YOW! What a week! So many killer slabs in this week, new albums, reissues, all killer, no filler. Just in time for the long weekend.
In other news, we were bummed to hear that our friends in Toronto, June Records is being forced to close/relocate. It’s tough out there and the rents in Toronto are crazy, hopefully they can find a new home. They were a true kindred spirit, stocking all sorts of weird, wonderful, obscure things. Don’t take your brick and mortar shops for granted, and I don’t mean just record shops, whatever you are into, there’s probably small shop far more passionate about whatever you’re into than the big boxes, or interweb sites. One day we’ll wake up and they’ll all be gone, and the sky will be filled with delivery drones and black clouds.
Oh ya… if you don’t follow us on Instagram, WHY NOT?! And now you know.
…..picks of the week…..
Sarah Davachi/Ariel Kalma: Intemporel (Black Sweat) LP
On Intemporel, Sarah Davachi and Ariel Kalma blend their strong individual personalities in a single trip on the edge of time. Their kosmiche music is pure, magnificent, and elegant, an intergalactic hypnosis that seems to tell of distant times, a millenary vortex of a lost era. In the first phase of departure, the mysterious song of the sax winds in archaic echoes, supported by the electronic inlays of the Arp Odyssey synth. Flowing between space rumbles and astral progressions, one sights high celestial bodies. When the infinite drones of the tampura start, one takes part in the night ceremonial, surrounded by deep harmonium and the Tibetan bell chimes. This music releases a sort of mythological warmth, secret codes of a lost purity, which lets one dwell in the labyrinths of a pyramid or in the sacred space of a cosmic pagoda. Already sold out at the source, don’t sleep on this one!
Benjamin Lew: Le Personnage Principal est Un Peuple Isole (Stroom) LP
Stroom has been killing it lately, people sleep on these releases and cry forever after they are sold out…don’t sleep on this one too! “Benjamin Lew was an enlightened amateur, in the noble and almost Renaissance-like sense of the word: he dabbled with equal grace in photography, writing, visual arts … and worked part-time as a cocktail mixer in a tropical bar which was one of the favorite watering holes of Brussels’ thriving artistic community of the early ’80s. Tuxedomoon had just moved to Brussels, and Steven Brown was among the many musicians, designers, and artists who patronized the bar. Benjamin had a secret passion: he wasn’t a musician, but had acquired a small analog computer, with which he had started creating these strange mysterious little pieces. Benjamin played them to Steven and asked him if he’d agree to record with him. Steven was taken with them and accepted. The Douzième Journée was largely created in the studio by both protagonists, with the help of Gilles Martin and myself, in the spring of ’82. Listening to his albums (he went on to record four more with Crammed) is like embarking on a dream journey to the Sahara or the Far East. You’d think that some of the pieces feature non-European musicians or samples but: no… this is just Benjamin’s imagination, his synths, and his friends… ” –Marc Hollander, Feb. 2019
DSR Lines: Venndiagram (Black Sweat) LP
David Edren confirms himself as a cosmic courier and wizard of synths with the organic electronic music included in Venndiagram. Released for the first time on LP, it appeared only on tape in 2013. The sound remains a pure balance between vibrating oscillations, modular frequencies, and rhythmic pulsations, but the general imagery changes. The main theme is the intersection of circular and geometric shapes and the minimal and clear notion which they represent. Edren imagines reverberated coordinates of galactic sines and cosines, interprets sounds and distortions as trajectories, melodic patterns like pyramidal plastic inter-penetrations. All is led by a primitive impulse to the combination of lines, shapes, figures, ropes or tangents, diameters, squares or triangles. Along these inter-zonal paths, he forges rare atmospheres full of enveloping spherical and spiraling sounds, luminous and radiant in their hypnotic aura, or magnificently ecstatic and ascensional. It’s much more than math or geometry, but an alternative visionary way to conceive the world (maximal and minimal) in other manifestations of space and time.
47 Times Its Own Weight: Cumolo Numbus (Jazzman) LP
Jazzman Records presents a reissue of 47 Times Its Own Weight’s Cumulo Nimbus, originally issued in 1975 and presented here as Number 28 in the Jazzman Holy Grail Series. Fable is a small independent record label started in Austin, Texas in the early 1970s by a young trombone player named Michael Mordecai. In autumn 1975 he debuted a trio of albums by Austin bands; with only 1000 of each pressed, and each carrying a different emphasis on soul, funk or jazz, all three have gone on to become highly sought-after by collectors and DJs around the world. Jazzman met with Michael at its UK offices and over several hours he told the label the highs and lows of running Fable Records, leaving no stone unturned, with success and tragedy in equal measure. Jazzman also spoke with members of all three bands, and they shared interesting stories and cool anecdotes of the wild times in the mid-70s when their records were made. The label acquired informative press cuttings and some awesome posters and flyers, compiling them in a booklet.
AAMM: A Trio/AMM (Unrock) LP
Back in August of 2015, the legendary London grand seigneurs of improvisation pioneers, AMM (John Tilbury and Eddie Prevost) joined forces with Lebanese electro-acoustic-free-jazz outfit “A” Trio (Mazen Kerbaj, Sharif Sehnaoui, and Raed Yassin). Two generations of improvisers with a very differing approach to work, captured dancing slowly along a very thin line of fine-tuned, both, clear and crackling improvised sounds. Harsh at times with magic mellow moments of intense, fragile, broken noises. No overdubs, no use of electronics. Unjazz at times. Recorded by Andreas Pysiewicz at St. Elisabeth Kirche, Berlin on August 27th, 2015 in the context of Daad’s Mikromusik Festival. Artwork and design by Mazen Kerbaj. Mixed by Fadi Tabbal at Tunefork Studios, Beirut. Produced in Lebanon by Al Maslakh and Unrock; Mastered by Peter Körfer at Ivory Tower. One-time pressing.
