Not a HUGE list this week, but after the last few, I think we could all use some time to catch up. Lots of big releases coming up too, like Spoon, Depeche Mode, etc. Thundercat MIGHT be late. It’s not here yet but could show up tomorrow, but it didn’t sound promising…. anyway, back to my paperwork.
…..pick of the week…..
King Gizzard & The Lizard Wizard: Flying Microtonal Banana (ATO) LP
You may have missed this rockin’ slab a couple of weeks ago, and there was too much great stuff that week, so we’re bringing it to your attention again cuz it’s awesome! Flying Microtonal Banana is King Gizzard’s first-ever experience in microtonal tuning, which features intervals smaller than a semitone and not found in customary Western tuning octaves. “Earlier this year we started experimenting with a custom microtonal guitar our friend Zak made for Stu,” further explains drummer Eric Moore. “The guitar was modified to play in 24-TET tuning and could only be played with other microtonal instruments. We ended up giving everyone a budget of $200 to buy instruments and turn them microtonal. The record features the modified electric guitars, basses, keyboards and harmonica as well as a turkish horn called a Zurna.” The Melbourne-based band plan to release five studio albums in 2017, an ambitious feat as each record will be its own unique sonic adventure.
File Under: Psych, Rock
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…..new arrivals…..
Budgie: Bandolier (Island) LP
Originally formed in Cardiff, Wales in 1967 by Burke Shelley (vocals, bass), Tony Bourge (guitar), and Raymond Phillips (drums), relatively obscure yet influential act Budgie was one of the earliest British heavy metal bands. Their weighty riffs and high-pitched vocals often draw comparisons to Black Sabbath and Rush and the group has released nearly a dozen studio albums and a handful of live recordings to date amidst numerous line-up changes. The founding line-up of Shelley, Bourge and Phillips would issue three of the band’s finest albums including eponymous debut Budgie (1971), sophomore follow-up Squawk (1972) and third effort Never Turn Your Back on a Friend (1973) and is universally hailed as Budgie’s definitive incarnation. Issued in 1975, Bandolier is the band’s classic fifth full-length and last album for MCA Records. It showcases Budgie at the height of their recording and songwriting acumen pursuing a much more accessible straight ahead rock sound. It was also notable for being their first of many releases with third drummer Steve Williams whose work Bourge said “complimented the type of stuff that Budgie did. It did make the band sound a bit more tasteful.”
File Under: Hard Rock
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Budgie: In For The Kill (Island) LP
Originally formed in Cardiff, Wales in 1967 by Burke Shelley (vocals, bass), Tony Bourge (guitar), and Raymond Phillips (drums), relatively obscure yet influential act Budgie was one of the earliest British heavy metal bands. Their weighty riffs and high-pitched vocals often draw comparisons to Black Sabbath and Rush and the group has released nearly a dozen studio albums and a handful of live recordings to date amidst numerous line-up changes. The founding line-up of Shelley, Bourge and Phillips would issue three of the band’s finest albums including eponymous debut Budgie (1971), sophomore follow-up Squawk (1972) and third effort Never Turn Your Back on a Friend (1973) and is universally hailed as Budgie’s definitive incarnation. 1974’s In For The Kill is the fourth Budgie full-length and first sans the original power trio with Ray Phillips’ drum duties being taken over by Pete Boot (his only studio release with the group). As heavy as any of the band’s early offerings, Bourge’s guitar heroics dominate the proceedings with the title track featuring a contagious boogie in the vein of ZZ Top while the 9-minute plus fan favorite “Zoom Club” finds the group truly dropping the heavy metal hammer.
