Ooooof! Now I know not everyone is into library records, but may you should be, and what better time to get into them, we just acquired a pretty big collection of KPM as well as a bunch of other titles from Studio G, Timing, NFL, etc. Anyway, pretty fun and once in a blue moon type score. But, if that REALLY isn’t your bag, we got lots of other great stuff in this week too, the new Sarah Davachi is stellar, the new Suzanne Ciani is killer, Shellac peel sessions are amazing. All in all, a fine, fine week! Come for a dig.
Oh ya… if you don’t follow us on Instagram, WHY NOT?! And now you know.
…..picks of the week…..
Sarah Davachi: Pale Bloom (W. 25th) LP
Pale Bloom finds Sarah Davachi coming full circle. After abandoning the piano studies of her youth for a series of albums utilizing everything from pipe and reed organs to analog synthesizers, this prolific Los Angeles-based composer returns to her first instrument for a radiant work of quiet minimalism and poetic rumination. Recorded at Berkeley, California’s famed Fantasy Studios, Pale Bloom is comprised of two delicately-arranged sides. The first—a three-part suite where Davachi’s piano acts as conjurer, beckoning Hammond organ and stirring countertenor into a patiently unfolding congress—recalls Eduard Artemiev’s majestic soundtrack for Andrei Tarkovsky’s Solaris. “Perfumes I-III” employs the harmonically rich music of Bach as a springboard for abstract, solemn pieces that sound as haunted as they are dreamlike. While the first half of Pale Bloom showcases Davachi’s latent Romanticism, the sidelong “If It Pleased Me To Appear To You Wrapped In This Drapery” reveals the Mills College graduate’s affinity for the work of avant-garde composers La Monte Young and Eliane Radigue. Softly vibrating strings rise and fall like complementary exhalations of breath. As the fluctuating pitches create overtones that pitter and pulse, the piece slowly and subtly evolves—suggesting a well-tempered stillness, yet without stasis.
Suzanne Ciani: Flowers of Evil (Finders Keepers) LP
As a genuine vanguard of electronic music composition at the forefront of the modular synthesizer revolution in the late 1960s, Suzanne Ciani’s forward-thinking approach to new music would rarely look to the past for inspiration, which makes this unheard composition from 1969 a rare exception to the collective futurist vision of Ciani and synthesizer designer Don Buchla. In choosing to adapt the controversial prose of French poet Charles Baudelaire, Suzanne would join the ranks of ongoing generations of pioneering musicians like Olivier Messiaen, Karlheinz Stockhausen, Serge Gainsbourg, Etron Fou Leloublan, Celtic Frost, and Marc Almond (not forgetting Star Trek’s William Shatner!), all equally inspired by the 19th century writer’s works of “modernité” (modernity), a self-coined term dedicated to capturing the fleeting, ephemeral experience of life in an urban metropolis, best exemplified in Les Fleurs du mal (Flowers Of Evil). In her varied career that would combine art gallery installations, major film soundtrackings, and commissions for Atari, Suzanne Ciani’s earliest experiments remain some of her most challenging, beguiling, and timeless. Flowers Of Evil ticks all the above boxes and flicks switches that would power-up a new uncharted universe of her own musical modernité. For the many enthusiasts that have already drawn the parallels between Baudelaire’s writings and experimental/electronic music (a relationship rivalled only by the likes of J. G. Ballard and Aldous Huxley) some might instantly recognize an unconscious sistership between this recording and another 1969 electronic adaptation of Flowers Of Evil by celebrated female electronic composer Ruth White. An interesting distinction of White’s excellent version of Flowers Of Evil (released via Limelight records) is that its dark tone generation and vocal manipulation was created with a Moog synthesizer, the commercially triumphant rival to Suzanne and Don’s Buchla Systems. The fact that Ciani’s version was never intended for commercial release is also poetically reflective of the nature of Ciani and Buchla’s alternative perspective. The choice to present this extract from Flowers Of Evil in its intended French language further distances Ciani’s faithful reaction from some of its better-known variations. Having attempted to voice the poem herself, the multilingual Italian-American composer’s French accent did not meet her own standards, resulting in the request for a fellow unnamed French student who lived on campus at Mills College in Oakland to accurately verbalize the section of Baudelaire’s collection entitled Élévation.
Amyl and the Sniffers: s/t (ATO) LP}
Melbourne, Australia’s Amyl and The Sniffers’ self-titled debut album was produced by Ross Orton (Arctic Monkeys, M.I.A) and comes with 11 blistering tracks boasting 70’s throwback anthemic guitars and breakneck drumming with human firecracker Amy Taylor leading the 29-minute auditory assault. The Fader says that, “the Australian band recall the heady days of punk: spiky, wild, provocative, and a little dangerous with a fierce live reputation.” Taylor explains that lead single, “‘Got You’ is about that feeling you get when you first start seeing someone and you’re excited to see them, no matter what shit they got. You just see them at the pub and it feels like the most exciting thing in the world, like you’re so lucky they’re even there. It’s definitely one of the “sweetest” songs on the album, and less punky. It was kind of inspired by Split Enz.”
File Under: Punk
Bad Religion: Age of Unreason (Epitaph) LP
Since Bad Religion’s formative years the acclaimed Los Angeles, CA punk rock band has steadfastly advocated for humanism, reason, and individualism. Now, when these values are in decline and nationalism and bigotry are on the rise, the group’s message has never been more essential. Their seventeenth slab, Age of Unreason delivers a powerful and inspired response – a political and deeply personal treatise on all they believe in. “The band has always stood for enlightenment values,” co-songwriter and guitarist Brett Gurewitz explains. “Today, these values of truth, freedom, equality, tolerance, and science, are in real danger. This record is our response.” The songs on Age of Unreason are both furious and meticulously crafted. There are references to contemporary events; racist rallies, Trump’s election, the erosion of the middle class, Colin Kaepernick’s protest, alternative facts, conspiracy theories, and there are homages to the literary and philosophical works that have long inspired the band. The track “Chaos From Within” uses the band’s iconic fast, powerful and melodic sound to examine the current border wall controversy with the lyrics, “Threat is urgent, existential / with patience wearing thin / but the danger’s elemental / it’s chaos from within.” As co-songwriter and lead singer Greg Graffin says, “Throughout history, walls have been used to keep the barbarians out, But it seems to me that the truly barbaric aspect of a civilization is the chaos that comes from within.” Co-produced by Carlos de la Garza, Age of Unreason is a timely work of immense power and one of their very best. Society’s step backwards has propelled the legendary band decidedly forward. There is an elevated craft in the way the song “Candidate” vividly evokes the current president, “I am your candidate / I am bloody lips and makeup /I’m your caliphate, opioids and mutilation / a celebrity and my name is competition.” Another track, entitled “The Approach,” addresses the possible demise of democracy with the lyrics, “There’s a moral and intellectual vacuum / and you’re right to be lookin’ askance / philosophically moribund, revolution hasn’t a chance.” This record is both a dire warning and testament to resilience. The overall message being – seek truth about the world and oneself. As Graffin, who holds a PhD in the history of science, says, “When I saw all these headlines about how terrible our world had become, I started doing a lot of reading. I read about the French revolution, the American Revolution, the Civil War, and I started to recognize that this is a pattern of history and something we should never venture into. There are ample warnings against it. Every school child should know this but it’s hard to get people to read about these things. Maybe this album can help. Because right now, with social media, we are just playing a version of kill the guy with the ball.”