Ellen Arkbro: Chords (Subtext) LP
With Chords, the Stockholm-based musician and composer Ellen Arkbro returns to Subtext, following her acclaimed debut album For Organ And Brass. This new long-player sees Arkbro adopt a more minimalist approach, focusing on the immediate qualities of sound and elegantly expanding the tonal capacities of acoustic instruments using precise, subtle synthesis. Composed of a carefully selected combination of tones, Chords stretches, extends and obscures the timbral character of the instruments it is performed on. Across both tracks, Arkbro examines the sonic materiality and harmonic quality of chords. She considers how the compositions occupy space rather than time — transposing theoretical possibilities into the phenomenal realm. As a part of Arkbro’s systematic investigation of harmonic sound, Chords proffers a divergence from conventional ways of listening. “Chords For Organ” was first envisaged in Stockholm’s brutalist Västerort Church. With an interest in tuned intervals and chords, Arkbro sought out particular harmonicities before synthetically supplying additional harmonic content and texture. To pure fifths and octaves, she adds synthesized natural sevenths and thirds, creating a heightened sense of harmonic stability. While this incarnation of “Chords For Organ” was recorded in Malmö’s St. John’s Church, this work is site-specific, requiring Arkbro to seek out appropriate chordal orchestrations in registers and tunings on each respective instrument, when performing live. “Chords For Organ” has been adapted and performed in Martin Luther Kirche in Dresden, Civico Tempio Di San Sebastiano in Milan, First Unitarian Church in Brooklyn, Lutherse Kerk in Den Haag and Sint-Jan de Doperkerk in Leuven. In the corresponding “Chords For Guitar” Arkbro applies her process to a more widely accessible instrument. Employing a fine-tuned Karplus-Strong synthesis, she supplements additional tones to create a harmonically controlled blend of the acoustic and the synthetic. “Chords For Guitar” places the listener at the center of a cyclically repeating complex of harmonic strings in wave-like motion. Attention is synchronously fixed with the sound as this chordal harmony rises, vibrates, and purrs away, before rising again. As she transposes these ideas across organ and guitar, Arkbro teases out their affinities and dissimilarities, and, in doing so, effectively highlights the harmonic character of the work as a whole.
Harry Bertoia: Experimental I/Mechanical I (Sonambient) LP
When Harry Bertoia’s Sonambient label was resurrected, Important Records’ intention was to tell the story of Bertoia’s groundbreaking Sonambient work as revealed through his extensive collection of notes and recordings. When the first new LP was released in 2016, Important were only in possession of 1/20th of the archive. Now, in 2019, the label is excited to release the first LP of new material from the full archive and they present it to increase understanding of what Bertoia was doing in his sound-barn deep in the Pennsylvania woods. The recordings contained on this LP were selected because of their relationship to Bertoia’s body of recorded work. The titles are from Bertoia’s notes which Bertoia placed in each tape box, indicating date and describing briefly. Like his sculptures, Bertoia never titled his recordings but frequently referred to specific concepts he was pursuing. These are among the earliest known examples of Bertoia using terms which would become more common in the years to come: “experimental”, “mechanical”, and “long sounds”. Cut from the original master tapes maintaining a straight analog signal path. CD version includes bonus track “Long Sounds”. “Experimental I”: Very few of Bertoia’s early experimental sessions survive on tape: he did not record many and often erased those he taped. Most were not recorded and those that were recorded, were often erased. Those that remain, however, offer fascinating insights into how Bertoia likely worked in the barn when the tape machine wasn’t running. Although he left behind hundreds of tapes, one can only begin to imagine the amount of unrecorded sessions that took place in Bertoia’s barn. “Experimental I” shows the artist stretching out, in no hurry and avoiding any bombastic explosiveness. You can imagine Bertoia looking around the barn much as he is seen on this album’s cover; searching for the next sound in his forest of metal wires. Unheard combinations of sculptures, percussion and long strummed sections make this recording unique. This piece has an effortless, natural flow. “Mechanical I”: There appear to be at least ten tapes from 1969-1975 that Bertoia noted were “Mechanical”. Bertoia thought of his sculpture as a collaboration with industry since the diameters of his rods were, ultimately, determined by what was available from the factory that manufactured them. In that sense, Bertoia’s music could, quite literally, be considered industrial and this piece has the metallic rhythms of a factory pulsing through it.
Biosphere: Senja Recordings (Biophon) LP
The Senja Recordings is a collection of various outdoor recordings and studio improvisations recorded on the island of Senja, Arctic Norway, between 2015 and 2018. Biosphere is the main recording name of Geir Jenssen, a Norwegian musician who has released a notable catalog of ambient electronic music. He is well known for his works on ambient techno and arctic themed pieces, his use of music loops, and peculiar samples from sci-fi sources. His 1997 album Substrata was voted by the users of the Hyperreal website in 2001 as the best all-time classic ambient album.
Black Keys: Let’s Rock (Nonesuch) LP
Indie exclusive version is late…. go figure. The Black Keys’ long-awaited album ninth album Let’s Rock, the band’s first in five years, is a return to the straightforward rock of singer/guitarist Dan Auerbach and drummer Patrick Carney’s early days. Auerbach says, “When we’re together we are The Black Keys, that’s where that real magic is, and always has been since we were sixteen.” The 12-track collection was written, tracked live, and produced by Auerbach and Carney at Easy Eye Sound studio in Nashville and features backing vocals from Leisa Hans and Ashley Wilcoxson. “The record is like an homage to electric guitar,” adds Carney. “We took a simple approach and trimmed all the fat like we used to.” Rolling Stone said that with lead single “Lo/Hi,” “the Keys have officially returned, louder than ever” while the New York Times hailed it as “the kind of garage-boogie stomp that the band never left behind.” Equally as infectious follow-up single “Eagle Birds,” is anchored by some stellar blues guitar work from Auerbach.
File Under: Rock
Don Cherry: Complete Communion: Live in Hilversum May 9, 1966 (DBQP) LP
This is the Don Cherry Quintet caught in action in Hilversum (Holland) in 1966 and featuring the strong tenor sax voice of Gato Barbieri and the highly interactive rhythm section of Karl Berger (vibes and piano), Bo Stief (bass), and Aldo Romano (drums). A very distinctive line up which fits somewhere between two of the greatest Cherry’s studio sessions of the time, “Complete Communion” and “Togetherness”. A very energetic performance including a couple of Don Cherry original compositions and some highly personal renditions of classics and standards such as Luiz Bonfa’s “Orfeo Negro”, Mongo Santamaria’s “Afro Blue”, and Benny Golson’s “I Remember Clifford”.
