Well, not a whole lot in this week, but I did just acquire a nice stack of used doom LPs. Someone decided that they just weren’t that angry anymore and wanted to pass that darkness on to you! Some pretty great LPs in this stack, check the list below….
…..pick of the week…..
Bo Anders Persson: Love Is Here to Stay (Subliminal Sounds) LP
This came in a couple weeks ago, but this week I’m really in love with it and you could be too! 2LP version housed in a gatefold sleeve including booklet with in-depth informative liner notes and pictures. The early works by Bo Anders Persson presented on this record were written between 1965 and 1967, before he started the experimental rock band Pärson Sound. All but one track is previously-unreleased. What is the origin of this strange, un-place-able music? What is its place in history, in the unfolding of important conceptual ideas, turning musical modernism into something wider, more mysterious and blurred? From where comes the lightness of touch, and how does the transient nature of the sounds correspond to the sense of mourning hidden within the music? What makes the music so exciting and loaded is the feeling of change, both in the actual performances and in the atmosphere of the rooms where the pieces are played. The sounds move freely within the minimal, repetitive structures. There are spaces for breathing and dreaming, turning inside and outside, and a sense of being in between positions. Suddenly, the doors are wide open and radical experiments can take place.
File Under: Drone, Psych, Prog, Avant-Garde
Tony Allen: N.E.P.A. (Kindred Spirits) LP
Huge Tony Allen album originally released in 1984! This officially licensed reissue boasts an extra track previously unreleased on vinyl, called “Olokun”! Never Expect Power Always (aka N.E.P.A.) is largely a biting criticism and mocking of the Nigerian Electrical Power Authority, rife with corruption and poor service. It starts out with the title track, with a definite Afro-beat punch and a tighter arrangement than would normally be expected from Fela. Electro-claps stand as part of the percussion line, adding a more modern look at what Afro-beat was becoming. This is followed by an even further modernized piece, as the title track is given a dub mix. “When One Road Close” has a similar pace, and is similarly followed by a dub remix, complete with the necessary space-effects reverb. This is the peak of electronic Afro-beat!
File Under: Afrobeat, Dub
Beck: Morning Phase (Capitol) LP/CD
Morning Phase is the highly anticipated twelfth studio album by musical chameleon Beck and the long awaited follow-up to 2008’s Modern Guilt. Described as a companion piece of sorts to his benchmark, largely-acoustic 2002 album Sea Change, the Capitol Records release is true to its title and stands as the beginning of yet another amazing chapter in Beck’s peerless career and catalog. Featuring musicians who have backed him on many of his most acclaimed albums including Sea Change, as well as the current live shows widely hailed as the best of his career (Justin Meldal-Johnsen, Joey Waronker, Smokey Hormel, Roger Joseph Manning Jr., and Jason Falkner), Morning Phase harkens back to the stunning harmonies, song craft and staggering emotional impact of Beck’s most classic ballads, all the while surging forward with undeniable optimism. The sonically lush 13-song set is preceded by the impassioned lead single “Blue Moon,” which serves as a fine introduction and embodiment of the album’s many influences which range from Scott Walker and Love to The Byrds, Crosby Stills & Nash, Gram Parsons and Neil Young.
File Under: Rock, Pop, Folk
Forbidden World OST (Death Waltz) LP
Death Waltz Recording Company are proud to be unleashing one of the great unheralded electronic scores. Unavailable since the film’s release in 1982, Susan Justin’s music for Forbidden World – produced by the legendary Roger Corman – mixes the electronic influences of the time with splashes of new wave, creating a score that fuses the eerie tonalities and avant-garde sensibility of Alien with the straight-up funk of Assault On Precinct 13. Birthed from this is a cult classic score that deserves to be held up alongside the works of Richard Band and Alan Howarth. What immediately stands out from the score is the amazing main theme, a melodic groove firmly embedded in the 80s synth movement, complete with creepy vocal effects overlaying its driving keyboard line. Originally a parody that Corman turned into a straight horror, the score is used typically to create tension with isolated piano and harsh electronic tones, acting as a stereotypical precursor to the horror moments. Amidst all this is also the “Blaster Beam,” a unique instrument famous for its use in Jerry Goldsmith’s Star Trek – The Motion Picture. A fantastic voyage amongst the stars full of offbeat melodies and alien tones, this is a musical world that demands multiple visits.
