…..new letters #812 – pup…..

Some killer stuff this week! Just LOOK at the cover for that Acid Nightmares comp, just this book by its cover! Finally some Alvvays vinyl. And a fraction of what we ordered of the Metz. Go figure.

…..pick of the week…..

warfaring-strangers-acid-nightmares-1Various: Wayfaring Strangers: Acid Nightmares (Numero) LP/CD
As the hippie movement hurdled towards its emanate demise, bad vibes infiltrated the rock world. Tainted LSD, loud motorcycles, and a series of brutal deaths spawned inspiration for guitar-wielding teenagers across the globe. Implementing deafening fuzz and satanic screams to create their protometal monstrosities, short-lived stoner bands pressed their lysergic experiments in microscopic quantities before blacking out entirely. Lifted from the ashes of the acid rock hell fire are 18 distorted tales of dope fiends, pill poppers, and the baddest of trips. Deluxe 2LP comes housed in a blacklight poster-style jacket, replete with flocking and lysergic neon. 24 pages documenting the creeping existential dread of the hard rock underground are tucked into the gatefold pocket alongside two dead dinosaur-heavy LPs. Compact disc is packaged in standard Numero slipcase, with digipak and 40-page book, limited to 2000 copies.

File Under: Psych, Rock, Fuzz
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…..new arrivals…..

whigs3

Afghan Whigs: Congregation (Sub Pop) LP
Founded in Cincinnati, OH in 1988, The Afghan Whigs have long stood out from their peers, with a savage, rapturous blend of hard rock, classic soul, and frontman Greg Dulli’s searing angst and obsessions. The band’s first three releases on Sub Pop Records – Up In It, Congregation and the Uptown Avondale EP will be reissued on 180g vinyl via the label in September 2017. Both Congregation and Up In It have been out of print on the format for several years and Uptown Avondale has never been available in the U.S. until now. 1992’s Congregation, The Afghan Whigs’ breakthrough third album, finds the band’s soul and psychedelic influences shining through like never before, elements which would help shape their sound for years to come. Congregation has been out of print on vinyl since its original pressing sold out many years ago.

File Under: Indie Rock
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whigs2

Afghan Whigs: Up In It (Sub Pop) LP
Founded in Cincinnati, OH in 1988, The Afghan Whigs have long stood out from their peers, with a savage, rapturous blend of hard rock, classic soul, and frontman Greg Dulli’s searing angst and obsessions. The band’s first three releases on Sub Pop Records – Up In It, Congregation and the Uptown Avondale EP will be reissued on 180g vinyl via the label in September 2017. Both Congregation and Up In It have been out of print on the format for several years and Uptown Avondale has never been available in the U.S. until now. Up In It is The Afghan Whigs’ second full-length and their Sub Pop debut. Featuring the powerful and provoking “Retarded,” “White Trash Party,” and “I Know Your Little Secret,” the 1990 album – recorded by legendary producer Jack Endino – was critically acclaimed and garnered strong college-radio airplay. It’s been out of print on vinyl for over 25 years. Single-LP jacket and custom dust-sleeve.

File Under: Indie Rock
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whigs1

Afghan Whigs: Uptown Avondale (Sub Pop) LP
Founded in Cincinnati, OH in 1988, The Afghan Whigs have long stood out from their peers, with a savage, rapturous blend of hard rock, classic soul, and frontman Greg Dulli’s searing angst and obsessions. The band’s first three releases on Sub Pop Records – Up In It, Congregation and the Uptown Avondale EP will be reissued on 180g vinyl via the label in September 2017. Both Congregation and Up In It have been out of print on the format for several years and Uptown Avondale has never been available in the U.S. until now. The 5-track Uptown Avondale EP, released shortly after Congregation, finds The Afghan Whigs paying tribute to their soul-music influences and performing covers of Stax and Motown classics. Its only previous vinyl pressing was a short European run in 1992.

