Well, I’ve got some good news, and some bad news for you this week. The good news, is that this week’s list isn’t nearly as big as the last few. Don’t get me wrong, there’s some killer wax this week, but just less than the last couple of weeks. Now the bad news… I purchased a lovely batch of some killer high end 90s-00s indie rock/alternative original pressing LPs and a boatload of 45s. The likely won’t start going out until next week but, be warned, bring a hanky.
If you haven’t listened to it yet, our pal Jeff interviewed me about the ins and outs of running a record shop for his excellent podcast Cups n Cake last week. AND as an added bonus, they also interviewed James and Lee from Slates about their upcoming tour. Check it out here.
…..pick of the week…..
Ian William Craig: Centres (Fat Cat) LP
HIGHLY RECOMMENDED! ‘Centres’ is the stunning new album from Vancouver-based vocalist / composer Ian William Craig, and his first release for Fat Cat (Max Richter, Hauschka, Dustin O’Halloran, Jóhann Jóhannsson, etc) following two critically lauded back to back albums for Recital Program. Ian William Craig is a trained operatic vocalist who combines his voice with analogue synthesizers, reel-to-reel machines, and faulty tape decks to create sublime cascades of unpredictable decay and beauty. Though classically trained and grounded in the choral tradition, Craig’s early albums were centered significantly around the piano, with his voice merely a marginal presence. But in recent years his practice has come to focus increasingly around his powerful voice, as can be witnessed on ‘Centres’. Fundamentally distressed yet texturally lush, ‘Centres’ is an immensely deep, rich and rewarding listen. It was recorded in an assortment of studio and other locations across his Vancouver hometown: in concert halls and classrooms; train-yards and live rooms, as well as Craig’s own home. It was created using a mixture of sources – synthesizer, Hammond organ, guitar, accordion, wire recorder, loop station, Craig’s array of re-purposed tape decks and “cassette choir”. The songs were created manipulating tape loops through two or three decks at once to create strange deteriorating delays with different colors. Craig would then circuit-bend the bias to create odd kinds of distortion, or bend the sound back into itself so it feeds back in unpredictable ways. Continually honing and pushing this process, the album shows a quite brilliant attention to textural detail. Morphing, swirling, scouring, shimmering, it continually expands and contracts around you. Forging a harmonically gorgeous and utterly immersive listening experience, it pulls you from the rousing, slow-build of the opening ‘Contain (Astoria Version)’ through the standout ‘A Single Hope’, with its huge bass and Hammond organ swells, and through shifting cloud-zones of ‘Drifting to Void on All Sides’ or ‘Power Colour Spirit Animal’, the Nico-esque accordion opening of ‘The Nearness’, and back to the cyclical ending of ‘Contain (Cedar Version)’, one of the cleanest and sparest tracks here – pared back to the purity of a single voice and guitar. ‘Centres” is a stunning album that stands with a similarly unique sense of vision and integrity as the likes of William Basinski or Colin Stetson.
File Under: Ambient, Electronic
Big Business: Command Your Weather (Joyful Noise) LP
Big Business’ 5th studio album Command Your Weather. Recorded in Joshua Tree, CA, Command Your Weather sees Big Business return to its original two-man lineup of Jared Warren and Coady Willis. It’s a haunting dream about the struggle for dominance of will over the power and unpredictability of nature. Or it’s just a really great rock record, it depends on how weird you’re willing to get. But you’ve never had so much fun being crushed in the cogs of the universe’s great machine, that much is for sure! I mean, there’s no law against having a couple cold beers while we all burn in the fire of time, am I right?! Founded in 2003 in Seattle, WA., Big Business has spent the last 13 years touring the world and making records. In 2006 Jared and Coady joined forces with the Melvins and moved to Los Angeles. Performing as members of the Melvins and staying autonomous as their own band, they have been there ever since.
