Oh boy! A killer week for soundtrack fans! First off one of the best soundtracks of modern times, the epic soundtrack to the Canadian made Beyond the Black Rainbow. And then the soundtrack to the classic anime film Akira! My head nearly exploded receiving these both on the same day, and so can yours!
…..pick of the week…..
Sinoia Caves: Beyond The Black Rainbow OST (Jagjaguwar/Death Waltz) LP
Jagjaguwar and Death Waltz Recording Company are excited to announce that they are co-releasing the soundtrack to Panos Cosmatos’ Beyond The Black Rainbow on. This supposed “lost film” from the 1980s is inspired by obscure scifi movies and classic dystopian fiction. Created by Sinoia Caves, the ongoing project of Jeremy Schmidt a disciple of longform cosmic synthesizer soundscape, and member of Canadian psych and prog pioneers Black Mountain the soundtrack draws on inspiration from Tangerine Dream, Wendy Carlos andJohn Carpenter. Schmidt artfully navigates the various sonic sensibilities of his predecessors, incoporating touchstones such as mellotron choirs, glacial analogue synthesizer pads and arpeggiators. The result is ominously beauitful, otherworldly and terrifying. Housed inside a super glossy Stoughton tip on (Casebound) sleeve, we have managed to get a hold copies of the limited edition pre-order clear vinyl. This is a record collector’s record. HIGHEST RECOMMENDATION!!!
Electronic, Ambient, Prog, OST, Dystopia, Black MountainListen Here
The Bug: Angels & Devils (Ninja Tune) LP
With recent reports from various think tanks predicting we have somewhere in the range of 15 years left before the collapse of society begins, it would seem like Kevin Martin’s sonic predictions of dystopian London that were set out on 2008’s London Zoo were pretty accurate. And if we are in fact declining rapidly to chaos, there’s no better time then the present to take the focus of that sonic assault from earthly domains and blast it to the netherworlds above and below. London Zoo is where Martin, found his true voice. Pulling the fringes into a collective, unilaterally hateful assault. A psychological warfare driven by bass that on one hand captured a moment of London, yet also encapsulated a global message influenced by years of timeless and classic out-music. The latest offering from the The Bug, Angels & Devils, escapes the London cage, drawing on it for influence yet blowing it up into a world-view now seen from Martin’s new Berlin home. A record that simultaneously draws on London Zoo, completes a triptych cycle which started with his Bug debut Pressure, and fills the spaces between and inserts what was missing previously. Both a year zero re-set and a continuation of what has been. Like the Bowie/Eno classic Low, or Can’s Tago Mago, the album is split into two distinct themes and explorations of light & dark. Bringing the Angel & Devil voices together under a single common banner. Antagonist at times, but not solely for the sake of being antagonistic, there’s a beauty and lush sparseness to be found within, even when at its most chaotic. Truly only The Bug could find the common ground between Liz Harris (of Grouper) and Death Grips and make it seamless. Angels & Devils stretches the polarity of its predecessor in both directions simultaneously and is even more extreme for its new found seductiveness and added intensity. Deep space is explored, and physical assault is administered. In these days of YouTube quick fixes, and single tune memory spans, its a joy to witness Martin actually charting a cohesive narrative that rejoices in celebrating life through sonic sex and violence, beauty and ugliness. This is an audio thriller that delights in pursuing its own singular path/vision. With the Angel side(s) up first, things kick off with Liz Harris (of Grouper) in the submerged lushness that is “Void.” Followed by contributions from ex Hype Wiliams half copeland (“Fall”), the blissed out patois of touring partner Miss Red (“Mi Lost”), two truly zoned Bug instrumentals, and rounded out by Gonjasufi on “Save Me/” It’s a collection of heady, dubbed out cinematic blissfulness with a lurking darkness before giving way to devils… Devils leads off with the return of long time collaborator Flowdan on the mic and the guitar of Justin Broadrick (Godflesh / Jesu) bringing a complete about face to the proceedings and setting the tone with “The One.” Roll Deep’s Manga steps up next with the instant Bug classic “Function,” which is being currently smashed on dubplate, by Mala, Kahn and Logan Sama. Death Grips raise the antagonistic bar with “Fuck A Bitch.” Flowdan and Justin Broadrick come back for the cinematic death crawl of “Fat Mac. “Warrior Queen steps in for hands down the nastiest vocal she’s ever delivered (which is saying a lot) for “Fuck You,” and finally Flowdan steps up again to round it all off with a Devils battle cry of sorts “dirty, fuck that murky…” The concept is completed by the artistic expression it’s packaged in, courtesy of Simon Fowler (Cataract). Known for his work for Sunn O))), Earth, and others, Simon has delivered a stunning hand drawn illustration, that sort that would make Bosch proud, showing the duality of the proceedings. Utopian/dystopian, black/white, complexity/singularity, negative/positive…Angels/Devils.
