It feels like RSD is coming up still, so many shipments of stuff! Still late RSD stuff coming in, as well as restocks of some of the cooler things as well. And looking at my pre-orders, there’s loads of cool stuff coming in lately and soon…(Black Keys, Bry Webb, Constantines, Lee Fields, etc.) Save your pennies folks….
…..pick of the week…..
Circle (Ex-Falcon): Leviatan (Full Contact) LP/CD
Finland’s avant-rock explorers, Circle are at it again. Just a few months after their brutal exploitation of the capitalistic mindset behind the super rock idiom, Circle plunge into the oceanic depths of true self-expression with their new album, Leviatan. Combining acoustic instrumentation with, at times, menacing vocals, complete with looming space sounds captured by NASA, the album yields a timeless, yet distinctively archaic klang. The ritualistic conviction of the group becomes obvious as the gritty idiosyncracy of the album gradually unfolds into a journey through spiritual anarchism, leaving the listener baffled at the exacting abandonment of the ensemble.
File Under: Kraut, Prog, NWOFHM
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…..new arrivals…..
Big Boys: Lullabies Help The Brain Grow (Modern Classics) LP
Produced by Spot, legendary in-house producer at SST Records, Lullabies is an album that caught the band in ever-turbulent mode, switching drummers through the recording from Fred Schultz to Rey Washam – the fourth person to occupy the stool for vocalist Randy “Biscuit” Turner, guitarist Tim Kerr and bassist Chris Gates. The album found the band testing the boundaries of their wide-ranging sound, with double-quick thrashers like “Lesson” and double-funky jams like “Funk Off” (helped along by the brass of the Fun Fun Fun 12″ horn section). Kerr took lead vocals on two tracks, and on “Sound On Sound” they combine his languid delivery and pendulum bass in a way that must have pricked the ears of a young Steven Malkmus. With features in the earliest issues of Thrasher magazine and coveted spots on their influential Skate Rock tape c omps, Big Boys were the first band to be labeled “skate rock”, the nascent version of the world-conquering skate punk of the late 1980s and 1990s. Now, Light In The Attic’s Modern Classics Recordings imprint is bringing their pioneering music to a new audience. Following the 2013 re-release of Where’s My Towel / Industry Standard, 2014 sees reissues of both Lullabies Help The Brain Grow and the following year’s, No Matter How Long The Line Is At The Cafeteria, There’s Always A Seat, which brought the band’s story to a close.
File Under: Punk
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Big Boys: No Matter How Long The Line (Modern Classics) LP
They were, in the memory of Minor Threat frontman Ian MacKaye, “Enormous men, decorated jump suits, a horn section, 200 friends onstage singing and dancing.” They were Big Boys by name and by nature – and they had a big effect on US punk culture. When the prevailing trend was for playing hard and fast, this Austin, Texas four-piece played loose and funky. Their cult recordings struck a blend between punk ideology and clever humor, just as the band both railed against and celebrated the hardcore community that bore them. Released at the time of their split in 1985 and now reissued by Modern Classics Recordings, the group’s final album, No Matter How Long the Line Is At the Cafeteria, There’s Always a Seat finds Big Boys continuing to innovate, even including the sound of turntable scratching on “Common Beat,” a sound rarely heard outside of hip-hop at the time. Songs like “Which Way To Go” and “Narrow View” echo their boredom and anger with the changing hardcore scene, while “I Do Care” and “What’s The Word” illustrate the band’s positive outlook for things to come.
