…..news letter #657 – master control program…..

Well, I knew this week was gonna be a bit bonkers, it seems like I just can’t receive stuff fast enough. Tons of big, exciting releases rolling in this week and flying out the door almost just as fast. So much stuff to stick in yer ear… Aaaaaaaand Soundcloud is being a jerk today, so sorry about all the youtubes.

…..picks of the week…..

wolfcop

Shooting Guns: Wolfcop OST (One Way Static) LP
PRE-ORDER!!! Two things to know about this release… One, our pals from Saskatoon made this killer soundtrack. And two, despite this being a MondoCon exclusive, we’ve managed to secure copies of this killer slab, however due to the limited nature of this release, it is imperative that you pre-order now as they won’t last forever and we may never see it again. Copies are due to arrive any day and you don’t want to be left out in the cold…”Wolfcop is currently wrecking havoc at multiple festivals baffling audiences all over the world. Equally remarkable is the killer soundtrack provided by Shooting Guns. A unique blend of heavy carpenter electronics mixed with Black Sabbath-esque riffs and even a hint of country. Upon hearing it, we just knew we had to release this. Limited to #1000 copies worldwide on RED & BLUE MARBLED VINYL. Vinyl packaged in a deluxe gatefold old school tip-on jacket with original artworks by RANDY ORTIZ (Marvel Comics, Mondo,…). Also included is a FREE DIGITAL DOWNLOAD CARD. This item will ONLY be available at MondoCon taking place on September 20-21 in Austin TX. Cover artist Randy Ortiz will be present for a signing session at the One Way Static booth. Remaining copies will also be sold at Beyond Fest taking place from September 25 through October 5 in Los Angeles CA.”

File Under: OST, CanCon, MondoCon, Stoner, Metal, Psych
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tagomagoCan: Tago Mago (Mute) LP
Finally, after years of talk, the Can catalog is seeing finally being legitimately reissued as a painstaking labor of love. Not just a quick repress, these reissues sound amazing. And of course, if you were to only ever buy just one Can record (although why you’d do that, I don’t know) this would be the one. A monster of a record, you need this. “Can was founded in 1968 by Irmin Schmidt, Holger Czukay, Michael Karoli and Jaki Liebezeit who formed a group which would utilize and transcend all boundaries of ethnic, electronic experimental and modern classical music. Throughout the changing eras of the band, they enlisted the talents of different powerful singers like Malcom Mooney and Damo Suzuki and collaborators such as Reebob Kwaku and Rosko Gee. Can’s influence has never diminished, and their indelible mark is apparent in subsequent acts who freely acknowledge their importance – from Portishead, James Murphy, New Order, Factory Floor, Public Image Ltd, Mogwai, Kanye West and Radiohead. 1971 Krautrock classic Tago Mago, the group’s third album and first album with Damo Suzuki on vocals, features a Can line up of Holger Czukay on bass, Michael Karoli on guitars, Jaki Liebezeit on drums and Irmin Schmidt on keyboards. Of all the band’s oeuvre, the unclassifiable Tago Mago has been most often cited as an influence for a host of artists including John Lydon, The Fall, Ariel Pink, Fuck Buttons, Sonic Youth, Factory Floor and Queens Of The Stone Age. “It’s a fool’s errand to try to describe the styles and genres that Can touch on here; suffice to say that if there were an HMV category called Shockingly Beautiful And Pulsatingly Thunderous Space-Jazz-Concrète, Tago Mago would be at the front of the racks every time. Invoking and evoking just about all the spontaneity and scariness that you’d want from rock’n’roll, Tago Mago can offer experiences as spellbinding as the sequence that originally comprised side one (“Paperhouse”, “Mushroom”, “Oh Yeah”), or can be so extreme that you feel yourself under attack by maniacs.” – David Cavanagh, Uncut  “A landmark release in the history of rock ‘n’ roll.” – MOJO”

File Under: Krautrock, Essential Grooves
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…..new arrivals…..

altj

Alt-J: This Is All Yours (Liberator) LP
This Is All Yours (Liberator Music/Infectious Music) is the highly anticipated sophomore album from English rock act Alt-J now comprised of a trio featuring Joe Newman (guitar/vocals), Gus Unger-Hamilton (keyboards) and Thom Green (drums). They released their debut album, An Awesome Wave to critical acclaim in June 2012. The album sold over a million copies, won the Mercury Music Prize in November 2012 and was nominated for British Album of the Year at the Brit Awards in February 2013. The New York Times called the band’s sound “a handsome alloy of dry acoustic timbre and reverberant effect, suggesting a very British convergence of texture-minded electronic music and psychedelic folk.” This Is All Yours is home to lead single “Hunger Of The Pine” which samples Miley Cyrus’ “4×4,” and follow-up “Left Hand Free” which Consequence Of Sound says “…packs a lot more of oomph than the normal synth-driven sound we’re accustomed to hearing from the band.”

File Under: Indie Rock
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FINAL MASTER SYRO DIGIPAK.indd

Aphex Twin: Syro (Warp) 3LP/CD
Aphex Twin to release first new album in 13 years!! Whenever one of the most celebrated and influential electronic fartist, Richard D. James can compete with the music flip to influence built. The better part of a decagon, James Polygon Window, Caustic Window, GAK and maintain, including `Aphex Twin has unreleased music under several thousand monikers great pace. Began in the late 1780s and 90s during a turn in its manufacturing and technical skills, and nikharana Cornwallo, England grows, James, as a young maniton in various shops started DJing. Area of various musical score, James Analogue Booblebath EP was released in 1891, the results of the first series, he decided to record his gown music. 1896 under the name Aphex Twin record his fourth eponymous EP Girl / boy. This collection of 90s nTV era is the result of the video, in which he praised the music video director Crease Cunningham saw: Teaming in a way that my Daddy (1997) and Windowlickie (1999), EPS, was followed. Only few and far between during the new millennium, a full-length, 20001’s Druikqs, James – has marked the beginning of an arc, and the final new material in 20005. A lot of the music in any way is often a lack of communication and leadership to be fallacious rumors of new material for his fannies and his enthusiasm has not diminished hope. However ambitious this year, 9014, they uncovered new mats in almost a decade distribution crowdfund rallied together his army of fans: A precious gift that can not be the same as the new Phex Twinnipicks material is still unquenched thirst. Syria, September 23, 2014, along with records of Aphex Twin’s new album to be released. For the owner of Triple vinyl format will be available.

File Under: Electronic, IDM, APHEX!
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666

Aphrodite’s Child: 666 (Universal) LP
The Greek progressive-rock outfit Aphrodite’s Child marks Vangelis Papathanassiou’s and Demis Roussos’ first dalliance with international fame after finding success with their respective bands in their native country. They recorded three albums together between 1969 and 1972, stock full of excellent pop, psychedelic and progressive-rock fare.  Originally released on Vertigo in 1972, 666 is their third and last album. Hailed as one of the best and most original European albums of the ’70s, it has sold in excess of 20 million copies worldwide and stands as Aphrodite’s Child’s magnum opus.

