…..news letter #882 – re-up…..

Finally! Some sweet new stock, too bad it’s too cold to leave the house… wait, you could stop on your way home from work so you have new tunes to shut in for the weekend. Brilliant. And how about them restocks!

Oh ya… and if you follow us on Instagram, you know we’re still putting out amazing used stuff on the regular. If you don’t follow us on Instagram, WHY NOT?! And now you know.


…..picks of the week…..


Laurie Spiegel: The Unseen World (Unseen Worlds) 2LP
Laurie Spiegel’s second full-length album, Unseen Worlds, arrived just over ten years after her debut album.  Having realized the pieces found on The Expanding Universe (1980) on an instrument no longer available to her, the GROOVE System at Bell Laboratories, Spiegel moved on to composing and developing for the Alles Machine, alphaSyntauri, McLeyvier and various other instruments before creating an instrument entirely her own. Spiegel created “Music Mouse – An Intelligent Instrument” on a Macintosh 512k so that she could have an instrument that was not general purpose but a small, specialized, and well defined musical instrument for and by her that she did not have to compromise on or risk losing access to it.  While it was a very personal instrument for Spiegel, demand among friends and colleagues nevertheless grew until “Music Mouse – An Intelligent Instrument” became a commercial product for the Macintosh, Amiga, and Atari personal computers with a devoted popular following that continues to this day, despite the obsoletion of those platforms.  At the time of her Unseen Worlds album’s original release in 1991, the issuing record label turned out to be going out of business, dissolved and disappeared, sending the album immediately into obscurity.  Outside of a private CD edition issued by Spiegel on her own Aesthetic Engineering label in 1994, this new edition represents the first proper commercial release of Unseen Worlds.

File Under: Ambient, Electronic
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Steve Gunn: The Unseen In Between (Matador) LP
For over a decade, guitarist/vocalist Steve Gunn has been one of American music’s most pivotal figures – conjuring immersive and psychedelic sonic landscapes both live and on record, releasing revered solo albums ranking high on in-the-know end of year lists, alongside exploratory collaborations with artists as diverse as Mike Cooper, Kurt Vile, and Michael Chapman. Gunn is known for telling other people’s stories, but on his breakthrough fourth album, The Unseen In Between, he explores his own emotional landscapes with his most complex, fully realized songs to date. The lyrics evoke voyages, tempests (actual and emotional), and a rich cast of characters met along the way – the work of an artist finding a place of calm in the midst of a storm. Produced by frequent collaborator James Elkington and engineered by Daniel Schlett, the immaculately recorded LP forces a reassessment of Gunn’s standing in the pantheon of the era’s great songwriters. Getting to The Unseen In Between itself was not easy for Gunn. In the summer of 2016, Gunn released Eyes On The Lines, his winning and elliptical debut for Matador. It should have been a triumphant moment, but exactly two weeks later, Gunn’s father and namesake died following a two-year struggle with cancer. This experience yielded the emotional centerpiece of the album. “Stonehurst Cowboy” is a duet for Gunn’s raw acoustic guitar and spare basslines by Bob Dylan’s musical director Tony Garnier, who’s featured throughout the album. The song distills the lessons Gunn learned from his father and it is a solemn but tender remembrance, a tribute to his father’s reputation as a tough, wise, and witty guy from far west Philadelphia. A sense of musical renewal and emotional complexity fits the new songs perfectly; “Luciano” seems to be about the chemistry between a bodega owner and his cat, an unspoken romance of gentle obedience and quiet gestures. But Gunn peers below the relationship’s surface and wonders about the owner’s lonely future once the cat is gone, a devastating meditation wrapped in soft strings. And then there’s “Vagabond,” Gunn’s graceful attempt to humanize a rich cast of characters whose lives have gone astray, wanderers who live outside of society’s modern safety net, who pursue “a crooked dream” in spite of what the world expects. Supported by the perfect harmonies of Meg Baird, Gunn finds something lovely in the unloved. In a final contrast, “Morning is Mended” is an acoustic beauty so resplendent it ranks alongside Sandy Denny or Jackson C. Frank. Buoyed by a melody that sparkles like sunlight on still water, Gunn acknowledges the hardships around him, the feeling of being a “nothing sky,” and then moves forward into the world, walking tall into the fresh morning. The song is an apt encapsulation of The Unseen In Between, a gorgeously empathetic record that attempts to recognize the worries of the world and offer some timely assurance. It is a revelatory and redemptive set, offering the balm of understanding at a time when that seems in very short supply.

