Another stacked week around here… assuming that Run The Jewels shows up tomorrow. Loads of other great new stuff in too. AND a ridiculous amount of new used stuff hitting the bins too. AND nice warm weather still. You owe it to yourself to come for a dig.
…..pick of the week…..
John Bender: Plaster Falling (Superior Viaduct) LP
Plaster Falling was recorded at the same time as John Bender’s first album, I Don’t Remember Now / I Don’t Want To Talk About It. Released in 1981 on the artist’s own Record Sluts label, copies of Plaster Falling’s initial pressing came hermetically sealed in plaster (and later latex). Thus, listeners had to literally break open the record to find what’s hidden inside. Produced in relative isolation, Plaster Falling is a beacon of brilliance in the nascent minimal-wave sphere. Veering towards skeletal urgency, these recordings set bright analogue melodies against half-whispered vocals and expand Bender’s electronic cryptography thru a series of lone signifiers: “Station,” “Plaster,” “Women,” etc. As Bender explains in the liner notes, “I began to distance myself from the present and describe scenes as if in a movie – seeking concrete, terse, juxtaposed imagery.” This first-time standalone reissue is recommended for fans of Gareth Williams & Mary Currie’s Flaming Tunes, Minimal Man and Grouper. Pressed on translucent blue vinyl in a limited / numbered edition of 1,000 copies.
File Under: Electronic, Cold Wave, Minimal Wave
William Basinski: A Shadow in Time (Temporary Residence) LP
World-renowned as one of experimental music’s most vital and impressionistic composers of the past few decades, William Basinski’s tape loop works have been especially influential, particularly on the historic series, The Disintegration Loops, where distorted, orchestral tape samples burrow deep into the listener’s psyche through meditative repetition. On his new album, A Shadow In Time, Basinski plunges deeper than ever for the plaintive solitary eulogy to David Bowie, aptly titled “For David Robert Jones.” Conversely, the title track, “A Shadow In Time,” is a subtle, celestial escalation of melody and drone. The result is one of the most truly transcendent pieces of music he has ever committed to – or wrung from – tape.
File Under: Ambient
BBQ (Mark Sultan): s/t (In The Red) LP
This is the first album by BBQ since 2005’s Tie Your Noose on the historic Bomp! label. BBQ is Mark Sultan, who also has recorded many other albums and 45s, as well as playing in bands like The King Khan & BBQ Show, Almighty Defenders, Ding-Dongs and Les Sexareenos etc., etc. BBQ is his preferred monicker for playing as a very strict live-recorded one-man band. This album serves as a little wink goodbye to any complexities past and a strong “welcome back” to the primitive, brusque and airy rock’n’roll which has made Sultan beloved since 2003. Forgoing lo-fi, BBQ is reinventing the one-man band, taking it back, for a loud, clear and raw sound; helmed by great songs, sung truly and passionately. Recorded by himself in his basement, live in one to two takes — twelve brand new killers.
File Under: Lo-Fi, Punk, Rock
Erasmo Carlos: Carlos, Erasmo… (Light in the Attic) LP
In tomorrow… Erasmo Carlos has no counterpart in the universe of Anglophone pop music that could begin to hint at his relevance, popularity and his complex relationship with the only Brazilian pop star more universally recognized than himself, Roberto Carlos. He may be a beloved pop star and household name in Brazil, but hardly because of the music found on the three albums reissued by Light In The Attic. While in retrospect they can be appreciated as some of his most creative, consistent and personal albums, they were also some of the least commercially successful and underappreciated of his long career, at least until recently. Embracing the artistic freedom of the global counterculture of the late sixties and early seventies, over the course of these three albums, Erasmo evolved from his bubblegum beginnings into a sophisticated seventies singer-songwriter. Erasmo Carlos E Os Tremendões (1970), Carlos, ERASMO . . . (1971) and Sonhos E Memórias 1941-1972 (1972) collectively find this maturing teeny-bopper delivering a mix of world class psychedelic Rock, traditional Rock ‘N’ Roll, Soul, Funk, Folk, Bossa Nova, and Samba-Rock to an unsuspecting Brazilian audience. As a student and fan of Elvis, Little Richard, Bill Haley, and Chuck Berry, Erasmo indulged his primal rock urges on these albums, notably getting sufficiently psychedelic and fuzzy on Carlos, ERASMO . . . Arriving in 1971 while Caetano and Gil were still in exile, Rita Lee had recently quit Os Mutantes and Gal Costa was onto a new sound, Erasmo’s 1971 album was the closest thing to Tropicália around. Carlos, ERASMO . . . was co-produced by the Tropicália producer, Manoel Barenbein, including a new composition from Caetano, a few arrangements courtesy of Rogério Duprat and the musical talents of no fewer than three Mutants: lead guitarist Sergio Dias, drummer Dinho Leme and bassist Liminha, not to mention Brazil’s undisputed psychedelic axe-master, Alexander Gordin, aka “Lanny”, Carlos, ERASMO. . . is a virtual all-star team of Tropícalistas (not in exile). This album is considered a bedrock album within the Brazilian rock scene and a notable late entry in the Tropicália tradition, rocking harder than any album in his catalog, but also including wispy love songs, soul and funk moves, brassy pop tunes and a marimba-driven ode to marijuana.
File Under: Samba, Latin, Funk, Soul, Brazilian, Pop
Erasmo Carlos: Erasmo Carlos E Os Tremendoes (Light in the Attic) LP
In tomorrow… Erasmo Carlos has no counterpart in the universe of Anglophone pop music that could begin to hint at his relevance, popularity and his complex relationship with the only Brazilian pop star more universally recognized than himself, Roberto Carlos. He may be a beloved pop star and household name in Brazil, but hardly because of the music found on the three albums reissued by Light In The Attic. While in retrospect they can be appreciated as some of his most creative, consistent and personal albums, they were also some of the least commercially successful and underappreciated of his long career, at least until recently. Embracing the artistic freedom of the global counterculture of the late sixties and early seventies, over the course of these three albums, Erasmo evolved from his bubblegum beginnings into a sophisticated seventies singer-songwriter. Erasmo Carlos E Os Tremendões (1970), Carlos, ERASMO . . . (1971) and Sonhos E Memórias 1941-1972 (1972) collectively find this maturing teeny-bopper delivering a mix of world class psychedelic Rock, traditional Rock ‘N’ Roll, Soul, Funk, Folk, Bossa Nova, and Samba-Rock to an unsuspecting Brazilian audience. Collectively, the songs on Erasmo Carlos E Tremendões sound like an attempt to appeal to nearly every relevant genre of Brazilian popular music at the turn of the decade. From the cover tunes alone there’s a Caetano song “Saudosismo” (Tropicália), an Antônio Adolfo song “Teletema” (Pilantragem/art-pop), and not just any Ary Barroso song, but the unofficial Brazilian national anthem “Aquarela Do Brasil”. Of the new songs, “Menina” is a Soul ballad and “Jeep” brings the Funk. Maybe it was exactly that, a chance for Erasmo to stretch his creative muscles in a lot of different directions as it became clear his Jovem Guarda character and sound had run its course, along with the TV show of the same name. Erasmo Carlos E Os Tremendões is greater than the sum of its pop-rock spitballs. It’s a creative, and at times experimental and groundbreaking album that remains a thrilling listen.
