Warbler Makes It Official

PARTY TIME: Since Warbler Records & Goods opened their doors back in September, it seems the whole town has been buzzing about De la Guerra’s new modestly designed and mightily stocked vinyl haven. The shop, which is owned and operated by über-resourceful engaged couple Kurt Legler and Leigh van der Werff, occupies the building formerly known as Frameworks and has truly reinvigorated the space. Rare and recently released records line the walls and shelves (organized by genre and alphabetically, of course). And there’s a quality selection of compact discs, tapes, and turntables also up for grabs.

Still, it’s a warm and welcoming atmosphere—and Legler’s frighteningly encyclopedic knowledge of collecting—that sets Warbler apart from the rest. (Seriously, I’ve spent two straight hours hanging out, listening to records, and talking shop in there.) Which is exactly why I’m so stoked to check out this weekend’s long-awaited Grand Opening event, taking place Saturday, November 13, from 4-7 p.m. In addition to purchasing some new music loot, attendees can check out deejay sets, enjoy refreshments, and take in a live show from S.B. darlings—and longtime vinyl proponents—Watercolor Paintings. In other words, good tunes, good times, and good friends. Warbler Records & Goods is located at 131 East De la Guerra Street. For info and store hours, call 845-5862 or visit warblerrecords.com. And for more on the store, visit independent.com/warblerrecords.

SO & SO IT IS: While Indiana avant-chamber popsters Margot and the Nuclear So & So’s have long been under the thumb of frontman Richard Edwards, it wasn’t until recently that he made it known—loudly. This year, Edwards said goodbye to more than half of the existing So & So’s lineup, stuck tightly to violinist/lap-steel player/guitarist Erik Kang and bassist/vocalist Tyler Watkins, and crafted the most straightforward and honest album of the band’s five-year history. The result: Buzzard, a 12-track collection of guttural alt-rock that’s about as far from dramatic chamber pop as it gets. Here, Edwards’s lyrics and deliveries are stripped of their former flowery imagery and big, multipart harmonies, left to their own gritty devices atop a crashing mix of hard-hitting drums, screeching guitars, and just enough Americana influence to make it all palatable.