record exchange boise
The Record Exchange - Culture Spot

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[ 2016 staff picks ]

2016 staff picks

After weeks of scrutiny, Record Exchange staffers have completed their 2016 Top 10 lists. Visit the store to view the lists in realtime and preview our picks. Let the judgment begin!


[ payette brewing company ]

Basic CMYK

The Record Exchange is a proud partner with Boise's Payette Brewing Company! Enjoy Payette Brewing Company beer (and for free!) at Record Exchange events such as Record Store Day, the annual holiday Bonus Club Sale and select live music events!


[ go listen boise ]

go listen boise

Go Listen Boise is a non-profit, all-volunteer organization with the mission of fostering a vibrant and diverse musical culture in the Boise area.


[ rx amazon store ]

rx amazon store

Visit The Record Exchange's Amazon Marketplace store to shop for rare and discount CDs, vinyl, DVDs and books. Live in Boise? Order online and arrange for in-store pickup!


[ rx top 10 ]

rx top 10

1. Prisoner
Ryan Adams
2. Unleashed
3. Windy City
Alison Krauss
4. Petals
Elephant Revival
5. One More for the Road
Curtis Stigers
6. 25
7. Tell Me I’m Pretty
Cage the Elephant
8. A Sailor’s Guide to Earth
Sturgill Simpson
9. Highway Queen
Nikki Lane
10. Dirty Projectors
Dirty Projectors

[ treefort music fest ]


The Record Exchange is a proud sponsor of the sixth annual Treefort Music Fest, taking place March 22-26 throughout Downtown Boise. Treefort 2017 5-day passes are now on sale at The Record Exchange!


[ sell us your stuff! ]

sell us your stuff!

The Record Exchange buys and trades used CDs, DVDs, Blu-ray discs and vinyl in good condition Monday-Saturday until 9 p.m. and Sunday until 6 p.m.


[ special orders ]

special orders

Can't find it in the store? The Record Exchange does special orders!



February 16th, 2017


countrylips_10-Jake_CliffordPayette Brewing Co. presents the Treefort Music Fest Warmup Party featuring Seattle honky-tonk rockers Country Lips live at The Record Exchange at 6 p.m. First Thursday, March 2. We’ll be serving free Payette Brewing Co. beer for guests 21 and older with I.D. starting at 5:30! As always, this Record Exchange in-store event is free and all ages. Country Lips are performing at the Olympic later that evening and we have tickets for sale at the store!

Treefort Music Fest (March 22-26) is almost here, and we’re ready to start partying. If you don’t have a five-day Treefort pass yet, you can get one at The Record Exchange! You can also enter to win a Treefort pass at the event (must be present to win).

There’s also a First Thursday Treefort Art Walk, with local businesses (including us) featuring Treefort-inspired window art from local artists!


A wily eight-piece band of merry shitkickers from Seattle called Country Lips who specialize in a fortified brand of slap-back, honky-tonk, and countrified rock and roll. If you like Merle Haggard, the Flying Burrito Brothers, and some of Skynyrd’s jukier numbers, you’ll want to step on into this. Their latest full-length, Nothing to My Name, was mixed by Stuart Sikes (Loretta Lynn, White Stripes, Cat Power, Modest Mouse), and with it, the Lips have made giant strides. Out of the gate on “Black Water,” guitar-picked riffs and piano lock in and run together. They’re shooting whiskey while shooting skeet, and they’re nailing the same flying clay target right down the middle every time. Fiddle and mandolin rise out of the breakdown; somebody shimmies in the corner. The room stomps and spins. A three-part harmony rings up the chorus, and the tight-licked riff reloads again. —Trent Moorman, The Stranger

Outlaw spirit has faded since back in the day, but Country Lips might be the pick-me-up line of speed country needs to start kicking ass again. — Keegan Hamilton, LA Weekly, “Badass Country Punk Band Descends on Los Angeles”

Grab your sturdiest dancing boots and your best (well, least threadbare) flannel and be ready for a rowdy ol’ time with a big dose of twang. It’s not the alternative country of today’s big charts; this is more the whiskey-fueled honky-tonk of rustic bars with peanut shells littering the floors. —Geno Thackara, That Mag

August 21st, 2016


2017 stacked (light)#treefort2017

The Record Exchange is a proud sponsor of the sixth annual Treefort Music Fest, taking place March 22-26 throughout Downtown Boise.