File Under: Punk
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Circle: Hollywood (Full Contact) 2LP
Arguably the most prolific working rock band in the world, Circle has even managed to make Guided by Voices look like slackers. Forming in 1991, the band has released over 30 studio albums, 15 live albums, and an additional double-digits of single, EP, and compilation appearances. Along the way, they have collaborated with unpredictable partners, from Seattle-area sound-art project Mamiffer, German innovators Faust, and Damo Suzuki of Can fame. One alliance has been with Californian musician Bruce Duff. Duff has played with many U.S. alt/punk bands, but it was his work with Jesters of Destiny that endeared him to Jussi Lehtisalo, Circle’s bassist and also the man behind their inexhaustible label, Ektro Records. The Jesters’ LP Fun at the Funeral had been a Jussi favorite from his days growing up in Pori, Finland, the band’s home. In 2001, Jussi tracked down Duff via the miracle of the internet, and arranged to reissue FATF on CD for the first time. Before long, Jussi introduced Duff to all things Circle and Pharaoh Overlord (a Circle offshoot that’s released another 15 or 20 albums). DVDs of files began to cross the continents and oceans, and by 2006, Duff had guested on a single and then Circle’s Earthworm EP. Both Circle and the Jesters are bands to whom genres and stylistic restrictions are considerations to be ignored. Not content to leave well-enough alone, Circle with Duff onboard carried on and, within two years, had completed Hollywood. For the punk-damaged American, never had he assembled songs over structures so stretched or outright eliminated. For the Finns, never had their repetitions been divided into sections and then sung in English. The result was new for both participants. Hollywood’s “Sacrifice” is most straight-ahead, un-apologetic classic metal that anyone involved had ever done. The icy repetition of “Spam Folder” was fleshed out lyrically by using the Burroughs’ cut-up technique on Duff’s email junk folder. Half of the hour-long work was devoted to “Requiem in D Minor,” with three distinct but related movements fleshed out with a contemporary libretto ruminating on loss and death. Prog or put-on? It’s Circle with a Jester – does it matter? Now, we’re proud to present a deluxe, double-LP vinyl reissue of Hollywood appended with two additional Earthworm tracks, comprising an hour-and-eleven minutes of music.
File Under: Kraut, Prog, NWOFHM
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Circle: SSEENNSSEESS (Full Contact) LP
“Finnish supergroup Circle and filmmaker/artist Mika Taanila’s new SSEENNSSEESS show is spectacular, somewhat akin to an over-the-top rock opera and a theatrical audio-visual performance with dashes of glam rock, improv, metal, French chanson, and The Shangri La’s as well as Taanila’s perfectly timed, 16mm projections. A feast for the senses.” – Ruth Timmermans, Gonzo (circus). This live album was recorded at the premiere of the show at Kiasma Museum of Contemporary Art in Helsinki on November 22, 2013. The LP features four brand-new beautifully arranged songs by the band : “Kudos,” “Radiant,” “Sleepwalker,” and “Terminal.”
File Under: Kraut, Prog, NWOFHM
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Dinosaur Jr: Visitors (Numero) 5×7” Box
From 1985 to 1990, Maura Jasper was the go-to artist for “ear-bleeding country” trio Dinosaur Jr. From “Repulsion” to their self-titled debut LP, from You’re Living All Over Me to “Freak Scene,” from Bug to “Just Like Heaven”, and on posters, videos, and t-shirts, the Dinosaur Jr. look was born of Jasper’s love for Norwegian expressionist Edvard Munch and English anarchist Gee Vaucher. Collected inside are Dinosaur Jr.’s first four singles, a bonus fifth 7″ pairing “Show Me The Way” with a cover of the Byrds’ “Feel A Whole Lot Better,” plus a Jasper-penned essay on her creative process and a book of unused work from the period. Limited to 5000 copies.
File Under: Alternative Rock
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Falcon (Ex-Circle): Frontier (Full Contact) LP
Foreshadowed by the hit single Beer and Ribs, Falcon (Ex-Circle) continue their ascent to rock ‘n’ roll heaven with their full-length debut, Frontier. With a dazzling array of textures and tempos, Falcon (Ex-Circle) take the listener on an instantly addicting journey through lazer-beamed AOR and soft rock, with more than a few nods to hot-rockin’ weekend rock. Stained-glass synths soar majestically across pulsing beats and power balladry, anthems for one and anthems for all, heading out on the highway with the top down and the sun in your eyes and the wind in your hair. Appropriately, the song titles themselves explore timeless themes like “Miami Tits,” “Vegas Sundown,” “Leather Seat,” “Ace of Hearts,” and of course the mandatory “Beer and Ribs.” This is music for the Everyman, and also for the greater good: unapologetically populist arena-sized sounds beamed in from outer space. Frontier will take you there; hitch a ride with Falcon (Ex-Circle).
