Not the longest list we’ve had this month, but there’s some killer stuff in this week. And if those Floyd reissues aren’t enough for you, we’ve been getting some killer used stuff lately, so you should come for a dig.
…..pick of the week…..
Biosphere: Departed Glories (Smalltown Supersound) LP
It’s easy to forget that Norway shares a short stretch of frontier with Russia, right at the northernmost tip of the country. That region is where Geir Jenssen, the Norwegian electronic producer behind Biosphere, comes from, and where he has been composing his austere, disturbing and deeply textured ambience since the early-80s. His twelfth album Departed Glories is his first in almost five years and marks a new deal with the Oslo independent label Smalltown Supersound. On the cover is a photo of the Russian landscape taken more than a hundred years ago. It’s part of an incredible cache of recently discovered images by the photographer Sergei Prokudin-Gorsky, who pioneered a form of color photography using three sheets of glass, and left us with a collection of hauntingly beautiful pictures of a vanished world that could have been taken on an iPhone. These are one of the inspirations for Jenssen’s latest project, which he began working on this project around five years ago, while he was based temporarily in Krakow, Poland. Living near the Wolski forest, his daily walk took him past sites – beautiful and at the same time terrible – where Poles had been executed during the Second World War. After researching the area he discovered that a Polish medieval queen Bronislawa, had hidden among the trees with some nuns in the 13th century to escape the invading Tartar hordes, and that a monument to her memory had been built and then destroyed by invading Austrians in the 19th. It made him speculate about what kind of music someone like Bronislawa might have heard while trembling among the trees? Not real music, surely, but something the fears in the mind might conjure up. He went in search of local folk music, from Poland and Ukraine, and began to work with that material to transform it into something reflecting psychological trauma. Around the same time he stumbled on Prokudin-Gorsky’s photographs and was immediately struck by the way they brought history, with its long departed souls, a little bit nearer. One image in particular, of an Armenian woman in a forest in what is now Turkey, especially got under his skin. “The crystal clear yet haunting atmosphere fascinated me,” he says. All of these inspirational elements came together to provide the necessary propulsion to make Departed Glories, an album that sets the back of the neck hairs quivering in just the same way. It’s almost entirely constructed from hundreds of snippets of Eastern European And Russian folk music recordings, melted together to transform them into 17 unsettling and occasionally blindingly radiant beat less tracks. Each sample fragment is like a sliver of glass plate, and like the photos, it has left a music that is radiant, ghostly and unforgettable.
File Under: Electronic, Ambient
Listen Here
…..new arrivals…..
Allah-Las: Calico Review (Mexican Summer) LP
What really shines across the 12 songs that comprise Calico Review (their first for Mexican Summer), is the way that the Allah-Las have pivoted from specific influences and nods to the music they love, to crafting the feelings of freedom, grit, and melancholy in their music. That feeling – the peerless capture of music long in the tradition and mood of California pop, the sound that’s captured the essence of the LA experience – aligns with their stylistic technique and their experience in the studio environment to create their strongest album to date, one which showcases their developments in songwriting and arrangements. The process began with their self-titled debut, which captured the Allah-Las’ live set circa 2012 and continued onward with 2014’s Worship the Sun, where they began to experiment with overdubs and writing songs individually instead of as a band. Now, Calico Review showcases a band that’s grown confident in its own style to reflect the perspectives of each member, to craft an album that changes up the approach from song-to-song, while retaining their abilities as a cohesive unit. Audiences familiar with the band will recognize the levels of nuance and steadiness the Allah-Las have grown into throughout Calico Review. It’s immediate, the first thing you recognize about the band in the opening moves of “Strange Heat,” in the amount of control and character burning off of the band’s knack for restraint. Songs like “Famous Phone Figure” cradle character sketches over delicate strains of violin, organ, and Mellotron, Matthew Correia’s drumming carefully underlining a three-note theme that casts a phantom sadness over the proceedings, the group exerting a touch both light and steady enough to bring your mood to theirs. “Could Be You” works off a steady percussive gallop, guitarist Miles Michaud waxing reflexively on second chances while the band focuses on forward motion. “Roadside Memorial” applies the Bo Diddley beat to the open road, Pedrum Siadatian stepping up on vocals, and finding new ways to match his talents to propulsive musical ends. Elsewhere, “High & Dry,” featuring Correia on lead vocals, focuses on the Allah-Las most quintessential and peerless quality: writing emotionally resonant pop, at once direct and detached, casual and knowing, and instantly memorable. The dream factory itself gets called out in the fun, surf-stung number “200 South La Brea,” its carnival-like atmosphere reflecting the excitement and anxiety of those who await their judgment.
