As expected, after last week’s deluge of new vinyl, not a lot this week. That’s alright, we’re still sifting through all the new goodies here, so I’m sure you need time to keep up too. Plus now that it’s cooled off, you’ll need some fresh wax for those evenings at home.
…..pick of the week…..
Oneohtrix Point Never: R Plus Seven (Warp) LP/CD
Under the moniker Oneohtrix Point Never, Daniel Lopatin’s debut on Warp contains many familiarities for listeners who have followed the acclaimed electronic music composer’s development over the last five years, however the new record is a major departure from previous work. Lopatin’s experimental inclinations lurk behind the scenes – in the concepts and procedures he adopts to create the tracks. R Plus Seven is disruptive and hypnotic in equal measure, and the fun of it lies in trusting Lopatin as he guides you past – and often through – a succession of walls and mirrors. “Music that gently triggers a series of images and feelings, none of which you can name and all of which seem entirely common.” – The New Yorker
File Under: Electronic, Warp, Nostalga
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…..new arrivals…..
Aesop Rock: Bazooka Tooth (Block Block Chop) 3LP
Triple vinyl reissue of New York-born, San Francisco-based rapper and producer, Aesop Rock’s fourth full-length studio album, Bazooka Tooth, on the artist’s own Block Block Chop label. Originally released in 2003 on Definitive Jux, the 15-track set features production work from Aesop Rock, Blockhead and El-P and guest appearances from the likes of Mr. Lif, El-P and 1990s Bronx hip-hop duo Camp Lo. “Bazooka Tooth, his follow-up to 2001’s Labor Days, is his second full length for the [Definitive Jux] label. While Labor Days concerns itself with the mundane tribulations of employment, Bazooka Tooth is another song cycle, bound together loosely by concepts of popular culture and urban living… The album is littered with relevant allusions to a society that’s so media saturated it has to be real. Even cosmetically, Bazooka Tooth has pushed the hip-hop concept album to uncharted waters with sonically psychedelic segues and between-track narration.” – Dominic Umile, Prefix
File Under: Hip Hop, Rap, DefJux, El-P
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Botch: We Are The Romans (Hydrahead) LP
LIMITED EDITION REPRESSING!! “We Are the Romans is a solid display of new-school metallic hardcore (or metalcore) from a band that’s not afraid to experiment. In other words, there are plenty of heavy guitars and angry, raw-throated vocals, but these more standard elements are offset by jagged math rock rhythms, a keen sense of dynamics, and some unusual-for-the-genre production techniques.” – Allmusic
File Under: Metal, Hardcore, HydraHead
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Chvrches: Bones of What You Believe (Glassnote) LP
Their digital/analogue interface recalls their ‘80s heroes Prince and Depeche Mode but they work with the era-spanning musical know-how of Kieran Hebden and the celebratory spirit of LCD Soundsystem. The twelve songs that make up The Bones Of What You Believe are linked by their humanity but Mayberry’s lyrics are abstract and strangely inspirational. “With teeth we’ve come this far, I’ll take this thing by the throat and walk away,” she sings on By The Throat: everywhere, the imagery of flesh and blood, love and hope, rub up against Doherty and Cook’s aggressive synth fills and spluttering fanfares. On You Caught The Light, Doherty takes lead vocals and Cook’s guitar is reminiscent of Simple Minds or The Cure – an indie rock yearning in an electronic world. Science And Visions (“a kind of sci-fi stalker story,” Mayberry laughs) sets her choirboy voice on a dark and ominous techno soundscape; on Lungs the sweetest melody gets an attack of crunchy bass and guitar. “That sweet and sour contrast is the key,” says Mayberry; adds Cook, “we pushed aggression in the production whenever there was sweetness in the vocal – we all gravitate towards that balance.” Above all, the album is characterised by a combination of passion and restraint, Cook and Doherty often withholding their wizardry to let the melodies speak for themselves. That subtle balance is the sound of experience – three musicians who are endlessly excited by the sound they have discovered, but clearly in it for the long hand.
