…..news letter #915 – title…..

Well the fall new release schedule is starting to ramp up. Should be lots in over the next month or so. Next week is going to be pretty heavy that’s for sure. And if digging is your preference, we’ve put out even more fresh used stuff this week. If you don’t follow us online then you missed the special crate of raerz we have in from our pal Dan of Dots & Loops Records on the YouTubes. He brought in some very cool, very heavy stuff for you to stick in your ears. Cash them student loans and come for a dig!

Oh ya… if you don’t follow us on Instagram, WHY NOT?! And now you know.

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…..pick of the week……

LDS16124_Stereolab: Dots & Loops (Duophonic) LP
September 2019 sees the continuation of Stereolab’s seven album reissue campaign when 1996’s Emperor Tomato Ketchup, 1997’s Dots and Loops and 1999’s Cobra and Phases Group Play Voltage in the Milky Night are reissued, via Warp Records and Duophonic UHF Disks, as expanded and re-mastered editions on triple vinyl. Each album has been re-mastered from the original 1/2″ tapes by Bo Kondren at Calyx Mastering and overseen by Tim Gane. Bonus material will include alternate takes, 4 track demos and unreleased mixes. These reissues follow 1993’s Transient Random Noise-Bursts With Announcements and 1994’s Mars Audiac Quintet which received Expanded Editions earlier in 2019. 1997’s Dots and Loops is Stereolab’s fifth studio album and the first to completely ditch the motorik drone that had been a trademark since their inception. Predominated by lush lounge and jazz textures, it showcases the band’s most complex set of rhythms yet. Stereolab is aided by members of The High Llamas (like-minded travelers in the production of whimsical ’60s sounds), Jan St. Werner and Andi Toma of Mouse on Mars, and John McEntire of post-rock pioneers Tortoise. The album was recorded in Chicago and Düsseldorf and bridges a unique American-Euro influence. The new rhythmic approach separates the LP from the band’s previous output, as does a Beach Boys influence which adds to the band’s standard brand. Bossa nova and ’60s Euro pop are still major touchstones and give the album a deceptively light vibe; however, further listens reveal an elaborate work, with almost every track featuring odd time-signatures and more complicated and layered arrangements. “Parsec” is space-rock meets drum and bass; “Brakhage” marries a minor key bass line to clinking vibes and a shuffling beat; the segmented, 20-minute “Refractions in the Plastic Pulse” is sunny and appealing, yet intricately constructed. The dividing line between the band’s first phase and what would be its more experimental latter period, Dots and Loops is the type of album that reveals its charms over many listens and is one Stereolab aficionados point to as among their best work!

File Under: Indie Rock, Pop, Electronic
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…..new arrivals…..

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Devendra Banhart: Ma (Nonesuch) LP
Ma is Devendra Banhart’s first album since 2016’s Ape in Pink Marble. Bursting with tender, autobiographical vignettes, the Nonesuch release displays a shift from the sonic experimentation of his previous albums to an intricate, captivating story-telling and emotional intimacy. Banhart favors organic sounds to accompany his voice and guitar here with the arrangements bolstered by strings, woodwinds, brass, and keyboards. Lead single “Kantori Ongaku” translates from Japanese to “country music” and is a nod to experimental pop legend Haruomi Hosono, a founding member of the influential electronic band Yellow Magic Orchestra. The simply titled Ma is Banhart’s third album for Nonesuch, one that addresses – often in a beguilingly oblique way – the unconditional nature of maternal love, the desire to nurture, the passing down of wisdom, the longing to establish the relationship of mother to child, and the consequences of that bond being broken. Banhart doesn’t approach the album’s maternal theme in a literal way; rather, by contemplating it, alluding to it, regarding the concept of motherhood from different angles, he has fashioned an album of multiple, intertwining narratives. Its concerns are both personal and global, with subtly autobiographical looks at life and death and ruminations about the precarious state of the world. The many lighthearted moments of Ma are balanced by deeply melancholic, even somber ones. Three tracks are in Spanish, the language that is as much Banhart’s native tongue as English, and one in Portuguese. Banhart, who spent his childhood in Venezuela, has been profoundly affected by the poverty and despair he’s witnessed there. His concern over the dire situation in his motherland drew him back to the Spanish language: “My brother is in Venezuela, my cousins, my aunts and uncles. They are just holding their breath, in gridlock standstill. There’s this helplessness. This place that has been a mother to you, that you’re a mother to as well, and it’s suffering so much. There is nothing you can do but send out love and remain in that sorrowful state.” Working with Grammy-winning producer-musician and longtime musical compadre Noah Georgeson, the two started this particular musical journey when they were invited to record in a special room at a venerable old temple in Kyoto, after a short Asian tour. That served as a musical and spiritual prelude to what was to come. Back in California, they recorded at 64 Sound and Sea Horse Studios in Los Angeles and Anderson Canyon in Big Sur. Welsh singer-songwriter Cate Le Bon contributes background vocals on “Now All Gone” and Banhart’s mentor, muse, and dear friend, the folk legend Vashti Bunyan, duets with him on “Will I See You Tonight.” Notes Banhart, “Vashti is the archetype of the mother, one of the most important people in my life. It was so beautiful to sing this duet with her.”