File Under: Indie Rock, Folk
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…..new arrivals…..


C.I.A.: The C.I.A. (In The Red) LP
“This record is an encapsulation. The omnipresent fear and anger. Why? And what is really going on? Consternation…today…There is difficulty, frustration, strain and a large snake. You can feel the pressure of it breathing on the streets, in media, and in your lunch. This s/t, by The C.I.A., is an urgent musical notice. I feel it immediately. The pointed vocal cadence and lyrics of Denée Segal is a sharp scythe, and the actual time is…now. “I feel the same distress call and disposition from Crass records like Penis Envy or DIRT. In fact, if you took that, mixed in “Black Silk Stocking” by Chrisma and a touch of early Nic Endo (Atari Teenage Riot) and even Dinah Cancer (45 Grave) Autopsy era, you can get a feeling. And, similarly to those mentioned, Denée is putting a time stamp on this time. The spirit and her viability is strong in many a corner, and in many a heart. The alarm is ringing. “This is survival sound, put on record well backed by Ty Segall and Emmett Kelly, who have added anything-must-happen, mercurial, constantly moving instrumentation. The sounds, consistent with unique monochrome, move like an engine, made gas-tight by piston rings. Sonic rings moving in tight machine patterns. And at the vocal helm is Denée, steering this machine in vocal directions across an exclamation point motorway. No salt, all salt. Traction and reaction. They built a sound machine with, and for each other. Survival sound lifts its head up when it needs to. Thankfully it gets put on record and released when it needs to.” – Tim Presley

File Under: Punk, Rock, Psych
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Daktaris: Soul Explosion (Daptone) LP
Available again! Originally released on DESCO records in the ’90s this album is the start of it all. Upon it’s release the identities of the members and the origin of the group was like a game of telephone – the fact that the liner notes were a piece of pure fiction only intensified this. But the truth is the core members of this group went on to form The Dap Kings and Antibalas. It also features Jojo Kou who had formerly played drums and percussion for Fela Kuti, How’s that for a super group! Regardless The Daktaris’ Soul Explosion is one of the finest pieces of Afro-funk you’ll ever hear. 15 years later this still remains one of Daptone’s best sellers. Dig it!

File Under: Funk, Afrobeat
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Deerhunter: Why Hasn’t Everything Already Disappeared? (4AD) LP
How do you describe an album out of time, concerned with the disappearance of culture, of humanity, of nature, of logic and emotion? Why make this album in an era when attention spans have been reduced to next to nothing, and the tactile grains of making music have been further reduced to algorithms and projected playlist placement. Why wake up in the morning? Why hasn’t everything already disappeared? Deerhunter’s eighth LP forgets the questions and makes up unrelated answers. It gets up, walks around, it records itself in several strategic geographic points across North America. It comes home, restructures itself and goes back to bed to avoid the bad news. From the opening harpsichord and piano figures of “Death in Midsummer,” it is impossible to tell where the record came from. Is “No One’s Sleeping” an outtake of an aborted Kinks recording session in 1977 Berlin with Eno producing? No. That is nostalgia. If there is one thing Deerhunter are making clear it is that they have exhausted themselves with that toxic concept. What they spend their time doing instead is reinventing their approach to microphones, the drum kit, the harpsichord, the electro-mechanical and synthetic sounds of keyboards. Whatever guitars are left are pure chrome, plugged straight into the mixing desk with no amplifier or vintage warmth. The result is as thrilling, haunting, and unpredictable as anything in their roughly 15 year career. Deerhunter have made a science fiction album about the present.