 File Under: Indie Rock
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alvvays

Alvvays: Antisocialites (Royal Mountain) LP
FINALLY IN TOMORROW! Antisocialites is the much-anticipated follow-up to Alvvays’ 2014 self-titled debut. Across its 10 tracks and 33 minutes the Toronto-based group dive back into the deep end of reckless romance and altered dates. Through thoughtful consideration in basement and abroad, Alvvays has renewed its Scot-pop vows with a powerful new collection of manic emotional collage. The album opens with the excellent strum-‘n-thrummer “In Undertow,” a hi-amp breakup fantasy that is both crushing and charming for its level-headedness. Replete with more songs about drinking (“Forget About Life,” “Hey”), drugging (“Lollipop (Ode To Jim)”), and drowning (“Already Gone”), Antisocialites is a multipolar period piece fueled by isolation and loss. Perversely enjoyable dark drama springs from Molly Rankin’s phonetic twists, quick-sung rhymes and irreverent syllable-play. “So morose for me, seeing ghosts of me, writing oaths to me,” the self-described introvert sings on the Cocteau-pop stunner “Dreams Tonite,” the song from which the album’s name is derived. Antisocialites details a world of ice cream truck jingles and radiophonic workshop noise, where Rankin’s shining wit is refracted through crystalline counterpoint. “Not My Baby” is a centerpiece, a meditation on the rapture of escape following the sadness of separation. Elsewhere, “Plimsoll Punks” is the band’s answer to Television Personalities’ “Part-Time Punks” and a winking surf opus indictment of the self-righteous who intend to condescend. Molly wrote the rapid-fire sugar stream “Lollipop (Ode to Jim)” after singing “Just Like Honey” with Jesus and Mary Chain. “Your Type” is a beautiful primitive stomp about running around Paris with vomit on your feet post-Louvre ejection. The record concludes with a movement that is at once stark and celebratory. On “Forget About Life,” the apartment stands in disarray as undrinkable wine is inhaled: “When the failures of the past multiply and you trivialize the things that keep your hand from mine, did you want to forget about life with me tonite?” The resonant freaks in Rankin’s tales don’t find much resolve, but with equal doses of black humor and heartstring-tugging, Antisocialites rings a truer tone.

File Under: Indie Rock
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pink

Ariel Pink: Dedicated to Bobby James (Mexican Summer) LP
ARIEL PINK’s new album, Dedicated to Bobby Jameson is his first solo album since his highly acclaimed 2014 prog-pop opus pom pom, and first full-length release on Mexican Summer. The new release’s title makes a direct and heartfelt reference to a real-life Los Angeles musician, long presumed dead, who resurfaced online in 2007 after 35 reclusive years to pen his autobiography and tragic life story. Los Angeles’s prodigal songwriting son Ariel Pink offers up his eleventh studio effort, Dedicated to Bobby Jameson. The album’s title makes a direct and heartfelt reference to a real-life L.A. musician, long presumed dead, who resurfaced online in 2007 after 35 reclusive years to pen his autobiography and tragic life story in a series of blogs and YouTube tirades. “His book and life resonated with me to such a degree,” Pink states, “that I felt a need to dedicate my latest record to him.” Dedicated to Bobby Jameson begins at the end and ends at the beginning. “We follow the protagonist through a battery of tests and milestones, the first of which sees him reborn into life out of death,” Pink explains, referencing the opening track “Time To Meet Your God.” “From there, he seesaws his way between the innocent love and the rock-solid edifice of childhood-worn trauma that together constitute his lifelong initiation into the realm of artifice and theatrical disposability.” Building upon his singular vision of pop songcraft, established by such seminal records as The Doldrums, Worn Copy, House Arrest, Loverboy, Before Today, Mature Themes, and Pom Pom, Pink revisits themes that have haunted his sonic cinemascapes since the late 1990s: mismanaged dreams, west coast mythologies, itinerant criminals, haunted boulevards, Hollywood legends, the impermanence of romance, bubblegum artifice, movie stardom, childhood terror, acceptance of self, and narcissism projected through a celluloid filter of controversion. Standout tracks here include “Feels Like Heaven,” a lovelorn insta-classic paying tribute to the promise of romance, “Another Weekend,” which encapsulates the lingering euphoria of a regrettable weekend over the edge, “Dedicated to Bobby Jameson,” a rah-rah psych romp paying homage to L.A.’s punk history, and “Time to Live,” an ironic anti-suicide anthem that promotes survival as a form of resistance before devolving into a grungy, “Video Killed the Radio Star”-style breakdown that supposes life and death as being more or less the same fate and embraces the immortal anarchy of a rock song as an alternative to the prison of reality. Alternately contained and sprawling, Dedicated to Bobby Jameson is a shimmering pop odyssey that represents more astonishing peaks and menacing valleys in the career of a man who, through sheer originality and nerve, has become an American rock and roll institution.

