I promised a much bigger list this week, and here it is. Loads of new stuff in. Some real killer jams. And in keeping with 2020, loads of releases late/delayed/in limbo. Starting to seem like there will actually be new releases out this summer unlike most years.
And in case you’re wondering, no, we still aren’t opening up yet, despite the provincial gov’t’s confidence in how things are going. As I’ve been saying we’re in a good groove. Online ordering and pick-ups are working well and keeping everyone safe. We run a small shop. Distancing, and cleaning add an extra layer to the whole thing that I currently just can’t fathom adding to the mix right now. We’re keeping tabs on how things go with Phase 2 rolling out tomorrow and in the coming weeks.
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…..pick of the week…..
Munehiro Narita: Live P.S.F. (Cardinal Fuzz) LP
Cardinal Fuzz and Feeding Tube Records bring forth Munehiro Narita’s cranium busting Live P.S.F (Psychedelic San Francisco). Recorded live at the Hemlock Tavern (by PSF worshiper Ethan Miller). Munehiro Narita, the original “psychedelic speed freak”, is for many people the undisputed king of the motorcycle fuzz guitar. Active since the late ’70s, Narita is a Japanese psychedelic underground legend. After playing in cult bands like Kyoaku no Intention, he founded the brutal heavy-psych power trio High Rise in the ’80s and more recently Green Flames with his furious guitar playing, which involves lethal doses of fuzz-wah at ear-splitting volume. Narita was lucky to be in the right place in Tokyo to see many performances by one of the most out of control guitar players ever to handle six strings in Takashi Mizutani (Les Rallizes Denudes) as well as taking in wild performances from Keiji Haino, Gaseneta, and their take no prisoner maelstrom is a style that Munehiro holds dear too. When Munehiro Narita needed a band for playing four west coast dates in 2017, Steve Krakow knew that LA acid punk David Jasso (OGOD) would be the perfect musician/foil for Narita (it should be noted that David released Green Flames on his Assommer label). David in turn knew drummer TJ. Six tracks were quickly nailed in rehearsals — a selection of High Rise (four) and Green Flames (two) tunes were then played over the four dates. The shows left audience stunned (listen to the reaction from this show) and by the time of the San Francisco show they were on fire. Luckily, Ethan Miller was there to press record and document this feral in the red paint peeler of a gig as Munehiro Narita peels off wah soaked fireballs on top of the primal throb and groove that David Jasso and TJ lay down. Another of the hopefully famed Cardinal Fuzz bootleg style releases, Narita’s guitar playing out front in the mix distorting and warping time and space The whirlwind take on closing number “Pop Sicle” perfectly captures the wild fury of all three musicians creating an energy that is impossible to sedate. Ethan Miller somehow managed to capture and record some of the most brutal playing in prime tape saturated / in the red glory for you know to relive. The positivity of these shows eventually led to all three members forming P.S.F. and their debut LP was released on Black Editions in 2019. Full size/color insert; includes download code; edition of 500.
File Under: Psych, Japan
24 Carat Black: III (Numero) LP
From Shrine to Stax, Isaac Hayes to Gloria Ann Taylor, The Mad Lads to The Staples Singers, Detroit to Atlanta, Kendrick to Pusha-T, Dale Warren’s singular voice is the lone constant. Beneath the ethereal beauty of his productions was a genius crippled by his unbridled id. His ever-evolving 24-Carat Black project spanned the ’70s, producing a masterpiece and an unfinished follow up. Discovered in a storage space were Warren’s 1980s demos cut with grown n’ sexy divas Princess Hearn, Vicki Gray, and LaRhonda LeGette right before his untimely death at the age of 50. III is an unfinished symphony that peels away the final layer of Dale Warren’s mysterious oeuvre.
File Under: Funk, Soul
Mulatu Astatke & Black Jesus Experience: To Know Without Knowing (Agogo) LP
To Know Without Knowing, Mulatu Astatke & Black Jesus Experience’s album, is their second together. A grooving transcontinental gem, recorded in Melbourne, Australia, and Addis Ababa, Ethiopia. Filled with the warmth of the mentorship and friendship of their creative partnership honed over a decade of performing together in Africa, Australia, and UK/Europe. Mulatu Astatke is the father of Ethio-jazz and one of Africa’s most influential and enduring musical figures. Black Jesus Experience is a community of artists, centered around a twelve-piece global-funk-machine born of Australia’s vibrant multiculturalism. Mulatu and Black Jesus Experience met in Addis Ababa in 2009, embarking on both a musical relationship and a friendship that has led Mulatu Astake to describe Black Jesus Experience as, “My favorite backing band” and, “…they’re family.” Mulatu’s great contribution to music has been to combine Jazz and funk grooves with Ethiopia’s distinctive pentatonic scales. His musical genius is the sensuality and sophistication with which Mulatu contrasts these minimalist scales with richly chromatic harmony. But Mulatu’s equally great contribution has been to share both his enduringly unique modernity and Ethiopia’s timelessly spiritual music with the world. Black Jesus Experience treasure the special relationship of generosity, mentorship and collaboration they have been privileged to share with this master musician. To Know Without Knowing is the product of this gift.
File Under: Funk, Africa, Hip Hop
Roy Budd: The Internecine Project (Trunk) LP
Unreleased masterpiece by Roy Budd, the master of British 1970s scores. Composed and recorded in 1974, The Internecine Project is a truly classic Roy Budd score, released here and now on vinyl (and on any format) for the very first time. And it’s worth buying just for the totally sublime track called “Mr Easy”. Coming from the peak Roy Budd period — post Get Carter (1971) and pre Diamonds (1976) — this score neatly bridges the two with Carter-style hypnotic, jazz-driven cues and superb Diamonds-style drama. The film itself was a slick British thriller directed by Ken Hughes, set in a gray, gloomy London and based around espionage and murder. The plot is simple; former spy Robert Elliot (the ice cool James Coburn — with interesting facial hair and equally as interesting wardrobe) is given a big government job. In order to cut all questionable ties and clean up his rather grubby past he devises a plan in which all of his dodgy associates unwittingly kill each other on the same night — and in alphabetical order. The film’s unusual and often misspelt name comes from the word internecine — the definition of which is conflict within a group. Full color sleeve; includes sleeve notes.