File Under: Indie Rock
Listen Here
Devendra Banhart: Ape in Pink Marble (Nonesuch) LP
Nonesuch Records presents Devendra Banhart’s highly anticipated new album, Ape in Pink Marble. The 13-track release, Banhart’s ninth full-length studio effort, was written, produced, arranged, and recorded in Los Angeles, CA by the singer/songwriter/guitarist with his longtime collaborators Noah Georgeson and Josiah Steinbrick, both of whom also worked on Banhart’s most recent album, Mala (2013). Banhart was born in Houston, TX, and moved with his mother to her native Caracas, Venezuela, when his parents separated. The family relocated to Los Angeles during his teenage years; it was there that he learned to speak English, skateboard, and play music. Banhart first began to perform in public while attending the San Francisco Art Institute. He has since lived in New York City, Paris, San Francisco, and Los Angeles, where he currently resides. Banhart first attracted international notice with his 2002 debut album, Oh Me Oh My… The Way the Day Goes By the Sun Is Setting Dogs Are Dreaming Lovesongs of the Christmas Spirit – a collection of recordings he had made for himself. Subsequent albums include Rejoicing in the Hands (2004), Niño Rojo (2004), Cripple Crow (2005), Smokey Rolls Down Thunder Canyon (2007), and What Will We Be (2009). Mala, his Nonesuch debut, was described by Q as a “career-best.” Banhart has collaborated with fellow musicians including Antony and the Johnsons, Beck, Vashti Bunyan, Os Mutantes, and Vetiver. He also has performed with both Gilberto Gil and Caetano Veloso, and was part of a David Byrne – curated concert at Carnegie Hall. An accomplished visual artist, Banhart’s distinctive, minutely inked, often enigmatic drawings have appeared in galleries all over the world, including the Art Basel Contemporary Art Fair in Miami; the San Francisco Museum of Modern Art; the Palais des Beaux-Arts in Brussels; and Los Angeles’ Museum of Contemporary Art. In 2015 Prestel published I Left My Noodle on Ramen Street, a collection of his of drawings, paintings, and mixed media pieces. He has created the cover art for most of his records, and in 2010 his artwork and packaging for What Will We Be was nominated for a Grammy.
File Under: Indie Rock
Listen Here
Coffins: Sacrifice to Evil Spirit (Osmose) LP
Coffins is a Japanese doom-death band, formed in 1996, that has scavenged the depths of evil and darkness throughout their decade-plus existence as they slowly work toward a flawless refinement of all the things we love about the genre. According to Exclaim!, Coffins might not innovate but instead “reanimate one of the darkest, most oppressive chapters of metal with consummate style and punishing panache.” Here we have Coffins’ original three-song demo from 2003 complete with a bonus Venom cover (“Warhead”) and some killer extra live, remix and rehearsal material. Limited double LP edition of this Coffins rarity from the venerable Osmose Productions.