File Under: Indie Rock
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cut copy

Cut Copy: Haiku From Zero (Astralwerks) LP
In tomorrow… first copies include bonus 7″! Cut Copy returns with Haiku From Zero, their first proper studio album in nearly four years and first with Astralwerks. The new record showcases a band in full command of their powers to move people both emotionally and physically. Written and recorded at studios around the world (Melbourne, Copenhagen, Washington, DC, New York, Atlanta), the 9-tracks present a united sonic front, due in no small part to the guiding ear of producer Ben Allen (Deerhunter, Animal Collective, Neon Indian). Songs like “Counting Down” and “Living Upside Down” offer glimpses of beauty in a state of disco-fueled flux. And single “Standing in the Middle of the Field” announces a theme that percolates throughout Haiku From Zero – the need to cut through the noise, a desire to focus. Amid a backdrop of loping kalimbas, cowbells and bubbly synths, lead singer Dan Whitford’s plaintive voice offers some emotional advice in the lyrics, “You gotta give up the things you love to make it better.” “So much of this album is about this mosaic of information, images that we’re surrounded by on a day-to-day basis,” says Whitford. “Sometimes it feels like overload, but there’s a weird random beauty in it. The idea of squeezing poetry from chaos was where the title of the album came from – the idea of finding something poetic in the overload.”

File Under: Electronic, Synth Pop
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light it up

Hot Water Music: Light It Up (Rise) LP
Gainesville, FL’s Hot Water Music return with Light It Up, their second for Rise Records following 2012’s Exister. Ushered in by the anthemic lead single “Never Going Back,” the 12-track album was self-produced and serves as a prime example of a band remaining vital and increasingly relevant throughout a 25-year career. “The most exciting part about this record for us was self-producing and being in control from start to finish,” the band notes. “We haven’t made a record this way since Fuel For The Hate Game. As frightening as it was to not have the safety net and sounding board of a producer, it was just as liberating to make a record that is 100% Hot Water Music, scars and all.”

File Under: Punk
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beyiIbeyi: Ash (XL) LP
Their first album, the eponymous Ibeyi, grappled with the past—the sister’s relationship, origins, loss, and roots. It earned them fans and collaborators in some of the most iconic and crucial artists of today, Beyoncé and the Alvin Ailey American Dance Theatre included. By contrast, Ash is a more visceral and potent political statement, and while firmly rooted in Afro-Cuban culture and history, it finds itself entirely  concerned with Ibeyi’s present: Who Lisa-Kaindé and Naomi are, what’s important to them, and how they live today, especially given that the spheres, both personally and politically, are entirely different from when the first album was recorded. It’s also a testament to their cathartic live performances, where they’re able to transmute a vast array of emotions—sorrow, anger, sensuality, happiness—to and through their fans. Ash is also a study in deft electronic production. Ibeyi worked once again alongside XL head Richard Russell, a confidante and friend, to produce Ash at his studio. “We absolutely wanted, 100%, to work with him again: It was not even a question,” Lisa-Kaindé says. “Richard is an amazing producer…wherever you want to go, he will guide you there. But it feels like you’re playing with him. You’re sharing ideas together and he has an amazing ear. It’s like a flow, it’s really easy.” To that effect, Naomi adds: “It’s like we produced the album too, actually, and it’s a good feeling.” Along with Russell’s stylized production sensibilities, Ibeyi drew from a host of influences ranging from Kendrick Lamar, Jay Electronica, Meshell Ndegeocello, Erykah Badu and Nina Simone and beyond, to craft the wide-ranging musical landscape of Ash. In a recent cover story for The FADER titled “Ibeyi’s Home” the twins traveled to Cuba to retrace their Afro-Cuban roots. The cover story touched on Ibeyi’s sophomore album which includes appearances from Kamasi Washington, Chilly Gonzales, La Mala Rodriguez and Meshell Ndegeocello. Premiere single “Away Away” pushes forward the unique, cross-cultural sound that Ibeyi have become so widely recognized for. The duo, who split their time between Paris, Cuba and London, explain that the song is about “looking out onto the world’s craziness, which is symbolized by the sirens heard in the track, and wondering if the promises of a better world will be made true?”