File Under: OST
Evan Caminiti: Varispeed Hydra
(Dust Editions) LP
Los Angeles based artist Evan Caminiti returns with the follow up to 2017’s Toxic City Music. Living in the wrong timeline, dreaming of possible utopias; Varispeed Hydra beams in like a collection of broken transmissions, terrestrial sounds melting into the abstract and rising again as vaporous specters. Three years in the making, Hydra was recorded utilizing a variety of electroacoustic processes and honed in live performances ranging from the sound art setting of NYC’s Issue Project Room to the future-club environment of DOMMUNE in Tokyo. While thematically following Toxic City Music, it moves past that album’s emphasis on superfund sites and the proverbial rat race to turn an ear towards more rural environs. With a focus on some of the sounds we stand to lose if we continue on our current trajectory of ecological destruction, birds, insects, and water are most often found among the glowing synthesizers and warped electric guitar that comprise the album’s melodic and rhythmic core. Connecting a thread between musique concrete and dub, these sounds are atomized and diffused before being woven together with a sense of urgency, a colorful and restless haze. Phasing percussion and blurred melodies are wrapped in a fog as they tumble and glitch, occupying a space where ominous rumblings and bucolic bliss blur together. An offering of cautious optimism in the age of anxiety. Artwork by Michael Vallera and Zane Morris. Written and produced by Evan Caminiti, featuring electronics by Lisa McGee. Mastered by Rafael Anton Irisarri at Black Knoll Studios; Vinyl cut at Dubplates and Mastering Berlin. Includes download code; edition of 300.
File Under: Ambient, Electronic
Coastlines: s/t (Be With) LP
Coastlines is the self-titled long player from the new Japanese production unit of DJ and producer Masanori Ikeda and solo artist, session musician, and Cro-Magnon keyboard player, Takumi Kaneko. Masanori and Takumi have been part of the Japanese dance music scene for years and Coastlines was born out of their working together on soundtracks for video projects. The pair wanted to make laid-back listening music for now, laying Takumi’s playful keys over Masanori’s widescreen Balearic jazz-fusion to conjure beautiful and breathtaking “coastlines”. A couple of two-track 7″s put out in late 2018 and early 2019 on Japanese house music label Flower Records soon sold out. Those four tracks were expanded to a full album of music, “a joyous, relaxing, summery soundtrack for everyone’s after hours wind down” that was released just in time for summer. The album opens in the horizontal with the sophisticated, cocktails-by-the-pool groove of “Sunset Reflection”. Their re-imagining of Ralph MacDonald’s “East Dry River” removes all the original’s bells and whistles (quite literally) and re-gears it with a subtle Balearic chug — a percussive gem. “Coastline” is a beach-jazz noodle. “Drifting Ice” is as chilled and glacial as its title would suggest, yet Masanori’s head-nod slo-mo house beats throb not far below the surface. “My Fire” is another soft killer, all swelling, swirling organ over muted kicks and snares. A pair of insistent tunes of the deeply Balearic variety raise the tempo, but not by too much of course. On “Woods And My Guitar” a half-heard vocal refrain breathes life into the synthetic xylophone and guitar. Deft piano-work turns “Half Moon Shadow” into lounge-house for the sophisticated beach bum. The self-assured re-work of Azymuth’s “Last Summer In Rio” is arguably the album’s centerpiece. Ten minutes of casually propulsive slapped bass, steel pans, and slick ’80s soul beats. Cue the steel drum interlude of “Maracas Bay” before album closer “Down Town” transitions one with a shuffling, string-hinted hit of ethereal, euphoric piano bliss. Gentle disco for the new decade. Among the nods to revered Japanese artists like Hiroshi Sato, Sakamoto, and Casiopea, there are also hints of Marcos Valle and Mtume, of the aforementioned Azymuth. “The production though is very much now, not then. Not retro, just proper”. Coastlines was originally a CD release only available in Japan, with HMV putting out a super-limited, Japanese Record Store Day vinyl version. Mastered by Simon Francis and cut by Pete Norman, Edition of 500, pressed at Record Industry.
File Under: Jazz, Fusion
Tod Dockstader: Aerial 1 (Important) LP
Tod Dockstader’s Aerial series, an electronic/drone masterpiece, is cherished among fans of the artist’s work. 15 years in the making, the Aerial series is sourced from his life-long passion for shortwave radio. Dockstader collected over 90 hours of recordings, made at night, and comprised of cross signals and fragments plucked from the atmosphere. Opening with airwave drones, Dockstader gradually allows elements to slowly come and go, summoning an ominous atmosphere of ethereal clouds. Malignant placidity continues, giving the feeling of eavesdropping upon late-night audio activity not unlike discovering number stations while sweeping the dials. Backward voices, deep echoing choruses of conversations flowing under the surface, ocean sounds, pulsing electro-rhythms, all seem to be created via the collaging of many hours of source recordings. A masterwork of collage and juxtaposition by an overlooked pioneer of American electronic music. Artwork by John Brien. Audiophile quality double-LP; edition of 500. Dockstader on the Aerial project (September 14, 2003): “I’ve written before of my interest in shortwave radio, in the notes to the Quatermass CD (SR 233CD). Also, in the notes to the Omniphony CD (which has my first ‘Aerial’ mix, ‘Past Prelude,’ in it), I mentioned ‘The Aerial Etudes,’ which was my working title for what became the three CDs you have. And, at the end of an interview with Chris Cutler (which can be found in the ‘Unofficial TD Website’), the piece I mentioned I was starting to work on at the time became Aerial). When I was very young, people got most of their entertainment from radio. They called it ‘playing the radio,’ as if it were a musical instrument. That’s what I’ve tried to do in this piece. About this time, a few people encouraged me to look into using a computer for this work. I’d never used one, but I saw it would allow me to keep my mixes digital — no more transfer losses. So, at the end of 2001, I got a computer and an editing program for it, and spent what seemed a long time learning it. I began selecting mixes and loading them into the computer in late March, 2002. Out of the 580, I selected 90 ‘best’ mixes — eventually reduced to 59, the ones on the CDs. Finally, in assembling the CDs, I followed David Myers’ suggestion to allow each piece to flow into the next — making a continuous journey to the end.”
File Under: Electronic, Drone
Eleh: Harmonic Twins (Important) LP
Eleh’s Harmonic Twins is slow moving monophony tuned to the overtone vocalizations generated by a particularly beautiful sound sculpture made by Harry Bertoia. These two pieces are inspired by early music, choral masses, motets, the cathedral reverberations of sacred geometry and deep bass. Harmonic Twins was originally debuted by ELEH at Unsound, Krakow in 2017. An optimal listening environment is recommended in order to experience the low frequencies of Harmonic Twins. Audiophile vinyl; heavy duty sleeve printed with metallic inks; edition of 500.
File Under: Drone, Sound Scuplture
Dwarfs of East Agouza: Green Dogs of Dahshur (Akuphone) LP
The Dwarfs of East Agouza are back with The Green Dogs of Dashur. Once again, the prolific American-Egyptian trio composed of Alan Bishop (acoustic guitar-bass/alto sax), Sam Shalabi (electric guitar), and Maurice Louca (organ/synthesizers/beats) breaks off all constraints and reveals a resolutely free album offering the listener variations of seductive melodies and unhinged improvised trance. The hot embossed metallic double-headed dog designed by the Lebanese artist Lynne Zakhour perfectly illustrates this album that blurs the boundaries of rock and jazz. A new album that will certainly delight fans of the Sun City Girls or the Land Of Kush. Comes with printed inner sleeve and download card.
