Finally things are starting to get back to normal around here. Not too many new releases but still some big ones, and some killer ones. Not too many restocks. Lots of used stuff getting priced and put out. It’s looking like a beautiful next few days, come down for a dig.
…..pick of the week…..
Alice Coltrane: Ecstatic Music of Alice Coltrane Turiyasangitananda (Luaka Bop) LP
Alice Coltrane’s devotion to spirituality was the central purpose of the final four decades of her life, an often-overlooked awakening that largely took shape during her four-year marriage to John Coltrane and after his 1967 death. By 1983, Alice had established the 48-acre Sai Anantam Ashram outside of Los Angeles. She quietly began recording music from the ashram, releasing it within her spiritual community in the form of private press cassette tapes. Luaka Bop is pleased to present the first-ever compilation of recordings from this period, making these songs available to the wider public for the first time. Entitled World Spirituality Classics, Volume 1: The Ecstatic Music of Alice Coltrane Turiyasangitananda, the release is the first installment in a planned series of spiritual music from around the globe; curated, compiled and distributed by Luaka Bop. This powerful, largely unheard body of work finds Alice singing for the first time in her recorded catalog, which dates back to 1963 and includes appearances on six John Coltrane albums, alongside Charlie Haden and McCoy Tyner, and 14 albums as bandleader starting with her Impulse! debut in 1967 with A Monastic Trio. The songs featured on the Luaka Bop release have been culled from the four cassettes that Alice recorded and released between 1982 and 1995: Turiya Sings, Divine Songs, Infinite Chants, and Glorious Chants. The double-vinyl edition features two additional songs, “Krishna Japaye” from 1990’s Infinite Chants, and the previously unreleased “Rama Katha” from a separate Turiya Sings recording session. Luaka Bop teamed with Alice’s children to find the original master tapes in the Coltrane archive. The recordings were prepared for re-mastering by the legendary engineer Baker Bigsby (Ornette Coleman, Sun Ra, John Coltrane), who had overseen the original sessions in the 80s and 90s. The compilation showcases a diverse array of recordings in addition to Alice’s first vocal work: solo performances on her harp, small ensembles, and a 24-piece vocal choir. The release is dotted with eastern percussion, synthesizers, organs and strings, making for a mesmerizing, even otherworldly, listen. Alice was inspired by Vedic devotional songs from India and Nepal, adding her own music sensibility to the mix with original melodies and sophisticated song structures. She never lost her ability to draw from the bebop, blues and old-time spirituals of her Detroit youth, fusing a Western upbringing with Eastern classicism. In all, these recordings amount to a largely untold chapter in the life story of Alice Coltrane Turiyasangitananda.
File Under: Spiritual Jazz, New Age
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…..new arrivals…..
A Pulse Train: Tactus Tempus (Geej) LP
A Pulse Train is a one-off supergroup with some notable members: Joe Goddard of Hot Chip, Junior Boys’ Jeremy Greenspan, Sam Shepherd (AKA Floating Points), Dan Snaith (AKA Caribou) and James Shaw of Simian Mobile Disco. The contents of Tactus Tempus, however, may be pretty niche in their appeal. Born of “a rare moment of collective down time” in London last summer, the record features two realisations of a 1973 graphic score by lesser-known American composer Frank McCarty. According to an interview with McCarty and his BIOME ensemble, included in a Bandcamp bonus download, the title has something to do with a medieval concept separating “perceived” and “performed” time. The piece requires performers to improvise along a “density-intensity” curve in order to produce a sonic “pulse train.” The results—two 15-minute passages of quiet-loud-quiet, performed on an orchestra of blooping, swirling, fizzing synths—are less brow-furrowing than this all sounds. The release is at its most accessible in the opening of “Tactus Tempus (Tonal),” where sparse, flickering tones coalesce into sultry minor-key ambience. The energy builds slowly, before giving way to something more cacophonous at around six minutes. At 11 minutes, the dense squall of sound abruptly thins out, and a couple of minutes later the whole thing is reduced to a few unsteady sputters and twangs that slowly recede into nothing. It’s not the overall arc of intensity that makes the track interesting, but the deviations from it: fleeting shifts in mood, eddies of melody and rhythm which quickly dissipate in the improvised confusion. “Tactus Tempus (Noises And Impulses),” which swaps pitched sounds for a roiling sump of half-percussion, scuttling arps and blasts of radio interference, is no more predictable. At first, it’s a little too dominated by a single looping rhythmic part, but soon the cloud of detail underneath rises to enshroud it. Shortly before the ten-minute mark, a grinding high-pitched howl signals the start of the track’s unsteady descent back to silence, and that loop becomes the punctuation in a more delicate texture of filtered noise and decelerating pulse bursts.