File Under: Jazz
Creative Arts Ensemble: One Step Out (Outernational) LP
Outernational Sounds presents a Nimbus West spirit jazz essential: the Creative Arts Ensemble’s classic debut One Step Out. This release features all tracks at full length for the first time on wax. One of the most sought after and highly-regarded titles to have appeared on Tom Albach’s celebrated Nimbus West imprint, One Step Out is a timeless work of spiritualized jazz. A true gem from the Los Angeles jazz underground, the album was pianist and composer Kaeef Ruzadun Ali’s first recording as leader of the Creative Arts Ensemble, the only large ensemble group that emerged directly from Horace Tapscott’s legendary Pan Afrikan Peoples Arkestra community jazz group. A Los Angeles native, Kaeef was introduced to the Tapscott circle in the late 1970s. His first experience of the Arkestra’s ethos was through PAPA tenorist Michael Session, who took him to the famous “Great House” at 2412 South Western Ave., LA — a large mansion house which members of the Arkestra had taken over as a space for communal living. Life in the Great House was a continuous stream of music, dance and community events. “When I walked in there,” recalled Kaeef, “it was like this whole rush came over me, just from going in the front door — It was like a very, very warm feeling of love. I went and I came out with ‘Flashback Of Time’, and that was my first arrangement.” Kaeef quickly became a significant contributor of compositions to the Arkestra’s songbook — his piece “New Horizon” would be recorded by Horace Tapscott for the latter’s Tapscott Sessions series. But “Flashback Of Time” would eventually appear on One Step Out, played by the new group he had put together from stalwart Arkestra members. Inspired by both Tapscott’s example and by the Art Ensemble of Chicago, Kaeef had wanted to follow their lead by assembling a larger unit. Featuring seasoned Arkestra regulars including reedsman Dadisi Komolafe, drummer Woody “Sonship” Theus and altoist Gary Bias, with veterans Henry “The Skipper” Franklin on bass and George Bohannon on trombone, One Step Out is a key document of the Los Angeles radical jazz underground. Featuring the sanctified vocals of Kaeef’s sister, B. J. Crowley, the album is a tour de force of spiritually energized independent jazz music. On vinyl for the first time since 1981. 180 gram vinyl, mastered at 45rpm for enhanced sound; Fully licensed from Tom Albach.
Dome: 2 (Editions Mego) LP
With the demise of Wire in 1980, founding members Bruce Gilbert and Graham Lewis joined forces to create Dome. With the assistance of engineer Eric Radcliffe and his Blackwing Studio, Dome took the ethic of “using the studio as a compositional tool” and recorded and released three albums on their own label in the space of 12 months: Dome (DOME 001LP, 2019), Dome 2 (1980), and Dome 3 (1981). A final fourth album, Will You Speak This Word: Dome IV was released on the Norwegian Uniton label in 1982. These albums represent some of the most beautifully stark and above all, timeless exercises in studio experimentation from early the 1980s alternative music scene. Previously issued in the out of print DOME 1-4+5 box set in 2011, Dome 2 is now available as standalone LP, with new artwork by Dave Coppenhall. Floating-point re-master by Russell Haswell, August 2011. Cut at Dubplates & Mastering by Rashad Becker. Includes download.
Fire! Orchestra: Arrival (Rune Grammofon) LP
Their first two albums, Exit and Enter, were presented with sizable and ambitious line-ups of 28 musicians. Ritual saw it reduced to 21 and with Arrival it’s been trimmed down to a “mere” 14, with the core trio of Fire! (Mats Gustafsson, Johan Berthling, and Andreas Werliin) and the two singers Mariam Wallentin and Sofia Jernberg being the only constant members since the beginning. Apart from this reduction, the main line-up difference is the introduction of a string quartet. This “cleanup” has worked wonders, keeping the rhythm and horn sections to their bare necessities, with the string quartet expanding the canvas and bringing a new, exciting dimension to the table. And on top of their game; the two powerful and sublime singers, quite different, but still blending perfectly. Drummer and producer Andreas Werliin should also be mentioned for his work in the audio department; rarely has there been such a detailed, warm, deep and dynamic mix from a relatively complex combination of instruments. Arrival is a collection of more individual compositions and songs, including two stunning cover versions. “Blue Crystal Fire” by visionary guitarist Robbie Basho was first heard on his 1978 album Visions of the Country. “At Last I Am Free” was originally written by Bernard Edwards and Nile Rogers of Chic. Although the rest of the tracks are credited to Berthling, Gustafsson, Werliin and Wallentin, it’s important to stress that this time the orchestra members have had considerable creative input throughout the process. Arrival is light and shade, joy and despair, structure and improvisation, performed by an ensemble of excellent musicians.
Fruit Bats: Gold Past Life (Merge) LP
Gold Past Life marks both an end and a beginning for Fruit Bats. It’s the end of an unintentional thematic trilogy of records that began with 2014’s EDJ (a solo record by name, but a Fruit Bats release in spirit) and hit an emotional peak with 2016’s Absolute Loser. They encompassed years of loss, displacement, and the persistent, low-level anxiety of the current political climate. They were written in the wake of friends who left these earthly confines and families that could have been. But these salves, these songs on Gold Past Life, also represent new beginnings-the journeys that await after making it through troubled times. Gold Past Life is about rejecting notions of idealized nostalgia (“Gold Past Life”) and the process of grounding oneself in the present, both geographically (“A Lingering Love,” “Ocean”) and spiritually (“Drawn Away”). With Gold Past Life, Eric Johnson of Fruit B hopes to bring more immediacy to the music and share positivity, hope, and motivation to keep on keepin’ on with a wider audience..
File Under: Indie Rock
Mort Garson: Mother Earth’s Plantasia (Sacred Bones) LP
Limited green vinyl, while quantities last… If you purchased a snake plant, asparagus fern, peace lily, or what have you from Mother Earth on Melrose Avenue in Los Angeles (or bought a Simmons mattress from Sears) in 1976, you also took home “Plantasia”, an album recorded especially for plants. Subtitled “warm earth music for plants and the people that love them,” it was full of bucolic, charming, stoner-friendly, decidedly unscientific tunes enacted on the new-fangled device called the Moog. Few characters in early electronic music can be both fearless pioneers and cheesy trend-chasers, but Garson embraced both extremes, and has been unheralded as a result. Well before Brian Eno did it, Garson was making discreet music, both the man and his music as inconspicuous as a Chlorophytum comosum.
Gas: Konigsforst (Kompakt) LP
Königsforst — following the 1997 release of Zauberberg, Wolfgang Voigt’s GAS project returned with Königsforst in 1998, a full-length that has stood the test of time as a template for introducing fundamentals of ’90s techno into the principles of contemporary electronic music. Originally released in 1998 on the iconic Frankfurt imprint Mille Plateaux, and then reissued in 2016 as a part of GAS Box, Königsforst is now released on Voigt’s own label, Kompakt, as a 180 gram, triple-LP vinyl in its original artwork. Königsforst brings glimmers of light into Voigt’s dark, magnificent forest. Melodic strings and brass are added to his signature layers of ominous intensity. The forest path is laid out by muffled kick drums as classical music loops incessantly swirl with no direction. Includes download.