File Under: Sun City Girls, World, Jazz
Steve Earle & The Dukes: Ghosts of West Virginia (New West) LP
Ghosts of West Virginia centers on the Upper Big Branch coal mine explosion that killed twenty-nine men in that state in 2010, making it one of the worst mining disasters in American history. When asked about what drove him to craft his deeply evocative new album, Steve Earle says, “I thought that, given the way things are now, it was maybe my responsibility to make a record that spoke to and for people who didn’t vote the way that I did,” he says. “One of the dangers that we’re in is if people like me keep thinking that everybody who voted for Trump is a racist or an asshole, then we’re fucked, because it’s simply not true. So this is one move toward something that might take a generation to change. I wanted to do something where that dialogue could begin.” In ten deftly drawn, roughly eloquent, powerfully conveyed sonic portraits, Earle and his long-time band the Dukes explore the historical role of coal in rural communities. More than merely a question of jobs and income, mining has provided a sense of unity and meaning, patriotic pride and purpose “I said I wanted to speak to people that didn’t necessarily vote the way that I did,” he says, “but that doesn’t mean we don’t have anything in common. We need to learn how to communicate with each other. My involvement in this project is my little contribution to that effort. And the way to do that – and to do it impeccably – is simply to honor those guys who died at Upper Big Branch.”
File Under: Country
Kahil El’Zabar and David Murray: Kahil El’Zabar’s Spirit Groove (Spiritmuse) LP
Kahil El’Zabar’s ‘Spirit Groove’ on Spiritmuse Records is the latest musical inspiration from a spiritual jazz master Kahil El’Zabar, featuring the legendary tenor sax colossus, David Murray. El’Zabar’s and Murray’s collaborative efforts span over 4 decades of exceptional explorations in the varied realms of spiritual jazz. Joining them on this project are 2 extraordinary young talents, Emma Dayhuff on acoustic bass and Justin Dillard on keyboards/organ. ’Spirit Groove’ is an innovative journey into the core soul of jazz and groove, where all are one in Spirit.
File Under: Jazz
Bernard Fort: Fractals/Brain Fever
“Fractals” (1981): Composed at the GMVL from December 1979 to September 1981, this work was commissioned by Fnac. Fractals are mathematical oddities that, when crossing our path, turn the smallest island into an immensity to be explored. “Fractals” is a series of short studies, all based on the same sound source. Seeking in the sound and its very logic a proposal upon which a construction is elaborated, each Fractal remains open and is a mere fragment of itself. “Fractals”, music pieces sculpted in four dimensions, are vast microcosms that can only be inhabited by the mind. Each “Fractal” can be approached from several angles, far, near, etc. Some can be listened to at different speeds, forwards or backwards. “Fractals”: amorphous and endless music pieces whose center is everywhere and circumference nowhere. “Brain Fever” (2017): Wherever you may be in the forest of South India, the Brain Fever bird, together with the Seven Sisters, literally gets into your head. Whether it be early morning, daytime, or nighttime, amidst the stridulations of insects, its song utterly reflects Indian life: sonorous, noisy, insistent, dense, overcrowded, mobile, swarming, frantic, overheated, deprived of rest and sleep. “Brain Fever” echoes sonic images caught in the Aurovillian forest, near Pondicherry, and rich fragments of improvisations made in Lyon on analog sound synthesis or feedback devices, the kind Fort used to do in the first GMVL studios. “Brain Fever” is dedicated to Sofia Jannok, a musician and sàmi singer. Cut by Rashad Becker at Dubplates & Mastering, Berlin, November 2019. Translations: Valérie Vivancos. Layout: Stephen O’Malley. Photos: Daniel Lepoutre, Francesco Giorni, Christian Ganet. Mécanisme d’un paysage urbain, by Paul Klee. Coordination GRM: François Bonnet, Jules Négrier. Executive Production: Peter Rehberg.
File Under: Avant Garde, Electronic
Gas: Oktember (Kompakt) LP
Oktember is the second EP release under Wolfgang Voigt’s mythical GAS project (it follows Modern on Profan, 1995). The two compositions were originally released in 1999 on Mille Plateaux, and then reissued partially in 2016 on GAS BOX. Oktember is finally released on Voigt’s own label Kompakt, pressed on 180 gram vinyl in its original artwork. This reissue features “Tal 90” (instead of the original A side) — a predecessor to the GAS project originally recorded in 1990 under the alias TAL, it was released as a part of the Pop Ambient 2002 collection (KOM 050LP/KOMP 014CD). With its sampled strings, horns and guitars, “Tal 90” soundtracks a more uplifting side to what is typically accustomed to being the sound of GAS. The title track “Oktember” is a dense, hypnotic affair that conjures a unique vision of dub techno that few have been able to replicate. A monumental soundtrack to uncertain times.
File Under: Electronic
Genius/Gza: Liquid Swords Instrumentals (Get on Down) LP
Limited edition black and white vinyl. “There are many reasons why Wu-Tang Clan rapper GZA’s second solo album Liquid Swords is considered one of the greatest hip-hop records of all time. Critics and historians point to GZA’s raw, and starkly poetic lyrics which featured references to chess, crime and philosophy, as well as superb guest performances from his Wu-Tang Clan contemporaries. One can’t comment on Liquid Swords’ brilliance however without touching upon the production, courtesy of Wu-Tang’s own mastermind RZA. Behind a hazy and murky backdrop of rare samples and classic boom-bap beats, RZA crafted a bleak atmosphere of urban dystopia for GZA’s esoteric rhymes to flourish in, cribbing from a wide panoply of sources ranging from the dusty soul of The Bar-Kays and Ohio Players, the nostalgic jazz of Cannonball Adderley and Willie Mitchell, and even the experimental weirdness of Mothers Of Invention. In a retrospective 5-star AllMusic.com review of Liquid Swords, writer Steve Huey said of RZA’s production: ”The Genius’ eerie calm is a great match for RZA’s atmospheric production, which is tremendously effective in this context; the kung fu dialogue here is among the creepiest he’s put on record, and he experiments quite a bit with stranger sounds and more layered tracks.’ These instrumentals, peppered with frequent interludes of dialogue from the classic samurai flick Shogun Assassin, became the core of the GZA’s acclaimed sophomore LP. The full Liquid Swords instrumentals are now available in a white and black vinyl pressing, a nod to the chessboard art synonymous with the album’s cover art. All tracks have been restored, with re-mastered audio from the original source tapes. Available on 2-LP, with the look of a silk-screened jacket we are excited to bring to you these Liquid Swords Instrumentals.”
