Phew! Done. There really isn’t any reason this should have taken so long. I even started it yesterday. Must be the sheer amount of awesome records this week… ya, that’s the ticket. Anyway, I’m not kidding, tons of great stuff this week…..
…..pick of the week…..
Medico Doktor Vibes: Liter Thru Dorker Vibes (Companion) LP
“The first licensed reissue of Médico Doktor Vibes’ mysterious Liter Thru Dorker Vibes LP from 1979 is now available. We feel privileged to have the opportunity to offer this singular recording. Five hundred exact repro copies were pressed at RTI with crisp, heavy, old-style tip-in jackets produced by Stoughton. Turns out these seven songs are Guyanese-American artist Bill Russell’s only recordings. Bill had 100 vinyl copies pressed up in 1979 on his own Bi-Russell Records label, promoted it modestly and locally, and it went nowhere. Thirty-some years later, in a kind of message in a bottle-type scenario, one of those copies ended up at the Oakland Coliseum Flea Market and found its way into our hands. Inspired by army pals who were recording and releasing music without any label backing, Russell bought a Fender Telecaster and a Korg Mini and recorded Liter Thru Dorker Vibes in a makeshift home studio in South Central L.A. in just a few short sessions. When asked about his influences he insta-mentioned Santana and then added Hendrix, Sly Stone, Jobim, along with some New Orleans jazz stuff as well. For fun we’ll go ahead and recommend this to any fan of Suicide, Cymande, Steve Reich, Nadi Qamar, Otis G. Johnson, Lord Invader, Bruce Haack, TJ Hustler, T-Rex, Heitkotter, Edward Larry Gordon, Madrigal, or The Mind Expanders.”
File Under: Funk/Soul, Private Press, Lo-Fi, Mindmelting Weirdness
1991: 1991 (Astro:Dynamics) 12”
Mastered by Vessel (Tri Angle Records), and pressed onto clear blue 12″ vinyl packaged into a clear PVC sleeve.* 1991 is the self-titled debut of Axel Backman – originally issued on cassette and digital formats in October 2012. It was followed with releases on the Opal Tapes and Boomkat Editions labels, and remixes for the likes of Lukid (Werk Discs) and Sand Circles (Not Not Fun) – now, by popular demand, this 8-track collection gets a long-awaited transparent blue vinyl edition.
Arcade Fire: Reflektor (Merge) 12”
The lead off single from the upcoming album… it’s shiny and almost sold out already! Produced by James Murphy of LCD Soundsystem.
File Under: Pop, CanCon, LCD Soundsystem
At The Drive In: Relationship Of Command (Dine Alone) LP
Standard 2LP black vinyl edition will be replacing the sold-out RSD version. New cheaper pricing! The album combines a hardcore aggressive edge with a melodic drive and harmonious, emotive and surreal vocals and lyrics. While the album continues in the alternative style of At the Drive-In’s previous albums, Relationship of Command is seen as a more well-rounded album than its predecessors. Initially, the album was received positively by critics, and the album is now seen as one of the most influential post-hardcore, if not rock albums of the decade. Relationship of Command was voted 12th out of 50 in the Albums of the Decade by NME and the 37th most influential album of all time by Kerrang!
Bellows: Reelin’ (Holidays) LP
“Third act for the duo composed of Giuseppe Ielasi and Nicola Ratti after their eponymous debut on Kning Disk and the acclaimed Handcut LP on Planam-Senufo (featured on the Wire list of the best releases of 2010). CDJ, Sony Walkman, Revox A77, and Memory Man are the perfect instruments to create labyrinthine meta-pathways through quietly convective thickets of acousmatic sound, from spacious clouds of fuzzy electronics verging on dub imprints to water-stained electronics reminding of BJ Nilsen & Stilluppsteypa’s Space Finale and more fractal, decaying bleeps nudged and frayed with a beautifully tactile intuition. Originally released on CD by Entr’acte, here it comes in a deluxe LP edition with embossed lettering on the cover and printed inner sleeve.” Edition of 250 copies.
File Under: Experimental, Ambient, Electronic
Black Sites: Prototype (Pan) 12″
Helena Hauff and F#X get together on a new project for Pan called Black Sites. This is riotous and cerebral club music. The analog artifacts of “Prototype” permutate in tandem with melodic Detroit chords, a pounding rhythm section and a central ascending 303 line. “N313P” maintains the intense pace. Building around competing resonances, the untethered Drexciyan melodies probe, expand and contract to rapturous effect. On white vinyl.
File Under: Techno, Electro, Electronic
Body/Head: Coming Apart (Matador) LP/CD
Body/Head are an electric guitar duo comprised of Kim Gordon (CKM, Sonic Youth, Free Kitten, etc.) and Bill Nace (X.O.4, Vampire Belt, Ceylon Mange, etc.) The pair began working together in various loose formats a few years ago, but the Body/Head concept evolved more specifically in early 2012. Their debut LP, Coming Apart, will be released by Matador Records and follows a single for Dennis Tyfuss’ Ultra Eczema Editions, a tour EP for Nace’s own Open Mouth Productions, and a collaboration with Dead C’s Michael Morley through Feeding Tube Records. Initially their approach was almost entirely instrumental — lattices of interwoven feedback rainbows, with bits recalling everyone from Heldon to Keiji Haino. They usually performed against a backdrop of slow motion film projection, creating a dream narrative of undeniable power and visionary reach. Kim’s voice began creeping into the mix soon after, and the vocals now have become an intrinsic part of their musical architecture. They have even started writing and playing “songs” now, compositionally distinct from their purely aleatory origins, but still featuring lots of built-in improvisational space.