File Under: Synthpop, Electropop, Electronic
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Crystal Stilts: Nature Noir (Sacred Bones) CD
Crystal Stilts first came to attention with a self-titled EP in 2005 and 2008’s Alight of Night, an early ripple in what would soon be perceived of as a wave of fuzzy, reverb laden bands memorably dubbed “Jangle-Schrammelpop” by one German reviewer. The intervening years have seen the band grow and evolve, with 2011’s robust In Love With Oblivion, and the Radiant Door EP, their debut release for Sacred Bones. Founded by vocalist Brad Hargett and guitarist JB Townsend, Crystal Stilts have since come to include Andy Adler on bass, Keegan Cooke on drums, and organist Kyle Forester. Together the five-piece have crafted the band’s latest LP, Nature Noir. Recorded in the damp spring of 2013, this newest offering finds the group expanding their palette to include strings, percussion, and synthesizers, to create a record that is both more sonically adventurous and a more personal and humane statement than their previous work. On tracks such as “Star Crawl” and “Sticks and Stones,” Hargett’s vocals have a striking clarity and soulfulness, while the musical arrangements throughout display a sophistication that may be surprising to those who previously thought of the band as “lo-fi.” Meanwhile, album opener “Spirit in Front of Me” and the ripping “Future Folklore” showcase the psychedelic grit that has long been a trademark sound.
File Under: Indie, Reverb, Psych
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Faith No More: Album of the Year (Music on Vinyl) LP
Faith No More’s 1997 release “Album of the Year” featured the talents of another new guitarist, Jon Hudson, who replaced Dean Menta (Menta only toured with the group in support of “King for a Day” before being dismissed). Like “King for a Day”, “Album” is more straightforward musically than past releases and remains one of FNM’s most focused and concise works. Recorded in bassist Billy Gould’s home studio, “Album of the Year” would turn out to be their last studio recording before splitting up in 1997. A trio of outstanding tracks — “Stripsearch,” “Last Cup of Sorrow,” and “Ashes to Ashes” — blend hard rock and pop melodicism the way only FNM can, while “Helpless” is an unpredictable composition that alternates between heavy guitar riffing and Mike Patton’s tempered vocals. The explosive album opener, “Collision,” and “Naked in Front of the Computer” show that the band can still compose prime heavy rockers, while other musical forms were included as well (the romantic ballad “She Loves Me Not,” the evil boogie of “Home Sick Home,” and the Middle Eastern sounds of “Mouth to Mouth”). For the gripping album closer, “Pristina,” the ’90s turmoil in Yugoslavia is used as a backdrop for a tale of lovers being separated due to war. Album of the Year was a fitting way for one of alt-rock’s most influential and important bands to end its career. — All Music Guide
File Under: Rock, 90s, Mike Patton
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Goldfrapp: Tales of Us (Mute) LP+CD
Goldfrapp release their stunningly beautiful new album ‘Tales Of Us’ through Mute on 10 September 2013. Their sixth album, ‘Tales Of Us’ is written and produced by band members Alison Goldfrapp and Will Gregory and was recorded at their studio in the English countryside. A sumptuous body of work, ‘Tales Of Us’ has been two years in the crafting and is their most narrative, cinematic and intimate recording so far. Nothing in their accomplished back catalogue has hinted at the new lyrical breadth that the band have introduced to ‘Tales Of Us’. All the songs bar one are named in the first person with a cast list of evocative character sketches, the contrary love affairs, the suspense, hallucinations, fairy tales and modern folklores documented and the traces of redemption they find in song take the poetry of Goldfrapp’s delicately considered music somewhere brand new.