File Under: Metal
Listen Here
Coffins: Mortuary In Darkness (Osmose) LP
Coffins is a Japanese doom-death band, formed in 1996, that has scavenged the depths of evil and darkness throughout their decade-plus existence as they slowly work toward a flawless refinement of all the things we love about the genre. According to Exclaim!, Coffins might not innovate but instead “reanimate one of the darkest, most oppressive chapters of metal with consummate style and punishing panache.” Here we have Coffins’ original three-song demo from 2003 complete with a bonus Venom cover (“Warhead”) and some killer extra live, remix and rehearsal material. Limited double LP edition of this Coffins rarity from the venerable Osmose Productions.
File Under: Metal
Listen Here
Coffins: The Other Side of Blasphemy (Osmose) LP
Coffins is a Japanese doom-death band, formed in 1996, that has scavenged the depths of evil and darkness throughout their decade-plus existence as they slowly work toward a flawless refinement of all the things we love about the genre. According to Exclaim!, Coffins might not innovate but instead “reanimate one of the darkest, most oppressive chapters of metal with consummate style and punishing panache.” The band’s immense talent and power has been on full display ever since they unleashed their debut full-length, Mortuary in Darkness in 2005. A year later, they followed it up with their sophomore release, The Other Side of Blasphemy, released through Imperium Productions. This album managed to somehow increase the crushing heaviness of their first outing and found the band once again carrying the torch of obvious influences like Hellhammer, Celtic Frost and Autopsy with pride. Limited double LP edition of this Coffins classic from the venerable Osmose Productions.
File Under: Metal
Listen Here
Lucy Dacus: No Burden (Matador) LP
No Burden is the debut album from singer/songwriter Lucy Dacus. At the young age of just 20, she is already a force to be reckoned with in her hometown of Richmond, VA and is quickly gaining notoriety with her amazing and unique singing voice. The Fader recently listed Lucy in the top 20 artists to watch out for in 2016 proclaiming, “Her voice is beautiful, like none I’ve heard before. On her dynamic debut album No Burden…she warbles her country-rock songs like a humble new pal revealing old secrets about feeling lost and starting over.” After a childhood of primarily musical theater and Bruce Springsteen thanks to her mom and dad, she bought an acoustic guitar and taught herself some chords with hopes of one day being the cool girl at church camp. Luckily things changed in high school when kind friends showed her Broken Social Scene, Yo La Tengo, and Ava Luna. Lucy quickly fell in love with the Richmond music scene and did what she could to sneak into 18+ shows during her high school years, always content as a spectator, not yet participating despite the encouragement of friends. When she decided to study film in college, people were surprised and would say, “not music?” It took years of convincing, confidence building, and a great change of heart before Lucy decided to pursue music. With the help of Miles Huffman on drums, Mike Ferster on guitar, Jacob Blizard on guitar, and Noma Illmensee on bass, Lucy’s previously solo croons bite deeper and hit harder while the lyrics remain at the forefront, as honest and compelling as ever. No Burden was recorded one day in January 2015 in Nashville, TN with producer/engineer/longtime friend Collin Pastore.