File Under: Folk, Indie Rock
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Lumineers: III (Dualtone) LP
The Lumineers’ new album III is audacious: every note, every syllable, and every moment of silence in between is emotionally charged. It’s darker in tone than previous albums and is presented in three chapters, with each one centering on one main character from a fictitious family known as the Sparks, who span three generations in the album’s storyline. III’s concept began while the band was writing in the Catskill mountains, where producer Simone Felice works. Mixing raw emotional themes with their ear-catching melodies, expressive vocals and trademark acoustic sound, III moves masterly in artistic directions not yet traveled by the band. Regarding the cinematic new record, multi-instrumentalist Jeremiah Fraites says, “This collection of songs worked out in a beautiful way, and I feel with this album we’ve really hit our stride.” Vocalist Wesley Schultz adds that lead single “Gloria,” “is about love between an addict and her family.” 180g vinyl 2LP-set with three bonus tracks.

File Under: Indie Rock
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Nirvana: Live and Loud (Universal) LP
The complete Nirvana concert video Live And Loud will be released for the first time on vinyl as an audiophile 180g 2LP-set housed in a gatefold jacket with a replica backstage pass audio download card. Filmed on December 13, 1993 at Seattle’s Pier 48 (less than a month after the band’s influential MTV Unplugged in New York show taping), Nirvana: Live And Loud originally aired on MTV on New Years Eve in 1993. It was initially released as part of the 20th anniversary of the band’s third and final studio album, In Utero in 2013. The show in its entirety was previously unreleased although a shorter version had been previously broadcast on MTV and the audio of the song “Scentless Apprentice” appeared on the live compilation album From the Muddy Banks of the Wishkah in 1996. Heralded as one of the best live shows from Nirvana’s entire career, Live And Loud features such beloved tracks as “Heart-Shaped Box,” “Come As You Are,” “Breed,” “Pennyroyal Tea” and “Radio Friendly Unit Shifter” that, as Pitchfork put it, “perfectly encapsulate the In Utero ideal of arena-rock at its most anarchic.”

File Under: Rock
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OST: Chernobyl (Deutche Grammophon) LP
On April 26, 1986, the Chernobyl Nuclear Power Plant in Ukraine, Soviet Union suffered a massive explosion that released radioactive material across Belarus, Russia and Ukraine and as far as Scandinavia and western Europe. Chernobyl, a five-part miniseries co-production from HBO and Sky, dramatizes the story of the 1986 nuclear accident, one of the worst man-made catastrophes in history – and of the sacrifices made to save Europe from unimaginable disaster. The series’ haunting score comes courtesy of Icelandic composer/cellist/choral arranger Hildur Guðnadóttir. “Scoring Chernobyl has been such an incredible journey. The musical trip started out with Chris Watson, Sam Slater and myself traveling to Lithuania to record the decommissioned power plant Ignalina, where a large part of the series is filmed. Going there and experiencing what it feels like to make all the preparations just to be allowed to go inside, the clothes your wear, the maze of kilometres of corridors, the smells and size of the machinery rooms made a huge impact on me. Trying to imagine the horror that the people of Chernobyl went through became very alive. “Recording with Chris is a magical experience in itself. His unwavering enthusiasm for deep listening is inspirational beyond explanation. The most unexpected objects come to life through his highly tuned ears. Back in Berlin, Sam, Gunni Tynes and I then set out for months of treasure hunting and digging through those hours of recordings with the intention of creating the whole score from the very material and environment that caused the catastrophe. We managed to dig out the most delicate melodies from doors and pumps and loudest of sounds from reactor halls and turbine hall saws. Apart from my voice, every single soundsource of the music is created with the power plant itself. “I am in awe of the trust, dedication and love director Johan Renck, writer Craig Mazin and the whole production team have poured in the project. With the intention of being as true and respectful to the actual events as possible.” – Hildur Guonadottir

File Under: OST
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Mike Patton & Jean Claude Vannier: Corpse Flower (Ipecac) LP
Mike Patton and renowned French composer Jean-Claude Vannier, who is perhaps best known for his work with Serge Gainsbourg, have come together on the 12-song album, Corpse Flower. Other musicians on the album include Smokey Hormel (Beck, Johnny Cash), Justin Meldal-Johnsen (Beck, Air, Nine Inch Nails) and James Gadson (Beck, Jamie Lidell). The Parisian players are Denys Lable, Bernard Paganotti (Magma), Daniel Ciampolini, Didier Malherbe, Léonard Le Cloarec and the Bécon Palace String Ensemble. “Jean-Claude and I met while working together on a Gainsbourg retrospective at the Hollywood Bowl in 2011,” explains Patton. “We bonded immediately. I could see he had a dedication and attention to detail that was relentless so the respect I had for him in my mind was magnified in person. We spoke loosely about working together in the future… and it took some time, but after a few years I contacted him and we began to ignite some sparks.” “I would send Mike rough versions of the songs to get his thoughts, then I’d wait impatiently, staring at the clock, until I received his response,” offers Vannier about the process the duo used to create Corpse Flower. “He made my music awaken with his unique perspective and interpretations of my songs. A formidable vocalist, with a sense of humor, Mike and I created a strong, beautiful and sincere collection of music, as well as a friendship.”

File Under: Rock
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Pixies: Beneath the Eyrie (Infectious) LP
Visceral, musically cinematic, otherworldly but strangely familiar and a bit unsettling, welcome to Pixies’ brand new studio album, Beneath the Eyrie, where tales of witches, Daniel Boone, misfits and other characters fit utterly into the band’s inherent weirdness. Boasting twelve new boundary pushing songs, the album was produced by Grammy-nominated Tom Dalgety (Ghost, Royal Blood) and recorded in December 2018 at Dreamland Recordings near Woodstock, NY. Drummer David Lovering spotted an eagles nest (or eyrie) right above the studio hence the title.

