The time as arrived! Tonight we are hosting a Listening Party for the new DEAD WEATHER album! We’ve got swag to give away and prizes to be won. Party starts at 7pm come on down and hang out!
…..picks of the week…..
Kurt Vile: B’lieve I’m Goin (Deep) Down (Matador) 3LP
In tomorrow? Kurt Vile does his own myth making; a boy/man with an old soul voice in the age of digital everything becoming something else, which is why his sixth full-length record and first in two years – the focused, brilliantly clear and seemingly candid B’lieve I’m Goin Down… is a breath of fresh air. Recorded and mixed in a number of locations, including Los Angeles and Joshua Tree, the album is a handshake across the country, East to West coast, through the dustbowl history of Woody honest straight forward talk Guthrie, and a Cali canyon dead still night floating in a nearly waterless landscape. The record is all air, weightless, bodyless, but grounded in convincing authenticity, in the best version of singer songwriter upcycling. Capturing Vile both deeply introspective and briskly self-assured, he explains: “I wanted to get back into the habit of writing a sad song on my couch, with nobody waiting on me. I really wanted it to sound like it’s on my couch – not in a lo-fi way, just more unguarded and vulnerable.” The Deluxe Version of Kurt Vile’s newest Matador Records endeavor is entitled B’lieve I’m Goin (Deep) Down… and comes pressed on limited edition triple gatefold vinyl with 6 bonus tracks for a total of 18 in all plus an extra printed innersleeve. “It’s a weird, accepting, mature record, acknowledging the inherent immaturity of being a person whether father, husband, partner, adult, musician, not perfect, but compelling for its understanding…that’s life though so sad to say…” – Kim Gordon
File Under: Indie Rock, Stoner Folk
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Neurosis: Times of Grace (Relapse) LP
Back in with enough stock to last more than an hour… Times Of Grace is yet another ferocious war cry from Oakland, CA seminal hardcore auteurs Neurosis. Their sixth full-length offering overall is brutally honest, original, and categorically defiant, a bold work which lures with its vivid rhythms, strikes with a siege of emotion, and consumes with abysmal force! Relapse Records is pleased to offer super deluxe vinyl reissues of Neurosis’ Through Silver In Blood (originally released in 1996, first time on vinyl in 10 years), Times Of Grace (originally released in 1999, first time on vinyl in 15+ years) and the Times Of Grace companion piece, Tribes of Neurot’s Grace (originally released in 1999, never before on vinyl). All three records are pressed on 180 gram vinyl and are housed in heavy duty ‘tip-on’ jackets.
File Under: Metal
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…..new arrivals…..
AFX: Orphaned Deejay Selek 2006-2008 (Warp) 12″
For the first time since the Analord series released through 2003-2005 on his own Rephlex Records imprint, Richard D. James aka Aphex Twin revises his legendary AFX guise with an 8-track collection of tracks for the alien dancefloor. Orphaned Deejay Selek 2006-2008 appears on an initial run of special spot-glossed and die-cut packaged 12″ vinyl LPs made in the Designers Republic. Previous AFX releases include Analogue Bubblebath (1, 2, 3, 4, 5), Smojphace and Hangable Auto Bulb. Hangable Auto Bulb is the only previous standalone AFX release on Warp, originally released on 2 x 12”s and compiled to CD with new artwork in 2005.
File Under: Electronic
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Beta Band: Champion Versions (Rhino) LP
Formed in 1996, Scottish cult act The Beta Band was renowned for their ability to mix together a truly eclectic range of genres and influences – folk, reggae, rap, rockabilly, electronica, rock, and soundtrack music – all filtered through the band’s experimental vision. Signed to the Parlophone Records imprint Regal, the band issued their hugely acclaimed 4-track debut EP Champion Versions (“Dry the Rain,” “I Know,” “B+A” and “Dogs Got a Bone”) in 1997. This was followed by two more critically lauded EP’s – The Patty Patty Sound (1998) and Los Amigos del Beta Bandidos (1998) – later collected together as the compilation The Three EP’s.