File Under: Electronic, OST, Horror, Death Waltz
Bob Frank: s/t (Light in the Attic) CD
LP in soon. Light In The Attic and legendary folk/blues/roots label Vanguard Records are proud to begin a series of collaborations under the umbrella Vanguard Vault. The series will explore the vaults of Vanguard and see the reissuing of obscure nuggets, psychedelic weirdness and just some good old-fashioned seminal music. Originally released in 1972 on Vanguard Records, Bob Frank’s self titled debut album took elements of Dylan, Johnny Cash, and Ian Tyson and filtered it through a pot-smoked haze infused with Frank’s long-time friend, Memphis guru Jim Dickinson. Dickinson and Frank shared a mutual admiration that ran so deep that on Dickinson’s own 1972 debut album Dixie Fried he recorded one of Bob’s songs, “Wild Bill Jones.” Despite the Dickinson/Memphis connection, Frank’s only LP for Vanguard has remained a forgotten, hard to find vinyl relic. Until now. As Dickinson once deadpanned, “Bob went to Vietnam and Nashville. I don’t know which was worse.” It was also an itinerant period, when Frank spent many a stoned evening staggering alone through the mid-south urban gothic landscape of church steps and sleaze bars, with his guitar glued to his arm, if not an actual extension of it. Songs would emerge from dreams or drunken visions. But this was not artless acid folk, but a series of picaresque, well-sketched vignettes delivered in a clearly-enunciated vernacular, and all very much in Frank’s own style.
File Under: Folk
Khanate: Capture & Release (Hydrahead) LP
Back on vinyl again eight years after its original release, Khanate’s Capture & Release is hereby presented for mass consumption once again. After introductory releases on Southern Lord and Load, Khanate delivered this sprawling two track, 40 minute monster as their debut for Hydra Head Records.
File Under: Metal, Doom
Lasry-Baschet: Instruments Non-Electronique (Cacophonic) LP
A collection of the earliest recordings of the French sound sculpture musicians and Cristalists known as Structures Sonores Lasry-Baschet. Featuring the first fruits of one of the greatest unisons in experimental French music combining the beguiling haunting sounds of Jacques and Yvonne Lasry and the development of the musical inventions of Bemard and Francois Baschet. Exploring a similar route to that of early Michel Magne recordings (and often likened to “a French Harry Partch”) the emotive music made with these organic, municipal, revolutionary instruments between 1957 and 1962 rode a narrow path between post-Second World War experimental music and anti-electronica before providing the world with the sound of the Granada Television Picture Box theme and one of Magma’s deepest foundations. The instruments known as Structures Sonores were designed and made in the late 1940s by Paris born engineer and sculptor siblings Bemard and Francois Baschet with the original aim to create portable, collapsible and municipal instruments based on inflatable components. Eventually incorporating metal bars, steel rods, air-filled plastic spheres (balloons), crystal stems and steel bars the instruments were totally independent of electrical or electronic components or equipment sidestepping the celebrated trends in tape manipulation and musique concrete, standing at the journalistic forefront of French experimental music in the 1950s. Played using horsehair bows and wet glass rods which resonated the tubes and metal surfaces the amplification was produced by the movement of vibrating rods embedded in ﬁxed plates and the timbre could be modified by altering the sizes of the resonators. By the early fifties the brothers had invented a series of large visually striking sculpture-like instruments that could be used by participants of any age regardless of any formal musical training mainly combining crystal, water and steel to create a specific delicate and very unique haunting sound. A chance meeting with two enthusiastic piano based musicians called Jacques and Yvonne Lasry in 1954 lead to the formation of the Structures Sonores Lasry-Baschet (Lasry-Baschet Sound Structures) ensemble who spent the next decade touring the world while performing and composing for film, exhibitions and ballet performances. This compilation highlights the very earliest vinyl appearances of the collective that would become known as the Lasry-Baschet Sound Structures. Vive les Cristalists!