File Under: Experimental, Sonic Youth, Improv
Harold Budd: Perhaps (Root Strata) LP
Recorded live on December 8, 2006 at a memorial event for James Tenney at California Institute of the Arts, Perhaps is Harold Budd sublimely distilled. Striking in its restraint and simplicity yet profoundly resonant in its depth and message, it is both eulogy to a departed friend and defining statement from an artist at the apotheosis of his career. Originally available only digitally (and only from Samadhisound’s web site), Perhaps sees its first-ever and much-deserved physical release, mastered and cut at Dubplates & Mastering in Berlin. “Some 35 years ago, Jim Tenney and I were half of the composition faculty at the brand new California Institute of the Arts — CalArts. He was in those five years (1970-1975) my best friend. We lived in an out-of-the-way rural area at the fringes of the Mojave Desert and were often to be found drinking beer and playing pool in one of a number of local cowboy bars. We never agreed about music. Jim was a champion of early 20th century modernism; I was an anti-vanguard sensualist, at least in music. In the early 70s, Jim set about writing a series of ‘Post Card Pieces’ — short aphorisms for dozens of friends. The one for me was called ‘(night)’, as I recall: asking for something that’s ‘very long … nearly white’ … My performance, in Jim’s memory (75-minutes, non-stop and improvised) was, thus, not a composition but a provocation, and one I whole-heartedly addressed: I loved every moment. The ‘titles’ were conjured a month after the performance. Mostly, they don’t refer to any aspect of the music they’re joined to. The final task was to edit out some (but not all) extraneous noise and to shorten some gaps (as I pondered very quickly what to do next).” –Harold Budd, January 31, 2007
Buffalo Killers: Ohio Grass (Alive) LP
Originally released for Record Store Day as “Herb Green Ltd. Edition Vinyl”, “Ohio Grass” is now available on black vinyl. “On this release Buffalo Killers are expanding their horizons with side dishes of Beatlesesque pop, and some Jamaican flavor added to the mix, resulting in an ever tastier stew” – (Rock Guitar Daily). Here’s what people have been saying about Buffalo Killers’ most recent album. “Dig. Sow. Love. Grow”: “Brilliantly sequenced, organically produced, and genuinely executed, ‘Dig. Sow. Love. Grow’ cements Buffalo Killers’ reputation for ’70s-infused tunes in a postmodern package and plants the seeds for growth on new musical horizons.” – Innocent Words. “Steeped in ’70s classic rock, their terrific new album ‘Dig. Sow. Love. Grow’ features harmonies clearly culled from their past.” – Working-Class Heroes / Clevescene. “Their sound could be compared to any psychedelic band from the late 60’s early 70’s, but they engrave their own edge to each track that makes it anything but a throwback” – Soaked In Sound. ‘Dig. Sow. Love. Grow’ sees them expand on their Southern Rock/Haight Ashbury slow burn.” – Louder Than War.
File Under: Rock, Blues, Psych
Concrete Fence: New Release (1) (Pan) 12”
Luminaries of British electronic music spanning over two decades, Russell Haswell (Gescom, Haswell & Hecker) and Downwards label founder Karl O’Connor (Regis, Sandwell District, British Murder Boys) have come together to produce three tracks of inimitable experimental techno in their debut collaborative release. With each track built on a permutating sonic foundation, these are muscular and expertly paced compositions that effortlessly transition between hypnotic rhythms and textural and timbral experimentation. On white vinyl.
File Under: Techno, Industrial, Experimental, Pan
Adrian Corker: Raise (Village Green) LP/CD
With a background in electronic music, experimenting with samplers and varied live instruments during the ’90s, Adrian Corker also developed a parallel career developing film scores. Interested in the way changes in different spaces affected the recordings and performances, Corker chose to record in numerous locations from his local pub to Valgeir Sigurðsson’s legendary Greenhouse Studios in Iceland. Raise combines tranquil moments of expansive beauty, gentle piano and subtle strings and synths with surges of ominous force, resulting in a work that is replete with emotion, curiosity, and humanity. For fans of Nico Muhly, Ben Frost, Stars Of The Lid, Winged Victory Of The Sullen, and Fennesz. Features performances from The Elysian Quartet, Lucy Railton, and members of The Portico Quartet.
File Under: Ambient, Neoclassical, Iceland
J Dilla: Diamonds & Ice (Pay Jay) LP
“The estate of James Yancey revived J Dilla’s PayJay Productions as a functioning imprint and announced its release of Dilla’s long lost vocal album, The Diary, with the first Pay Jay single ‘Anthem’ b/w ‘Trucks.’ Pay Jay now announces the second single from The Diary with what might be the two best known tracks from the album, as both were issued in bootleg and promotional forms over the years. But these versions — both final and alternate mixes — come straight from mixed-down masters that Dilla himself created. ‘The Shining Pt. 1,’ better known as ‘Diamonds’ was produced by Virginia’s Nottz. ‘The Shining Pt. 2,’ better known as ‘Ice’ was produced by Dilla’s Jaylib collaborator Madlib. This section deserves particular note, as the album version and ‘Ruff Draft’ version are so markedly different — and show the musical direction that Dilla would embark upon after he shelved The Diary in 2002. Rounding out this 12′ is a Madlib instrumental that was never turned into the final song, titled ‘The D,’ that Dilla had hoped to create. We’ve included this beat as a hint of what could have been. The first press of this 12′ features clear vinyl atop an original Jeff Jank sleeve with art by B+ and Shepard Fairey and placed in a thick, fold-over plastic sleeve. Subsequent runs will not have the clear vinyl or the fold-over plastic sleeve.”
Expo’ 70/Plankton Wat: split (Debacle) LP
Orchestrated by Debacle Records proprietor Sam Melancon, this split 12” between Portland’s Dewey Mahood, aka Plankton Wat, and Justin Wright, aka Expo ‘70, was opportune to say the least – he caught an interview with Mahood, who expressed interest in working with Wright, in the abstract, and stepped things up by putting the two in touch. Wright now performs in a touring trio and the recent shift in Mahood’s direction, since leaving Eternal Tapestry and settling into the stylistic direction of his Mirror Lake EP for Sound of Cobra, makes the timing of the collaboration even more appropriate, coming at a crux point for both projects. In execution, the two sides of the split acquire distinct characters; Wright’s work darker than Mahood’s organic compositions, despite any sense that pairing the two would yield overt similarities. Wright moves forward on loops, blistering drones, here and there a cascade of synths, while Mahood sets a less rigorous pace and offsets it initially with psychedelic eddies, plucked strings that reverberate through open space ricocheting off the edges of more densely packed drones. A more charged place to locate the meat of their collaboration, Mahood’s explicit nostalgia acts as an oblique interrogation of agency in Wright’s introspection. Though the body of his songs are very different from Wright’s work, the two sections hinge effectively on Mahood’s first piece, “Metamorphosis;” an unintended bridge, before he immerses himself more fully in the depths of British folk rock. Together, the split reveals the substantial, dynamic energy that both men build into their music. Expo ‘70 continues to prepare new collaborations, while Mahood is preparing a new album, Drifter’s Temple, with Thrill Jockey — to be released September 17th.