File Under: Electronic, Hot Chip, Junior Boys, Caribou
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At The Drive In: Inter Alia (Rise) LP
The music industry sees artists come and go on a regular basis. Plans change, life gets in the way and bands fade away. Occasionally we’re lucky enough to see an important band return from their silence: enter At The Drive In. While At The Drive In was quiet, the members (Omar Rodriguez-Lopez, Cedric Bixler-Zavala, Tony Hajjar and Paul Hinojos) were incredibly busy, selling millions of albums, winning Grammys and putting out a lot of quality music with their other projects (The Mars Volta, Antemasque, Gone Is Gone and many more). After a 15 year break, the band returned to the studio to create the follow-up to 2000’s Relationship of Command. It’s the moment fans have been waiting for since their return to the stage as 2012 Coachella and Lollapalooza headliners…prepare for in·ter a·li·a. Produced by the band’s own Omar Rodriguez-Lopez and Rich Costey (Muse, Sigur Rós, Santigold), in·ter a·li·a includes eleven songs that resonate the classic At The Drive In intensity that fans love, while breaking the band’s decade and a half drought with something fresh and exciting, that slides right into 2017. The band will be touring throughout 2017 to support this heavily anticipated release. The silence is finally broken…resume transmission. Pressed on colored 180 gram vinyl with gatefold packaging complete with an accompanying MP3 digital download card.
File Under: Rock, Hardcore, Emo
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Brother Ali: All The Beauty In This Whole Life (Rhymesayers) LP
Over the past 17 years, Brother Ali has earned wide critical acclaim for his deeply personal, socially conscious, and inspiring brand of hip-hop. Under Rhymesayers Entertainment, he’s unleashed a series of lauded projects, establishing himself as one of the most respected independent voices in music. The latest chapter in that celebrated journey is All the Beauty in This Whole Life, a 15-track collection produced entirely by Atmosphere’s Anthony “Ant” Davis. “This entire album is based on the reality that beauty is the splendor of truth,” says the Minneapolis MC. “Beauty in all of its forms is the outward manifestation of love and virtue. It soothes the soul and pulls it gently toward the truth it communicates. Every word and note of this album is intended to either reflect beauty, or expose the ugliness that blocks us from living lives of meaning.” All the Beauty in This Whole Life is Ali’s first official release in five years and represents the newest and most refined chapter of his life’s journey. “Each of my albums are the result of the pain, growth and eventual healing that I experience. Articulating the pain and navigating the healing allows the people who really feel my music to travel with me. It’s not only that we hurt together, we heal together as well.” Contrasting intensely heavy moments with joyous and grateful ones, All the Beauty in This Whole Life arrives right on time, to help heal a divided nation through the power of music. Ali wouldn’t have it any other way. “In times of great suffering in the outside world, the most important battles start from within.”