File Under: Avant-Garde, Experimental, French
Otto Luenig & Vladimir Ussachevsky: Tape Recorder Music (Cacophonic) LP
One of the very earliest and most important examples of electronic tape music to be pressed on to vinyl (alongside the Radiodiffusion-Télévision Française musique concrète compilations in France and Jim Fassett’s comedic Strange To Your Ears novelty record) this privately pressed 1955 LP was released on a one-off label owned by businessman Gene Bruck to document a custom made performance at the New York Museum Of Modern Art back in 1952. This facsimile edition of this important LP archives remastered versions of the first recorded unison of Otto Luening and Vladimir Ussachevsky and a partnership that founded the Columbia-Princeton Electronic Music Center at Columbia University in 1959, which would later count Ilhan Mimaroglu, Wendy Carlos, Dariush Dolat Shahi and Alice Shields as its graduates. The October 28th 1952 performance showcased the debut of the seminal Fantasy In Space based on resampled flute recordings which were manipulated on magnetic tape to create an otherworldly melodic composition, stylistically begging comparison with the early recording of Kraftwerk (made some twenty years later) and bringing a palatable and tuneful alternative to the stark avant garde experiments of their French counterparts. The mechanical construction of the track was even “performed” on prime time American television to celebrate this groundbreaking approach to modern music. Alongside four other tracks the full programme comprises further experiments with manipulated recordings of bells and woodwind instruments subjected to mechanical “augmentation, diminution and retrograding” to create pieces that “cannot be played with conventional instruments.” In the following years labels like Folkways and Desto would also plunder this important session as a milestone in electronic music. For the purpose of this release Cacophonic have also included the seldom heard 14 minute track A Poem In Cycles And Bells For Tape Recorder And Orchestra which was recorded using the same techniques with the Royal Danish Radio Orchestra in 1956 and released via the Composers Recordings Inc. label founded by Otto himself in 1954 (employing Vladimir in an advisory capacity) and operated for forty-nine years – releasing records by Harry Partch, Alwin Nikolais, John Cage and Alice Shields. Also included on this edition is an expansion of the rare 10″ original artwork by legendary graphic designer Ronald Clyne, an early example of his work made before he became in-house designer for Folkways Records rivaling the likes of Blue Note’s Reid Miles for some of America’s most iconic record sleeves.
File Under: Avante Garde, Early Electronic
The Men: Tomorrow’s Hits (Sacred Bones) LP
After spending much of 2011 and 2012 on the road, including a trip upstate to write and record New Moon, their fourth full-length in as many years, The Men needed a break. They decided to take the winter of 2012 off to work on new material in Brooklyn. All that time spent on tour meant the band had no practice space, so founding member Mark Perro offered to turn his bedroom into one. All the furniture except the bed was moved out, and the band’s gear was moved in — drums, pianos, a dozen or so guitars, and amplifiers. They practiced in that bedroom in Bushwick nearly every day for three months, writing new songs and cutting more than 40 demos. By the end of that winter, the Men had pared that crop of songs down to 13. With their plans to take a break foiled by their own work ethic, they decided to record those songs before New Moon came out. They booked two days at Brooklyn’s Strange Weather studios, clocked in, and tracked all 13 songs entirely live. A horn section stopped by as well, contributing to two songs and playing live right along with the band. Eight songs from those sessions made the final cut for The Men’s new LP for Sacred Bones, the tongue-in-cheek-but-still-auspiciously-titled Tomorrow’s Hits. This is their first album recorded in a high-end studio and, appropriately, the result is their highest fidelity album to date. That being said, it is still an incredibly straightforward and concise record that nonetheless is full of genre-bending risks. The end result reinforces the overarching theme that has come to define its makers: The Men are a great rock band plain and simple.
File Under: Rock, Post-Punk
Ms. 45 OST (Death Waltz) LP
Like Abel Ferrara, Death Waltz Recording Company are not prone to shying away from the more extreme corners of culture, and are delighted to be presenting a true underground classic for the first time ever. Ferrara’s pictures often tread the line between grindhouse trash and art films with insightful social commentary – and unflinching realism – and Ms. 45 is his most notorious film, with much of its power coming from Joe Delia’s grimy yet haunting music. A sparse piano motif initially creates a lonely voice for the (mute) heroine but it’s overshadowed by wailing trumpet, electric guitar, and menacing synths that paint a disturbing musical picture of the world she inhabits. Delia’s music is so great at creating a vivid image in your head and you begin to imagine the grubby streets, the sleazy sex shops, the leering onlookers, with it building and building until it reaches sensory assault. The instruments sound as violent as the acts on screen, as loud synth stings ring out like gunshots, edgy jazz beats unnerve you, and a repeating brass motif becomes a theme for violence and vengeance – even during the awesome “Dance Party”. You may need a shower after listening, but you’ll be right back to play it again and again. Incredibly this soundtrack has NEVER been released in any format. We went back to the original master tapes and worked with composer Joe Delia to clean up the original elements.