File Under: Hip Hop
Nick Hakim: Will This Make Me Good (ATO) LP
While Will This Make Me Good is distinctly Nick Hakim, it does represent a tonal shift from breakthrough release Green Twins that reflects the ideas with which he grappled with while making the record. The title is a question Hakim has asked himself since he was young and struggling in school; a reflection of what’s happening in his head as he sorts through his life and the tumult around the globe. It articulates a sense of confusion alongside a desire for hope and clarity. The double LP was produced by longtime collaborator Andrew Sarlo (Big Thief, Bon Iver), who also helmed Green Twins. Lead single “Quadir” is a fitting introduction into this new era. The nearly 8-minute cut is the heart of the album and the first song he wrote for the record, made as an ode to his late friend and a reminder to check in on your loved ones. “If I really sink into a recording, I don’t want it to end,” Hakim says. “It’s repetitive and hypnotizing, like a trance – that’s intentional. The song is my ode to him. It’s my attempt to relate to how he must have been feeling.”
File Under: Rock, Soul
Mark Lanegan: Straight Songs of Sorrow (Heavenly) LP
Following the success of 2019’s Somebody’s Knocking LP, the prolific Mark Lanegan is back with yet another new solo album entitled Straight Songs Of Sorrow. The record, which is closely aligned to his forthcoming memoir, Sing Backwards And Weep, features guest appearances from Greg Dulli, Warren Ellis, John Paul Jones, Ed Harcourt and more. When considering any great work of art, it’s natural to wonder what might have inspired it: ‘the story behind the song’. Straight Songs Of Sorrow flips that equation. Here are 15 songs inspired by a story: his life story, as documented by his own hand in his new memoir. The book is a brutal, nerve-shredding read, thanks to Lanegan’s unsparing candor in recounting a journey from troubled youth in eastern Washington, through his drug-stained existence amid the ’90s Seattle rock scene, to an unlikely salvation at the dawn of the 21st century. There’s death and tragedy, yet also humor and hope, thanks to the tenacity which impels its host, even at his lowest moments. Straight Songs Of Sorrow combines musical trace elements from early Mark Lanegan albums with the synthesized constructs of later work. The album feels both definitive and unique, a culmination of its creator’s arc yet also indicative of the energy that drives him onto future horizons.
File Under: Rock
Tommy McGee: I’m A Stranger (Numero) LP
Just as Al Green’s Back Up Train was pulling out of Grand Rapids, Michigan, for a whistle stop tour to the top of the charts, producer Palmer James began eyeing another Furniture City branch line: Tommy McGee. The result was 1976’s Positive-Negative, the creative apex in a career littered with endless bottoms. Gathered for the first time are McGee’s timeless album, singles for Golden Voice, Mercury, TMG, and Tosted, as well as the complete output of his nascent mid-’60s funk combo The T.M.G.’s.
File Under: Funk, Soul
Lee Morgan: Rumproller (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 resumes in April 2020 with Part 3 of the Great Reid Miles Covers theme – Jackie McLean – A Fickle Sonance (1961), Dexter Gordon – A Swingin’ Affair (1962) and Lee Morgan – The Rumproller (1965). After trumpeter Lee Morgan set the music world on fire with the runaway success of his hit soul-jazz single “The Sidewinder” in 1964, many artists tried to duplicate his triumphant feat in search of another boogaloo sensation. Even Morgan himself cooked up funky follow-ups using “The Sidewinder” recipe including The Rumproller, which was recorded the next year. Beyond the groovy title tune (which was written by Andrew Hill) the quintet featuring Joe Henderson on tenor saxophone, Ronnie Mathews on piano, Victor Sproles on bass, and Billy Higgins on drums traverses diverse territory from the post-bop of “Desert Moonlight” to the calypso of “Eclipso” to the mournful closing ballad “The Lady” dedicated to Billie Holiday. The ingenious album cover design by Reid Miles is a memorable example of the brilliant typography that made his style so influential.
File Under: Jazz
Aki Onda: Nam June’s Spirit Was Speaking to Me (Recital) LP
Recital label head Sean McCann on the record (2020): “A spellbinding tribute from one multi-faceted artist to another. New York-based artist Aki Onda (b. 1967) conjured a transduction to the Korean multi-media pioneer Nam June Paik (1932-2006). Aki himself describes the project: ‘Nam June’s Spirit Was Speaking To Me occurred purely by chance. In 2010, I was spending four days at Nam June Paik Art Center in South Korea for a series of performances and had plenty of free time to wander . . . I have always felt a close kinship with him as an artist, and so it was a great opportunity to immerse myself in his works and ephemera. It was that night I made the first contact, via a hand-held radio in a hotel room in Seoul . . . Scanning through the stations, I stumbled upon what sounded like a submerged voice and I began to record it in fascination. I concluded this was Paik’s spirit reaching out to me. The project continued to grow organically as I kept channeling Paik’s spirit over long distance and receiving cryptic broadcasts/messages. The series of séances, conducted in different cities across the globe, began in Seoul in 2010, and continued in Köln, Germany in 2012, Wrocław, Poland in 2013, and Lewisburg, USA in 2014. The original recordings were captured by the same radio which has a tape recorder, with almost no editing, save for some minimal slicing and mastering. Paik is known for his association with shamanism, a practice that constantly surfaces in his works all through his career. In an interview, he stated ‘In Korea, diverse forms of shamanism are strongly remained. Even though I have created my work unconsciously, the most inspiring thing in my work came from Korean female shaman Mudang.’ . . . These recordings also became a way for me to explore the mythic form of radio — a medium which is full of mysteries. The transmissions captured may be ‘secret broadcasts’ on anonymous radio stations. There are in fact hundreds of those stations around the world, although the numbers dwindle as clandestine messages can now be sent via encrypted digital channels…’ Nam June’s Spirit is a beautifully formed homage, I cannot think of any other like it. An intimate, flickering language discovered through the air.” Includes 20-page art booklet including rare photographs of Nam June Paik from the set of Michael Snow’s film Rameau’s Nephew (1974), two essays on radio-wave phenomenon (by Onda and Marcus Gammel), and a remembrance of Paik by Yuji Agematsu. Edition of 250.