File Under: Brazilian, Samba, Latin, Funk, Soul, Pop
Erasmo Carlos: Sonhos E Memorias 1941-1972 (Light in the Attic) LP
In tomorrow… Erasmo Carlos has no counterpart in the universe of Anglophone pop music that could begin to hint at his relevance, popularity and his complex relationship with the only Brazilian pop star more universally recognized than himself, Roberto Carlos. He may be a beloved pop star and household name in Brazil, but hardly because of the music found on the three albums reissued by Light In The Attic. While in retrospect they can be appreciated as some of his most creative, consistent and personal albums, they were also some of the least commercially successful and underappreciated of his long career, at least until recently. Embracing the artistic freedom of the global counterculture of the late sixties and early seventies, over the course of these three albums, Erasmo evolved from his bubblegum beginnings into a sophisticated seventies singer-songwriter. Erasmo Carlos E Os Tremendões (1970), Carlos, ERASMO . . . (1971) and Sonhos E Memórias 1941-1972 (1972) collectively find this maturing teeny-bopper delivering a mix of world class psychedelic Rock, traditional Rock ‘N’ Roll, Soul, Funk, Folk, Bossa Nova, and Samba-Rock to an unsuspecting Brazilian audience. Sonhos E Memórias (1941-1972) is truly singular within Brazilian pop fusing rock, soul, jazz and singer-songwriter styles. It’s simultaneously rootsy, funky, modern and nostalgic. The lyrics are highly personal, searching for deeper meaning with lots of flower power imagery and language, while the music is tight, highly rhythmic, melodic and restrained in its delivery and effortless groove. Built around the future fusion trio Azymuth with keyboardist José Roberto Bertrami, drummer Ivan Conti aka “Mamão” and bassist Alex Malheiros, a majority of the album’s tunes make excellent use of this trio’s telepathic tightness, subtle funkiness, and melodic mastery. The album dabbles with a few different styles and rhythms, all telling Erasmo’s musical story be it Bossa Nova, Roots Rock, Hard Rock, ballads, and soulful grooves, but a certain sonic frequency or tempo alongside the autobiographical elements unite this masterwork.
File Under: Brazilian, Samba, Latin, Pop, Funk, Soul
Chemical Brothers: Come With Us (Astralwerks) LP
In Tomorrow… Undisputed masters of brain-altering, transcendent electronica, The Chemical Brothers (comprised of the duo of Tom Rowlands and Ed Simons), have been producing some of the world’s greatest dance music for the better part of two decades. Their star hasn’t stopped rising since their groundbreaking early albums changed the game altogether. On their tight fourth full-length outing, 2002’s Come With Us, The Chemical Brothers got back to their roots and the kinetic energy they made their name on. Simons noted, “The first three or four numbers do remind me of those days when we were so excited about putting together little grooves and beats – that whole cut-up era of hip-hop.” Home to the trio of high octane singles “It Began in Afrika,” “Star Guitar” and “Come with Us”/”The Test,” and featuring Richard Ashcroft and Beth Orton as guest vocalists, the album debuted at No. 1 on the U.K. Albums Chart and immediately became one of the biggest releases of 2001. The Chemical Brothers’ first seven studio albums will again be available in the U.S. Each comes repackaged in the original sleeve artwork from the first pressings. Audio has been cut from the original lacquers directly from the studio of the original engineer, Mike Marsh, and is fully approved by The Chemical Brothers’ Ed Simons and Tom Rowlands.
File Under: Electronic, House, Downtempo
Chemical Brothers: Further (Astralwerks) LP
In tomorrow… Undisputed masters of brain-altering, transcendent electronica, The Chemical Brothers (comprised of the duo of Tom Rowlands and Ed Simons), have been producing some of the world’s greatest dance music for the better part of two decades. Their star hasn’t stopped rising since their groundbreaking early albums changed the game altogether. 2010’s Grammy-nominated Further is an 8-track masterpiece of modern psychedelia effortlessly fusing freeform analogue wig-outs with juggernaut dancefloor dynamics. Further is the culmination of years of psychedelic exploration, an immersive collection that finds The Chemical Brothers at their least-restrained and most-melodic best. The Chemical Brothers’ first seven studio albums will again be available in the U.S. Each comes repackaged in the original sleeve artwork from the first pressings. Audio has been cut from the original lacquers directly from the studio of the original engineer, Mike Marsh, and is fully approved by The Chemical Brothers’ Ed Simons and Tom Rowlands.
File Under: Electronic, House
Chemical Brothers: Push the Button (Astralwerks) LP
In tomorrow… Undisputed masters of brain-altering, transcendent electronica, The Chemical Brothers (comprised of the duo of Tom Rowlands and Ed Simons), have been producing some of the world’s greatest dance music for the better part of two decades. Their star hasn’t stopped rising since their groundbreaking early albums changed the game altogether. Innovative and inspired fifth studio effort, 2005’s Push the Button, contains the explosive Middle Easton-flavored single “Galvanize,” which immediately shot to the Top 5 on the British charts. A year later, both earned The Chemical Brothers Grammys for Best Album and Best Single. Featuring guest appearances by Q-Tip, Tim Burgess, Kele Okereke, Anna-Lynne Williams, Anwar Superstar and The Magic Numbers. The Chemical Brothers’ first seven studio albums will again be available in the U.S. Each comes repackaged in the original sleeve artwork from the first pressings. Audio has been cut from the original lacquers directly from the studio of the original engineer, Mike Marsh, and is fully approved by The Chemical Brothers’ Ed Simons and Tom Rowlands.
File Under: Electronic, House
Cherry Glazerr: Apocalipstick (Secretly Canadian) LP
Society would deem a prodigious girl can’t be in a progressive rock band while also being in complete control of its creative vision, business plan and social messaging. Society is wrong. Clem, a 19 year old teen Queen dreamed up Cherry Glazerr in her LA bedroom alone and is perhaps more capable of figuring a music career out than anyone who attempts this treacherous life path. Back in 2014, much-loved Cali imprint Burger Records released their intoxicating debut Haxel Princess and Suicide Squeeze released the Had Ten Dollaz 7-inch. On Apocalipstick the band worked with “rock ‘n’ roll wizard” Joe Chicarelli (White Stripes, The Shins, The Strokes) and Carlos de la Garza (Bleached, M83, Tegan and Sara). With their help and the band’s newfound self-discipline and motivation, Cherry Glazerr has evolved into a wildly complex, hugely guitar heavy, and unapologetically loud machine.