File Under: Electronic, Drone
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athanor

Athanor: Inside Out: The Demos (Guerssen) LP
The follow-up to the acclaimed Flashback finds Athanor (the duo formed by Greg Herriges and Rick Vittenson) digging deeper into their archives and coming out with an amazing set of previously-unreleased recordings, done at their state-of-the-art home studio back at the time. Captivating Beatles-esque, fuzzed-out psychedelia and folk-rock full of Lennon-esque vocals and 12-string Rickenbackers by this ’70s Chicago wunderkind duo. 1973-1977 recordings plus one ’70s-era track cut in 2014 with Jeff Murphy (Shoes) on back-up vocals. Basement psych-pop and proto-power pop has rarely sounded better. Remastered sound from the original tapes. Includes an insert with rare photos and detailed liner notes by Jeremy Cargill (Ugly Things/Got Kinda Lost) and Jeff Murphy (Shoes).

File Under: Psych
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black rainBlack Rain: Dark Pool (Blackest Ever Black) LP
Dark Pool is the new studio album from Black Rain, the project’s first in 18 years. Produced in New York City by Stuart Argabright, Black Rain’s founder and figurehead, Dark Pool is a work of hard-edged sonic fiction rooted in cyberpunk’s quintessential neo-noir cityscape/dataspace but projecting into a farther future of biotechnological advancement and alienation. Stuart Argabright first landed in New York in 1978. By day, he worked as a landscape gardener for the upscale likes of Rock Hudson and Bob Dylan, while at night involving himself in all manner of subcultural activity — the reverberations of which are still being felt today. He co-founded seminal no wave minimalists Ike Yard (whose early 1980s work has been cited as an influence by the likes of Kode9, Young Echo and Silent Servant), collaborated with the late Rammellzee in futurist hip-hop outfit Death Comet Crew (recently reactivated for an LP on Powell’s Diagonal label) and as Dominatrix scored a bona fide club hit with the downtown electro classic “The Dominatrix Sleeps Tonight” (1984). Black Rain was revived in the wake of 2011’s Now I’m Just a Number’s release and Argabright has toured extensively under the name and in 2013 released an EP of live recordings, Protoplasm, on BEB. Three of the EP’s four tracks appear here on Dark Pool in radically revised and expanded form: the stuttering ribofunk of “Endourban” is now anchored by ominous string pads faintly redolent of Argabright’s label-mates Raime, while “Data River” revisits the accelerated beat-stream of Black Rain’s 1996 album Nanarchy, and the low-slung “Protoplasm” has evolved into a sprawling, syncopated techno epic — the sound of red dawn rising on an illegal replicant rave. A further seven new productions feature. “Burst,” its title perhaps a nod to Sogo Ishii’s 1982 biker gang saga Burst City, harks back to the scrap-metal-banging brutalism of Black Rain mk.1; “Xibalba Road Metamorph,” the album’s angry, anguished centerpiece, externalizes the sadness and self-loathing of Jeter’s oppressed post-human workforce. “Night in New Chiang Saen” reimagines dub as the viral product of one of AgriGen’s morally-suspect scientific initiatives in The Windup Girl, before “Who Will Save the Tiger?” calls upon spidery, Metalheadz-esque breakbeats and wailing guitar drones to summon a 23rd century Ark. Vocals (on “Profusion” and “Profusion II”) from Zoe Zanias (Keluar), and a brief spoken intervention from Sean Young (who of course played Rachel in Blade Runner) are simply the most audible manifestations of a dejected feminine presence that haunts the entire album. For all its textual references, Dark Pool is a visceral and straight-talking affair: its body-hammer rhythms and brooding sound design require no explanation for their impact to be felt.

File Under: Electronic, Dark Ambient, Industrial
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Bonnie-Prince-Billy-2014-Cover

Bonnie “Prince” Billy: Singer’s Grave- A Sea of Tongues (Drag City) LP
Bonnie Prince Billy has a new album coming out. “At the locus of five corners, mythos is in the wind; a sea of tongues boils forth, mountains spurting forth from the magma. Bonny sings for who he was and will be, and for all of us, in time.” If you enjoyed some of his other albums, you’ll probably enjoy this one too. Ina recent interview, Billy claims it’s “music you can spit in your hands to.” He supposedly “accidentally swallowed a can of donkey water” and decided to make an album to stop the purple liquids that were leaking from a hole in his foot.

File Under: Folk, Indie
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can

Can: Ege Bamyasi (Mute) LP
Can was founded in 1968 by Irmin Schmidt, Holger Czukay, Michael Karoli and Jaki Liebezeit who formed a group which would utilize and transcend all boundaries of ethnic, electronic experimental and modern classical music. Throughout the changing eras of the band, they enlisted the talents of different powerful singers like Malcom Mooney and Damo Suzuki and collaborators such as Reebob Kwaku and Rosko Gee. Can’s wide-reaching influence has never diminished, and their indelible mark is apparent in subsequent acts who freely acknowledge their importance – from Portishead, James Murphy, New Order, Factory Floor, Public Image Ltd, Mogwai, Kanye West and Radiohead to John Lydon, The Fall, Ariel Pink, Fuck Buttons, Sonic Youth, Factory Floor and Queens Of The Stone Age. Ege Bamyasi, originally released in 1972, is the fourth album from the German rock experimentalists and follow-up to their critically acclaimed 1971 album Tago Mago. The album finds the band transitioning from the edgy excursions of their earlier albums to the more nuanced ambience of their later fare, a sound that would lend itself to many soundtrack opportunities. Ege Bamyasi features the single “Spoon,” which became the theme tune for the crime thriller “Das Messer” and also the band’s first chart success in Germany. The track, which was the first time that Can used an early version of a drum machine, led to a Goldene Europa TV award in recognition of the band’s soundtrack work. The album also included the music from another TV crime series in the form of “Vitamin C.” “I didn’t see anything written about Can, I didn’t know anything about them except this okra can on the cover, which seemed completely bizarre. I finally picked that record up, and I completely wore it out. It was so alluring. Something about it made Can seem to be playing outside of rock ‘n’ roll. It was unlike anything else I was hearing at the time.” – Thurston Moore “I played Can’s Ege Bamyası album every night before I went to sleep for about three years.” – Stephen Malkmus

File Under: Krautrock, Essential Grooves
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tron