File Under: Indie, Electronic, Synthpop
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Land of Kush: The Big Mango (Constellation) LP
Osama (Sam) Shalabi moved to Cairo in 2011, settling in an apartment one block from Tahrir Square, in the midst of Egypt’s ‘Arab Spring’. Shalabi describes The Big Mango, his new and phenomenal work for his Land Of Kush big band, as “a love letter to Cairo” framed by “the beautiful, surreal madness of the city…as joyous, horrific, historical events were unfolding.” The music was also inspired by time spent in Dakar, where in Senegal’s music scene Sam experienced parallels to another of his central aesthetic and political touchstones, Brazilian Tropicalia, in the sense of a “positivity, complexity and radicalism in art that was also playful and joyous and wasn’t necessarily part of a ‘revolution’ but seemed to be a form of innate radicalism.” In tandem with the relative openness of Dakar’s Islamic society – with the much more prominent role and presence of women in public and private life and the relaxed physicality and sensuality of the culture in general – Senegalese music offered a powerful counterpoint and feeling of promise for Egypt’s own future. The Big Mango is one of the many nicknames for Cairo, but for Shalabi it also evokes the succour and sensuality of southern hemispheric music more generally, in this relation to broader socio-political movements. Montréal remains Shalabi’s home base and the city to which he briefly returned towards the end of 2012 to reconvene the troupe of players that have helped him realize his large-scale works under the Land Of Kush moniker. Working through The Big Mango score with these local musicians culminated in two ecstatic live performances and a recording session at Montréal’s Hotel2Tango studio. This third album by Land Of Kush is arguably the group’s most focused and immediately satisfying. For Shalabi, gender and Arab culture has been a central theme, one he took up explicitly on the previous Kush album Monogamy (2011), and which similarly drives The Big Mango, where once again a series of female vocalists drawn from Montréal’s indie rock community anchor the work and convey what in most of the North African Arab world remains a profoundly unrealized though burgeoning spirit of gender equality, participation, expression and liberation. This promise is at the heart of Shalabi’s “love letter.” “Sam Shalabi has raised the bar for modern psychedelic music by composing this epic suite for his 20-piece Land of Kush orchestra. Utilizing African, Middle Eastern, Indian, jazz, rock, and folkloric sources, The Big Mango weaves a seamless montage of styles in a transcendent way that is rarely, if ever, achieved. A singular cohesive statement built around four key tracks written for four different female vocalists…it will demand your attention from start to finish.” – Alan Bishop (Sun City Girls/Sublime Frequencies)
File Under: Jazz, Ethnic
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Mississippi Fred McDowell: I Do Not Play No Rock ‘n’ Roll (4 Men With Beards) LP
“This 1969 release by the legendary Mississippi Fred McDowell was his first to feature him playing the electric guitar. Although it was somewhat controversial at the time because of this fact, it is now considered a classic. Fred sounds like he has always been plugged in, playing with fiery passion, including some great bottleneck guitar. Featuring originals by Fred including, ‘You Got to Move’ (covered by the Rolling Stones on Sticky Fingers) and ‘Kokomo Me Baby,’ and a cover of Joe Williams ‘Baby Please Don’t Go.’ This new reissue features the original nine tracks that were on the 1969 release. Pressed on 180 gram vinyl.”
File Under: Blues
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MGMT: s/t (Columbia) LP
Cosmic forces were at work when MGMT’s co-founders, Andrew Van Wyngarden and Ben Goldwasser met over ten years ago at Wesleyan University. Drawn together by a mutual love of mystic paganism, the duo signed to Columbia Records in the eve of 2006. On a mission to sprinkle the music industry with weirdness and unpredictability the band delivered their debut album Oracular Spectacular in 2008. The record garnered the band three Grammy nominations, along with numerous accolades across the globe, including landing at #18 on Rolling Stone magazine’s Top 100 albums of the decade. 2010’s Congratulations was conceived even before Oracular Spectacular’s release! The “musically adventurous” eclectic mixture of tracks may have sounded a little confusing to some, but that’s only because MGMT’s unconventional pop structures reflect the chaotic vibrations of the world – and who can realistically make sense of that? Congratulations debuted at #2 on the US Billboard 200 and #4 in the UK, going on to become one of the most talked about albums of the past decade. Now MGMT is back with their self-titled third studio album which finds Van Wyngarden and Goldwasser continuing to push themselves to expand the boundaries of modern pop music. Returning to Tarbox Road Studios to work with longtime collaborator Dave Fridmann (co-producer and mixer of Oracular Spectacular and Congratulations, The Flaming Lips, Tame Impala), the duo experimented with various in-studio writing processes, allowing the music to tell them where it wanted to go. The result is a diverse and powerful collection of 10 songs (including a cover of “Introspection” by 1960’s psych band Faine Jade) that directly mirrors the duo’s encompassing surrealist view of the everyday. Album opener “Alien Days,” has been hailed as an instant MGMT classic by fans and described by Rolling Stone as a “shimmering, psychedelic soundscape” and Spin as “a sumptuously detailed, exquisitely zonked- out space-rock construction.”
File Under: Alternative, Psych, Rock
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Phish: Junta (Jemp) 3LP
Junta is the first official full-length studio album from Phish named after the band’s first official manager Ben “Junta” Hunter.Junta was recorded at Euphoria Sound Studios in Revere, Massachusetts in 1987 and 1988 on 16-track 2″ tape and was mixed to 1/4″ stereo reels. In addition to writing and performing all the music, the band produced the album themselves. Junta was originally self-released on cassette tape in May 1989 with packaging created by the band (included in the new vinyl package). The album was remastered and rereleased as a double CD (and cassette) in October 1992. Junta was certified Platinum but, until now, has never been heard on vinyl. The vinyl release was created from the original stereo master reels with lacquers cut by Chris Bellman at Bernie Grundman Mastering. Each LP is pressed onto 180g audiophile grade vinyl and includes a free MP3 download of the entire album (transferred from the new vinyl master).