File Under: Indie Rock
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kadavar

Kadavar: Rough Times (Nuclear Blast) LP
In the beginning of 2017 German trio Kadavar prepared to start a new album cycle by literally rolling up their sleeves and building a brand new recording studio from scratch. Over 100 square meters inside an industrial complex in the area of Neukölln in Berlin is now their creative haven and workplace alike, and this is where the follow-up to 2015’s Berlin took form. “We have been giving it quite a lot of thought, how we want to continue after the last album,” says drummer Tiger. “Maybe I try not to only be a musician, but to think, write and play like an artist. It sounds corny, but I mean it in the way a brick layer differs from an architecht. Not to only lay brick by brick, but create a nice vision of a house with different rooms.” Intentionally or not, the act of manual labor – like building a house in arrival of a new baby – gives a poetic layer to the album process for Rough Times. “It is a big challenge,” Simon ‘Dragon’ Bouteloup adds. “But also a positive period where we are able to question everything we’ve already established in order to move forward as a band. We would not respect ourselves and our followers by putting out just another Kadavar album. It needs to be different and hopefully better!” They might have eased up on the competitive attitude, but don’t believe for a second the hunger is gone. Take it from Lupus ‘Wolf’ Lindemann himself: “When you realize you have taken it to the next level, where you can live from music and see the world – you work your ass off to keep that. What else should we do? We are useless in the normal world. And maybe it looks harder than it is…” Their secret seems to be boiled down and brewed from three ingredients: an accessible yet personalized brand of classic rock; a no-frills approach to everything they do (“minimal arrangement, maximum effect”); and that undeniable German tenacity, yet again.

File Under: Metal
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leo

Ted Leo: The Hanged Man (Super Ego) LP
The Hanged Man is Ted Leo’s first solo album in nearly a decade, following his 2014 Aimee Mann collaboration The Both and 2010’s The Brutalist Bricks with The Pharmacists. The 14-track collection was recorded at a home studio in Wakefield, Rhode Island with the singer/songwriter manning almost all of the instruments. The streamlined LP features Leo’s familiar sharp bursts of skinny-tie pop-punk offset with an adventurousness in both tone and structure. The Hanged Man features contributions from Chris Wilson (The Pharmacists), Aimee Mann (The Both), Jean Grae and Jonathan Coulton and is ushered in by the urgent lead single “You’re Like Me.”

File Under: Indie Rock
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METZ_StrangePeace_COVER

Metz: Strange Peace (Royal Mountain) LP
Since releasing their self-titled debut record in 2012, which The New Yorker called, “One of the year’s best albums…a punishing, noisy, exhilarating thing,” the Toronto-based 3-piece METZ have garnered international acclaim as one of the most electrifying and forceful live acts, touring widely and extensively, playing hundreds of shows each year around the world. Now, Alex Edkins (guitar, vocals), along with Hayden Menzies (drums), and Chris Slorach (bass) are set to unleash their highly-anticipated third full-length album, Strange Peace, an emphatic but artful hammer swing to the status quo. “The best punk isn’t an assault as much as it’s a challenge — to what’s normal, to what’s comfortable, or simply to what’s expected. Teetering on the edge of perpetual implosion,” NPR wrote in their glowing review of METZ’s 2015 second album, II. Strange Peace was recorded in Chicago, live off the floor to tape with Steve Albini. The result is a distinct artistic maturation into new and alarming territory, frantically pushing past where the band has gone before, while capturing the notorious intensity of their live show. The trio continued to assemble the album (including home recordings, additional instrumentation) in their hometown, adding the finishing touches with longtime collaborator, engineer and mixer, Graham Walsh. Strange Peace isn’t merely a collection of eleven uninhibited and urgent songs. It’s also a kind of sonic venting, a truculent social commentary that bludgeons and provokes, excites and unsettles. With all the pleasurable tension and anxiety of a fever dream, Strange Peace is equal parts- challenging and accessible. It is this implausible balancing act, moving from one end of the musical spectrum to the other, that only a band of METZ’s power and capacity can maintain: discordant and melodic, powerful and controlled, meticulous and instinctive, subtle and complex, precise and reckless, wholehearted and merciless, brutal and optimistic, terrifying and fun. “Their whiplash of distortion is made with precision, a contained chaos. But you would never talk about them like that. Because METZ are not something you study or analyze,” wrote Liisa Ladouceur in Exclaim! “They are something you feel: a transfer of energy, pure and simple.” In other words: to feel something, fiercely and intensely, but together, not alone.