File Under: Hard Rock
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Budgie: Never Turn Your Back On A Friend (Island) LP
Originally formed in Cardiff, Wales in 1967 by Burke Shelley (vocals, bass), Tony Bourge (guitar), and Raymond Phillips (drums), relatively obscure yet influential act Budgie was one of the earliest British heavy metal bands. Their weighty riffs and high-pitched vocals often draw comparisons to Black Sabbath and Rush and the group has released nearly a dozen studio albums and a handful of live recordings to date amidst numerous line-up changes. The founding line-up of Shelley, Bourge and Phillips would issue three of the band’s finest albums including eponymous debut Budgie (1971), sophomore follow-up Squawk (1972) and third effort Never Turn Your Back on a Friend (1973) and is universally hailed as Budgie’s definitive incarnation. Never Turn Your Back On A Friend was the last release from the orinal trio as drummer Ray Phillips would depart the group in 1974 and it’s home to Budgie’s best-known song, the speed metal-esque “Breadfan” which was later covered famously by noted fans Metallica for their 1998 album Garage Inc.
File Under: Hard Rock
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Buzzcocks: Time’s Up (Domino) LP
Domino is proud to be reissuing Buzzcocks’ Time’s Up, the 1976 album of demos recorded with founder and singer Howard Devoto and originally released as a bootleg. “It’s the buzz, cock.” Devoto read this headline from a February 1976 Time Out review of Rock Follies – the 1970’s TV musical drama following the ups and downs of the fictional female rock group Little Ladies. Adapting and appropriating it for the new band that he and Pete Shelley had just formed (having just realized what a Sex Pistol was before anyone else), the Buzzcocks were officially born. Howard and Pete went about organizing the now infamous 1976 Lesser Free Trade Hall gigs that brought punk to the provinces and galvanized the Manchester music revolution. The plan was to simply play support to the Pistols and see what happened next. The rest, as they say, is history! Featuring the original line-up of Howard Devoto (vocals & songwriter), Pete Shelley (guitar & songwriter), Steve Diggle (bass guitar) and John Maher (drums), Time’s Up was recorded at Revolution Studios, Bramhall Lane Stockport on the 18th of October 1976. The session, recording Buzzcocks’ live set at the time, cost around $55 and was engineered by Andy MacPherson.
File Under: Punk
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The Creation: Action Painting (Numero) LP
The Creation were a dynamic band with an equally engaging image, they would burn brightly for less than two years, yet would leave an indelible mark upon music history. With producer du jour Shel Talmy at the helm (The Who, Kinks, Easybeats, Cat Stevens) The Creation went on an incredible two year tear of singles, including “Making Time,” “How Does It Feel To Feel,” “Tom Tom,” and “If I Stay Too Long.” By 1968 it was over. Eddie Phillips’ trademark guitar bowing would be nicked by Jimmy Page and Boney M would cheese-up “Painter Man.” Over the nearly five decades since, The Creation has seen a tremendous resurgence in interest. First it was the Jam flossing “Making Time” on the inner sleeve of All Mod Cons. A few years later Alan McGee formed the band Biff Bang Pow and his Creation record label. By the turn of the century a new generation had discovered the band via a strategic placement in Wes Anderson’s Rushmore. Presented here for the first time are twenty Creation studio recordings, remastered from the original tapes by Shel Talmy, and given fresh stereo mixes where previously unavailable. New essays by Dean Rudland and Alec Palao tell the band’s story and dive into their complete studio sessions. Scores of previously unpublished photographs adorn the accompanying booklet. Numero has rounded the whole package out with four tracks by pre-Creation freakbeat quartet the Mark Four, making Action Painting the definitive collection of this legendary UK band.
File Under: Garage, Psych
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Dude York: Sincerely (Hardly Art) LP
The Seattle-based trio Dude York – Peter Richards on guitar and vocals, Claire England on bass and vocals, and Andrew Hall on drums – is announcing itself with an album that couches its themes of anxiety and eroding mental health in rock tracks that amp up the sweetly melodic crunch of power pop with massive distortion and bashed-to-heck drums. Sincerely is a loud, sweaty rebuke to those moments in life when it seems like nothing is working, a testament to the power of friendship, staring problems directly in the face, and finding solace in art. Longtime Sleater-Kinney and Bikini Kill producer John Goodmanson and The Blood Brothers’ Cody Votolato helped Dude York craft a more straightforward draft of Sincerely, one based on the energy of their live show but without any superfluous flourishes. The band’s thoughtful approach to putting together Sincerely’s songs echoes the album’s overarching themes of almost-punishing inward focus. Bringing England’s straightforward drawl into the mix underscores that idea, and its contrast to Richards’ excited yelp heightens the tension on Sincerely, a chaotic, yet ultimately triumphant album that’s a vital tonic for these increasingly confused times.