File Under: Indie Rock
Bill Dixon Orchestra: Intents & Purposes (Superior Viaduct) LP
After spending the early ‘60s playing in groups with Cecil Taylor and Archie Shepp, trumpeter Bill Dixon recorded his singular and visionary masterpiece in 1967. Intents And Purposes remains not only Dixon’s defining statement as a composer, but also one of the most luminous moments in the history of avant-garde jazz. Combining orchestral timbres with free jazz intensity, Dixon leads a ten-piece ensemble including such heavyweights as Byard Lancaster, Robin Kenyatta, Jimmy Garrison and Reggie Workman. Closing each side of the album, “Nightfall Pieces I” and “Nightfall Pieces II” are evocative duets featuring Dixon’s flugelhorn accompanied by flautist George Marge. With Intents And Purposes, Dixon creates a work focused as much on sculpting and defining space—emphasizing moments of resonant stillness around which the compositions thrum and swell—as on purity of expression. This first-time vinyl reissue is recommended for fans of Art Ensemble of Chicago, Anthony Braxton and Henry Cow. “One of the richest and most compelling LPs to taunt and tempt listeners into a life of freakdom.” —John Corbett
File Under: Jazz
The Fall: Grotesque (After the Gramme) (Superior Viaduct) LP
Bursting into the 1980s on a new label (the then-upstart, now-legendary Rough Trade) and with an augmented, audibly panicked lineup, The Fall’s Grotesque is the true pure-bred Fall release from the Marc Riley era. Released in the immediate wake of The Fall’s most beloved single (Totally Wired), the album carries over that righteously famed teeth-chattering, bolstered in no small part by the drumming of new addition Paul Hanley, brother of bassist Steve Hanley and aged only 15 at the time of recording. “Pay Your Rates” negates the notion of easing into things, opening the album with pure jitter, guided by hornet-buzz guitars and Mark E. Smith’s commanding shout, allowing for breath only during the brief, lumbering waltzes that appear at unexpected intervals. “New Face In Hell” is an entirely alien take on dancehall post-punk – a kazoo-driven rave-up that holds an unshakable position in the band’s canon. Many significant firsts surround Grotesque, including The Fall’s inaugural production partnership with Mayo Thompson and the debut of Suzanne Smith’s wonderful artwork, both of which would play key roles in the band’s following phase. Superior Viaduct’s edition is the first time that Grotesque has been available on vinyl domestically since its initial release in 1980. Liner notes by Brian Turner.
File Under: Punk
The Fall: Hex Enduction Hour (Superior Viaduct) LP
Hex Enduction Hour was originally conceptualized as the death knell for The Fall. Beleaguered by career uncertainty and guided by vague premonitions of collapse, Mark E. Smith declared that one full hour was needed to thoroughly and perhaps finally state his case with The Fall. This framework resulted in a true classic of the post-punk era and an album that gave The Fall their first taste of album chart success, thankfully removing surrender from the equation. Recorded in haste in both Iceland and England in late 1981, the performances on Hex Enduction Hour are among the band’s most urgent and distinctive. The album begins with the severe provocation of “The Classical” and the terse punk of “Jawbone And The Air-Rifle,” but it’s “Hip Priest” that stands out as Smith’s calling-card theme, a song that would become inextricable from his character (or perception thereof) in the years that followed. The elongated “And This Day” fittingly positions the band as spell-casters, closing the hour by filling every conceivable bit of space with wild, primitive percussion and whimsical electric piano. Superior Viaduct’s edition is the first time that Hex Enduction Hour has been available on vinyl domestically since its initial release in 1982. Liner notes by Brian Turner.
File Under: Punk
The Fall: Room to Live (Superior Viaduct) LP
On Room To Live, The Fall take the hurried, all-or-nothing approach of their preceding Kamera Records releases to extreme ends. Forged via Mark E. Smith’s continual disassembling of players and focus on previously unrehearsed material, the album collects The Fall’s most experimental and improvisational recordings. As proclaimed on the album cover, “Undilutable Slang Truth!” would be revealed throughout Room To Live. With the album’s comparatively lo-fi production and always- teetering performances, the title track comes closest to a stab at pop (by The Fall’s standards), built on fantastically bent saloon swaying under one of Smith’s by-now characteristic dressing-downs of square life. “Detective Instinct” is an unshakeable creeper, as languid and ominous as the band would get during the Marc Riley years. “Marquis Cha Cha” is a post-punk rhumba, beginning with fury and then easing into something only The Fall could conjure. Superior Viaduct’s edition is the first time that Room To Live has been available on vinyl domestically since its initial release in 1982. Liner notes by Brian Turner.
File Under: Punk
Flaming Lips: Oczy Mlody (Warner) LP
The Flaming Lips present their long-awaited new studio album, Oczy Mlody. Produced by the band and long-time producer Dave Fridmann, the highly-anticipated LP is the follow-up to their globally acclaimed 2013 album, The Terror. On Oczy Mlody, The Lips return to form with an album no less experimental in nature, but perhaps more melodically song-oriented, recalling the best parts of their most critically applauded albums The Soft Bulletin and the gold-certified Yoshimi Battles The Pink Robots. Oczy Mlody will be released in several configurations including a 12-song double-LP edition – pressed on colored vinyl and an 11-song single-LP edition (both of which include a digital download card of all 12 songs). Frontman Wayne Coyne explains: “When asked (about our newest album Oczy Mlody) what does your new stuff sound like? My current response has been that it sounds like Syd Barrett meets A$AP Rocky and they get trapped in a fairy tale from the future. Knowing full well that if you know who Syd Barrett is (original founder of classic rock/space opera group Pink Floyd) you probably don’t know who A$AP Rocky is (current badass psychedelic rapper) and if you know and like A$AP Rocky you probably don’t care or wouldn’t like Syd Barrett…perhaps, it is only within The Flaming Lips world that these 2 (Syd and A$AP) could accidentally find themselves. “But somehow they have gone through a hole in the night sky and arrived in a fucked up, day glow, fairy tale world in the future. A future where Oczy Mlody is the current cool powerful party drug of choice and sleeping is the ultimate cure for everything… sleeping for, like, 3 months. So if you want to lose weight. Ping!! You are put to sleep for 3 months and you wake up thin. If you are addicted to drugs. Ping!! You sleep yourself out of withdrawals and cravings and wake up sober. “And it all takes place inside a gated community that has been made into a replicant fantasy fairy tale city where the mega-mega rich folks live and have self indulgent psycho parties (maybe I’ve been spending too much time around Miley Cyrus) where everyone takes Oczy Mlody (the drug uses your own sub conscious memories and transports you to your perfect childhood happy mind) and everyone has sex while riding unicorns. There are frogs and wizards and spiders and painful emotional therapy sessions where every primal desire is allowed and encouraged.”