File Under: Experimental
Bill Orcutt & Michael Morley: Electric Guitar Duets (Palilalia) LP
“… Once regrettable antics were permanently affixed to the rearview mirror, the pair chauffeured across the bay to Land And Sea, the cozy gallery on San Pablo Avenue in Oakland and sobered up on vegan cocktail wieners and gummie vitamins. You may doubt, you may scoff — have fun with it, champion, seriously — but on July 6, 2016, they rendered a landscape where miniature squalls grind in between seamlessly intersecting improv, and they did it sharp as the slap of a palmful of plum-colored hazelmyer elixir following a good, close shave. The distinctive sound of the Fender Telecaster as played without effects by Orcutt (‘one of music’s premier abstractionists,’ according to Osmo Montesanto) remains unblunted throughout the album, an aggressively serrated presence within Mr. Morley’s contrapuntal flanking. This freely improvised performance is imbued with discipline and deliberate restraint, the better to connect the players more to the sound than to the instruments . . . The duo’s number-one fan worldwide Cye Husain, pictured on the back cover, would surely attest that the singular structure-building of Orcutt and Morley defies and transcends most any ‘well, actually’ bloviature that the usual bore-splainers will need to hurl into the troposhere. For instance, that a third guitar is clearly audible at certain parts in the mix — beautifully recorded by Gabie Strong, by the way — can be accounted for most sensibly by Aotearoan metaphysics. Mr. Morley’s ax of choice was ‘Patu Tutae Opoko Nui, a 2006 Squire Telecaster made in Indonesia that I had modified over the years. It died and was ushered up to Valhöll in Gothenburg, Sweden in 2018.’ Readers opting to take a moment to refer to Morley’s Instagram post dated 6 June 2018 and view the last rites of this extraordinary combination of wood and metal should do so now. He cried. You should expect to do the same . . . Electric Guitar Duets is that otherworldly modulation we all crave and rarely find, hovering halfway between a deeply satisfying lattice of blurred sky roars and the soundtrack from a Stefan Jarworzyn biopic scored by Sergio Leone left on the floor out of its sleeve. Morley and Orcutt hold everything sideways at least as well as the centrifugal force required for slow-motion footage of mannequins riding tiny motorcyles around the inside of a chrome replica of Lee Van Cleef’s skull. For other examples of fluid-splattered shards glistening inside crimson murk pulsations, only murder rolling through cold, cold blood comes to mind as superior to this 44-minute live recording.” –S. Glass
File Under: Experimental
Bernard Parmegiani: Violostries (ReGRM) LP
“Violostries” (1963/64): Premiered and recorded in April 1965 at the Royan Festival — France, by Devy Erlih (violin) and Bernard Parmegiani (sound projection). “Violostries” represents the intersection of several musical research directions, presented as two simultaneous dialogues: composer/performer and instrument/orchestra. After a short introduction tutti very spatialized: “1. Pulsion/Miroirs”: multiplied by itself, the violin is projected into the four corners of the sound space. “2. Jeu de cellules”: concertante piece for violin and audio medium, the latter being made up of very tightly woven microsounds. “3. Végétal”: slow and invisible development following a continuous time, resulting from an internal and permanent processing of the matter. “Capture éphémère” (1967, 1988 version): “This work was composed in four tracks in 1967 for quadraphonic diffusion. Remixed in stereo in 1988. Premiered at the Studio 105 of the Maison de la Radio, Paris, May 1967. Sounds — noises that circulate as time unfolds — continue to exist despite our recording them. Breaths, fluttering wings: ephemeral microsonic sounds streaking space, sound scratches, landslides, bounces, vertigo of solid objects falling into an abyssal void, multiple snapshots forever frozen in their fall. As many symbols leave inside us the permanent trace of their ephemeral brushing against our ear. Someday, a desert, a sound, then never again… Somewhere, in my head and body something still resonates… resonance, what could be more ephemeral.” “La Roue Ferris” (1971): Premiered at the Festival des chantiers navals, Menton, on August 26, 1971. Sound projection: Bernard Parmegiani. “La Roue Ferris” (Ferris wheel) spins, merging with its own resonance, stubbornly perpetuating its variations. It only sketches a regularly evolving movement around a constant axis. Each of its towers generates thick sonic layers that penetrate each other, producing a very fluid interweaving. The crackling of the origin eventually metamorphoses into sonic threads whose lightness recalls high-altitude clouds, cirrus clouds, haunted by the cries of swifts twirling in the warm air. The wondrous arises and dies off, leaving the listener with an illusion of duration. Cut by Rashad Becker at Dubplates & Mastering, Berlin, November 2019. Translations: Valérie Vivancos; Layout: Stephen O’Malley; Photos: Lasklo Ruszka © INA; Coordination GRM: François Bonnet, Jules Négrier; Executive Production: Peter Rehberg.
File Under: Avant Garde, Early Electronic
Maggi Payne: Arctic Winds (Aguirre) LP
Aguirre Records present a reissue of Maggi Payne’s Arctic Winds, originally released on CD in 2010. Fully immersive electronic music by US composer Maggi Payne, inspired by the arctic winds. Payne’s sound worlds invite the listeners to enter the sound and be carried with it, experiencing it from the inside out in intimate detail. The sounds are almost tactile and visible. The music is based on location recordings, with each sound carefully selected for its potential — its slow unfolding revealing delicate intricacies — and its inherent spatialization architecting and sculpting the aural space where multiple perspectives and trajectories coexist. With good speakers, some space in your schedule, and a mind-body continuum willing to resonate with Payne’s electroacoustic journey, but then it will take you to places that other music can’t reach. From the sounds of dry ice, space transmissions, BART trains, and poor plumbing she immerses the listener in a world strangely unfamiliar. Maggi Payne is a composer, video artist, recording engineer, photographer, and flutist and is co-director of the Center for Contemporary Music and a faculty member at Mills College, in the San Francisco Bay Area.
File Under: Electronic, Avant Garde
Maggi Payne: Ahh-Ahh (Aguirre) LP
Aguirre Records present a reissue of Maggi Payne’s Ahh-Ahh, originally released in 2012 on Root Strata. Originally composed by Maggi Payne between 1984-1987 for the performance group Technological Feets. Formed by video artist Ed Tennenbaum in the San Francisco Bay Area in 1981, the group combines dance, live video processing, and music. Composed on an Apple II computer and various early sampling devices, Payne’s compositions are a vibrant response to the call from the moving body. Populated with buoyant pulses, graceful analog swells, dense fog-like drones, and cascading rhythms that shift in space, Ahh-Ahh is a vital document of not only these early collaborations, but of computer-based music as well. She studied with many greats in the field, including Gordon Mumma, Robert Ashley, and David Berhman.