File Under: Indie Rock, Electronic
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Beta Band: Los Amigos Del Beta Banditos (Rhino) LP
Formed in 1996, Scottish cult act The Beta Band was renowned for their ability to mix together a truly eclectic range of genres and influences – folk, reggae, rap, rockabilly, electronica, rock, and soundtrack music – all filtered through the band’s experimental vision. Signed to the Parlophone Records imprint Regal, the band issued their hugely acclaimed debut EP Champion Versions in 1997. This was soon followed in 1998 by two more critically lauded EP’s – The Patty Patty Sound and Los Amigos del Beta Bandidos (“Push It Out,” “It’s Over,” “Dr. Baker” and “Needles in My Eyes”) – later collected together as the compilation The Three EP’s.
File Under: Indie Rock, Electronic
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Beta Band: Patty Patty Sound (Rhino) LP
Formed in 1996, Scottish cult act The Beta Band was renowned for their ability to mix together a truly eclectic range of genres and influences – folk, reggae, rap, rockabilly, electronica, rock, and soundtrack music – all filtered through the band’s experimental vision. Signed to the Parlophone Records imprint Regal, the band issued their hugely acclaimed debut EP Champion Versions in 1997. This was soon followed in 1998 by two more critically lauded EP’s – The Patty Patty Sound (“Inner Meet Me,” “The House Song,” “The Monolith” and “She’s the One”) and Los Amigos del Beta Bandidos – later collected together as the compilation The Three EP’s.
File Under: Indie Rock, Electronic
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David Bowie: 1969-1973 Five Years (Warner) Box
This 10 album/13-piece 180g vinyl set is the first in a series of box sets spanning David Bowie’s career and features all of the material officially released during the nascent stage of his career from 1969 to 1973 including: David Bowie AKA Space Oddity, The Man Who Sold The World, Hunky Dory, The Rise and Fall Of Ziggy Stardust And The Spiders From Mars, Aladdin Sane, PinUps, Live Santa Monica ‘72 and Ziggy Stardust: The Motion Picture Soundtrack. Exclusive to the box sets will be Re:Call 1, a new 2-disc compilation of non-album singles, single versions and b-sides. It features a previously unreleased single edit of “All The Madmen,” which was originally set for a U.S. release but was never actually released. Also included is the original version of “Holy Holy,” which was only ever released on the original 1971 Mercury single and hasn’t been available on any release since. Also exclusive to all versions of Five Years 1969–1973 will be a 2003 stereo remix of The Rise and Fall Of Ziggy Stardust And The Spiders From Mars by the album’s original co-producer Ken Scott, previously only available on DVD with the LP/DVD format of the 40th anniversary edition of the album. The box set’s accompanying 84 page book will feature rarely seen photos as well as technical notes about each album from producers Tony Visconti and Ken Scott, an original press review for each album and a short foreword by legendary Kinks front man Ray Davies. An alternate cover has been created for the 2003 mix of Ziggy Stardust by Ken Scott, which features an outtake from the original Heddon Street photo session. There is also newly originated artwork for Re:Call 1 featuring a 1973 in-studio image from renowned photographer Mick Rock.
File Under: Rock
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Dead Weather: Dodge & Burn (Third Man) LP
Way back in October 2013, The Dead Weather and Third Man Records announced an incredibly special 7″ featuring “Open Up (That’s Enough)” b/w “Rough Detective” as part of Vault Package #18. These two tracks were a fierce battle cry heralding the announcement of a brand new Dead Weather album that was to be released in a revolutionary fashion. Teased out over the past year and a half via a series of 7″ singles, the physical versions of which were ONLY available via The Vault (Third Man’s one-of-a-kind subscription mail-order service), the band promised this would culminate in a brand new album in 2015. The third Dead Weather LP would be a full length album comprised not only of the previously released 7″ singles, but newly recorded, previously-unheard material. Now The Dead Weather officially present their new album Dodge & Burn. The 12-track set will be released worldwide in September 2015 on Third Man Records and will feature eight brand new songs, along with the four previously released tracks remixed and remastered. Alison Mosshart, Jack White, Dean Fertita and Jack Lawrence spent their rare and sporadic free moments over the past year recording together in Nashville. With the members of the band heavily involved in other projects, The Dead Weather will not be touring in support of the new album. Thankfully the thick and heavy Dodge & Burn will satisfy your urges for the dark magic that is The Dead Weather for a very long time.