File Under: Rock, Psych
Foxygen: Hang (Jagjaguwar) LP
Hang is Foxygen’s third album for Jagjaguwar, and their first proper studio record, recorded in Los Angeles, CA at Electro Vox Studios. Hang features Steven Drozd of the Flaming Lips, as well as Brian and Michael D’Addario of the Lemon Twigs as players on the album. Hang also features a 40+ piece symphony orchestra on every track. Trey Pollard from Spacebomb arranged and conducted the orchestral parts, with additional arranging from Matthew E. White. Foxygen is the Big Bang of two combusting minds. It’s the splayed Galaxy of polar geniuses Sam France and Jonathan Rado. It’s a handshake with a knife behind your back. A sleepless night in a five star hotel. You listen to Hang properly. You take in each moment. Each new melody that threads forward from the fingertips of one of this generation’s finest piano men in Rado. And you fall in line behind France’s sprawling and reckless lyric. Witness his mastery. Feel them struggle against the walls of their own creations. Follow them there. To the perimeter. To the exit sign. Notice that the two young guys aren’t there anymore. They’re outside looking for another joint to haunt. They’re already out of sight.
File Under: Indie Rock
Georgia: All Kind Music (Palto Flats) LP
In tomorrow… On All Kind Music, NYC production duo Georgia (Brian Close and Justin Tripp) return for their third full length: ECM-era Don Cherry global jazz meets contemporary electronic avant-garde, true world dance music for the next millennium. With guest turns on every track, Georgia explore a new approach to studio production, incorporating the sounds of world and jazz music into their digital funk and combining and processing improvisation and composed elements to create a unified, distinct voice. This approach can be heard on “Ama Yes Uzume,” as a primally incandescent vocal from Caroline Polachek (Chairlift) blends with glistening waves of piano and synth to form a euphoric rhythm that materializes out of curved air. Blending live performance with sampling and editing, Georgia constantly revise and revisit their work, breaking down, collaging, and refracting sounds. On lead track “Slow Dance,” vocals by performance artist India Menuez waft over a loping bass line (sampled from a performance by Matt Werth of RVNG) while digital flutes cluster in the background. The outcome is a kind of new age mutant funk, not unlike the sound of Annette Peacock or 23 Skidoo jamming in the studio with Jon Hassell. Additional collaborators include avant-garde harpist Mary Lattimore, saxophonist Wednesday Knudsen, and Gabonese vocalist Abang Essone Sarah Maya. As the title suggests, this is music of many multitudes. RECOMMENDED!
File Under: Electronic, Ambient, Jazz, World
Lee Hazlewood: 13 (Light in the Attic) LP
In tomorrow… 13 was never supposed to be a Lee Hazlewood album. It is perhaps the strangest record in one of the most varied discographies in music. The bombastic brass-heavy funk, deep blues and soul paired with Hazlewood’s subterranean baritone would be best enjoyed with a tall Chivas in an off-strip seedy Vegas lounge. It also features one of Hazlewood’s greatest lines ever “One week in San Francisco, existing on Nabisco, cookies and bad dreams, sad scenes and dodging paranoia.” By 1972 Lee Hazlewood had settled in his new homeland of Sweden. His days were spent carousing, making movies with Torbjörn Axelman and releasing albums. To keep up his prolific recorded output, Lee began to mine the recently defunct LHI Records archives for material. One such gem, was an unreleased album by Larry Marks. In what became the final days of LHI, staff producer Larry Marks’ sonic fingerprints were on nearly everything; songwriting, producing, arranging, and singing. His most profound contribution was steering the creative direction of the label towards soul and R&B, arranging the downright funky LHI singles by Barbara Randolph and Jon Christian. Larry’s concept was to take Hazlewood’s strongest compositions and arrange them in a soul vibe. An album was completed, but with no distribution in America and no funding, Lee had no vehicle to release Larry’s record. The tapes were taken to Sweden, Larry’s voice was wiped and Hazlewood’s was dubbed….13 was born.
File Under: Folk, Pop, Country
Bert Jansch: Jack Orion (Superior Viaduct) LP
In tomorrow… Jack Orion, Bert Jansch’s third album, may have surprised some fans upon its 1966 release, as it features no original compositions by Jansch. While nearly all of the eight tracks (four of which include guitarist John Renbourn) are interpretations of traditional folk songs, Jansch’s experimental approach breathes new life into this repertoire through his exploratory use of open tunings and passionate, gritty vocals. According to Melody Maker, “his interpretations illuminate the songs from a completely new angle. As sung by him, with brilliant accompaniments, the brutal world that created the old ballads doesn’t seem so very far off.” The ten-minute title song foreshadows the future through the past: with his sublime retelling of this dark tale of desire and revenge, Jansch embarks on a musical trajectory he would further develop with his group Pentangle. In “Black Water Slide,” a haunting ballad he first heard from Anne Briggs, Jansch plants the seeds for future versions by Led Zeppelin and Sandy Denny. Jack Orion’s unique combination of medieval themes and progressive arrangements would pave the way for the next wave of the British folk revival and beyond. This vinyl release has been carefully remastered from the original master tapes and features liner notes by Richie Unterberger. RECOMMENDED!
File Under: Folk
Joan of Arc: He’s Got The Whole… (Joyful Noise) LP
“Twenty years now there’s been this thing, our band, Joan of Arc. Sometimes we forget about it and let it fizzle out for a year while we tend to our lives. Sometimes we cling to it for a year and wake up surprised and exhausted every day for months on end, given walking tours of old Italian towns, browsing dreary British pedestrian malls or barefooted organic grocers on the Pacific coast. We know how lucky we are. “The less we feel like a band – the more we can continue to be a band, but escape that feeling of doing all those shitty, corny things expected of bands – the truer to ourselves we feel. And you all know it, everyone knows it even if everyone has to bury it to get on with their day-to-day: the truer to ourselves we feel, the better everything gets. We have shifted shapes and modified our approaches quite a number of times in the course of twenty years. And we’ve done so always aiming to stay true to ourselves at that moment, by instinct and with conscious intent. This time, it took us a long time to figure out how to start back up. We threw away a lot of songs and started over, over and over. “But here’s the thing: We are getting better at being ourselves. So many of the postures of youth just fall away with time. Most bands break up by that point, or become caricatures of their younger selves. Because money is tricky, or I should say, it comes to be that energy is tricky to muster after all of it goes into the basics of sustaining yourself. Every day, at some point, it occurs to me that Richard Brautigan killed himself at the age that I am now. But I got this community of weirdo collaborators to lean on that he never had. We’ve never had an audience that gets any validation of its coolness through liking us. We’ve mangled, juxtaposed, and collaged too many elements for that social contract. But we trust each other. “This time, finally, we trusted each other enough to throw all the songs away, to even throw away every preconceived idea about which one of us should take position at which instrument. We hit Record and played, and our collective tastes emerged. And they, our tastes in the moment, were the only standards in all the expanse of the stupefying and beautiful unknown universe, that we regarded as relevant in the least.” – Tim Kinsella
File Under: Indie Rock
Leimer: Land of Look Behind (Palace of Lights) LP
The Land of Look Behind soundtrack returns to vinyl in a remastered and expanded edition that includes a download of three previously unheard and unreleased tracks from the original sessions. Alan Greenberg, who wrote and directed this film documenting the funeral of Bob Marley, provided K. Leimer with location tapes which were used to originate many of the rhythmic patterns for Land of Look Behind. Loops of the monologues and phrases that exhibited more distinctive cadences and pacing, the words, glottal stops, clicks and coughs of witnesses were used as cues for the percussion instruments. In effect, speech became the organizing principle of the musical score. By eliminating the accuracy of click tracks, musicians were prompted to rove through the inconsistent intervals of the voice-derived patterns. Also included is a four-page insert featuring an essay by Paul Dickow. K. Leimer founded Palace of Lights in 1979. Leimer’s early work has recently been reissued by Autumn and RVNG, and his early cassette work is in the critically acclaimed VOD box set American Cassette Culture. Leimer has been actively producing music since the mid 1970s — his current catalog includes seventeen albums plus two collaborative albums with Marc Barreca. Leimer’s work is included in the collection of The British Library.