File Under: Electronic, Grime, Dancehall
Jennifer Castle: Pink City (Idee Fixe) LP
A collection of intimate reflections on both the internal and external world, Pink City displays a sharpened musical focus showcasing Jennifer’s powers as a writer and performer amidst a new sense of sonic clarity. The reunited production team of Castle, Dave Clarke and Jeff McMurrich invited a host of musical friends to embellish their vision. Owen Pallett provides string arrangements for a number of songs including the cinematic opener Truth is the Freshest Fruit and stirring ballad I’m Like A Gun. Other notable guests include American folk legend Kath Bloom providing inspirational harmonica on side A closer Down River. Throughout the album downtown Toronto’s finest musical stalwarts, such as Ryan Driver (piano,flute), Mike Smith (bass, arrangements), Paul Mortimer (guitar), Jonathan Adjemian (piano and keys) and Brodie West (saxophone), provide stunning support.
File Under: Singer-Songwriter, CanCon
Cleaners From Venus: Living With Victoria Grey (Captured Tracks) LP
The late summer of 1985 was a rather pleasant one for Martin Newell. Now past 30, and sick of being at odds with the London music industry, he decided to give up – not music exactly – but any attempt to make a living from it. Though Newell and his new musical partner Giles Smith continued to casually record and Under Wartime Conditions continued to pick up good reviews, including one in the UK’s Sound magazine, there was no intent to continue on. Yet it was due to this sporadic period of recording that the Cleaners came to, quite nonchalantly, release the cassette Living With Victoria Grey. After sending the nearly unmarked cassette to a few fanzines and selling the cassettes for $2 apiece (or even giving them away), Newell once again forgot about music until a young man named Andy McQueen offered Newell an interesting deal: though there would be little money, he and Smith could record a high quality Cleaners record without the interference of a producer. The two began working on Going to England. Although 7 of the songs from Living With Victoria Grey would appear on the album, the cassette was all but forgotten, the only master copy having been lost. It wasn’t until almost 10 years later that Newell was approached by a man he’d never met before who said, “You sent me this, many years ago and told me to look after it. I did. I thought you’d like it back now.” It was the master copy of Living With Victoria Grey. Over 10 years after its initial, quiet release, Captured Tracks is pleased to present Living With Victoria Grey on vinyl for the first time as part of the final installment of the Cleaners from Venus collection.
File Under: UK Indie Rock
Cleaners From Venus: Number Thirteen (Captured Tracks) LP
Following the release of Living With Victoria Grey, Martin Newell and the Cleaners from Venus once again began taking their musical careers seriously, releasing a few singles and two vinyl LPs. However by late 1988 Newell and bass player Peter Nelson left the band and ended up forming a side project by the name of The Brotherhood of Lizards. After busking and loosely recording some demos, the band was signed to the independent label Deltic Records. Newell and Nelson gained quite a bit of media attention for their guitar driven rock by refusing to tour by anything but bicycle. This generated a lot of attention for the band, but unfortunately Nelson left the band before it could fully come to fruition. What we find in Number Thirteen is a transitional period from Newell. Intended as a demo, the cassette received positive feedback, but ultimately led no where. At 37 years old, Newell reflected upon the almost two decades of hard work and musical activity which had led him to this point. One morning he got up and began to coolly put his instruments away. He turned his small upstairs music studio into a room for books and writing. He decided to turn to the life of gardening that he’d always thought upon. However the simple life of a gardener would not last long. Newell soon found success with his poetry and writing, penning a semi-regular column for London’s Independent, appearing on many TV and radio programs and publishing several collections. Finally, in the autumn of 1992, through another series of connections and coincidences, he was asked if he would like to make a solo album, with none other than XTC’s Andy Partridge in the producer’s chair. The first thing he did, before dusting off his long abandoned instruments, was send Partridge a handful of songs from the Cleaners from Venus’ Number Thirteen cassette. Four of these would eventually form the basis of what became his first solo album and international success, The Greatest Living Englishman. The quartet of songs chosen by Partridge were, “The Jangling Man,” “Home Counties Boy,” “A Street Called Prospect” and “Christmas in Suburbia.” Number Thirteen is one of the many stepping stone releases that have led Martin Newell and the Cleaners From Venus through their storied career. Available for the first time on vinyl, and seeing its first wide release, Captured Tracks is pleased to give you Number Thirteen.