File Under: Indie Rock
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Gnaw Their Tongues: Hymns for the Broken (Consouling Sounds) LP
The Dutch master of all things nightmare Gnaw Their Tongues returns with the release of his brand new offering Hymns For The Broken, Swollen and Silent. The new album shows Gnaw Their Tongues at the top of its game. The band started out as a studio project, but has recently started performing live, and it feels like this carefully found its way into the music. Don’t get us wrong: oppressive, bleak and claustrophobic remain the key words when describing the unique output of this drone/noise/black metal infused miscreant of Mories. The music grabs you by the throat and sucks all the air out of the room. Although it leaves little more than an anaerobe environment, the music itself feels likes it has been breathing and organically growing into this true beast of an album.
File Under: Drone, Noise, Black Metal
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Granddaddy: Last Place (30th Century) LP
In March 2017, Modesto, CA’s Grandaddy will release Last Place (on Brian “Danger Mouse” Burton’s 30th Century Records), the group’s long awaited first studio album since 2006’s Just Like the Fambly Cat. Produced by the band’s Jason Lytle, Last Place is wry, humane, poignant, fantastical, and very beautiful; a panoramic representation of everything that has always made Grandaddy so well-loved. After Grandaddy broke up in 2006, Lytle relocated to Montana, where he happily made two solo albums, and reconnected with the natural world around him. Eventually, though, life uprooted him again, taking him to Portland, OR until he eventually returned to his former home of Modesto. The return to California was practical (he needed to be near his bandmates) but also appropriate: he had started writing songs that he felt would be fitting for another Grandaddy album. He needed to let the ideas flow until he found the perfect chemistry for what is now Last Place, which he describes as: “just enough personal stuff and just enough escapism, just enough electronics and just enough acoustic elements. The full spectrum.” The result is a perfect addition to the band’s celebrated, critically-acclaimed catalogue, that includes their breakthrough sophomore album, Sophtware Slump, and their debut, Under the Western Freeway. It’s a symphonic swirl of lo-fi sonics and mile-high harmonies, found sounds and electronics-gone-awry mingling with perfect, power pop guitar tones. Lytle‘s voice sounds as warm and intimate as ever, giving graceful levity to the doomsday narratives that have dominated the Grandaddy output. When it came time to release the record, Grandaddy found an ally in artist, producer, and label owned Danger Mouse who notes, “Grandaddy’s music has had a big influence on me and the new album almost sounds like it could fit between Sophtware Slump and Sumday.”
File Under: Rock
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Ibibio Sound Machine: Uyai (Merge) LP
Ibibio Sound Machine is a clash of African and electronic elements inspired in equal measure by the golden era of West African funk, disco, modern post-punk, and electro. Since their self-titled debut in 2014, the band has forged a reputation as a high-energy live act. New album Uyai (pronounced ‘you eye’) means “beauty” in Ibibio language and refers to the strength and free spirit of women in general and in particular, the courage of the women in lead singer Eno Williams’ family, to whom she often refers in her writing…”The songs are based more around themes of empowerment, freedom, and the liberation of dance for women, and people in general.” The album opens with “Give Me a Reason,” a song about the 276 Chibok girls who were abducted in northern Nigeria in 2014 and remain missing to this day. Eno challenges, “Why should girls be denied the right to education, and why should people in general not be free to be who they want to be in their life?” “The Pot Is On Fire” is a food dance celebrating the “happy place” when the food will be ready soon. “It’s also metaphorical,” Eno writes. “Something is brewing which will soon bear fruit.” Folk stories, recounted to Eno by her family as a child in her mother’s Ibibio tongue, form the creative fabric from which the band’s unique musical tapestry is woven. Evocative poetic imagery and empowering messages set against an edgy, Afro-Electro soundscape give the band a unique space within the current wave of modern Afrocentric sounds sweeping across the globe.