File Under: Indie Rock
Listen Here
Jimi Hendrix: Machine Gun (Legacy) LP
Experience Hendrix L.L.C. and Legacy Recordings present Machine Gun: The Fillmore East First Show 12/31/69, fully documenting the debut performance of Jimi Hendrix’s short-lived but eternally influential Band of Gypsys. The group played four historic concerts at the Fillmore East in New York City – two on New Year’s Eve 1969, and two on New Year’s Day 1970. Never before has the first of these sets been available in its entirety. The vast majority of the performances have never seen the light of day in any configuration. Machine Gun: The Fillmore East First Show 12/31/69 was produced by Janie Hendrix, Eddie Kramer and John McDermott, the same team who have overseen all of Jimi Hendrix’s audio and audio visual releases by Experience Hendrix L.L.C. since 1995. Kramer served Jimi Hendrix as his primary recording engineer throughout his lifetime and newly mixed Machine Gun: The Fillmore East First Show 12/31/69 from the original 1″ 8 track master tapes. The album was mastered by Grammy Award winner Bernie Grundman and is available here as a 180g 2LP-set. The revolutionary impact Jimi Hendrix, Billy Cox, and Buddy Miles had upon the boundaries and definitions of rock, R&B, and funk can be traced to four concerts over the course of two evenings on New Year’s Eve and New Year’s Day. Machine Gun: The Fillmore East First Show 12/31/69 documents the first of the group’s four legendary Fillmore East concerts. This set presents an assortment of fresh, exciting new songs such as “Earth Blues,” “Ezy Ryder,” “Stepping Stone,” “Burning Desire,” and “Machine Gun” – none of which had ever before been issued on disc. Moreover, nearly all of the group’s material had never been performed before an audience. “We decided that we couldn’t do any songs that had already been released,” explains Cox. “We wanted to give them something different. So we went at the project in a joyous, creative posture and ultimately developed the repertoire of the Band of Gypsys.” With the anticipation of the sold out Fillmore audience heightened to fever pitch, Hendrix led his trio through a scintillating, seventy-five minute opening performance. None of the eleven songs presented had yet to grace an Experience album. In the place of signature songs like “Purple Haze” and “All Along The Watchtower” were confident renditions of “Power Of Soul” and “Hear My Train A Comin.'” Jimi generously extended center stage to Miles, providing a showcase for “Changes” and a charged rendition of the Howard Tate R&B hit “Stop”. Former Rolling Stone senior editor David Fricke, who authored this collection’s liner notes, describes “Stop” as being something akin to “a psychedelic power-trio Temptations.” Hendrix’s scalding version of Elmore James’ “Bleeding Heart” is the set’s only other cover, underscoring the new band’s emphasis on the blues. “Machine Gun” stands as one of Hendrix’s finest and most influential compositions. Hendrix pushed Delta blues into places its pioneers could not have imagined, fusing his extraordinary instrumental skills within his passionate expression of man’s inhumanity to his fellow man. “Machine Gun” endures as a classic amongst the already classic-drenched Jimi Hendrix canon. Fricke notes of this version, the first that Hendrix and company had ever played in concert, “…Here it is, after 46 years, another revelation – a stunning essay in pain, rage and determined survival, fully formed in its initial outing.” Long sought after by the guitarist’s worldwide following, Machine Gun: The Fillmore East First Show 12/31/69 presents the complete performance in its original sequence.
File Under: Rock
Listen Here
Archy Marshall: A New Place 2 Drown (True Panther) LP
Archy Marshall, the London singer, songwriter and producer better known as King Krule releases a new mixed media project, A New Place 2 Drown, his first major release since his 2013 debut album, 6 Feet Beneath The Moon. Originally released digitally in compliment to a 208-page coffee-table book of artwork, poems and photographs assembled in collaboration with Marshall’s brother, A New Place 2 Drown is now available physically in a one time limited vinyl pressing of 2,000 copies. Unlike on his earlier King Krule release, 6 Feet Beneath The Moon, where Marshall’s voice was the star, here he dissolves it into the grey mist of his beats. Mostly he croons or mutters over crackles, drips, and clanks. What it does share with his earlier releases is the ability to create a full fledged three-dimensional world in which the individual records coincide together, full of flickering halogen bulbs, sticky synth keys, and corroded outputs.
File Under: Electronic, Hip Hop
Listen Here
James Vincent McMorrow: We Move (Dine Alone) LP
Despite two successful albums in his home country of Ireland, multi-instrumentalist James Vincent McMorrow’s most popular song is still a cover of Steve Winwood’s “Higher Love.” It’s admittedly a beautiful rendition, marked by soft piano and McMorrow’s beautiful falsetto. Like with any cover though, you wonder if the artist behind it has any creative spark of their own. While his debut was made up of what you might expect from a cover artist, filled to the brim with acoustic guitar and simplistic piano arrangements, his second release, 2014’s Post Tropical, showed definite growth. We Move, McMorrow’s newest release, builds atop of the lush soundscapes and 808-fueled R&B croons of his sophomore LP by upping the tempo a bit and filling the sparseness of the instrumentals with psych rock inspired guitars and layers of reverb. McMorrow still manages to keep the intimacy and heavy-heartedness of his arrangements intact, mostly thanks to his supernatural upper register. That falsetto is powerful, able to evoke raw emotion and energy like few others can, and it’s what allows him to build each track off We Move to a cathartic conclusion. Lead single “Rising Water” capitalizes on the psychedelic influence with a relaxed jam about desperation after a lost love. Other highlights include “Evil,” featuring a crazy fun vocal-sample driven breakdown at the end and “Surreal,” a soaring ballad that shows off McMorrow’s voice perfectly.