Facit: Mat at Duvorna (Cititrax) 12”
“Facit is the brainchild of Joakim Karlsson hailing from Gothenburg, Sweden, who also released under Jocke & Elliot back in 2010. Featuring both Karlsson and the lovely Mai Nestor on vocals, Facit is quintessential melancholic Swedish wave at its finest. Exquisitely produced, the EP is a minimal synth wave gem, drawing some inspiration from French Chanson as well. Mat Åt Duvorna is pressed on 160 gram milky clear vinyl, the first 300 copies feature a black haze on the vinyl. The total run of this release is limited to 999 copies.
M. Geddes Gengras: Collected Works 1: Moog Years (Umor Rex) LP
*Initial copies on red vinyl.*M. Geddes Gengras has contributed to many projects and explored various genres and instruments in his music career. However, when it comes to making solo music, his main instruments are the Moog synthesizer and modular synths. “Collected Works Vol 1” is a gorgeous ambient album with melodic sequences filled with breeze and colorful atmospheres. M. Geddes Gengras has been part of Sun Araw, Robedoor, LA Vampires and Pocahaunted. He collaborated with The Congos and Sun Araw on the acclaimed record “Icon Give Thank” FRKWYS Vol. 9. He recently went on tour with Akron/Family as both an opener and a member of the group. His group and solo works have appeared on RVNG Intl., Important, Not Not Fun, Holy Mountain, Woodsist, Stunned, HoloDeck, and Digitalis. Vinyl LP limited edition of 450 copies. Printed on uncoated jackets, insert, black inner sleeves and download coupon.
Neil Michael Hagerty & The Howling Hex: The Hildred Tapes (Golden Lab) 3LP
To source the material for Neil Michael Hagerty & The Howling Hex’s Hildreth Tapes, Golden Lab approached Matt Valentine (Tower Recordings/MV & EE) as he was both a big Neil fan and had the key to the “Tapers Pit” city. He got back to us right away and told us he was on it and, within about a week, he’d mailed us a data CD with a note marked, “Howdy Nick, here’s a whole lotta booty. You GOTTA credit Jim Hildreth.” There were seven performances on the disc captured from six shows and over eight hours of material. Hildreth, we learned, is a notorious NYC taper who’s turned up to practically every weirdo show in town armed with a pair of binaural mics and a digital recording device, and, after Matt put out the appeal, he’d replied to say he had these shows recorded from over a 10-year period, most of the shit being from the first half of the ’00s with the exception of one show recorded in 2010, and was more than happy to donate them. We took a listen. Sound quality-wise, the stuff varied as mics were placed in different spots at each show so there was no real consistency there, but what did come through were the performances. Long, drawn-out solos with intensely applied wah from 2001/2002… relentless, insanely extended repetitions of All-Night Fox riffs from 2005… cabaret-style medleys with paradoxically slapdash precision from 2010. All incredible and, on top of all that, ready-themed by the fact of its source: these were The Hildreth Tapes. Golden Lab set about the lengthy process of mastering it in a tiny flat in South Manchester in the winter of 2012. The result is this 3LP set, which features typically gorgeous, gatefold artwork by the venerable Lucy Jones. The sound quality has been homogenized to the best of their capability to give smoothness of flow to the sequencing (the label decided not to present the material in chronological order, rather in order of vibe — this is just what felt right) and the required kick-up-the-arse where mic placement had failed to do so. And they think they have managed to get it sounding pretty sweet. Finally, Jim Hildreth gets some credit for his years of efforts in the name of preservation.
Steve Hauschildt: S/H (Editions Mego) 2CD
S/H is an anthology of rare and unreleased solo works by former Emeralds member Steve Hauschildt. Handpicked from eight years of home recordings, S/H is an archival work which delves into the inner workings of both his own music and his contribution to Emeralds’ sound. Much of Steve’s work has lay dormant for many years, but S/H gives the listener a personal tour of his canon from 2005-2012. Steve’s music was initially born out of the mid-2000s Midwestern noise scene. But instead of creating harsh noise, he reconfigured and reappropriated techniques from the Berlin School, drone, new age and other forms of electronic music to create something wholly his own. This two disc set ranges from short electronic sketches to full-blown synthesizer suites. Most of this material is unreleased, with a few essential rarities that appeared on cassette and CD-r releases for such imprints as Mike Pollard’s Arbor, Chris Madak’s Deception Island and Hauschildt’s now-defunct label, Gneiss Things.
Helm: Silencer (Pan) LP
Eldritch electro-acoustic explorer and uncompromising sound artist Luke Younger aka Helm presents his first new material since his Impossible Symmetry (PAN 027LP) album. Issued as a split release between PAN and his own Alter label, Silencer documents four studio actions conducted in the wake of his renowned LP, charting the alchemical relationships between base, stripped-down rhythms, cruddy electronics, and acousmatic source material manipulated on cassette tapes. Features foghorn brass from John Hannon of Liberez and metallic scrape from Tom James Scott. On clear vinyl.
Hills: Master Sleeps (Rocket) LP
Hills are a three-piece band based in Gothenburg and Master Sleeps was their immediately sold-out second album, originally released on a small Swedish label in 2011. Rocket are proud to present a re-release of this great psych classic, with stunning new sleeve artwork. Master Sleeps draws its inspiration from some of the great bands of the late ’60s and early ’70s like Can, Amon Düül, and A.R. & Machines. Also you can hear the influence of native Swedish legends like International Harvester, Pärson Sound, and Trad Gras Och Stenar. But unlike a lot of the current over-saturated scene of psych bands that mine their ’60s and ’70s record collections, Hills manage to sound contemporary and relevant in 2013. They are currently putting the finishing touches to their third album which will be released by Rocket in 2014, so this reissue of Master Sleeps is a nice taster of what to expect from the next installment from this great band. Includes download code.
Holden: The Inheritors (Border Community) 3LP
The Inheritors is the eagerly-awaited follow-up to James Holden’s rightfully-acclaimed The Idiots Are Winning, a milestone from 2006. This is a whole new world and complete mythology in album form, which stretches way beyond the traditional confines of dance music. Holden has woven a rich aural tapestry that treads a singular path: nobody is making electronic music as explorative as what is found within The Inheritors. Bold, epic, and psychedelic, striking a delicate balance between weighty tome and transformative trip, and with a production aesthetic that is all his own, Holden is certain that this is the album that he always wanted to make. The Inheritors fully immerses you in a timeless space with abundant hidden depths.