File Under: Ambient, New Age
Loscil: Monument Builders (Kranky) LP
NOW AVAILABLE ON VINYL!!! Monument Builders is the new album from loscil, the ambient/electronic project of prolific composer Scott Morgan. It was primarily created on sample-based instruments in Morgan’s century old Vancouver home. Like that aged space, this music is also rough-hewn, with rickety samples of boiling kettles and resonant moving air. Recordings from a vintage micro-cassette recorder contribute distortion, rattles and textures that serve as both percussion and abstract aural color. According to Morgan, the genesis for the album may have begun as he viewed an old VHS copy of the American experimental film Koyaanisqatsi. “Something about the time-tarnished visuals and the pitch warble on Philip Glass’s epic score added a new layer of intrigue for me,” says Morgan. “Glass has always been an influence but lo-fi Glass felt like a minor revelation, as if the decay was actually enhancing the impact of the film’s message.” The investigations on Monument Builders also took inspiration from the anti-humanist writings of influential philosopher John Gray, as well as photographer Edward Burtynsky’s iconic aerial photographs of pollution and environmental destruction. “Gray’s writing, particularly his book Straw Dogs: Thoughts on Humans and Other Animals, reinforced a bleak notion I had that we humans don’t have much say in how it all turns out,” says Morgan. “With Burtynsky, I was struck by the fact that something so strikingly beautiful could be the result of large-scale waste and exploitation.” Monument Builders was composed during a period in which the life-and-death battles of close friends and family forced Morgan to examine his own feelings on mortality. In the course of that introspection, Morgan found himself buoyed by a feeling of celebration and a stubborn sense of survival—an acknowledgement of what it means to be able to breathe and create amidst the clash of love and chaos. Ultimately, Morgan hopes the music here can offer listeners solace while leaving room for exploration and surprise.
File Under: Electronic, Ambient
Egisto Macchi: E.S.P. (Cometa) LP
In tomorrow… In the 70′s, the Italian public television RAI used to broadcast disturbing paranoiac dramas, weird documentaries on the bottom of the sea and indigestible so-called “educational” movies. Obviously, all that stuff needed some music. Or “sonorizzazioni” (soundtracks), as they were called. These soundtracks were handled by shady characters, on the border between avant-garde classical, electronic space age and a healthy Italian pop touch. Some names are familiar: Ennio Morricone, for example. Or the mythological Piero Umiliani, too.But the biggest of all was Egisto Macchi. His Voix, a ghostly fresco of lunar vocals and abstract phonemes, is one of the masterpieces of the Italian “library music”.ESP is a four-part television series produced by Rai in 1973, directed by Daniele D’Anza, and aired from Sunday, May 27 1973 to Sunday, June 17, 1973 on the National Program.
File Under: Library, Italian
Lee Morse: Sweeping The Cobwebs (Asherah) LP
In tomorrow… Lee Morse (born Lena Corinne Taylor on Nov. 30., 1897 in Cove, Oregon) is perhaps best remembered as a torch singer and performer on the jazz and bluegrass circuits of the Pre-War era. However, what is not yet reckoned with is that she was one of the earliest female singer/ songwriters to ever be recorded in the United States. Morse learned to sing and play guitar from her older brothers, both of whom played in the bluegrass style, at a very young age touring in the Portland-Seattle area with their preacher father. This is how she developed her distinctive low-register voice as she tried to impersonate them, something that when coupled with her very small frame made her a successful performing musician on the vaudeville circuit and in silent film. This also lead to a rather large recording catalog, both credited as a solo artist and with band “Her Bluegrass Boys.” Despite this success, early critics dismissed her “coos” and “yelps” in her singing style as being gimmicky even though they’d become standard uses of expression in jazz vocalizing throughout the 30’s, 40’s and 50’s — a style she helped invent and develop. In an era that did not see anything particularly special about a singer who also wrote music outside of the burgeoning folk/ blues movement, Morse’s substantial portfolio of well-written and thoughtful songs from this period (mostly with no co-writer) have often been neglected. Lee’s performing career waned in the years before WWII, and she died without much fanfare in 1954 at the age of 57. While not focused on her most popular recordings, the purpose of this collection is to instead position Lee Morse in her rightful place as a musical pioneer for both American music and gender equality in the music community.
File Under: Jazz, Blues
OST: The Greasy Strangler (Death Waltz) LP
In tomorrow… Death Waltz Recording Company are proud to present The Greasy Strangler. The film was featured on Sundance’s Midnight section and drew immediate hype for its singular vision. The Fright File wrote “Complementing every scene in an incalculable way is one of the most pronounced and inspired music scores and soundtracks in recent memory, an instantly catchy, appropriately playful lo-fi orgy of electronic synth compositions from Fuck Buttons band member Andrew Hung”. Hung’s score reflects the onscreen insanity perfectly offering an extremely twisted musical electronic soundtrack reminiscent of 80s video games complete with chiptune vocals, children’s keyboards and playful bouncy beats, it’s the kind of off kilter musical styling’s you might find from the residents in some of their more delirious pop moments.
File Under: Electronic, OST
OST: The Howling (Waxwork) LP
In tomorrow… Waxwork Records is proud to present the Original Motion Picture Score to THE HOWLING. Composed by Pino Donaggio (Carrie, Don’t Look Now, Tourist Trap), Waxwork’s new, deluxe vinyl release of THE HOWLING has been expanded, re-mastered for vinyl, pressed to 180 gram colored vinyl, and features full package artwork by Francesco Francavilla. Directed by Joe Dante (Gremlins, The Burbs), THE HOWLING follows a newswoman sent to a remote mountain resort after a string of fatal incidents with a serial killer, unaware that the resort inhabitants are werewolves. THE HOWLING is regarded as one of the greatest werewolf films of all time, and since it’s 1981 release, has accumulated a cult following. The success of THE HOWLING aided in propelling director Joe Dante’s career, and prompted Warner Bros. to hire him to direct GREMLINS. The score by Pino Donaggio blends classic-horror orchestral cues as well as minimal synth and sound effects. The new Waxwork Records release of THE HOWLING is expanded with 12 bonus tracks previously unavailable of the original 1981 soundtrack LP.