File Under: Punk
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twinpeaks

OST: Twin Peaks 2017 Score (Rhino) LP
Now in stock! The score from the new Twin Peaks series, which includes a lot of highlights from the original series score as well.. coloured vinyl.

File Under: OST
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sakamotoRyuichi Sakamoto: Async (Milan) LP
As one-third of Yellow Magic Orchestra and an Academy Award-winning composer for his work on the soundtrack for The Last Emperor, synth pop innovator Ryuichi Sakamoto is among the most groundbreaking artists to have emerged since the late-70s. A musician’s musician, Sakamoto has created intriguing musical unions with artists such as David Sylvian, Iggy Pop, Tony Williams, Bootsy Collins, Jacques Morelenbaum and many others. Async is Sakamoto’s first studio album in eight years and his most personal release as it follows a long fight against cancer from which Sakamoto emerged with a renewed and passionate creative energy. “What kind of “sounds/music” do I want to listen to?” Async is the answer to this question Ryuichi has asked himself for the past several years. This is the album he is the most proud of which synthesizes all of his musical and sound interests. This is a journey through analog synth, the sounds of things and of places, an imaginary soundtrack to an Andrei Tarkovsky film and many others musical surprises.

File Under: Ambient, Modern Classical
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sannhet

Sannhet: So Numb (Profound Lore) LP
Brooklyn instrumental post-metal power trio Sannhet formed in late 2010 and since then have been recognized as one of the most promising and newer prominent bands within the genre. Their last, sophomore album Revisionist (Flenser Records), was praised across the board, one of the most celebrated albums in this specific genre of that year, and now with their new full-length So Numb they have delivered their most transcendent album to date. For this album the band enlisted respected producer Peter Katis (The National, Interpol, Japandroids, Kurt Vile) who was essential in helping the trio reach a new level with their sound, going beyond the typical trappings of post-metal and expanding it into the realms of electronic, experimental, and ambient, while still upholding their heavy and punishing sound. The trio created songs with a stronger focus on songwriting, with more memorable and evocative melodies permeating the entire album, making it a listening experience like no other.

File Under: Metal
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SHINDIG!-71

Shindig #71 Mag
In this issue: The Rolling Stones – 2,000 light years from home: The making of Their Satanic Majesties Request. Plus; Captain Beefheart – Safe As Milk re-opened. PP Arnord – Lost masterpiece. Also: The Lost / The Clientele / The Solarflares / Trevor Burton / Pentangle / Aussi Psych / Colorama / Coven /Mary Epworth.