File Under: Rock
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Lana Del Rey: Honeymoon (Interscope) LP
Throwback singer/songwriter Lana Del Rey’s new Interscope/Polydor album Honeymoon follows up 2014’s million-seller Ultraviolence and features more signature dreamy pop collaborations with producers like Mark Ronson, Daniel Heath, Rick Nowels, Emile Haynie and Justin Parker. The highly anticipated 14-track set from pop’s newest femme fatale is preceded by the cinematic singles “High by the Beach” and “Terrance Loves You” and is presented here on limited edition colored double 180g vinyl in gatefold packaging complete with a 16 page booklet. Del Rey tells Billboard: “It’s very different from the last one and similar to the first two…I’m kind of enjoying sinking into this more noirish feel for this one…I’m doing a cover of ‘Don’t Let Me Be Misunderstood.’ After doing a cover of ‘The Other Woman’ [the song by R&B writer Jessie Mae Robinson that Del Rey recorded on ‘Ultraviolence’], I like summarizing the record with a jazz song…”
File Under: Pop, Electronic
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Empress Of: Me (Terrible) LP
“Can I make it clear?” Lorely Rodriguez asks within the opening moments of her debut album, Me. If clarity is what she seeks, Lorely has found it: her voice upfront, every word audible and strong. Her singular voice is the centerpiece of Me, her first full-formed vision of an album, following her previously shorter and more abstract releases as Empress Of. “Don’t tell me who I am,” she sings seconds later. Where her previous recordings worked in moody abstractions, layered soundscapes hinting at a voice deep under the surface, Me plays out like diary entries from one female voice musing on the personal, the political, and all the middle ground between. Bringing to life her unique blend of deeply personal yet incredibly celebratory dance music. However, “this record…it’s about me,” Lorely adds. “It’s very much about my experiences. I learned how to let my voice out through this record. I learned how to record, how to produce. I learned how to write way better songs. I didn’t realize this until I was almost done with it, but it was all about growth, and all about kind of being selfish and taking time for myself to really understand what events in my life have shaped me as a person.”
File Under: Synth Pop
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Faith No More: The Real Thing (Rhino) LP
In celebration of the release of Sol Invictus, Faith No More’s first new album in nearly 20 years, Rhino Records is reissuing the back-to-back classic albums that helped establish the band’s vital and visceral musical legacy with Deluxe Editions of The Real Thing and Angel Dust. Each album will be offered as a 2LP-set with the original release accompanied by a second disc filled with rarities related to the album. Like all bands who transcended their time to become cornerstones of an era, Faith No More sounded like nobody else. The group’s commercial breakthrough came in 1989 with the release of The Real Thing. It was the band’s third album, but the first to feature the line-up of Mike Bordin (drums), Roddy Bottum (keyboards), Bill Gould (bass), Jim Martin (guitars), and Mike Patton (vocals). The album was incredibly diverse, yet every song was linked by the band’s own developing style. It peaked at #11 on the charts and was certified platinum, spawning the singles, “From Out Of Nowhere” and “Falling To Pieces,” as well as “Epic,” which was ubiquitous on radio and MTV. The bonus disc puts a different spin on many of the album tracks with a remixed version of “Falling To Pieces,” by Matt Wallace as well as live performances of “Surprise! You’re Dead!,” “Underwater Love,” and the Black Sabbath classic “War Pigs.” The cut “Sweet Emotion” from Kerrang! Flexible Fiend is also included.