File Under: Folk, Electronic, Soul
Listen Here
Okkervil River: Away (ATO) LP
“The new Okkervil River album is called Away. I didn’t plan to make it and initially wasn’t sure if it was going to be an Okkervil River album or if I’d ever put it out. I wrote the songs during a confusing time of transition in my personal and professional life and recorded them quickly with a brand new group of musicians. I got together the best New York players I could think of, people whose playing and personalities I was fans of and who came more out of a jazz or avant garde background, and we cut the songs live in one or two takes – trying to keep things as natural and immediate as possible – over three days in a studio on Long Island that hosts the Neve 8068 console which recorded Steely Dan’s Aja and John Lennon’s Double Fantasy. I asked Marissa Nadler to sing on it and got the composer Nathan Thatcher to write some beautiful orchestral arrangements, we recorded them with the classical ensemble yMusic and then I mixed the record with Jonathan Wilson out in Los Angeles. “2013-2015 had been a strange time for me. I lost some connections in a music industry that was visibly falling apart. Some members of the Okkervil River backing band left, moving on to family life or to their own projects. I spent a good deal of time sitting in hospice with my grandfather, who was my idol, while he died. I felt like I didn’t know where I belonged. When there was trouble at home, a friend offered me her empty house in the Catskills where I could go and clear my head. New songs were coming fast up there, so I set myself the challenge of trying to write as many as possible as quickly as possible. I wasn’t thinking about any kind of end product; the idea was just to write through what I was feeling, quickly and directly. Eventually, I realized I was writing a death story for a part of my life that had, buried inside of it, a path I could follow that might let me go somewhere new. “”Okkervil River R.I.P.” and “Call Yourself Renee” are good emotional transcriptions of that time. I wrote the latter on psylocibin mushrooms on a beautiful afternoon in early fall in the Catskills.”I think this record was me taking my life back to zero and starting to add it all back up again, one plus one plus one. Any part that didn’t feel like it added up I left out. Weirdly, it was the easiest and most natural record I’ve ever made. More than any time in my life before, I felt guided by intuition – like I was going with the grain, walking in the direction the wind was blowing. The closer it got to being finished, the more the confusion I’d felt at the start went away. It’s not really an Okkervil River album and it’s also my favorite Okkervil River album.” – Will Sheff
File Under: Indie Rock
Listen Here
Pink Floyd: Obscured By Clouds (Pink Floyd) LP
Pink Floyd’s seventh album, Obscured by Clouds, was originally recorded as the soundtrack to the French film La Vallee (the band’s second Barbet Schroeder soundtrack following 1969’s More), but was also released as a standalone album in 1972 and anchored by the single “Free Four.” Also featuring the deep-cut favorite “Wots…Uh the Deal” and breathtaking “Childhood’s End,” the record is here remastered from the original analog master tapes by Bernie Grundman, James Guthrie, and Joel Plante. Long overdue but finally a reality, this audiophile-grade analog pressing of Obscured by Clouds sounds brilliant.