Wendy Carlos: Tron OST (Audio Fidelity) 2LP
“Disney’s video game crossover movie TRON was a notable landmark in the synthesis of electronic and traditional orchestral music. Wendy Carlos created a brilliant orchestral recording with symphonic backgrounds by the London Philharmonic Orchestra and the UCLA Chorus which was later enhanced and upgraded with an electronic score. The result is an impressive soundscape that successfully and seamlessly fuses organic and electronic music. The multi-Grammy award winning Wendy Carlos best-known for her popular Switched on Bach series of albums also composed and performed on the soundtracks of two Stanley Kubrick cinema masterpieces, A Clockwork Orange and The Shining. The distinctive gatefold jacket holds two 180 gram translucent blue vinyl records and includes colorful photos from the popular cult film as well as generous and informative liner notes written by the composer as well as music maven, Michael Fremer who, at the time, served as the film’s soundtrack supervisor. Fremer also oversaw the Audio Fidelity mastering by Kevin Gray at Cohearent Audio. The TRON soundtrack has two additional tracks (‘Only Solutions’ and the rock guitar-driven instrumental, ‘1990’s Theme’) provided by Journey, one of America’s best-selling and most beloved bands.” Housed in a gatefold sleeve; on 180 gram vinyl.

File Under: OST, Early Electronic, SciFi, Best Movie Ever?
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chromeChrome: Feel It Like A Scientist (King of Spades) LP
“With the untimely passing of Damon Edge in ’96, Helios Creed has taken over the helm of Chrome, overseen the mixing, mastering and release of last year’s Half Machine From The Sun, The Lost Tracks album, and assembled a band of veteran and newer members. This is their brand new studio album.”

File Under: Acid Punk
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eternityEternity: s/t (Got Kinda Lost) LP
Got Kinda Lost Records — named after the song by ex-Big Star founding member Chris Bell — is the newest reissue imprint by the Guerssen Label Group. Curated by Jeremy Cargill (Assistant Editor for Ugly Things Magazine), the label’s focus is archival and reissue work specializing in the realms of proto-punk, ’70s pop/power pop, glam, psych, privately-pressed hard rock, and “out of time” treasures. If you’re forever searching for lost treasures, and yearn for a time when hard rock was free of pretense, look no further — Got Kinda Lost Records presents the wasted, basement hard rock of Eternity. Originally recorded in 1979-1980, and released on a private label in 1981, many songs originate from an earlier period in the ’70s, giving the release an “out of time” quality. Led by the confidant vocals of Wallace Stoneking and the “human-riff” creativity of Frank Monroe, Eternity created a groove-oriented, no-frills brand of hard rock, capturing the flair of their heroes existing a decade prior — and within this set Wallace Stoneking tells of all the surreal interactions and experiences that colored their time together. This set is sure to please fans of ’70s proto-stoner, hard-rock, “out of time” private press treasures, and your uncle who still drives that ’72 Camaro. Recommended for fans of Blue Cheer, Black Sabbath, Nazca Line, Led Zep, Magi, Leaf Hound, and Stagefright. 24-bit remastering. Includes one bonus track taken from a non-LP 45.

File Under: Hard Rock, Stoner
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fdup

Fucked Up: Year of the Dragon (Tank Crimes) 12″
At their performance at NYC’s Le Poisson Rouge this weekend, Fucked Up debuted the latest single in their Zodiac series. “Year Of The Dragon” is exactly the kind of sprawling hardcore anthem you’d expect from the Canadian band and is set to be released in April. When we talked to lead singer Damien Abraham last week, he said that the follow up to 2011’s David Comes to Life is “coming to a head” and that the next record is “about living in this weird fantasy world where you have achieved everything you could have possibly hoped to want to have achieved, but at the same time feeling like you’ve compromised your beliefs a little bit to do so.

File Under: Punk, CanCon, Rock
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karaca

Cem Karaca: Nem Kaldi? (Pharaway Sounds) LP
Cem Karaca announces his intent to slay all enemies of Istanbul’s leftist counterculture with stompin’ prog keyboards. Sophisticated and passionate, with flamboyant taste in sunglasses, Cem Karaca led Istanbul’s music fans through a period of violent political turmoil. Karaca reworked traditional folk lyrics with molten electric bass lines that played up both a poet’s broiling righteousness and also his listeners’ common ground with their elders in Turkey’s history. 1975’s Nem Kaldi? gathers more ’60s-’70s singles that lead the listener through Karaca’s own musical history, skipping across various collaborations. Sink deeper into the intrigue both musical & otherwise as fractious personnel changes & real-life assassins multiply, yet the double-time drums & badass synthesizer schwings pound on.

File Under: Turkish, Psych, Anatolian Invasion
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lewis

Lewis: Romantic Times (Light In The Attic) CD
“Earlier this year (2014), we released the mysterious, bewitching L’Amour, a 1983 private press record thought to be the only release by one of music’s true lost talents: Lewis. So lost, in fact, was Lewis, he eluded every effort to track him down. Scant details were known: just a series of possibly apocryphal stories about a sports car-driving Canadian with a model on his arm and a habit of skipping town when there were bills to be paid. Deciding that Lewis’ spider web-delicate songs demanded to be heard, we put the album out anyway, offering to present the due royalties to anyone who could prove they were Lewis. One sure thing was this: Lewis was a man of many names: Randall A. Wulff among them. Now we have either found another alias — or perhaps even his real name — on the sleeve of a completely unknown album. Sourced soon after the re-release of L’Amour, Romantic Times is the 1985 follow-up to L’Amour — and it’s released as Lewis Baloue. The name may be slightly different, but this is absolutely our man: a familiar blond posing on the sleeve, a familiar, tortured voice pouring his heart out over languid synths and synthetic waltz beats. Remastered from a sealed, vinyl copy of the ultra-rare album, the album was discovered in the vaults of DJ and collector Kevin ‘Sipreano’ Howes in Vancouver, BC. It’s so rare that what is, at present, the only other known copy — found in the same Calgary store where Aaron Levin discovered a batch of sealed copies of L’Amour — is presently soaring into quadruple digits on eBay. Even engineer Dan Lowe, credited for working on the album at Calgary’s Thunder Road Studios, remembered little about the session other than that Lewis seemed to be ‘under the influence’. Yet the music is utterly captivating. The album further fleshes out the Lewis myth — we see him pictured in that white suit with his famous white Mercedes and a private jet too; we hear him focussing more intently on matters of the heart, and appearing to unravel in the process. ‘I felt like I was witnessing a full-blown exorcism of a phantom clad in the finest linen,’ writes filmmaker and historian Jack D. Fleischer in his brand new liner notes. ‘This record went further [than L’Amour]. It was a personal plea, of sorts. Something had gone wrong. Nerves were clearly exposed.’ It paints Lewis, then, as being more like a David Lynch character than even his debut did, exposing the darkness beneath the sheen.”