File Under: Afro-Beat, Electronic, Funk
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Lambchop: Is A Woman (Merge) LP
Lambchop’s 2002 album Is a Woman is a very quiet album best heard loud. On a musical landscape of sophisticated, uncluttered melancholy, Kurt Wagner’s lyrics are given unprecedented space, allowing every guttural detail of every single word to be heard, revealing densely poetic texts as intimate as they were incisive, as comic as they were confessional. To discover the true spirit of Is a Woman, however, one need only listen to the remarkable “My Blue Wave,” one of the band’s finest recordings to date. Here, Wagner depicts a world of helpless tragedy in which comfort can nonetheless be found in the smallest of gestures, as he journeys from the contented sight of his pets – “You lay around the house…Just bones and squirrels inside your head” – to recollections of a devastating phone call from friend and bandmate William Tyler: “And William called and tried to tell me / That his sister’s boyfriend has just died / He’s not sure what to do / And I’m not sure what to tell him he should do / Sometimes William, we’re just screwed / In my blue wave.” 15 years later, Lambchop continue to confound and astound in equal measures, but this startlingly private song captures the magic of Is a Woman at its most distilled. With their sound consistently shifting and surprising, the band’s line-up has morphed and adapted repeatedly since then, but the lingering mood of lachrymose but compassionate elegance of “My Blue Wave” helps explain why this extraordinary, idiosyncratic record is now considered to be one of the band’s finest. As Wagner himself asks on “Bugs”: “Think of things and how they got this way / Way above the rest / Isn’t this the fucking best?”
File Under: Folk, Country, Rock
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Lupe Fiasco: Drogas Light (1st & 15th) LP
A decade after Lupe Fiasco exploded onto the hip-hop scene with his seminal 2006 debut Food & Liquor, the Chicago native is closing the chapter on his career with his most visualized projects yet. The independent rapper, who parted ways with his former label Atlantic Records following the release of 2015’s Tetsuo & Youth, hits his creative peak with a trilogy of albums – Drogas Light, Drogas and Skulls – the final curtain call on one of the most gifted lyricists and visionaries to grace the mic. If anything, Drogas Light, the first delivery to fans arriving in early 2017, is a testament to Fiasco’s artistic growth throughout the years. The 14-track LP is free of restraint, and daring by his standards: the sonic and storytelling palettes are vast and diverse, more so than ever before, traipsing genre and style with ease and touting songs to soundtrack everything from a night at the club to a quiet listen on headphones. Where Tetsuo & Youth leaned into more experimental pastures, Drogas Light is the embodiment of a musician whose foray beyond the boundaries of hip-hop feels increasingly natural, a glimpse into the genius that will be Fiasco’s legacy as he inevitably walks away from the spotlight. From the start of Drogas Light, Fiasco lays his rhyming skills bare, attacking a haunted beat accented by a screwed vocal sample on opener “Dopamine” that self-reflectively emphasizes the magnetism of the album (“Over-d off of this, but don’t fall asleep ‘til the dopamine hit!” he chants). The set is dotted with several trap-inflected songs – “NGL” featuring Ty Dolla $ign is a turn-up anthem that entertains the reasons why success comes slow to many, while the Streetrunner-produced lead single “Made in the USA” catalogues the various home-grown, illicit products manufactured in the country. Fiasco has often been pegged as a socially conscious emcee, likened to peers including Common and Nas, and he lives up to the reputation on “City of the Year,” where he explores the economic disparity of Chi-town. He flexes his storytelling muscle on the hypnotic, spinning “Jump,” on which he unfolds the tale of going from a “trapper to a rapper” by supplying a female adversary with a career boost. But it’s when the album hits the relax button that Drogas Light coasts on cushy grooves: “Kill,” also featuring Ty Dolla $ign, is an after-hours ode to women who work at gentleman’s clubs, and the vamping closer “More Than My Heart” is an emotionally charged hat-tip to all the mothers who would sacrifice anything for their children. While Drogas Light is just a taste of what he has to offer in the new year, it’s yet another earmark on a track record of an artist who continually comes into new bloom.