Bill Holt: Dreamies: Auralgraphic Entertainment (Out-Sider) LP
Dreamies is ranked #37 on MOJO magazine’s 2005 list of the “Top 50 Most Out-There Albums of All Time” (a list that includes The Beatles, Pink Floyd, Jimi Hendrix, The Velvet Underground, and Miles Davis). This unique album by Bill Holt, first released in 1974, sounded way ahead of its time and became an international cult classic in the following decades. A perfect example of what was called “head music” at the time, Dreamies consists of two large suites full of Lennon-esque vocals, sound collages, early electronics and proto-sampling. The perfect marriage between psychedelia, pop, and experimental sounds. Remastered sound, original artwork, repro of the rare original insert.
Ariel Kalma: Osmose (Black Sweat) LP
An amazing Krautrock / nature hybrid masterwork. Warm washes of synthesizer, tribal war drums and drones galore all mixed with the sounds of the rainforest, crickets, frogs, even flies – Osmose was originally released in 1978 and found minimalist composer Ariel Kalma using all manner of keyboards, saxophone, harmonium, delays, effects, even circular breathing, to compose gorgeously minimal, softly spacey slow drifting ambient soundscapes, which were then mixed with the sounds of the rainforest (recorded by Richard Tinti). It’s a single LP reissue of the double album of 1978.
Kvartetten Som Sprangde: Kattvals (Subliminal Sound) LP
Subliminal Sounds presents the band Kvartetten Som Sprängde(trans. “The Quartet That Blasted”) and their album Kattvals (trans. “Cat Waltz”). First-ever vinyl reissue of one of the most sought-after and beautiful psych rock/progressive/pre-jazz rock instrumental albums ever recorded in Sweden. Originally released during the summer 1973 on the obscure Gump label. Powered by a C-3 organ, Ludwig kit and 50-watt Marshall head with a home-built cabinet, the skilled three-piece band (not a quartet, as the band name would have you believe) absolutely soars on this record, blasting away fantastically. The delicate use of the studio echo-chamber lends a magical, gossamer reverb to the whole album’s sound. Includes a 4-page insert with lots of never-before-published photos and extensive liner notes by Reine Fiske (Dungen, The Amazing, etc.). Limited edition of 500 copies.
Lawrence: Films & Windows (Dial) LP
Almost a decade after his last Dial Records album, after an enormous amount of releases on labels like Pampa, Mule Musiq, Ghostly International, Kompakt, Styrax, and many more, Lawrence continues with a wonderful selection of extraterrestrial dance music: Films & Windows. From the first sparkle to the last whisper, this album is dedicated to “Angels at Night.” As the album title suggests, Lawrence as a cineaste and voyeur is inspired by an endless number of screened movies and real-life films — some only appearing while watching landscapes, stars and people passing by in front of a train window. While wondering at moments like this, strange ideas and colorful sounds occur inside the mind of the musician. The ideal approach would be to transfer these ideas into music without any norms or rules — but there is the club and it was always there. So no matter whereFilms & Windows started, it should always arrive at the dancefloor with frenzied people and other addicts of the outer-world’s soul. For over 20 years, clubs and nights out at places such as the Front, the ’90s WMF, Golden Pudel Club, Click, Sud Electronic, Panorama Bar, Robert Johnson, Smallville, Yellow, Precious Hall, etc., have been at the center of Lawrence’s universe. House music, techno, alien-funk, the unheard, the unseen — it is all magic everywhere.
Master Plan Inc.: s/t (Jazzman) LP
A whole album of previously-unreleased soul and funk gems from Master Plan Inc., recorded 1973-1984. All serious record collectors agree that finding rare records can be a difficult, time-consuming and often expensive business. Finding previously-unknown records takes this challenge to another level; another step further and you’re into the realm of lost master tapes, acetates and demos in record company archives — take one step further still and you’ve just stepped into a black hole: the mysterious, unknown world of private recordings made by individual musicians, never before circulated beyond the four walls of their studio or home. Such is the case with Master Plan Inc., a band from Chicago led by Fred Shorts. With just one single to their name — an uber-rarity rated at over $2,000 — nobody had any idea that within the confines of a studio archive and Shorts’ private residence there would be a wealth of other recordings on acetate, reel-to-reel tape and cassette. Despite Jazzman’s 24/7 commitment to search for such material, such a find is very rare indeed, coming up only once every few years. Yet what marks this as so special is that only when these soulful treasures had been fully excavated did it come to light that the quality of the music would make for a complete album of astonishingly high quality — most albums have one or two gems padded out with filler, but here we have the real deal — gem after gem after gem. And all previously-unreleased! If you’re into modern soul, ’70s funk, smooth mid-tempo crossover dancers or high-energy funk blasts, you’re in for a treat. CD comes with a 16-page booklet with liner notes and previously-unpublished photographs.
Sean McCann: Music for Private Ensemble (Recital) LP
Music For Private Ensemble is Sean McCann’s first new solo album since 2011’s The Capital. Demonstrating a more serious study of orchestration and timbre than his previous work; it is a big step forward. The four arrangements presented here shy away from the use of synthesizers and effects processing – instead relying on voicing and movement to actuate the album’s sentiments. Inspired by the grandiosity of John Adams, the concerned somberness of Gavin Bryars, and the guttural tape work of Fluxus artists. Private Ensemble was written, recorded, and laboriously edited over the course of 17 months, composed both traditionally as well as through the clustering and organization of improvisations. McCann played violin, viola, cello, flute, piano, glockenspiel, and percussion. He was forced to notate samples of bassoon, french horn, and timpani, as those were not available resources at the time. Taking multi-tracking to extremes, many of the pieces surpass 100 layers of instruments. However this structural depth does not lead to chaos; no sound on Private Ensemble is unintentional. The objective with the ambitious multi-tracking and precision editing was to achieve the sound of a full orchestra. The only other person appearing on the album is vocalist Kayla Cohen (Itasca), her layered singing is formed into a small choir to help conclude the record. This album reveals McCann’s most refined work to date, indicating the beginning of his transformation into a modern composer.
File Under: Ambient, Neoclassical
McKay: A New Light Shines (Guerssen) LP
Ray “McKay” Pierle started recording his own songs in 1974 and in 1977 he released his first album, Into You, which is one of the finest West Coast/rural-rock private pressings ever. A New Light Shines collects previously-unreleased tracks recorded at home between 1974 and 1979. The overall sound here is more psychedelic, raw and loose than what you can hear on his other albums,Into You and Take Two, but you can expect the same kind of laid-back sound, top-level songwriting, Neil Young-esque vocals and outlaw guitars. An exciting find for any lover of West Coast/psychedelia/rural-rock/obscure U.S. private press sounds. Master tape sound, liner notes, and insert with lyrics.