File Under: Punk
Baroness: Gold & Grey (Abraxan Hymns) LP
“Our goal is, was, and will always be to write increasingly superior, more honest and compelling songs, and to develop a more unique and challenging sound. I’m sure we have just finished our best, most adventurous album to date. We dug incredibly deep, challenged ourselves and recorded a record I’m positive we could never again replicate. I consider myself incredibly fortunate to know Sebastian, Nick and Gina as both my bandmates and my friends. They have pushed me to become a better songwriter, musician and vocalist. We’re all extremely excited for this release, which includes quite a few “firsts” for the band, and we’re thrilled to be back on tour to play these psychotic songs for our fans. Expect some surprises. This [cover art] painting was born from a deeply personal reflection on the past 12 years of this band’s history, and will stand as the 6th and final piece in our chromatically-themed records.” – John Baizley
File Under: Metal
Baroness: First & Second (Hyperrealist) LP
Baroness’s now-classic formative material finally sees a proper reissue with their first two 12-inches compiled as one deluxe LP. A lot dirtier, punker and more metallic than their current rock-infused, catchy weirdness, First & Second is an important document in the lineage of this excellent band, and all 38 minutes of music have been completely remixed and remastered for a much fuller sound than ever before. Housed in a beautiful gatefold jacket with guitarist / vocalist John Dyer Baizley’s elaborate and intricate artwork (spread through the exterior, interior and printed dust-sleeve), this foil-stamped beauty comes on complimentary both black and clear colored vinyl.
File Under: Metal
Bikini Kill: Reject All American (Bikini Kill) LP
Reissued!!! Bikini Kill’s final studio album originally released in 1996 on Kill Rock Stars. Bikini Kill was a feminist punk band that was based in Olympia, WA and Washington, DC, forming in 1990 and breaking up in 1997. Kathleen Hanna sang, Tobi Vail played drums, Billy Karren (aka Billy Boredom) played guitar and Kathi Wilcox played bass. Bikini Kill is credited with instigating the Riot Grrrl movement in the early ’90s via their political lyrics, zines, and confrontational live performances.
File Under: Punk
Bikini Kill: Pussy Whipped (Bikini Kill) LP
Reissued!!! The debut full-length from BIKINI KILL originally released in 1993 on Kill Rock Stars. Includes the track “Rebel Girl,” listed # 27 on Rolling Stone’s “Most Excellent Songs of Every Year Since 1967” list. Bikini Kill was a feminist punk band that was based in Olympia, WA and Washington, DC, forming in 1990 and breaking up in 1997. Kathleen Hanna sang, Tobi Vail played drums, Billy Karren (aka Billy Boredom) played guitar and Kathi Wilcox played bass. Bikini Kill is credited with instigating the Riot Grrrl movement in the early ’90s via their political lyrics, zines, and confrontational live performances.
File Under: Punk
Marion Brown: Three For Shepp (Superior Viaduct) LP
In 1966, when Marion Brown was ready to make his first record as a leader, he was standing on the shoulders of giants. Formative associations with Ornette Coleman and Sun Ra established Brown as a saxophonist to watch, and he had already appeared on free jazz landmarks Archie Shepp’s Fire Music and John Coltrane’s Ascension. Originally released on Impulse!, Brown’s debut lays down three startling originals and three tunes by Shepp—echoing his mentor’s 1964 homage to Coltrane, Four For Trane. Featuring Grachan Moncur III on trombone, Dave Burrell on piano and Norris “Sirone” Jones on bass, Three For Shepp balances fiery energy and delicate precision. Side A showcases Brown compositions that mix modal structures with ecstatic playing, particularly when the bandleader chases Moncur and Burrell on the exhilarating “The Shadow Knows.” On the album’s all-Shepp side, “West India” draws inspiration from India and Africa, while the feverish post-bop of “Delicado” demonstrates the band’s versatility, swept by the wheeling drums of Beaver Harris. Even this early in his career, Brown stood apart from his peers in “the new thing.” His solos were as gentle as they were furious. Informed by the African American folk traditions of his native Georgia and an enthusiastic embrace of the avant-garde, his music would confront and challenge society. As Brown says in the original liner notes, “The music is definitely a part of what’s going on in the black revolution in America.” Three For Shepp still sounds crucial today (over 50 years later) and remains a vital statement of jazz’s past, present and future.
