an instrumental with fancy guitar solos, while hard rocker "Scene Two: II. Strange Deja Vu" takes us back to 1928 where where our story begins: Nicholas learns that in another life he was a woman named Victoria. From here on, Victoria's story unfolds song after song: She was part of a love triangle with two brothers, until she and one of the brothers (I won't say who because I don't want to spoil the crime aspect of the story for you) was murdered. The murder was never properly resolved, which is why she keeps reappearing in Nicholas' dreams. "Scene Three: I. Through My Words" is a short piano interlude, while "Scene Three: II. Fatal Tragedy" starts off as a power ballad before getting overrun by heavy riffing. "Beyond This Life" is an 11-minute song with many changes, mostly heavy but with some nice slow segments. Ballad "Through Her Eyes" closes "Act I" of the album, and at that point I can say I'm satisfied, not only by the band's trademark excellent musicianship but also by the member I consider the weak link: singer La Brie delivers an histrionic-free performance, and even sporadically manages to put in some humanity and feeling in his singing. "Act II", which reveals another perspective to the story, opens with "Home", a marathon metal tune introduced by a playful oriental melody, followed by complex prog instrumental "The Dance of Eternity". "One Last Time" is a hard rock power ballad, slightly marred by a somewhat exaggerated vocal performance. After an excellent ballad "The Spirit Carries On", the album concludes with "Scene Nine: Finally Free". My final thoughts are that "Metropolis Pt. 2" stands out not only as Dream Theater's crowning achievement, but probably as the best showcase for the whole "progressive metal" genre. The band's playing is as dazzling as ever in its virtuosity and the storyline intricately structured. Then why not give it 5* you ask? The reason is that, despite the complex arrangements and time changes, I still find the compositions rather mundane at heart and melodies forgettable. It is nevertheless an essential album for any metal or modern prog fan.

***** for The Spirit Carries On

**** for Regression, Strange Deja Vu, Through My Words, Fatal Tragedy, Beyond This Life, Through Her Eyes , Finally Free

*** for Overture 1928, The Dance of Eternity, One Last Time

Toprot ‎"Straight Outta Moerwijk" 2019***

I've said it before, I like all anarcho-punk bands, so Toprot couldn't be an exception. Granted, these young guys from The Hague got their name from a disease affecting cannabis plants and identify themselves as "drunk punk" rather than anarcho-punk, probably to avoid sounding too serious, but they're also closely tied to an anarchist squat in Den Haag Moerwijk called De Samenscholing, and engage in political activities (playing benefits in support of refugees etc). The 7' EP Straight Outta Moerwijk seems to be their first release, at least according to discogs. They sing in both English and Dutch but there is no lyrics sheet included, so I'll be damned if I know what about - other than their apparent disdain for yuppies, hippies and hipsters. I personally find the anti-hippie sentiment too 1977, even punk guru Jello Biafra now agrees that the hippie movement left an overal positive legacy. Hipsters yes, they are a modern plague. As for yuppies, before coming to The Netherlands I'd say that they were an 80's thing. In Greece wearing a suit and tie at work is like wearing a Burger King uniform, you can't wait to get rid of them. In Holland, though, young people wear their suits and ties proudly even when they're not obliged to, and actually study "finance" and "business management" by choice, not just because they suck at everything requiring a modicum of ability. Back to the album at hand, the music is your typical fast-and-furious hardcore punk: 6 songs within 10 minutes, roughly recorded and played with an amateurs' enthusiasm though not amateurishly. If you like 80's punk like Black Flag, Exploited or GBH this may be something for you - the closing tune "Shiver For Ma Livah" even has a bit of oi!-like chorus thing going. If you'd like to know more about the band, check their facebook site

*** for Against Hippies, Vies Pijn En Dronken, A.B.A.B, Vuiluh Hipsters, Die Yuppie Die, Shiver For Ma Livah