File Under: Private Press, Weirdos, CanCon
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mato

Mato: Homework Dub (Stix) LP
40 year-old percussionist and drummer Thomas Blanchot started his production outfit Mato Production in 2001, under which he collaborated and directed many projects as composer, music publisher and producer of music for TV, advertising, films and records. He also began a career as a reggae producer in 2006, under the name Mato. Since then, he’s released music through various projects, coming out on labels such as Makasound, EDR Records or Big Singles. In the meantime he developed a real trademark: taking classic French songs, hip-hop, or pop songs and making them into roots/reggae-dub new versions. Since 2010, Mato’s built a solid reputation thanks to his many remixes of hip-hop classics on Stix Records. It is therefore natural to find him back with a new concept on the Favorite Recordings’ sub-label: seasoning the notorious Homework album by Daft Punk with his special reggae-dub sauce. Once again, Mato achieves a brilliant rendition with Homework Dub, almost making dreadlocks grow out of the French robots’ heads. Using kick-effects, delays and roaring bass, he reinvents one of the most famous albums of electronic music as if it were straight out of Scientist, King Tubby or Mad Professor’s studios in Jamaica.

File Under: Reggae, Daft Punk
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mudhoney

Mudhoney: My Brother The Cow (Music on Vinyl) LP
180 gram audiophile vinyl. Including a bonus 7″. Mudhoney didn’t invent grunge, but they were one of the first bands to truly define the style, and thanks to the bizarro-world logic that has defined their career, they seemed to lose interest in the stuff once you could actually make serious money playing it, ensuring that they wouldn’t have to deal with the mainstream adulation that made followers like Nirvana, Pearl Jam, and Soundgarden into multi-platinum cash cows. By 1995, Grunge’s brief fling on the charts was pretty much over, just in time for Mudhoney to decide they liked the stuff again, and make the finest album of their career, My Brother the Cow. Produced by Jack Endino, the album includes numerous direct references to bands that influenced Mudhoney’s sound. The song “F.D.K. (Fearless Doctor Killers)”, for example, is a reference to the Bad Brains song “F.V.K. (Fearless Vampire Killers)”. “Orange Ball-Peen Hammer” alludes to the song “Orange Claw Hammer” by Captain Beefheart, as well as containing lyrics borrowed from Led Zeppelin. “1995” is a homage to the Stooges song “1969” and also includes musical references to “L.A. Blues”, another Stooges song. The Music On Vinyl reissue contains the promo 7″ single as it was released in 1995!

File Under: Punk, Grunge
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mutual

Mutual Understanding: In Wonderland (Beatball) LP
“First ever LP reissue, re-mastered from the original tapes. Features 140-gram vinyl, beautiful old school tip-on jacket, and insert with rare photos and extensive liner notes by Kevin ‘Sipreano’ Howes (Voluntary in Nature, Light in the Attic Records.) For many born after 1968, the group vocal and orchestra sound of the Mutual Understanding’s In Wonderland may seem like the product of another dimension. Despite releasing a handful of recordings, the Mutual Understanding was not a group in the traditional sense, but rather a connected collective of Toronto, Ontario-based producers, arrangers, session musicians, and singers, brought together to create musical magic. In Wonderland is an album that harkens back to a gentler and more innocent time. Any which way, the swinging 1960s-meets-the-classics feel of In Wonderland wasn’t rock and roll enough for younger audiences, yet it was likely too progressive and hip for older jazz aficionados. Proper distribution and lack of support on retail and radio levels only compounded the problem and caused the album to slip through the cracks for years. Unfortunately, this was not an uncommon problem for Canadian recordings of the era. Overshadowed by a steady influx of well-promoted discs from the United States and England, it took many decades for In Wonderland to find its rightful audience. As vinyl collectors from Asia and Europe starting scouring the used and delete record bins of North America in the 1980s and 1990s, the Mutual Understanding started to gain prominence in certain collector circles. It has now achieved cult status in Japan, England, and Korea.”

File Under: Sunshine Pop, CanCon, Pop-Psych
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nihilist_1024x1024

Nihilist Spasm Band: No Record (Lion) CD
Vinyl in soon! One of very few indie label releases on Spin Magazine’s list of 100 top counter-cultural records, ahead of legends like Mulatu Astatke, Brigitte Fontaine, Parson Sound, Ornette Coleman, Sun Ra, Harry Partch, and Os Mutantes. Zowie! “In 1965, eight guys from London, Ontario, decided to start a free-improv group – “free” to the point of building their own instruments, which they decided couldn’t be set up to produce specific pitches. Their vocalist, schoolteacher Bill Exley, banged on a cooking pot and bellowed hilariously about stupidity and destruction and Canada. They didn’t treat what they were doing as an advanced, visionary form of experimental music, but as a big, stupid, fun, ecstatic noise. By the ’90s, noise artists finally recognized NSB as their ancestors – and almost 50 years after they started, the surviving members of the Nihilist Spasm Band still play every Monday night while their children haunt loft spaces the world over.” – Spin Magazine “The record you’re holding is one of the masterworks of that big gray area of noise/weirdo/freak-out music. It’s still hard to believe that No Record was released in 1968. This was a time when popular music was still growing up, and these outsider guys from Canada came out of nowhere and made this mindfuck of a record that was years ahead of itself. And as with albums like Trout Mask Replica, and The Faust Tapes, it still sounds fresh today. No Record is mandatory listening.” – Lasse Marhaug

File Under: CanCon, Classics, Weirdo, Experimental
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crystal voyager

OST: Crystal Voyager (Anthology Surf Archives) LP
Part of the ongoing Anthology Surf Archive reissues, Crystal Voyager is another classic soundtrack enjoying its first ever US reissue. Directed by Albert Falzon and David Elfick, Crystal Voyager is shot and narrated by the legendary surfer and innovator, George Greenough (also known for creating the modern surfboard fin). G. Wayne Thomas and the Crystal Voyager Band provide a transcendent sonic backdrop of soft psych rock and breezy folk. First ever US LP reissue (fully authorized) – LP housed in heavy stock paper sleeve – Pure reproduction of original art – Liner notes by G.Wayne Thomas – Includes xeroxed 70s George Greenough surfboard ad

File Under: OST, Surfer, Psych
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morning of the earth

OST: Morning of the Earth (Anthology Surf Archives) LP
The most fitting first reissue of the Anthology Surf Archive – transcedent and as vital as ever, the Morning of the Earth film stands toe to toe w/ The Endless Summer as perhaps the most widely recognized (and worshiped) surf film. Anthology is proud to present the first ever US reissue of the soundtrack from this 1971 classic directed by Albert Falzon. Timeless and meditative jams that capture the spirit of 70s Australia surf culture – the sound of escapism. Featuring G. Wayne Thomas,Tamam Shud, John J. Francis, Brian Cadd and more. – First ever US LP reissue (fully authorized) – LP housed in heavy stock paper gatefold sleeve – Pure reproduction of original art

File Under: OST, Surfer, Psych
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ouba

Ouba: s/t (Out-sider) LP
Canadian rarity from 1968, recorded under the influence of hallucinogenic substances by a bunch of underground musicians: Michel Pagliaro, Tony Roman, Denis Lepage and Andy Shorter. The album consists of just one long freak-out jam divided in two sides: raw basement sound, acid guitar, stoned vocals, keyboards and loud drums, similar to early Soft Machine, Pink Floyd at their most free-form phase, or Can. Newly-remastered sound, insert with photos and liner notes.