File Under: Jazz
Burial: Claustro/State Forest (Hyperdub) 12″
“It’s been nearly two years since Burial’s last solo releases: In late 2017, he enjoyed an unusually productive spell, putting out three 12″s in just a few months’ time, each one subtly expanding the boundaries of his sound. “Subtemple” and “Beachfires” were pure ambient; “Rodent” was a brooding, heads-down house groover; and “Pre Dawn”/”Indoors,” for Boddika’s Nonplus imprint, were cavernous rave anthems as big as anything he’d ever done. With “Claustro,” he returns to the UK garage that has always been fundamental to his sound. The rimshot-heavy beat shuffles and swings like it’s 1999 all over again, and the way he chops up the vocals has the unmistakable air of the 2-step bootlegs of R&B hits that once ruled the UK’s dancefloors. It’s slathered in all the vinyl hiss and moody sound effects we’ve come to expect from Burial, but despite the murk, the whole thing just moves, with overlapping vocal hooks, buried MC shouts, and errant rave stabs contributing to the forward motion.” – PITCHFORK
File Under: Electronic
Bill Callahan: Shepherd in a Sheepskin Vest (Drag City) LP
As you listen to Shepherd In a Sheepskin Vest, a feeling of totality, of completeness, steals over you, like a thief in broad daylight. Of course it does —you’re listening to a new BILL CALLAHAN record! The first one in almost six years! What more do you need to complete you? Or perhaps, after all the time, the obvious needs to be made just a little more explicit? First, it’s a different kind of record. Bill’s now writing from somewhere beyond his Eagle-Apocalypse-River headspace, and Shepherd In a Sheepskin Vest is very much its own beast. The songs are, by and large, shorter, and there are more of them. It took almost all of the previous three albums to add up to that many. Plus, twenty’s a lot of songs! But again, it goes a lot deeper than that. Moving gradually from reflections upon the old days in “Ballad of The Hulk” and “Young Icarus” to the immediacy of the present moment in “Watching Me Get Married” and “Son of the Sea”, Bill traces the different life lines, casually unwinding knotty contradictions and ambiguities with an arresting stillness. The sense of a life thunderstruck by change infuses Shepherd In a Sheepskin Vest—the songs wander from expressions of newfound joy and great contentment to other snapshots, considerations of the not-joy that we all know. Unsettling dream-images and mythic recollections are patiently received; the undertow of the past is resisted, pulling against it instead into the present, accepting revolutions of time and the unconscious as a natural flow.
File Under: Indie Rock, Folk
Alice Coltrane: Eternity (Antarctica Starts Here) LP
Released in 1976, Eternity was Alice Coltrane’s first album for Warner Bros. after eight wondrous records on Impulse! Combining the drones and textures of India, the gospel and R&B of her Detroit youth and the dissonance of modern classical composition, Coltrane’s music in the ‘70s would become increasingly difficult to categorize. Having moved a few years earlier to California (where she founded the Vedantic Center, an Ashram for spiritual studies), Coltrane stretches out on Eternity—incorporating various musical styles, including a stirring adaptation of Igor Stravinsky’s The Rite of Spring—and the results are dazzling, both in sonic scope and emotional range. Opener “Spiritual Eternal” sways between Alice’s exploratory organ and the dramatic swell of lush strings. A meditative solo piece for harp, “Wisdom Eye,” precedes the rollicking rhythms of “Los Caballos,” which showcases some of her finest soloing. “Om Supreme” is the album’s first track to be built around bhajans (Hindu devotional songs). Featuring graceful keyboards backed by an angelic choir, this piece hints at the ecstatic devotional music that she would later make with members of her Ashram. While Coltrane would delve deeper into her spiritual journeys and continue to expand her musical interests on subsequent LPs, Eternity remains a vivid and compelling display of her unique vision, myriad talents and passions.
Alice Coltrane: Radha-Krsna Nama Sankirtana
(Antarctica Starts Here) LP
Radha-Krsna Nama Sankirtana was the first of two albums Alice Coltrane released in 1977 (the other being Transcendence). Coltrane’s music during this period grew out of an epiphany in which she would renounce secular life and don the orange robes of a swamini (spiritual teacher in the Hindu tradition). Musically, this meant leaving jazz behind (at least partially) and embracing the chants and rhythms of devotional music. The first half of Radha-Krsna is mostly filled with simple arrangements of bhajans (Hindu devotional songs) and features the singing of students from the Vedantic Center, the Ashram that Coltrane founded in 1975. The group bounces with the joy of a gospel choir (not coincidentally, some had backgrounds in Southern Baptist churches). A rapturous aura permeates opener “Govinda Jai Jai” with Alice leading on Fender Rhodes. On “Prema Muditha,” she returns to acoustic piano (her main instrument in the early part of her career) to deliver a powerful and poignant theme. Sidelong “Om Namah Sivaya” beams with probing organ improvisations accompanied by the drumming of her 13-year-old son Aruna John Coltrane, Jr. This closing track offers a strong indication that even if Alice Coltrane was turning toward new traditions for inspiration, her music was still something that only she could make.
Alice Coltrane: Transcendence (Antarctica Starts Here) LP
Transcendence was not only Alice Coltrane’s last studio album for Warner Bros., it would also be her last studio work for nearly three decades. While Eternity and Radha-Krsna Nama Sankirtana followed the composer’s muse through an exciting range of musical styles and influences, Transcendence is perhaps the most fully realized of the three LPs, synthesizing the best elements of each into a monumental whole. Side one consists of intimate compositions with Alice’s pointillist harp enhanced by intricate string arrangements. At times, the emotional climaxes in “Radhe Shyam” and the title track sound like the score to an epic film. This would be the closest Coltrane ever came to chamber music, yet rendered with her uniquely spiritual tint. Side two moves into celestial territory with uplifting chants, light handclaps and bluesy organ. These call-and-response chants, featuring members from her Ashram, completely embody both African-American gospel and Hindu devotional traditions, an uncanny fusion that is transformed through Alice’s pure spirit. What runs through the album’s two musical halves is a powerful sense of devotion and discovery. At this point in her life, Coltrane was on a journey toward truth through sound, and Transcendence gives the listener a front row seat to this quest.
Alice Coltrane: Transfiguration
(Antarctica Starts Here) LP
By the late ’70s, Alice Coltrane had largely gravitated away from jazz, incorporating Hindu chants and hymns into her music to reflect a newfound sense of creative omnipotence. However, in April 1978, she would return to her roots, performing at University of California, Los Angeles to make her first and only live album. Transfiguration, featuring drummer Roy Haynes and bassist Reggie Workman, showcases Alice’s many compositional talents and fierce improvisatory abilities. Throughout this double LP set, her playing evokes the time spent in her late husband John Coltrane’s band and the avant-garde music of her earlier years. As biographer Franya J. Berkman writes, “Her up-tempo keyboard work here is the most exciting of her commercial career. With its rapid-fire transpositions of short figures; its long modal passages, rhythmic play, and timbral inventiveness; its sustained energy and burning pace; and the unrelenting support of Haynes and Workman, she takes leave of the jazz business with a truly breathtaking swan song.” Alice Coltrane would not revisit jazz on record for another 26 years, turning instead to spiritual music made with students at her Vedantic Center and self-releasing a series of cassettes under her Sanskrit name, Turiyasangitananda. It is hard to imagine a better farewell than the intense and spellbinding Transfiguration.
