Finally! We might finally be through the January drought and the next few weeks we’ll start seeing some new releases again. Now if the cold would screw off so we could go about our lives, we’d be gold. Anyway, lots of sweet things to stick in your ear, and as usual, loads of great used stuff hitting the bins as well. Come for a dig.
Oh ya… if you don’t follow us on Instagram, WHY NOT?! And now you know.
…..picks of the week…..
Jac Berrocal/David Fenech/Vincent Epplay: Ice Exposure (Blackest Ever Black) LP
In tomorrow… Jac Berrocal, David Fenech, and Vincent Epplay return with Ice Exposure, their second album for Blackest Ever Black. A sequel and companion piece of sorts to 2015’s Antigravity, its title couldn’t be more apt: sonically it is both colder, and more exposed — in the sense of rawer, more volatile, more vulnerable — than its predecessor, capturing the combustible energy and barely suppressed violence of the trio’s celebrated live performances with aspects of noir jazz, musique concrète, no wave art-rock, sound poetry, and spectral electronics all interpenetrating in unpredictable and exhilarating ways. While there are moments of great sensitivity and even a cautious romanticism, the prevailing mood is one of anxiety, paranoia, and mounting psychodrama: close your eyes and Ice Exposure feels like a dissociative Hörspiel broadcasting from the seedy backstreets of your own troubled mind. Before he picks up an instrument or opens his mouth, Berrocal’s unique and compelling presence can be felt: a combination of studied, glacial cool and anarchic, in-the-moment intensity that has served him well over a long and storied career. Now in his eighth decade, it comes with an added gravitas, perhaps, but no less energy or vitality. On Ice Exposure, his lyrical, instantly recognizable trumpet playing is a key feature — see especially the ghostly, dub-wise take on Ornette’s “Lonely Woman”, the dissolute exotica of “Salta Girls”, and the sublime echo-chamber soliloquy “Opportunity”. But more often it’s his voice that commands center-stage, whether casually discharging surreal poetic monologues or moaning in animal despair — a vocal tour de force that transcends language and culminates in the Dionysian frenzy of “Why”, Berrocal’s half-spoken, half-howled exclamations jostling with David Fenech’s slashes of dissonant guitar, over Badalamenti-ish, panther-stalk drums. Fenech and Epplay are responsible for Ice Exposure’s inspired arrangements and vivid, vertiginous sound design. He and Fenech fashion a remarkable mise-en-scene for Berrocal to inhabit, one that embraces cutting-edge electronics while also paying homage to the best traditions of outlaw jazz and libidinous rock n’ roll. On “Blanche de Blanc”, Berrocal’s voice is framed by a groaning, ghoulish orchestra of industrial drones, while “Equivoque” evokes the most humid and hostile Fourth World landscapes and “Panic In Surabaya” lives up to its name, a hectic, pulse-quickening concrète collage that leaves you gasping for air. Ice Exposure is a triumph of a group mind, an underworld dérive as life-affirming as it is unnerving and psychologically precarious.
Dominique Guiot: L’Univers De La Mer (WRWTFWW) LP
In tomorrow… WRWTFWW Records present the official reissue of super-rare and fabled prog-rock/library/synth album L’Univers De La Mer by French composer Dominique Guiot. Written, composed and played by Dominique Guiot with his Mellotron, Minimoog, clavinet, organ, and guitar, L’Univers De La Mer draws its inspiration from deep sea exploration, oceanic creatures, and underwater kingdoms. The 12-track album navigates organically through diverse mutations of the prog-rock and synth kind, from scenic meditation pieces (“Wind Surf Ballad”), to medieval electronica (“Une Ballade Pour Une Goélette”), spacey smooth jazz (“Les Deux Poissons”), funked-out fantasy folk (“L’Univers De La Mer”), or even incredible Sega Mega-CD vibes (“La Danse Des Méduses”) — altogether painting a fascinating world of eerie magic and subaquatic sensuality. It’s escapism at its best with subtle overtones of Schicke Führs Fröhling, Mike Oldfield, and Claude Perraudin. The sound of the album is brilliantly captured by its surreal cover art, the work of legendary artist Jacques Wyrs, whose memorable record sleeves include Klaus Schulze’s Picture Music (1975), Eloy’s Floating (1974), Ange’s Le Cimetière Des Arlequins (1973), and the 1974 reissue of Larry Coryell’s Spaces. Sourced from original masters. LP version comes in 350gsm sleeve; 140 gram vinyl; available on vinyl LP for the first time since 1978.
Altameda: Time Hasn’t Changed You (Pheromone) LP
Full and resounding, cutting and dynamic, Altameda’s sophomore record, Time Hasn’t Changed You, is full of all that makes life a beautiful mess. Brought along by warm bass lines, bluesy rhythms and the sweet whir of the wurlitzer, vocalist Troy Snaterse’s lyrics burn with nostalgia and present desire, made vivid by his talk-like cadences and emotional peaks. It will lift you out of your seat—then all at once send you spiralling down to the kitchen floor. It’s love lost and gained and lost again. It will stay with you even after vinyl and needle have parted ways.
File Under: Indie Rock, Local
Derek Bailey & Cyro Baptista: Cyro (Honest Jon’s) LP
In tomorrow… Honest Jon’s Records present a reissue of Derek Bailey and Cyro Baptista’s Cyro, originally released on Incus in 1988. When Cyro Baptista moved to New York in 1980 from his home city of São Paulo, he brought with him an arsenal of percussion instruments, including the cuica (friction drum), surdo (the booming bass drum associated with samba), berimbau (single-string bow with resonating gourd), and cabasas galore, in the next few years deploying them most notably in numerous ensembles curated by John Zorn, who helped set up this studio session in 1982. As you might expect from someone whose infectious grooves have graced the work of Herbie Hancock, Astrud Gilberto, and Cassandra Wilson, Baptista expertly fires off cunning polyrhythms, even traces of thumping samba, with restless fluency. Bailey, the wily old fox, skirts and eschews the bait, which is quickly conjured away and newly fashioned. The guitarist homes in on the delicious squeaks of the cuica and the twanging drones of the berimbau with truly awesome tonal precision. You could sing along if you wanted, after a caipirinha or two. And he gets almost as many different sounds from his instrument as Baptista can from his kit — check out the stratospheric plings and string-length fret-sweeps of “Tonto”, which sound more like a prepared piano than an acoustic guitar. Wonders abound, from the berimbau/bent-string exchanges that open “Quanto Tempo” to the delightful collision of howling cuica and spiky bebop on “Polvo”, and the spare, preposterous Webernian samba of “Improvisation 3”. These days, “improvisation” often appears without its customary qualifier “free”. If there were ever a case to be made for its reinstatement, this album is the best supporting evidence. Freedom means you’re free to get into the groove, free not to, free to play with each other, free to play against each other. Sometimes frustrating, even scary, but more often than not in the hands of these two great masters it’s hilarious, exhilarating and utterly irresistible.