Cleaners From Venus: My Back Wages (Captured Tracks) LP
Considered the “last ever” Cleaners From Venus release, My Back Wages is comprised primarily of songs written in 1992 while Martin Newell was quarantined with the Chickenpox. While some songs made it onto Newell’s The Greatest Living Englishman, many fell into obscurity, never to be released. That is until some 8 years later when long time Cleaners supporters JAR Music Germany, a small DIY label, released a collection entitled My Back Wages. Newell claims to have had no knowledge of the release, but the punning title of the album has his paw prints all over it. After spending the years between 1992 and 2000 focusing on his writing, poetry and gardening, and when the release surfaced in 2000, Newell had little recollection of even sending the songs to his friends at JAR. When Newell heard it, he was surprised to find that musical additions had been made to the tracks, which polished up his spontaneously and sometimes sloppy recording style. Newell felt touched that anyone would be interested, or even care about something which he’d regarded as a rag-bag of demos. Conversely, as a natural musical anarchist, the idea that anyone, anywhere, considered that they knew better than he did, annoyed him. This version of My Back Wages as issued by Captured Tracks, therefore, is Martin Newell’s own ‘producers cut’ of oddities, out-takes and ‘orphan songs’. “Crane Drivers” for instance, was made after a friend with a brand new Roland U20 keyboard, lent it to Newell for two days, challenging him to make a complete song using only the sounds contained within its pre-sets. “Haunt Your House” was a demo written for The Damned, who were short of songs for an album at that time. It was never used. Over 20 years later, Captured Tracks is thrilled to give Newell the chance to release this material on his own terms and put the Cleaners to rest once and for all.
File Under: UK Indie Rock
Etron Fou LeLoublan: Les Troise Fou’s Perdegagnent (Replica) LP
Second album by Etron Fou LeLoublan avant-rock / rock-in-opposition French pioneers. Etron Fou LeLoublan had definitely moved up a notch with this release and things would actually get even better with the next release! Still, this album is quite a juicy steak that will take quite some time to devour with the end results exceeding beyond the initial anticipations.
French, Rock In Opposition, ProgListen Here
Godflesh: Decline & Fall (Avalanche) LP
Justin K Broadrick’s most-recognized band, the influential and innovative Godflesh — formed in 1988 with bassist Ben Green, disbanded in 2002, and reformed in 2010. “Decline & Fall” is a 23 minute EP containing four brand new tracks, their first original recordings since 2001’s ‘Hymns’, issued on Broadrick’s Avalanche label.
Half Japanese: Overjoyed (Joyful Noise) LP
One of the most influential bands in rock history, Half Japanese was founded in the bedroom of brothers Jad and David Fair in 1974. Ignoring musical conventions like chords, rhythms, melody, and song structure, the brothers pioneered DIY and lo-fi punk aesthetics simply by being themselves. Passionate, fearless, and relentlessly unique, they self-recorded and self-released recordings by mailing out cassettes with handmade packaging, pressing their own vinyl, and brazenly marketing their music with bizarre magazine ads. This unbridled enthusiasm for the act of creating rock music led them to record dozens of amazing records (including the classic albums 1/2 Gentleman/Not Beasts and Charmed Life), and to inevitably influence countless artists such as Sonic Youth, Neutral Milk Hotel, Daniel Johnston, Kurt Cobain, and many many more. Their first album in 13 years, Overjoyed, shows the band’s aggressiveness as well as its friendly charisma. Produced by John Dieterich of Deerhoof, its 12 songs are unlike anything in the bands catalog, each unapologetically positive and surprisingly accessible. Overjoyed contains a deep purity, exceptionally rare amongst “reunion albums.” They neither attempt to recreate their old sound, nor are they aware of current musical trends and conventions. As a result they sidestep common pitfalls and create something new, interesting, and needed.