John Coltrane: Coltrane ’58: Prestige Recordings (Craft) BOX
John Coltrane’s importance and influence have never been greater. While active for a relatively short period – from 1957 to ’67 – he was an intrepid spirit who developed at a feverish pace. Coltrane’s breakout year, when his mature sound first grabbed ears and his own recordings began to sell consistently, was 1958. Coltrane ’58: The Prestige Recordings, from Craft Recordings, chronicles the exciting story session by session, featuring all 37 tracks Coltrane recorded as a leader or co-leader for the independent Prestige label in those twelve months. This collection captures him in creative high gear – developing the signature improvisational style that journalist Ira Gitler famously dubbed “sheets of sound.” Equally importantly, the box presents the music in unsurpassed sound. Produced by Nick Phillips, the vinyl box includes eight 180-gram LPs, remastered from the original analog tapes by Paul Blakemore (all recorded by renowned engineer Rudy Van Gelder), and cut by Clint Holley from 24-bit/192kHz transfers. The lavish, linen-wrapped, portfolio-style book features an eye-catching design and includes 40 pages containing extensive liner notes by Grammy-winning American music historian Ashley Kahn, rare ephemera and historical photographs of the saxophonist and his collaborators, including several taken by renowned jazz photographers Francis Wolff and Esmond Edwards. The 5CD edition, containing a 76-page book, is a faithful replica of the 8LP vinyl box. Coltrane ’58 brims with the shared jazz repertoire of the day – blues, bebop standards and familiar ballads – as well as original compositions and obscure tunes Coltrane rediscovered. Together they offer an array of emotional depth and instrumental prowess, showing how the rising saxophonist was actively stretching sound and increasing the intensity, and shifting the direction of what jazz performance was about. Included are definitive versions of “Lush Life,” “Lover Come Back to Me,” “Stardust,” “Good Bait” and “Little Melonae”; first recordings of originals like “Nakatini Serenade,” “The Believer,” “Black Pearls” and the heartfelt “Theme for Ernie”; and extended tenor saxophone tours-de-force such as “Russian Lullaby,” “Sweet Sapphire Blues” and “I Want to Talk About You” that anticipate the stratospheric heights Coltrane would reach in the 1960s. In 1958, Coltrane was still two years away from emerging as a bandleader, but his membership in ensembles led by Miles Davis and Thelonious Monk had propelled him into the spotlight as one of jazz’s most exciting and controversial figures. Coltrane ’58 serves as a window onto the shock and awe – and eventually deep appreciation – Coltrane generated during this period, when his sheets of sound approach pushed the bebop ideal of slaloming through a tune’s chordal pathways to its extreme. To be sure, Coltrane ’58 is more than sheets of sound: It’s the sound of Coltrane working and smoothing out those sheets and exploring other ideas as well. For example, he frequently played in double-time – as if the chords were moving twice as fast as the rest of the band – and, if the music called for it, he’d decrease the intensity, caressing and embellishing a melody, an aspect that could calm the toughest critics. Coltrane ’58 reveals other significant aspects of Coltrane’s emergence, too, like his growing status in the hard bop brotherhood of the day. He recorded with contemporaries (many future legends in their own right), including pianist Red Garland; guitarist Kenny Burrell; trumpeters Donald Byrd, Freddie Hubbard and Wilbur Harden; bassist Paul Chambers and drummers Art Taylor, Jimmy Cobb and Louis Hayes. The sessions all took place in Rudy Van Gelder’s legendary home studio in Hackensack, New Jersey, where so much of the best jazz of that era was recorded. Coltrane’s music of 1958 benefits from a marked blue-collar, pressure-cooker aesthetic: Born in three-hour sessions with minimal rehearsal, head arrangements and mostly first takes, these tracks provide a true and transparent view of the talent Coltrane was able to draw upon and the timeless, improvised magic they created together. It’s a challenge today to imagine how radical Coltrane must have sounded sixty years ago to jazz listeners accustomed to a gentler, lyrical flow. In his liner notes, Ashley Kahn sees an enduring relevancy in Coltrane’s bold chance-taking, as a creative artist and an African-American: “In the context of current headlines and an overriding sense of déjà vu, Coltrane’s music rings clearer than ever, with even greater meaning than it had in 1958. What he was playing then never felt less than urgent and relevant – subversive even. It still sounds that way.” Remarkably, the majority of this music wasn’t released until the ’60s on various albums after Coltrane’s emergence as a bandleader, denying these 37 tracks the chance to tell their own collective story. By sequencing this music in the order of its original creation, Coltrane ’58 clearly delineates Coltrane’s first full year as a recording artist, finally allowing fans to experience – track by track – the emergence of a master improviser in his first great career crest.
File Under: Jazz
Bill Converse: Hallways (Dark Entries) LP
We are pleased to present ‘Hallways’ the third full length from Austin, Texas analogue hardware enthusiast Bill Converse. Immersed in the early days of the 90s midwest rave scene, Bill began DJing at a young age in Lansing, Michigan. Luminaries such as Claude Young, Traxx, and Derrick May were key early influences. Techno, noise, ambient and tape processing are all part of his uncanny sound palette. ‘Hallways’ is an 80 minute journey spread across 12 tracks and 2 slabs of vinyl. All tracks were recorded directly to tape with no overdubs, made at Converse’s home studio over the past 2 years. Bill says, “One idea for this album is ‘through bardos’, the gap or moment of transition between two things according to Buddhism. Like an experience in meditation and attempting to find realization/s on the way through the illusory and interdependent nature of good old fashioned REALITY.” Built around crunchy synthesizers, harsh drum machines and jarring acid lines, the tracks share a darker tone than Bill’s previous albums and one song features guest vocals by music gourmet Carlos Souffront, a true DJ’s DJ from Detroit. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. Each 2xLP is housed in a jacket designed by Eloise Leigh with rich purple and smokey turquoise kaleidoscopic patterns.
File Under: Electronic, Acid, Experimental
DOA: 1978 (Sudden Death) LP
Sudden Death is excited to announce the release of the D.O.A. album 1978. It’s a 21-track collection of never released demos, rare tracks and early singles from Canada’s punk pioneers. Joey Shithead went deep into the vault and came up with some super exciting and raw punk rock. The album title and art concept is a spike-haired nod of the head to that early, dynamic era ofthe band and to the seven great former members who have since passed on. Their spirit and talent played a huge role into launching the band into worldwide prominence. The two constants on the album are Joey and Chuck Biscuits, who play on every track. From the start of 1978 begins their wild, “I don’t give a shit” approach to punk rock. Now some forty years later one can hear it all, starting with the never-seen-the-light-of-day demo version of “The Enemy”. This demo has a different set of lyrics that speaks to fighting Nazis—strange, what is old is new and vital again. There’s a ton of exciting tracks that range from the never heard before, such as “Bored And Suicidal”, “The Mutant”, “No God No War”, “Rip Dis Joint”, “No Way Out” and “Rent-A-Riot”, to classic early singles like “Fucked Up Ronnie”, “Disco Sucks”, “World War 3”, “The Prisoner” and “13”. Also included are demo versions of “America The Beautiful” and “Liar For Hire” with Biscuits drumming, which are wildly different than the classic versions you hear on War On 45. On this collection are the origins of hardcore and a full blast of D.O.A’s politics and raucous humour.