Derek Bailey & Tony Coe: Time (Honest Jon’s) LP
In tomorrow… Honest Jon’s Records present a reissue of Derek Bailey and Tony Coe’s Time, originally released on Incus in 1979. Multi-reedist Tony Coe was born in 1934, four years after guitarist Derek Bailey. He cut his teeth as a career jazzman with Humphrey Lyttleton, before an extended stint with the Kenny Clarke/Francy Boland Big Band. On this rare 1979 duo outing, he sticks to clarinet. And though that instrument has an illustrious jazz pedigree, Coe’s playing here is something else. It’s worth noting that the clarinetist has also played under the baton of arch-modernist Pierre Boulez, the kind of composer Derek Bailey enjoyed taking to task in his book Improvisation. You might think the Frenchman’s uncompromising serialism and the free playing Bailey defended with such passion all his life would have little in common, yet both men were hugely influenced by Anton Webern. It’s an influence you can hear right through Bailey’s career in his obsessive exploration of tight parcels of registrally-fixed pitches, notably those trademark ringing harmonics. Meanwhile, Coe’s meandering semitones and sinuous arabesques here recall both Boulez’s clarinet writing in Domaines, and the harmonic world of Boulez’s own teacher Olivier Messiaen. Still, no traditional classical musical notation could ever render the extraordinary rhythmic subtlety and timbral complexity of this music. It’s at one and the same time dazzlingly virtuosic — Coe and Bailey are on stellar form throughout, and have enough sense to, yes, accompany each other where needs be — and supremely lyrical and spacious. An absolute delight.
Billow Observatory: III: Chroma/Contour (Azure Vista) LP
In tomorrow… III: Chroma/Contour is the third album from Billow Observatory, the collaborative project of Danish producer Jonas Munk (Manual, Ulrich Schnauss collaborator, and more) and Michigan native Jason Kolb (Auburn Lull). The album’s nine tracks eschew the pulse and rhythm that defined the duo’s previous effort — II: Plains/Patterns — in favor of sparse melodic possibilities and a more abstract palette of sounds. Chroma/Contour suggests looking both 20 years forward and twenty years back, while forgetting the present altogether. Much of the album plays out as a study in minimalism: the texture and color of each sound is being explored in miniscule detail, with enough space in the sound field to allow each sonic constituent to breathe fully. There’s a conceptual dimension to several tracks on the album, with guitars, analog synths and voices being mangled by samplers, computer software, and a broken dictaphone into pure abstraction. But simultaneously there’s a melodic undercurrent, revealing a deeply emotional aspect of the music. Tracks such as “Color In The Six”, “Iris”, and “Soft Logic” convey a melancholic sense of awe, a profoundly calming glimpse of the sublime. As with the best ambient music, the power of these nine pieces lies in their open-endedness and suggestive potential. Rather than imposing on the listener and presenting a flawless, fully-formed aural landscape, the music creates an evocative space for the listener to explore and expand in. RIYL: Aphex Twin’s Selected Ambient Works, Stars Of The Lid, Slowdive’s Pygmalion (1995), Brian Eno.
Sir Richard Bishop & W. David Oliphant/Karkhana with Nadah El Shazly: Carte Blanche (Unrock) LP
In tomorrow… It took more than just some time and imagination to believe that Carte Blanche, this piece of astonishing contemporary music by some of the most talented and able musicians of the international avant-circuit, could be realized. Karkhana, a highly explosive mostly Middle Eastern/Mediterranean ensemble — Sam Shalabi (Land Of Kush, Shalabi Effect, Dwarfs Of East Agouza), Sharif Sehnaoui (“A” Trio), Michael Zerang (Peter Brötzmann, Hamid Drake, Jaap Blonk, Vandermark, etc.), Mazen Kerbaj (“A” Trio), Maurice Louca (Dwarfs Of East Agouza), Tony Elieh, Umut Caglar (Konstrukt) — is weaving a tapestry of sound for Egyptian songstress Nadah El Shazly’s voice to slide deep into. On the other side, two grand seigneurs of underground, ex-Sun City Girls and Rangda guitar whirlwind Richard Bishop and W. David Oliphant (Maybe Mental) play it loud. Far Eastern post-industrial. Very heavy, sharp, and crystal clear. Ripe. Carte Blanche will be released as a one-time pressing. It is released as a part of Unrock’s Saraswati Series. Vinyl cut by Peter Koerfer at Ivory Tower. Extra-heavy deluxe cover, printed cardboard insert. 140 gram vinyl.
File Under: Experimental, Psych, Sun City Girls
Bowery Electric: Lushlife (Beggars) LP
Bowery Electric formed in late 1993 and is comprised of Lawrence Chandler and Martha Schwendener. Lushlife was their third and final album, originally released by Beggars Banquet in early 2000. Lushlife was nearly two years in the making and took even greater strides forward from their previous releases. It teems with atomized sounds, each one opening a portal in the mix, importing a haze of space and history, evoking the distant buzz of the city beyond the studio. Throughout, gilded strings build, sway and exhale, plugging the music into the sumptuous melancholy of Philly soul, the emotive Mancini-inspired arrangements of Gaye and Mayfield, and the edgy soundtrack scores of David Shire (All The Presidents Men, The Taking Of Pelham 123). Yet, with all the experiment and variation, Lushlife is actually quite a deliberate and enticing affair for the ear and mind. Available on vinyl for the first time since its initial pressing mastered by John Davis at Metropolis Studios.
File Under: Electronic, Downtempo
Boy Harsher: Careful (Nude Club) LP
Boy Harsher’s second full-length album, Careful, further develops the band’s brooding dance style, set up in their previous EP Country Girl. The ten songs, spanning forty-four minutes, contain eerie narrative soundscapes that are bracing, high tempo and dynamic. The album delivers manifold emotions, from the nostalgic yearning of “LA” to the gripping intensity of “Come Closer.” The nervousness of Augustus Muller’s bent, out of tune synths paired with the lush and sometimes brittle vocals of Jae Matthews, delivers an unsettled, yet fulfilling encounter with Boy Harsher. Careful summons a new spirit for the young band – that of growth and desire.