File Under: OST
OST: Perfect Blue (Tiger Lab) LP
In tomorrow… Well over a year in the making, Tiger Lab Vinyl and Madhouse Production Studios teamed up to present Masahiro Ikumi’s original score to to the classic 1997 psychological thriller on vinyl for the first time ever. Once again, Tiger Lab enlisted the impeccable work of Heba Kadry of Timeless Mastering NYC to remaster Ikumi’s mesmerizing compositions. Not so different from the sounds of Brooklyn’s own Sacred Bones or the Tri Angle Records catalog, Ikumi’s score is an electronic tour de force filled with ambient layers, eerie vocal choirs, infectious rhythms, and ghostly melodies. A short but powerful listen (six tracks clocking in at 31 minutes), PERFECT BLUE will haunt your speakers for days.
File Under: OST
OST: Confessione di un Commissario di Polizia al Procuratore Della Repubblica (Four Flies) LP
In tomorrow… One of the rarest and most beautiful library soundtracks composed by Riz Ortolani for the crime noir film, Confessione Di Un Commissario Di Polizia Al Procuratore Della Repubblica, directed in 1971 by Damiano Damiani, with Franco Nero, Martin Balsam and Marilù Tolo. A tense and dramatic that’s interspersed with explosive jazz-funk and beat grooves. A must-have for any serious Italian sound digger!
File Under: OST, Library
OST: Inside Out (Mondo) 7″s
In tomorrow… Mondo in collaboration with Walt Disney Records is proud to present the Inside Out 7-Inch Single series. Each featuring Michael Giacchino’s theme from Disney•Pixar’s Inside Out “Bundle Of Joy” and a exclusive B-Side. Featuring artwork by Phantom City Creative, inspired by classic album covers. Composed by Michael Giacchino, the theme from Inside Out is an absolute earworm. Capturing the whimsy of childhood is no small task, but Giacchino is able to craft a score that is emotionally resonant (no pun intended).
File Under: OST, Disney
OST: The Night Evelyn Came Out of the Grave (Death Waltz) LP
In tomorrow… Death Waltz Recording Company is proud to exhume another classic soundtrack from the world of horror cinema with Bruno Nicolai’s incredible score to the 1981 Emilio Miraglia giallo The Night Evelyn Came Out Of The Grave (aka La Notte Che Evelyn Usci Dalla Tomba). The film is as mad as its title; Evelyn is dead before it starts and her previously institutionalized husband Alan, who has begun to murder strippers as a form of therapy, is duped by his cousin who wants to rid of his heir. Oh, and there’s the matter of Evelyn’s resurrection and a whole dose of other murders – it’s unreal.Adding to the surrealism of the situation is Nicolai’s deranged score that mixes super effective jarring orchestral with electronic effects and speed jazz that has truly disconcerting time signatures. It’s absolutely creepy and utterly terrifying with queasy quivering synthesizers that sound like an entire waves of insects and the juxtaposition of a fantastic bass line with a sawing string effect that is just sickening. And then there’s the beautiful typical romantic giallo melody that really stands out, with vocals courtesy of the iconic Edda Dell’Orso. (Charlie Bridgen – Editor: Films On Wax)
File Under: OST
OST: Star Trek II – Wrath of Khan (Mondo) LP
In tomorrow… This year marks the 50th Anniversary of Gene Roddenberry’s inimitable Star Trek franchise and Mondo is honored to kick the year off with an expanded soundtrack release of arguably one of the greatest chapters in Trek history: The Wrath Of Khan. This expanded edition soundtrack features audio never before released on vinyl. This deluxe 2XLP vinyl release features original artwork by Matt Taylor, and has been remastered for vinyl by James Plotkin.
File Under: OST
Anderson .Paak: Malibu (Steel Wool) LP
Finally available again! Welcome to Malibu by Anderson .Paak, the second installment and full sound recording album from OBE partnered with Steel Wool Entertainment and ArtClub International. This new album by the hip-hop/Nu R&B wunderkind features production from 9th Wonder, DJ Khalil, Madlib, Kaytranada, Pomo, Dem Jointz, Callum Conner, Hi-Tek and The FreeNationals while featured vocalists include ScHoolboy Q, Talib Kweli, BJ The Chicago Kid, Rhapsody and The Game. Malibu is the maturation of .Paak’s journey from soul and R&B over into hip-hop and even modern dance, all the while giving listeners a deep look into his personal experience. Dive into the deepness that makes Malibu a special time and place, and enjoy!
File Under: Hip Hop, R&B
Anderson .Paak: Venice (Obe) LP
Venice is the breakout 2014 debut album from Los Angeles, CA Afro-Korean hip-hop/Nu R&B wunderkind Anderson Paak whose production and vocals were famously featured all over Dr. Dre’s long awaited Compton. His eclectic style, songwriting and production abilities, and musical chops allow him to effortlessly blend genres borrowing from hip hop, alt-rock, R&B, jazz and electronica. Supported by the seductive singles “Drugs” and “Miss Right.” For fans of The Weeknd, Miguel and Frank Ocean.
File Under: Hip Hop, R&B
Awa Poulo: Poulo Warali (Awesome Tapes From Africa) LP
Awa Poulo is a singer of Peulh origin from Dilly commune, Mali, near the border with Mauritania. Largely pastoral and often nomadic, Peulh (or Fula) speaking peoples are found from Senegal to Ethiopia but predominate in the Sahel region of West Africa. Awesome Tapes From Africa is proud to release Poulo’s newest recording of highly virtuosic folk-pop, fresh from the studio, broadcasting her vision of Peulh music beyond the grazing grounds and central markets of her remote home region in southwestern Mali. It’s not very common to find a female singer performing publicly among the Peulh. But Poulo’s mother’s co-wife is Inna Baba Coulibaly, who is a celebrated singer most Malian music fans know. Coulibaly herself was brought into music by forces outside her control when a regional music contest required an entry from her village and she was chosen to be a singer. So, set in motion by a surprising series of events, young Poulo’s entree into the music world was auspicious as she gained popularity across the region. After several locally released tapes and CDs, this record is Poulo’s first internationally-distributed record. On Poulo Warali, she and her band combine the hallmarks of Peulh music – warm flute floating over cross-rhythmic n’goni (lute) riffs and resonant calabash gourd hand percussion – with broader Malian sounds like lightly-distorted guitar and a heavier, rollicking inertia. Shape-shifting layers of rhythm and woody overtones match Poulo’s commanding voice in a jocular yet deliberate dance. This is a relatively rare example of Mailian Peulh music played in a modern, cosmopolitan context, reflecting the mixed society of Dilly, where Bambara, Soninke and Peulh-speaking people live among each other. Poulo’s conscious lyrics about community concerns speak to the distinctive identity of her broadly-flung people. While Peulh represents less than 10% of Maili’s melting pot of languages, the dynamic music here powerfully resonates well beyond the linguistic borders.