File Under: Indie Rock
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Iggy Pop: Free (Loma Vista) LP
While it follows the highest charting album of his career (2016’s Post Pop Depression), Free has virtually nothing in common sonically with its predecessor – or with any other Iggy Pop album. On the process that led him and principal players Leron Thomas and Noveller to create this uniquely somber and contemplative entry in the Iggy Pop canon, Iggy says: “This is an album in which other artists speak for me, but I lend my voice. By the end of the tours following Post Pop Depression, I felt sure that I had rid myself of the problem of chronic insecurity that had dogged my life and career for too long. But I also felt drained. And I felt like I wanted to put on shades, turn my back, and walk away. I wanted to be free. I know that’s an illusion, and that freedom is only something you feel, but I have lived my life thus far in the belief that that feeling is all that is worth pursuing; all that you need – not happiness or love necessarily, but the feeling of being free. So this album just kind of happened to me, and I let it happen.”

File Under: Rock
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Prince: The Versace Experience (Legacy) LP
The Prince Estate and Legacy Recordings continue their partnership in 2019 with the reissue of two key albums from 1996: Chaos and Disorder and Emancipation. New colored vinyl pressings mark their premiere on the format. Another key release from this era, The Versace Experience (Prelude 2 Gold), will also be released on vinyl for the first time. A key thread through Prince’s career was a lifelong quest for freedom. Personal, professional, creative, spiritual and sexual freedoms were key tenets of his mission as a producer, arranger, composer and performer. 1996 was a key year in that quest, which saw him release one of his loosest, shortest, most carefree albums as well as one of his most precise and expansive. These physical reissues will offer another great opportunity for streaming initiatives to illuminate yet another crucial era in Prince’s history. Adding to the excitement of this wave of Prince releases is the first wide issue of The Versace Experience: Prelude 2 Gold. Released ahead of 1995’s The Gold Experience, the first album credited to Prince’s infamously unpronounceable symbol, The Versace Experience: Prelude 2 Gold was a gift to attendees of the designer’s collection at Fashion Week in Paris. The cassette, featured remixed versions of future favorites “Pussy Control,” “Gold” and “Eye Hate U” as well as rare and commercially unreleased selections by The New Power Generation and Prince’s jazz-fusion project Madhouse. The release went on to be incredibly sought after, with one copy setting a record on Discogs for cassettes, fetching over $4,000.

File Under: Pop, Synth Pop

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Prince: Emancipation (Legacy) BOX
The Prince Estate and Legacy Recordings continue their partnership in 2019 with the reissue of two key albums from 1996: Chaos and Disorder and Emancipation. New colored vinyl pressings mark their premiere on the format. Another key release from this era, The Versace Experience (Prelude 2 Gold), will also be released on vinyl for the first time. A key thread through Prince’s career was a lifelong quest for freedom. Personal, professional, creative, spiritual and sexual freedoms were key tenets of his mission as a producer, arranger, composer and performer. 1996 was a key year in that quest, which saw him release one of his loosest, shortest, most carefree albums as well as one of his most precise and expansive. These physical reissues will offer another great opportunity for streaming initiatives to illuminate yet another crucial era in Prince’s history. Emancipation – Prince’s first release off Warner Bros. in a one-off agreement between NPG Records and EMI came in November of 1996 just four months after Chaos And Disorder – was as expansive an album as anything he’d ever release. A triple album constituting exactly three hours of music, Emancipation found Prince celebrating the release of music solely on his terms. “This is my most important record,” he proclaimed to the Minneapolis Star Tribune upon its release. “I’m free, and my music is free.” Much like Paisley Park, the recording complex in which Prince created Emancipation, the album represents the incredible variety of his influences and moods. Romance and family are key themes (“Somebody’s Somebody,” “The Holy River,” “The Love We Make”), reflecting his recent marriage to back-up dancer and muse Mayte Garcia that year. Elsewhere, Prince reflects on technology (“My Computer”) and sex (“In This Bed Eye Scream”), and offers new, upbeat grooves (“Face Down,” “Jam Of The Year”) as well as four unique covers (Bonnie Raitt’s “I Can’t Make You Love Me,” the Philly soul classics “Betcha By Golly Wow” and “La, La, La Means I Love U,” and Joan Osborne’s then-recent rock hit “One Of Us”).

File Under: Funk, Soul, Pop, Electronic
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Prince: Chaos & Disorder (Legacy) LP
The Prince Estate and Legacy Recordings continue their partnership in 2019 with the reissue of two key albums from 1996: Chaos and Disorder and Emancipation. New colored vinyl pressings mark their premiere on the format. Another key release from this era, The Versace Experience (Prelude 2 Gold), will also be released on vinyl for the first time. A key thread through Prince’s career was a lifelong quest for freedom. Personal, professional, creative, spiritual and sexual freedoms were key tenets of his mission as a producer, arranger, composer and performer. 1996 was a key year in that quest, which saw him release one of his loosest, shortest, most carefree albums as well as one of his most precise and expansive. These physical reissues will offer another great opportunity for streaming initiatives to illuminate yet another crucial era in Prince’s history. Released in July 1996, Chaos and Disorder came with a rare disclaimed penned by Prince (then known as the unpronounceable “love symbol”): “Originally intended 4 private use only, this compilation serves as the last original material recorded by [The Artist] 4 Warner Bros. Records.” Prince’s contentious relationship with the label was at its lowest point, and this record – a taut 39 minutes of dexterous guitar and simple but addictive pop melodies – was a crucial final link in the chains that kept him from releasing the music the way he wanted. Any internal turmoil was not represented in tracks like “Dinner With Delores” (a minor U.K. hit) and the rollicking title track, a staple of his live shows. “Someone told me that Van Halen did their first record in a week,” Prince told the Los Angeles Times of the album’s quick creation. “That’s what we were going for – spontaneity, seeing how fast and hard we could thrash it out.”