File Under: OST, Crime, Drama
The Notwist: Close to the Glass (Sub Pop) LP
The Notwist’s Close to the Glass, their eighth album, is a catchy and unpredictable marriage of playing your heart out on an instrument and the magnetic pulse of precise programming. We now find The Notwist defining their edges with no shortage of bravery or beat. As romantic as it is robotic, Close to the Glass is a bottomless collage: part pop song, part science, part band, part storytelling and all Notwist. Brothers Markus and Micha Archer, alongside Martin Gretchmann, Max Punktezahl and Andi Haberl, have finally found their human form and, at last, become The Notwist. The Notwist began as a metallic hardcore band in 1989. Markus and Micha have always been at the core of the band; Gretchman joined in 1997, and the band has been through countless collaborations and side projects (Lali Puna, Console, Ms. John Soda, to name a few), constantly pushing themselves both in those projects and as The Notwist. Their sound has transformed hugely over the years, becoming progressively catchier and incorporating the members’ love of folk, classical, rap, rock and electronic music. Now, in 2014, we find The Notwist following up 2007’s The Devil, You + Me with their most adventurous record yet. The strong connection and trust between band members allowed them to blur the lines between their roles more than ever. With everyone playing anything, the band could take their music anywhere, from sheer noise to kraut-rock beat pocket to arena rock ride out. Close to the Glass is also full of vocal leaps for Markus Acher, experimenting not only with effects but also with his range, leaving the comforts of his signature style to take the music somewhere new. Close to the Glass reflects and reveals the truth about The Notwist more than ever, in its collage nature, pop-music moments and unpredictable structures. It feels as good in expensive headphones as it does in the trunk, a seamless soundtrack for that movie always going on inside you.
File Under: Indie Rock, Electronic, Pop
Linda Perhacs: The Soul of All Natural Things (Asthmatic Kitty) LP
Linda Perhacs’ Parallelograms was created in the heart of hippy country, LA’s Topanga Canyon, by a dental hygienist who was inspired by nature and by the cultural revolution going on around her. When Parallelogramswas finished, it sounded like a masterpiece, but the label had pressed it so poorly, sales were non-existent. Obscurity beckoned. But in the internet age obscurity can be discreetly transformed into a kind of niche immortality. By 2003, Parallelograms had become a cult album. Slowly, Perhacs began making music again. In 2010, she connected with a new generation of LA musicians attuned to her vision, including Fernando Perdomo and Chris Price, both accomplished musicians and producers in their own right. The trio began recording the eclipse song, “River Of God”, and what became a new album’s title track, The Soul Of All Natural Things. The Soul Of All Natural Things, for all its apparent serenity, is also a subtly polemical album, full of exhortations to take a step out of our frantic everyday lives. “We get too far out of balance and we must find a way to get back to our polestar,” Perhacs says. “I have a deeper purpose. My soul is giving itself to the people; I want them to be helped, I want them to be lifted.”
File Under: Folk
Real Estate: Atlas (Domino) LP/CD
Let’s get down to brass tacks: Ridgewood, NJ’s Real Estate took a mighty leap forward on their last go-around…more record sales…bigger shows…and, more importantly, a timeless classic of an album, Days. It’s been two years since the release of Days, and it’s an album that still sounds as fresh today as it did on its release date. Atlas, the new album from Real Estate, was recorded over the summer and fall of 2013 with producer Tom Schick (Rufus Wainwright, Mavis Staples, Low), and the ten-song album will be preceded by the release of the single “Talking Backwards.” To commence the follow-up to their sophomore breakout, founding members Martin Courtney (guitar/vocals), Matt Mondanile (guitar) and Alex Bleeker (bass/vocals) were joined by new full-time members, Jackson Pollis (drums) and Matt Kallman (keyboard) and producer Schick this past summer at Wilco’s Chicago studio, The Loft. 19-songs were recorded in all over a two-week period and the result is the band’s most collaborative, richly detailed album to date. The cover art of Atlas features a detail taken from Alexander’s Mural, an iconic North Jersey landmark created by artist Stefan Knapp that once hung on the side of Alexander¹s department store for over twenty years, not far from the band’s hometown of Ridgewood, NJ.