File Under: Punk, Lo-Fi
Craig Leon: Anthology of Interplanetary Folk Music Vol. 1 (RVNG Intl) LP
Craig Leon’s seminal synthesizer albums Nommos and Visiting are finally re-editioned in definitive form as the Anthology of Interplanetary Folk Music Vol. 1 for RVNG Intl.’s archival series. Issued respectively by John Fahey’s Takoma record label in 1980 and Leon’s Arbitor private press in 1982, Nommos and Visiting were the twin brainchildren of studio wizard Craig Leon. Leon’s production was pivotal in realizing the debut recordings by Ramones, Blondie, Richard Hell and Suicide. While those albums broke ground in new worlds of sound, Leon’s own debut album was arguably, if not literally, more alien. In 1973, the Brooklyn Museum hosted a comprehensive collection of sculptures by the Dogon of the Republic of Mali, a tribe whose religion is based in reveries and recollections of a visit from an extraterrestrial species they named Nommos. Years after experiencing the exhibit, Leon remained fascinated by the idea of alien visitors sharing not just stories of their home-planet, but musical traditions as well. For the classically trained Leon, a puzzle was presented and a challenge in place: what would music sound like if handed down from an ancient alien species? And how best to imagine it? Upon meeting Fahey in the late 70s, Leon pitched the concept as an opportune time to employ the latest and greatest synthesizer technology available. An avant empathist and eternally free spirit, Fahey enthusiastically green-lighted the project for his Takoma imprint. After a secluded week in an Austin, Texas studio with his partner, wife and collaborator Cassell Webb, Leon returned with a collection of incorporeal melodies generated by the Oberheim OB-X, Roland JP-4 and Arp 2600 synthesizers propelled by primitive rhythms programmed on a prototype of Roger Linn’s nascent drum-machine, the LM-1. Issued by Fahey with zero expectation of the same radio airplay Leon accomplished with his pop productions, Nommos now stands as an innovative example of cosmic-synth composition that wasn’t made for its time or any other. For this edition, Leon has in fact re-animated Nommos by re-recording the exact audio signals as preserved in the album’s original studio notes. Every patch, tape-delay speed and outboard setting was transcribed as first scored, materializing the best possible audio of an album whose masters were unaccessible to Leon due to a major label merger milieu from years ago. Additionally, the re-master of Visiting was supervised firsthand by Leon. As its title suggests, Visiting materialized in 1982 as a conceptual continuation of Nommos. The album is in equal measure more improvisatory and constructed than its predecessor. Both albums were intended to be listened to as a set in the first volume of Leon’s Anthology of Interplanetary Folk Music (the title was an homage to Harry Smith’s influential collection of folk music issued two decades prior). A creative evolutionist, Leon made subtle edits and compositional additions to both albums to enhance the connectivity and encourage infinite interpretation. While reissues and bootlegs have appeared to relieve the demand for these records, this collection will stand as definitive versions authorized by Craig Leon himself. The vinyl edition will be housed in a 2xLP set that includes detailed artwork and two essays by Leon. The first tells the complete story of the stargazing Dogon people and their prescient understanding of cosmology. The second details Leon’s adventure in creating the Anthology of Interplanetary Folk Music Vol. 1, an epic story bookended on this side of history as one seamless synth classic.
OST: Akira (Victory) 2LP
Victory records release their double LP edition of the soundtrack album for Katsuhiro Otomo’s ‘Akira’, the seminal 1988 Japanese animated cyber-punk film directed by Katsuhiro Otomo. The dystopian Tokyo the film is set in is perfectly soundtracked by Japanese musical collective Geinoh Yamashirogumi, from the percussive ‘Kaneda’ to the immersive, otherworldly ‘Requiem’. “The Japanese Geinoh Yamashirogumi collective was founded in 1974 by scientist and composer Shoji Yamashiro and gathers over a hundred amateur musicians. As they come from all walks of life, some members of the band have jobs that are far apart from the artistic field, which makes Geinoh Yamashirogumi unique in its kind. It has also been noted for being able to perform different pieces of traditional music from all over the world, while mastering at the same time state-of-the-art technologies available to musicians, and in particular the MIDI (Musical Instrument Digital Interface) protocol. Symphonic Suite Akira is no doubt the band’s most famous work, owing to the global success of the manga, followed by Katsuhiro Otomo’s animated film adaptation. Released in 1988, this soundtrack is the second part of a mysterious trilogy, Ecophony Rinne being its first part released in 1986, and Ecophony Gaia its second part released in 1990. These unique compositions, which hardly belong to any one style, convey marvelously the landmark manga’s futuristic and post-apocalyptic universe.”