File Under: Funk, Soul, Pop
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Rodriguez: Cold Fact (Universal) LP
It’s one of the lost classics of the ‘60s, a psychedelic masterpiece drenched in color and inspired by life, love, poverty, rebellion. The album is Cold Fact, and what’s more intriguing is that its maker, a shadowy figure known as Rodriguez, was for many years, lost too. Over a decade ago now, he was rediscovered working as a day laborer in Detroit, MI. He was unaware that his defining album had become not only a cult classic, but for the people of South Africa, a beacon of revolution. Rodriguez recorded Cold Fact, his debut album, in 1969, and released it in March 1970. It’s crushingly good stuff, filled with tales of bad drugs, lost love, and itchy-footed songs about life in late ’60s inner-city America. But the album sank without a trace, thanks, in part, to some of Rodriguez’s more idiosyncratic behavior, like performing at an industry showcase with his back to the audience throughout. When the follow-up, 1972’s Coming From Reality, also sold poorly, Rodriguez called an end to his recording career. He’d never even played a proper gig. And he got on with life. Over the years, he turned his hand to local politics, gaining a degree in philosophy, factory work and eventually, hard labor. As his music career became a memory, Rodriguez’s legend was growing, on the other side of the world. In South Africa, Australia and New Zealand, Cold Fact had become a major word of mouth success, particularly among young people in the South African armed forces, who identified with its counter-cultural bent. But Rodriguez was an enigma, not even the label knew where to find him, and his demise became the subject of debate and conjecture. Some rumors said he’d died of a drug overdose or burned to death on stage. Others said he was in a mental institution, or in prison for murdering his girlfriend. Barring a couple of sold out Australian tours in 1979 and 1981, nothing had been heard of him for almost 30 years. But the tide began to turn in 1996, when journalist Craig Bartholemew set out to get to the bottom of the mystery. After many dead ends, he found Rodriguez alive, well, free and perfectly sane in Detroit, ending years of speculation. Rodriguez himself had no idea about his fame in South Africa, subsequently embarking on triumphant tours all over the world.

File Under: Rock, Folk
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Rodriguez: Coming from Reality (Universal) LP
Back in 1971, Coming From Reality was Rodriguez’s last gasp, the follow-up to Cold Fact and the final album he was allowed to record for the Sussex label. Designed at the time as Rodriguez’s vision of a perfect pop album, Coming From Reality found the mysterious singer/songwriter decamping from Detroit to London’s Lansdowne Studios, where the album was recorded with some of the UK’s top talent including Chris Spedding (Sex Pistols, Dusty Springfield, Harry Nilsson) and producer Steve Rowland (The Pretty Things, PJ Proby, The Cure), who namechecked Coming From Reality as his favorite ever recording project. Highlights include the super-poppy “To Whom It May Concern,” the “Rocky Raccoon”-inspired “A Most Disgusting Song” and period piece “Heikki’s Suburbia Bus Tour.”

File Under: Rock, Folk
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Stereolab: Emperor Tomato Ketchup (Duophonic) LP
September 2019 sees the continuation of Stereolab’s seven album reissue campaign when 1996’s Emperor Tomato Ketchup, 1997’s Dots and Loops and 1999’s Cobra and Phases Group Play Voltage in the Milky Night are reissued, via Warp Records and Duophonic UHF Disks, as expanded and re-mastered editions on triple vinyl. Each album has been re-mastered from the original 1/2″ tapes by Bo Kondren at Calyx Mastering and overseen by Tim Gane. Bonus material will include alternate takes, 4 track demos and unreleased mixes. These reissues follow 1993’s Transient Random Noise-Bursts With Announcements and 1994’s Mars Audiac Quintet which received Expanded Editions earlier in 2019. Stereolab’s fourth full-length, Emperor Tomato Ketchup, originally issued in 1996, marked the point where the band evolved from a purely underground phenomenon to an important pop group capable of selling albums while keeping their hipness and integrity intact. At the time of its release, it was simultaneously their most experimental and most accessible release, with the deliberate raw textures of earlier works replaced by a more polished vibe. The album was also their greatest success to date both commercially and critically, and remains a consensus favorite even now. Continuing to mine the music of the ’60s and early ’70s, Stereolab employs Farfisas and Moogs, melodies from Bacharach and Hardy, soft-rock, bubblegum, dub and hip-hop sounds to augment their core influences of krautrock, punk, jazz and space rock. Odd time-signatures and deft layering techniques are more crucial to the arrangements, and the grooves on tracks like “Metronomic Underground” and “Les Yper-Sound” add a level of funk to the mix, while the album also includes clear and catchy pop songs like “Cybele’s Reverie” and “The Noise of Carpet.” The LP brings many elements to the table, but Stereolab puts them all together into a coherent vision. It’s hard to say if the album’s greatest accomplishment is making pop music palatable to experimental listeners or introducing pop listeners to the group’s experimental influences. Either way, it’s one of the most enjoyable and important albums of the ’90s.