Moderat: II (Mute) LP
Limited deluxe 2LP coloured edition. Moderat are Apparat (Sascha Ring) and Modeselektor (Gernot Bronsert and Sebastian Szary). Seducers and hooligans, ponderers and party monsters. They leave no page unturned in their electronic and analogue lives. On one side, there is the thoughtful sound tinkerer and pop poet, and on the other, the techno b-boys. Both acts represent the Berlin electronic scene from the other side of the straight bass drum. Modeselektor are grand masters of subterranean bass and electrifying breakbeats. Apparat is the purveyor of sophisticated electronic pop music. The refusal to be satisfied with what is available forms the bond of an artistic friendship that has lasted more then a decade. “We have known each other for 12 years now, and during that time we haven’t really changed that much: We are still three guys mostly talking about hihats and tape machines while hanging out in the studio. Moderat as a fusion of Modeselektor and Apparat is a mutual path that hasn’t been and will never been easy. Well, it’s simply more than “just” making music together. It is, again and again, an experiment of exploring our similarities and differences and to interlace them to something new and exciting. After spending 6 quite intense months in the studio we just finished our 2nd album. It‘s simply called ‘Moderat II’ and we aged about 10 years while making it but we think it was worth the trouble. Not seeing any sunshine or daylight for a long time, we can‘t wait to go on tour in august and play the new stuff live. We are happy to share MODERAT “II” with you!” – Gernot, Szary & Sascha
Mum: Smilewound (Morr) LP
You don’t need to be Freud to regard teeth as a delicate issue. They can make joy look joyous and pain look painful, and on the cover of the new múm album they do both at the same time. Smilewound is another example of the band’s art of juxtaposing two conflicting meanings and taking advantage of the energy created through the tension between both. Sparser in sound than many of its predecessors, Smilewound is an airy, relaxed record. The múm core duo of Örvar and Gunni doesn’t make you laugh out loud (except maybe for the quirky vintage arcade-sound-start of “When Girls Collide”), but it will make you smile often — despite the heavenly voices singing about violence in one form or another in most songs. Musically, múm’s capability to build playful electronic sound-ornaments around simple melodies is in full bloom. And these days they know that trimming the ornamentation can strengthen the melody. Take “The Colorful Stabwound”: an aguish drum ‘n’ bass piece and Smilewound gets close to a straight pop-song. Even that isn’t very close, but it combines its rhythmic strength with a simple yet effective piano-line and the soothing lushness of a female voice to something compelling that follows you like the smell of a delicate eau de toilette. Or “Candlestick,” which started out as a little ditty strummed on an acoustic guitar many years ago and has grown into this bouncy piece of synth-pop that changes its musical colors every couple of beats until you feel comfortably dizzy. Perfect pop in very fancy clothes. No wonder that antipodean pop-princess Kylie Minogue wanted to collaborate with múm on “Whistle,” the main song in 2012 movie Jack & Diane. Recorded in, among other places, the band’s practice space, an old Baltic farmhouse and on the kitchen table after dinner, the album was produced by múm themselves. And being the revolving collective they are, it comes as no surprise that we see the return of former member Gyda. Defining satellites as part of the core fits nicely with the band’s penchant for ambivalence — in fact, that’s part of the album’s charm.
File Under: Electronic, Pop,
Nadja & Vampillia: The Perfect World (Important) LP
“Staggering collaboration between Nadja and Vampillia. The Primitive World originally saw release in Japan to coincide with Nadja’s first Japanese tour in early 2012. The collaborative album combined Nadja’s wall of guitars with Vampillia’s operatic vocals and classical instrumentation to make a weird hybrid of doom and neo-classical music. This version of the release for Important Records features a new song, ‘Avalanche,’ and brand new mixes of the original tracks.”
File Under: Nadja, Adrian Baker, Doom, Neoclassical
New Creation: Troubled (Companion) LP
“We are thrilled to present the first vinyl reissue of Troubled. Originally pressed in 1970, this extraordinary garage demo barely made it outside of its hometown of Vancouver, British Columbia. We hope this vinyl edition will reach folks who were allergic to checking it out in CD form. For the LP, 500 exact repro copies were pressed at RTI with heavy, textured jackets produced by Stoughton. Just like the original these were printed by letterpress. ‘The New Creation is amongst my favorites, the sincerity and verve in the performances remain fresh to the ear and heart thirty years later. Every track here is a magical doorway into a time when liberal thinking was ascendant, minds were expanding, music was filled with new ideas, and the kids were ready to fly as soon as they mastered a few guitar chords. The opening sound collage here may as well have been titled “Food for Thought,” seems like every issue and idea except the kitchen sink is expressed. Each track on this LP is a potential personal fave, from the VU stylin’ “Sodom & Gomorrah” to the achingly beautiful “Wind.” Spiritual Revolution, “That irresistible Man from Galilee is quite upsetting the show!”…”Here in the 20th century, fantastic times with God!” Indeed. Circular melodies, terrific melodic garage band atmosphere — this is a special experience, and one that gets better with every play. Long live the New Creation!’ — Paul Major, vinyl archaeologist, co-editor of Enjoy the Experience.”
Bill Orcutt: A History of Every One (Editions Mego) LP
A History of Every One by Bill Orcutt is an album of songs: minstrel songs, holiday songs, hymns, marches, cowboy songs, Disney songs, work songs, Delta blues. The original tunes themselves are nothing special, well known, but not particularly well-regarded. Most would be filler on a mid-’60s Doris Day or Burl Ives LP. What Orcutt does with them however is remarkable: expanding upon techniques developed on 2011’s How the Thing Sings (EMEGO 128CD/LP) and incorporating ideas forged since his recording of “The Star Spangled Banner” during his 2012 tour, Orcutt interrogates the apparent banality of his material, subjecting it to discontinuity, disjuncture and a fractured repetition that is disturbing and revelatory. Titled after a line from Gertrude Stein’s The Making of Americans and inspired by the scholarship of Elijah Wald and Eric Lott, A History of Every One is a bold re-writing of an important historical thread, an interpretation of a lost text and a bewildering extension upon Orcutt’s already singular language.