File Under: Rock, AOR, Soft Rock, Circle, NWOFHM
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Goblin: Profondo Rosso (AMS) 7”
Late RSD release! Profondo Rosso (a.k.a. Deep Red) was the record that inaugurated the series of Goblin Cinevox reissues by AMS Records. Today, the same Milanese label recovers from the archives the 45rpm of the LP title-track, a historic and immortal song that has forever changed the fate of those who wrote it and of horror cinema on an international level. The song “Profondo Rosso”, the first ever composed by Goblin, consecrated the Roman band among the big names of the Italian pop era, with a strong cinematic boost settled by the eponymous film by Dario Argento. The 7″ of “Deep Red” contains the song “Death Dies” as the B-side.
File Under: OST, Prog, Italian, Argento
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Simon Jones: Melanie & Me (Strawberry Rain) LP
Melanie & Me was a promotional tool used for a movie shot by director Chris Fitchett in Australia in 1975. Pressed in an edition of 100 copies, it was handed out to people who partook in the film, and who attended the only screening to date in Sydney. Used as the background music for the entire movie, this was actually the second version of the soundtrack, recorded last minute by Simon Jones as Chris wasn’t happy with the original. The result had become one of the most sought after releases from the Aussie scene, and one of the most obscure records from the region as well. Beautiful psychedelic folk rock with a combination of male and female vocals, fuzz guitars and organ solos, this won’t disappoint.
File Under: Psych, Folk, Fuzz, Australia
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Josefus: Dead Man (Numero) LP
Dead Man is a 13th Floor Elevator descent headlong into southern-fried bloody Sabbath. Released on the Hookah imprint in 1970, the LP’s gaping cranium cover, sludged-up blues, and bone-bleached riffs outsold Let It Be, if only locally, being far ‘too psychedelic’ and skull-crushing for Houston’s International Artists label to touch. A Texas-bound band except in tracking Dead Man inside the furnace of Phoenix, Josefus strode loud and longhaired amid the oil fields, peddling their own brand of black gold. As US involvement in the Vietnam War peaked and human boots sunk into lunar dust, Josefus powered across the Texas plains, shaking its coliseums awake as openers for the Grateful Dead and Quicksilver Messenger Service. Heavier by tonnage than both the Stones they cover and ‘I Want You (She’s So Heavy)’, Doug Tull, Pete Bailey, Ray Turner, and Dave Mitchell watched their 17-minute funeral pyre title track burn through statewide airplay, glorying in the evil looseness of the FM format. Read no further than the replica back cover of our JR reissue, which sends Josefus “emitting from the darkness of obscurity, bursting forth with the drive and impact of a celestial happening.” A clattering and prescient skeleton of a record – a deceased Zeppelin reanimated by four lost and darkened country boys – Dead Man truly should be played loud.
File Under: Psych, Hard Rock, Blues Rock
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Ennio Morricone: Collected (Music on Vinyl) 2LP
Collected is a definitive journey through the vast work of Morricone, stopping by landmark spaghetti westerns like A Fistful Of Dollars, For A Few Dollars More, The Good The Bad & The Ugly, Once Upon A Time In America and most recently, Quentin Tarantino’s Django Unchained.
File Under: OST, Morricone, Maestro
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Ennio Morricone: The Good, The Bad, & The Ugly (AMS) LP
The Good, the Bad and the Ugly is neither more nor less than the perfect soundtrack to the most wonderful of western movies, the third and final act of the “Dollar Trilogy” directed by Sergio Leone. A film not only rated among the best of the genre, but universally considered among the most successful in the history of cinema. Ennio Morricone, a higher caliber composer to whom each musician usually relates with the simple title of “Master”, has here been able to be as meticulous as the director, composing a soundtrack that fits brilliantly to the bombastic and epic atmospheres of the film.