File Under: Reading

slits

Slits: Return of the Giant Slits (Real Gone) LP
Labeling The Slits groundbreaking just doesn’t cut it. No other post-punk band was as confrontational – an all-female trio calling themselves The Slits and posing muddily topless on their debut album cover was about as in-your-face as a feminist statement gets – or as determinedly uncommercial. Indeed, after being dropped by their label, Island, despite having made Cut, of the signature albums of the era, Viv Albertine, Tessa Pollitt, and Ari Up treated Sony, their new label, to an even more radical record, 1981’s Return of the Giant Slits. Already far removed from the male-dominated, louder-faster ethos of punk rock, The Slits, with new drummer Bruce Smith of The Pop Group and multi-instrumentalist Steve Beresford in tow, added world music and free jazz to Up’s Ono-esque ululations, Albertine’s skittering guitar, and Pollitt’s dubwise bass riddims. Predictably, Sony dropped the record like a hot potato, not even bothering to release it in the U.S., and it has only been intermittently available on CD in the 35-plus years since. But the reputation of Return of the Giant Slits has continued to grow, with Albertine herself recently commenting, “It’s more experimental than Cut and brings in even wider musical influences. In some ways, I think it’s a better record.” Real Gone Music offers up a colored vinyl pressing (including the original printed inner sleeve) of Return of the Giant Slits complete with a fresh remastering by Maria Triana at Battery Studios in New York. This record demands to be in your collection…you can trace the beginning of the whole “riot grrrl” movement to right here!

File Under: Punk
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torres

Torres:  Three Futures (4AD) LP
4AD will release Three Futures, the third full-length album from TORRES, the creative alter-ego of Brooklyn-based Mackenzie Scott. Three Futures follows 2015’s breakthrough Sprinter, which was lauded across the board – from The Observer who called it “astonishing”, to Pitchfork scoring it 8.0, and the New York Times who claimed “her music can smoulder while she considers exactly where she stands, and roar into feedback-edged howls when her rage or despair boil over.” In describing the album, Scott says it “is entirely about using the body that each of us has been given as a mechanism of joy.” The 10 original tracks on Three Futures embrace ecstasy, desire and indulgence rather than self-denial, and exude this idea via immersive music. Mechanized grooves are placed at the forefront: perforated electro-pop static, gothic industrial’s harsh textures and insistent Kraut rock.

File Under: Indie Rock
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un

Unsane: Sterilize (Southern Lord) LP
Since 1988, legendary NYC-based noise rock outfit Unsane has pounded the planet with their caustic grooves and foundation-crumbling riffs, having released LPs through a wide range of labels including Matador/Atlantic, Amphetamine Reptile, Relapse, Ipecac, Alternative Tentacles, and others, not to mention a wide range of singles, splits, and live albums. The band’s gnarled blend of punk, metal, noise, and hardcore helping to define the “AmRep sound” alongside other forerunners of the style, Today Is The Day, The Jesus Lizard, Helmet, Tad, Cows, Halo Of Flies, Melvins, and others. Closing a five-year gap since the 2012 release of their Wreck LP through Alternative Tentacles, Unsane makes a vicious return on Southern Lord with the pummeling Sterilize, a record that recalls the most defining elements of the band’s seminal Scattered, Smothered, And Covered and Occupational Hazard albums, surging with the band’s unrelenting singular sound created by guitarist/vocalist Chris Spencer, bassist/vocalist Dave Curran, and drummer Vinnie Signorelli. Sterilize was produced by Unsane, recorded by Dave Curran at Gatos Trail Studios in Yucca Valley, CA, mixed by Andrew Schneider at Acre in New York City, and mastered by Carl Saff at Saff Mastering in Chicago. Sterilize showcases Unsane sounding as dense and damaging as ever, and sees them remaining as necessary as ever, nearly three decades since they began.

File Under: Noise Rock, Metal
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washington

Kamasi Washington: Harmony of Difference (Young Turks) 12″
Avant-garde jazz titan Kamasi Washington premiered Harmony of Difference, an original six-movement suite, as part of 2017’s Whitney Biennial. The EP is the first new music from Washington since his universally acclaimed 2015 debut album The Epic. Harmony of Difference explores the philosophical possibilities of the musical technique known as “counterpoint,” which Washington defines as “the art of balancing similarity and difference to create harmony between separate melodies.” Washington’s suite includes visual elements married to the musical works and draws voraciously on jazz for its foundation. Each of the first five movements is its own unique composition. “Truth,” the sixth movement, fuses all five compositions into one simultaneous performance. Beyond the artistic impulse to expand the possibilities within counterpoint, Washington wanted to create something that opened people’s minds to the gift of diversity. In his own words, “my hope is that witnessing the beautiful harmony created by merging different musical melodies will help people realize the beauty in our own differences.”