File Under: Guitar, Avant Blues, Harry Pussy
Parson Sound: s/t (Subliminal Sounds) 3LP Box
2013 repress. Deluxe triple LP box set. A spectacular archival package of primitive drone and minimalist rock/trance/psych from the Swedish underground — believe the hype as follows; one of the most memorable audio documents ever. After years of research, Subliminal Sounds is proud to present the nucleus of the Swedish 1960s-’70s underground psych rock scene: the legendary Pärson Sound. This deluxe 3LP box set presents the most remarkable Swedish underground band, known in a later incarnation and continuation asInternational Harvester and Träd, Gräs och Stenar (trans. “Trees, Grass and Stones”), and features both intricate studio recordings and orgiastic live performances. Pärson Sound never released any records in their time and that is why very few have heard about them at all. The recordings date from 1967-1968 while the band explored unknown musical territory as well as inner- and outer space. In 1968, they were invited by Andy Warhol to play at the opening of his exhibition: “Screens, Films, Boxes, Clouds and a Book” at the Museum of Modern Art in Stockholm and they also opened for The Doors. Influenced by the musical concepts of Terry Riley, Pärson Sound worked at discovering and perfecting their own unique approach towards the mixing of rock and minimalism, creating some of the most remarkable psych- trance-drone-pre-noise music-rock sounds ever recorded. Pärson Sound’s music described contexts, interplay and organic growth and shaped a conception of the world in opposition to fragmentation, individual achievements and intellectual construction. This world was to be perceived as one body, a whole of inviolable parts. Their minimalist repetition with slight changes renders associations with slow growth, cyclic process, breathing, pulse, life, movement and machines. This persistent repetition also gives the listener an opportunity to discover the sounds, to meditate, to go into the music and join the same journey. Many times, one can discover a relationship with music of other cultures, and in comparison, the music of the Western world can feel cursory, unreliable — as a fear of entering deep into feeling. Pärson Sound’s compositions often consist of harsh structures — rhythm patterns with ostinato bass, a melodic figure which forms a base for improvisation. Other songs have a more thoroughly-elaborated structure that still leaves room for variation. The moment, the audience, the location formed their music. Their key phrase was “We, Here and Now!” and with time, the music came to have an increasingly religious or shamanistic streak, with more intensity, presence and warmth, striving for euphoria and ecstasy. The band’s psychedelic approach is so fresh and vital that it transcends time. Listen to it now! A 3LP with informative, revised liner notes in English and lots of photos.
Duane Pitre: Bridges (Important) LP
“Duane Pitre’s Bridges, features two pieces taken from a suite of analogous compositions by the same name, and was composed by Pitre in 2012. The two pieces that comprise the album are meant to work together in sequence as a composite work; or they can be isolated and listened to on their own. The title derives its name from the original concept for this work, which was to bring together aspects of traditional Eastern music (such as compositional form and tuning) with Western musical traditions (such as in the church music of the Middle Ages and modern classical music). The result is an album that merges the ancient with the new, while creating a sound that is wholly its own.”
Pye Corner Audio: Conical Space (Dekorder) 12”
Here’s the first part in Dekorder’s brand new series of highly limited Hybrid-Vinyl 12″ releases to celebrate the 10 year anniversary of the label. Future contributions will feature new & exclusive recordings by Leyland Kirby, Excepter, Sonic Boom, Bill Kouligas, Vindicatrix, Kemiallysät Ystävät, Ensemble Economique, Alien Radio, Black To Comm and a few lovely surprises to be revealed in the 2nd half of the year. Hybrid-Vinyl is a newly devised combination of a Picture-Disc and a regular vinyl release. The audio will be cut into the black vinyl side to utilise the superior audio quality of classic vinyl (compared to the often weaker sounding picture disc pressings). Pye Corner Audio appeared in the public eye around 2010 with a bunch of low-profile bandcamp releases and was discovered by a larger audience in 2012 with albums on Ghost Box and Type Records. Inspired by the BBC Radiophonic Workshop, Library Music, film soundtracks, Psychedelia and Techno PCA presented his very own hazy and intrinsically haunting version of electronic music. This new 12″ shows yet another slightly different facet, channeling Detroit Techno & Krautrock influences through a very British Ghost Box filter with two wonderfully tense tracks, especially on the 12-minute climactic “Conical Space” (one of the best PCA tracks out there so far).
Rainforest Spiritual Enslavement: Water Rose Above The Head (Bed of Nails) LP
Rainforest Spiritual Enslavement manifests on the Bed Of Nails compound with thrumming, sub-heavy techno and ambient incursions. “These Spirits Are Thought to Live Far Out at Sea and Are Usually Malevolent” clocks in at almost a quarter of an hour and is sunk deep with an aquatic 4/4 variant that recalls classic Chain Reaction: Porter Ricks, Vainqueur, Fluxion, albeit built within the framework of the Hospital/BoN aesthetic — sporadic field recorded flourishes, found sounds and un-placeable percussion. “They Shoot Men with Flying Fish and Travel in Waterspouts or on Rainbows” offers a 10-minute set for the private afterhours; opening with an impossibly deep bass throb before dipping into a cornucopia of fake plastic ambience, a world where mechanical macaques and Chris Watson’s weather recordings coalesce into a low-end mass that’s somewhere between Kode9’s Sine of the Dub and FSOL’s Lifeforms — an intriguing subversion of new age signifiers built to soundtrack a Ballard short set in a 2060 Berghain.
File Under: Ambient, Techno, Chain Reaction, Field Recordings
Ryuichi Sakamoto & Taylor Deupree: Disappearance (12k) CD
“Isolation, solitude, contemplation. These are the themes that discreetly weave their way through Disappearance, the first collaboration album between 12k’s Taylor Deupree and pioneering electronic composer and pianist Ryuichi Sakamoto. The five tracks that make up Disappearance are delicate and composed, however, they’re not all peacefulness and placidity. Micro-tuned edges, bursts of noise, percussive prepared piano and the warble of old reel-to-reel tape keep the mood grounded and warm, turning it inward and asking the listener to reflect on their path. ‘Curl to Me,’ the album’s final piece, is highlighted by the sounds of Ichiko Aoba, a major up-and-coming singer/songwriter from Tokyo. Both Sakamoto and Deupree have recently worked with Aoba in Japan and wanted her presence felt on the album. Emphasizing the solitude and stillness of the recordings, Aoba provided both her voice and the almost disturbingly intimate sound of her own heartbeat. Disappearance is a soundtrack for holding breaths. Sakamoto and Deupree lay down worn roads, but don’t leave signs, for a journey woven together by the quiet celebration of the fragility of nature and life.”