File Under: Indie Rock, Electronic, Pop
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Tinariwen: Amadjar (Anti) LP
Amadjar means ‘the unknown visitor’ in the language of Tamashek, the one who seeks hospitality and who’s condemned to an inner exile, within a territory or within himself. The story of Amadjar, the ninth Tinariwen album, begins at the end of 2018, at the Taragalte Festival of nomadic cultures in the Moroccan Sahara. After a concert and a sandstorm, Tinariwen hit the road and head for Mauritania, via Southern Morocco, Western Sahara and the Atlantic coast. The destination is important but no more so than the journey itself. Tinariwen are joined by their French production team, who arrive in old camper van that’s been converted into a makeshift studio. The journey to Nouakchott, capital of Mauritania, takes a dozen days or so. Every evening, the caravan stops to set up camp and the members of Tinariwen get to work under the stars – to prepare for the recording, talking things through, letting their guitar motifs, thoughts and long buried songs come. Then, during a final camp in the desert around Nouakchott that lasts about fifteen days, to an audience of scorpions, the band record their songs under large tent. In a few takes, without headphones or effects. The Mauritanian griotte Noura Mint Seymali and her guitarist husband, Jeiche Ould Chigaly, come to throw their musical tradition on the embers lit by Tinariwen – the curling vocals of Noura Mint Seymali on the song “Amalouna” will become a highlight. This nomadic album, recorded in a natural setting, is as close as you can get to Tinariwen. And also, therefore, to the idea that things can evolve: bassist Eyadou plays a lot of acoustic guitar; percussionist Said tries his hand at new instruments; Abdallah exhumes songs that he’s never played on stage with Tinariwen. And that violin that appears on several songs and reminds you of the traditional imzad ; It’s actually played by Warren Ellis. The violinist in Nick Cave’s band is one of several western guests on the album. We also hear the mandolin and charango of Micah Nelson (son of the country music giant Willie Nelson, and Neil Young’s guitarist), and the guitars of Stephen O’Malley (Sunn O)))), Cass McCombs and Rodolphe Burger. The album is mixed by Joshua Vance Smith.

File Under: Tuareg, Blues
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Chelsea Wolfe: Birth of Violence (Sargent House) LP
There is a core element to Chelsea Wolfe’s music – a kind of urgent spin on America’s desolation blues – that’s existed throughout the entirety of her career. Wolfe has always been a conduit for a powerful energy, and while she has demonstrated a capacity to channel that somber beauty into a variety of forms, her gift as a songwriter is never more apparent than when she strips her songs down to a few key components. As a result, her solemn majesty and ominous elegance are more potent than ever on Birth of Violence. The songs stem from humble beginnings – little more than Wolfe’s voice and her Taylor acoustic guitar. Her longtime musical collaborator Ben Chisholm recorded the songs in their own studio and helped fill them out with his modern production treatments and auxiliary flourishes from ongoing contributors Jess Gowrie (drums) and Ezra Buchla (viola). Every Chelsea Wolfe album introduces new unorthodox textures and approaches, and the trajectory of her creative arc has generally aimed for larger and more imposing sounds, but Birth of Violence deliberately alters that course in favor of a more intimate atmosphere. The result yields Wolfe’s most devastating work to date.

File Under: Rock, Goth
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…..Restocks…. 

Beirut: Gulag Orkestar (Pompeii) LP
Beirut: Rip Tide (Pompeii) LP
Boards of Canada: Music Has the Right to Children (Warp) LP
Lou Donaldson: Alligator Boogaloo (Blue Note) LP
Godspeed You Black Emperor: Allelujah! Don’t Bend! Ascend! (Constellation) LP
Godspeed You Black Emperor: F#A# (Constellation) LP
Godspeed You Black Emperor: Lift Your Skinny Fists (Constellation) LP
Godspeed You Black Emperor: Luciferian Towers (Constellation) LP
Godspeed You Black Emperor: Yanqui U.X.O. (Constellation) LP
Grant Green: Grant’s First Stand (Blue Note) LP
Freddie Hubbard: Open Sesame (Blue Note) LP
Ikebe Shakedown: Kings Left Behind (Colemine) LP
Jason Isbell: The Nashville Sound (Thirty Tigers) LP
Jason Isbell: Something More Than (Thirty Tigers) LP
Jason Isbell: Southeastern (Thirty Tigers) LP
Keith Jarrett: My Song (ECM) LP
King Gizzard & The Lizard Wizard: Infest the Rats Nest (ATO) LP
Kendrick Lamar: To Pimp A Butterfly (Aftermath) LP
Malibu Ken: s/t (Rhymesayers) LP
Thelonious Monk: Monk Plays Duke Ellington (OJC) LP
Thelonious Monk: The Unique Thelonious Monk (OJC) LP
Robyn: Honey (Universal) LP
Slits: Cut (Universal) LP
Tropical Fuck Storm: A Laughing Death in Meatspace (Joyful Noise) LP

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…..news letter #914 – bak 2 skool…..

…..news letter #914 – bak 2 skool…..

Another lite week for new releases, but one our fav local cats has a new record out this week! The new Jom Comyn is killer, and the release show is tonight, you should go if you can. If you can’t, we have his new LP in stock for you to grab while he’s away on tour. We bought another killer stack of used contemporary releases and reissues. Great stuff, cheaper than new. Never mind all the other used stuff that’s been coming in lately too. It’s getting out of hand! Come for a dig and spend your student loan.

Oh ya… if you don’t follow us on Instagram, WHY NOT?! And now you know.

CHECK OUT OUR WEBSTORE!!! 
SUBSCRIBE TO OUR NEWS LETTER!!!!

…..pick of the week…..