File Under: Rock
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Faith No More: Angel Dust (Rhino) LP
In celebration of the release of Sol Invictus, Faith No More’s first new album in nearly 20 years, Rhino Records is reissuing the back-to-back classic albums that helped establish the band’s vital and visceral musical legacy with Deluxe Editions of The Real Thing and Angel Dust. Each album will be offered as a 2LP-set with the original release accompanied by a second disc filled with rarities related to the album. Like all bands who transcended their time to become cornerstones of an era, Faith No More sounded like nobody else. The group’s commercial breakthrough came in 1989 with the release of The Real Thing. It was the band’s third album, but the first to feature the line-up of Mike Bordin (drums), Roddy Bottum (keyboards), Bill Gould (bass), Jim Martin (guitars), and Mike Patton (vocals). The album was incredibly diverse, yet every song was linked by the band’s own developing style. It peaked at #11 on the charts and was certified platinum, spawning the singles, “From Out Of Nowhere” and “Falling To Pieces,” as well as “Epic,” which was ubiquitous on radio and MTV. After extensive touring, the band returned in 1992 with Angel Dust. It climbed to #10 on the U.S. album charts and would later be recognized as one of the most influential releases of the era. The album swings between extremes-aggressive and disturbing, but also beautiful and soothing-showing off every facet of the band’s quirky eloquence on such diverse tracks as “Midlife Crisis,” “Jizzlobber,” “R.V.” and “Small Victory.” Among the eight tracks featured on the bonus disc is a mix of “Midlife Crisis” by the band’s longtime producer Matt Wallace, a trio of live recordings from a concert in Munich, Germany, as well as a covers of the Dead Kennedys’ “Let’s Lynch The Landlord.”
File Under: Rock
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Fidlar: Too (Mom & Pop) LP
Too is the second full length from Fidlar. Produced by Jay Joyce, Too was recorded in Nashville over the span of just two weeks. The 12-song collection of pop-infused garage rock expands on the band’s 2013 self-titled album that put them at the forefront of modern punk music. The new album showcases a band that continues to fine-tune its sonic approach while also highlighting a more introspective and revelatory approach to songwriting. It also marks the first time the band has worked with a producer. “We could have made record number one again…but instead we decided to challenge ourselves and admit that we don’t know everything,” said guitarist and lead vocalist Zac Carper. “Up until this point we had recorded everything ourselves, so working with a producer taught us so much. I didn’t want to make a standard rock record. The goal for this album was to think outside the box and I think Jay really helped us do that.” The band unveiled the first taste of new music from Too via a music video for the album’s leading track and first single “40oz. On Repeat/” Directed by Ryan Baxley, the must-watch video is a hilarious “Be Kind Rewind” tribute to past music video masterpieces, sure to conjure loving nostalgia for anyone who came of age during the glory years of MTV’s afternoon video countdown show Total Request Live. “In the late 90s and early 2000s, music videos were such a huge deal,” adds Carper. “We decided that instead of making one overly slick music video, we would nod to 15 of our favorite music videos that we grew up with. Everyone in the band threw in their ideas.”
File Under: Indie Rock
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Julia Holter: Have You In My Wilderness (Domino) LP
Have You In My Wilderness is Julia Holter’s most intimate album yet, a collection of radiant ballads. Her follow-up to 2013’s widely celebrated Loud City Song explores love, trust, and power in human relationships. While love songs are familiar fodder in pop music, Holter manages to stay fascinatingly oblique and enigmatic on her new album. Have You in My Wilderness is also Holter’s most sonically intimate album. Here, she and producer Cole Marsden Greif-Neill lift her voice out of the layers of smeared, hazy effects, putting her vocals front and center in the mix. The result is striking—it sounds as if Holter is singing right in your ear. It sounds clear and vivid, but also disarmingly personal. The focused warm sound and instrumentation — dense strings, subtle synth pads — adds to the effect. Like Holter’s previous albums, Have You in My Wilderness is multi-layered and texturally rich, featuring an array of electronic and acoustic instruments played by an ensemble of gifted Los Angeles musicians. Have You In My Wilderness deals with dark themes, but it also features some of the most sublime and transcendent music Holter has ever written. The ten songs on the album are shimmering and dreamlike, wandering the liminal space between the conscious and the subconscious.