File Under: Metal, Stoner
Boris: Pink (Sargent House) 3LP
Pink, the landmark 2006 album by Boris, which earned widespread critical praise – including Pitchfork’s Top 10 Albums of 2006 – will be reissued in a deluxe edition in the summer of 2016 to commemorate the album’s 10th anniversary. The deluxe 3LP box set features an entire album of previously unreleased tracks recorded during the Pink album sessions in 2004-2005. The bonus Forbidden Songs collects 9 tracks of the same hyperactive, accessible and aggressive caliber of the original album, available here for the first time, mixed (with additional editing and arrangement) in 2015 and mastered in January 2016. Like the original U.S. vinyl release, the Pink (Deluxe Edition) LP set also has three longer edits of songs that were truncated on the original CD issue (“Farewell”, “Pseudo-Bread” and “My Machine”). And, Pink (Deluxe Edition) additionally features the artwork of the original Japanese release, made by the band members themselves. Pink was Boris’ tenth album and a major breakthrough that earned new fans outside of the underground metal community – the track “Farewell” was even featured in Jim Jarmusch’s classic film The Limits of Control. The album landed on countless “best of the year” lists from underground metal sites to mainstream rock magazines. And the praise was certainly well deserved for its more accessible sound and explorations into shoegaze and ambient structures alongside brutal noise, searing psychedelia and apocalyptic doom. Pink succeeds at what most bands cannot do: swiftly changing styles from song to song, while always sounding distinctly like themselves. The seamless, explosive set of fan favorites from the classic longtime lineup of drummer/vocalist Atsuo, guitarist/vocalist Wata and bassist/guitarist/vocalist Takeshi still sounds as mindblowing as it did a decade ago. And, Forbidden Songs continues with the same unbridled creativity and ferocity. These songs aren’t outliers, they’re rather more like the director’s cut version of the original album.
File Under: Psych, Japanese
Comet Control: Center of the Maze (Tee Pee) LP
Toronto space rock cosmonauts Comet Control re-enter the atmosphere with their stargazed sophomore album, Center Of The Maze. Flooded with swirling synths, ghostly vocals and fuzz-bomb guitars that burst into flames in electrifyingly airborne ways, the record effortlessly merges the ethereal and the terrestrial; the end result a 43 minute collection of blinding explosions and brilliant fade-outs. Overdriven riffs reign supreme and songs build with mantra-like power before collapsing into majestic dreaminess. Like watching a rocket take off at close range, the sound of Comet Control is both exhilarating and mesmerizing, propelled into orbit by unwavering melody and unhinged creativity. Comet Control features Andrew Moszynski (guitar) and Chad Ross (vocals/guitar), formerly of Canadian psych rock champions Quest For Fire. For fans of: Black Mountain, Swervedriver, The Black Angels, Catherine Wheel, The Brian Jonestown Massacre and Medicine.
File Under: Space Rock
Head Wound City: A New Wave of Violence (Vice) LP
Head Wound City might just be the supergroup to end all supergroups. Not just end them, scorch the earth behind them. Armed with Jordan Blilie and Cody Votolato of The Blood Brothers, Nick Zinner of Yeah Yeah Yeahs, Gabe Serbian of Cattle Decapitation and The Locust on drums, and – thrown in for good measure – Justin Pearson, known for his work in every band ever to obnoxiously violate your eardrums. Their aptly titled debut album, A New Wave of Violence (taken from the Raymond Pettibon zine), sounds like what one might imagine the sum total of five people known for innovation in discordant audio assault would sound like. Just an unwavering offensive launched on your brainwaves. Head Wound City has been kicking around more or less since 2005 when they released a debut EP, but now they’re back full-length style courtesy of Vice Records.
File Under: Indie Rock, Yeah Yeah Yeahs
Soren Juul: This Moment (4AD) LP
Danish artist Søren Juul releases his new album, This Moment, on June 17th. This is the first album under his own name, having previously recorded as Indians. It’s a deeply personal account of Juul’s life over a tumultuous three-year period, and a first taste of the record, ‘Dear Child’ can be heard at 4ad.com. Recorded mainly in Copenhagen and finished in Los Angeles with producer and fellow Dane Peter Stengaard, ‘This Moment’ is an uplifting and redemptive work. The immersive soundscapes of the songs reach heights Juul’s work as Indians only hinted at. As Indians, Juul scored the song “Oblivion” for the major motion picture The Fault In Our Stars, composed works for the Copenhagen Philharmonic, and was nominated in four categories for the prestigious Danish music awards, Gaffa Prisen. Juul has toured the world with Julia Holter, Beirut and Perfume Genius.