File Under: Avant Garde, Electronic
Primitive World: The Revolt of Aphrodite (Ecstatic) LP
Primitive World mines obscure and vibrant paths on this strong new LP for Ecstatic, inspired once again by the forgotten sci-fi novels of Lawrence Durrell and finding a curious lane somewhere between Alva Noto and cubist UK funky rhythms. Throwing himself into bouts of taut, fractious, and probing electronics on his sophomore LP, The Revolt Of Aphrodite, Sam Wills uses the same palette as found on his White On White (ELP 033LP, 2018) — PPG Wave, Kurzweil K250, Emulator 4, and Lexicon 224 — albeit with a finer manipulation of form. Oscillating between the Alva Noto/Anne-James Chaton-esque minimalism of “All This Vulgar Data”, to the cubist UK funky rhythms in “Iolanthe Dances” and Dego-like broken beats in “Skins Plastered With White Lead”, you end up in the curdled electronic sensuality on “The Foetus Of a Love Song” which gives the album a deftly imaginative and playful dimension that stands in contrast to the homogeneity of much of modern electronic music’s all-too-often blinkered dreams. Following a similar process that was applied to the visual cues of overlooked British constructivist Marlow Moss in his 2018 debut, and recent lysergic rescoring of Kubrick’s Full Metal Jacket (1987), Sam Willis employs a strategy of in/direct references to Durrell’s seminal ’60s sci-fi diptych The Revolt of Aphrodite — comprising the novels Tunc and Nunquam — in an absorbing re-imagining of its scenes, rendered in a mix of electronic shrapnel, craftily disrupted UK club rhythms, and stuttering vocaloids. The original books’ themes of “Nietzschean psycho-sexual satire”, and their acerbic, bawdy, densely allusive text, serve to push Primitive World toward more complex drum programming/editing and a finer spectrum of timbres in order to best transpose the stories into music. Set against a backdrop of the May 1968 general strike in Paris, the books address notions of multiplicity and contingency, and a preoccupation with structure and “cause and effect” that Primitive World reflects in the music’s mazy narration and his poetic embrace of literary/musical license. Where modern electronic music too often arrives at the same aesthetic conclusions inspired by iconic work from William Gibson or Asimov, Durrell’s influence provides something altogether new to the absorbingly otherworldly. RIYL: Alva Noto, Dego, Russel Haswell. Cover painting by Daniel John Willis; Photo by Sam Willis, design by Alessio Natalizia. Cut at Dubplates & Matering, Berlin. Edition of 300.
File Under: Electronic
Prince & The NPG: One Nite Alone… Live! (Legacy) LP
Between the release of The Rainbow Children and One Nite Alone…, Prince embarked on his One Nite Alone… Tour, which countered the solo intimacy of his album with an electrifying series of live concerts showcasing the full talents of Prince’s ever-expanding New Power Generation band, featuring backing musicians Sheila E., Maceo Parker, Eric Leeds, Candy Dulfer, Greg Boyer, Renato Neto, John Blackwell, and Rhonda Smith. Comprised of transcendent highlights from nine different shows in March and April 2002, One Nite Alone… Live! was the first official live album of Prince’s career, and clocks in at more than two hours. The 27 tracks include selections from The Rainbow Children (“Muse 2 The Pharaoh,” “1+1+1 Is 3”) as well as journeys through Prince’s extensive back catalog, played with the full NPG as well as several solo piano excursions (“When U Were Mine,” “Raspberry Beret,” “Adore,” “The Beautiful Ones,” “Nothing Compares 2 U”).
File Under: Pop, Soul, Funk, Rock
Prince: One Nite Alone… Solo Piano and Voice (Legacy) LP
Available on LP for the first time, Prince’s twenty-fifth studio album, One Nite Alone…, was released on May 14, 2002 by NPG Records and finds the artist on acoustic piano and vocals (save for occasional rhythm from drummer John Blackwell and the ambient cooing of Divinity and Majesty, Prince’s pet doves). The intimate affair includes favorites like “U’re Gonna C Me” and a cover of “A Case Of U,” written by one of Prince’s biggest musical influences, Joni Mitchell. One Nite Alone… was initially released as a gift to members of the NPG Music Club, and was available as a separate album and included in the limited edition One Nite Alone… Live! box set. While One Nite Alone… was never sold in stores, it became a highly-desirable release. Original CD copies are collectible rarities, and many fans have only heard the album through MP3 file-sharing. Colored vinyl LP.
File Under: Pop, Soul
Prince & The NPG: One Nite Alone… The Aftershow: It Ain’t Over (Legacy) LP
Between the release of The Rainbow Children and One Nite Alone…, Prince embarked on his One Nite Alone… Tour, which countered the solo intimacy of his album with an electrifying series of live concerts showcasing the full talents of Prince’s ever-expanding New Power Generation band, featuring backing musicians Sheila E., Maceo Parker, Eric Leeds, Candy Dulfer, Greg Boyer, Renato Neto, John Blackwell, and Rhonda Smith. One Nite Alone… The Aftershow includes highlights from three of Prince’s epic late-night after-show performances. Previously unavailable as a physical stand-alone release, One Nite Alone… The Aftershow was originally released on CD as part of the One Nite Alone… Live! box set. The album features an hour of amazing jams and includes guest appearances by George Clinton and Musiq Soulchild.
File Under: Pop, Soul, Funk, Rock
Prince: The Rainbow Children (Legacy) LP
The Prince Estate and Legacy Recordings present the first round of physical titles to be issued in 2020 in the ongoing definitive Prince catalog reissue project. These titles come from the incredibly intriguing and fertile period of 2001 and 2002. The new batch includes two very different studio albums released just six months apart – 2001’s The Rainbow Children and 2002’s One Nite Alone… – plus Prince’s first official live albums from the tour that occurred in between those two releases. One Nite Alone…, the 4LP set One Nite Alone…Live! and the double LP One Nite Alone: The Aftershow…It Ain’t Over! will each get their first-ever vinyl release while sought-after title The Rainbow Children will also be available on the format once again. Prince’s twenty-fourth studio album, The Rainbow Children was initially sold on Prince’s trailblazing website the NPG Music Club, and was commercially released on November 20, 2001 on NPG Records. It was the first album (outside of the works he distributed through his NPG Music Club) to be released under the name Prince since he had changed his name to an unpronounceable symbol in 1993, and it was his first fully independent release to be issued without any major label backing. The Rainbow Children is a concept album intertwining Prince’s recurring themes of spirituality and sexuality, love and social consciousness, set in a metaphoric utopian narrative. Musically, the album showcased a new jazz-influenced direction for Prince, with live drums and expansive horn charts. The album’s original cover artwork – the Cbabi Bayoc painting “The Reine Keis Quintet” – holds a place of honor at Prince’s Paisley Park to this day, and is displayed in his NPG Music Club Room. One of the songs from The Rainbow Children, “The Work, Pt. 1,” was released by Prince as a free download on the controversial file-sharing service Napster; this move, along with direct-to-consumer (D2C) streaming and download options on the NPG Music Club, solidified Prince’s reputation as a digital music pioneer.