File Under: Rock
Listen Here
Pink Floyd: Atom Heart Mother (Pink Floyd) LP
Pink Floyd’s Atom Heart Mother remains a distinctive, diversified creation more than four decades after its release. A 23-minute-long orchestrated suite to begin record. A flurry of ideas, expressions, and impressionistic details. Iconic, simple cover art. It’s impossible not to love everything about this groundbreaking 1970 set, particularly now that it is available on this stunning-sounding 180g LP remastered from the original analog master tapes by Bernie Grundman, James Guthrie, and Joel Plante. Featuring the classic lineup of Roger Waters, David Gilmour, Richard Wright, and Nick Mason, the LP became the band’s first No. 1 record in the UK. Gilmour also makes his first lyrical contribution here with the gentle “Fat Old Sun.” Essential listening, all around.
File Under: Rock
Listen Here
Pink Floyd: Meddle (Pink Floyd) LP
Epic, explorative, expressive: Pink Floyd’s ambitiously atmospheric Meddle lingers as an unforgettable masterpiece drenched in resplendent textures and pointillistic details. Remastered from the original analog master tapes by Bernie Grundman, James Guthrie, and Joel Plante, the 1971 album has never sounded better in any format. While it often sits in the shadows of The Dark Side of the Moon, a record that musically serves as its younger brother, the moody, brooding, often-dark work finds the band moving away from its original psychedelic sound and includes two timeless, largely instrumental pieces that showcase lead guitarist David Gilmour in all his vertiginous, keening glory: “Echoes,” which takes up the whole of Side One, and the gorgeous “One of These Days.”
File Under: Rock
Listen Here
Pixies: Head Carrier (Pias) LP
The Pixies return with their sophomore “post-reunion” album Head Carrier. Recorded in just three weeks with producer Tom Dalgety (Killing Joke, Royal Blood), Head Carrier has all the sonic hallmarks of a classic Pixies album – tungsten guitar riffage, sun-soaked harmonies, rhythmic pummel and lyrical intrigue – while never pandering to nostalgia. The band – drummer David Lovering, rhythm guitarist/vocalist Black Francis and guitarist Joey Santiago – also officially welcomes bassist Paz Lenchantin to the Pixies’ permanent line-up here. Lenchantin has been the band’s touring bassist since January 2014, and played an integral part in the recording of Head Carrier. Aligned to its palpably fresh momentum, many of its songs have a poignant undertow, acknowledging its creators’ real time/real life journey. At least three songs, according to Black Francis, “fall into the sour grapes love song category,” though two of these – “Classic Masher” and “Bel Esprit” – feel quite exultant. The title track and “Plaster Of Paris,” meanwhile, share a somewhat thematic kinship, though the linkage is worthy of a cryptic crossword setter, turning upon the grisly fate of Saint Denis, the first bishop of Paris. Elsewhere, the songs offer a typically varied buffet of Pixies esoterica: rural roadside prostitution in France and Belgium (“Um Chagga Lagga”), the Mesopotamian deity Baal (“Baal’s Back”) and the legendary American actor Jack Palance, who makes a cameo appearance in the rambunctious “Talent,” one of two songs whose primary musical influence Black Francis attributes to The Stranglers. The album’s emotional core, meanwhile, resides in its second half, amid the plangent “Tenement Song” and the closing “All The Saints.” And of course, the beatific “All I Think About Now,” a tribute to the Pixies’ past from its freshly alchemized now. That the Pixies could have a viable present in the 21st century, let alone a bright future, seemed impossible during the 10 years following their break-up in 1993, and again following Kim Deal’s departure. But there’s always been a whiff of alchemy to this band that confounds the natural order of things. It’s a large reason why they remain so special, and so beloved. Ten bands re-issue their albums on limited edition pink vinyl, all for one cause. This is the third year for the initiative that helped raise $65,000 for Gilda’s Club NYC, an organization that provides community support for both those diagnosed with cancer and their caretakers. It is named after comedian Gilda Radner, who passed away from the disease at the age of 43 in 1989. This year’s limited pink vinyl are from Anthrax, The Black Keys, Courtney Barnett, Ed Sheeran, Jim Breuer & The Loud & Rowdy, My Chemical Romance, NOFX, Opeth, Pixies and Red Hot Chili Peppers. The proceeds will sponsor Gilda’s Club NYC.