File Under: Electronic, Pop
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Khemmis: Absolution (20 Buck Spin) LP
Over the course of the last ten years 20 Buck Spin has worked with the best of the best in the crowded doom genre—bands as diverse as Samothrace, Graves At Sea, Pallbearer, YOB, Mournful Congregation, Lycus, Atlantean Kodex, etc. In that tradition, the label is proud to present Khemmis from Denver, Colorado, who brings together components of many of the aforementioned label alumni to forge a venerable testament to what heavy doom rock is in 2015. The six meticulously crafted songs on Absolution reveal a level of musicianship and writing skill seldom heard on debut albums. Often within the scope of a single song Khemmis veers effortlessly between the crushing heaviness of Southern sludge and the somber melodicism of traditional doom, cohesively weaving the disparate styles into their own immediately recognizable form. The band incorporates dual vocals, sometimes harsh, but mostly via a stunningly smooth classic doom / heavy rock style that even adamant fans of Pete Stahl and Wino will applaud. The powerfully adept rhythm section perfectly anchors the towering riff mastery and colorful dual guitar harmonies, all brought together by Dave Otero’s (Cobalt, Nightbringer) pitch-perfect production work. Khemmis is most certainly a live act and will tour at intervals throughout the remainder of 2015 including a planned West Coast run in Summer 2015.
File Under: Metal
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Metric: Pagans in Vegas (Metric) LP
Pagans in Vegas is the sixth full-length album from Canadian rock band Metric. In an effort to translate the gratifying experience of discovering an artist you love, Metric has packed their new album with reverent references to artists who’ve inspired them, from Depeche Mode to Joy Division and Underworld. Frontwoman Emily Haines explains that it was about finding “the romance of another time without falling into nostalgia.” The concept is also perfectly captured on the album’s cover, which features a shot of Memphis’ Hotel Chisca, the spot where Elvis Presley did his first broadcast interview. But despite a few glances in the rearview, Pagans in Vegas stitches together its acoustic and synthetic foundations with a crisp, unique now-ness that captures the quandaries of life in an age where bad news is unavoidable and great art is a life-saver. “With this record we were making music for the joy of it,” says guitarist and producer James Shaw. “We’re still in the game as musicians and people, although the game has gotten increasingly unrecognizable to us.” Pagans in Vegas will be the first of two new albums from Metric, with the second expected in 2016. Their time spent writing in 2014 – Shaw at his studio in Toronto, delving into the CS80 synth and Haines with acoustic instruments in Nicaragua and Spain – yielded an unprecedented amount of material that revealed itself across at least two major musical veins. Realizing they had composed enough music for two very different albums, they decided to let each collection of songs stand on their own.
File Under: Indie Rock, CanCon
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Micachu & The Shapes: Good Sad Happy Bad (Rough Trade) LP
Three years after the release of their last record, Micachu & The Shapes’ return is almost an accident: the trio of friends decided to rehearse in an East London studio and found themselves immersed into an hours-long jam. Drummer Marc Pell had an Edirol field recorder in hand, and unbeknownst to his bandmates, recorded the whole session; Bell, Mica Levi, and Raisa Khan were so enamored of those off-the-cuff audio experiments that they became the underpinnings of a new record. “For me it’s the most free we have been,” Levi explains. Rather than showing up to the studio with songs written out, the trio started with a collaborative improvisation, from which Levi chose sections to develop into songs, writing lyrics to the entire record “non-stop, in one avalanche.” With one listen, it’s easy to hear why they loved the tracks. Good Sad Happy Bad maintains the experimental-pop sensibility the band has brought to previous efforts, combining the lightness and bounce of their best singles with the sonic textures of field recordings, industrial effects alongside straightforward instrumentation. Levi’s affected vocals eschew easily readable emotional tone, instead relying on quixotic lyricism, repetition, and immersion into the song’s landscape, to evoke warmly – rather than show – the sentiments underpinning the songs. Conversely, because the band worked out the final mixes together over a number of months – rather than in a traditional, multi-track studio over a shorter period – Pell found a new degree of creativity. “I think the best drum part I have ever written is the stick-clicking at the beginning of “Peach” – a moment, he explains, that he wouldn’t have been able to notice without the luxury of seeing the recorded tracks as more than simply songs, but as collections of sonic ideas. In the years since the band’s last work together, Levi’s star in the world of modern composition has risen, due in large part to her work on Jonathan Glazer’s standout 2014 film, Under the Skin, whose eerie depth is due in large part to Levi’s precise, otherworldly score, for which she won a European Film Award and was nominated for a BAFTA.