File Under: Electronic, Dark Wave
Bremen: Enter Silence (Blackest Ever Black) LP
In tomorrow… Following a trio of sprawling, planet-gargling double-LPs, 2013’s self-titled LP on Skrammel, and Second Launch and Eclipsed on Blackest Ever Black, Bremen — Jonas Tiljander and Lanchy, previously best known for their contributions to Brainbombs’ long rap sheet of genius-and-brutality, but latterly exponents of a rarefied cosmic melancholy — return with Enter Silence, their most concise, and powerful, album to date. Once again, the Uppsala multi-instrumentalists combine elements of trogged-out psychedelic rock with a deadly serious Arctic minimalism and weeping modal improvisations that owe more to the outer limits of jazz and burnt-out free music from Japan. It’s connoisseur’s space music, grown-up and grievously honed; outwardly inclined towards the epic but studded with details that reward attention and introspection. There’s always been a strong undercurrent of sadness animating Bremen’s work, and that existential burden is present and correct on Enter Silence, culminating in the all-out cosmic anguish of “Palladium”. Even “The Middle Section”, whose ragged chords are nothing if not the sound of optimism and defiance, sounds like it’s navigating some kind of unsayable trauma. But this band has always allowed plenty of room for bonehead slash-and-burn as well: see here especially the Stoogeian/39 Clocks-ish rock’n’roll of “Aimless Cruising”, and the pulpy quasi-cinematic tension of “Sinister”, or the brilliant “Too Cold For Your Eyes”, a blast of voidal motorik that sounds like a cranked-up Clean. It’s a cold, cold world out there..
Michael Chapman: True North (Paradise of Bachelors) LP
The masterful follow-up to his universally celebrated 2017 album 50, Michael Chapman’s True North finds the elder statesman of British songwriting and guitar plumbing an even deeper deep and honing an ever keener edge to his iconic writing. This authoritative set of predominantly new, and completely devastating, songs hews to a more intimate sonic signature – more atmospheric, textural, and minimalist than 50, stately and melancholy in equal measure. Recorded in rural West Wales, True North unflinchingly surveys home and horizon, traveling from the Bahamas to Texas to the Leeds of Chapman’s childhood, haunted by the mirages of memory and intimations of mortality. Joining him on this introspective journey is a cast of old friends and new disciples: once again Steve Gunn produces and plays guitar, and fellow UK songwriting hero Bridget St John sings, collaborating with cellist Sarah Smout and legendary pedal steel player BJ Cole, who has accompanied everyone from John Cale to Scott Walker to Terry Allen to Björk.
File Under: Folk
Maya Deren: Divine Horsemen: Voodoo Gods of Haiti (Psychic Sounds) LP
In tomorrow… “Maya Deren journeyed to Haiti to make a film of ritual dances, instead, she came to be accepted as a Voudoun initiate, whose devotees commune with the cosmic powers through invocation, offerings, song and dance of the Voudoun pantheon of deities, or Loa, whom are witnessed as being living gods and goddesses, actually taking possession of their devotees. Deren describes the relationship between magic, science and religion bringing a uniquely lyrical voice to her narrative. This paints a multi-textured, infinitely complex portrait of a spiritual tradition with roots stretching back to the very dawn of humanity. Joseph Campbell calls Divine Horsemen ‘the most illuminating introduction that has yet been rendered to the whole marvel of the Haitian mysteries as ‘facts of the mind.” Included in this album are some of the first recordings ever made during religious ceremonies near Croix de Missions and Petionville featuring selections that serve as a soundtrack to the film she shot documenting Voodoo ceremonies and festivals conveying the incantatory power of the ritual drumming and singing. One can hear the sounds of nature while processions begin across the landscape further giving the effect of an audio memoir. For the first time in almost 40 years, this long out-of-print cult classic is now available in a limited edition featuring a beautiful screen printed cover by Grant Corum, risograph insert with liner notes by Cherel Ito, original cover art by Teiji Ito and mastered for the first time by Timothy Stollenwerk.”
Drexciya: Neptune’s Lair (Tresor) LP
In tomorrow… 2LP version, featuring 13 tracks from the CD version. Detroit’s Drexciya, with their close ties to Underground Resistance, emerged in 1991. With an encoded agenda and socio-political mission aimed at the world, a new page of Drexciya’s grand history was written entitled Neptune’s Lair, featuring 21 exclusive tracks released in the fall of 1999. Drexciya is the sound of originality embodying all the musical styles and history that Detroit the city has seen and been part of. Drexciya is music for change that defies categorization; traditionally armed with freestyle electro, techno, funk, and jazz while covering an entire spectrum of moods ranging from the dark to shimmering beauty. While words won’t do Neptune’s Lair proper justice, rootsy Kraftwerkian techno (“Universal Element” and “Oxyplasmic Gyration Beam”), gives way to G-style electro (“Andreaen Sand Dunes”), while jazzy freestyle funk (“Running Out Of Space” and “Funk Release Valve”) evolves alongside classic 4/4 club sound. Although the roots run deep, Neptune’s Lair heralded an important new chapter in the musical connections between Detroit’s finest and Tresor.
Eagles of Death Metal: Death By Sexy (Downtown) LP
Death By Sexy (2006) is the second release from the duo of Jesse “The Devil” Hughes and Queens of the Stone Age frontman Josh Homme, known as Eagles of Death Metal and good times and retro rock & roll are a plenty. Following up Peace, Love, Death Metal (2004), the freewheeling, just-for-the-hell-of-it vibe is still intact here and they again produce a fine set of raunchy songs destined to sound good in bad places. Out of print since 2006 and now pressed on 180g vinyl.
File Under: Rock, Queens of the Stone Age
Eagles of Death Metal: Heart On (Downtown) LP
In 2004, the Eagles of Death Metal launched their wholesome good-graciousness with Peace, Love and Death Metal, followed in 2006, by the diabolical Death By Sexy. In 2008, Jesse ‘Boots Electric’ Hughes, and Joshua ‘Babyduck’ Homme unleashed their newest tongue in cheek collection, Heart On. The album is another dose of the duo’s sex-drenched satire under a backdrop of authentic ’60s blues rock and glam-pomposity. Entertainment at its finest!