File Under: OST, Anime, Japanese
OST: Akira (Victory) LP
Single LP version of this killer classic soundtrack. Distilled down to the bare essentials at a somewhat nicer price. “The Japanese Geinoh Yamashirogumi collective was founded in 1974 by scientist and composer Shoji Yamashiro and gathers over a hundred amateur musicians. As they come from all walks of life, some members of the band have jobs that are far apart from the artistic field, which makes Geinoh Yamashirogumi unique in its kind. It has also been noted for being able to perform different pieces of traditional music from all over the world, while mastering at the same time state-of-the-art technologies available to musicians, and in particular the MIDI (Musical Instrument Digital Interface) protocol. Symphonic Suite Akira is no doubt the band’s most famous work, owing to the global success of the manga, followed by Katsuhiro Otomo’s animated film adaptation. Released in 1988, this soundtrack is the second part of a mysterious trilogy, Ecophony Rinne being its first part released in 1986, and Ecophony Gaia its second part released in 1990. These unique compositions, which hardly belong to any one style, convey marvelously the landmark manga’s futuristic and post-apocalyptic universe.”
File Under: OST, Anime, Japanese
OST: Captain Future (Victory) LP
Yuji Ohno is a Japanese jazz musician born in 1941. He’s principally known for his musical scoring of Japanese anime-television series, of which Lupin III and the feature film The Castle of Cagliostro are his most well known works. Ohno is also well-known as a member of a jazz trio with bassist Miroslav Vitous and drummer Lenny White. Later anime series scored by Ohno include Shingu: Secret of the Stellar Wars, the 1982 series Space Adventure Cobra and this Captain Future: A rare & legendary soundtrack performed by Yuji Ohno & his You & The Explosion Band featuring Takao Naoi, Eiji Arai, Takeru Muraoka, Jake H Concepcion and Pepe Anai. Produced in the late seventies, the famous japanese Space Opera animated series known a great success around the world. This series is based on stories of Edmond Hamilton which were published in the Pulp Magazine between 1940 & 1951. The soundtrack is based on Space Jazz Funk, Smooth Jazz & deep grooves served by the Korg Synthesizer and its particular sound. Titles include Space Jazz Funk tunes Andromeda No Kanata Ni & Kirameku Inner Space, opening & ending theme (Yume No Funanori, Poplar-Doori No Uchi), the songs Oira Wa Sabishii Spacemen & Ok! Captain with the chorus from Sendai.
Plasmatics: New Hope For The Wretched (Drastic Plastic) LP
Limited foil-numbered editions of 1,500 on 150-gram opaque yellow vinyl manufactured for pristine sound at Quality Record Pressings. Part art piece, part punk, part metal: The controversial Plasmatics broke taboos and blew the lid off what critics and audiences alike knew as punk music. Incorporating theatrics, barking vocals and a focus on end-of-the-world visions, 1980’s New Hope For the Wretched is a technically solid punk record from a groundbreaking band. Drastic Plastic Records is pleased to present our superb repressing of Plasmatics’ first album in all its chainsaw-guitar-solo glory, along with a poster and insert, recreated from its original release.