File Under: Punk
Fetid: Steeping Corporeal Mess (20 Buck Spin) LP
While home to fertile forests, soaring peaks and copius precipitation, the Pacific Northwest lately has also become a breeding ground for something more nefarious, more grotesque, more… Fetid. Since 2016 Fetid has steadily swelled like a venereal boil upon death metal’s infected anatomy. The band’s Sentient Pile Of Amorphous Rot demo introduced the mustiest corners of the globe to their abhorrent peculiarities. Now, having sliced into the furthest reaches of some unfortunate’s intestinal mucosa, they’ve ripped out a Steeping Corporeal Mess of festering death metal barbarity. All one needs to know is that from the opening of “Reeking Within” to the closing moments of “Draped In What Was”, Fetid consume from the inside out, tearing through flesh, liquifying and engulfing the entire host body into formless horror. “Feel it breath, feel your fear, the time is now, they are here…”
File Under: Metal
Robert Glasper: Canvas (Blue Note) LP
In honor of Blue Note Records’ 80th Anniversary, the legendary jazz label is launching the Blue Note 80 Vinyl Reissue Series. Distinct from the Tone Poet Audiophile Vinyl Reissue Series, this second series curated by Don Was and Cem Kurosman features 180g vinyl LP releases in standard packaging with albums spanning the many eras of the label’s history presented by themes: Blue Note Debuts, Blue Grooves, Great Reid Miles Covers, Blue Note Live, and Blue Note Drummer Leaders. The series launches in May 2019 with the reissue of three remarkable Blue Note debuts – Herbie Hancock Takin’ Off, Dexter Gordon Doin’ Allright, and Robert Glasper Canvas – and will continue with three albums released each month for the coming year. On his acclaimed 2005 Blue Note debut Canvas, pianist and composer Robert Glasper proved he had jazz chops in abundance with his acoustic trio featuring bassist Vicente Archer and drummer Damion Reid, while a hip hop sub-context lay just beneath the surface in the album’s skittering beats, hinting at future directions that Glasper would take on albums like the Grammy-winning Black Radio years later. The album featured special guests Mark Turner on tenor saxophone plus vocalist Bilal, and presented Glasper’s signature sound on nine original tunes as well as a nod to one of his biggest influences Herbie Hancock with a version of “Riot.”
File Under: Jazz
Herbie Hancock: Takin’ Off (Blue Note) LP
In honor of Blue Note Records’ 80th Anniversary, the legendary jazz label is launching the Blue Note 80 Vinyl Reissue Series. Distinct from the Tone Poet Audiophile Vinyl Reissue Series, this second series curated by Don Was and Cem Kurosman features 180g vinyl LP releases in standard packaging with albums spanning the many eras of the label’s history presented by themes: Blue Note Debuts, Blue Grooves, Great Reid Miles Covers, Blue Note Live, and Blue Note Drummer Leaders. The series launches in May 2019 with the reissue of three remarkable Blue Note debuts – Herbie Hancock Takin’ Off, Dexter Gordon Doin’ Allright, and Robert Glasper Canvas – and will continue with three albums released each month for the coming year. On his excellent debut album Takin’ Off – recorded and released in 1962 – jazz legend Herbie Hancock arrived fully formed at the helm of an impressive quintet with trumpeter Freddie Hubbard, tenor saxophonist Dexter Gordon, bassist Butch Warren, and drummer Billy Higgins. Though rooted firmly in hard bop, the brilliant pianist and composer presented his own strikingly original voice on this auspicious six-song collection consisting entirely of his own compositions from the funky hit “Watermelon Man” to the timeless ballad “Alone and I.”
File Under: Jazz
Intelligence: Un-Psychedelic in Peavey City (V.M.I.) LP
“Still panting from their installment in Castle Face’s Live In San Francisco series (where they ran a greatest hits clinic for basement sweat-rats) and from mega-mind Lars Finberg’s outside solo oddballer, Moonlight Over Bakersfield, The Intelligence return in Neu-veau mode with Un-Psychedelic In Peavey City, their tenth studio album-amalgam. Load up on electrolytes, all ye who enter here… “The customary tin / aluminum milestone won’t fit this true band of steel: the current Intelligence iteration is the most forceful and dynamic of any line-up in the project’s history. Although each performer has been smeared across myriad recordings and tours for years, the now-time assemblage of Drew Church (bass), Dave Hernandez (guitar) and Kaanan Tupper (drums) currently positions The Intelligence as a world-class unit, with members playing in partnership with conductor Finberg rather than at his sometimes-service. Lars is giving the back-rubs now, not getting ‘em—a delightful and cruel twist. “There’s no aspect of Un-Psychedelic In Peavey City that tilts toward phoned-in safe plays, no easy feat for a 10-albums-deep unit. For this collection, the band cast off the comforts of their traditional cosmopolitan haunts (Sacramento, Costa Mesa, etc.) in favor Grass Valley’s Louder Studios, a wilderness recording burg (OK OK, with a pool, yes) helmed by Tim Green, a twiddler maestro who has assisted Bikini Kill, Melvins, Comets On Fire, Wand and countless others in sterling fashion. The resultant recordings are the most expansive Intelligence material imaginable—perhaps Un-Psychedelic, but certainly free, playfully abstract and awesomely stretched out.”
File Under: Punk
Yuzo Iwata: Daylight Moon (Siltbreeze) LP
Daylight Moon is Yuzo Iwata’s first outing since his debut, Drowning In The Sky, got the green light in 1999 on the legendary Org label. While Yuzo’s been living stateside for a couple of decades, his roots, style and fluidity harken back to the Kichijoji Minor days of the late seventies Tokyo underground scene. He also put in some time as a member of Tori Kudo’s Maher Shalal Hash Baz early on and there’s no one else in Philadelphia who can make that claim. His pedigree is legit. As is his playing. For fans of Kousokuya and Hallelujahs especially and PSF and Org label output overall. Limited re-pressing of 300.