File Under: Rock, Queens of the Stone Age
Julius Eastman: Crazy N*gger (Blume) LP
In tomorrow… It’s little wonder that Julius Eastman (who died in 1990 under unexplained circumstances), remained the supreme underground composer. He was Afro-American and gay, a composer who rocked the cerebral world of process music with his explosions of free improvisation. Crazy N*gger is the first time any of Eastman’s music has been available on vinyl, and is one of three extended pieces for four pianos, along with Gay Guerrilla and Evil N*gger, written and performed around 1980. All three works generate their epic soundscapes through adamantly restated patterns and interlocking canons, not fragmenting, but preaching urgent truths. To quote the brilliant Mary Jane Leach liners: “He wrote what can be categorized as minimal music, but also wrote ‘post-minimal’ music — before minimal music was fully established.” His pieces straddle both styles of minimal music; rhythmic/pulse-driven music (Steve Reich and Philip Glass) and spectral drone music (La Monte Young and Phill Niblock). There is a flexibility that lends an organic feel to his music, a muscularity missing in a lot of other music from that time; with the re-emergence of this powerful music, a missing gap in the history of contemporary music has been filled. Not released commercially upon their recording, they were instead shared on cassettes, copied and passed from one admirer to another. Unlike today’s instant access to music, at that time each new copy represented a time commitment, since it took as long to copy as its playing time, while also removing itself further from the original recording with a resultant deterioration in sound quality. The three pieces occupy a high point in Eastman’s oeuvre, the culmination of his mature style. Crazy N*gger is a sprawling sonic study, the last section exploring canonic form both harmonically and rhythmically, using the same process as James Tenney’s Spectral Canon, but notated in a more intuitive way. Offering extensive liner notes by Leach and Bradford Bailey, this is a seminal work by one of the most important, but neglected, American composers of the 1970s and ’80s, returning to the light once more. Not only is Crazy N*gger an entire rethinking of minimalism, but it ferociously blows the doors of what classical music can be seen to be. Mastering by Giuseppe Ielasi. Includes printed inner sleeve housing a Nagaoka anti-static record sleeve, plus obi-style original insert in a fold-out outer sleeve. 180 gram, color vinyl; Edition of 300
Julian Eastman: Evil N*gger/Gay Guerrilla (Blume) LP
In tomorrow… Julius Eastman’s seminal classics are now reissued on vinyl for the first time ever. Gay Guerrilla and Evil N*gger, both composed in 1979 with a third work Crazy N*gger, make up what Eastman called The N*gger Series. Some of the most challenging and beautiful works composed for piano during their era, they double as a window into the intricate thought process and contentiousness of their creator. When the composer was asked to perform the series at Northwestern University in 1980, due to protests by African American students, their titles were censored in the event’s program. His response was a flamboyant foreshadowing of the sentiments toward bigoted language which later arose within hip-hop culture — to publicly take back these words, assert ownership of them, and deploy their power for positive change. What Eastman was early to recognize, was that there is a fundamental difference in what happens when these words are spoken by white people toward people of color, and when people of color deploy them toward a white audience. The balance of power shifts. Eastman’s audience was largely heterosexual and white. He knew exactly what he was doing, and to whom he spoke. The object in your hands contains some of the most striking and important music composed during the later decades of the 20th century — music which remained lost and unheard for years, not because of what it is, but because of who its composer was. It is music, doubling as the voice of a man, which, because it refused to be oppressed, was suppressed or ignored. Eastman’s work is a conscious act of intervention, plowing into a context defined by heterosexual whiteness, attacking its unjust demands from within. It is Christ-like — metaphor and beauty which is impossible to separate from the evils of the world. It is a music which carries the body of a man. As it speaks to our hearts, as it offers a glimpse of the freedoms implied by the sublime, a shackle is bound — a consciousness of our complicity with unforgivable sin. Mastering by Giuseppe Ielasi. Includes printed inner sleeve housing a Nagaoka anti-static record sleeve, plus an original insert that functions as obi; Housed in a fold-out outer sleeve. 180 gram, color vinyl; Edition of 300.
Gas: Zauberberg (Kompakt) LP
In tomorrow… Zauberberg — Wolfgang Voigt’s most fundamental (and foreboding) release under his alias GAS and perhaps of all in his untold discography — finally stands alone once again and is released in the way its original splendor. Originally released in 1997 on the iconic Frankfurt imprint Mille Plateaux, and then reissued in 2016 as a part of GAS Box (KOM 370LP, 2016), Zauberberg is now released on his own label, Kompakt. Though this narcotic symphony is not the first release under the GAS moniker, Zauberberg is the first to disclose the true nature of Wolfgang Voigt’s unified sound and ideology as GAS. Layers of ominous intensity supported by muffled kick drums as classical music loops incessantly swirl with no direction, Zauberberg is the definitive GAS album and a perfect starting point for those not familiar with his music. 180 gram vinyl.
Mitsuaki Katayama Trio: First Flight (Studio Mule) LP
In tomorrow… Studio Mule present a reissue of Mitsuaki Katayama Trio’s First Flight, originally issued in 1979 on Johnny’s Disk Record. Johnny’s Disk Record is an independent jazz label run by the owner of jazz cafe Kaiunbashi No Johnny, located in Rikuzentakata City in Iwate prefecture, Japan. The legendary label released a string of albums of high quality but down-to-earth music, spanning from modern jazz and avant-garde jazz to left-field pop. Albums such as Farewell My Johnny/Left Alone (1980) and Aya’s Samba (1978) have reached cult status among fans as some of the best works to come out of the Japanese jazz scene. This debut album by drummer and actor Mitsuaki Katayama is a Japanese jazz masterpiece consisting of five original compositions. The no-filler album includes the tracks “Unknown Point”, a danceable jazz samba with tight and powerful drumming and the melancholic “Arizona High Way”, a tune that perfectly epitomizes what Japanese jazz is about. “It’s Over” features beautiful piano work by Kichiro Sugino, a promising pianist who tragically succumbed to a chronic illness and couldn’t fully realize his potential. Edition of 500.
LCD Soundsystem: Electric Lady Sessions (Columbia) LP
Recorded live in the studio at its famed New York City namesake, Electric Lady Sessions captures LCD Soundsystem at the height of the band’s powers during the tour supporting their No. 1 reunion album, American Dream (2017). The record’s track listing features live staples spanning the LCD Soundsystem catalogue, as well as distinct covers of the Human League’s “Seconds,” Chic’s “I Want Your Love,” and Heaven 17’s “(We Don’t Need This) Fascist Groove Thang.” Heavyweight, 180 gram gatefold 2LP-set.