File Under: OST, Spaghetti Western
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OST: Breaking Bad (Space Lab 9) LP
First time on vinyl for the score to this staggeringly popular program. Breaking Bad has received widespread critical acclaim and is considered one of the greatest TV series of all time. The show is now among the most-watched series on American television, with audience numbers having doubled year after year, culminating in a series finale watched by approximately 10 million viewers. year over year.
File Under: OST, TV, Meth, Walter White
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OST: Slumber Party Massacre (Death Waltz) LP
Ridiculed on release but later celebrated by some as a feminist parody of slasher films, Slumber Party Massacre is fueled by Ralph Jones’ synth score that remembers the first rule of comedy: never let the audience know you’re in on the joke. Away from the film, the music retains a sense of wit and playfulness amidst the tension that makes it a riot to listen to. Jones’ score wears its influences on its sleeve, with nods to the giants of the world of musical horror – Jaws and Halloween – as well as a more gothic sensibility, with parts sounding like they should come from an electric organ in an ancient cathedral. He ramps up the tension using rhythmic pulses and atmospheric electric piano, with shrill background parts that sound like a field full of electronic crickets. His talent for creating catchy melodies is certainly demonstrated here, with not only upbeat and bouncy tones but also haunting motifs that make you uncomfortable with the greatest of ease.
File Under: OST, Horror
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Ought: More Than Any Other Day (Constellation) LP
Ought has been burning with a strong and steady flame since flickering to life in Montreal in 2012. Holed up in a shared apartment that doubled as their rehearsal space, the four band members self-recorded a first EP and played their first show in these domestic confines, then busted out into the city’s loft circuit, and into the city streets during the Printemps d’Erable Quebec student general strike, in the spring of 2012. These inspired months of mass mobilization against neo-liberal austerity measures galvanized a wide and inspiring range of agit-prop expression in Montreal, and indelibly shaped the emerging sound, vision and social mandate of Ought. Guitarist/vocalist Tim Beeler, who previously had been writing poetry and folk music, drew new energy from electrification/amplification and from solidarity/protest alike; his declarative, observational vocal style ranges from wide-eyed to worried, but never submits to cool irony or emotional detachment. Ought’s earnest, stately and exuberant post-punk is dextrous, deliberate, unfussy and fluid, with debts to Cap’n Jazz, The Feelies, Lungfish, Gang Of Four and early Talking Heads, among many others. The band shifts from sharp angles and stuttering counterpoint to softer edges and chiming flow, with an economy of elements and fidelity to their basic 4-piece constitution. The instrumental interplay is consistently whipsmart, supple and deceptively simple. Beeler’s speak-singing can give way to melancholic melodic croons and ragged, desperate yelps, always driven by sincerity of feeling and connection to his subject matter, whether that’s the conundrum of our fractured interiority, or communion with others in our fractured social space – or, for the most part, both. Ought are a righteous and humble young band, fiercely dedicated to grassroots organizing and artmaking, taking as self-evident the inseparability of politics and aesthetics; we are proud and excited to be releasing their debut full-length. More Than Any Other Day is the result of a week of recording and mixing at Montreal’s Hotel2Tango with engineer Radwan Moumneh (Suuns, Matana Roberts, Jerusalem In My Heart) in November 2013; the album replaces the band’s previously self-released 5-song Bandcamp EP of the same name, comprised of a separate set of recordings
File Under: Post-Punk
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Psyche: Re-membering Dwayne (Dark Entries) LP
The Psyche live show was a combination of horror and electronics that was completely unprecedented in Western Canada. Although Dwayne Goettel (Skinny Puppy) and the Huss brothers parted ways before Psyche was to release any material, the masters containing Dwayne Goettel’s performances were preserved in the band’s vaults. Now, 19 years after Goettel’s untimely passing, Dark Entries records presents Re-membering Dwayne, the original Psyche sessions. All tracks were recorded and mixed on 4-track during a single day in March of 1983. Psyche’s early material is visceral and abrasive, a far cry from the sleek, dark synthpop they’d later become known for. Like the body horror films of fellow Canadian David Cronenberg, Psyche disquietingly conflate the organic and the mechanical, calling into question the limits of the human form. Dwayne, who would join Skinny Puppy a few years later, contributes heavily to this more aggressive, disturbing sound, offering a glimpse of the early Canadian industrial scene and the roots of Skinny Puppy.