File Under: Indie Rock
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Fifty Foot Hose: Cauldron (Modern Harmonic) LP
An electronic rock band wasn’t even an idea when Fifty Foot Hose released their landmark debut album at the end of 1967. Their fusion of psychedelia and electronics resulted in a truly trailblazing sound. Cauldron stands as a signal achievement that laid the groundwork for genres that didn’t even exist when it was released. Mastered from the original reels by Bob Irwin and cut by Kevin Gray. Pressed at Third Man Pressing on custom colored vinyl with zine-style insert featuring liners by FFH electronics mastermind Cork Marcheschi and the original sleeve reinterpreted to a centerfold!

File Under: Experimental, Psych, Electronic
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Fifty Foot Hose: Bad Trips (Modern Harmonic) LP
Nobody went full-on electro- rock before Fifty Foot Hose. Before their brief-but-groundbreaking run in the late ‘60s, Bad Trips collects the demos, outtakes, and other rarities that complete the story of a band too far ahead of its time to last. Includes both versions of their multi-speed composition “Bad Trip.” From the pre-Hose tracks of boldly atonal, proto-psychedelic freakout music to early versions of songs that would land on their opus, Bad Trips brazenly displays how Fifty Foot Hose changed the landscape of rock and experimental electronic music. Cut from the original reels by Kevin Gray and pressed on colored vinyl at Third Man in Detroit. Includes notes from Jim Allen of Please Kill Me.

File Under: Experimental, Psych, Electronic
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Nils Frahm: Encores 2 (Erased Tapes) LP
Following the release of Encores 1 on June 1st, Nils Frahm releases of Encores 2, the second in a series of EPs following the release of the universally acclaimed album, All Melody, released in January of this year. While Encores 1 focused on an acoustic pallet of sounds with just a solo piano and harmonium, Encores 2 explores a more ambient landscape from the All Melody sessions, the pinnacle of which is the astral 12 minute showpiece Spells. Recorded through an amplified stone well Frahm found on Mallorca, Encores 2 is at once unique but familiar; orbiting the universe of All Melody while inhabiting its own world.

File Under: Ambient, Neo-Classical
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Jonny Greenwood: There Will Be Blood (Nonesuch) LP
Guitarist/composer Jonny Greenwood’s (Radiohead) Grammy and BAFTA Award – nominated score to writer/director Paul Thomas Anderson’s Academy Award-winning film There Will Be Blood, first released on Nonesuch Records in 2007, will be released on vinyl worldwide for the first time in January 2019. The LP was mastered for vinyl by Graeme Stewart and Christian Wright at Abbey Road Studios and pressed on vinyl at Record Industry in the Netherlands with two additional tracks – “Proven Lands (Intro)” and “De-Tuned Quartet” – and comes in an old-style gatefold jacket. The music is performed by the BBC Concert Orchestra led by Robert Ziegler, the Emperor Quartet, Caroline Dale (cello), and Michael Dussek (piano). “I saw some fairly long sections of the film, read the script, and just wrote loads of music,” Greenwood said of his process for composing the score. “I tried to write to the scenery, and the story rather than specific ‘themes’ for characters. It’s not really the kind of narrative that would suit that. It was all about the underlying menace in the film, the greed, and that against the fucked-up, oppressive religious mood – and this kid in the middle of it all.” “One of the most memorable scores this side of the year 2000,” exclaimed IndieWire when placing There Will Be Blood at No. 2 its list of the 25 Best Movie Scores of the 21st Century. In this adaptation of the Upton Sinclair novel Oil!, starring Daniel Day-Lewis in an Oscar-winning performance, “Greenwood’s work, which is string-heavy and beautifully unsettling, is as memorable as Day-Lewis’ performance…Close your eyes and you can almost feel the oil pulsing beneath the ground.” “Jonny Greenwood’s musical compositions almost become another character in the film,” says Variety. “Think Bernard Herrmann and Taxi Driver, another portrait of a twisted soul, with sound effects and music to match.”