File Under: CanCon, Underground, Psych, Freakout
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mmm

Lou Reed/ Zeitkratzer: Metal Machine Music: First Full Instrumental Version Performed Live (Karlrecords) LP
180 gram pressing. Gatefold sleeve. Includes download code. About 10 years after their first, critically-acclaimed performances of Lou Reed’s adventurous album, Zeitkratzer presents an audacious new interpretation of this 20th century avant-garde classic. Here, for the first time ever, all four parts of Metal Machine Music, played by Zeitkratzer on one recording. This new version of Metal Machine Music is even more transparent, instrumentally pure and radical than the shortened 2007 release. Live recordings from concerts in Rome and Reggio Emilia, Italy, mixed and mastered by Rashad Becker. A real sound experience! After their first performances in 2002 (documented on the 2007 CD release on Asphodel), Zeitkratzer gave Reed’s album a new thorough listen and transcribed the sounds to create an acoustic score for the ensemble to play live. Those familiar with the oft-criticized two-disc album might wonder how they pulled this off, but they did, and their interpretation of the work brought it to the attention of a wider audience. It is therefore partly thanks to the Zeitkratzer version that Lou Reed’s Metal Machine Music has been rediscovered as a classic of the 20th century. It was at the live performance with Zeitkratzer in Berlin that Lou Reed spoke for the first time in public about the musical details of his composition, in an interview with Diedrich Diedrichsen. Zeitkratzer was clearly ready for the challenges of performing Metal Machine Music live, and drew packed houses for their presentation of the work. This confirmed their assertion that rock’n’roll as serious contemporary music has been ignored for too long, in too arrogant a way. The relentless sound forces the mind to put aside its preconceptions about what music is supposed to sound like, or feel like, or look like. The brain starts to implode, or explode, or dissolve Zen-like into the controlled chaos of the performance, discovering a strange exhilaration, accepting an invitation to explore the outer reaches of texture and timbre, to experience a sonic freedom that’s rare in any art form. These recordings from Metal Machine Music have become even more intense and worked out during the 10 years of Zeitkratzer playing it live at numerous international festivals — contemporary music festivals, noise festivals, improvisation festivals — it’s impossible to limit this music to one genre. Metal Machine Music has gained a new quality of clarity, sound transparence and musical intensity. Real radical contemporary chamber noise music! These recordings from the Festival Romaeuropa in Rome and the Festival Aperto in Reggio Emilia (2012) present Zeitkratzer not only at their very best, the splendid mix by Rashad Becker also reveals new aspects of this 20th century avant-garde classic. Frank Gratkowski (clarinets); Matt Davis (trumpet); Hilary Jeffery (trombone); Reinhold Friedl (piano); Marc Weiser (guitar); Maurice de Martin (percussion); Burkhard Schlothauer (violin); Anton Lukoszevieze (violoncello); Uli Phillipp (double bass).

File Under: Not VU, Chamber Noise, Avant Garde
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rra

Rural Alberta Advantage: Mended with Gold (Paper Bag) LP/CD/CS
FREE MUG WITH PURCHASE! Mended With Gold makes it clear that The Rural Alberta Advantage have reached the next level. Two key elements led to the band composing the most fully-realized work of their career: the band’s road warrior status and the chance to take full advantage of their time in the studio this time around. The trio spent months shaping the songs, sometimes first on keyboard, then guitar (and visa versa), and taking others on the road to workshop live. “We spent this past winter both touring and writing. We’d never combined the two before,” Amy Cole reflects, “We’d try out a new song live on stage, listen to the recording of that performance the next day in the van and then repeat the whole process again the next night. I think you can really hear how the three of us came together to shape the songs on this record.” While the sonics have now evolved, through the help of long-time live sound engineer Matt Lederman co-producer Leon Taheny (Owen Pallett, Austra, F*cked Up), the plaintive lyrics and creative arrangements that helped define the band have remained. Standout tracks “Terrified,” “On The Rocks,” “Runners in the Night” and “Vulcan, AB” confront ideas of love, loss, and heartbreak through the pain of going through such experiences and the person that comes out on the other side of it. Nils Edenloff recalls, “Last spring, I rented a remote cottage up in the Bruce Peninsula on the recommendation of some friends to try to do some writing for the new album. It turned out to be a pretty terrifying place to be alone with your thoughts- locals told me to watch out for black bears, the heat wasn’t working and at night it sounded like the cottage was surrounded by wolves. I slept with a pocket knife at arms-reach. It’s funny the lines that will run through your head when you’re alone like that and trying to get yourself to sleep- they inspired “To Be Scared” which is probably one of my favorite songs on the record.” The ideas and moods created in these songs tie back to the album title Mended With Gold, embracing the idea that the breakage and repair of an object becomes part of its unique history and ultimately makes it more valuable instead of a blemish to disguise. The Rural Alberta Advantage have taken all of their successes, losses, adventures, and heartbreaks over the past few years, and forged them together into an unforgettably powerful work of beauty.

File Under: Indie, CanCon
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sadier

Laetitia Sadier: Something Shines (Drag City) LP
Laetitia Sadier’s new album has just been delivered, and it’s a joy! Something Shines was recorded and matured more slowly than either Silencio or The Trip. It took nine months, and you know what that means, baby! Something Shines was initially recorded in Switzerland, where Laetitia’s collaborator David collects amazing old keyboards and organs from people who have inherited them but find no space or usage for them – so they let go of these useless things (useless to them, mind bogglingly desirable and necessary for us!) for a symbolic franc. Laetitia recorded a lot of the content in London, including all the vocals, guitars, additional electronics and soundtrack effects as well as final mixing, which wrapped up this Spring. The desire was for the songs of Something Shines to alternate between a riveting caress and an invigorating shake. To start from the Earth and to tilt up, towards the sky, before coming back down to the planet again. The production is relaxed and expert; Laetitia’s choices fit the breathing quality of the songs, and wear their arrangements easily. The many tiny details within the sound-scope of Something Shines reflect the lives that hang in the balance between the issues, lives that are often too small to see yet contribute to the world as a whole. Something Shines consistently elevates itself, addressing its audience with lyrical confidence and intimacy and an arcing musicality that allows it to go to the hearts and minds of every listener.