File Under: Indie Rock
Kayo Dot: Plastic House on Base of Sky (Flenser) LP
Kayo Dot has never made the same record twice. From chamber music to progressive black metal, from goth to jazz and avant-garde classical, Kayo Dot is undeniably experimental and utterly unclassifiable. Since its inception in 2003, the band has released seven full-length albums, including their debut Choirs of the Eye (2003), the conceptual double-album Hubardo (2013) and most recently Coffins on Io (2014, The Flenser). Now, Kayo Dot is gearing up for the release of a new LP: Plastic House on Base of Sky, due out June 2016 from The Flenser. On Plastic House on Base of Sky, Kayo Dot fully embraces Coffins on Io’s electronic allusions, incorporating a variety of synthesizers (many of them vintage analog) to create another work of ambition and magnitude that fuses the explosive musical imagination of a band like Magma with the forward-thinking experimentalism of Conrad Schnitzler or Morton Subotnick. This 40 minute-long, 5-song LP goes beyond the future-noir theme of Coffins on Io and is an innovative and biomechanical work of art. Think seemingly impossible architecture, dead satellites, trashed space stations, wasted old lady heroin addicts hanging out by cheap motel pools, broken people, and a hopeless dead and polluted world transitioning into artifice and mechanism and reacting by being self-destructive, either to the point of utter obliteration or a glorious transhuman condition. Toby Driver, the primary composer and bandleader of Kayo Dot, has been fiercely productive over the years, and while that usually refers to how many songs or albums an artist has made, with Driver the productivity is in the realm of ideas as much as music itself. In the course of a single Kayo Dot song, the amount of risks and liberties taken with form and convention usually outnumbers what other artists cover in a full album. For as much ground as they cover, it’s always in the service of a carefully curated mood and this is apparent on Plastic House on Base of Sky’s exploration of our mechanical post-human future-present. The core of Kayo Dot might be that mood – one that lies at the crossroads of darkness and mystery. In film, music that accompanies mystery is often nocturnal, playing on a primal relation in our brains between the unknown and the night. It’s this intersection that is the essence of Kayo Dot. Driver, who recorded Plastic House on Base of Sky in various locations from August 2014 to December 2015, again collaborates with lyricist Jason Byron. Byron, a lifelong student of the occult, gives the listener a feast of words to unpack that are as elusively satisfying as the labyrinths of sound they travel through. Whether by way of menacing guitars, ethereal woodwinds, or aggressive electronics, there’s always a sense that a new passage could open, that around the next corner could be anything.
File Under: Experimental, Prog
King Gizzard & The Lizard Wizard: Nonagon Infinity (ATO) 2×10″
In tomorrow… Double Custom Die Cut Picture Disc in Clear Plastic Gatefold / Limited to 1,000 Units. “Nonagon infinity opens the door,” sings Stu Mackenzie, frontman of Australian psych-rockers King Gizzard & The Lizard Wizard. It turns out, though, that once the door’s open, it never closes. That’s because the Melbourne septet has ingeniously crafted what may be the world’s first infinitely looping LP. Each of the nine, complex, blistering tracks on Nonagon Infinity seamlessly flows into the next, with the final song linking straight back into the top of the opener like a sonic mobius strip. It’s exactly the kind of ambitious vision that prompted Rolling Stone to dub the band “one of the most compelling collectives of art-rock experimentalists in recent years.” But far from a simple conceptual experiment, the album is both an exhilarating shot of adrenaline and a remarkable feat of craftsmanship, the result of painstaking planning and an eye for detail years in the making. The roots of Nonagon Infinity stretch back to 2014, when King Gizzard recorded their critically acclaimed album I’m In Your Mind Fuzz. “We actually wanted to do this with ‘Mind Fuzz,’ but it just didn’t work,” explains Mackenzie. “We ended up writing songs that needed to be on that record but didn’t connect to the others, so we had to abandon the idea, but the seeds were sown.” To an outsider, it may have seemed like the band had completely given up on the concept, as the ever-prolific group quickly followed Mind Fuzz with two more records in 2015, Quarters and the stripped-down Paper Mache Dream Balloon. The truth, though, was that King Gizzard was honing in on the Nonagon Infinity material the whole time, test-driving various tracks in their explosive live shows to prep for the monumental task of stitching them all together into one searing, multi-movement epic. Recorded at Daptone Studios in Brooklyn, the final result is an intricate and immersive listening experience. Lyrical refrains and musical motifs establish themselves and then submerge beneath the chaos, only to resurface unexpectedly later like familiar companions on a labyrinthine journey. Motorhead-grade riffs give way to King Crimson and Yes-levels of prog complexity, as songs churn through unusual time signatures and shifting rhythms with blunt force, laying waste to everything in their path. “Big Fig Wasp” references a particularly macabre insect that must kill itself in order to perpetuate the species, while “Gamma Knife,” with its 11/8-time drum solo, is named for a surgical tool that burns cuts into the skin, and “People-Vultures” plays like a sinister film soundtrack. Album opener “Robot Stop” pulls more directly from the band’s recent experiences, inspired in part by their relentless work ethic and tour schedule. The record is a force to be reckoned with on par with the road trains Mackenzie references in the album’s final track. “In the Australian desert, in the outback, there are what’s called road trains, which are these massive trucks pulling heaps of carriages that can end up being 50 meters long,” he explains. “They drive on the road really, really fast, and they’re deadly, with these bars in the front to kill kangaroos and anything else in their path.” Nonagon Infinity has opened the door for King Gizzard & The Lizard Wizard, and they’re barreling ahead with more momentum than ever before now. Much like those road trains, with a band this good, the safest place to be is onboard.