File Under: OST, Radiohead
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Juliana Hatfield: Only Everything (Run Out Groove) LP
Since 1992 when she stepped out from the groundbreaking Blake Babies, a Boston band she founded with other students from the Berklee School of Music, Juliana Hatfield has plowed her own path as a reluctant guitar hero with unique voicing and song structures and an inherent raw power. Quick on the heels of her acclaimed debut Hey Babe (1992) and The Juliana Hatfield Three’s Become What You Are (1993), she released Only Everything (1995), co-produced with Paul Kolderie and Sean Slade (Hole, Radiohead, Dinosaur Jr.) and on which she played the lion’s share of instruments. It captured a harder-edged and more mature Hatfield who had begun to recognize the value of human frailty as an indication of one’s strength of character and no longer the burden evinced in her previous work. “A heart that hurts is a heart that works,” she sang in the anthemic “Universal Heart-Beat” with its robust Marshall-on-11 chorus and snaky lounge-piano verses, a manifesto to the power of feelings, a mantra against emotional indifference and a paean to everyone who knows the value of risking one’s heart. Only Everything is chock full of crunchy, catchy hooks, and not just those found on “Universal Heart-Beat,” although that track did result in another alt-rock hit for Hatfield. Pressed once in Germany, Only Everything hasn’t seen a vinyl reissue in 23 years and is available on vinyl for the first time in the U.S. as Run Out Groove’s latest fan approved release. Sourced from the original masters with lacquers cut at Sam Phillips Recording Studio, it comes pressed as a colored 180g 2LP-set with 4 bonus singles on side 4 courtesy of Record Industry in the Netherlands and is housed in a deluxe gatefold Stoughton jacket.

 File Under: Alt Rock
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ldm23639_Maisha: There is a Place (Brownswood) LP
There’s something universal in the appeal of an escape – of finding somewhere to relax and explore your ideas. It’s a feeling which connects together the different parts of Maisha’s debut album. A deep record which provides grist for serious spiritual rumination, the music prompts internal reflection as much as it reflects the surrounds which shaped it. Each of its tracks provokes a feeling of intense revery which is timeless, on the one hand, but realised through a confluence of sounds and circumstances which are undeniably of the present. The album’s title alludes to a small, secluded park which bandleader Jake Long would often retreat to, whose peaceful surrounds were the setting for regular moments of reflection. It’s also a reference to London. Or to be more specific, the side of London which has helped nurture him and his peers: rehearsal rooms, friend’s houses and intimate venues. Its band members, Amané Suganami, Twm Dylan, Tim Doyle, Yahael Camara-Onono, Shirley Tetteh and Nubya Garcia, the latter of whom played a part in shaping the early sound of the band, are musicians who’ve come through the same circles as Long. It was recorded across three days in mid-2018. The songs have grown out of their live sets over the past year or two, where each of them would take shape in rehearsals to then be tweaked as they worked out different approaches to them in their performances. It’s an organic kind of refinement, and one that’s audible in the music: songs unfold slowly, each of their parts given time to breathe, building up to crescendos which are patiently earnt. It’s possible to trace a personal geography of music, place and memory just through the album’s track titles. On “Osiris,” the track’s beguiling melodies are framed in terms of Egyptian mythology, imagery prompted by old books that Long found in his grandparents’ house; “Azure” hints at the blues forms winding their way through the track’s textured wandering; “Eaglehurst Place,” where a tense, rhythmic groove drives the track forward, is reference to a house share with musical peers like Joe Armon-Jones, Femi Koleoso and Rosie Turton. Spiritual jazz is a tradition that’s leaden with its own traditions, histories and stories. Maisha carve out out their own style through that weight of expectation: they take stock of that history, channeling the greats like Pharoah Sanders, while filtering their own influences – which range from jazz to Afrobeat – through every part of their musical process. It’s a sound which rests on trance-inducing rhythms, instinctive musical interchange and repeated, deeply enriching melodic refrains. It’s a combination which has made for their own singular sound.