File Under: Japanese, Psych
Joy Division: Unknown Pleasures 40th Anniversay (Rhino) LP
Factory Records owner Tony Wilson gambled label profits and his life savings on the recording of Joy Division’s debut album. With producer Martin Hannett at the helm, the band crafted a stark musical statement that would endure as a milestone. 1979’s Unknown Pleasures charted a confident course through grim personal realities and steely, often disjointed soundscapes. The album’s ten classic tracks resonate with the atmospheric textures and deep sonic spaces of Hannett’s production. Highlights include “Insight,” “Disorder,” “New Dawn Fades” and “She’s Lost Control.” While the album’s black sleeve has become one of the most iconic designs in popular music history, the original design was supposed to be white-with-black accents which is reflected in this 40th anniversary colored 180g vinyl LP edition. It’s a celebration of one of the most important albums of our time as well as a landmark in music/design crossover history.
File Under: Punk, Post Punk
Zdenek Liska: Ikarie XB-1 (Finders Keepers) LP
With this previously unreleased 1963 score for Jindlich Polák’s Ikarie XB-1, Finders Keepers present an “elusive” musical artifact by Zdeněk Liska, the label’s third soundtrack by the composer. Fettered by the hampers of communism, this lifelong resident of Czechoslovakia would never quite find his seat at the same table as the likes of John Barry, Ennio Morricone, Michael Nyman, and Stanley Myers. But having waited patiently behind the borders of the wider landscapes of international cinema, Liska’s musical brood, spanning multiple stylistic decades and generations, has now started to walk proudly amongst his would-be, latter-day compeers. In an era where music lovers have almost become immune to adjectives like “lost”, “rare”, and “unreleased” in a climate where previously lesser-known off-kilter master composers such as Vannier, Kirchin, and Axelrod have become widely revered, it is perhaps the perfect time for discerning listeners to advance above the feeding trough and seek out this truly pioneering and revolutionary Eastern European composer. Rivaled only by the likes of Krzysztof Komeda and Andrzej Korzynski in Poland, alongside Alexandr Gradsky in Russia, and often splitting workloads with fellow Czech composers like Lubos Fiser, Zdeněk Liska’s filmography of over almost 300 fully formed movie scores virtually eclipses the achievements of these socialist era luminaries. Respected unanimously in both Czech and Slovakian by studio bosses, producers, directors and actors alike Liska is widely known for his ability to take the existing energy in a reel of film and literally change the polarity to suit his own interpretation while maintaining the full support from his “client” who would in-turn end up working under this composer’s creative direction. Not only was Liska a genius of emotive orchestral and coral composition, his grasp on small group arrangements and intimate, minimal scores set him above the competition. By utilizing primitive sample techniques by “looping” a film’s existing ambient noise, or rearranging found sounds and dialog into subtle melodic arrangements, Liska would independently develop his own techniques which had simultaneously become known in Paris as musique concrète. It is a direct extension of these experiments that saw Liska also draw parallels with Walter Branchi (Ennio Morricone’s main electronic sidekick) in Italy as well as Daphne Oram in the UK, making Liska a relatively untraveled pioneer of early electronic composition and sound design due to his unlikely global environment. Remastered from the original tapes with the full cooperation of the National Film Archive in the Czech Republic.
LTD: Stop Und Fick Dich (In The Red) LP
King Khan has scoured the earth to find the most rocking freaks of nature this side of the planet to form what he calls “an all-star cream of the crop rock ’n’ roll lifers association” aka Louder Than Death aka LTD—Looch Vibrato and Aggy Sonora (of the legendary Magnetix) on guitar and drums, and Fredovitch, the mighty organ surfer of the Shrines, throws out the keys and picks up the bass. King Khan assumes the position of frontman / lead shouter / effeminate cult leader (by choice). What is born is a maelstrom of pure unadulterated, unhinged, unbelievable rock ’n’ roll baptized in the salty sea water of Bordeaux, France, waterboarded with the finest wines, choked with the smelliest cheeses, dipped into a vat of oysters, octopus and shrimp. This is not just a band, its an orgy of the damned! King Khan summons the punk rock demons buried in his bodacious brown back side, lathers up the listeners in his mystical oils and leaves the audience thirsty, horny, riled up, ready to dance upon the apocalypse and punch it in the face all in one mighty fell swoop. King Khan on the other players: “I once saw Looch Vibrato take a pair of glasses off someone’s face and stick them in his mouth and crunch them into dust, all because he warned him not to drink a warm can of beer filled with his own piss. Aggy Sonora, is the love child of Peggy from the Gories and Anaïs Nin. She beats her drums as senselessly as sensually. The sound of lust and labour rammed into one mystical inauguration of the pleasure dome. Fredovitch (aka Freddie Rococco) was once mistaken for the son of Roky Erickson by Japanese music magazines. He is in fact a son of a gun and the greatest bass player since sliced brie. When he isn’t playing bass he is conducting orchestras in his mind and preparing to take over the world of classical music. His motto is : you slap my bass, I’ll slap yo’ face… and fuck your mom.” Tired of the smoke and mirrors of the modern music world? Then trust in this Union of Lifers. They chose the path to enlighten lives with simple, pure, decadent ordering of chaos. They found the beat in the slow death of the human race, and they have come to save your uncool niece.
File Under: Punk
Pow!: Shift (Castle Face) LP
Just when one thought one knew what to expect from POW! they surprise everyone with a vigorous and rabid album’s worth of moody cybernetic punk that’s frankly their best yet. Their fourth album is oil-dipped in a rainbowed slick of dread, yet the songs are buoyed by tight tunes that seem to have a lot of fun among the ruins of the future, perhaps with an eye to a less gloomy horizon? Melissa Blue’s sharp elbowed synths jostle with Byron Blum’s zap gun guitar in an ominous fog of oscillations, and yet somehow it gets the toe a-tapping. The band got darker and more catchy at the same time, for which some credit is due to the excellent drumming of Cameron Allen and the fantastically future savvy production by Byron Blum and Tomas Dolas. Lots of sticky punk heart resin-layered in a futuristic-scanning bionic bop.