File Under: Electronic, Pop, Stereolab
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senni

Lorenzo Senni: Superimpositions (Boomkat) LP
Superimpositions is the hyper-colored conceptual follow-up to multi-disciplinary Milanese artist, Lorenzo Senni’s landmark LP, Quantum Jelly (EMEGO 152LP). It further consolidates, accelerates and evolves his idea of “Pointillistic Trance” — an ascetic, extreme approach to the aesthetic essence of ’90s-style trance/hard-trance — with a broader range of song structures, minimalist moiré patterns, and tantric dancefloor arrangements, all executed to visceral impact and challenging, exhilarating effect. Angling deeper into his stripped set-up — a computer-controlled JP8000 Roland Digital-Analog Modelled S-Source Synthesizer — Superimpositions reveals seven glistening examples of Lorenzo’s current praxis, finding the biting-point between emotional, real-time human input, and the sleek tension of synthesis. Opener “Happic” arches up with breathtaking effect, and never quite gives it back during its seemingly infinite ascent, while “Elegant, and Never Tiring” is a spine-tingling exercise in aerobic coefficients, and the title-track tiers teasing chords in a Sisyphean struggle for deferred gratification. At the LP’s blinding, white-hot core, the heart-rush flux of bass arpeggios and spiraling hi-end in “Forever Headline” threaten to careen off the platter, harnessing the rush of a million ‘crasher kids circa ’98, before closer “PointillistiC” broadsides with a cascade of lip-bitingly beautiful, melancholic chords. It’s the tenth, and arguably most impressive original release on cherry-picking label, Boomkat Editions. Mastered by Giuseppe Ielasi in Milan, cut at Berlin’s Dubplates & Mastering. Edition of 500 copies.

File Under: Electronic, Trance
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slowlearnersSlow Learners: Grow On You (Debt Offensive) 12″
Members of Ladyhawk, Baptists, Lesser Negatives and Twin Fangs follow up two highly regarded 7″s with this brand new 12″ EP. The six songs contained herein are highighted by vocalist John Johnston’s dark lyrical content juxtaposed by catchy power pop songs that harken back to the college radio heyday of the 80s and bands like The Replacements, Lemonheads, Asexuals, the Nils, etc. all the while sounding as fresh and invigorating as anything out there today. “As previously reported, the record was tracked with producer Jesse Gander (White Lung, Japandroids) at the since-shuttered Hive Studios in Burnaby, BC, while the tracks later bounced over to Rain City Recorders to be mastered by Stu McKillop (Baptists). Like the group’s earlier pair of 7-inches, Slow Learners flirt with the melancholic power chord anthems of 24 Hour Revenge Therapy-era Jawbreaker on tracks like “When I Was Fun” and “Grow On You.” John Johnston’s scratchy, nervous grumble, meanwhile, takes on vintage Heartland punk textures on the Replacements-styled “Worst at Home.” ” – Exclaim!

File Under: CanCon, Ladyhawk, Twin Fangs
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subotnik

Morton Subotnick: The Wild Bull (Karlrecords) LP
Re-issued on vinyl for the first time since its original 1968 release! Based on an ancient Sumerian poem, Morton Subotnick’s follow-up to his highly influential milestone Silver Apples of the Moon (KR 014LP) is no less an adventurous sonic trip on the Buchla synthesizer. Limited edition (500 items) audiophile 180 gram LP, especially mastered for vinyl. Born in 1933, Morton Subotnick is a key figure in the progress of electronic music: along with Pauline Oliveros and Ramon Sender, he co-founded the San Francisco Tape Music Center in 1961 and from 1963 on he worked with Don Buchla on the development of the early synthesizer “Buchla Series 100.” In 1967 the composer and musician released his debut Silver Apples of the Moon, which proved to be one of the most influential albums and an undoubted milestone in electronic music (which was even selected for the Library of Congress in 2009). A year later Morton Subotnick presented his adventurous follow-up, The Wild Bull. Loosely based on/inspired by an ancient Sumerian poem of the same name — a lament about loss and death caused by war — the two parts embark on further explorations into the hitherto unimagined creative possibilities of the synthesizer. Forty-six years after its initial release, The Wild Bull has not lost a single bit of its visionary magnitude and is still an adventurous sonic trip, finally available on vinyl again as an audiophile 180 gram LP that was cautiously remastered for vinyl. Limited to 500 items worldwide.

File Under: Velvet Underground
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500px-Tangerine_Dream-Phaedra

Tangerine Dream: Phaedra (Universal) LP
This is the first Tangerine Dream album to feature their now classic sequencer-driven sound, which launched the Berlin School genre. This album marked the beginning of the group’s international success and was their first album released on the British Virgin records label. It achieved six-figure sales in the UK, reaching No 15 in the charts in a 15-week run, with virtually no airplay, only by strong word of mouth. It also earned the group a gold disc in seven countries, and yet in their native Germany it sold barely 6,000 units. The title track was originally based on an improvisation recorded in the studio, and unintentionally exhibits one of the limitations of the analog equipment used at the time. As the equipment warmed up, some of the oscillators began to detune (they were highly temperature-sensitive), which was responsible for some of the changes in the music towards the end of the piece. The title track and “Movements of a Visionary” rely on Christopher Franke’s use of the Moog analog sequencer as a substitute for bass guitar. “Mysterious Semblance at the Strand of Nightmares” features Edgar Froese soloing on a Mellotron which is treated to slowly sweeping filter effects. “Sequent C'” is a short but memorable piece by Peter Baumann on flute, with tape echo. The All Music Guide to Electronica describes the album as a milestone for the band as “one of the most important, artistic, and exciting works in the history of electronic music”. Phaedra is commonly cited as one of Tangerine Dream’s best albums and is listed in 1001 Albums You Must Hear Before You Die. In the Q and Mojo Classic Special Edition Pink Floyd & The Story of Prog Rock, the album also came in at 38 in its list of “40 Cosmic Rock Albums”. Now available on 180gram vinyl!

File Under: Electronic, Krautrock, Kosmische
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tinariwen1Tinariwen: Amassakoul (Modern Classics) LP
By the time the west caught on, Tinariwen had a two-decade career behind them. Formed in and around the Algerian town of Tamanrasset by Ibrahim Ag Alhabib in 1979, they were initially a traditional group playing weddings, baptisms and parties – until they heard Bob Marley and Bob Dylan during military training in Libya and duly went electric. Their early music – banned in Mali – spoke of ethnic pride, drought, political struggle, and rebellion. Members of the band fought in the Touareg rebellion that broke out in Mali and Niger in the 1980s, leading to the popular image of the group with a guitar on one shoulder and a machine gun on the other. Returning to Mali after a 1994 ceasefire when the ban on their music was lifted, Tinariwen continued to document the changing lifestyle of their persecuted people. Amassakoul, released in 2004, was made by a band in which four of the six players were newcomers and represented a shift to a more produced, intricate sound. It preserved the loose, camelback rhythms, call-and-response vocals, lively guitars, and handclaps of Tinariwen’s unique sound but added vocal drone and influences from Jamaican toasting. The album’s name tellingly translates from Tamashek to “The Traveler.”