File Under: Hip Hop
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Nick Cave & The Bad Seeds: Lovely Creatures (Mute) 3LP
Lovely Creatures: The Best of Nick Cave and The Bad Seeds 1984-2014 is the most comprehensive overview of the recorded work of Nick Cave & The Bad Seeds to date. Spanning thirty years of music from their debut album From Her To Eternity through to Push The Sky Away their fifteenth studio album, the collection navigates one of the most exhilarating, idiosyncratic and inventive bodies of work created in contemporary music. Included are long-standing live favorites “Stagger Lee” and “The Mercy Seat,” their hit single from 1995 “Where The Wild Roses Grow” through to recent fan favorites “Jubilee Street” and “We No Who U R.” There are songs that newcomers may only know from their appearance on film and television soundtracks, notably “O Children” (Harry Potter & the Deathly Hallows Pt. I) and the ubiquitous “Red Right Hand,” most recently familiar to fans of the series Peaky Blinders. The album was compiled by Nick Cave and founding member Mick Harvey, with help from the current Bad Seeds. Band members past and present also raided their personal archives to provide previously unseen photos. Lovely Creatures was originally intended for release in 2014. Since its postponement the band have recorded and released their highly acclaimed sixteenth studio album Skeleton Tree. 21 tracks on a 3 x 180-gram 12″ black heavyweight vinyl set with triple gatefold sleeve. “There are some people out there who just don’t know where to start with The Bad Seeds. Others know the catalogue better than I do! This release is designed to be a way into three decades of music making. That’s a lot of songs. The songs we have chosen are the ones that have stuck around, for whatever reason. Some songs are those that demand to be played live. Others are lesser songs that are personal favourites of ours. Others are just too big and have too much history to leave out. And there are those that didn’t make it, poor things. They are the ones you must discover by yourselves.” – Nick Cave
File Under: Rock
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Ian William Craig: Slow Vessels (Fat Cat) LP
Following the widespread critical acclaim of his recent Centres album (2016), Vancouver-based vocalist/composer Ian William Craig returns with Slow Vessels, an album-length EP which both extends and radically re-imagines Centres, rendering six of its tracks in a stunning new light. While not quite an “unplugged” version, it is fundamentally stripped back, raw and predominantly acoustic, the songs included have been returned to their point of origin. Slow Vessels sees Ian paring back the dense, billowing layers and heavily distressed textures that dominated the album and re-playing these tracks on a borrowed acoustic guitar and piano. While four of the tracks also feature some minimal tape manipulation, it’s a move that foregrounds the strength of the songs, imbuing them with a heightened sense of nearness and intimacy and briefly reframing their author in the more traditional mantle of singer-songwriter. Deeply affecting and almost devotional in character, this utterly gorgeous re-setting of the songs sees them bathed in a warm, golden glow and throws a brilliant new slant on Ian’s prodigious creativity. The entire record was recorded at an Airbnb flat in Gothenburg, which just happened to have a guitar and piano, over several days in August, during a stopover on Ian’s debut European tour. The tracks were each captured in a single take with a small amount of noise/overdubbing coming from the modified cassette decks and equipment he’d brought with him for shows. Once recorded, each track was then mixed on a laptop between shows or while in transit – travelling onboard a ferry, a train, an airplane – or while waiting in airports, a hotel rooms and a Latvian taxidermy museum. Finally, it was polished up a little once home in Vancouver with a Reverbulator spring reverb and a SupaPuss Delay, and mastered for release on vinyl.