File Under: Indie Rock
Martina Lussia: Diffusion is a Force (Latency) LP
In tomorrow… “Martina Lussi’s second album fuses together disparate sound sources with a disorienting quality that reflects the modern climate of dispersion and distraction. The Lucerne, Switzerland-based sound artist released her debut album Selected Ambient on Hallow Ground in 2017, and now comes to Latency with a bold new set of themes and processes. The range of tools at her disposal spans field recordings, processed instrumentation, synthesised elements and snatches of human expression. The guitar is a recurring figure, subjected to a variety of treatments from heavy, sustained distortion to clean, pealing notes. Elsewhere the sound of sports crowds and choral singing merge, and patient beds of drones and noise melt into the sounds of industry and mechanics. The track titles manifest as a compositional game of deception complete with innuendos, empty phrases and claims — flirtations with perfume names and ironic assertions. From the volatile geopolitical climate to the changing nature of music consumption in the face of streaming and digital access, Diffusion Is A Force is a reflection on fractured times where familiar modes and models change their meaning with the ever-quickening pace of communication.”
Carl Matthews: Call For World Saviors (Bureau B) LP
In tomorrow… Bureau B presents a reissue of Carl Matthews’ Call For World Saviours, originally issued in 1984. Mesmerizing DIY electronic music from Cumbria, UK, influenced by the Berlin School but even more by Tim Blake, Call For World Saviours was originally released 1984 on cassette only; this is this music’s first time on CD and vinyl. “Carl Matthews is by no means immune to the maelstrom of geocaching notebooks. Krautrock (tick), guerrilla DIY cassette-era artist (tick), under-rated UK electronic composer (tick). Man with a beard, surrounded by synths. Tick. Best of all, he was once described as the Edgar Froese of Cumbria. The Tangerine Dream legend needs no introduction, but the Cumbrian question deserves further scrutiny. In spite of the irresistible urge felt by many to claim Matthews for the Berlin School, this is unquestionably an artist who wrote music far from the madding krautrock crowd. Instead, he worked in isolation, splendid or otherwise. The question remains, is there a suspension bridge which connects Carl Matthews to the mainland European tradition of Harmonia, Cluster, and Tangerine Dream? ‘I was at a crossroads in my life aged 28, early influences were krautrock: NEU!, Kraftwerk, Cosmic Jokers, etc. One day, I was listening to Tim Blake, and my inner voice said ”I can do that!”, Carl recalls. Whilst his music clearly bears the hallmarks of superb craftsmanship — his mesmerizing soundscapes more than a match for any of his contemporaries — Carl Matthews was, and still is, a truly independent artist, from the means of production to the published recordings. If it is possible to identify a scene along the lines described above, Matthews was not part of it. ‘I was totally alone in doing this; no one was interested in my musical taste at that time. As far as I know the electronic/new wave music scene in Carlisle was virtually zero.’ Happily for fans of his music, recent years have seen a resurgence in activity. Unwaveringly self-effacing, Carl Matthews continues to make music which is liberated from the constraints of ego, allowing one to wander the magnetic fields of his imagination. Today, in his own words, he is ‘an old guy who likes making sounds for library/production companies’, which says it all, really. The signs are all there in Call For World Saviours, music which is both timeless and very much of its time, a disappearing act on the part of its creator whose character nevertheless resonates in every note.” –Harry Calvino.
Luigi Nono: Musica Manifesto N. 1 (Die Schachtel) LP
In tomorrow… Die Schachtel present a reissue of Luigi Nono’s Musica Manifesto N. 1, originally released in 1969. Long considered, with Pierre Boulez and Karlheinz Stockhausen, to be one point in the trinity of the post-war avant-garde, Luigi Nono was one of the most important and singular composers to emerge in the years following the Second World War. Nono’s music infused the avant-garde with a sense of emotion and moral consciousness which had been previously unheard, seeking to join advanced forms of music in the social struggles of everyday life. Originally issued in 1969, none of Nono’s works illuminate this radical consciousness and concern better than his seminal Musica-Manifesto N.1. Now reissued by Die Schachtel in collaboration with Archivo Storico Ricordi, it is a revolution led by one man, a window into the creative and political potential of sound. Nono’s work was vocally political from its earliest days — first as explicitly anti-fascist, pointedly embracing Marxism (he officially joined the Communist Party in 1952), before, as ’60s and ’70s unfolded, becoming a voice in the international worker and student struggles and the fight against the Vietnam War. It’s hardly coincidental that a work as important and powerful as Musica-Manifesto N.1 emerged at the time it did. It is among the greatest sonic culminations of 1960s, composed and released just before the decade’s end. Musica-Manifesto N.1, original intended to be the first part in a suite which never appeared, was commissioned by the communist administrated town of Chatillon-sous-Bagneux, in France, during the Spring of 1969. The work, manifesting in two parts, can be understood as snapshot of its moment — incorporating texts taken from the walls of Paris in May, 1968, read by Edmonda Aldini against the voices of Communist leaders like Che Guevara, Ho Chi Minh, and Mao, as well as recordings of the riots and protests which occurred at the Venice Biennale in June, ’68. Both sides of Musica-Mainifesto N.1, “Un Volto, Del Mare” and “Non Consumiamo Marx”, are works for magnetic tape, the first archived through careful editing to achieve a singular polyphonic complexity, while the second utilizes manipulation of its source material through filters and modulators, played against electronically generated sounds. The cumulative result remains a legendary culmination of avant-garde practice and political struggle. Features a tabloid/poster with texts by Veniero Rizzardi and unpublished photos of the 1968 Venice Biennale riots.
Pauline Oliveros: Reverberations 1 (Important) LP
In tomorrow… In 2012 Important Records released Reverberations: Tape & Electronic Music 1961-1970, a historic 12-CD box set compiling much of Pauline Oliveros’ early and unreleased electronic work. Reverberations 1 is the first release in an ongoing series dedicated to releasing the entire 12-CD box set on vinyl. Organized chronologically by studio, the complete Reverberations not only documents Pauline’s earliest electronic music but it also functions as an early history of electronic music itself. Pauline Oliveros — composer, performer and humanitarian — was an important pioneer in American music. Acclaimed internationally, for four decades she explored found, forging new ground for herself and others. Through improvisation, electronic music, ritual, teaching and meditation she has created a body of work with such breadth of vision that it profoundly effects those who experience it and it eludes many who try to write about it. In partnership with the Pauline Oliveros Trust, Imprec will be releasing essential titles from Pauline Oliveros’ catalog on vinyl including the complete Reverberations box set, Tara’s Room, Sounding/Way (with Guy Klucevsek), and many more.