Seirom: 1973 (Aurora Borealis) LP
180 gram double LP version, limited to 300 copies. Aurora Borealis is very proud to announce the release of 1973, a double album from Seirom. Seirom has crafted a beautiful, stark, atmospheric, sometimes unsettling record on par with the likes of Tim Hecker, Fennesz, GAS, Thomas Köner, Murcof and Sunn O))). Seirom is about “beauty” and melancholy — the more beautiful aspects of life. Seirom is about personal expression without boundaries, internal or external. Seirom is about grand, bombastic melody filtered through noise and black metal aesthetics. The marriage of wedding bells to blastbeats. Seirom is M.C. De Jong, mastermind of Gnaw Their Tongues, Aderlating and others, a stalwart of bleak and desolate music for many years. Seirom sees a different side of De Jong’s musical output, an outpouring of glorious light spread across two LPs.
File Under: Doom, Drone, Ambient
Shindig! #34 Magazine
“Harry Nilsson: The Great American pop architect who wowed The Beatles, shaped The Monkees and crashed and burned; Gene Clark: Two Sides To Every Story — hippie canyon rock the year punk broke; Morgen: The story behind 1969’s heavy psych motherlode; Stackridge: The Beatles on cider or The Mothers Of Invention go prog?; The Steppes: Cult quartet who bucked the trend during the ’80s garage revival. Plus: Thee Mighty Caesars, Captain Beefheart, Swamp Dogg, The Combustibles, Fifty Foot Hose, Elton John, Dead Meadow and much more.”
Trentemoller: Lost (In My Room) LP
In My Room presents Lost, the third full-length venture from Anders Trentemøller. Lost, much like its predecessor Into the Great Wide Yonder, serves not only as a logical continuation of his work, but also as yet another fuck you to whatever genre you thought you had him boxed into. The Trentemøller sound is definitely left intact, yet as a whole it really doesn’t sound like anything he’s ever produced before. Differing from Into the Great Wide Yonder, which was a rather bold cinematic landscape, Lost is definitely a far more streamlined affair and way more “song structured.” It’s the kind of record one can only produce after endless months of studio isolation. Danish musician, live performer, producer, remixer and DJ and Anders Trentemøller has risen to the heights of international success usually only connected with artists in more mainstream, pop realms. His outstanding skills and talent for heart-wrenching melodic moments, fused with his trademark sound, have helped him gain fans across the globe, and blur the boundaries between cutting-edge, underground quality and mass appreciation. The 12 songs on Lost mark yet another big step forward in Trentemøller’s career. That trademark haunting feeling that defined both The Last Resort and Into the Great Wide Yonder hasn’t been neglected on Lost. It’s just been redefined and made way more ferocious, the signature glitchy bass being replaced by sub woofer frequencies far more pounding. Trentemøller has managed to bring on-board a whole rake of fantastic peers, personal influences and sprouting talent in the form of guest appearances by Johnny Pierce (of The Drums), legendary slow-core pioneers Low, Jana Hunter (of Lower Dens), Marie Fisker, Ghost Society, Kazu Makino (of Blonde Redhead) and Sune Wagner (of The Raveonettes).
File Under: Electronic, Techno
Unicorn Hard-on: Weird Universe (Spectrum Spool) LP
Valerie Martino’s Unicorn Hard-On project has been a long-running staple in the American underground since its inception in 2003. Through her own Tangled Hares imprint, as well as many others, she’s built a strong, constantly evolving catalog of singular works that serves to many as a prototype of the current beat-oriented phenomena currently sweeping the nation. Martino’s vision, however, remains unphased and flourishes accordingly to her own unique vision; standing outside of any trends and remaining loyal to the Unicorn Hard-On sound. Despite constant touring, releasing music, booking shows and occupying various cities throughout the U.S. over the last 10 years, there has been no full-length Unicorn Hard-On LP until now. Weird Universe delivers on all fronts, encompassing all styles of the projects past and present to create a cohesive and definitive debut album. The album pounds with Martino’s signature drum thud and percussive clatter, filing in the crevices with her signature electronic static and keen melodic phrasing. The album’s opening track, “Rock Salt,” kicks in the door and unwinds itself into spiraling mania of ramping bass tones with only a steady rhythm keeping it from going off the rails completely. Many of Unicorn Hard-On’s classic elements remain intact, with a wide array of bizarre modulations and deeply layered subconscious structures. Versatility and evolution are exhibited in tracks like “Houndstooth” or “Wet Pet,” which play out like an extraterrestrial Rachmad cut, or perhaps like a classic Psyche-styled Craig track with hypnotic, time-altering melodic patterns and impeccably calculated rhythm programming. All comparisons aside, this record thrives in its own Weird Universe, making this a thrilling debut album 10 years in the works.
Velvet Underground: Sweet Sister Ray
(No Label) LP
Some kind of rare mysterious boot we stumbled across. 2LP. 1st LP black vinyl. 2nd LP Brown vinyl.
File Under: VU, Psych, Bootlegs
Nate Young: Regression Vol 3 (Other Days) (Demdike Stare) LP
Avowed Nate Young fiends Demdike Stare have trapped the Wolf Eyes lynchpin’s stunning third Regression volume for a necessary vinyl edition on their eponymous label. Other Days represents Young’s most labyrinthine incursion into the nether zone between waking life and nightmarish, cryptographic noise. The recordings stem from an exhibition of lathe-cut etchings and paintings by Young and his wife, Alivia Zivich, installed at Tokyo’s Haus Gallery. The process involved designing original images for 22 8″ x 8″ pieces of acrylic, which in turn inspired 22 audio compositions which were then lathe-cut into the acrylic. The process of lathe-cutting transformed the audio itself, and vice-versa with the original images, resulting in a constant mutation between sound and image with no end in sight. The process ended abruptly, with Young and Zivich surrendering to rest or sleep. In key with the rest of the series, Regression Vol. 3 (Other Days) irreversibly ruptures or at least corrupts the liminal boundaries of its infected victims with Lynch-ian aptitude. Dragged down to Young’s beta pitch we become petrified, sleep-paralyzed witnesses to possessed hallucinations. His drums and tape-stretched drones land in time-dilating polymetric patterns, again uncannily recalling the timbre of vintage Photek drums — struck objects, metallic gongs and loose-skinned bass — only strung-out like the sounds of morphine-dosed poltergeist and caterwauling harpies. We could say the secret lies in his sense of deferred anticipation, but then it wouldn’t be a secret, yet there’s something so ill and unquantifiable about his sense of timing that’s just dangerously affective.