File Under: Acoustic, Folk, Experimental
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Mac Demarco: This Old Dog (Royal Mountain) LP
In tomorrow…Before you ancients out there turn your heads and scoff at the premise of a 20-something rock-and-roll goofball calling himself an old-anything, consider this: said perpetrator, he who answers to the name Mac DeMarco, has spent the better part of his time thus far writing, recording, and releasing an album of his own music pretty much every calendar flip, and pretty much on his own. The fresh meat you’re now feasting on, This Old Dog, makes for his fifth in just over half a decade – bringing the total to 3 LPs and 2 EPs. According to the DMV, Mac is 26. But in working-dog years, he could easily qualify for social security. To stay gold, turns out all he needed was some new tricks. Though used to and pretty happy with that annual grind, it was a little space – in time, location, and method – that inspired DeMarco while making the record. Moving from his isolated Queens home to a house in Los Angeles helped give the somewhat transient Canada-native a broader base, and a few more months on his calendar to create did their job as well. Arriving in California with a grip of demos he’d written in New York, he realized after a few months of setting up his new shop – complete with a few new toys – that the gap was giving him perspective. “This one was spaced out,” DeMarco says. “I demoed a full album, and as I was moving to the West Coast I thought I’d get to finishing it quick. But then I realized that moving to a new city and starting a new life takes time. And it was weird, because usually I just write, record, and put it out; no problem. But this time, I wrote them and they sat. When that happens, you really get to know the songs. It was a different vibe.” DeMarco wrote some demos for This Old Dog on an acoustic guitar, an unusual yet eye-opening method for him. He also attributes some of the delay to his exploration of new gear he’d purchased, specifically a CR-78 drum machine, which he used while writing and can be heard on his album tracks for the first time ever. “That thing helped a ton, especially for demoing,” he says. “It’s on the album a lot, maybe four or five songs. I usually demo on a drum machine and then record real drums, but I liked that machine so much I kept it on the album. The majority of this album is acoustic guitar, synthesizer, some drum machine, and one song is electric guitar. So this is a new endeavor for me.” And right off the bat, from the pops and clicks of the CR-78 and acoustic strums on the album-opening “My Old Man,” the synth-drenched beauty of the second track, “This Old Dog,” and that ironic recurring word itself, it’s clear that DeMarco’s bag is filled with new tricks indeed. This Old Dog is rooted more in a synth-base than any of his previous releases, but he is careful not to let that tactic overshadow the other instruments and overall “unplugged” mood of the work. In fact, DeMarco recognizes that he might share more than just a geographical flight-path with a certain Canadian-cum-Californian songwriter. “I think what I was trying to do is make Harvest with synthesizers,” he adds. “But I don’t think I even came close to the mark – something else entirely came out. This is my acoustic album, but it’s not really an acoustic album at all. That’s just what it feels like, mostly. I’m Italian, so I guess this is an Italian rock record.”
File Under: Indie Rock
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Feist: Pleasure (Interscope) LP
In tomorrow…Feist’s first album in six years reflects on secrets and shame, loneliness and tenderness, care and fatigue and is at its core a study on self-awareness. As the fourth full-length from the singer/songwriter born Leslie Feist, Pleasure builds off the warm naturalism of the Polaris Prize-winning Metals and emerges as her most formally defiant and expansive work so far. And while each album is a departure from the next, Pleasure finds the 4x Grammy nominee again showing the extraordinary depth of her artistry. Recorded over the course of three months – in Stinson Beach, Upstate New York, and Paris – Pleasure was co-produced by Feist with longtime collaborators Renaud Letang and Mocky. In addition to reaffirming Feist as a cagily inventive guitar player, the album threads her shape-shifting and often haunting vocals into sparse and raw arrangements.
File Under: Pop
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Joe Goddard: Electric Lines (Domino) LP
Electric Lines, the landmark new album from producer Joe Goddard, is all about connections. It’s an apt title for a record which brilliantly unites the broad-ranging strands of a unique career. Whether it be as a key member of Hot Chip, one half of the 2 Bears, songwriter, producer, DJ, remixer or co-founder of the influential Greco-Roman label, Goddard’s influence has been keenly felt in clubs and headphones all over the world for over a decade. Electric Lines is the culmination of all this and more, and confirms Goddard’s place in the front rank of British producers. Electric Lines is a generous, embracing album which joins the dots of electronic music with great warmth and exquisite skill. It is the musical autobiography of a man who has been inhabiting club culture for over 20 years and knows all the links in the chain. It is the perfect expression of Joe’s open-hearted idealism, following the lines that draw people together – a towering achievement which deservedly earns a place alongside seminal titles such as Leftism, Blue Lines and Remedy, whist also showing new ways forward. An important record for an important time, Electric Lines is set to draw the map of 2017’s musical landscape.