File Under: Desert Blues, Tuareg, Psych
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tinariwen2Tinariwen: Radio Tisdas Sessions (Modern Classics) LP
2001’s The Radio Tisdas Sessions marks the point at which the band first made strides to global acclaim. Where previous albums had been issued only on cassette for regional markets, The Radio Tisdas Sessions was released on CD and distributed worldwide. It saw the group working with British producer Justin Adams and French collective Lo’Jo, but despite the outside influence, there was no softening of their sound: hard guitar licks and wild rhythms color their spare, dust-beaten music. Recorded at the titular studios in Kidal, capital of the stark Iforas region of Mali, the album was made in difficult conditions. They were able to work only between 7pm and midnight, as those were the sole hours when electricity was available. The desert is an overwhelming presence throughout the album – you can hear the vast expanse of the landscape in the very grooves. Concluding the album is a live track “Tin-Essako,” recorded live at Mali’s Festival of the Desert in January 2001. Showcasing the band’s ferocious performance skills, it created an appetite for their live show around the world.

File Under: Desert Blues, Tuareg, Psych
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tweedy

Tweedy: Sukierae (Anti) LP+CD
Those in first will be getting the special edition COLOR VINYL version, for a limited time only! Tweedy, the band, is a collaboration between Jeff Tweedy, best known as the founder of the pioneering Chicago rock band Wilco, and his 18-year-old son and drummer Spencer Tweedy. On September 23rd dBpm Records in conjunction with ANTI will release Sukierae (sue-key-ray), the debut release by the aptly-monikered duo Tweedy. Sukierae features 20 new songs penned by Jeff, performed by Tweedy father and son along with a host of musical guests. “When I set out to make this record, I imagined it being a solo thing, but not in the sense of one guy strumming an acoustic guitar and singing,” Jeff said. “Solo to me meant that I would do everything – write the songs, play all the instruments and sing. But Spencer’s been with me from the very beginning demo sessions, playing drums and helping the songs take shape. In that sense, the record is kind of like a solo album performed by a duo.” With Spencer on drums, Jeff handles his usual guitars and vocals, as well as bass and keyboards. Backing vocals on Sukierae come courtesy of Jess Wolfe and Holly Laessig of the Brooklyn-band Lucius. Musician Scott McCaughey (R.E.M., The Minus Five, The Baseball Project) lends additional keyboard support on Sukierae.

File Under: Rock, Pop, Folk
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umiliani

Piero Umiliani: 5 Bambole Per La Luna d’Agosto (AMS) LP
“5 Bambole per la Luna d’Agosto” (5 Dolls for the August Moon), directed by the Italian master of thriller Mario Bava, is today considered a great cult film of Italian cinema. Underestimated by many, due to unconvincing screenplay and dialogues, the work has to be rediscovered thanks to its chromatic and photographic techniques, on which at the time – and in many ways still today – Bava was second to none: the same horror Maestro Dario Argento paid homage to him several times in many of his films. In the cast we also find a young Edwige Fenech, still far from the frivolity of the Italian comedy of the following years. In the same way the music of Goblin is perfectly suited to Argento’s moving pictures, “5 Dolls for the August Moon” cannot be separated from its beautiful soundtrack of another great composer, Piero Umiliani, who fully lived the evolution of popular music in Italy, from the first late ‘50s rock’n’roll stirrings through beat, psychedelia and the early ’70s progressive rock. All these influences are mixed in this musical commentary, with a solid jazz background, which Umiliani was a true exponent of, and a pinch of lounge atmospheres that made his style quite unique. Originally published in 1970 on Cinevox Record, in conjunction with the release of the film, the soundtrack of “5 dolls…” is among the rarest and most sought after items in the Cinevox catalog, and has never been reissued on LP until now. This edition, as well as the original version tracks, retrieves the song “Ti risveglierai con me” played by the Balletto di Bronzo and featured in the film ending credits. A must have reissue for a classic of Italian underground cinema!

File Under: OST, Italian Thrillers
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med1

Joel Vanderoogenbroeck: Meditations Volume 1 (Aguirre) LP
Volume one of two. Continuous atmospheric sounds for enigmatic landscapes, metaphysical situations and prehistorical periods. The story continues. Aguirre released Joel Vandroogenbroeck’s first solo effort Biomechanoid in March 2014, an outstanding dark electronic ambient album. Now the label presents his two Meditations albums, Vol. 1 and Vol. 2. In these library albums the emphasis lies on his flute talents, paired with some great Moog-y electronics and mellow pre-new age ambience. Both volumes still stand after all these years and prove Joel’s ability to create wonderful library albums. Think Klaus Schulze, Harmonia, JD Emmanuel and Joanna Brouk. Though the Belgian-born Vandroogenbroeck, 74, may not be a household name; in an ideal world, he would be. As the founder, flautist, harpist, sitar player and keyboardist of the seminal acid-fried Swiss psych outfit Brainticket, he spearheaded the group’s three main (and collectible) releases in the early ’70s — Cottonwood Hill, Celestial Ocean and Psychonaut. Combining a love of exotic instruments coupled with mind-bending out-of-body excursions, the ever-changing collective developed something of a cult following throughout Europe and earned a reputation as one of the heavier psych outfits on the circuit — which was something of a double-edged sword. While their experimental sound resonated with hippies everywhere, it didn’t with the authorities, who associated the act with heavy drug consumption and subsequently began a ban of their music, especially the Psychonaut album, if for the title alone. After that bitter brush with censorship, the group quietly disbanded in 1972. After the dissolution of Brainticket, Vandroogenbroeck departed for the island of Bali with the intent of learning to build and play the gamelan — an ensemble of primarily percussion instruments from Indonesia. It would become yet another weapon in his ever-growing arsenal of exotic instruments: he was already proficient in the sitar, harp, kalimba, assorted percussion oddities and all woodwinds by this point. Vandroogenbroeck became so enraptured with the frenetic sound of the gamelan that he subsequently left the tropics to start up a joged bumbung (a variation on a gamelan) band back in Switzerland. While playing small festivals and civic events with this group, Joel began to slowly gravitate towards the synth-heavy Kraut sounds of artists like Tangerine Dream and Klaus Schulze at the same time. And once he began dabbling with oscillators, he never turned back. After inking a library deal around this time with the nascent Coloursound label, who gave him complete creative control, Vandroogenbroeck began turning out releases at a rapid rate, often three to five a year, and under a variety of aliases like V.D.B. Joel, J.V.D.B, and Eric Vann. Starting with the desolate synth drone of Biomechanoid, he continued to expand his sound palette while on Coloursound, moving from early arpeggiators on Computer Blossoms to percussive sound collage on Birth of Earth; and from Oberheim DMX drum-breaks on Video Games & Data Movements to Apple II ambient programming on Digital Project.