Yutaka Hirose: Nova + 4 (WRWTFWW) LP
Gatefold sleeve: Includes liner notes in English and Japanese. WRWTFWW Records present an expanded reissue of one of the most fascinating Japanese ambient/environmental albums ever made, NOVA by Yutaka Hirose, originally released in 1986. The expanded reissue includes the album known as Soundscape 2: Nova, sourced from its original masters, as well as four never-released-before recordings over 50 minutes. Initially released in 1986 as part of the Soundscape series. Commissioned by Misawa Home Corporation for use in their prefabricated houses, Yutaka Hirose’s NOVA has grown to become a mythical piece of the Japanese minimalist/ambient/environmental scene of the eighties. Initiated around the enchanting landscapes of the two first tracks recorded for the project, “Nova” and “Epilogue”, Yutaka Hirose’s magnum opus serenely blends vintage synth with nature sounds, exploring soothing palettes and organic backdrops. For “Slow Sky”, Hirose explains he “went for a pointillism-like sound, and tried to express a scenery of awakening, where the portal of a heart is opening up”, while on “Humming The Sea”, he “tried to compose a kind of music that expresses the daily, lazy life of child-like innocence in a summer vacation in some small town.” The bonus material gathers four long unreleased pieces created around the same period of time for installations, described by Yutaka Hirose as “not music per se but rather sound sculptures”, and including the haunting “Shadow Of A Water Droplet” which was recorded for an Ikebana exhibition. All in all, NOVA + 4 is a transcendent experience of nature in the urban context, an oeuvre which, much like Midori Takada’s Through The Looking Glass or Satoshi Ashikawa’s Still Way (1999), holds the power to appease the soul in turbulent times. As one inspired YouTube commenter once said when describing Yutaka Hirose’s masterstroke: “I can’t tell if the birds are singing inside or outside! Thank you!” Includes liner notes in English and Japanese.
Lussuria: Three Knocks (Hospital) LP
Definitive Hospital Productions artist Jim Mroz, aka Lussuria, follows duties on Prurient’s Rainbow Mirror LP and an appearance on Vatican Shadow’s Berghain 09 mix/compilation with a new opus worthy of comparison to his dank ambient classics, American Babylon (2012) and Industriale Illuminato. In the foreboding Three Knocks, Lussuria limns an unconscious, near-death experience based on a tale told by his mother, who was admitted to ER after an allergic reaction escalated into something inexplicable. She was put in a medically-induced coma and administered a breathing tube. When under the effect of heavy sedatives, she spoke of a visit by angels who warned of an impending disaster. She eventually came around, and recounted that her illness was preceded by three knocks at her office door, slow and heavy — proposing that each knock was a mockery of the Holy Trinity; one knock for each crucifixion — but when she answered nobody was there. This omen, and its confirmatory hallucination form the basis of Lussuria’s utterly absorbing new album. Using a Hawaiian flute made from a human femur, and an iron lung for percussion (don’t ask how he accessed it), together with operatic tape cut-ups and field recording made on the shores of Long Island’s empty asylums, Lussuria stages his mother’s vision in four parts of lugubrious, black metal ambient gloom. The atmosphere is just frighteningly tangible, revealing a sense of depth perception and stone cold clamminess that brings its spirit vividly within touching distance, from the over-the-shoulder vocals and cracked window pane howl of “Fentanyl Chaser”, to the hollow clank of oil drums and spent ammo casings in “Three Knocks”, and through to the frankly terrifying descent thru choral loops into a bony flute solo with “Confused And Ill By Shadows”. This would all just be another urban myth were it not for the exquisite detail and dramaturgy of Lussuria’s production and arrangement, which typically imparts its feeling in no uncertain terms, most acutely hyperstizing (making a superstition real) a state of psychological dread and panic induced by the occult imagination. RIYL: Cold Meat Industry, It, Prurient, Deathprod. Mixed and mastered by Josh Eustis. Vinyl cut at Dubplates & Mastering, Berlin. First copies on silver vinyl.
Walter Maioli/Nirodh Fortini: Taraxacum (Black Sweat) LP
An amazing adventure of a musicological and botanical research on the psychoacoustic qualities of the green world. It’s the investigation of an organic symbiosis, real and mysterious at the same time, between the pharmacological properties of the plant and the sound emitted by the same material essence. From the single natural element comes the vibration permeating the whole universe; an indissoluble binomial for which “everything that makes up existence contains the information of itself in all its parts”. Here, the visionary Walter Maioli (Aktuala, Futuro Antico, Synaulia) collaborates with the music therapist and eclectic composer Agostino Nirodh Fortini, for more than thirty years specialist in the field of sound and video applied to body therapies and meditation. By exposing the archetype breath of the stem, slowing its speed and manipulating and filtering it electronically, the two explorers create a bath of harmonic games with purifying and regenerating powers; a deep and nebulous drone inhabited by insects, alien sounds similar to the vibrates of Fender Rhodes or tonal interludes with plays of stones in water, on the surface of an inner lake, learning to observe and dive into love and awareness.
Jim O’Rourke/CM Von Hausswolff: In, Demons, In! (Ideal) LP
The time-stopping tract of In Demons In! is a naturally elemental drone collaboration between eminent experimentalists Jim O’Rourke and CM Von Hausswolf for their eternal admirers at iDEAL Recordings. Offering a transfixing peek behind the curtain of pure black hole drone dynamics, In Demons In! finds the American in Japanese exile and the proclaimed monarch of the imaginary kingdoms of Elgaland-Vargaland meeting on common ground after 26 years of international correspondence. Initiated in Tokyo 2016 and completed over the following two years in Japan and Sweden, the uncompromisingly adventurous results are galactic in scope and viscerally metaphysical in presence, conjuring scales of abyssal bass and diffused, atomized, abstract dark matter that make the listener feel like a speck of stardust floating in infinity. Using sound as a magickal tool for psychic transport and to finely model notions of the metaphysical that typically elude human comprehension, the near 40-minute work feels to collapse billions of years into a glacial moment. Location recordings made in Kathmandu lend a barely-there iridescence, like microbial filaments flickering in the endless darkness, to their plunging, subharmonic basses and vaporized mid-upper registers, where spectral forces comb thru the piece, only very gradually altering the weightless keen of its planetary mass and mental traction. Ultimately, and fans are likely to agree, In Demons In! amounts to a vitally definitive entry in both artists’ catalogs, marking right up there with the most abstract wonders of O’Rourke’s electro-acoustic Steamroom volumes, while manifesting some of the most fascinating results from Von Hausswolff’s ongoing investigations into drone music’s paranormal properties. In other words: it’s Grade A+ zoner music. Master and cut by Dubplates & Mastering, Germany. Pressed on neon yellow vinyl. RIYL: Roland Kayn, Jaap Vink, Deathprod. Edition of 500.