File Under: Electronic, Hot Chip
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Helado Negro: Private Energy (RVNG Intl) LP
Exploring the expressivity within intense states of being, Latinx identity, and pluralistic sensibilities, Helado Negro’s Private Energy (Expanded) is an engrossing statement achieved through lyrically personal and political avant pop music. It carves a deep groove through the electronic music landscape, challenging to best Brooklyn-based artist Roberto Carlos Lange’s previous accomplishments under the Helado Negro moniker. Half a decade and half a dozen albums later since Helado Negro’s 2009 debut album Awe Owe, Lange has cultivated an untraditional approach to songcraft that places his voice on an adventurous musical impulse without shying from familiar pop appreciation. The hymn of Private Energy (Expanded) initially sounded in 2014 while Lange absorbed accounts of the unjust death of Michael Brown and felt a sharpened sense of vulnerability and anger as a minority. Lange’s creative drive veered toward toward catharsis – he sought to make music that would protect as a form of protest. The music of Private Energy (Expanded) was shaped to demarcate the artist’s pride of being, preserving and persevering, and celebrating, as Lange puts it, “my brownness, my Latinidad.” “Transmission Listen” is a exemplary selection from Private Energy (Expanded), a song so effortlessly tuneful and seductive it sounds beamed in from the radio waves of an outer world. Or alternately, an inner world. Speckled and reverberant, it’s a love song as much as a purely joyful sonic experience. “Young, Latin, and Proud” and “It’s My Brown Skin” are prideful lyrically but complicated texturally, fusing restrained synthesizer voicings with sparse percussion and an interpolation of rhythmic tones. Here, as elsewhere, though, Lange’s distinct voice is the spine of the music’s ambulatory energy. Helado Negro’s Private Energy will be re-introduced to the public via RVNG Intl. in expanded form, appearing on vinyl for the first time. Supplemented with three brand new “versions,” this iteration of Private Energy (Expanded) will continue the strong narrative of Helado Negro’s spectral and transmissive 2016 opus.
File Under: Electronic, Latin
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Moon Duo: Occult Architecture Volume 2 (Sacred Bones) LP
Meaning all things magick and supernatural, the root of the word occult is that which is hidden, concealed, beyond the limits of our minds. If this is occult, then the Occult Architecture of Moon Duo’s fourth album – a psychedelic opus in two separate volumes released in 2017 – is an intricately woven hymn to the invisible structures found in the cycle of seasons and the journey of day into night, dark into light. Offering a cosmic glimpse into the hidden patterning embedded in everything, Occult Architecture reflects the harmonious duality of these light and dark energies through the Chinese theory of Yin and Yang. Following the Yin (feminine, darkness, night, earth) represented on Occult Architecture Vol. 1, Vol. 2 presents the Yang. Yang means “the bright side of the hill” and is associated with the male, sun, light and the spirit of heaven, and as such Vol. 2 explores the light and airy elements of Moon Duo’s complex psyche. “In production we referred to Vol. 1 as the fuzz dungeon, and Vol. 2 as the crystal palace,” guitarist Ripley Johnson explains. “The darkness of Vol. 1 gave birth to the light of Vol. 2. We had to have both elements in order to complete the cycle. We’re releasing them separately to allow them their own space, and to ensure clarity of vision. To that end we also mixed Vol. 2 separately, in the height of Portland summer, focusing on its sonic qualities of lightness, air, and sun. Listeners can ultimately use the two volumes individually or together, depending on circumstance or the desired effect.”
File Under: Psych, Rock
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Perfume Genius: No Shape (Matador) LP
2014’s Too Bright showcased Mike Hadreas stepping out saucily onto a bigger stage, expressing, with the production help of Portishead’s Adrian Utley, emotions arranged all along the slippery continuum from rage to irony to love. Here in 13 new ferocious and sophisticated tracks, Hadreas and his collaborators blow through church music, make out music, an array of the gothier radio popular formats, rhythm and blues, art pop, krautrock, queer soul, the RCA Studio B sound, and then also collect some of the sounds that only exist inside Freddy Krueger. Tremolo on the electric keys. Nightclubbing. Daywalking. Kate Bushing, Peter Greenawaying, Springsteening, Syreetaing. No Shape was produced by Blake Mills, the man behind Alabama Shakes’ Grammy Award winning album. He added precision and expansion. Some things are pretty and some are blasted beyond recognition. Records like this, records that make you feel like you’re 15 and just seeing the truth for the first time, are excessively rare. They’re here to remind you that you’re divine.