File Under: Pop, Rock, Soul, Funk
Ricardo Richaid: Travesseiro Feliz
(Far Out) LP
On his debut album Travesseiro Feliz (Happy Pillow), Rio de Janeiro based artist Ricardo Richaid melds his tropical heritage with his love for psychedelic music, jazz, and rock. He also takes inspiration from the many Brazilian greats — Caetano Veloso, Arthur Verocai, Ivan Lins, Joyce, Hermeto Pascoal, Marcos Valle, and Azymuth (to name a few) — who he has worked with as an engineer, assistant, and producer, in Rio’s former RCA studio, Cia dos Tecnicos. Heavily influenced by Brazil’s fabled Tropicalia movement, Richaid is also the grandson of Brazilian actor, singer, and Disney star Aurora Miranda (Carmen Miranda’s younger sister). Describing his sound as “Industrial Tropicalism”, Richaid’s music is undoubtedly a product of his environment: warm, hazy and beautiful, but reflective of the current mood of his homeland, lamenting the political, economic, and ecological crisis. The unconventional time signatures and sunny jazz-folk meets post-punk aesthetic are adorned by Richaid’s studio smarts. Travisseiro Feliz features notable names from across Rio’s music spectrum, including percussion sensation Marcos Suzano (Gilberto Gil), experimental pop artist Ana Frango Eletrico, and vocalist/multi-instrumentalist Jose Ibarra (Milton Nascimento’s touring group). On interlude track “Formigas” you also hear a few verses of Ricardo singing with his seven-year-old daughter, Nina. Carrying forward the Tropicália torch, the opener “Maracas Enterprise/Frio da manhã” is a two-part journey through Richaid’s sonic approach, weaving together interlocking horns, chorus drenched guitar, and fuzzed-up synth stabs. A perfect example of Richaid’s industrial tropicalism, “Largado Nu” mixes soft, acoustic guitar, and flutes with harder-edged synths and electric guitars, while “O Velho Cai” is beautiful jazz-infused folk, with fretless bass and saxophone singing around the vocal harmonies of Richaid and Liza Machado. Living with his grandmother Aurora Miranda until the age of seventeen (featured in Walt Disney’s Three Caballeros film, and happens to be the first human being to kiss Donald Duck), Ricardo would listen to his father playing chromatic scales and bossa nova melodies on the saxophone; his mother’s Brazilian classical piano; or his punk rock brother slamming the drums. This eclectic musical upbringing led a teenage Ricardo to learning his trade as the bassist in a short-lived hard rock band, which disbanded when Ricardo began to dig deeper. Alongside engineering some of his musical heroes in Brazil, Richaid has played in bands like Mara Rúbia and nitú, from Rio’s underground experimental psych and jazz scenes.
File Under: Brazil
Kurt Rosenwinkel Trio: Angels Around
Kurt Rosenwinkel Trio – Angels Around traverses new musical frontiers in the standard jazz idiom. While Rosenwinkel, Hutchinson, and Deidda embody and emote the rich traditions of jazz at its purest form, make no mistake, this music is thoroughly contemporary, focused, and for the here and now.
File Under: Jazz
Skymark: Primeiras Impressoes (Mule Musiq) LP
Mule Musiq present a reissue of Skymark’s Primeiras Impressões, originally released in 2013. It is really rare that Mule Musiq does not offer new music for fresh imaginations. In the label’s 15-year history, there only been a few reissues in the widely ramified discography: Lydia Lynch in 2006, Hans-Joachim Roedelius in 2013, Fumio Itabashi in 2018, and now with Skymark with his jazz album Primeiras Impressões. The Italian producer, composer, record collector, and Modern Sun Records label co-runner, that lists to the name Marc Friedli when he hands his tax report to the government, is no stranger to fans of modern Brazil, disco, fusion, house, Latin, jazz, funk, soul, and all other organically swinging music that grooves deep. Since 2007, he has released a string of albums and EPs on his own label as well as on imprints like Neroli, Mukatsuku Records, or Rush Hour, showing his impressive electric piano keyboard skills and unique style with an array of vintage synthesizers like ARP, Prophet, Moog, Roland, or Korg. On his privately pressed and strictly limited album, Primeiras Impressões, he delivered nine, gently jazzy tunes that process his experiences in the heat of Rio De Janeiro. They are intensely spiritual, they avoid ornamentation, and they bow before jazz history with a gentle respect, while adding an elegantly explorative and thrillingly uplifting freshness to the genre with deep discreet minimal funk and light-as-a-feather piano-melodies, as if the keyboard were a saxophone.
File Under: Jazz
Ian Willson: Straight From The Heart (Be With) LP
Be With Records work with Ian Willson to reissue his self-released, West Coast classic Straight From The Heart, privately pressed and originally released in 1985. This is the only album Ian ever put out. A magical blend of AOR/sophisticated funk/synth-boogie/spiritual jazz and modern soul, it’s a spellbinding record of many colors. You might already know Straight From The Heart for the dubby-disco paranoid-Balearic anthem “Four In The Morning”, and it’s easy to assume this is probably just another one of those one-track LPs. But this is an impressively slick record from start to finish. Album opener “Think About It” is all sorts of right. It’s emotional. It’s tops-off. It’s funk in its purest form. And take the proto-modern-funk of the title track (half Dâm-Funk/half Dâd-Funk). The shimmering, spiritual bossa-jazz of “If I Were You” serves as the album’s soaring centerpiece. A gorgeous suite of cosmic vibes to get Gilles frothing, it sounds like nothing else on the record which makes sense given that it was recorded a couple of years earlier, and is the only track on the LP that wasn’t recorded in Ian’s own studio. Side B opens with the propulsive ode to love that is “Two Is Better Than One”. Wonderfully sparse when it needs to be, it’s also richly percussive and that special kind of California-warm. Frenetic, speaker smashing synth and horn workout “Funk Invasion” dares you not to dance and “A Game Called Love” is heavily indebted to Prince with its lush, deep funk stylings. The sweeping sax-drenched instrumental “Song For Katelyn” is head-nod, beat-heavy AOR for that melancholic magic hour. It all adds up to the ultimate BBQ record. Almost all of Straight From The Heart was recorded over a few months between 1983 and 1984 on Ian’s brand new Otari 8 track in the Oakland, California studio he built just the year before. Only “If I Were You” was recorded elsewhere, at Bay Sound in 1982. Ian produced the album himself and played all of the instruments, except for the guitar of his longtime friend, Peter Fujii. Tower Of Power, Average White Band, Earth Wind & Fire, and Stevie Wonder was the list of influences Ian gave when asked. Why did he put the record out himself? Simple, he had no idea how to go about getting a record deal. The original tapes have long since been lost. This reissue was remastered from Ian’s one-and-only pristine copy.
File Under: Funk, Soul, Disco
Various: Electric Holyland (Lysergic) LP
“12 cuts from some of the rarest and most fuzz-drenched Jesus Rock obscurities from the 1960s and ’70s. Artists are: The New Folk, Barrie Hobbie, Johann Black & Sweet Destiny, First Revelation, Wild Olive Branch Band, Earthen Vessel, Shekina Glory, The Jesus Band, The Ark, Children Of The Lamb, Renacimiento, Paul Clark and The Four Corner Gospel Experience. It’s a limited (500 copies) press, all hand-numbered, of some of the rarest, most obscure & most fuzz-drenched Jesus Rock from the 1960s & ’70s. There’s 12 cuts from 12 different bands, all authorized, restored & re-mastered. The cover is an eye-popping throwback to the best of the ’60s Fillmore posters and leaves no doubt about the nature of the music.”