File Under: Punk
Rakta: Falha Comum (Iron Lung) LP
With a slight line up change in the drum department we see Rakta tighten up their more tense, soundtrack natured developments alongside their more sparse and vulnerable elegance. They consistently manage to create a tripped out creep chamber with room to explore as the aura builds to nightmare crescendos juxtaposed with shaking silences. Simultaneously eerie and serene. With each new release we see more and more of what makes this group so essential in the canon of modern music. Recorded by Fernando Sanches. Mastered by James Plotkin. Art by Andre Penteado, Karlla Girotto and Rakta. Edition of 300 copies on black vinyl housed in a beautiful printed inner sleeve inside a heavy duty reversible cover 24pt. jacket with a vellum insert and downward card included.
File Under: Post Punk
Sam Rivers: Contours (Blue Note) LP
On the staggering Contours, a 1967 Blue Note release, multi-instrumentalist Sam Rivers (tenor and alto sax/flute) leads a fine quintet featuring Herbie Hancock (piano), Ron Carter (bass), Freddie Hubbard (trumpet), and Joe Chambers (drums) through a set comprising four robust originals that wonderfully tow the line between the avant garde and traditional hard bop. Rivers’ very personal style is key in the structure as well as in the execution of this session and reminds us of the crucial role he played in the mid-Sixties. Produced and hand-picked for release by Music Matters co-founder Joe Harley, mastered from the original master tapes by Kevin Gray at Cohearent Audio, pressed on 180g vinyl at RTI, and housed in a deluxe gatefold jacket, audiophile jazz vinyl doesn’t get any better. The Blue Note Tone Poet Series was born out of Blue Note President Don Was’ admiration for the exceptional audiophile Blue Note LP reissues presented by Music Matters. The label brought Joe Harley (from Music Matters), aka the “Tone Poet,” on board to curate and supervise a series of reissues from the Blue Note family of labels. Extreme attention to detail has been paid to getting these right in every conceivable way, from the deluxe gatefold jacket graphics and printing quality to superior mastering (all analog direct from the master tapes) by Kevin Gray to superb 180-gram audiophile LP pressings by Record Technology Inc. Every aspect of these Blue Note/Tone Poet releases is done to the highest-possible standard. It means that you will never find a superior version.
File Under: Jazz
J. Robbins: Un-Becoming (Dischord) LP
J. ROBBINS has been the guitarist/singer and primary songwriter (or pushiest collaborator) in several bands since the early ’90s, including Jawbox, Burning Airlines, Channels and Office of Future Plans. He has also played bass for Government Issue and the Vic Bondi project, Report Suspicious Activity. For the bulk of that time, he has also been active as a recording engineer/producer, working with musicians from around the world at his Baltimore-based studio, the Magpie Cage. J. started performing as a solo artist around 2010, making occasional low-key releases on Bandcamp and contributing to two benefit compilations that were released on Germany’s Arctic Rodeo Records. Un-Becoming—which came together in short bursts of activity spread out over the long stretch between 2016 and 2019—is his first full-length solo record. On 11 of the LP’s 12 songs, J. is joined by Peter Moffett on drums, Brooks Harlan on bass, and Gordon Withers on cello and guitar.
File Under: Indie Rock
Shellac: The End of Radio (Touch & Go) LP
Shellac record number 16, The End of Radio, is comprised of two previously unreleased BBC Radio Peel Sessions. The 1994 session was recorded at BBC Maida Vale Studio 3 and originally aired on John Peel’s BBC Radio One show in July of 1994. The four songs were recorded to 24-track and then mixed to stereo on the same day. While a studio version of “Crow” was released in October of 1994 on the band’s debut album At Action Park, studio versions of “Canada,” “Disgrace” and “Spoke” would not appear on any Shellac albums until much later (1998’s Terraform and 2007’s Excellent Italian Greyhound) – making the 1994 Peel Session recordings the only official recordings of these songs for several years thereafter. The 2004 Peel session is a “Live From Maida Vale” session recorded live to stereo in front of a small audience at BBC Maida Vale Studio 4. It originally aired in December of that same year. As with the 1994 session, this recording includes songs that were previously unreleased and would not appear as album versions until years later. (Album versions of “The End of Radio,” “Steady As She Goes” and “Paco” were released in 2007 on Excellent Italian Greyhound). 2LP-set packaged in a top-load single pocket wide spine jacket with two printed inner sleeves. Also includes a single CD of the full album. Mastered at Chicago Mastering Service and manufactured at RTI in Camarillo, California, on 180 gram audiophile quality vinyl.
File Under: Punk
Guy Skornik: Tusk (Finders Keepers) LP
From Guy Skornik, the composer and arranger behind Popera Cosmic and Pour Pauwels (1971), comes the enigmatic instrumental cues that provided fellow existentialist and notorious auteur director Alejandro Jodorowsky (The Holy Mountain, 1973) with the soundtrack music to what is now considered his rarest and most overlooked feature film, Tusk (1980). As part as Finders Keepers’ ongoing dedicated Jodorowsky soundtrack series, the label present the original film edits from the 1979 studio sessions featuring Steve Hillage (Gong) and members of Cossi Anatz. Following his mind-melting masterpieces Fando & Lis (1968), El Topo (1970), and The Holy Mountain, Jodorowsky’s “disowned” attempt at a family film retains the director’s ongoing demand for intense, experimental film music resulting in what is undeniably one the best kept sonic secrets from the darker corners of this coveted filmography. Cherry-picked from pre-recorded synthesizer-fueled, cosmic pop sessions by Skornik, these compositions provided Tusk with arabesque new age synthesis alongside full-blown ambitious electro rock, as well as classic French Fender Rhodes-driven romanticism during some of this lesser-spotted movie’s most memorable moments. Presented here in isolation, Guy Skornik’s multifarious futurist-pop evokes worthy comparisons to Ash Ra Tempel, Eno’s Bowie and Suzanne Ciani, mapping an unlikely journey between Magma and 10cc in the process. Don’t ignore Jodorowsky’s “elephant in the room” — you never know what is hidden in the trunk. Tusk not only unearths a lesser-known Jodorowsky gem, but forms another spiritual circle in the label’s alternative pop universe, forming new twines in the Finders Keepers family tree.
This Kind of Punishment: In The Same Room (Superior Viaduct) LP
With This Kind Of Punishment, Graeme Jefferies and Peter Jefferies produced some of most adept DIY sounds to emerge from New Zealand’s 1980s post-punk scene. After their phenomenal self-titled debut and classic A Beard Of Bees, the brothers would make one last album together, In The Same Room. Originally released in 1987 on Flying Nun, In The Same Room is perhaps the straightest rock offering in TKP’s esteemed catalogue. Opening track “Immigration Song” expertly pairs jagged guitars with wrathful vocals—resulting in one of the most celebrated moments in their recording career—while “Don’t Go” puts the full breadth of the Jefferies brothers’ method on display: spiraling riffs, somber baritone and chamber-like calm give way to frenzied rhythms and antagonistic lyrics. From deeply insular songwriting to hands-on production, This Kind Of Punishment draw the listener in close—nearly within the same room as the players—and remain rooted in a distinct approach to presentation that is inseparable from their music.