File Under: Africa, Afrobeat
Rhead Brothers: Black Shaheen (Preservation) LP
In tomorrow… Preservation Records are so proud to offer, for the first time, the official release of the Black Shaheen album. It was recorded shortly after the Dedicate album, but unfortunately it was shelved by EMI. Only a handful releases was uncovered. Recorded in the late 70’s in the legendary Muscle Shoals studio, this album represents some of the finest smoothest, funkiest blue eyed soul’n AOR ever committed to wax.
File Under: Soul, R&B
Roaring Lion: Cairi Calypso (Asherah) LP
In tomorrow… Roaring Lion was born Rafael Arius Cairi Llama Deleon on February 22, 1908 in Aroquita, Trinidad, an area in the northern hills of the island country. “Cairi,” where this compilation gets its title, was another name for Trinidad in the indigenous tongue of the island. Lion, a Caribbean Creole, spent much of his early life in orphanages before being adopted by Muslim Indian parents from the migrant working class in San Fernando. This unusual upbringing and displacement greatly influenced his compositions and performances, which subsequently influenced Calypso music as a whole since Lion became such a looming figure in its popular development. Inspired by early, mostly unrecorded practitioners like King Fando and Lionel Belasco, Lion started writing and performing his own music and adaptations in the 1920’s. As a composer, Lion stood out ahead of the pack with his lyrical wit and a rare ability to sight-read and draft music to paper. By helping to create the “War”-style of Calypso in which two performers would “battle” each other lyrically between 78rpm releases, his influence persevered into similar battles in Reggae and Hip Hop cultures decades later. By the 1930’s, the period from which this music is culled, Lion became one of the first Calypso musicians to record and perform in the United States. Despite his humble beginnings, Roaring Lion’s fame grew with each passing year, and he became a figurehead of Calypso as its popularity grew in the U.S. and Europe. These early recordings are a glimpse of the Lion coming into his own, showing all the swagger and bravado of a young man ready to become an international star, while also expressing the realities of working class life from the Trinidad of his youth.
File Under: Calypso
Run The Jewels: 3 (Run The Jewels) LP
In tomorrow??? After two years off, Killer Mike and El-P – known collectively as Run The Jewels – return with their highly anticipated third studio album, Run The Jewels 3, which comes preceded by the Boots-featured “2100,” “Talk To Me” and “Legend Has It.” Additional guests on the record include Joi Gilliam, Danny Brown, Tunde Adebimpe, Trina and Kamasi Washington. Previously, the duo have released Run The Jewels and Run The Jewels 2, two of the most critically-acclaimed albums of their respective years (2013 and 2014), while each artist has continued to expand their place in the sphere of social commentary. Killer Mike spent a significant portion of the last year, in which RTJ didn’t release an album, urgently supporting one-time Democratic Presidential candidate Bernie Sanders. Concurrently, El-P has expressed his own stout views on the nation’s glaringly changing political landscape. That said, their return to the scene is now imminent.
File Under: Hip Hop
Spectrum: Forever Alien (1972) LP
When Spacemen 3—the seminal, drone-indulgent English psych duo comprised of Peter Kember and Jason Pierce — split in 1991, Pierce shuffled off to acclaim in Spiritualized. Meanwhile, Kember charted a less predictable course. As Sonic Boom, he released Spectrum in 1990, then, after taking a liking to that handle, released Soul Kill (Glide Divide) as Spectrum in 1992. Kemper alternated between those monikers and Experimental Audio Research (E.A.R.) throughout the 1990s, building a rich, probing catalog of synth and electronic explorations of which 1997’s Forever Alien is an undeniable highpoint. With theremin, vocoder, and an array of modular analog synthesizers (depicted lovingly in the cover art) Kemper, along with Alf Hardy and Pete Bassman, fused kosmische abstraction and the pulsation of minimalist composition to more traditional psych elements epitomized by early Pink Floyd. Landing between the unfettered experiments of E.A.R. and Spacemen 3’s songcraft (“How Does it Feel?” is scarily reimagined), Kemper crafts unnerving atmosphere on the title track and an enduring catalog high point on the consummate opener, “Feels Like I’m Slipping Away.” Forever Alien leaves no doubts about the reasons for Kemper’s sought-after production today (he played a vital role for Animal Collective and sculpted Panda Bear’s most recent album)—nor the essential status of his post- Spacemen 3 output.
File Under: Electronic, Spacemen 3
Stone Alliance: s/t (Tidal Wave) LP
In tomorrow… Tidal Waves Music proudly presents the reissue of this long out of print Jazz/Funk classic originally released on PM Records in 1976. Featuring an all-star line up comprised out of Steve Grossman (best known for his saxophone performances & recordings with Miles Davis), Gene Perla (Nina Simone) & percussionist Don Alias (Jaco Pastorius Big Band, Blue Note). Included is a hip rendering of Stevie Wonder’s “Creepin’” & the album’s best-known song “Sweetie Pie” (mentioned in the track ‘Root Down’ by the Beastie Boys & sampled by rap-outfits like Original Flavor, Leaders of the New School amongst others). Stone Alliance’s eponymous debut album hits hard like a sonic hurricane, this landmark album is a rebellious effort and a must hear for ’70s jazz fans. Officially licensed from PM Records and featuring the original artwork created by Anne Maria Schnider. Now back available as a deluxe limited vinyl edition (1000 copies) for the first time since 1976.
File Under: Jazz, Funk
Amedeo Tommasi/Gerardo Iacoucci: Carnet Turistico (Four Flies) LP
In tomorrow… From the legendary DENEB series, comes some of the grooviest Italian library ever. Amedeo Tommasi and Gerardo Iacoucci (alias H. Caiage) at their best. An explosion of heavy organ sounds, jazz & psych-beat, with killer drumming breaks and mellow tunes. Highly recommended for dj’s! From the legendary DENEB series, comes some of the grooviest Italian library ever. Amedeo Tommasi and Gerardo Iacoucci (alias H. Caiage) at their best. An explosion of heavy organ sounds, jazz & psych-beat, with killer drumming breaks and mellow tunes. Highly recommended for dj’s!