Pelican: Nighttime Stories (Southern Lord) LP
Pelican, the instrumental quartet whose singular vision of heavy music eschews classification, presents their first full-length in six years with Nighttime Stories. The eight-song set marks Pelican’s first release written front to back with guitarist Dallas Thomas, who took over guitar duties upon founding member Laurent Schroeder-Lebec’s departure in 2012. In the process of writing the album the quartet endured a slew of realizations, tragedies, and glimmers of optimism that guided the creative process to the most potent work of their 19-year career. Though the new material veers towards the darker tone characteristic of Pelican’s early songwriting, it’s hard to imagine a previous incarnation of the band writing songs as meticulously crafted and detail-oriented as those within Nighttime Stories, where the compositions recall everything from the triumphant call-to-arms of classic Dischord, to the vicious troglodyte battery of the Melvins, to the dynamic interwoven melodies of bottom-heavy indie cult heroes Chavez. Nowhere is this evinced as clearly as on initial album single “Midnight And Mescaline,” the album’s lead single. Nighttime Stories was an album title initially proposed for Tusk, the hallucinatory art-grind band that included Pelican members Trevor Shelley de Brauw, Larry Herweg, and Schroeder-Lebec, in addition to vocalist Jody Minnoch. The writing of Nighttime Stories was instigated shortly after Minnoch’s unexpected death in 2014, and some of the dissonant viscera and dark psychedelic structures that were characteristic of Tusk’s sound began to unconsciously inform the album’s direction. In homage to their departed colleague, Pelican applied the previously discarded title and pulled many of the song titles from notes Minnoch had sent to inspire the direction of the unrealized album. As the writing of Nighttime Stories progressed, Thomas also experienced a heavy loss with the passing of his father, to whom the album pays tribute on opening track “W.S.T.” Pelican has always excelled at vacillating between the savage sounds of various niches of metal underground and the more delicate and nuanced sounds of Midwest’s cerebral indie community, proving that they can make either end of the spectrum more vibrant and compelling through the art of contrast. With Nighttime Stories, the pendulum has swung back to the angst and ire of their younger years while delivering it with the nuance and wisdom that’s come with nearly two decades of writing and performing.
File Under: Metal
Renaldo & the Loaf: Songs for Swinging Larvae/Songs from the Surgery (Editions Mego) LP
A biomedical scientist and an architect form a band in the early ’70s with nothing by the way of traditional musical talent or skill but with endless enthusiasm and their own unique musical sensibility. The ensuing career and creative output of this ongoing home studio/bedroom band remains one of the most significant song based ‘outre’ catalogs ever produced in the United Kingdom. This comprehensive two LP set contains their first official LP (originally released on The Residents’ legendary Ralph Records label) along with an extra album of different versions and extra tracks which reside here for the first time on vinyl. The duo Renaldo & The Loaf, originally Portsmouth-based, and now in Portsmouth and Mid-Wales, remain an enigma whilst amassing an enormous cult following worldwide. Their singular take on music encompasses wit, strange melodic construction and an off-kilter sensibility which successfully rendered them engaging for each emerging generation. The ability of Renaldo & The Loaf to unnerve and entertain in equal measure is what binds these songs to a musical universe outside of all other forms that existed around the time of release — The Residents are obvious spiritual heirs. Songs For Swinging Larvae is a classic collection of confounding songs which lead the listener into a surreal world of twisted tunes and perverted pop. Songs From The Surgery is made up of improvisations, early/alternative versions of various Larvae tracks and unreleased pieces from the same period. The results leave one laughing through a thick veil of unease. As the original Ralph Records press release said of Songs For Swinging Larvae: “This is an album of primitive modernism, energetic obnoxious noises, manic high pitched vocals and sweet brilliance.” All tracks written and produced By Renaldo And The Loaf, originally mixed at Elephant Studios, London, November 1980. Cover and layout by Nik Void, original album artwork by Gary Panter. Re-mastered for vinyl and cut by Rashad Becker at Dubplates and Mastering, Berlin, November 2018.
Michel & Rebecca Samson: The Claviorganum & The Violin (Recital) LP
“The Claviorganum & The Violin is the first published recording of Michel Samson since his unparalleled work with Albert Ayler’s quintet in the late 1960s. Samson’s violin playing has changed me with his great exuberance and ecstasy, all sliding through an interlocking sadness. Since I first began Recital, I have dreamt of contacting Michel to publish an album that gives reverence to his violin playing; seven years later, it has come to be. The collection on this LP holds numerous 17th century works of the Italian Baroque, performed by Samson and his wife, Rebecca. It showcases some of the earliest music composed for the violin as a featured soloist. Rebecca accompanies on a replica — believed to be the only extant replica in the United States — of the claviorganum, a rare and curious instrument that traces back to the 15th century. Comprised of both an organ and a harpsichord integrated into a single case, the claviorganum harkens to a time of experimentation and artistry of design. Michel’s violin was made by Francesco Gobetti in 1718; its sound carries beautifully throughout the room. Samson worked as a dealer of rare and antique violins for many years, and has an ear for majestic craftsmanship. The style adopted by Italian composers during the baroque was one of heightened lyricism, emotion, and ornamentation, especially when voiced through the violin; it is no accident that Michel’s unique approach to articulation and intonation speaks both to the present and the past. In these recordings one can hear the same joy dripping across the strings, as in his days with Ayler; it shows what beauty can be instilled inside someone. Rebecca’s playing is exquisite, too, complementing each movement as they fold on. Please enjoy this special album” –Sean McCann (with contributions by Sarah Davachi), April 2019. Edition of 250, includes eight page insert with program notes and paintings by Michel Samson.