File Under: Psych
Various: Spiritual Jazz 11: SteepleChase (Jazzman) LP
Gatefold sleeve; features two vinyl-only tracks from Jackie McLean & The Cosmic Brotherhood and Michael Carvin; includes download card. Subtitled: Esoteric, modal and progressive jazz from the SteepleChase label, 1974-84. Founded in 1972, SteepleChase Records is one of the most significant and prolific European jazz record labels. With a catalog running to well over 200 titles, the Copenhagen-based imprint has recorded and released music from some of the greatest names in jazz, including Dexter Gordon, Andrew Hill, Jackie McLean, Horace Parlan, Chet Baker, and Stan Getz. Starting out by recording visiting Americans when they performed at the legendary Café Montmartre, founder Nils Winther was encouraged to start the label by none other than the great Jackie McLean, who was the first artist to release a record on the new imprint. From there, Steeplechase rapidly grew into one of the foremost labels to document European jazz with all its distinctive originality and style. With a particular emphasis on recording front rank American artists who had chosen the expatriate life in Europe, Steeplechase was first in line to document the sounds of the greats as they developed in exile. Features extensive liner notes including a history of the label as well as notes on each of the individual tracks. Photos from the recording sessions and cover art from each of the LPs from which Jazzman Records’ selection has been taken is also included. With in-demand tracks from the likes of Billy Gault, Johnny Dyani, and Khan Jamal, and the unearthing of deep cuts from greats like Jackie McLean and Mary Lou Williams, Jazzman Records’ Spiritual Jazz Vol. 11: Steeplechase pays tribute to one of Europe’s most important jazz labels and furthers our exploration into the infinite realms of spiritual jazz. Also features Sam Jones, Rene McLean, Jim McNeely, Michael Carvin, and Ken McIntyre.
File Under: Jazz
Joshua Abrams: Mandatory Reality (Eremite) LP
Caterina Barbieri: Born Again into the Voltage (Important) LP
Caterina Barbieri: Ecstatic Computation (Editions Mego) LP
Caterina Barbieri: Patterns of Consciousness (Important) LP
Beastie Boys: Hello Nasty (Capitol) LP
Beastie Boys: Ill Communication (Capitol) LP
Black Pumas: s/t (ATO) LP
Art Blakey: Indestructible (Blue Note) LP
Art Blakey: Moanin’ (Blue Note) LP
Boards of Canada: Geogaddi (Warp) LP
Leon Bridges: Coming Home (Legacy) LP
Kenny Burrell: Introducing Kenny Burrell (Tone Poet) (Blue Note) LP
Caribou: Suddenly (Merge) LP
Nick Cave: Ghosteen (Bad Seeds LTD) LP
Don Cherry: Brown Rice (A&M) LP
Childish Gambino: Awaken, My Love! (Glassnote) LP
Childish Gambino: Camp (Glassnote) LP
Cluster: Sowiesoso (Bureau B) LP
Cluster & Eno: s/t (Bureau B) LP
Chick Corea: Now He Sings, Now He Sobs (Tone Poet) (Blue Note) LP
Carla Dal Forno: Look Up Sharp (Kallista) LP
Carla Dal Forno: You Know What It’s Like (Blackest Ever Black) LP
Miles Davis: Big Fun (Music on Vinyl) LP
Miles Davis: Tribute to Jack Johnson (Legacy) LP
Miles Davis: Sketches of Spain (Legacy) LP
Miles Davis: Cookin’ (OJC) LP
Miles Davis: Workin’ (OJC) LP
J Dilla: Donuts (Stones Throw) LP
Lou Donaldson: Mr. Shing-a-Ling (Tone Poet) (Blue Note) LP
Brian Eno: Another Green World (Astralwerks) LP
Brian Eno: Before And After Science (Astralwerks) LP
Brian Eno: Taking Tiger Mountain (By Strategy) (Astralwerks) LP
Jad Fair & Daniel Johnston: It’s Spooky (Joyful Noise) LP
FKA Twigs: Magdalene (Young Turks) LP
Ryo Fukui: Scenery (We Release Jazz) LP
Gogo Penguin: s/t (Blue Note) LP
Grouper: Dragging a Dead Deer Up a Hill (Kranky) LP
Heliocentrics/Melvin Van Peebles: Last Transmission (Now Again) LP
Heliocentrics: World of Masks (Soundways) LP
Yutaka Hirose: Nova + 4 (WRWTFWW) LP
Johann Johannsson: Englaborn & Variations (Deutche Grammophon) LP
Les Filles de Illighadad: s/t (Sahel) LP
Lloyd Miller: Oriental Jazz (Now Again) LP
Charles Mingus: Mingus Ah Um (Music on Vinyl) LP
Mdou Moctar: Ilana: The Creator (Sahel) LP
Lee Morgan: Cornbread (Tone Poet) (Blue Note) LP
Nap Eyes: Snapshot for a Beginner (Royal Mountain) LP
Nine Inch Nails: Downward Spiral (Nothing) LP
Outkast: Aquemini (Jive) LP
Outkast: ATLiens (Le Face) LP
Outkast: Speakerboxxx/Love Below (Arista) LP
Orville Peck: Pony (Royal Mountain) LP
Portishead: Dummy (Mercury) LP
Radiohead: Amnesiac (XL) LP
Radiohead: Hail to the Thief (XL) LP
Radiohead: In Rainbows (XL) LP
Shabaka and the Ancestors: We Were Sent Here By History (Impulse) LP
Lonnie Smith: Live at Club Mozambique (Blue Note) LP
Smog: Dongs of Sevotion (Drag City) LP
Brent Snyder: Cumulus (Morning Trip) LP
Andy Stott: It Should Be Us (Modern Love) LP
Strokes: New Abnormal (Epic) LP
Moses Sumney: grae (Jagjaguwar) LP
Talk Talk: Spirit of Eden (EMI) LP
A Tribe Called Quest: Midnight Marauders (Jive) LP
A Tribe Called Quest: We Got it From Here.. (Epic) LP
Robert Turman: Flux (Spectrum Spools) LP
Stanley Turrentine: Hustlin’ (Tone Poet) (Blue Note) LP
Tyler The Creator: Igor (Columbia) LP
Wipers: Is This Real? (Jackpot) LP
Wipers: Over the Edge (Jackpot) LP
Wipers: Youth of America (Jackpot) LP
Various: Tokyo Flashback (Black Editions) LP