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Jom Comyn: Crawl (Double Lunch) LP
Jom Comyn’s music conjures the sensation of weathering a storm. For almost a decade, his albums have passed through sounds like shifting seasons (most often folk and rock or some combination), with Comyn’s charcoal-lined baritone acting as a meditative shelter from the inclement elements, external and inner, at work. I Need Love, in 2017, found him exploring myriad genres across 28 tracks, while Crawl finds Comyn working with a more focused palette: its 12 songs don’t stray far from an amped-up guitar-folk arrangement. But that simpler array of sounds gets mined for rich, refractive depths here. “Street Sweeper” switches from reflective to commanding as it layers instrumentation around increasingly rapid lyrics, while “Chapel of Chimes” builds its title-evoking soundscape around a hypnotic guitar pattern. “Change Your Mind” offers upbeat, Black Keys-ish crunch-rock that powers along at a steady clip before erupting into a rush of guitar in its final moments. In its shimmering sonics and introspective ruminations, Crawl is an album that invites and rewards close listening: full of mesmerizing facets that reveal themselves with sustained frequency.

File Under: Indie Rock, Local
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…..new arrivals…..

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Bob Dylan: Infidels (Columbia) LP
Although released in the early-80’s, the music and songwriting on Bob Dylan’s secular return, recall more of a mid-70’s feel. A very direct and evocative collection, ripe with elegant imagery, potent poetics and moving melodies, the Mark Knopfler co-produced affair helped revitalize Dylan for a new generation of listeners and features a stellar line-up of musicians, which in addition to Knopfler, included Mick Taylor, Sly Dunbar, Robbie Shakespeare and Alan Clark. Reaching the Top 20 in the US and the Top 10 in the UK, the Gold-certified record was seen as one of Dylan’s finest artistic achievements since Blood on the Tracks (1975) and most commercially viable until Oh Mercy (1989).

File Under: Folk
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Bob Dylan: Under the Red Sky (Columbia) LP
Bob Dylan kicked off the ’90s with Under the Red Sky, the direct follow-up to Oh Mercy, his finest effort of the ’80s, and his well received work with the Traveling Wilburys. Co-produced with Don and David Was, the underrated album finds a lean and loose Dylan flanked by such rock royalty as David Crosby, George Harrison, Bruce Hornsby, Elton John, Al Kooper, Slash, and Jimmie & Stevie Ray Vaughan and it served as the legendary singer/songwriter’s last collection of new material for seven years. The direct production fits the playful nursery rhymes rooted material and you can certainly hear a Traveling Wilburys influence throughout.

File Under: Folk
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Bob Dylan: Real Live (Columbia) LP
Produced by Glyn Johns and featuring guitarist Mick Taylor (Rolling Stones), keyboardist Ian McLagan (The Faces) and a guest appearance from Carlos Santana, Real Live captures a rejuvenated Bob Dylan on his 1984 European tour in support of his successful secular return, Infidels. Only two cuts are culled from that album (“License To Kill,” “I and I”), however, as the remainder of the material comprises classics of yesteryear like “Tangled Up in Blue,” “Masters of War,” “It Ain’t Me Babe,” “Maggie’s Farm,” “Ballad of a Thin Man,” “Highway 61 Revisited” and “Tombstone Blues.”

File Under: Folk
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Bob Dylan: Down in the Groove (Columbia) LP
Culled from various recording sessions with several different backing bands – accompaniment ranging from the Sex Pistols’ Steve Jones and The Clash’s Paul Simonon to the Grateful Dead’s Jerry Garcia, Bob Weir and Brent Mydland, to Eric Clapton and Sly and Robbie, 1988’s loose-limbed Down in the Groove is somewhat of a sequel to Knocked Out Loaded and its biggest assets may be its wide variety and the fact that it sounds like Dylan is actually having fun. Bookended by strong covers of Wilbert Harrison’s “Let’s Stick Together” and the Stanley Brothers’ “Rank Strangers to Me,” a further standout comes in the form of the Robert Hunter co-write “Silvio.”

File Under: Folk
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The Frogs: It’s Only Right & Natural (End of All Music) LP
“In 1980, two brothers from Milwaukee named Jimmy and Dennis Flemion formed a band called The Frogs. Eight years, a few thousand dollars, and a self-titled debut album later, they took a call from Gerard Cosloy of Homestead Records. Cosloy wanted to sign The Frogs, but he wasn’t interested in their album. Instead, the then frontman of Big Black, Steve Albini, had passed him a tape of The Frogs’ brilliantly funny, mostly improvised and home-recorded songs about things like child abduction and homosexuality, and Cosloy wanted to put those out instead. 1989’s gay supremacy record It’s Only Right And Natural…won The Frogs the patronage of some of the biggest stars [Kurt Cobain, Smashing Pumpkins, Beck, Eddie Vedder] in what people, at the time, had no qualms calling alternative rock” (Vice). The band were chosen by Animal Collective to perform the long out of print album in its entirety at the All Tomorrow’s Parties festival they curated in May 2011.

File Under: Indie Rock
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House Guests: My Mind Set Me Free (Shake It) LP
A slab of Cincinnati hard funk slammers, reissued (legally) for the first time! Post JB’s/pre-P-funk outfits headed up by brothers Catfish and Bootsy Collins along with a Cincinnati who-who’s of top club players who could turn it out night after night after night in places like The Psychedelic Grave or The Round Up Club that featured a caged bear in the club!

File Under: Funk
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Sandro Perri: Soft Landing (Constellation) LP
We’ve been accustomed to waiting years between Sandro Perri albums – a fine price to pay for the quality and understated brilliance of his records. But the Perri floodgates have opened; less than a year after the widely acclaimed In Another Life, he offers up a new and sublime collection, this time with guitar at the calmly rambling heart of these tunes: from the lushly languid 16-minute album opener “Time (You Got Me)” to the syncopated 70s-inflected soft rock of “Wrong About The Rain,” Soft Landing is a warm and hugely satisfying addition to Perri’s diverse and unparalleled discography. Deluxe 180-gram audiophile vinyl plus digital download coupon.