Panda Bear: Buoys (Domino) LP
From the opening minutes of Buoys, Noah Lennox’s sixth solo album as Panda Bear resembles something both wholly new and intimately familiar to fans and followers of the musician and Animal Collective member’s body of work. Lennox’s bright, sincere voice is still front-and-center, along with his beatific approach to melodic structure and vocal phrasing – but there’s miles of space surrounding it, a guitar and a few textured samples here and there fleshing out Buoys’ dubby sparseness. The off-white loveliness of his 2011 LP Tomboy is recalled, as well as the sampledelia of 2007’s landmark Person Pitch – but Buoys otherwise represents a surprising and intimately pleasurable new direction for an artist who’s embraced not repeating oneself as its own creative ethos.
File Under: Indie Rock
Pedro the Lion: Phoenix (Polyvinyl) LP
Capping off a fruitful 12-year long solo career, singer/songwriter David Bazan resurrects and reunites with both the moniker and mindset of his profoundly influential indie rock outfit, Pedro The Lion, with the follow up to their 2004 opus, Achilles Heel. The band’s new album and Polyvinyl debut, Phoenix, marks a return to form for the beloved group, while mapping out the emotional intricacies and childhood experiences of growing up in Phoenix, AZ – a process that would ultimately shape Bazan’s adult life. In June 2018, with Bazan on bass, vocals, and arrangement writing, Erik Walters on guitar and backing vocals, and Sean Lane on drums, Pedro the Lion went into Studio X and Hall of Justice with producer Andy Park to create Phoenix, the first new Pedro album in 15 years. On opening track “Yellow Bike,” Bazan encapsulates a core ache he’s been exploring since 1998’s It’s Hard to Find a Friend. Phoenix also deals with having to be better to yourself in order to be better to others on “Quietest Friend,” and harkens back to Control’s “Priests and Paramedics” with a story about EMTs facing a gruesome scene, and storytelling as coping mechanism, on “Black Canyon.” The result is a twisting, darkly hopeful introspection into home and what it means to go back, if you ever can. It is rock and roll wrapped in tissue paper, its hard edges made barely soft. Every melody is careful, a delicate upswing buoyed by guitar lines that hold each tender feeling together like string before ripping them apart to see what’s inside. It is an ode to the place he still loves despite how alien it can appear to him now. It is the story of a life from the beginning, but not a linear one. This life is a circle, and Phoenix goes back to that first point, to show that when we are looking for home we’ll eventually run into it again, whether it’s in the desert, in a rehearsal space, or on a stage.
File Under: Indie Rock
Prince: 3121 (Legacy) LP
The Prince Estate and Sony Legacy, present the first round of physical titles set for release as part of the ongoing and definitive Prince catalog project first announced in August 2018. Three essential full-length Prince albums, Musicology, 3121 and Planet Earth, will be available for the first time ever on highly collectible, colored vinyl. Set for release in February 2019, these three albums celebrate a sustained period of renewed creative energy and commercial triumph in Prince’s multi-faceted career and marked his return to the top of the popular mainstream, a position he maintained while simultaneously pushing the envelope and breaking industry norms pertaining to marketing, distribution and live performance. Prince’s studio trilogy of Musicology, 3121, and Planet Earth presents the artist at a high point in his creative genius during the first decade of the 21st century. The 2004-2007 epoch gave us some of Prince’s most iconic and indelible performances, including his unforgettable appearance with Beyoncé at the 2004 Grammy Awards, his show-stopping induction at the Rock & Roll Hall of Fame a month later, and his incandescent triumph at the Super Bowl in February 2007. Released in 2006, 3121, Prince’s thirty-first studio album, became his first record to debut at No. 1 on the Billboard 200 and his first No. 1 album since 1989’s Batman. Certified gold it’s home to the singles “Te Amo Corazón,” “Beautiful, Loved and Blessed,” “Black Sweat” and “Fury.”
File Under: Pop, Funk/Soul
Prince: Planet Earth (Legacy) LP
The Prince Estate and Sony Legacy, present the first round of physical titles set for release as part of the ongoing and definitive Prince catalog project first announced in August 2018. Three essential full-length Prince albums, Musicology, 3121 and Planet Earth, will be available for the first time ever on highly collectible, colored vinyl. Set for release in February 2019, these three albums celebrate a sustained period of renewed creative energy and commercial triumph in Prince’s multi-faceted career and marked his return to the top of the popular mainstream, a position he maintained while simultaneously pushing the envelope and breaking industry norms pertaining to marketing, distribution and live performance. Prince’s studio trilogy of Musicology, 3121, and Planet Earth presents the artist at a high point in his creative genius during the first decade of the 21st century. The 2004-2007 epoch gave us some of Prince’s most iconic and indelible performances, including his unforgettable appearance with Beyoncé at the 2004 Grammy Awards, his show-stopping induction at the Rock & Roll Hall of Fame a month later, and his incandescent triumph at the Super Bowl in February 2007. For 2007’s Planet Earth, Prince innovated yet another bold marketing and distribution tactic, giving free copies of the album away in the UK via a partnership with the national newspaper The Mail on Sunday. Bucking conventional industry distribution strategy, the innovative partnership fueled Prince’s epic 21-night run of sold out shows at London’s O2 Arena (20,000 capacity), while back in the US Planet Earth debuted at No. 3 on the Billboard 200. Home to the singles “Guitar,” “Chelsea Rodger,” “Somewhere Here on Earth” and “The One U Wanna C.”
File Under: Pop, Funk/Soul
Stapleton/Tibet: Dead Memory (Dirter) LP
In tomorrow… Dead Memory LP, on United Dirter, by Steven Stapleton and David Tibet features two further out-takes from Musical Pumpkin Cottage (1996). Neither of these two tracks feature on The Threats Of Memories double-LP (DPROM 141LP, 2018) or The Threat Of Memory 5CD box-set. The cover features new paintings by Babs Santini and David Tibet, with handwriting by David Tibet. The LP was mastered by Andrew Liles, and the cover was designed by Ania Goszczyńska.
File Under: Experimental, Industrial
Stapleton/Tibet: The Threats of Memories (Dirter) LP
In tomorrow… “The Sadness Of Things” was originally released as side one of Steven Stapleton and David Tibet’s The Sadness Of Things (1991). “The Dead Side Of The Moon” and “BubbleHead” were, respectively, sides one and two of Stapleton and Tibet’s Musicalische Kürbs Hütte (1996). “DreamBreath” is a previously unreleased outtake from Musical Pumpkin Cottage (1996). Gatefold sleeve; Includes insert with lyrics and credits.