File Under: Industrial, Skinny Puppy
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Rush: s/t (Anthem) LP
Dead-Quiet 200g LP Remastered at Abbey Road Studios by Engineer Sean McGee (Beatles) and Pressed at QRP Via the Direct Metal Mastering Process: Rush Has Never Sounded Better. Part of ReDISCovered Series, 12″ Box Set Includes Collectable Memorabilia and Outstanding Analog Pressing of Rush’s Seminal 1974 Debut That Includes “Working Man” and “Finding My Way”. Rush is celebrating the 40th anniversary of its debut album in a big way. Remastered at Abbey Road Studios by engineer Sean McGee (the very same gentlemen in charge of the recent, acclaimed Beatles remasters) and pressed on 200g LP at QRP via the Direct Metal Mastering process, Rush (ReDISCovered) presents the trio’s seminal initial salvo in the finest analog fidelity it’s ever enjoyed. Housed in a 12″ box, the set also contains reproductions of the original Canadian retail poster, publicity photos, and a 12 x 12 family poster. Channeling the hard rock flavors of influences such as Cream and Led Zeppelin, and adding distinctive elements such as readily driving melodies and Geddy Lee’s inimitable vocals, Rush hits the ground running on an 8-song album notable for its crisp production and economy of scale. Two songs, “Finding My Way” and the anthem “Working Man,” remain concert and FM radio staples to this day. The gold-certified Rush stands as one of the best rock debuts of its (or any) era. Here, original drummer John Rutsey and company set the tables for the legendary Neil Peart, who joined the band shortly after the record was released. While Rush collectors will immediately find satisfaction in the rare memorabilia contained within, audiophiles everywhere will be smitten with the dynamic, room-filling sound afforded by this 200g LP. Dead-quiet and graced with information-loaded grooves, the vinyl pressing reveals a plethora of previously unheard details, deeper soundstages, and rich textures. Rush now sounds better, and more significant, than ever before.
File Under: CanCon, Classic Rock
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Twilight Nuages: s/t (Folk Evaluation) LP
Folk Evaluation continues to mine the DIY home-recorded pop underground with its second release, an authorized reissue of the seldom seen but highly sought-after 1977 album by Connecticut’s best-kept secret: inter-generational dream-pop outfit Twilight Nuages. Based around the songwriting talents of high school music teacher Bill Last, the band features a supergroup of friends and students, including four incredibly gifted 16-17 yr-old girls sharing lead and backup vocal duties throughout. The ten-piece- strong band recorded live in Bill’s parents’ basement straight to 1/4″ stereo tape with no overdubs whatsoever, and the end result will leave even the most jaded of listeners with their jaws hanging in disbelief. From sunshine pop to country swing to devastatingly sincere piano ballads, the amount of heart and pop ingenuity on display is simply staggering. Imagine if the kids from the Langley Schools Music Project grew up to be in the Olivia Tremor Control and you’re part way there. Originally pressed up in an edition of 200 copies and given away to friends and family, this deluxe reissue comes in a high quality tip-on jacket, features remastering from the original tapes by Josh Bonati, and comes with a download for the full LP plus two never-before-heard cuts from the vaults, extended interviews and sheet music.