File Under: Post Punk
Tomb Weavers: We Dig Sounds (13 O’Clock) LP
After releasing five singles over the past few years on 13 O’ Clock Records, Burger Records, and Get Hip, the debut album from the TOMB WEAVERS has finally arrived! The power trio out of Monterey, California deliver twelve new songs on their new album We Dig Sounds, merging late ’60s heavy psych rock moves with lots of moody, introspective, late ’60s style garage rock vibes, and a generous amount of dawn of the ’70s style psychedelic hangover hard rock crunch! Presented on 150 gram vinyl, get ready to dig the colorful,vibrating sounds of the Tomb Weavers! Download code included. “A great new psychedelic garage band who sound like ancestors of Glass Sun or Scorpio Tube. It’s got that dark and heavy Psychedelic Disaster Whirl sound”—50Thirdand3rd
File Under: Psych
Denis Wise: Wize Music (Finders Keepers) LP
Finders Keepers presents Denis Wise’s Wize Music, one of the most unique and unlikely exponents of the highly collectible genres of ambient electronics, experimental tape-music and PINA (Private Issue New Age). This English-born Jamaican-raised sound designer, artist and existentialist furrowed his own unblinkered path through lesser-charted electronic fields for many moons before eventually teaming up with Bill Laswell (with Material) and Daevid Allen in New York to bring self-taught synthesis to Gong during their most oblique periods. Creating two impossibly rare self-pressed vinyl LPs of conceptual inner-visionary outer-galactic angular tonal-dronal alien-art soundscapes in the process, the man known under figure shifting guises such as Dennis Wise/Denis Weise/Dr. Wise combined a culture of sound system circuitry and radiophonic trickery adding teapot poetry and sci-fidelity future-folk to his magnetic mesh. Presented here as the first ever dedicated Wize Music collection, this record combines compositions spanning 1979-1984 in both a solo capacity as well as small-group projects featuring members of the Emerald Web band. Imagine a comic book where a Funkenstein monster called “Laraaji-Scratch Perry” invaded your record shelf while Komendarek and Holger Czukay kept lookout. Dr. Dennis might be the only one Wise enough to outsmart all of them with his powerful amorphous anesthetic.
File Under: Ambient, New Age, Experimental
X: More Fun in the New World (Fat Possum) LP
The fourth studio album by American rock band X, released in September 1983 by Elektra Records. Includes the single “The New World,” which appeared on the soundtrack to the 1986 movie Something Wild.
File Under: Punk
X: Under the Big Black Sun (Fat Possum) LP
The third album from the legendary Los Angeles punk band X. Originally released in 1982 on Elektra. Includes the hits “The Hungry Wolf” and “Come Back To Me.”
File Under: Punk
X: Wild Gift (Fat Possum) LP
A reissue of X’s essential second album originally released by Slash in 1981, and the second in a series of X reissues on Fat Possum.
File Under: Punk
Various: Chevance (etc) (Bornbad) LP
France at the crossroads of the ’70s: the Chevance collection revolutionizes music for children. Mixing forward-thinking folk and avant-garde jazz, driven by a strong literary spirit, its exceptional catalog was created under the direction of producer Philippe Gavardin, in the tradition of the Saravah label or iconoclastic publisher Harlin Quist. It brought together a band of classically inspired free musicians, propelling its singers into orbit by exploiting all the fantastical potential of texts by Jean Tardieu, Robert Desnos, Jacqueline Held, and many others. More strictly instrumental, its younger sibling, the Sonoriage collection completed the company, dedicating itself to the acousmatic exploration of children’s familiar environments. The small collection named Chevance was founded by Philippe Gavardin in the course of the 1970s. Gavardin, notably with free jazz drummer Jean-Louis Méchali, forged the identity of this series of recordings for the younger generations: musically Janus-faced, definitely literary, impregnated with a surrealism that echoed the decade’s psychedelic and libertarian experiments. Each record took a clear direction: modern fables, bestiaries, musical tales, cookbooks; words were the backbone of every release. Features Anne et Gilles, Steve Waring, Christine Combe, Jean-François Gaël, Le Groupe Organon, Alain Savouret, and Naomi Moudi.
File Under: Folk, Jazz, Psych, Experimental, Children
Altin Gun: Gece (ATO) LP
Beach Boys: Pet Sounds (Capitol) LP
Better Oblivion Community Center: s/t (Dead Oceans) LP
Budos Band: V (Daptone) LP
Susan Christie: Paint a Lady (Finders Keepers) LP
Suzanne Ciani: Buchla Concerts 1975 (Finders Keepers) LP
Suzanne Ciani: Lixiviation (Finders Keepers) LP
Alice Coltrane: A Monastic Trio (Superior Viaduct) LP
Galaxie 500: This is Our Music (202020) LP
Guided By Voices: Warp and Woof (GBV) LP
Herbie Hancock: Mwandishi (Antarctica Starts Here) LP
Joe Henderson: Stateof the Tenor Vol 2 (Blue Note) LP
King Gizzard & The Lizard Wizard: I’m In Your Mind Fuzz (Castle Face) LP
Joe McPhee: Nation Time (Superior Viaduct) LP
OST: Moomins (Finders Keepers) LP
Popera Cosmic: Les Esclaves (Finders Keepers) LP
Jessica Pratt: s/t (Birth) LP
Pusha T: Daytona (Universal) LP
Maggie Rogers: Heard in a Past Life (Universal) LP
Ty Segall & White Fence: Hair (Drag City) LP
Ty Segall: Melted (Goner) LP
Smiths: Queen is Dead (Rhino) LP
T Rex: The Slider (Demon) LP
Sharon Van Etten: Remind Me Tomorrow (Jagjaguwar) LP
Jean Claude Vanier: L’Enfant Assassin des Mouches (Finders Keepers) LP
War on Drugs: Lost in the Dream (Jagjaguwar) LP
Ween: Mollusk (Plain) LP
Ween: 12 Golden Country Greats (Plain) LP
Wipers: Over the Edge (Jackpot) LP