File Under: Hip Hop
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Ahmed Malak & Flako: The Electronic Tapes (Habibi Funk) LP
In the early 1980s, Ahmed Malek was already in his 50s , when he discovered synthesizers and electronic music for himself and started to experiment with sounds. The result was a mixture of ambient synth music, field recordings he made in Cuba and a wide variation of different sound experiments that he also presented as different avantgarde music festivals in Cuba and the US.
File Under: Electronic, Ambient, Algerian
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Laura Marling: Semper Femina (More Alarming) LP
Semper Femina is Laura Marling’s sixth studio album. It was largely written on the road, following the release of Laura’s acclaimed album, Short Movie, in the spring of 2015. Its loose lyrical thread strings together her keen, freshly observed take on womanhood, and what Laura describes as a particularly ‘masculine time in her life’. It’s a record that similarly addresses questions of how society views sexuality and gender but without seeking to provide definitive answers. It retains an openness to express and portray her own ‘voyage’ of self-discovery, but also to develop and learn as artist, performer, and as an individual over the course of her career. A rich and enriching listen, Semper Femina is a typically mature and raw record by one of our most talented and prolific young musicians of a generation. The deluxe vinyl LP edition includes an exclusive live bonus disc, recorded at Martyrs’ in Chicago. This deluxe product features two 140g vinyl discs, printed inner sleeves on reverse board with embossed sigil design, and wide spined sleeve. Also comes with digital download cards for both discs.
File Under: Folk
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Mono: Under The Pipal Tree (Temporary Residence) LP
Under The Pipal Tree is the debut album by now-legendary Japanese experimental rock band MONO. Released in 2001 on avant-garde icon John Zorn’s Tzadik label, Under The Pipal Tree showcased a young Japanese quartet whose wide range of influences – most notably Sonic Youth, Mogwai, The Velvet Underground, and Neil Young’s Crazy Horse – were on ferocious and ambitious display. Though MONO would eventually become known for their expert marriage of metal and classical genres, Under The Pipal Tree highlights the band’s psychedelic roots. Long stretches of hypnotic, melodic washes give way to scorching guitar freakouts that evaporate into haunting silence. It’s remarkable not just for its earnest exploration, but for its startling execution. 15 years and 8 albums later, Under The Pipal Tree stands as one of the great debut albums by a seminal underground band. Finally released on vinyl for the first time ever, Under The Pipal Tree has been remastered for the format by longtime friend and tour mate, Bob Weston at Chicago Mastering Service. The double album is packaged in all new artwork, and is pressed onto audiophile-quality 100% virgin vinyl. This stunning album has never looked, sounded, or felt better.
File Under: Post-Rock
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The Shins: Heartworms (Columbia) LP
The Shins present their fifth studio effort, Heartworms. In contrast to 2012’s Port of Morrow, which debuted at No. 3 on the Billboard Top 200 and was nominated for a Best Alternative Album Grammy, Heartworms ushers in a return to the handmade. The 11-track collecion was, as always, entirely written by James Mercer, with exception of “So Now What” (produced by band member Richard Swift). Heartworms is the first Shins album to be largely self-produced by Mercer since Oh, Inverted World in 2001. Heartworms also boasts Mercer’s most diverse lyrical ptalette to date, a cohesive, yet genre defying album marked by the frontman’s distinct voice and melodic composition. Unified by his singular vision, Mercer creates a sound that is both a nostalgic nod to the album’s predecessors and distinctly new. The album’s first single, “Name For You,” is a resounding call for female empowerment inspired by his three daughters.