File Under: Dream Pop, Folk, DIY, Private Press
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Various: Inner City Beat! (Soul Jazz) LP
Soul Jazz Records new release Inner City Beat: Detective Themes, Spy Music and Imaginary Thrillers 1967-1975 is a unique 2LP release that comes with an exclusive limited-edition, specially created 60-page graphic novel (by the mysterious cult 1960’s pulp-fiction writer Mark ‘Badly’ Antringham). The music on the album is a killer selection of funky, deep, rare, exciting and dance floor heavyweight spy themes, detective music and thrillers from the 1960s and 1970s. The music spans heavyweight break-beat funk, deep and heavy jazz, super-catchy mod themes, imaginary super-charged orchestral soundtracks and more. These tracks are put together from British library music companies (DeWolfe, KPM, Conroy, Amphonic) all of whom supplied music regularly to television and film around the world during this period, often for use in detective and spy programmers, series and films. To accompany this unique album, Soul Jazz has commissioned the creation of a special 60-page graphic novel which features the stunning artwork of the elusive illustrator John C. Pattereson in partnership with the celebrated 1960’s pulp fiction cult novelist Mark ‘Badly” Antringham. The graphic novel is set in the imaginary seedy streets of East London in the 1960’s, in a world full of corrupt police, political intrigue and violent sadistic criminals. This unique limited-edition graphic novel comes free with the initial run of the album Inner City Beat.
Various: Punk 45 III: Proto-Punk (Soul Jazz) LP/CD
Soul Jazz Records’ new Punk 45 album is a collection of twisted, raw and energized proto-punk from the early 1970s, ahead-of-its-time music which led the way for the birth of punk in the second half of the 1970s. Punk 45: Sick on You! One Way Spit! After the Love & Before the Revolution: Proto-Punk 1970-77 is the third volume in this series, following on from two earlier albums as well as Soul Jazz Records’ massive 400-page Punk 45 cover art book published last year. While the first in the series, Punk 45: Kill The Hippies! Kill Yourself!, focused on the rise of underground punk in America, and the second album, Punk 45: There is No Such Thing as Society did the same for punk and post-punk in Britain, this album draws upon some of the stripped-down hard garage and post-glam sounds of mainly obscure bands that existed in the early 1970s – that were to prove the template for the forthcoming punk movement. Punk 45: Vol. 3 is a unique and fascinating collection of proto-punk tracks from across the USA – Cleveland’s Electric Eels, San Francisco’s Crime, Los Angeles’ Zolar X, Baltimore’s George Brigman and more – as well as from the UK – with Joe Strummer’s pre-Clash 101ers, the speed- induced r’n’b of the Count Bishops and others also included. As usual the album comes complete with text, biographies on each of the bands, exclusive photos and original record artwork. The album is available as limited-edition, super-loud, super-heavy, double gatefold-sleeve vinyl edition, complete with full sleeve-notes and free download code.
File Under: Punk, Proto-Punk
Various: South Side Story (Numero) LP/CD
For the lowriders, the souleros, or just anyone with a still-working CD player in their hooptie and a penchant for driving with even a slight gangster lean. Numero pays tribute to the aftermarket sounds of ‘sweet’ soul music still emanating from the West coast, or East Side, depending on your perspective. Inspired by, and paying tribute to the countless cruising compilations, legitimate and (mostly) otherwise, that provide the soundtrack for lowrider and soulero culture, South Side Story is the latest in the Numbero line of takes its aesthetics from the timeless East Side Story series, and its music from Chicago soul groups (mostly, of course, from our mythic South Side). Included here are songs that are completely unreleased, others that are never before issued other than in minuscule pressings on 45, and a few chrome-coated classics, already seen on scads of flash-in-the-pan boots. The Numero Group’s crack team of researchers cut loose on the city of Chicago to assemble the perfect lowriding companion, and the results are unparalleled. From high school rivals The Si-Berians and The Intentions, who both feature their sole recordings here, to unheard material from the original Calvin Harris, to the elite Latino ensemble known as The Mystics, to the missing link in ‘sweet-as-sugar’ Renaldo Domino’s lonely post-Twinight recording, this dazzling collection slices out a delectable cross-section of the city’s sweetest sounds. 13 perfect ‘souldies’ as they are occasionally called, allowing you to throw away any of your many volumes of Gangster Soul Harmony, Lost Soul Oldies, East Side Story, Hood Dreams, Shady Side of Town (or any of the thousands of other similar iterations)
File Under: Funk, Soul
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…..restocks…..