File Under: Psych
Landing: Third Sight (El Paraiso) LP
Connecticut’s Landing have specialized in a mild and rural kind of psychedelia since the late ’90s; they have since moved closer to post-punk and shoegaze territory, but Third Sight — recorded specifically for El Paraiso Records’ Impetus series — builds on the hallucinatory soundscapes of the band’s earliest days. There’s a unique sense of motoric drift to these four long pieces, and an organic blend of rock instrumentation and analog electronics that brings to mind Eno’s best collaborations in the 1970s. But the group’s flair for fuzzy drones and commune-folk also betrays their affiliation with the experimental American east coast scene — these guys have played shows with their friends in Bardo Pond, released a split EP with Windy & Carl, and played numerous Terrastocks throughout their existence. And despite releasing one brilliant album after another, the band remains appallingly underappreciated. Perhaps because the tryyps Landing take are rooted in self-exploration. As trends in krautrock, drone, folk, and psychedelia ebb and flow, Landing remain unfazed. The door to Landing’s world is open, but there isn’t a flashing neon sign above it. These guys are far removed from the hustle and bustle of geographic cultural bubbles, both physically and spiritually. Listening through this LP is likely to stimulate mental images of rural winds blowing across vast American fields of grass, bonfires, blue rivers and power lines sailing through rolling hills. Landing’s psychedelia possesses a rare timelessness.
File Under: Ambient, Post Rock
Egisto Macchi: Biologia Animale e Vegetale (Cinedelic) 3LP Box
Cinedelic records present a reissue of one of Egisto Macchi’s major works, Biologia Animale e Vegetale, produced by Renato Pent. Biologia Animale e Vegetale was recorded in Torino in 1976 and originally published as double LP. Egisto Macchi, often remembered as a member of Gruppo di Improvvisazione Nuova Consonanza, the historic Italian improvising collective (that also included Franco Evangelisti and Ennio Morricone, among others), was a major figure within the contemporary music field from the fifties to the eighties. The life path of Egisto Macchi seemed to be devoted to the multiplicity of aesthetic choices and musical expressions. While tracing his life and work, one notices an interesting duality based both on a very inclusive approach towards all kind of expressive needs and full control of the level of communication. A complex personality revealing the coherence of a man trying to connect elements usually kept separate; the inherent need for approaching different sources and the ability to be inspired by a wide range of intuitions. Macchi has explored and experimented in the field of sound and music without ever forgetting about his moral and civil engagement. His compositional work takes shape from the idea that music and arts should be able to create a symbiotic contact between the creator (composer) and the beneficiary (listener). All his work finds its origin in the need to integrate the sound language with the feeling of a new developing society. In fact music was just one factor in a more complex chain which included his humanistic and sociological engagement; a syncretic philosophical narrative and a symbolic tale revealing deep anthropological aspects. The 3LP box set is a limited edition of 600.