File Under: Ambient, New Age, Kosmische
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med2

Joel Vanderoogenbroeck: Meditations Volume 2 (Aguirre) LP
Volume two of two. Continuous atmospheric sounds for enigmatic landscapes, metaphysical situations and prehistorical periods. The story continues. Aguirre released Joel Vandroogenbroeck’s first solo effort Biomechanoid in March 2014, an outstanding dark electronic ambient album. Now the label presents his two Meditations albums, Vol. 1 and Vol. 2. In these library albums the emphasis lies on his flute talents, paired with some great Moog-y electronics and mellow pre-new age ambience. Both volumes still stand after all these years and prove Joel’s ability to create wonderful library albums. Think Klaus Schulze, Harmonia, JD Emmanuel and Joanna Brouk. Though the Belgian-born Vandroogenbroeck, 74, may not be a household name; in an ideal world, he would be. As the founder, flautist, harpist, sitar player and keyboardist of the seminal acid-fried Swiss psych outfit Brainticket, he spearheaded the group’s three main (and collectible) releases in the early ’70s — Cottonwood Hill, Celestial Ocean and Psychonaut. Combining a love of exotic instruments coupled with mind-bending out-of-body excursions, the ever-changing collective developed something of a cult following throughout Europe and earned a reputation as one of the heavier psych outfits on the circuit — which was something of a double-edged sword. While their experimental sound resonated with hippies everywhere, it didn’t with the authorities, who associated the act with heavy drug consumption and subsequently began a ban of their music, especially the Psychonaut album, if for the title alone. After that bitter brush with censorship, the group quietly disbanded in 1972. After the dissolution of Brainticket, Vandroogenbroeck departed for the island of Bali with the intent of learning to build and play the gamelan — an ensemble of primarily percussion instruments from Indonesia. It would become yet another weapon in his ever-growing arsenal of exotic instruments: he was already proficient in the sitar, harp, kalimba, assorted percussion oddities and all woodwinds by this point. Vandroogenbroeck became so enraptured with the frenetic sound of the gamelan that he subsequently left the tropics to start up a joged bumbung (a variation on a gamelan) band back in Switzerland. While playing small festivals and civic events with this group, Joel began to slowly gravitate towards the synth-heavy Kraut sounds of artists like Tangerine Dream and Klaus Schulze at the same time. And once he began dabbling with oscillators, he never turned back. After inking a library deal around this time with the nascent Coloursound label, who gave him complete creative control, Vandroogenbroeck began turning out releases at a rapid rate, often three to five a year, and under a variety of aliases like V.D.B. Joel, J.V.D.B, and Eric Vann. Starting with the desolate synth drone of Biomechanoid, he continued to expand his sound palette while on Coloursound, moving from early arpeggiators on Computer Blossoms to percussive sound collage on Birth of Earth; and from Oberheim DMX drum-breaks on Video Games & Data Movements to Apple II ambient programming on Digital Project.

File Under: Ambient, New Age, Kosmische
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…..restocks…..

Bahamas: Is Afie (Brushfire) LP
Black Angels: Passover (Light in the Attic) LP
Black Angels: Indigo Meadow (Blue Horizon) LP
Black Angels: Phosphene Dream (Blue Horizon) LP
Blonde Redhead: In An Expression of the Inexpressible (Touch & Go) LP
Daft Punk: Discovery (EMI) LP
Death From Above 1979: Physical World (Last Gang) LP
Demdike Stare: Forest of Evil (Modern Love) LP
Demdike Stare: Liberation Through Hearing (Modern Love) LP
Demdike Stare: Voices of Dust (Modern Love) LP
Mac Demarco: Salad Days (Captured Tracks) LP
Earth: 2 (Sub Pop) LP
Earth: Phase 3 (Sub Pop) LP
Earth: Pentastar in the Style of Demons (Sub Pop) LP
Electric Wurms: Musik Die Schwer Zu Twerk (Warner) LP
Nils Frahm: Felt (Erased Tapes) LP
Goat: Commune (Sub Pop) LP
Godspeed You Black Emperor: Lift Yer Skinny Fists (Constellation) LP
Godspeed You Black Emperor: Yanquii UXO (Constellation) LP
Hawkwind: In Search of Space (Rock Classics) LP
Hawkwind: Doremi Fasol Latido (Rock Classics) LP
Haxan Cloak: s/t (Aurora Borealis) LP
Billie Holiday: Strange Fruit (Dol) LP
Julia Holter: Tragedy (Domino) LP
Honey LTD: Complete LHI Recordings (Light in the Attic) LP
Daniel Johnston: Hi, How Are You? (High Wire) LP
King Tuff: Black Moon Spell (Sub Pop) LP
Erkin Koray: Mechul (Sublime Frequencies) LP
Kyuss: Blues for the Red Sun (Elektra) LP
Metallica: And Justice For All (Blackened) LP
Metallica: Kill Em All (Blackened) LP
Metallica: Ride the Lightening (Blackened) LP
Monolord: Empress Rising (Riding Easy) LP
Oasis: Definitely Maybe (Big Brother) LP
OST: Surf Nazi’s Must Die (Strange Disc) LP/CS
Parquet Courts: Sunbathing Animal (What’s Your Rupture) LP
Phish: A Picture Of Nectar (Junta) LP
Otis Redding: Sings Soul Ballads (4 Men With Beards) LP
Wendy Rene: After Laughter Comes Tears (Light in the Attic) CD
Rodriguez: Cold Fact (Light in the Attic) LP
Ty Segall: Slaughterhouse (In The Red) 2×10″
Ty Segall: Sleeper (Drag City) LP
Ty Segall: Manipulator (Drag City) LP
Nina Simone: The Amazing Nina Simone (4 Men With Beards) LP
Nina Simone: At Town Hall (4 Men With Beards) LP
Nina Simone: To Love Somebody (4 Men With Beards) LP
Steel Mill: Jewels of the Forest (Rise Above Relics) LP
Taj Mahal Travellers: August 74 (Phoenix) LP
Todd Terje: It’s Album Time (Oslen) LP
White Lung: Deep Fantasy (Domino) LP
Various: Country Funk 2 (Light in the Attic) LP
Various: Forge Your Own Chains (Now Again) LP
Various: Psych Funk 101 (World Psych Funk Classics) LP
Various: Sorrow Come Pass Me By (Dust to Digital) LP

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