File Under: Indie Rock
Super Djata de Bamako: Volume 2 (Kindred Spirits) LP
Super Djata may be indeed one of the boldest and most exciting orchestras in the history of African modern music, if not one of Africa’s greatest and most unsung ensembles. This album was released circa 1982 on the Musique Mondiale label in Abidjan. Opening the record, “Yacouba” is a tribute to a great bambara dancer from Ballet National du Mali who was murdered in Dakar in 1973. Sober and heartfelt, Zani’s guitar playing is hypnotic while Flani mourns their late friend, enhanced by eerie background vocals. Other names such as Sory Kandia Kouyate or Bembeya Jazz’s singer Demba Cambara who happened to die in Dakar the same year as Yacouba passed away are featured in the second part of the song, names which are quoted with great emotion. On stage, the whole band would kneel down at a point when playing this tribute song to the great ones who had passed away.
File Under: Ethnic, Afro-Cuban, Funk
Super Djata Band: Volume 2 (Yellow) (Kindred Spirits) LP
Super Djata is one of boldest and most exciting orchestras in the history of African modern music, if not one of Africa’s greatest and most unsung ensembles. Led by the late great Zani Diabate, Super Djata Band de Bamako stands proud as one of West Africa’s fiercest orchestras, with only a handful of releases and many tremendous gigs given over the last forty years. Thanks to their leader’s experience, the Djata Band quickly rose to fame within the Bamako region. Despite the lack of official support, Djata Band started to record their compositions under the aegis of expert engineer Boubacar Traore at Radio Mali’s tiny recording studio. By the end of the 1970s, the band’s repertoire was already very large and diverse. Their first album was released through the Discorama record label in Abidjan. Like several other Malian artists of the early 1980s, Super Djata’s only outlet for their material lay in some Ivorian record company. Bringing together bambara traditions, Wasulu hunter music, Kenedugu’s balafon music and bozo fishermen dances, mandingo chants and fula repertoire, mixed with a spicy, and at times even psychedelic guitar, Zani Diabate’s Super Djata Band came to the forefront of the emerging world music scene in the early 1980s as one of Mali’s strongest bands.
File Under: Ethnic, Afro-Cuban, Funk
Peter Walker: Second Poem to Karmela or Gypsies Are Important (Light in the Attic) CD
LP in real soon. Originally released in 1968 on Vanguard Records, Peter Walker’s album “Second Poem To Karmela” Or Gypsies Are Important was a ground breaking blend of folk, raga, psychedelia, Eastern and Modal sounds that has remained unsung for decades. While his debut album for Vanguard, Rainy Day Raga, has been reissued several times on LP and CD, this album (his sophomore effort), has remained an obscure and hard to find vinyl relic. Carefully re-mastered from the original tapes, guitar scholar Glenn Jones recently interviewed Peter Walker for hours and has written a book-deep essay for the CD and LP liner notes that detail Walker’s association with an incredible cross-section of 1960’s counter-culture icons including LSD guru Timothy Leary (Walker personally provided “the soundtrack” to many a trip), he studied raga music with Ali Akbar Khan, and like his close friend Sandy Bull, Walker worked on a fusion of Western and Eastern sounds. Jim Pepper plays flute on Second Poem (he also recorded with The Fugs and Don Cherry), other accompaniment to Walker’s guitar, Sarod and Sitar playing includes violin, organ, tablas, and tamboura. This is true “acid folk” as interesting, progressive, and memorable as fellow 1960’s world travelers Robbie Basho, Davy Graham, and the Incredible String Band.
File Under: Psych, Folk, Guitar, Raga
Various: Danse Sacrale (Cacophonic) LP/CD
The roots of Electronic Dance Music (EDM) by definition. An unlikely combination of early recordings by international electronic and avant-garde composers as well as infrequent collaborators retrospectively unified by their commitment to the musical enhancement of 20th Century ballet and the evolution of modern dance. Presenting key exponents of the musique concrete and tape music movements alongside masters of the early electric sound synthesisers, as well as pre/anti-electronic instrument designers with non-conformist and microtonal composers, Danse Sacrale reveals a broad range of truly revolutionary musical and academic advancements which found an improbable, sporadic and vibrant creative outlet via one of Europe’s proudest and sacred cultural institutions. Featuring composers names such as Pierre Henry, Lasry-Baschet, Igor Wakhevitch, Henk Badings, Jean-Claude Vannier and Remi Gassman alongside choreographers like Béjart, Ballancine and Yvonne Georgi, Danse Sacrale unites the unanimously lauded and the relatively unknown with some of their earliest and underexposed inhibited achievements. These rare and remastered compositions provide a concise retrospective of a previously undocumented global phenomena and an unconferred global synergy that formed the true foundations of electronic dance music and changed the perceptions of modern music and dance culture in the stern face of adversity and tradition.