File Under: Indie Rock
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Elliott Smith: Either/Or: Expanded Edition (Kill Rock Stars) LP
1997’s Either/Or is widely regarded as Elliott Smith’s best album, and remains his best-selling. To commemorate the 20th Anniversary of this masterpiece, Kill Rock Stars proudly presents Either/Or: Expanded Edition which features the original tracks carefully remastered from original tapes under the supervision of Larry Crane, owner of Jackpot! Studios and archivist of the Estate of Elliott Smith plus a generous helping of bonus material. The additional content features five live multi-track recordings from the Yo Yo A Go Go Festival in Olympia, WA in 1997, as well as three previously unreleased studio recordings and one b-side gem. The double LP is packaged in a gatefold jacket with an insert of the original liner notes, a postcard of the original master tapes, and several never-before seen photos. This gorgeous collection is an essential listen for longtime fans and newcomers alike!
File Under: Indie Rock, Folk
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Soundgarden: Ultramega OK (Sub Pop) LP
This remixed and expanded reissue of Soundgarden’s Ultramega OK is a long-planned “correction” of the legendary band’s Grammy-nominated debut full-length. The album was originally recorded and released in 1988 on SST Records. While the band enjoyed working with the original producer, Drew Canulette, they soon realized they weren’t quite happy with the final mix. Thus, shortly after the album’s release, the band decided to remix the album for subsequent pressings. However, success intervened: the band rapidly scored a deal with A&M and began work on their major-label debut, Louder Than Love, and the Ultramega OK remix project fell by the wayside as Soundgarden climbed their way to (ultra)mega-stardom. In 2016, after worldwide success, a breakup, a reunion, and many albums and tours, the band finally acquired the original multi-track tapes to Ultramega OK and carved out time to dig into the remix. They handed the tapes over to longtime friend and engineer Jack Endino (Nirvana, Mudhoney, Screaming Trees, Skin Yard), who worked with the band to create a fresh mix of the album that, for the band, ties up this persistent loose end and remedies the sound of their debut album. While they were at it, the band dug out six early versions of tracks that wound up on Ultramega OK. The songs were recorded in 1987 on 8-track tape by Endino and Chris Hanzsek at Reciprocal Recording in Seattle, and mixed by Endino in 2016. These versions feature the band in raw, powerful form – sonically closer to the band’s Endino-recorded debut EP Screaming Life – and provide a fascinating window into the development of songs that eventually became staples of the band’s set. The six songs comprise what the band refers to as Ultramega EP, and they are included in this reissue. Hailed as grunge innovators, Soundgarden redefined rock music for a generation. In the ‘80s, the band – singer/guitarist Chris Cornell, guitarist Kim Thayil, bassist Hiro Yamamoto, and drummer Matt Cameron – combined a punk ethos, brutal metal soundscapes, and Cornell’s ravenous roar to capture the attention of the masses. Jagged and ferocious, their music was deeply at odds with the synth-pop and hair metal which dominated the 80’s airwaves. Early indie releases, including seminal Screaming Life and Ultramega OK, quickly led to a dedicated indie following as the band toured on both sides of the Atlantic. Subsequent albums, including Badmotorfinger, Superunknown, and Down on the Upside, achieved multi-platinum sales and launched the band to international fame.
File Under: Grunge
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Temples: Volcano (Fat Possum) LP
English four-piece Temples issue their sophomore set, Volcano, on Fat Possum Records. All the elements people loved about Temples’ debut, Sun Structures, remain intact, but this time, there is a noticeable evolution presented from the outset. It’s clear Volcano is the sound of Temples squaring up to their potential, immediately evident with lead single “Certainty.” Its beefed-up beats reveal an expanded sonic firmament, one in which bright synth hooks and insistent choruses circle around each other over chord sequences that strike just the right balance between nice and queasy. Entirely self-produced and written by all four members of the band, Temples’ melodies seem to come effortlessly. There are sun-dazed numbers and lysergic dream-pop songs and those where synth and mellotron interweave to beguiling effect. One thing is certain; it’s harder to spot the influences this time around. Mystical language has been supplanted by something more direct. They’ve been broken down and blended together – fossilized into a single source of creative fuel, resulting in a sound that is undoubtedly Temples. As described by co-founding member Tom Warmsley, “we discovered a lot as we went along, and the excitement at having done so radiates outwards.”