File Under: Rock
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Miguel: Wildheart (RCA) LP
Grammy Award winning recording artist Miguel first hit the mainstream in 2010 with the infectious first single “All I Want Is You,” from his major label debut album of the same name, a song which blended a stark hip-hop beat with the singer’s creamy vocals to form a sound that was absent from the radio and established Miguel as one of the most unique and soulful voices in modern R&B. The album also featured “Sure Thing,” which hit #1 on Billboard’s Hip-Hop/R&B chart and second US #1 “Quickie.” Miguel’s follow up was his critically-acclaimed, four-time Grammy Award nominated, sophomore album Kaleidoscope Dream, which featured his third US #1 hit single “Adorn,” the intoxicating “How Many Drinks?,” “Do You…” and “The Thrill.” In 2013 Miguel was nominated for a total of 5 Grammy Awards. Lead single “Adorn,” written and produced by Miguel, garnered his first Grammy Award for Best R&B Song and resided at #1 on the R&B/Hip-Hip Airplay chart for more than 23 weeks becoming the longest running #1 in the chart’s history. Miguel makes his welcome return in 2015 with his highly anticipated third studio effort, Wildheart, due out on ByStorm Entertainment/RCA Records and preceded by the lead single “Coffee.” The album also boasts guest appearances by Kurupt and Lenny Kravitz. This 180g 2LP Deluxe Edition includes a handful of bonus tracks including “Gfg,” “Damned” and new mix of the song “Simple Things.”
File Under: Hip Hop, Soul
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New Order: Music Complete (Mute) LP
Music Complete finds the group revitalized, and where the group has previously pushed toward electronics or guitars, here the two are in balance. Music Complete also marks a return to the studio for Gillian Gilbert; this is her first album with New Order since 2001’s Get Ready. Music Complete is produced by New Order, except ‘Singularity’ and ‘Unlearn This Hatred’, both produced by Tom Rowlands (Chemical Brothers), while ‘Superheated’ features additional production by Stuart Price (Madonna, The Killers, New Order). Long-term collaborator Peter Saville (Factory Records) provides art direction.
File Under: Electronic, Rock
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Ought: Sun Coming Down (Constellation) LP
Ought returns with their second full-length album Sun Coming Down, following a break-out year for the Montréal-based rock quartet that saw its 2014 debut More Than Any Other Day make well-deserved waves for its blend of authentic, anxious, controlled and restive energy, with a Best New Music nod from Pitchfork and appearances on a wide range of year-end lists. Having spent most of 2014 on the road vitalizing audiences with no-nonsense post-punk and the feverishly observational testifying of singer/guitarist Tim Darcy (who officially changed his name from Tim Beeler this year), Ought settled into a long harsh Montreal winter hibernation, spending the first few months of 2015 writing, playing the occasional local gig, and eventually heading back to the Hotel2Tango recording studio in the spring to lay down a batch of fresh tunes. Sun Coming Down maintains the band’s tight, twitchy and economical sound, with the unfussy, understated rhythm section of drummer Tim Keen and bassist Ben Stidworthy anchoring Tim Darcy’s electric guitar and Matt May’s fuzzed-out keys (sounding, as often as not, like a second guitar). Ought pursue an artistically apposite austerity in committing these new songs to tape, referencing the arid and unvarnished production of no-wave and early indie rock while balancing carved-out angularity against an evolving comfort with textural coalescences and measured pacing. It makes for an album that’s consistently, insistently propulsive but also feels unhurried and pleasantly unhyped. Songs like “Beautiful Blue Sky” (already a fan favorite from live shows) and “Never Better” unfold with gradual and deliberate ebb and flow, where scratchy guitars play like dappled shards of light on gently roiling waves of bass and organ; “The Combo” and “Celebration” keep things crisp and concise. Darcy’s voice and lyrics continue to distinguish and define the personality of the band: his blend of ironic detachment, declarative insistence, fragmentary stammering poetics, and the occasional direct aside to the listener, finds various ways to weave within or drive through the mixes. Sun Coming Down confirms the distinctive vitality and purposive naturalism of this band; Ought resists facile primitivism and overhyped dynamics in equal measure, keeping things hermetic but never airless, ascetic but never dispassionate, literate but never prolix. The band’s steady and subtle charms don’t make them the cool kids or the iconoclastic freaks – just a satisfyingly unrefined and substantive rock band that eschews indulgence or aesthetic bandwagoneering to seek a humble, thoughtful corner from which to articulate a position within and contribute meaningfully to a 40-year continuum of indie, punk and DIY tradition.