File Under: Classical
Riccardo Sinigaglia/Trio Cavalazzi: In Fa (Black Sweat) LP
In Fa is an enchanting meeting of phantasmagorical improvisation, a dialogue between two generations that makes every expressive boundary overcome. Riccardo Sinigaglia (Futuro Antico) remains faithful to the idea of a collective work, where musicians are only instruments crossed by musical energy. He provides his pioneering experience, with excellent control of electronic sounds, realized with the eternal cosmic Farfisa and the synths (Moog Sonic Six, Synthi EMS). Their lysergic fluidity supports the whole architecture of the music. Trio Cavalazzi’s young sensibility, for their part, gives an intrepid chamber touch to the whole. The impressive versatility of revisiting and stylistic recreation of their strings (minimalism, avant-garde, orient) might recall, in their occult formal abstractionism, the esoteric glories of the Third Ear Band. Thus, their sharp and radial trajectories create a parallel and alienating acoustic dimension. It’s the space of a magical synergy, a successful fusion towards the development of a new and futuristic chamber music.
Superchunk: Acoustic Foolish (Merge) LP
Limited copies available, indie shops only!! (New acoustic version of Foolish, featuring Allison Crutchfield, Matt Douglas, Peter Holsapple, Owen Pallett, and Jenn Wasner) From Mac McCaughan: Our original idea for an all-acoustic album was for it to be a selection of songs from all our albums, played in the style of an acoustic performance in a record store or a radio station, which we have done quite a bit of over the years (and documented on the first of our “Clambake” series in 2001). But with 2019 being the 25th anniversary of the Foolish album, it seemed weirder and more interesting to record an acoustic version of one whole album. I didn’t want this to sound like “acoustic demos recorded 25 years after the fact” or a band trying to “rock out” except on acoustic guitars, though to be fair we do some rocking out. Once we got into the process of learning how to play the songs on acoustic guitars—some of which we had never performed at all—it made sense to make this record its own thing altogether.” (…) “We are lucky to have Allison Crutchfield, Matt Douglas, Peter Holsapple, Owen Pallett, and Jenn Wasner lend their great talents to the record and also lucky that Jon has an arsenal of small bells and a vibraslap.”
File Under: Indie Rock
Horace Tapscott/Pan-Afrikan Peoples Arkestra: The Call (Outernational) LP
Available on vinyl for the first time in 40 years, Outernational Sounds presents Horace Tapscott’s burning, spiritualized 1978 set, The Call. One of the unsung giants of jazz music, the composer, bandleader, arranger, pianist and community activist Tapscott was the undisputed keystone of the grassroots Los Angeles jazz scene. Throughout the 1960s and 1970s, his radical community arts and music formations the UGMA (Underground Musicians Association) and his protean big band, the Pan Afrikan Peoples Arkestra, were at the epicenter of music, culture, and politics in the Los Angeles area. Hundreds of musicians passed through these groups and played their part. Major figures such as Arthur Blythe, Azar Lawrence, Jimmy Woods, John Carter, Bobby Bradford, Sonny Criss, Ndugu Chancler, and dozens of others all paid dues or just got down with Tapscott, not to mention the core Arkestra regulars who have since become celebrated names; Nate Morgan, Jesse Sharps, Adele Sebastian, Dadisi Komolafe, and Gary Bias, to mention only a few. Tapscott and the Arkestra were down on the ground — playing fundraisers in parks and streets, organizing teach-ins and workshops for young and old, mixing it with radical theater groups, firebrand poets, political radicals, Black separatists, community groups, and churches. As a result of this grassroots community focus and Tapscott’s antipathy to the music industry, the Arkestra didn’t record for nearly two decades. That only changed when long-time jazz fan Tom Albach started Nimbus Records. The label was initiated specifically in order to document Tapscott and his circle, and the first three records showcased Horace and the Arkestra. The Call was put together from two studio sessions in April 1978, one at Hollywood Sage and Sound, and one at United Western — the latter session had the addition of a string section, who can be heard on the moody Cal Massey composition “Nakatini Suite” and Jesse Sharp’s swinging modal trip, “Peyote Song No. III,” with its swirling soprano solo. In keeping with the communal nature of the Arkestra, the other two compositions, “The Call” and “Quagmire Manor at Five A.M.” are also by Arkestra members. But at the center of the music is the builder of the Ark, the visionary whose original call to action started a movement whose legacy continues to this day — Horace Tapscott. Vinyl-only release, 180 gram pressing by Pallas, fully licensed from Nimbus West founder Tom Albach.
Horace Tapscott/Pan-Afrikan Peoples Arkestra: Live at I.U.C.C. (Outernational) LP
Available on vinyl for the first time in 40 years, Outernational Sounds presents a crucial document from the Los Angeles jazz underground. Live At I.U.C.C. sees the Pan-Afrikan Peoples Arkestra at their most together, stretching out on home turf in 1979, with the legendary Horace Tapscott at the helm. Tapscott is one of the unsung giants of jazz; a gifted composer and arranger, a boldly original pianist, and above all a visionary bandleader, Tapscott’s recorded footprint is small, but his legacy continues to vibrate through the Los Angeles music underground. From Freestyle Fellowship to Build An Ark, Kamasi Washington, and Dwight Trible, it all traces back to Tapscott. The pianist was an organizer, and instead of chasing a successful recording career, he wanted to build a community band that would act as ‘a cultural safe house for the music.’ ‘I wanted to say, “This is your music. This is black music, and I want to present a panorama of the whole thing right here”‘ said Tapscott in the late 1990s. As a culturally radical, communal big band with a visionary approach to American Black music, Tapscott’s Pan-Afrikan Peoples Arkestra is second only to the other famous Arkestra, that of Sun Ra. Tapscott founded the group in 1961 as the Underground Musicians Association (UGMA). It changed its name to the Pan African Peoples Arkestra in 1971, and through the seventies the players lived, played, and worked together. Community work and political consciousness were at the heart of the project; for two decades they played in streets, parks, and coffee houses. From 1973 to 1981 their main rehearsal and concert space was the Immanuel United Church of Christ (I.U.C.C.); the Arkestra played every second Sunday, developing their sound and hipping new audiences to their vision. Live At I.U.C.C., recorded in early 1979, was the only live recording the band released. In full flow, and at the height of their powers, the group features original UGMA members Linda Hill, David Bryant, and Alan Hines, alongside a new generation including Jesse Sharps, Sabir Mateen, and Adele Sebastian. Showcasing spiritualized classics from the Arkestra’s songbook, including the heavy modal groovers “Desert Fairy Princess” and “Macrame.” Live At I.U.C.C. is a rare chance to hear one of the most important, foundational bands in the music. With Tapscott at the piano, this is the rarely-captured sound of the mothership in full flight! Limited, vinyl-only triple LP, 180g pressing by Pallas. Fully licensed from Nimbus West founder Tom Albach.