File Under: Experimental, Industrial
Keith Tippett/Lino Capra Vaccina/Paolo Tofani: A Mid Autumn Night’s Dream (Dark Companion) LP
In tomorrow… Another true masterpiece. A Mid Autumn Night’s Dream faithfully report a one-shot concert that took place at Conservatorio Nicolini in Piacenza on October 1st, 2016. The four giants of new music never played together before: Keith Tippett, Julie Tippetts, Lino Capra Vaccina, and Paolo Tofani. As the lights turned off something magic started. A spontaneous interplay, an amazing flowing of notes. The subject was the night, its mystic flavors. Paolo Tofani, now a Hindi monk, is a living legend in Italian avantgarde music having been the driving force of the band Area in the seventies. He worked and recorded with many musicians including John Cage, Alvin Curran, Steve Lacy, just to mention a few. His last album, Real Essence (2015), an acoustic solo album, impressed the late Greg Lake who eventually wrote the liner notes. Lino Capra Vaccina provided the visionary sound of the seminal Italian ensemble Aktuala then formed the legendary Telaio Magnetico with Franco Battiato and Juri Camisasca, and later played percussion in La Scala Orchestra with Claudio Abbado. In Italy he is a true legend and a respected musician. His first solo album, Antico Adagio along with his last one Metafisiche del Suono, are considered amongst the very best avant garde albums ever. Keith Tippett is another living legend in British jazz music — band leader, composer, and visionary pianist — with an uncompromising career full of outstanding gems. A larger audience knows him as a member of King Crimson or the leader of Centipede. His skills go from contemporary jazz to larger compositions for orchestra and classical music as well. One of his latest piano solo album, Mujician IV live in Piacenza, has been critically acclaimed all over the world. Julie Tippetts lent her fantastic voice to various situations, many times side by side with her husband Keith. The team called one of their duo album, Couple in Spirit (1988), as they are in life and art. Julie is a fantastic musician who added a magic touch, a siren call to this masterpiece.
File Under: Italian, Avant Garde
Unkle: Psyence Fiction (London) LP
The 1998 debut album from the collective minds of Mo’Wax Records founder James Lavelle and the acclaimed DJ Shadow is an international, eclectic riot of influences, fusing guitars, beats, rap and a host of collaborator. Among others, the guest vocalists include Thom Yorke (Radiohead), Mike D (Beastie Boys), Richard Ashcroft (The Verve) and Alice Temple (Massive Attack). Psyence Fiction is back on double vinyl for the first time in decades!
File Under: Hip Hop, Trip Hop
Lino Capra Vaccina: Metafisiche Del Suono (Dark Companion) LP
In tomorrow… For fans of the Italian avant-garde, few names inspire the loyalty and devotion offered to the percussionist and composer Lino Capra Vaccina — a perfect emblem of the country’s extraordinary movement of musical minimalism. He first gained note as a member of Aktuala, a project which laid the groundwork for an entire generation of practitioners following in their wake — creating a hybrid of rock, avant-garde, and ancient musics, while incorporating a diverse number of sonic traditions from across the globe — African, Middle Eastern, Indian, etc. Vaccina’s career as composer has been marked by two distinct features, an incredibly high bar of quality and ambition, and a tragically slim amount of recorded output. Following his departure from Aktuala, he worked extensively with others, like Juri Camisasca, Franco Battiato, etc., and within the short-lived super group Telaio Magnetico, but his solo efforts have been slow to emerge, appearing as carefully considered statements which are so remarkable and singular, that they pull the rug from beneath the entire world of experimental approach. In 1978 he released the legendary LP Antico Adagio and wouldn’t be heard from again until 1992’s equally extraordinary L’Attesa. In the years since, only a tiny handful of recordings have emerged, most recently in the hands of the Italian imprint Dark Companion, who now returns with Metafisiche Del Suono, the latest installment in Vaccina’s astounding canon of work. Metafisiche Del Suono is elegance and constraint personified — a crown jewel in a remarkable composer’s long career. Like all of Vaccina’s work, it rests in an undefinable realm, defying definition and category. Largely executed by the composer on a range of instruments — vibraphone, chimes, bells, various percussion, piano, strings, gong, and metallophone — it also features stunning contributions on oboe and English horn by Camillo Mozzoni, psaltery, dulcimer, guitar, and autoharp by Michael Tanner, and viola by Alison Cotton, on a handful of its works, vastly broadening the world of tonal interplay set forth by Vaccina. Across the album’s six compositions, unfolds expanses of ambience; sheets of sound-physic wonders, which, while feeling entirely singular and personal, mange to crystallize a confounding range of human emotion and experience.
File Under: Ambient, Minimalism
Lino Capra Vaccina: Arcaico Armonico (Dark Companion) LP
In tomorrow… Following his time in Aktuala, Lino Capra Vaccina published a seminal album in 1976, Antico Adagio, recently removed from the clutches of the vultures of rare disk from Die Schachtel. A few years after, another unmissable gem waiting for future reprints. Back to the studio after the incredible success of the reprint of Antico Adagio, Lino wanted to continue on the path laid out in his historical album: compositions, intuitions, emotions that were maturing for years, resting as the like of a good Borgogna wine, now ready to be shared with a wider audience. Also, for this new work, to his percussion, gong, tablas, bells, vibraphone, cymbals, dishes, and strange instruments natives Lino did not want to apply any “trick”. All the sounds you’ll hear in this extraordinary journey are strictly acoustic, no any kind of electronics are involved. Playing with tape delays, co-adjuvanted by a sound engineer visionary as Alberto Callegari, located at Elfo Studios which is a wonderful state-of-the-art place amidst the woods in the country of Piacenza. Max Marchini has produced this album with pure analog intents. Lino wanted around him three companions extraordinary as Paolo Tofani, legendary composer and guitarist of Italian prog/avant-garde band Area at the Mandhura for a breathtaking duet in “Dialoghi Tra Suoni (Dialogues Between Sounds)”, Camillo Mozzoni on oboe, oboe d’amore, and English horn wove arabesques of arcane memory in “Archaic Armonico”, and the old mate Juri Camisasca who stretched layers of voices in the enchanted “Ancrestrale Andante (Andante Ancestral)”. Eons away from any new age suggestions, the music of Lino Capra Vaccina, in constant evolution, discovers pages submerged by ancient memories shared. The throb of skins beatings brings scents of the time; together with the voice, that as well remembered by Joan La Barbara, it is the original instrument. An album that marks a new stage in the new music. A disc where the sound is at the center, as the Klang contrapposto Foné, in an emotional universe of incomparable beauty that takes the listener to a different perception of time and space. A true masterpiece that is about to became a very sought-after item, this first limited edition of individually numbered and hand-bounded.