File Under: Indie Rock
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Slowdive: s/t (Dead Oceans) LP
UK shoegaze pioneers Slowdive enter their second act and offer up a fourth studio opus, their first in 22 years. Self-titled with quiet confidence, Slowdive’s stargazing alchemy is set to further entrance the faithful while beguiling a legion of fresh ears. Deftly swerving what co-vocalist/guitarist Rachel Goswell terms “a trip down memory lane,” these eight new tracks are simultaneously expansive and the sonic pathfinders’ most direct material to date. Birthed at the band’s talismanic Oxfordshire haunt The Courtyard, their diamantine melodies were mixed to a suitably hypnotic sheen at Los Angeles’ famed Sunset Sound facility by Chris Coady. “It’s poppier than I thought it was going to be,” notes principal songwriter Neil Halstead, who was the primary architect of 1995’s previous full-length transmission Pygmalion. This time out the group dynamic was all-important. “When you’re in a band and you do three records, there’s a continuous flow and a development. For us, that flow re-started with us playing live again and that has continued into the record.” “There’s a different energy about it,” adds drummer Simon Scott. “It took ages to get back together and write songs and for it to click in the studio, but this album doesn’t feel like a bolt-on – it’s got an energy that’s as vibrant as Souvlaki and Just for a Day. It feels very relevant to now.”
File Under: Shoegaze
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Sun Ra: Singles Vol 2 (Strut) LP
Strut present the second volume of definitive singles released by jazz maverick Sun Ra during his Earth years, spanning 1962 to 1991. Released prolifically during the 1950s and more sporadically thereafter, primarily on the Saturn label, the 45s offer one-off meteorites from Ra’s prolific cosmic journey, tracing the development of his forward-thinking “Space-Bop” and his unique take on jazz and blues traditions which sounded unlike anything else from the period. As with his LPs, most 45s were only pressed in small runs and were sold at gigs and have since become extremely rare and sought after. Some have only been discovered in physical form in recent years; some were planned and penciled but allegedly never made it to vinyl and some appeared as one-off magazine singles and posthumous releases.
File Under: Jazz
Sword: Greetings From… (Razor & Tie) LP
In tomorrow… There’s an unspoken edict handed down through the ages when it comes to rock bands: there are no rules. The Sword – John Cronise (vocals, guitar), Kyle Shutt (guitar), Bryan Richie (bass), and Santiago Vela III (drums) – cut out boundaries since day one. Their style never stood predicated on a trend or a template. They always create what feels right and let the results speak for themselves. Greetings From… is a collection of nine tracks spanning the band’s career. The Sword’s own Bryan Richie recorded and produced the album encompassing the best elements of their live show. From Age of Winters to their latest, High Country, Greeting From… creates a seamlessly crafted cocktail showcasing the music of The Sword throughout the past decade.
File Under: Metal, Rock
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Umoja: 707 (Awesome Tapes From Africa) LP
Proud to announce ATFA’s collaboration with legendary South African pop artist “Om”Alec Khaoli, whose band Umoja recorded several astoundingly danceable records in the 1980s. Known for his work with Harari and the Beaters before Umoja, “Om” Alec created a singular oeuvre of funk/rock/folk/disco musis uring the course of his decades-long reign as one of the most influential artists in the highly challenging (to put it mildly) apartheid-era music scene. Perhaps the band’s most successful outing, which was originally released in 1988. Love and vocoder, positivity and synth. This recording rocks short and sweet, with a dollop of electronic post-disco hook-y songwriting. Every song was a top ten hit at the time, and to me this music feels timeless. If in doubt, check the vintage music video for title track “707” and dare to ignore the inimitable—and ultimately groundbreaking—allure of Umoja.