Jacques Thollot: Quand Le Son (Souffle Continu) LP
Souffle Continu Records present the first ever vinyl reissue of Jacques Thollot’s Quand Le Son Devient Aigu, Jeter La Girafe À La Mer, originally released in 1971. While he was still just a young adolescent who had perfected his drum technique under the benevolent wing of Kenny Clarke, the Club Saint-Germain liked to present Jacques Thollot as a prodigy capable of holding his own with the famous jazz musicians who came through Paris. It was there that Eric Dolphy immediately noticed him, and from René Thomas to Walt Dickerson, everyone wanted to work with him. However, it was during the 1960s, first with Jef Gilson then François Tusques, Barney Wilen, Joachim Kühn, and Steve Lacy, that the decisive encounters occurred. Without forgetting that he joined, in 1968, one of Don Cherry’s groups, went on tour with them and came back transformed. That being said, to present Jacques Thollot as an in-demand virtuoso who could adapt to any circumstances would be to ignore both his demanding compositions and his complete freedom from stylistic boundaries. Although he had already featured on some cult albums — Our Meanings And Our Feelings by Michel Portal (1969), Monkey-Pockie-Boo by Sonny Sharrock (1970) — the first album under his own name, recorded in 1971 for producer Gérard Terronès, who gave him free rein, would turn out to be an unexpected, unclassifiable and astounding work. Entitled Quand Le Son Devient Aigu, Jeter La Girafe À La Mer, (“when the sound gets high-pitched, throw the giraffe into the sea”) it is an extraordinary sonic collage, created from discrete re-recordings and using just a handful of instruments including drums and piano. The result is a miracle, though the economy of means the production technique succeeds in putting the spotlight on the oddly elaborate compositions under an enigmatic but well-chosen title, borrowed from poet Henri Michaux. It puts into words the mysteries of a fragile melancholic universe which can be compared to another album by an iconoclastic drummer: The End Of An Ear by Robert Wyatt (1970). The difference being the highly personal elements which shine through the French musician’s album, clearly drawn from listening intently to classics from Debussy, Ravel, and Barraqué (whom he knew), a seam which he would continue to mine on his equally excellent following albums Watch Devil Go (1975) and Cinq Hops (1978). Thollot recorded five albums under his own name during his lifetime, but those albums are marvelous. Licensed from Futura/Marge. 16-page booklet with unpublished photos an essay by Jean Rochard.
Alex Twomey: The Entertainer (Recital) LP
“The Entertainer is Alex Twomey’s first album since 2012. Many have been waiting and finally, here we are! During the silence, Twomey’s keyboard work has germinated into a more framed compositional structure, beaming with orchestral strings, woodwinds, and brass; eleven cinematic settings and bouncing refrains mark this LP. Alex describes the album as, ‘vignettes alluding to a vague narrative regarding one’s idea as an artist.’ A somber beauty is penned. Alex previously recorded as Mirror To Mirror, and operated the record label Jugular Forest from 2004-2012. I first met him in 2010 during a large concert in Santa Cruz, CA. Alongside Twomey, myself, Kyle Parker (Infinite Body), Matthew Sullivan (Earn), Pedestrian Deposit, Mike Pollard, and Peter Friel performed that night. Alex’s performance was a thick ocean of chords, a penetrating grace that I can still recall. Everyone has since bloomed from the ambient roots of that time in their own way. Alex has held onto utilizing the keyboard, albeit as a tool to build a larger musical world, a legend to the map. On this album the melodies dance as twinkling bulbs along a retired parade float. A dark comedy, a tragic smile, love found in the rough of it all. Twomey is currently studying composition at Occidental College in Los Angeles” –Sean McCann, April 2019. Edition of 250, includes signed postcard.
UnicaZurn: Sensudestricto (Touch) LP
Has there ever been a better time to fuck off to the stars? Is a prison breakout “escapism”? Crisis carve some wound-space to let the dreams back in. In nights we turn to fire, in flight you burst into stone, where are the exits in this theater of the damned? Strict luggage allocations — guitar (D. Knight), saxophone (S. Thrower) — and all the electronics your thoughts can carry. Headspin echoes, round and around, tilt wind-sails at a dark horizon, cut a stutter through the distance barrier. In to be out through the structure of the eye, encrusted with rotor-slime, pushing on through border erosions as everything melts into smoke, burning objects may be closer than they appear. Nebulae dazzle the shadows, tunnel through memories and the pulp-mass of neurons, forwards heading backwards, end of tether snapped, slide into the earth like ancient worms and breathe. UnicaZürn’s core instrumentation blends analog synthesizer, mellotron, and electric piano with electric guitar and saxophone. Knight is renowned for his pioneering multi-textured fretwork with Danielle Dax and Shock-Headed Peters, and his ambient guitar settings for Lydia Lunch, while Thrower’s reed playing provided rage and melancholy in Coil and turns to electro-acoustic texture in Cyclobe.
Various: Cosmic Discotheque: 12 Junkshop Disco Funk Gems (Take It Acid Is) LP
’70s disco music wasn’t just Abba or the Studio 54. Just like punk or glam rock were doing at the same time, the “disco” phenomenon generated a plethora of obscure and bizarre studio projects which remained in the unknown, despite being often more inspired and creative than the few ones that reached stardom and sold millions of copies. 45 rpm singles that remained unsold, sitting in junkshops all over the world for decades, hide forgotten gems, revealing genius and avantgarde only guilty of not being at the right place at the right time. Be it Moroder oriented proto synth-wave, groovy space-disco or acid Afro funk, the first volume of the Cosmic Discotheque series is all about rediscovering those forgotten treasures while setting your dancefloor on fire. Features The Mystic Moods, Life, Alan Bown, Red Parish Group, André Brasseur, Black Buster, Bil Tze, The People Next Door, Diabolic Man, Performance, Dance Machine, and Pharaoh. Edition of 500.