Amon Duul II: Phallus Dei (Cleopatra) LP
Black Angels: Passover (Light in the Attic) LP
Black Angels: Directions to See a Ghost (Light in the Attic) LP
Blue Rodeo: Diamond Mine (Warner) LP
Charles Bradley: No Time For Dreaming (Daptone) LP
Budos Band: s/t (Daptone) LP
Neneh Cherry: Blank Project (Smalltown Supersound) LP
Karen Dalton: In My Own Time (Light in the Attic) LP
Dark: Round the Edges (Macchu Picchu) LP
Darkthrone: Circle The Wagons (Peaceville) LP
Death Cab For Cutie: Transatlanticism (Barsuk) LP
Everly Brothers: Roots (Rhino) LP
Fairhorns: Doki Doki Run (Invada) LP
Flaming Lips: Hear It Is (Plain) LP
Fleet Foxes: s/t (Sub Pop) LP
Fleet Foxes: Helplessness Blues (Sub Pop) LP
Funkadelic: Maggot Brain (4 Men With Beards) LP
Serge Gainsbourg: Historie du Melody Nelson (Light in the Attic) LP
Goblin: Suspiria (AMS) LP
Goblin: Profondo Rosso (AMS) LP
Goblin: Tenebre (AMS) LP
Goblin: Roller (AMS) LP
Goblin: Zombi (AMS) LP
Jay Z/Linkin Park: Collision Course (Warner) LP
July: s/t (Warner) LP
Kid Koala: Some of My Best Friends Are DJs (Ninja Tune) LP
Kraftwerk: Tour De France (EMI) LP
Kraftwerk: Trans-Europe Express (EMI) LP
Leong Lau: Dragon Man (Strawberry Rain) LP
Medusa: First Step Beyond (Numero) LP
Monks: Black Monk Time (Light in the Attic) LP
Motorhead: s/t (Back on Black) LP
Om: Pilgrimage (Southern Lord) LP
Orange Juice: You Can’t Hide… (Domino) LP
Orange Juice: Texas Fever (Domino) LP
Orange Juice: Rip It Up (Domino) LP
Orange Juice: s/t (Domino) LP
Pearl Jam: Vs (Epic) LP
Pearl Jam: Ten (Epic) LP
Pearl Jam: Vitalogy (Epic) LP
Phosphorescent: Muchacho (Dead Oceans) LP
Placebo: 1973 (Music on Vinyl) LP
Psychic TV: Hacienda (Let Them Eat Vinyl) LP
Psychic TV: Live at Thee Marquee (Let Them Eat Vinyl) LP
Radiohead: Amnesiac (EMI) 2×10″
Radiohead: Kid A (EMI) 2×10″
Smiths: Hatful of Hollow (Rhino) LP
Soundgarden: Superunknown Singles (Universal) 10″ Box
Sunn o))) & Ulver: Terrestrials (Southern Lord) LP
Chad Van Gaalen: Shrink Dust (Flemish Eye) LP
Tom Waits: Frank’s Wild Years (Music on Vinyl) LP
Tom Waits: Mule Variations (Anti) LP
Various: Eccentric Soul: Deep City Label (Numero) LP
Various: Eccentric Soul: Big Mack Label (Numero) LP
Various: Eccentric Soul: Smart’s Palace (Numero) LP
Various: Punk 45 Vol 1 (Soul Jazz) LP
Various: Punk 45 Vol 2 (Soul Jazz) LP