File Under: Electronic, Avant-Garde, Modern Dance
Aethenor: Faking Gold & Murder (VHF) LP
Aethenor: Betimes Black Cloudmass (VHF) LP
Aethenor: En Form For Bla (VHF) LP
Aethenor: Deep in Ocean Sunk The Lamp of Light (VHF) LP
Boris: Amplifier Worship (Southern Lord) LP
Boris: Pink (Southern Lord) LP
Boris: Rainbow (Inoxia) LP
Boris w/ Merzbow: Rock Dream (Southern Lord) LP
Boris w/ Sunn o))): Altar (Southern Lord) LP
Burial Chamber Trio: WVRM (Southern Lord) 10″
Burial Chamber Trio: s/t (Southern Lord) LP
Circle: Katapult (No Quarter) LP
Earth: Angels of Darkness… (Southern Lord) LP
Jesu/Eluvium: split (Hydrahead) LP
KTL: i (Aurora Borealis) LP
KTL: II (Thrill Jockey) LP
KTL: III (Editions Mego) LP
KTL: V (Editions Mego) LP
KTL: Live in Krems (Editions Mego) LP
Murcof: Cosmos (Leaf) LP
Murcof: Versailles Sessions (Leaf) LP
Om: Pilgrimage (Southern Lord) LP
Om: Conference of Birds (Holy Mountain) LP
Om: Variations on a Theme (Holy Mountain) LP
Om: Live at Jerusalem (Southern Lord) LP
Om: Conference Live (Important) LP
Om: God is Good (Drag City) LP
Sunn o))): Domkirke (Southern Lord) LP
Sunn o))): Monoliths & Dimensions (Southern Lord) LP
Sunn o))): Oracle (Southern Lord) LP
Z’ev: As/If/When (Sub Rosa) LP
Z’ev: Outer Bounds of Sound (Noiseville) LP
13th Floor Elevators: Psychedelic Sounds of (Internation Artists) LP
13th Floor Elevators: Easter Everywhere (Charly) LP
Arcade Fire: Funeral (Merge) LP
Bill Callahan: Dream River (Drag City) LP
Nick Cave: Push The Sky Away (Bad Seeds) LP
Bobby Charles: s/t (Light in the Attic) LP
Converge: Jane Doe (Deathwish) LP
D’Angelo: Voodoo (Modern Classics) LP
Dark: Round the Edges (Machu Picchu) LP
Darkthrone: Hate Them (Peaceville) LP
Darkthrone: Soulside Journey (Peaceville) LP
Darkthrone: Transilvanian Hunger (Peaceville) LP
Darkthrone: Under a Funeral Moon (Peaceville) LP
Miles Davis: Bitches Brew (Music on Vinyl) LP
Death Cab For Cutie: Transatlanticism (Barsuk) LP
Digable Planets: Blowout Comb (Modern Classics) LP
DJ Shadow: Endtroducing (Mo Wax) LP
Grizzly Bear: Shields (Warp) LP
Guru Guru: s/t (Ohr) LP
Hawkwind: In Search of Space (Rock Classics) LP
Etta James: At Last (Wax Time) LP
Jerusalem In My Heart: Mo7it Al-Mo7it (Constellation) LP
Jurassic 5: Quality Control (Universal) LP
The Knife: Silent Shout (Mute) LP
Lemonheads: It’s a Shame About Ray (Plain) LP
Mastodon: Call of the Mastodon (Relapse) LP
Ministry: The Mind is a Terrible Thing to Taste (Music on Vinyl) LP
Modest Mouse: Moon & Antarctica (Epic) LP
Modest Mouse: Good News… (Epic) LP
Angel Olsen: Burn Your Fire For No Witness (Jagjaguwar) LP
Queens of the Stone Age: Era Vulgaris (Ipecac) 3×10″
Queens of the Stones Age: Lullabies to Paralyze (Music on Vinyl) LP
Refused: Shape of Punk to Come (Epitaph) LP
Replacements: All Shook Down (ORG) LP
Rodriguez: Cold Fact (Light in the Attic) LP
Sunn o))): Black One (Southern Lord) LP
Tinariwen: Emmaar (Anti) LP
Weed: Deserve (Couple Skate) LP
Yamantaka // Sonic Titan: Uzu (Paper Bag) LP
Yamantaka // Sonic Titan: s/t (Paper Bag) LP