File Under: Jazz
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erased

Various: Collection VIII (Erased Tapes) LP+Tote Bag
On February 5th 2017 Erased Tapes opened the doors to their new East London home, marking the 10th anniversary by introducing their fans and the public to the new Erased Tapes Sound Gallery. Coinciding with the takeover of London’s Southbank Centre, September 8th sees the release of the latest annual compilation Erased Tapes Collection VIII as a highly limited transparent 2-LP set. Initially founded by German-born Robert Raths in 2007, the London-based label has grown and extended across the world with satellite offices in Los Angeles and Berlin. Spanning over ten years, Erased Tapes has nurtured avant-garde artists from all around the world whilst remaining genre-defying and truly independent. Commencing these celebrations with a new compilation entitled Erased Tapes Collection VIII, they also welcome the iconic Penguin Cafe to the roster amongst tracks from new signing Daniel Brandt (of Brandt Brauer Frick) and Peter Broderick’s duo project Allred & Broderick. It also includes recent compositions by Rival Consoles, A Winged Victory For The Sullen, Ben Lukas Boysen, Douglas Dare and Immix Ensemble & Vessel, as well as a previously unreleased Ryan Davis remix of Erased Tapes stalwarts Ólafur Arnalds & Nils Frahm which was recently favoured by Aphex Twin and an exclusive edit of Woodkid & Nils Frahm’s score for JR’s Ellis, with spoken words by Robert De Niro.

File Under: Ambient
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jesus

Various: Jesus Rocked the Jukebox (Craft) LP
In tomorrow… The triple vinyl Craft Recordings/Concord Music Group compilation Jesus Rocked the Jukebox: Small Group Black Gospel (1951-1965) offers a spirited celebration of some of the most foundational songs in American musical history, tracing the evolution of the modern Soul, R&B, and Rock n’ Roll genres via the likes of The Blind Boys of Alabama, The Swan Silvertones, The Staple Singers, Sam Cooke, and The Chosen Gospel Singers featuring Lou Rawls among many others!

File Under: Gospel, R&B, Soul
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…..Restocks…..

Alabama Shakes: Boys & Girls (ATO) LP
Baby Huey: The Living Legend (Curtom) LP
Bjork: Vespertine (One Little Indian) LP
Booker T. & The MGs: Green Onions (Rhino) LP
Nick Cave: Skeleton Tree (Bad Seed) LP
CCR: Chronicle Vol 1 (Fantasy) LP
Comus: First Utterance (Getback) LP
Creation: Action Painting (Numero) LP
Miles Davis: On The Corner (Music on Vinyl) LP
J Dilla: Donuts (Stones Throw) LP
Brian Eno: Taking Tiger Mountain (By Strategy) (Astralwerks) LP
Equatics: Doin’ It (Now Again) LP
Funkadelic: s/t (Westbound) LP
Green Day: Dookie (Warner) LP
Billie Holiday: 3 Classic Albums (Real Gone) 3LP
Jason Isbell: Nashville Sound (Thirty Tigers) LP
King Gizzard & The Lizard Wizard: Flying Microtonal Banana (ATO) LP
King Gizzard & The Lizard Wizard: Nonagon Infinitey (ATO) LP
Kendrick Lamar: To Pimp A Butterfly (Aftermath) LP
LCD Soundsystem: American Dream (Sony) LP
Melvins: Ozma/Bullhead (Boner) LP
Melvins: Eggnog/Lice-all (Boner) LP
Neutral Milk Hotel: In The Aeroplane Over the Sea (Merge) LP
Lee Scratch Perry: Super Ape (Get on Down) LP
Slowdive: s/t (Dead Oceans) LP
Tragically Hip: Day for Night (UniversAl) LP
Tragically Hip: Live Between Us (Universal) LP
Tragically Hip: Phantom Power (Universal) LP
Tragically Hip: Road Apples (Universal) LP
Townes Van Zandt: Delta Momma Blues (Fat Possum) LP
Townes Van Zandt: s/t (Fat Possum) LP
Colter Wall: s/t (Sony) LP
White Zombie: It Came From NYC (Numero) 5LP Box
Neil Young: Harvest (Reprise) LP

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