File Under: Jam Band, Psych, Prog
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Polvo: Siberia (Merge) CD
During their initial run from 1990-1998, Polvo crafted a sound so fantastically obstinate and so perfectly cockeyed that its DNA is essentially resistant to mediocrity or repetition. On Siberia, that sound feels more limber and more aerodynamic than ever. Its songs glide and bob like UFOs, both serene and unsettling. Some of that is owed to a looser approach. “Preparing for In Prism, we labored over that material pretty intensively,” explains founding guitarist Ash Bowie. “A lot of the songs on this album were not rehearsed much at all. I’d like to think this album has a few more adventurous moments.” One of those is the spiraling ‘Blues Is Loss’, which moves from a dense knot of sound – an impossible tangle of Bowie’s and Dave Brylawski’s guitars, Steve Popson’s chugging bass, and Brian Quast’s tumbling percussion – to a conclusion that clangs and peals like church bells. There are the classic-sounding moments, too, like terrifically herky-jerk album opener ‘Total Immersion’, which is grounded in surging bass and a pair of surgically focused guitar lines. An obvious point of comparison would be to Today’s Active Lifestyles, released – perhaps not coincidentally – exactly 20 years ago. Where that album thrived on a nervous, coiled energy, Siberia feels more surefooted, more poised and controlled. It’s the work of a band that’s been here before, but the experience has only made them more at ease. Siberia is a record that’s humming with confidence, the sound of a band with nothing to prove, but proving it anyway. Vinyl includes album download code.
File Under: Indie Rock, Legends
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Porcupine Tree: Recordings (Kscope) LP
Originally issued in 2001 as a limited edition release, this highly sought after compilation from the progressive rock act Porcupine Tree features six songs released on singles during the Stupid Dream (1999) and Lightbulb Sun (2000) era including “Cure for Optimism,” “Untitled,” “Disappear,” “Ambulance Chasing,” “In Formaldehyde” and “Even Less” along with a new recording of “Oceans Have No Memory,” a holdover from Lightbulb Sun in “Access Denied” and “Buying New Soul” which was recorded after the completion of Lightbulb Sun.”Six of the songs are taken from singles that were released in 1999 and 2000. Sometimes tracks don’t make it on to an album first time around not for reasons of quality (or lack of), but perhaps because they just didn’t fit onto the album, or one member of the band wasn’t happy with the track. Also perceptions can change and I think we all felt in hindsight that these six tracks deserved to be heard by a wider audience. “The remaining 3 tracks we recorded specifically for the album. ‘Oceans Have No Memory’ is a new band recording of a demo that was originally issued on the B-side of the Piano Lessons 7-inch single. ‘Access Denied’ was written and demoed for Lightbulb Sun but no one liked it except me! So I took the opportunity to re-present it to the band for inclusion on Recordings and this time they let me do it. “Finally ‘Buying New Soul’ was a song recorded during writing sessions just after Lightbulb Sun was finished. I think if it had been written a couple of months earlier it would have been included on the album. We thought about holding it back for the next album, but in the end we felt that because the next album is probably going to be moving into different musical waters it should be released now.” – Steven Wilson
File Under: Porcupine Tree, Steve Wilson
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Residual Echoes: Middle Path (Holy Mountain) LP
Two sidelong tracks, Includes digital download coupon! In the grand tradition of albums consisting of sidelong tracks, The Middle Path ranks among the best. How great is it? On the level of the latest opus by Decimus (NNCK’s Pat Murano), Tangerine Dream’s Zeit and Ash Ra Tempel’s first LP. Taking collage rock to college, band leader Adam Payne and drummer Matthew Clark present their loftiest contribution yet to the outrock canon. They let their freak flag fly high, but with a disciplined air. ‘Bush Pij / Sometimes’ starts with a bulbous, stunt-rock charge that evokes first-four-albums Black Sabbath, Thin Lizzy and the heaviest parts of Focus’s Hocus Pocus. After working the listener into a lather, Residual Echoes downshift into a bong-breaking interlude featuring Payne’s nonchalant, deep-voiced plaint: “Why does it seem so hard? / .. / Sometimes people make a fool out of me.” Such woe is swept away by headbanging passages full of torrid, florid guitar solos and the kind of explosive drumming that makes fans of Bill Ward and Keith Moon paradiddle all over themselves. Later, an ominous tolling redolent of Sonic Youth’s ‘Halloween’ conjures a beautifully haunting, desolate comedown. What a trip. But this is mere warm-up for ‘A Marriage’, the pinnacle of Residual Echoes’ career and one of 2013’s most excellent and actionpacked tracks. It begins like the greatest facsimile of ‘Hallogallo’ one has ever heard (and there have been many): motorik bliss boogie with flute gently fluctuating in the airstream, bolstered by burbling bass, gull-cry guitar and nipple gongs. Around six-and-a-half minutes in, things get incredibly anthemic in a Meat Puppets Up on the Sun way. Bonus: The guitar solo at the twelve-minute mark flares and curlicues like Wayne Rogers on the world’s best trucker speed. Near the end, a strangulated feedback concerto carries the listener bewilderedly to the runoff groove. The Middle Path turns out to be the righteous route.