File Under: Italian, Library
Metallica: And Justice For All (Blackened) LP
Metallica’s 1988 release …And Justice For All is the thrash giants’ commercial breakthrough. The follow-up to 1996’s Master Of Puppets and the band’s fourth full-length overall, it was Metallica’s first album to reach the Top 10 (#6), first to earn a Top 40 single (“One”), and first to win a Grammy Award (“One”). Having gone platinum in just nine weeks, …And Justice For All has since sold over 8 million copies in the U.S. alone. The ambitious album is also Metallica’s first without original bassist Cliff Burton, who passed away in 1986 when the band’s tour bus overturned in Sweden while they were on tour promoting Master of Puppets. Seldom has a band recovered from such tragedy with such a triumphant statement of power, aggression, speed, and heightened social awareness. Replete with stunning riffs and immense songwriting, …And Justice For All is a landmark record in every sense of the word. …And Justice For All produced three singles (“Harvester of Sorrow,” “Eye Of The Beholder” and “One”), bringing the band unknown levels of success. They also chose this time to delve into new territory with their very first music video for “One” which was hardly the typical music video of the time. A dark, monochromatic, violent, and emotional piece, which pulled no punches, Metallica continued to prove that they were anything but typical.
File Under: Metal, Thrash
Omni: Deluxe (Trouble in Mind) LP
Omni – the band, not the hotel – are from the former home of the Braves: Atlanta. Playing lo-fi pop that channels the spectre of the late ‘70s and early ‘80s, Omni brings you back to an era where any sane person was reeling from the unfulfilled promise of the Space Age and Age of Aquarius bleeding into the looming threat of “Morning in America.” Omni distills the buzz and grit that snakes through the best of Television, Devo, and Pylon into surprisingly danceable, hook-laden slabs of raw, angular, sonic bliss. It’s still the summer of ’78, and pushing the roots of rock & roll to its limits remains in vogue. “Deluxe” serves as a fresh reminder that rock music can work outside of blues rooted, formulaic progressions without playing it safe behind a wall of effects. Arty enough to impress record enthusiasts, yet melodically attractive enough to transcend to those who’ve never asked: “’Sister Midnight’ or ‘Red Money’?” “Deluxe” is a decidedly hometown affair, recorded by Nathaniel Higgins (Carnivores) in their Atlanta practice space & mastered by Travis Thatcher. Released by Trouble In Mind Records on compact disc & black vinyl & includes a download code.
File Under: Indie Rock
OST: Star Wars – The Force Awakens (Disney) LP
In tomorrow… Lucasfilm and visionary director J.J. Abrams joined forces to take you back again to a galaxy far, far away with the return of the Star Wars franchise via the worldwide phenomenon that was Star Wars: The Force Awakens. Five-time Academy Award-winning composer John Williams also returned to score the film which is presented here on limited edition Holographic 3D 180g double vinyl. Williams’ ubiquitous Star Wars “Main Title” theme has become part of popular culture since it was first heard accompanying Star Wars: A New Hope in 1977. It is no surprise that Williams’ orchestral compositions for Star Wars are among the most beloved and recognizable themes in cinematic history, from the classic “Main Title” theme introduced in Star Wars: A New Hope to the ominous “Imperial March” from Star Wars: The Empire Strikes Back to the stirring “Duel of the Fates” from the prequel trilogy. After creating the scores for all six of the previous Star Wars films, Williams returned to compose and conduct his signature sweeping music for The Force Awakens. “I’ve loved doing the Star Wars films with all their fanfares and flourishes,” says Williams. “I actually feel as though I am still in the galaxy far, far away. I really never left it, having worked on all of the films. I’m happy to be continuing to be part of the whole fun of doing it. This is new. This is different. But it’s wed perfectly with the corpus of what Star Wars is. I’ve been lucky in my working life, especially with situations like Star Wars. It’s been a challenge, and fun and it’s been a privilege. I don’t think there’s anything quite like it in the history of film.” The Force Awakens was the first Star Wars score to be recorded in the United States as all the previous films in the saga were scored at Abbey Road with the London Symphony Orchestra. For the recording of the score in Los Angeles, Williams worked with members of the highly regarded freelance orchestra with which he’s recorded numerous film scores over the years. The music for The Force Awakens was recorded over several months while working in tandem with the film’s editorial and special effects teams on the West Coast. Audiences can expect to hear quotations from earlier Star Wars themes as Williams musically explores the story in the new film. For Williams, incorporating the previous themes is part of the fun of scoring film after film in the Star Wars saga and helps create what he calls “the fabric of the films.” Director J.J. Abrams comments, “Of the many unreal opportunities working on The Force Awakens provided, none was more thrilling than collaborating with John Williams. His mastery of his craft has never been more evident than on this soundtrack, which embraces his earlier, classic Star Wars themes while creating soaring, powerful new cues that, amazingly, integrate seamlessly. How he does it, no one will ever know!”