File Under: Disco, Funk, Boogie
Various: Ethnoelectronics (Black Sweat) LP
Black Sweat Records presents a reissue of Ethnoelectronics, originally released on tape by Sound Reporters in 1986. Ethnoelectronics is a further episode of pioneering fusion between ethnic and electronic music, involving dauntless explorers such as Walter Maioli, Nirodh Fortini, Fred Gales, Raffaele Serra, John Zandijk, and the visionary sculptor Edward Luyken. As the soundtrack of an obscure science-fiction saga, the six parts of these recordings retain something profoundly osmotic and sidereal. In these hybridizations, it’s the heart of personal spiritual cosmos and stratospheric portals pulsing, but always retaining their devotion to wild nature and ethnographic differences. In this way, the sinusoidal movements of electronic synthesizers and radiophonic frequencies interact with the pounding sounds of the jungle, with frogs, sea waves, buzz insects, leaves, and rain. From flutes, rattles, steel sound sculptures, or rustling idiophones, mysterious samples appear like weird interferences, with rhythms and ritual voices from Tibet, West Papua, Burundi, Tahiti or the shamanic Japan of the Ainu.
Various: La Danza Del Agua (Discrepant) LP
La Danza del Agua (The Dance of Water) is an eclectic musical journey through Latin American experimentalism — a sort of unofficial companion to the Antologia De Musica Atipica Portuguesa (Anthologies of Atypical Portuguese Music) volumes, but focusing on South American music themes instead. Originally released as two volumes (digital and cassette versions) on Papaki Records (2017, Argentina), this new concise edition presents 12 of the original 38 artists. Not to be seen as exhaustive document representing the wide styles of the even wider continent, it hopes to showcase some of its more marginal music with artists from a variety of countries such as Argentina, Mexico, Peru, Bolivia, and Venezuela. As such, this compilation shines a wider light on new and exciting sounds from the vast continent with a wide range of styles such as digital cumbias, sound experimentation, freak folk, noise, exotica, danceable beats, and much more, mixed together to give life to the continuing strange world of contemporary South American experimental music. A logical continuation of our new weird South American explorations after releasing works from Meridian Brothers, Romperayo, Chupame El Dedo, and a tape batch on Sucata sister label featuring Panchasila, Los Siquicos Litoraleños, Bardo Todol, Tomás Tello, and more. Features Tomás Tello, Wellman, Joa Joys, Horacio, Simón vs Saimon, M3Y, Manrico Montero, Gil Sanson, Pandelindio, Gustavo Obligado, Ciudad Satélite, and José Soberanes.
Winston: Under the Influence Volume 7 (Z Records) LP
Double-LP version features: Synergy, Donnell Pitman, Betty Padgett, Bollyn Thompson, Are & Be, Bramsam, Lord Of Storm, Jonnie Vibes Lambert., The Olympics, The G.T.’s, Mary Gold, and Al “Man” Muntzie and The Embraceables. Housed in a gatefold sleeve. Z Records continues its commitment to unearthing the obscure and long forgotten tracks from the last 40 years through the ever-popular Under The Influence series. It’s now the turn of one of the scenes most prolific but yet unknown collectors, Winston. Outside of the established record collectors Winston is pretty much unknown but those that know of him will tell you that despite his low profile he has one of the best record collections around. Sean P remembers his first trip to Winston’s house in the sleeve notes: “When I visited his house for the first time, I felt like a beginner — my expectations were far exceeded by the neat rows and piles of 12″s and LPs everywhere; and I had brought along a foolscap notebook which after eight hours or so, expanded my wants list considerably. I thumbed through hundreds of weird and mysterious independent and major label releases. Winston played whatever I was interested in hearing, occasionally spinning random 7″ (‘Space Funk’ by Manzel, for example) and various LP cuts of his choice. I had perused around half of the collection by the time I left, but I’ll never forget that kid-in-a-toyshop feeling, along with the realization of Winston’s buddha-like status as a master of this arcane pastime . . . Winston is still doing the ’rounds weekly; and since the Hammersmith Black Music Record events of the mid-80s, he’s missed few record fairs, if any — trading with dealers & fellow collectors and parting with cash when necessary. Surprisingly, he has no truck with the internet — somewhat curious to the rest of us who now can’t imagine life without it. And as a man with no online presence, knowledge of Winston’s existence is restricted to the real world. Some justification, perhaps, for giving this fervent ambassador of all things boogie an opportunity to share some of his favorites beyond those in the know. So for Volume Seven of the Under The Influence series Winston has included tracks taking in soul, funk, disco, and boogie with many of the tracks costing hundreds if you were able to find the originals.”
File Under: Funk, Soul, Disco
Acid Mothers Temple: s/t (Black Editions) LP
Olafur Arnalds: Re:Member (Mercury) LP
Bad Religion: Age of Unreason (Epitaph) LP
Beastie Boys: Check Your Head (EMI) LP
Bunalim: s/t (Pharaway Sounds) LP
Al Doum & The Faryds: Spirit Rejoin (Black Sweat) LP
Vernon Elliott: Clangers (Trunk) LP
Grant Green: Grant’s First Stand (Blue Note) LP
Herbie Hancock: Empyrean Isles (Blue Note) LO
The Heavy: Sons (BMG) LP
Herbie Hancock: Flood (Get on Down) LP
Erkin Koray: Arap Saci (Pharaway Sounds) LP
Kendrick Lamar: Good Kid, M.A.A.D. City (Aftermath) LP
Masayuki Takayanagi New Direction Unit: April is the Cruellest Month (Blank Forms) LP
Jackie McLean: Capuchin Swing (Blue Note) LP
Mdou Moctar: Ilana: The Creator (Sahel) LP
Nurse With Wound: Spiral Insana (Rotorelief) LP
Oasis: (What’s the Story) Morning Glory (Big Brother) LP
Parliament: Chocolate City (Universal) LP
Don Rendell/Ian Carr: Change is (Jazzman) LP
Don Rendell/Ian Carr: Dusk Fire (Jazzman) LP
Don Rendell/Ian Carr: Phase III (Jazzman) LP
Don Rendell/Ian Carr: Shades of Blue (Jazzman) LP
Don Rendell/Ian Carr: Live (Jazzman) LP
Shellac: End of Radio (Touch & Go) LP
Judee Sill: s/t (Music On Vinyl) LP
Kuniyuki Takahashi: Early Tape Music Vol 1 (Music From Memory) LP
White Stripes: De Stijl (Third Man) LP
White Stripes: Elephant (Third Man) LP
White Stripes: Icky Thump (Third Man) LP
White Stripe: White Blood Cells (Third Man) LP
Various: Shaolin Soul 1 (Because) LP
Various: Son Cubano NYC (Honest Jons) LP