File Under: Psych, Holy Mountain, Side-long Tracks
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Matana Roberts: Coin Coin Chapter 2: Mississippi Moonchile (Constellation) LP
Coin Coin Chapter Two: Mississippi Moonchile is the much-anticipated new installment of Matana Roberts’ unique and forward-looking project. Guided by an aesthetic practice she has dubbed ‘panoramic sound quilting’ (partly in homage to the literal handicraft heritage of her patrilineal line), Coin Coin finds Roberts conjuring some of the most nuanced,thoughtful and substantial American liberation music of the 21st century. Coin Coin has also been a profoundly generous and collaborative process for Roberts, who has been developing various chapters of the Coin Coin cycle with a wide range of musicians from diverse backgrounds over many years. The hugely acclaimed Chapter One: Gens de couleur libres was the culmination of two years of regular visits to Montréal and featured fifteen musicians assembled from that city’s out-jazz, experimental and avant-rock scenes. Chapter Two: Mississippi Moonchile was developed for a more intimately woven New York jazz sextet and was recorded with this group in late 2012, following several years of local and international performances of the piece with this line-up. Mississippi Moonchile takes the next leap forward in Roberts’ iconoclastic and complex project of memory and recuperation, where historical and contemporary musical tropes, fragmentary spoken and sung narratives, and Matana’s cascading alto saxophone are supported by prodigiously talented players on piano (Shoko Nagai), trumpet (Jason Palmer), double bass (Thomson Kneeland), drums (Tomas Fujiwara) and operatic tenor voice (Jeremiah Abiah). While demarcated by 18 titles and track IDs, the album presents an uninterrupted, incantatory swirl of through-composed music, where thematic structure and free improvisation are propelled in continual and fluid co-existence. While Chapter One was marked by more defined set pieces, stark juxtapositions, and the epic cacophony of a sprawlingly unconventional big band, Chapter Two unfolds as a cohesive album-length piece unto itself, channeling the drama and catharsis of Gens de couleur libres into something more measured and circumscribed, playing with notions of dignity, rarefaction and restraint. The inclusion of a male operatic singer contributes significantly to the tone and tension of Mississippi Moonchile in this respect, and operates as a fascinating foil to Roberts’ own voice, which alternates between splintered ‘wordspeak’ and deeply soulful singing. The six players are in a perpetual motion of coalescence and divergence, where melodic themes, occasional ostinato passages, and variously deployed literal voices (‘There are some things I can’t tell you about…’) serve to rally the overriding theme of individual narratives and personal expressions as struggles with, celebrations of and threads within collective history. The contortions of empowerment, pride, shame, suffering, eulogy, empathy, liberation and transcendence are Matana’s raw material in the broadest and most specific senses;she has given this raw material another beautiful and compelling shape in the second chapter of the Coin Coin story. Illustrated once again with Roberts’ own graphic scores.