File Under: Library
Tycho: Epoch (Ghostly) LP
Epoch is the final album in the trilogy beginning with 2011’s Dive, then 2014’s Awake. This period between Dive and Epoch marks a significant maturation for Scott Hansen’s continually expanding project, one that has taken him from a solo performer and bedroom artist to fronting a live 4-piece band on large stages across the world. Epoch hones the sonic aesthetic of Dive while drawing on the kinetic energy of Awake, it explores darker themes and new musical territory. The album was produced and recorded by Hansen predominantly in his home studio in Berkeley, CA. The album was arranged alongside long time collaborator and partner in the project, Zac Brown. Brown contributed bass and guitar parts to the songwriting process. Rory O’Connor performed drums on the album. Hansen sees Epoch as a multi-dimensional artistic vision at the confluence of his graphic design work via ISO50 and music with Tycho. The graphic presentation of album artwork is as important as the music itself. The keystone is the central image of Epoch and the colors scheme red and black. This is a stark contrast to the almost rainbow palette of Awake.
File Under: Electronic, Ambient
UJ3RK5: Live From the Commodore (Primary Information) LP
A legendary 1980 performance (opening for Gang Of Four) by this strongly visual Canadian post-punk / art-rock group with an affinity for Devo, Talking Heads, and the Vancouver School of photo conceptualism. KITTY BYRNE (drums), RODNEY GRAHAM (guitar), FRANK CRASS (guitar), DANICE MACLEOD (violin), FRANK RAMIREZ (vocals), JEFF WALL (vocals, keyboards), IAN WALLACE (bass), and DAVID WISDOM (vocals, keyboards). Pronounced “you jerk” (the five is silent), UJ3RK5 formed in Vancouver in 1978, originating from Ramirez and Graham’s guitar-and-bongo duo, THE GENTLEMEN TWO, with occasional participation by friends such as MEFV HUTCHINSON and author WILLIAM GIBSON. In addition to appearing on Canadian compilations, in 1980 the band released a self-titled, four-song EP on Quintessence Records, reissued that same year by PolyGram. This sound board recording includes “Naum Gabo,” “The Anglican,” “Booty Dread,” the Dan Graham-inspired “Eisenhower and the Hippies,” and eight previously unreleased tracks. Edition of 600.
File Under: Post Punk, No Wave
Various: Rare Music from the Cometa’s Archives (Cometa) LP
In tomorrow… The world of Italian library music is a confusing, mysterious and expensive one. It’s confusing as some tracks appear across different libraries, some appear in the UK or in France, It’s mysterious because there is little documentation about anything, old labels still emerge out of nowhere, and often in Italy no one knows who owns what or why or how. And it’s expensive to buy original Italian library records, even more expensive if they are good. One of the most collectible and consistently entertaining Italian labels was SR, set up as part of the Sermi Cable Company in the late 1960s. This is the compilation of music from that very company. Many of the music from that original catalogue is now owned by Cometa. But not all of it. Bearing that in mind we believe this is the best compilation we could put together using the resources available. The music is incredible. And beautiful. And not expensive now. And that’s why we did it. Killer percussion, superb jazz, odd global sound, beautiful library music.
File Under: Italian, Library
Aphex Twin: Selected Ambient Works II (1972) LP
Olafur Arnalds: Island Songs (Mercury) LP
Autechre: Amber (Warp) LP
Badbadnotgood: IV (Arts & Crafts) LP
Battles: Mirrored (Warp) LP
Beirut: Gulag Orchestra (Ba Da Bing) LP
Beirut: Flying Club Cup (Ba Da Bing) LP
Bing & Ruth: City Lake (RVNG Intl) LP
Black Angels: Passover (Light in the Attic) LP
Black Keys: Attack & Release (Nonesuch) LP
Bon Iver: 22/Million (Jagjaguwar) LP
Johnny Cash: Man Comes Around (American) LP
Johnny Cash: A Hundred Highways (American) LP
Johnny Cash: At San Quentin (Columbia) LP
Johnny Cash: Now Here’s Johnny Cash (Dol) LP
Leonard Cohen: Songs of Love & Hate (Columbia) LP
Leonard Cohen: You Want It Darker (Columbia) LP
Constantines: Kensington Heights (Art & Crafts) LP
D’Angelo: Voodoo (Modern Classics) LP
Betty Davis: The Columbia Years (Light in the Attic) LP
Betty Davis: s/t (Light in the Attic) LP
Face to Face: Big Choice (Fat Wreck)LP
Face to Face: Don’t Turn Away (Fat Wreck) LP
Face to Face: s/t (Fat Wreck) LP
Faust: s/t (Lilith) LP
Fuzz: s/t (In the Red) LP
Fuzz: II (In the Red) LP
Serge Gainsbourg: Historie de Melody Nelson (Light in the Attic) LP
Galaxie 500: On Fire (20/20/20) LP
Galaxie 500: This is Our Music (20/20/20) LP
Galaxie 500: Today (20/20/20) LP
Grizzly Bear: Yellow House (Warp) LP
Lee Hazlewood: Cowboy in Sweden (Light in the Attic) LP
Bert Jansch: s/t (Superior Viaduct) LP
Jim James: Eternally Even (Universal) LP
Norah Jones: Day Breaks (Blue Note) LP
Kaleo: A/B (Atlantic) LP
King Gizzard & The Lizard Wizard: Quarters (Castle Face) LP
King Gizzard & The Lizard Wizard: Nonagon Infinity (ATO) LP
The Louvin Brothers: Satan is Real (Light in the Attic) LP
Barbara Lynn: Here is Barbara Lynn (Light in the Attic) LP
Magnolia Electric Co.: What Comes After The Blues (Secretly Canadian) LP
Angel Olsen: Halfway Home (Bathetic) LP
Angel Olsen: Strange Cacti (Bathetic) LP
Oranssi Pazuzu: Varahtelija (20 Buck Spin) LP
Tom Perry & The Heart Breakers: Volume 1 (Universal) Boxset
Public Image Ltd: First Issue (Light in the Attic) LP
Red Hot Chili Peppers: Blood Sugar Sex Magic (Universal) LP
Replacements: Twin/Tone Years (Rhino) LP
Arthur Russell: Calling Out of Context (Audika) LP
Arthur Russell: World of Echo (Audika) LP
Scientist: Introducing Scientist (Superior Viaduct) LP
Sturgill Simpson: A Sailors Guide… (Atlantic) LP
Sturgill Simpson: Metamodern Sounds (Thirty Tigers) LP
The Smiths: Queen is Dead (Rhino) LP
The Smiths: Strangeways Here We Come (Rhino) LP
Songs: Ohia: Ghost Tropic (Secretly Canadian) LP
Songs: Ohia: s/t (Secretly Canadian) LP
Songs: Ohia: Hecia & Griper (Secretly Canadian) LP
Sonic Youth: Daydream Nation (Goofin) LP
Jim Sullivan: UFO (Light in the Attic) LP
Talking Heads: Remain In Light (Rhino) LP
This Heat: s/t (Modern Classics) LP
Tinariwen: Radio Tisdas Sessions (Modern Classics) LP
Various: I Am The Center (Light in the Attic) 3LP Box
Various: (The Microcosm) (Light in the Attic) 3LP Box