File Under: Jazz, Funk, Afrobeat
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cover (1)Lubomyr Melnyk: Fallen Trees (Erased Tapes) LP
The new album by Continuous Piano pioneer and literal force of nature Lubomyr Melnyk, known as ‘the prophet of the piano’ due to his lifelong devotion to his instrument. The album release coincides with Melnyk’s 70th birthday, but despite the autumnal hint in its title, there’s little suggestion of him slowing down. Having received critical acclaim and co-headlining the prestigious Royal Festival Hall as part of the Erased Tapes 10th anniversary celebrations, after many years his audience is now both global and growing. The composer is finally gaining a momentum in his career that matches the vibrant, highly active energy of his playing. Cascades of notes, canyons and rivers of sound: there’s something about his music that channels the natural world at its most awe-inspiring. In Fallen Trees the connection with the environment continues, taking its cue from a long rail journey Melnyk made through Europe. Glancing out of the window as the train passed through a dark forest, he was struck by the sight of trees that had recently been felled. “They were glorious,” he says. “Even though they’d been killed, they weren’t dead. There was something sorrowful there, but also hopeful.” That sense of sadness touched by optimism infuses the album, too: rarely has Melnyk made music so shot through with melancholy and regret, but which sounds so rapt, even radiant. Drawing comparisons with Steve Reich and the post-rock group Godspeed You, Black Emperor!, Pitchfork praised his 2015 album Rivers And Streams for it’s “sustained concentration and ecstatic energy”. That energy is present in Fallen Trees too, but at points the tone is quieter, the mood darker and more wistful. At points elsewhere on the album, despite being rooted in the wonders of the natural world, there’s a kaleidoscopic quality in the fractal flurry of notes and the broad spectrum of colour they summon. The work that gives it its name, the five-part, 20-minute Fallen Trees, is one of the most ambitious and demanding pieces he has ever created. Though the music is – as ever – Melnyk’s own, Fallen Trees once again features a number of Erased Tapes artists. Japanese vocal artist Hatis Noit, whose first EP Illogical Dance came out to much acclaim earlier this year, lends ethereal vocals, floating mysteriously above the surface of Melnyk’s eddying piano lines before diving far beneath. Other contributors include Berlin-based cellist Anne Müller, a sometime collaborator with Nils Frahm, and American singer David Allred, the most recent addition to the label family. “More than any of the albums that I’ve done, it’s a real collaboration,” Melnyk insists, emphasising how much he owes to his producer, Erased Tapes founder Robert Raths.

File Under: Ambient, Neo Classical
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Pearls Before Swine: Balaklava (Drag City) LP
Released in late 1968, the second Pearls Before Swine record continued to deliver music with a preternatural sense of what the youth of America wanted to hear. 1967’s One Nation Underground had been a surprise hit when released by the hipster free-jazz indie label ESP, receiving an incredible organic response. Coming from obscurity in Florida, Tom Rapp and his bandmates felt emboldened to embark upon an evolved piece of record making. Balaklava strips away the manic, post-garage band diversity of the first album, instead grounding the production around Rapp’s guitar and singing, with the touches of instrumental color all the more dramatic and striking. Producer Richard Alderson utilized breathy sweeps of reverb, sound effects, tape manipulation and spoken word recordings along with an array of instrumental overdubs including banjo, marimba, organ, clavinet, flute, English horn and strings (played by the band along with New York jazz session players Bill Salter and Al Shackman, plus The Fugs’ Lee Crabtree and legendary saxophonist Joe Farrell, with Selwart Clarke and Warren Smith contributing string arrangements) to reach for the universal space sought in Rapp’s meditative, existential songs.

File Under: Folk, Psych
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medium_uw09Laurie Spiegel: The Expanding Universe (Unseen Worlds) 3LP
The Expanding Universe is the 1980 debut album by composer and computer music pioneer Laurie Spiegel. The original album is reissued here as a massively expanded 3LP or 2CD set, containing all four original album tracks plus an additional 15 tracks from the same period, nearly all previously unreleased and many making their first appearance on vinyl in this brand new 2018 edition. Since this album’s first reissue in 2012, it has gone on to be widely established as a classic of electronic, ambient, and 20th century classical music.  Some of the well-loved works included in this set are “Patchwork”, the “Appalachian Grove” series, “East River Dawn” and “Kepler’s Harmony of the Worlds”, which was included on the Golden Record launched on board the Voyager spacecraft. The pieces comprising The Expanding Universe combine slowly evolving textures with the emotional richness of intricate counterpoint, harmony, and complex rhythms (John Fahey and J. S. Bach are both cited as major influences in the original cover’s notes), all built of electronic sounds. These works, often grouped with those of Terry Riley, Phil Glass, Steve Reich, differ in their much shorter, clear forms. Composed and realized between 1974 and 1977 on the GROOVE system developed by Max Mathews and F.R. Moore at Bell Laboratories, the pieces on this album were far ahead of their time both in musical content and in how they were made. Each of the included works broke new ground, pioneering completely new methods of live interaction with computer-based logic – ways of creating music that are now reaching the heights of their popularity with Ableton Live, Max/MSP and other interactive music software entering mainstream music production.