Pye Corner Audio: Black Mist (Front & Follow) 12″
Front & Follow, in collaboration with The Outer Church, present a stunning new EP from Pye Corner Audio – The Black Mist EP. The EP features an extended mix of the title track Black Mist (the original featured on last year’s Outer Church compilation), new track Bulk Erase and a remix of Black Mist by fellow OC collaborators Old Apparatus.Pye Corner Audio is the audio recovery project of the Head Technician, a mysterious and studious figure who has developed the ability to travel sideways through time and space via a) the use of rewired analogue recording equipment and b) the judicious application of moss and fog. Alongside the self-released Black Mill Tapes research series (recently collected on vinyl and CD by Type Records), the Head Technician has released music through Dekorder, Type, The Tapeworm and Boomkat Editions, not to mention a full-length album, Sleep Games, on Ghost Box. The Head Technician claims not to know where the bodies are buried, but would be happy to show you his reels. Old Apparatus were specially selected by the Head Technician to remix Black Mist, and have turned in a distressed deconstruction in keeping with their rusted iron aesthetic. A collective of shady individuals most often found muttering obscure invocations in the low-rent drinking dens of North East London, their stubbornly uncategorisable sound debuted in 2011 with a hissing, creaking self-titled 12″ on Mala’s esteemed Deep MEDi label. Their debut album, Compendium, was released on their own Sullen Tone label in 2013. The outfit has in addition birthed a number of intriguing offshoots such as Harem, Saa and Penny. One of them may be standing behind you right now, reading this over your shoulder. Don’t look.Much imitated but never equalled, The Outer Church is a shadowy Brighton-based organisation dedicated to the promotion of uncanny sound and vision. Its semi-human representative is music writer and persistent meddler Joseph Stannard (The Wire, Mojo, Red Bull Music Academy, The Quietus etc). Since its inception in 2009, The Outer Church has presented live audiovisual performances from Demdike Stare, Raime, Pye Corner Audio, Some Truths, Ekoplekz, Kemper Norton, Hacker Farm, Umberto, High Wolf, Grumbling Fur and many, many more. “Magnum Innominandum. A random access myth. The clarion signals the opening of the portal. Remember to take a reading. A hex and a pox and the land is ours.”
File Under: Electronic
Zammuto: Anchor (Temporary Residence) LP
Following the dissolution of his groundbreaking collage-pop duo, the Books, Zammuto rebounded with an eponymous debut album submerged in transitional anxiety and audio effects designed to intentionally obscure the very humanistic qualities that marked Nick Zammuto’s best work in the Books. It was in many ways the most essential album of his career, in that it established his post-Books path and introduced him to a new group of musicians (most notably renowned percussionist Sean Dixon) who have immeasurably contributed to the creative inspiration and execution of his most compelling work to date, the aptly titled Anchor. An enormous weight has been lifted from Nick Zammuto, and you can hear as much in the opening minutes of Anchor. The arrangements have more space, the songs are more dynamic, and the vocals are delivered with a confident intimacy that is almost alarmingly beautiful (the collaborations with the enchanting Daniela Gesundheit of Canadian indie-pop duo Snowblink are particularly transcendent). Written, performed, recorded, mixed, and mastered entirely at home in Zammuto’s converted tractor garage recording studio (pictured on the front cover) using an expanding array of vintage analog outboard equipment, Anchor embodies the very DIY lifestyle and self-sufficient approach that has come to define all that is Zammuto. His is a rarified art made on its own terms – far away from the insular feedback loop of trend cycles and commodified expectations. His home is his anchor, and Anchor is his home.
File Under: Electronic, The Books
Arcade Fire: Funeral (Merge) LP
Arcade Fire: Suburbs (Merge) LP
Bon Iver: For Emma, Forever Ago (Jagjaguwar) LP
Sam Cooke: The Wonderful World of… (Doxy) LP
Mike Cooper: Trout Steel (Paradise of Bachelors) LP
Mike Cooper: Places I Know/The Machine Gun Co… (Paradise of Bachelors) LP
Death: For The Whole World to See (Drag City) LP
Faith No More: The Real Thing (Music on Vinyl) LP
Harmonia: Deluxe (Lilith) LP
Mayhem: Esoteric Warfare (Season of Mist) LP
Ministry: Twitch (Music On Vinyl) LP
Modest Mouse: Good News… (Epic) LP
Mr. Bungle: Disco Volante (Music on Vinyl) LP
Neutral Milk Hotel: On Avery Island (Merge) LP
Neutral Milk Hotel: In An Aeroplane over the Sea (Merge) LP
Nilsson: Aerial Ballet (Sundazed) LP
William Onyeabor: Who Is William Onyeabor? (Luaka Bop) LP
Pink Mountaintops: Get Back (Jagjaguwar) LP
Django Reinhardt: Anthology (Not Now) LP
Sensation’s Fix: Music is Painting in the Air (ReRVNG Intl) LP
SNFU: Never Trouble Trouble Until… (Cruz) LP
Swans: To Be Kind (Young God) 3LP
Sharon Van Etten: Are We There (Jagjaguwar) LP
Chad Van Gaalen: Shrink Dust (Flemish Eye) LP
War On Drugs: Lost In The Dream (Secretly Canadian) LP
Various: Eccentric Soul: Capsoul Label (Numero) LP
Various: N.Y.C. Hardcore (Revelation) LP