File Under: Indie Rock
Listen Here
Bruce Springsteen: Chapter & Verse (Columbia) LP
Chapter and Verse, the audio companion to Bruce Springsteen’s extraordinary forthcoming autobiography, will be released September 2016 on Columbia Records. The career-spanning compilation will be released four days before Simon & Schuster publishes Born to Run. Five of the album’s 18 tracks have not been previously released. Springsteen selected the songs on Chapter and Verse to reflect the themes and sections of Born to Run. The compilation begins with two tracks from The Castiles, featuring a teenaged Springsteen on guitar and vocals, and ends with the title track from 2012’s Wrecking Ball. The collected songs trace Springsteen’s musical history from its earliest days, telling a story that parallels the one in the book. Recordings from Steel Mill and The Bruce Springsteen Band feature musicians who would go on to play in The E Street Band. Solo demos of “Henry Boy” and “Growin’ Up” were cut in 1972 shortly before Springsteen began recording his debut album, Greetings From Asbury Park, N.J. The packaging will also include lyrics and rare photos.
File Under: Rock
Listen Here
Various: Nigeria Soul Fever (Soul Jazz) LP
Soul Jazz Records’ new Nigeria Soul Fever is their first release to explore the vast wealth of Nigerian music recorded in the 1970s. The new album comes with introductory sleeve-notes by Bill Brewster (author of Last Night A DJ Saved My Life). Packed-full with Afro-Funk, Disco and Boogie all from Nigeria, this triple album set brings together a stunning collection of diverse West African sounds. Whilst a small handful of the artists featured (Joni Haastrup, Tee Mac, Christy Essien) have seen the light of day outside Africa, this is essentially a collection of killer tracks by an array of artists completely unknown outside of Nigeria. Artists such as Don Bruce & The Angels, Akin Richards & The Executives, Angela Starr, Jimmy Sherry & The Music Agents. It’s no surprise that these records are extremely rare and expensive to buy individually so this album will save you going broke trying to find them. These recordings were made at a time when Nigeria’s trade restrictions banned imported records. Whilst new musical trends (such as American soul, funk, disco etc) entered and influenced the country, the local music scene remained just that – local. Consequently, these recordings remain practically unknown to anyone outside of the country.
File Under: Afrobeat, Funk, Soul
Listen Here
…..Restocks…..
Alabama Shakes: Boys & Girls (ATO) LP
Alabama Shakes: Sound & Color (ATO) LP
Badbadnotgood: IV (Arts & Crafts) LP
Banks & Steelz: Anything But Words (Warner) LP
Can: Soundtracks (Mute) LP
Can: Tago Mago (Mute) LP
Car Seat Headrest: Teens of Denial (Matador) LP
City & Colour: Bring Me Your Love (Dine Alone) LP
City & Colour: Hurry & The Harm (Dine Alone) LP
City & Colour: Little Hell (Dine Alone) LP
City & Colour: Sometimes (Dine Alone) LP
Flying Lotus: Cosmogramma (Warp) LP
Flying Lotus: You’re Dead! (Warp) LP
Grimes: Halfaxa (Arbutus) LP
Steve Gunn: Time Off (Paradise of Bachelors) LP
Kraftwerk: Trans-Europe Express (EMI) LP
Lumineers: Cleopatra (Dine Alone) LP
Pavement: Brighten the Corners (Matador) LP
Iggy Pop: Post Pop Depression (Loma Vista) LP
Porcupine Tree: Fear of a Blank Planet (Kscope) LP
Pusha T: Darkest Before Dawn (Universal) LP
Radiohead: Kid A (XL) LP
Akira Sakata & Jim O’Rourke: Flying Basket (Family Vineyard) LP
Talk Talk: Laughing Stock (EMI) LP