File Under: Africa, Funk, Reggae, Electronic
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Wooden Wand: Clipper Ship (Three Lobed) LP
In a world of guitar players, James “Wooden Wand” Toth remains first and foremost a songwriter and lyricist. Clipper Ship, however, presents a break in tradition: in attempting to emancipate himself from old habits, Toth wrote most of the songs on Clipper Ship ‘music first,’ adding lyrics later, a reversal of the tried and true method that has made him one of the most prolific and respected songwriters of his generation. The result is the most democratically-conceived, multi-layered, and musically sophisticated album in the vast Wooden Wand discography. Clipper Ship is the first proper full-length Wooden Wand album since 2014. Performers include Darin Gray (On Fillmore, Dazzling Killmen, Jim O’Rourke, Tweedy, William Tyler), Ryan Norris (Coupler, Lambchop), Glenn Kotche (On Fillmore, Wilco), Jim Becker (Califone, Iron & Wine), Nathan Salsburg (Joan Shelley), Kyle Hamlett (Lylas), Josh Wright & Seth Murphy (Bear Medicine), Luke Schneider (Margo Price, JEFF The Brotherhood, Natural Child, William Tyler), Zak Riles (Watter, Grails), and Jim Elkington (Tweedy, Horse’s Ha, Richard Thompson, Steve Gunn).
File Under: Folk
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…..Restocks…..
Bad Brains: Build a Nation (Megaforce) LP
Bon Iver: 22, A Million (Jagjaguwar) LP
Bon Iver: For Emma, Forever Ago (Jagjaguwar) LP
Bon Iver: s/t (Jagjaguwar) LP
David Bowie: Blackstar (Columbia) LP
Can: Future Days (Mute) LP
Car Seat Headrest: Teens of Denial (Matador) LP
Nick Cave: Tender Prey (Mute) LP
Miles Davis: Agharta (Music on Vinyl) LP
Miles Davis: Kind of Blue (Legacy) LP
Depeche Mode: Spirit (Sony) LP
Father John Misty: Pure Comedy (Sub Pop) LP
Father John Misty: I Love You Honeybear (Sub Pop) LP
Future Islands: Singles (4AD) LP
Steve Gunn: Eyes on the Lines (Matador) LP
Herbie Hancock: Thrust (Music on Vinyl) LP
Jamie XX: In Colour (Young Turks) LP
Jonsi & Alex: Riceboy Sleeps (XL) LP
The National: Alligator (Beggars) LP
The National: Boxer (Beggars) LP
The National: High Violet (4AD) LP
The National: Trouble Will Find Me (4AD) LP
Anderson.Paak: Malibu (Obe) LP
Anderson.Paak: Venice (Obe) LP
Parquet Courts: Human Performance (Rough Trade) LP
Pink Floyd: Dark Side of the Moon (Pink Floyd) LP
Pink Floyd: Animals (Pink Floyd) LP
Pink Floyd: Meddle (Pink Floyd) LP
Pink Floyd: Obscured by Clouds (Pink Floyd) LP
Radiohead: Kid A (XL) LP
Radiohead: Hail to the Thief (XL) LP
Radiohead: Ok Computer (XL) LP
Radiohead: In Rainbows (XL) LP
Radiohead: Pablo Honey (XL) LP
Radiohead: The Bends (XL) LP
Run the Jewels: Run the Jewels (Mass Appeal) LP
The Shins: Heartworms (Columbia) LP
Stooges: s/t (Rhino) LP
Sunn o))): Black One (Southern Lord) LP
Vampire Weekend: s/t (XL) LP
Vampire Weekend: Modern Vampires in the City (XL) LP
Vampire Weekend: Contra (XL) LP
War on Drugs: Lost in the Dreams (Jagjaguwar) LP
XX: s/t (XL) LP
XX: Coexist (XL) LP