Various: Afrobeat Airways 2: Return Flight to Ghana (Analog Africa) CD
From the coastal cities of Accra and Cape Coast, basked in a tropical sound heavily influenced by highlife, to the semi-Saharan cities of Tamalé and Bolgatanga (part of a self-proclaimed “Islamic Funk Belt”) via the central city of Kumasi, Analog Africa has criss-crossed Ghana in search of rare tracks for the Afrobeat Airways series. Following the success of the first installment in 2009, Analog Africa is proud to present the second volume — a selection of 13 ultra-rare tracks composed by some of the musical giants who had created a movement that rocked the West African nation throughout the ’70s: legendary singer K. Frimpong; Nana Ampedu (leader of the mighty African Brothers Band); Gyedu-Blay Ambolley and his superb guest appearance with The Complex Sounds; Afrobeat star Ebo Taylor, backing his son on an unreleased track called “Children Don’t Cry”; the enigmatic Rob and his unique blend of twisted Afro-funk; innovative drummer De Frank; and Uppers International, with their raw, Islamic funk style. More obscure artists such as Los Issufu And His Moslems,Waza Afrika 76, and Tony Sarfo And The Funky Afrosibi make northern hemisphere debuts, adding to a rich list of Ghanaian artists whose music could be transferred seamlessly to any dancefloor in the world. Three years in the making, the accompanying 44-page booklet of Afrobeat Airways 2 features an introductory essay written by Afropop Worldwide editor Banning Eyre, exploring the development of soul, funk and Afrobeat during the ’60s and ’70s in Ghana. The remaining 30 pages are packed with interviews and biographies of the artists and producers involved in the creation of this wonderful music. Additionally, the Analog Africa team has managed to track down the photographers of the famous Modern Photo studios, located at the front of Accra’s legendary Tip Toe, a venue notorious for organizing unforgettable dance competitions, “Miss Tip Toe” contests and the most in-demand highlife and Afrobeat gigs of the day. To document what happened within the music scene in Ghana during that time, 400 negatives have been lent to the Analog Africa team. Samy Ben Redjeb selected 50 of the most expressive pictures to document what could well be Analog Africa’s most beautiful booklet to date.
Various: Fuzztones: In Fuzz We Trust (Stag-o-Lee) LP
The album you now hold in your hands is nothing short of the greatest tribute album ever recorded. Nowhere in history have as many legendary performers appeared on one record for the purpose of saluting another artist. In this case, the artist is the band that instigated the ’80s garage revival that continues today — The Fuzztones. Preaching the garage (and psych) gospel since their inception in 1980, The Fuzztones influenced countless bands worldwide with their enigmatic image, high velocity performance and personalized interpretations. Fact is, even if The Fuzztones had never written a song in their long and illustrious career, they succeeded in accomplishing something much more important, even profound… they resurrected a music style that had only existed from (roughly) 1966 to 1967, and through relentless touring and recording, kept it alive for over 33 years. Initially, the band’s mission was to introduce this long-lost music to the world, and did so by covering obscure classics, many by artists who appear on this album. “When The Beatles and Stones started out, they covered a lot of Motown and blues stuff, in an attempt to turn people on to it,” points out head Fuzztone Rudi Potrudi, “and that’s what we wanted to do as well.” The music they chose to cover was so obscure that most of their audience assumed they were originals, and the band could easily have kept it that way. Instead, Rudi joined forces with Germany’s Music Maniac label and released the album, Songs We Taught the Fuzztones, a collection of original versions of songs made famous by The Fuzztones. This record, released in 1993, turned Fuzztones fans on to the original artists, hence beginning the “purist” movement that eventually spawned the emergence of reunited ’60s garage and psych legends, as well as events such as Cavestomp, which brought them and their newfound fan base together. But The Fuzztones are much more than a cover band. Their original material bears their own distinctive sound — which owes as much to Chuck Berry, Bo Diddley, The Stooges, andThe Doors, as to the ’60s garage and psych they obviously adore. When you hear The Fuzztones, there’s no mistaking them for someone else. This album is the last of a three-part trilogy of Fuzztones tribute albums that began with Fuzztones Illegitimate Spawn 1 and its successor 2. Now we come full circle with a collection of Fuzztones classics, covered by the legendary bands that inspired The Fuzztones in the first place. Ladies and gents, the Holy Grail: In Fuzz We Trust. Artists include: Davie Allan & The Arrows, Shadows Of Knight, Sky Saxon, The Pretty Things (w/Plasticland), The Shy Guys, Gonn, The Monks, The Electric Prunes, Charlie Souza & The Tropics, Shadows Of Knight, The Vagrants, Strawberry Alarm Clock, Wallflowers, ? & The Mysterians, Davie Allan & Craig Moore, and Vanilla Fudge.
File Under: Fuzz, Garage, Psych, Tributes
Afflicted Man: I’m Off Me Ead (Permanent) LP
Big Black: Songs About Fucking (Touch & Go) LP
Captain Beefheart: Trout Mask Replica (Warner) LP
Neko Case: Middle Cyclone (Anti) LP
Nick Cave: Push The Sky Away (Bad Seeds) LP
Cluster: Sowiesoso (4 Men With Beards) LP
Cult of Dom Keller: s/t (Mannequin) LP
Debris: Static Disposal (Anophelies) LP
Django Unchained OST (Universal) LP
El-G: La Chimie (SDZ) LP
JD Emmanuel: Wizards (Important) LP
Bill Fay: Time of the Last Persecussion (4 Men With Beards) LP
Floorplan: Paradise (M-Plant) LP
Index: Black/Red/Yesterday (Lion) 2CD
Master Musicians of Bukkake: Far West (Important) LP
Medusa: First Step Beyong (Numero) LP
NeoTantrik: Innervisions (Pre-Cert) LP
Harry Partch: World of Harry Partch (Columbia) LP
Queens of the Stoneage: Rated R (Interscope) LP
Radiohead: Amnesiac (EMI) 2×10″
Savages: Silence Yourself (Matador) LP
Shadow Ring: Remains Unchanged (Kye) LP
Slint: Spiderland (Touch & Go) LP
Slits: Cut (4 Men With Beards) LP
Stark Reality: Acting, Thinking, Feeling (Now Again) 6LP Box
Superchunk: I Hate Music (Merge) LP
Kurt Vile: Childish Prodigy (Matador) LP
Kurt Vile: Smoke Ring For My Halo (Matador) LP
Various: Ecstacy of Gold Vol 1 (Semi-Automatic) LP
Various: Soul Cal (Now Again) LP
Various: Those Shocking Shaking Days (Now Again) 3LP