File Under: Indie Rock, Psych
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Tennis: Yours Conditionally (Mutually Detrimental) LP
Critically acclaimed group Tennis returns with their highly anticipated fourth full length album, Yours Conditionally. The record was composed both on land and at sea during a five-month sailing trip through the Sea of Cortez. Upon returning, Tennis’ husband-and-wife team of Patrick Riley and Alaina Moore self-produced the record in a small cabin in Fraser, CO. It was mixed by Spoon’s Jim Eno at Public HiFi. Lead track, “Ladies Don’t Play Guitar,” has been hailed as “a smolderingly sardonic feminist anthem perfectly suited for social climate of today” by Consequence of Sound while The Verge added that the song is “a great introduction to their sound if you’re unfamiliar: a wistful piano line, a biting, sarcastic vocal from Alaina Moore, and a little fuzz to keep things grounded.” Their newest record comes on the heels of the group’s most recent release, 2014’s Ritual in Repeat, which received rave reviews across the board.
File Under: Indie Pop
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…..Restocks…..
Alabama Shakes: Boys & Girls (ATO) LP
Antibalas: s/t (Daptone) LP
Beach Boys: Pet Sounds (Universal) LP
Beatles: Let It Be (Apple) LP
Black Mountain: In The Future (Jagjaguwar) LP
John Carpenter: Lost Themes II (Sacred Bone) LP
Michael Chapman: 50 (Paradise of Bachelors) LP
Childish Gambino: Camp (Glassnote) LP
Shirley Collins: Lodestar (Domino) LP
Miles Davis: Birth of Cool (Legacy) LP
Miles Davis: In A Silent Way (Legacy) LP
Depeche Mode: Music for the Masses (Rhino) LP
Depeche Mode: Violator (Rhino) LP
Dinosaur Jr: Farm (Jagjaguwar) LP
Dinosaur Jr: Bug (Jagjaguwar) LP
Dinosaur Jr: I Bet On Sky (Jagjaguwar) LP
Grails: Chalice Hymnal (Temporary Residence) LP
Herbie Hancock: Headhunters (Legacy) LP
Daniel Johnston: Yip Music (EYE) LP
King Woman: Created in the Image (Relapse) LP
Lady Gaga: Joanne (Universal) LP
Led Zeppelin: I (Warner) LP
Led Zeppelin: II (Warner) LP
Led Zeppelin: IV (Warner) LP
Mazzy Star: So Tonight That I Might See (Plain) LP
Melvins: Houdini (Thirdman) LP
Menahan Street Band: Make The Road By Walking (Daptone) LP
Menahan Street Band: The Crossing (Daptone) LP
Hank Mobley: Soul Station (Blue Note) LP
Hank Mobley: Workout (Blue Note) LP
Modest Mouse: The Moon & Antarctica (Epic) LP
Mogwai: Rock Action (PIAS) LP
Angel Olsen: My Woman (Jagjaguwar) LP
OST: Arrival (DG) LP
Iggy Pop & The Stooges: Raw Power (Legacy) LP
Portishead: Dummy (Polydor) LP
Portishead: s/t (London) LP
Andy Shauf: The Party (Arts & Crafts) LP
Solange: A Seat At The Table (Columbia) LP
Songs: Ohia: Axxess & Ace (Secretly Canadian) LP
Songs: Ohia: Didn’t It Rain (Secretly Canadian) LP
Songs: Ohia: s/t (Secretly Canadian) LP
Unicorns: Who Will Cut Our Hair… (Caterpillar) LP