File Under: Punk, Indie, CanCon
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Kurt Vile: B’Lieve I’m Goin’ Down (Matador) 2LP
In tomorrow? Kurt Vile does his own myth making; a boy/man with an old soul voice in the age of digital everything becoming something else, which is why his sixth full-length record and first in two years – the focused, brilliantly clear and seemingly candid B’lieve I’m Goin Down… is a breath of fresh air. Recorded and mixed in a number of locations, including Los Angeles and Joshua Tree, the album is a handshake across the country, East to West coast, through the dustbowl history of Woody honest straight forward talk Guthrie, and a Cali canyon dead still night floating in a nearly waterless landscape. The record is all air, weightless, bodyless, but grounded in convincing authenticity, in the best version of singer songwriter upcycling. Capturing Vile both deeply introspective and briskly self-assured, he explains: “I wanted to get back into the habit of writing a sad song on my couch, with nobody waiting on me. I really wanted it to sound like it’s on my couch – not in a lo-fi way, just more unguarded and vulnerable.” “It’s a weird, accepting, mature record, acknowledging the inherent immaturity of being a person whether father, husband, partner, adult, musician, not perfect, but compelling for its understanding…that’s life though so sad to say…” – Kim Gordon
File Under: Indie Rock, Stoner Folk
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…..restocks…..
Action Bronson: Mr. Wonderful (Atlantic) LP
A$AP Rocky: Long. Live. A$AP (RCA) LP
Courtney Barnett: Sometimes I Sit and Think (Mom + Pop) LP
Beirut: No No No (4AD) LP
Bjork: Vespertine (One Little Indian) LP
Black Flag: Jealous Again (SST) LP
Black Flag: Damaged (SST) LP
Bully: Feels Like Home (Columbia) LP
Nick Cave: No More Shall We Part (Mute) LP
Coil: Selvaggina (Threshold) LP
Destroyer: Kaputt (Merge) LP
Nick Drake: Pink Moon (Island) LP
Jimi Hendrix: Are You Experienced (Reprise) LP
Jimi Hendrix: Axis: Bold As Love (Reprise) LP
Jimi Hendrix: Electric Ladyland (Reprise) LP
Billie Holiday: Lady Sings the Blues (Jazz Wax) LP
Husker Du: Metal Circus (SST) LP
Jason Isbell: Something More Than Free (Southeastern) LP
Joy Division: Substance (Rhino) LP
Natural Snow Buildings: Nightly Coercion… (Ba Da Bing) LP
Natural Snow Buildings: Terror’s Horns (Ba Da Bing) LP
Nirvana: Nevermind (Geffen) LP
Pixies: Doolittle (4AD) LP
Red House Painters: Songs for a Blue Guitar (Universal) LP
Tom Waits: Mule Variations (Anti) LP
Weeknd: House of Balloons (Republic) LP
Weeknd: Thursday (Republic) LP
Weeknd: Echoes of Silence (Republic) LP