With an amazing lineup of national, regional and local music, Treefort is one of the most anticipated events on the Treasure Valley music calendar. Treefort 2017 5-day passes go on sale Friday, Sept. 9. If you don’t snag one of the 200 $50 early-bird deals (they’ll be gone in minutes), The Record Exchange​ will have a special Locals Pass price of $129 for two days only Sept. 9-10.

Everyone who purchases a pass at the RX will be entered to win a prize pack featuring featuring vinyl, Treefort and Record Exchange swag and much more! We’ll be open 9am-9pm both days. Excited? We’re excited.


IDAHO. With our vast wilderness areas and mountain ranges, clean rivers and lakes, open prairies and big skies, this big little state in the NW can often feel like living on the frontier of a young developing nation — and it’s exciting times on the frontier.

MUSIC: Music is the trunk of Treefort. We get our biggest thrills from welcoming spellbinding well-known and independent emerging artists from all over the globe. Since the festival’s inception, Boise has played host to thousands of bands traveling from within the Treasure Valley or as far as Western Europe, the Middle East and Australia. Just like the uniqueness of every tree, each Treefort Music Fest features a wide variety of musicians and bands – every Treefort moment has its own soundtrack.

COMMUNITY: With the introduction of free-form non-commercial community radio station Radio Boise KRBX 89.9 FM to the FM airwaves in April of 2011, emerging artists are getting more airplay all over this large population center for the first time in decades, if not ever. Many of us are already active in the Radio Boise family as volunteers, fans and supporters and completely acknowledge the station’s role in the increased synergy here in Boise, not only in the music scene, but in the arts and culture scene at large.

We see Treefort as a celebration what makes Boise great – whether it’s Boise’s local breweries, homegrown food, skatepark, lively downtown core or simply its strong spirit of collaboration and love of the outdoors. Boise has something for everyone, no matter their age, and we hope that Treefort is an example of that.

In 2015, Treefort was named the City of Boise’s Cultural Ambassador for being an event that genuinely reflects the energy across mediums that is happening in the Boise community and cultural scene, and for the vision of connecting Boise and its creatives with other communities around the region, the country and around the world. The Cultural Ambassador title runs through 2017.

EXPLORE: Jumping around venue to venue discovering new bands and activities keeps our short attention spans in check. From sun-up to sun-down, every day is a top-notch experience, whether you’re sipping on a rare wine-barrel-aged brew at Alefort, discussing politics with a band on the Neurolux patio, running to catch a last minute set at a nearby house show, getting awed by the magnitude of Band Dialogue or channeling your inner geek at Hackfort, Treefort has something for everyone. There’s loads to do, discover and enjoy for little ones – and not so little ones – and for everyone to create happy memories to last a lifetime. After all, Treefort transforms Downtown Boise into a playground by building a huge Main Stage surrounded by existing and alternative venues – get out and explore!

STRUCTURE: We have often stated that we are a “for profit entity ran like a non-profit” because we have always been a values-based project, driven by a purpose much more than the lure of profit. In the summer of 2014, we were presented with a legal option for which we could best represent who we are as a festival, as community members and as a business — the Treefort Leadership Team officially formed Treefort, LLC and began seeking B-Corp certification to lock in and protect the legacy principles the festival was founded upon. Treefort became a certified B-Corp in 2015.

March 27th, 2016


12507434_10153861901144402_3062503561077520356_nToday’s Record Exchange Secret Treefort In-store is …

Into It. Over It.!

Into It. Over It. will perform at 3:30 p.m. TODAY at The Record Exchange, 1105 W. Idaho St. in Downtown Boise. An album signing/meet and greet will follow.

As always, this Record Exchange in-store event is free and all ages — and you don’t need a Treefort pass to attend (but you should get one anyway).