File Under: Jazz, Constellation
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Unwound: Kid is Gone (Numero) 3LP
Kid Is Gone is the unquiet portrait of primal Unwound. Before 1993’s Fake Train ripped through, they’d been Giant Henry, Supertanker, and Cygnus X-1, short-lived black holes gathering dark material into something built to explode. From Justin Trosper, Vern Rumsey, and Brandt Sandeno’s first restive years, “Crab Nebula” might’ve best prepared the indie-sphere for what Unwound became, had Sandeno’s split not stalled their planned debut. Part 1 in Numero’s 4-part reissue project, Kid Is Gone documents signal chaos in Olympia’s fertile scene before Unwound’s turbulent noise hit stride, in unrevealed period photos, 34 tracks, and three LPs – cassette-only demos, early 7”s, a KAOS radio broadcast, material tracked live in a local basement, and all of what became 1994’s Unwound, on which the band’s prehistory plays out in a feral maelstrom of screaming, distortion, feedback, and abrasive promise.
File Under: Hardcore, Punk, Numero
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Weekend: Jinx (Slumberland) LP
Following up their lauded debut album Sports (2010) and the stellar EP Red (2011), Weekend bring you Jinx. The band spent most of 2012 writing, recording, and painstakingly mixing the 10 songs that comprise Jinx with longtime producing partnerMonte Vallier at his Ruminator studio. Despite the all-too-familiar time lapse of the recording and mixing process Durkan recounts the Jinx sessions as “the most trying, though rewarding, experience so far.” During this time, Weekend relocated cross-country to the already heavily saturated Brooklyn music scene. The trio had collectively grown weary of the comforts of home. Durkan states, “Feeling at home is evidence of stagnation and so I’m happy to say New York still feels alien to me.” When asked to describe the album in 3 adjectives, he said: “Volatile. Cathartic. Bittersweet. The record is a collage of inspiration and ideas from each member of the band. Shards of experiences, images, smells, sounds molded into something we can collectively call ours.” Memories and experiences have been reinterpreted and recalled into existence from haunting, beautiful places. Each song on the album charges through a polarizing emotion through an ebb and flow of sounds both ominous and soothing. From opener and first single “Mirror” through to future hit “Celebration, FL,” the mesmerizing “Sirens” and epic closer “Just Drive,” Jinx is truly the sound of a young band stretching and pushing itself, and finding something very rewarding in the results.
File Under: Post-punk, Slumberland
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Steve Wilson: Insurgentes (Kscope) LP
Acclaimed for his work with Porcupine Tree, Opeth and Anja Garbarek amongst others, Insurgentes is Steven Wilson’s debut album, originally released in 2009. Comprising ten tracks that range from ballads and anthems to all-out industrial noise assaults, the dark, cinematic and richly textured album represents two years’ worth of creative output and numerous recording sessions worldwide in studios from Mexico City to Japan and Israel. While Wilson is a member of several bands including Blackfield, No-Man and Bass Communion, he explains that “when I began writing these songs, I quickly realized that they would be best suited to an album under my own name. It was an intuitive, almost unconscious writing process that resulted in a kind of ‘poetry of melancholy.” The final product inhabits a similar experimental realm as recent albums by Thom Yorke, Portishead, and Nine Inch Nails. Wilson recruited a stellar cast of guests to work on Insurgentes including bassist Tony Levin, drummer Gavin Harrison, and pianist Jordan Rudess, alongside Japanese Koto player Michiyo Yagi, British guitarist Sand Snowman, and jazz flautist and saxophonist Theo Travis. “Adapting the strong-bone riffing and oblique-hook strategies of progressive rock and art metal into a decisively melodic melancholy, Wilson’s first solo album is among the best of his many records.” – David Fricke/Rolling Stone
File Under: Progressive Rock, Porcupine Tree
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…..restocks…..
Robbie Basho: The Seal of the Blue Lotus (4 Men With Beards) LP
Beastie Boys: Ill Communication (Capitol) LP
City & Colour: Hurry & the Harm (Dine Alone) LP
City & Colour: Little Hell (Dine Alone) LP
Dead Kennedys: Frankenchrist (Manifesto) LP
Faust: IV (Virgin) LP
Flying Lotus: Cosmogramma (Warp) LP
Iasos: Celestial Soul Portrait (Numero) LP
Mastodon: Remission (Relapse) LP
Janelle Monae: Archandroid (Bad Boy) LP
Raconteurs: Broken Boy Soldiers (Thirdman) LP
Shadowy Men on a Shadowy Planet: Savvy Show Stoppers (Mammoth Cave) LP
Justin Timberlake: 20/20 Experience (RCA) LP
Justin Timberlake: 20/20 Experience 2 (RCA) LP
Ike & Tina Turner: Soul of Ike & Tina (Wax Time) LP
Various: Nuggets (Rhino) LP
Various: El Topo OST (Real Gone Music) LP