File Under: Ambient, Minimalism
Akiko Yano: Tadaima (Wewantsound) LP
In tomorrow… Wewantsounds present a reissue of Akiko Yano’s Tadaima., originally released in 1981. The first release Wewantsounds’ ambitious program to release Akiko Yano’s albums outside of Japan Tadaima. (“I’m home” in Japanese) is Yano’s fifth studio album and a synth-pop masterpiece, co-produced by her then husband Ryuichi Sakamoto and featuring all the musicians from Yellow Magic Orchestra (Haruomi Hosono, Yukihiro Takahashi, and Sakamoto), the group she was touring with at the time. Japan’s best kept secret, Akiko Yano is one of the most ground-breaking artists to come out of the ’70s Japanese music scene along with Haruomi Hosono and Ryuichi Sakamoto. A piano child prodigy, Yano started her solo recording career in 1976 at just 21, recording her debut album Japanese Girl with no less than Little Feat as the backing band. This album created a stir on the Japanese scene and Yano was on the map. She went on to record a series of superb albums mixing funk, electro, and city pop featuring the cream of Japanese (and sometimes American and English) musicians; The fact she was producing, writing and composing herself made her a true maverick in a very male-dominated industry. These albums, incredibly, have never been released outside of Japan to this day. Tadaima. is Yano’s first attempt to leave the acoustic piano aside and delve into the synth sounds of the early ’80s. The result is a fascinating electro pop masterpiece showcasing her talent as a writer, musician, and singer, creating her own unique universe. Mixing Japanese and English lyrics, Yano crafts perfect pop songs such as “Tadaima.”, “I Sing”, “Harusaki Kobeni” (which became one of her most famous songs after its use in a Japanese cosmetics ad), while “Taiyo No Onara” is a suite composed of nine short stories written by children. Contributors on Tadaima. also include Shigesato Itoi, one of Japan’s most famous copywriters (for Studio Ghibli among others) who wrote two tracks on the album and his friend legendary illustrator Teruhiko Yumura — aka King Terry — who revolutionized underground manga in the ’70s with his “heta-uma” (bad-good) style, as showcased on the album’s striking artwork. Tadaima. is the perfect entry point to Akiko Yano’s unique body or work. This reissue includes original artwork by cult illustrator King Terry and a new introduction by renowned DJ Joakim.
File Under: Japanese, Synth Pop
Various: Las Vegas Grind Volume 7 (Jazzman) LP
In tomorrow… Calling all turkeynecks, dirt fiends and juiceheads! Often imitated, never equaled — the legendary, the one-and-only, the unique Las Vegas Grind! hath finally returned! After many years scouring the greasy basement dives of the netherworld, Jazzman finally managed to locate the manic mastermind responsible for the original six volumes of deviant, demented, and depraved sleaze-ball bump and grind. Slumped at the end of a bar, we struck the deal at midnight as we drank a toast of cold rat piss, and with deep regret Jazzman can now unveil the latest in the whole sorry saga. Las Vegas Grind! Volume Seven. And so, dragged under the stripper’s spotlight for the first time in 60 years, long-forgotten never-knowns by Alonzo And The Boppers and The Abstracts rock side-by-side with lurid low-life lurchers Louie And The Fat Men and The Escorts. Little Louie And The Finger Cymbals rattle their tiny pasties while Gay Poppa’s Cha Cha flips us round and takes us to the other side. All in all, yet another set of crude and tasteless chud-locker choons bound to upset the whole square world all over again. 16 gruesome growlers guaranteed to torment and tease. Shameless and shocking; rotten to the core; welcome, welcome at last to Las Vegas Grind! Volume Seven. Also features: Savoys, Low Rocks, Frank Scott, B Bubba, UBs Group, Leo Valentine Trio, Los Virreyes, Bob Moore And The Temps, Little Louie And The Finger Cymbals, The Original Spacemen, and Y-Dells.
File Under: Exotica
Aphex Twin: Selected Ambient Works (R&S) LP
Arcade Fire: s/t (Columbia) LP
Shiniachi Atobe: Heat (Demdike Stare) LP
Daniel Avery: Song For Alpha (Mute) LP
Courtney Barnett: Tell Me How You Really Feel (Mom&Pop) LP
Robbie Basho: Venus in Cancer (Traffic) LP
Bell Witch: Four Phantoms (Profound Lore) LP
Boy Harsher: Lesser Man (Nude Club) LP
Boy Harsher: Yr Body (Nude Club) LP
Charles Bradley: Changes (Daptone) LP
Charles Bradley: No Time For Dreaming (Daptone) LP
Leon Bridges: Good Thing (Columbia) LP
Peter Brotzmann: Machine Gun (Cien Fugos) LP
Alec Cheer: Night Kaleidoscope (Trunk) LP
The Clash: London Calling (Epic) LP
The Clash: Sandinista (Epic) LP
The Clash: s/t (Epic) LP
Cluster: Zuckerzeit (Lilith) LP
Alessandro Cortini: Avanti (PIAS) LP
Crickets…: God’s Chorus (Trunk) LP
Dawn of Midi: Dysnomia (Erased Tapes) LP
Death Grips: Money Store (Columbia) LP
Brian Eno: Another Green World (Astralwerks) LP
Fugazi: Repeater (Discord) LP
Dexter Gordon: A Swingin’ Affair (Down at Dawn) LP
Harumi Hosono: Pacific (Victory) LP
King Gizzard & The Wizard Lizard: Polygondwanaland (ATO) LP
Kendrick Lamar: Damn (Aftermath) LP
Kendrick Lamar: Good Kid, M.A.A.D. City (Aftermath) LP
Kendrick Lamar: To Pimp A Butterfly (Aftermath) LP
Os Mutantes: s/t (Polydor) LP
OST: Ghost in the Shell (WRWTFWW) LP
Parquet Courts: Light Up Gold (What’s Your Rupture) LP
Portishead: Dummy (Polydor) LP
Yasuaki Shimizu: Kakashi (Palto Flats) LP
Sturgill Simpson: Metamodern Sounds in Country Music (Thirty Tigers) LP
Siouxsie & The Banshees: Juju (Universal) LP
Siouxsie & The Banshees: The Rapture (Universal) LP
Siouxsie & The Banshees: The Scream (Universal) LP
Twilight Sad: It Won’t Be Like (Rock Action) LP
Yellow Magic Orchestra: YMO & YMO USA (Music on Vinyl) LP
Yesterday’s New Quintet: Angles Without Edges (Stones Throw) LP
Various: Spider Jazz (Trunk) LP