To say that the Internet killed the “regional” band is to make a perfectly reasonable assertion. We know this not so much as a hard and fast rule, but as a general observation that mostly works. In the years before AOL inundated our mailboxes with software installation discs, we frequently used an artist’s locale as our most reliable signifier; the name of your city or state or small town was shorthand for your style. Most of our favorite artists introduced themselves at shows by saying things like, “We are a band called Fugazi from Washington, D.C.,” and they told us that because in the off-chance that we didn’t know who was actually on stage, we all knew what it meant to be from Washington D.C. That information alone gave us a sense of what they stood for, who they revered, and if not what they would sound like, then certainly what they wouldn’t sound like. The same could be said for bands from New York or Louisville or Seattle or Minneapolis or Detroit. There were always outliers, of course. But in this era before hyper-connectivity, different regions were allowed to take time in developing their own disconnected styles of playing music long before the rest of the world could hear it. Each region invented its own fashion sense, its own cultural heroes, and in the case of punk, even its own unique style of slamdancing — and they were able to do that in relative isolation because there was no fear of people in Paris watching the video on YouTube later that week.

Which is why, if you look for it, you’ll notice that as soon as our musical experience became firmly entrenched online — at some point in the early millennium — our signifiers changed. Fewer artists introduced themselves as representatives of their cities anymore. Global communication demanded a more universal lexicon, and with that, we chose to herald the shaky planks of “genre” as solid ground.


Evan Weiss has spent much of the last eight years preoccupied with place. Recording under the name Into It. Over It., Weiss has already dedicated an entire album to the American city (Twelve Towns), in addition to writing countless songs named after geographical positions both general (“A New North-Side Air,” “Connecticut Steps”) and painstakingly specific (“Midnight: Carroll Street,” the entirety of a split LP with Koji named after five small Chicago neighborhoods). In fact, if you were to quickly run through the track listings for his entire discography, you’d be hard-pressed to find a single release that fails to make this connection explicit in some way. Even a cassette-only covers EP manages to include The One AM Radio’s “Ghost on the East Coast.” And that’s just the song titles.

That the emergence of Into It. Over It. and its subsequent fixation with “spatial exploration” — the name of a song on Intersections, if you’re keeping count — seems to neatly coincide with Evan’s move to Chicago in 2008 is more conspicuous than coincidental. We tend to think more about place when we’re feeling displaced.


Chicago is a central city, in more ways than one. Historically, the music community there has always taken advantage of its own cultural, political, and social in-betweenness in a manner so distinct that its regionality subsumed otherwise arbitrary classifications. Chicago Blues, Chicago House, Chicago Jazz. These aren’t offshoots as much as innovations.

At its core, the “sound” of Chicago’s music community has always capitalized on its physical and ideological distance from the East and West Coast wings of industry; its creative tendencies lean more towards freedom than formula, more towards hybridity than homogeny. It’s the reason why Marshall Jefferson and Steve Albini could each discover Roland drum machines in the 1980s and wind up with records as disparate as “Move Your Body (The House Music Anthem)” and Songs About Fucking, and why many locals didn’t feel a need to choose one over the other.


Standards is the third “official” Into It. Over It. album. It’s an album that was written in a cabin in Vermont and recorded in San Francisco, on opposite ends of the country, and yet it’s also somehow a record so thoroughly Chicago that — in the way most great Chicago records do — it exposes a breach in genre classification. From the onset, Standards delivers a newfound openness that yields the kind of hybridity most associated with Weiss’s adopted city. It’s a position where skittish post-punk evolves from a Rhodes electric piano; where ambient post-rock drifts alongside a low-slung jazz groove; where Fahey-styled fingerpicking gives way to sharp and angular distortion. “We went into this record intentionally unprepared, and I have never done that before,” Weiss recalls, and this is probably the point. Cohesion happens in the process, not the product.

None of this, Weiss says, could have been possible were it not for the creative culture fostered by John Vanderslice (Spoon, Mountain Goats, Death Cab for Cutie), who ultimately produced the album at Tiny Telephone Studios and later called Evan “one the most challenging and surprising songwriters I’ve ever worked with.”

That’s the other thing: By allowing his music to become more playful and improvisational, Weiss has also become a more honest songwriter. He sounds free.


Standards is the first Into It. Over It. album to feature a track listing devoid of any explicit references to a geographical location. A song called “Who You Are ≠ Where You Are,” however, comes ironically close.