File Under: Ambient, New Age, Electronic
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Twilight Sad: It Won’t Be Like This All The Time (Rock Action) LP
From their unassuming origins as a group of school friends drawn together by a shared passion for music to the global touring force (supporting The Cure and Editors at arenas and stadiums), they have quietly become, Scotland’s The Twilight Sad’s ascent has been forged the old way with grit, graft and four exceptional studio albums. Now signed to country mates and seminal rock band, Mogwai’s Rock Action Records, the bands fifth album does not disappoint and will certainly not disappoint fans of their previous works. It will also appeal to fans of The Cure, Frightened Rabbits, The National, Interpol and Editors. The album was produced by the band and recorded in Devon, England but mixed by Greg Calbi at Sterling Sound. Greg has previously worked on albums by Arcade Fire, The National and Interpol.

File Under: Indie Rock
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ldv33116_Sharon Van Etten: Remind Me Tomorrow (Jagjaguwar) LP
Sharon Van Etten’s Remind Me Tomorrow comes four years after Are We There, and reckons with the life that gets lived when you put off the small and inevitable maintenance in favor of something more present. Throughout Remind Me Tomorrow, Van Etten veers towards the driving, dark glimmer moods that have illuminated the edges of her music and pursues them full force. With curling low vocals and brave intimacy, Remind Me Tomorrow is an ambitious album that provokes our most sensitive impulses: reckless affections, spirited nurturing, and tender courage. The songs on Remind Me Tomorrow have been transported from Van Etten’s original demos through John Congleton’s arrangements. Congleton helped flip the signature Sharon Van Etten ratio, making the album more energetic-upbeat than minimal-meditative. The songs are as resonating as ever, the themes are still an honest and subtle approach to love and longing, but Congleton has plucked out new idiosyncrasies from Van Etten’s sound. Van Etten also put down the guitar here. When she was writing the score for Strange Weather her reference was Ry Cooder, so she was playing her guitar constantly and getting either bored or getting writer’s block. At the time, she was sharing a studio space with someone who had a synthesizer and an organ, and she wrote on piano at home, so she naturally gravitated to keys when not working on the score – to clear her mind. Remind Me Tomorrow shows this magnetism towards new instruments: piano keys that churn, deep drones, distinctive sharp drums. It was “reverb universe” she says of the writing. There are intense synths, a propulsive organ, a distorted harmonium. The demo version of “Comeback Kid” was originally a piano ballad, but driven by Van Etten’s assertion that she “didn’t want it to be pretty,” it evolved into a menacing anthem. Cavernous drones pull the freight for “Memorial Day,” which fleshes out an introvert in warrior mode. The spangled “Seventeen” began as a Lucinda Williams-esque dirge but wound up more of a nod to Bruce Springsteen, exploring gentrification and generational patience. Alongside working on Remind Me Tomorrow, Van Etten has been exploring her talents (musical, emotional, otherwise) down other paths. She’s continuing to act, to write scores and soundtrack contributions, and she’s returning to school for psychology. The breadth of these passions, of new careers and projects and lifelong roles, have inflected Remind Me Tomorrow with a wise sense of a warped-time perspective. This is the tension that arches over the album, fusing a pained attentive realism and radiant lightness about new love.