File Under: Electronic, Experimental
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Various: Ann Arbor Blues Festival Vol 1 (Third Man) LP
Third Man Records presents Ann Arbor Blues Festival 1969, a 50th anniversary celebration collecting 24 previously unheard songs by such blues legends as Howlin’ Wolf, Muddy Waters, B.B. King, James Cotton, Son House, Magic Sam, T-Bone Walker, Junior Wells, Big Mama Thornton, Clifton Chenier, Son House, Mississippi Fred McDowell, Lightnin’ Hopkins, Pinetop Perkins, J. B. Hutto & His Hawks, Roosevelt Sykes, Luther Allison, Otis Rush, Big Joe Williams, Charlie Musselwhite and more. The first ever release of music recorded live at the landmark event, Ann Arbor Blues Festival 1969 will be available in two individual 2LP volumes, exclusively on 180 gram vinyl. August 1969 might have seen another musical gathering grabbing the world’s attention, but the Ann Arbor Blues Festival has since proven a cultural milestone in its own unique right – the first American festival devoted solely to blues music. Held August 1-3, 1969 at Fuller Flatlands, University of Michigan-Ann Arbor, for three days it was not unusual to find scenes like B.B. King playing his forthcoming single for Mississippi Fred McDowell, Big Mama Thornton and Junior Wells or Muddy Waters, Howlin’ Wolf and Big Joe Williams catching up about grandchildren, life on the road and the recent moon landing. The family reunion backstage led to an all-star game onstage as an audience of eager young blues converts was treated to a living history of the blues from some of its inventors, innovators and greatest talents.  The historic gathering was presented by a small group of blues-obsessed University of Michigan students determined to give their blues heroes a public spotlight where they might shine before it was too late. Among those enterprising student-promoters was John Fishel, whose teenage brother Jim Fishel, gathered some friends to help record the festival as a personal memento. Taking advantage of their all-access pass and juggling a small Norelco tape recorder from set to set, the friends let the 1⁄4″ tape roll. Though field recordings in the literal sense of the term, they capture the brilliance of the musicians, the excitement of the crowd and the loose, convivial nature of the entire festival. Those tapes, long thought to be lost, have now been lovingly restored to capture the electric energy of the landmark concert. “Across three days in early August 1969, [the Ann Arbor Blues Festival] exposed the work of black blues musicians to a reverential young white audience (many of whom had probably chosen to attend Ann Arbor over Woodstock, which took place two weeks later),” writes Fishel, Abramowitz and Beal in the album’s liner notes. “From the city to the country, the West Coast to the Gulf Coast, Mississippi to Chicago, 24 masters of the idiom were booked to perform for this new audience – an estimated 10,000-plus kids, listening to the artists they saw as vanguards of the music that had dominated the decade’s counterculture. DownBeat magazine concluded, ‘The Ann Arbor Blues Festival did not make headlines. Yet it was without a doubt the festival of the year, if not the decade.'” Both volumes include never-before-seen photographs, artist biographies, an exclusive reminiscence from Jim Fishel, and extensive liner notes by Parker Fishel, Sophie Abramowitz and David Beal.

File Under: Blues
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Various: Ann Arbor Blues Festival Vol 2 (Third Man) LP
Third Man Records presents Ann Arbor Blues Festival 1969, a 50th anniversary celebration collecting 24 previously unheard songs by such blues legends as Howlin’ Wolf, Muddy Waters, B.B. King, James Cotton, Son House, Magic Sam, T-Bone Walker, Junior Wells, Big Mama Thornton, Clifton Chenier, Son House, Mississippi Fred McDowell, Lightnin’ Hopkins, Pinetop Perkins, J. B. Hutto & His Hawks, Roosevelt Sykes, Luther Allison, Otis Rush, Big Joe Williams, Charlie Musselwhite and more. The first ever release of music recorded live at the landmark event, Ann Arbor Blues Festival 1969 will be available in two individual 2LP volumes, exclusively on 180 gram vinyl. August 1969 might have seen another musical gathering grabbing the world’s attention, but the Ann Arbor Blues Festival has since proven a cultural milestone in its own unique right – the first American festival devoted solely to blues music. Held August 1-3, 1969 at Fuller Flatlands, University of Michigan-Ann Arbor, for three days it was not unusual to find scenes like B.B. King playing his forthcoming single for Mississippi Fred McDowell, Big Mama Thornton and Junior Wells or Muddy Waters, Howlin’ Wolf and Big Joe Williams catching up about grandchildren, life on the road and the recent moon landing. The family reunion backstage led to an all-star game onstage as an audience of eager young blues converts was treated to a living history of the blues from some of its inventors, innovators and greatest talents. The historic gathering was presented by a small group of blues-obsessed University of Michigan students determined to give their blues heroes a public spotlight where they might shine before it was too late. Among those enterprising student-promoters was John Fishel, whose teenage brother Jim Fishel, gathered some friends to help record the festival as a personal memento. Taking advantage of their all-access pass and juggling a small Norelco tape recorder from set to set, the friends let the 1⁄4″ tape roll. Though field recordings in the literal sense of the term, they capture the brilliance of the musicians, the excitement of the crowd and the loose, convivial nature of the entire festival. Those tapes, long thought to be lost, have now been lovingly restored to capture the electric energy of the landmark concert. “Across three days in early August 1969, [the Ann Arbor Blues Festival] exposed the work of black blues musicians to a reverential young white audience (many of whom had probably chosen to attend Ann Arbor over Woodstock, which took place two weeks later),” writes Fishel, Abramowitz and Beal in the album’s liner notes. “From the city to the country, the West Coast to the Gulf Coast, Mississippi to Chicago, 24 masters of the idiom were booked to perform for this new audience – an estimated 10,000-plus kids, listening to the artists they saw as vanguards of the music that had dominated the decade’s counterculture. DownBeat magazine concluded, ‘The Ann Arbor Blues Festival did not make headlines. Yet it was without a doubt the festival of the year, if not the decade.'” Both volumes include never-before-seen photographs, artist biographies, an exclusive reminiscence from Jim Fishel, and extensive liner notes by Parker Fishel, Sophie Abramowitz and David Beal.

