Name: “The Nature of Inner Space”
Release date: March 2018
Favorite track: “Safari”
The first title on “The Nature of Inner Space” says it all, “Safari.”
Like a safari, Vinyl Moon’s 31st volume is adventurous, exotic and bold. It’s also really different from my first experience with the vinyl subscription service.
Each month, Vinyl Moon sends out an exclusive vinyl record to subscribers that features up-and-coming musicians. The first one reminded me of a high school mix CD — in a good way — but this was an intriguing, cohesive record that took me on a journey.
Listening to it at work removed me from my surroundings in a blissful way.
The Invisible People’s “Safari” sets the atmosphere for this record. Listening feels like being in a jungle, and I honestly wouldn’t want to be anywhere else.
This song alone reels you into a new mental space. I’m amazed at how music can evoke nature.
Koresma’s “Forest Sang” is a flawless follow-up, as it continues the outdoorsy sound with an electric twist. It reminds me of my favorite electronica musician, Bonobo — which is a high compliment.
Lion, Meet Lizard’s “Relief Washes Over Me in an Awesome Way” calms down the album with an inspirational sound. If I continue with the nature metaphors — which I will — this song feels like a waterfall.
The next song was equally soothing. Ryan Little’s “Good Grief” felt like the appropriate transitional track to the B-side.
The B-side begins a bit mellow for me with Slow Dancing Society’s “Lilacs.” But, I have to admit these musicians impress me with their creativity in band names and song titles.
Power PCME’s “Honda Civic, Windows Down” has my favorite title, because my family drove a 1992 blue Honda Civic. The car’s air conditioner and heater frequently didn’t function, so we often rolled the windows down.
Julian Gray’s “Navigate” started serene, but transformed into an inspirational club song. While I enjoyed the peace, I was excited for the record to ramp up.
With its heavy, tribal-sounding drum, Constantia Mom’s “Fingers” instantly reminded me of the record’s opening track. Then, it morphs into a rhythmic dance track with the initial drums setting the pace. This was a seamless way to bookend the record.
It takes a little convincing for me to commit to an instrumental album, because I crave lyrics and vocals. But, honestly, I never wanted this eight-track record to end.
Every Vinyl Moon design blows me away, but this one is exceptionally intricate. The visual artist Young & Sick, a.k.a. Nick van Hofwegen, created these eccentric cartoon characters — a band, their city and the city’s local music magazine.
I love how he created his own little universe with the album sleeve, just like the record does with its music.
The 12-page music magazine inside the sleeve features Henry Goldkamp’s poetry, which is another nifty addition. I’m still discovering aspects of this album.
I collect records, and they collect dust.
Like my preferred media form, I strive to not become obsolete. It’s my worst fear and greatest motivation.
I created Savannah Off the Record as a way to turn my mind inside out.