File Under: OST
Space Dimension Controller: Orange Melamine (Ninja Tune) LP
In early 2008, age 18, Space Dimension Controller (R&S, Clone, Royal Oak) made his first album in his bedroom in Belfast, now set for a release in May 2016 via Ninja Tune. Crunchy, tattered and enjoyably odd – Orange Melamine is a lovingly produced and deeply personal album that laces supernatural sounds and translucent synths with a sense of overflowing harmony. Washed in reverb and draped in hiss, the album draws influence from the old VHS tapes handed down to Space Dimension Controller from his older brother and cousins, as well as artists like Boards of Canada, Brian Eno and William Basinski. The album is also steeped in audio and visual references from 80’s and 90’s sci-fi films and animations; from The Guyver, Short Circuit, The Gobots, and Ghostbusters through to The Fifth Element, Escape from New York and Power Rangers – also reflected in the album’s visual identity created by Jacob Chabeaux.
File Under: Electronic
Karlheinz Stockhausen: Kontakte (Modern Silence) LP
Modern Silence presents Kontakte written by Karlheinz Stockhausen. Kontakte (1959-60) was Stockhausen’s first piece to use both electronics and traditional instruments together, marking a turning point in his career, when his music was beginning to show the influences of American avant-garde jazz and composers like John Cage. In Kontakte, live musicians play alongside a tape recording of percussion sounds that have been altered by different electronic devices (i.e. a ring modulator or a reverberator). Stockhausen wanted the musicians to improvise over the prepared tape, but the musicians were at such a loss that Stockhausen eventually had to score the instrumental parts as well. 180 gram vinyl. Edition of 500.
File Under: Avant Garde, Experimental
Karlheinz Stockhausen: Studie I & II (Modern Silence) LP
Modern Silence presents Studie I & II, Gesang der Jünglinge, Zyklus für zwei Schlagzeugern featuring compositions written by Karlheinz Stockhausen. A collection of Stockhausen’s most important works from the 1950s, particularly “Gesang der Jünglinge” (“Song of the Youths”) (1955-56) which is probably the most iconic piece of electronic music ever written. Only because of Stockhausen’s complete understanding of electronic equipment, along with his creative genius, was he able to produce this masterwork, the first piece of music to unify vocals and electronics. 180 gram vinyl. Edition of 500.
File Under: Avant Garde, Experimental
Karlheinz Stockhausen: Beton-Studie (Modern Silence) LP
Modern Silence presents Beton-Studie / Zeitmass für fünf Holzbläser / Klavierstuck XI compositions written by Karlheinz Stockhausen. A collection of some of Karlheinz Stockhausen’s earliest work, including his earliest piece of musique concrète “Beton-Studie” (aka “Étude”) written by Stockhausen in 1952-53 at Pierre Schaeffer’s studio at the RTF in Paris. Until 1992 this piece was believed to have been lost. The LP also includes the celebrated “Zeitmass” (1955), and “Klavierstück XI, parts I-IV” (1956), both of which helped to cement Stockhausen’s role as one of the leading German composers of the 20th century. 180 gram vinyl. Edition of 500.
File Under: Avant Garde
A Tribe Called Quest: Low End Theory (Jive) LP
Air: Moon Safari (EMI) LP
Alabama Shakes: Sound & Color (ATO) LP
Kevin Ayers: Joy of a Toy (Vinylissimo) LP
Bat For Lashes: Bride (Parlophone) LP
Nick Cave: Dig! Lazarus Dig! (Mute) LP
Converge: You Fail Me Redux (Death Wish) LP
Descendents: Milo Goes to College (SST) LP
Descendents: Somery (SST) LP
Dinosaur Jr.: Dinosaur (Jagjaguwar) LP
Dinosaur Jr.: You’re Living All Over Me (Jagjaguwar) LP
P.J. Harvey: Let England Shake (Island) LP
Kendrick Lamar: To Pimp A Butterfly (Aftermath) LP
Lumineers: Cleopatra (Dine Alone) LP
Hailu Mergia & Dahlak Band: Wede Haraer Guzo (Awesome Tapes From Africa) LP
Moondog: s/t (4 Men with Beards) LP
Radiohead: A Moon Shaped Pool (XL) LP
Radiohead: OK Computer (XL) LP
Joe Strummer: Global A Go Go (Anti) LP
Kamasi Washington: The Epic (Brain Feeder) 3LP