File Under: Indie Rock
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Beak: >>> (Temporary Residence) LP
Bon Iver: For Emma, Forever Ago (Jagjaguwar) LP
Boygenius: s/t (Matador) LP
Charles Bradley: Victim of Love (Daptone) LP
Breeders: Last Splash (4AD) LP
Breeders: Pod (4AD) LP
John Carpenter: Halloween (Sacred Bones) LP
Deafheaven: Sunbather (Deathwish) LP
Death Cab For Cutie: Transatlanticism (Barsuk) LP
Mac Demarco: 2 (Captured Tracks) LP
Mac Demarco: Salad Days (Captured Tracks) LP
DJ Shadow: Endtroducing (Mo Wax) LP
Nils Frahm: Solo (Erased Tapes) LP
Nils Frahm: Spaces (Erased Tapes) LP
Godspeed You Black Emperor: Allelujah (Constellation) LP
Godspeed You Black Emperor: Lift Your Skinny Fists (Constellation) LP
Godspeed You Black Emperor: Luciferian Towers (Constellation) LP
Dexter Gordon: Go (Blue Note) LP
Robert Haigh: Creatures of the Deep (Unseen Worlds) LP
Julia Holter: Aviary (Domino) LP
Hot Snakes: Audit in Progress (Sub Pop) LP
Iron & Wine: Weed Garden (Sub Pop) LP
Jungle: For Ever (XL) LP
Kids See Ghosts: s/t (Universal) LP
King Crimson: In the Court of the Crimson King (Pangyric) LP
Fela Kuti: Zombie (Knitting Factory) LP
Metallica: Master of Puppets (Blackened) LP
Metallica: Ride the Lightning (Blackened) LP
National: Alligator (4AD) LP
National: Boxer (4AD) LP
William Onyeabor: Who is (Luaka Bop) LP
OST: Rick & Morty (Sub Pop) LP
Anderson.Paak: Malibu (Ere) LP
Anderson.Paak: Venice (Ere) LP
Pavement: Brighten The Corners (Matador) LP
Parquet Courts: Human Performance (Rough Trade) LP
Pixies: Doolittle (4AD) LP
Queens of the Stone Age: Rated R (Interscope) LP
Radiohead: Ok Computer OKNOTOK (XL) LP
Radiohead: Amnesiac (XL) LP
Radiohead: Kid A (XL) LP
Radiohead: In Rainbows (XL) LP
Otis Redding: Dictionary of Soul (Rhino) LP
Terry Riley: In C (Music on Vinyl) LP
Daniel Romano: Finally Free (New West) LP
Joseph Shabason: Anne (Western Vinyl) LP
Joseph Shabason: Aytche (Western Vinyl) LP
Yasuaki Shimizu: Kakashi (Palto Flats) LP
Sigur Ros: Agaetis Byrjum (XL) LP
Skull Snaps: s/t (Mr. Bongo) LP
Songs: Ohia: Magnolia Electric Co (Secretly Canadian) LP
Sonic Youth: Experimental Jet Set, Trash & No Star (Geffen) LP
Sufjan Stevens: Carrie & Lowell (Asthmatic Kitty) LP
Sufjan Stevens: Illinois (Asthmatic Kitty) LP
Sufjan Stevens: Michigan (Asthmatic Kitty) LP
Sugarman 3: What the World Needs Now (Daptone) LP
Jeff Tweedy: Warm (Nonesuch) LP
Kurt Vile: Bottle It In (Matador) LP
Kurt Vile: Smoke Ring For My Halo (Matador) LP
Kurt Vile: B’lieve I’m Goin Down (Matador) LP
Tom Waits: Closing Time (Anti) LP
Tom Waits: Mule Variations (Anti) LP
Tom Waits: Nighthawks at the Diner (Anti) LP
Kamasi Washington: Harmony of Difference (XL) LP
Ween: God Ween Satan (Plain) LP
Zazou/Bikaye/CY1: Blanc et Noir (Crammed) LP
Zodiac: Cosmic Sounds (Rhino) LP
Various: New Orleans Funk (Soul Jazz) LP
Various: New Orleans Funk 2 (Soul Jazz) LP
Various: New Orleans Funk 3 (Soul Jazz) LP
Various: New Orleans Funk 4 (Soul Jazz) LP
Various: New Orleans Soul (Soul Jazz) LP
Various: World Psych Classics 3: Love’s A Real Thing: Funky Fuzzy Sounds of West Africa (Luaka Bop) LP

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