File Under: Blues
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Various: J Jazz? Deep Modern Jazz from Japan Vol 2 (BBE) LP
Following the sell-out success of their landmark compilation, J Jazz: Deep Modern Jazz from Japan 1969-1984, BBE Music presents another exploration into the very finest Japanese modern jazz. J Jazz 2 builds on the solid foundation of the first compilation and sees co-compilers Tony Higgins and Mike Peden once again pick choice sections from their own record collections. They present a deep dive into an intoxicating and beguiling range of styles: from cinematic roaring big-band (“Little Giant” by Nobuo Hara) and sparse minimal acoustic funk (“Teru-Teru Bozo” by Teru Sakamoto), to deep spiritual modal epics (“Dragon Dance” by Makoto Terashita and Harold Land) and funk fusion (“Mother of the Future” by Electro Keyboard Orchestra). J Jazz 2 delivers more astonishing high quality jazz that will appeal the old school hard-core jazz head as much as those digging the current sounds of the current vibrant jazz explosion in the UK and USA. The specially chosen tracks on J Jazz volume two span across 25 years of Japanese musical progression and invention. From the elegiac stark beauty of “Serenade to a Dimly Lit Street” and the modal vortex of “Daguri,” to the fierce post-bop freedom of “Bull Trout” and the mid-tempo bossa lilt of “Vietnam,” there is enough here to satisfy the most curious and demanding jazz fan seeking something extra special.

File Under: Jazz

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Various: Sunny Side Up (Brownswood) LP
A new generation of young, independent musicians, in share-houses and makeshift home studios, in the garages and backyard sheds of Melbourne’s suburban sprawl, have embraced a brash DIY spirit. Taking cues from soul, jazz and club culture, they’ve stamped an uninhibited style on a sun-bleached spool of influences. A snapshot of a movement that’s ready to boil over, the nine acts on Sunny Side Up have grown out of a city free from the weight of overbearing musical traditions, where outside influences are freely re-interpreted and mashed together. A celebratory record, it’s energized by a collaborative spirit as much as by the variety of styles which it collides together. The record documents a scene poised at saturation point, after steadily expanding since the breakout success Hiatus Kaiyote in 2012, with whom many of the record’s groups share members, friendships or studios. Nurtured by institutions like record shop Northside Records, this is an album which shows splashes of deep house, broken beat, cha-cha, samba, p-funk and soul. Unlike other cities with storied histories in jazz culture, the sound of Melbourne is free of any jazz customs to follow behind, leaving musicians free to incorporate hip hop, house or R&B. Jazz is the mindset, the output is infinitely diverse. Recorded over a week at The Grove, a fabled house-cum-studio in the North Melbourne suburb of Coburg, nine of Melbourne’s hotly-tipped talents take the lead with their own take on a musical form rooted in jazz. Engineered and mixed by Nick Herrera (Hiatus Kaiyote, Nai Palm, 30/70), with Silentjay as musical director, the result is a colorful portrait of a scene’s potential. Sunny Side Up explores the story behind this flourishing period and shines light on some of its most compelling figures. The personnel are drawn from a close-knit community, collectives like 30/70 and Mandarin Dreams acting as creative milieus, lending to each other’s style and influence, reflected in the fact that musicians feature multiple times across each other’s tracks on the album. Commonly ranked among the world’s most liveable cities, Melbourne has more live venues and record stores per capita than any other city. In a city as isolated from the world as Melbourne, where the scene has been largely overlooked by Australian music institutions, collaboration is second-nature to a hungry scene focused on building their own identity. On “Banksia,” Phil Stroud conducts a winding spiritual meditation, the percussion virtuoso, whose cult club 12″s for Perth imprint Good Company have garnered support from DJs Bradley Zero and Anthony Naples, showing a more understated string to his bow. Dufresne, a multi-instrumentalist member of the Mandarin Dreams collective who’s toured with Sampa The Great, builds a funk-driven, horns-heavy call to the stars on “Pick Up / Galaxy.”

File Under: Jazz
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…..Restocks…. 

Blanck Mass: Animated Violence Mild (Sacred Bones) LP
Don Cherry: Brown Rice (A&M) LP
Andrew Hill: Black Fire (Tone Poet) (Blue Note) LP
Pharmakon: Devour (Sacred Bones) LP
Pink Floyd: Wish You Were Here (Pink Floyd) LP
Raconteurs: Broken Boy Soldiers (Third Man) LP
Sleep: The Sciences (Third Man) LP
Don Slepian: Sea of Bliss (Numero) LP
Tragically Hip: Fully Completely (Universal) LP
Various: Basement Beehive (Numero) LP
Various: Wayfaring Strangers: Ladies from the Canyon (Numero) LP
Various: Wayfaring Strangers: Guitar Soli (Numero) LP
Various: Wayfaring Strangers: Lonesome Heroes (Numero) LP
Various: You’re Not From Around Here OST (Numero) LP
Vampire Weekend: Father of the Bride (Sony) LP
Wire: Chairs Missing (Pink Flag) LP

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