…..news letter #963 – dropped…..

Yowsers! I gotta say, Remote RSD was a big success! We sold almost all of our exclusives in about 15 minutes! Almost all the pick ups are done. Our site didn’t crash, and there were minimal issues overall! Thanks to everyone who took part. We’ve all learned a few tricks and lessons for the next one.. cuz there’s another one… real soon.  Anyway, the weird thing about moving RSD into September is… there’s still other new stuff too… so read on…

As always, big thanks to everyone who’s been hitting up our webstore and placing orders! It’s getting competitive around 5pm when we post up fresh used stock. If you haven’t hit up the WEBSTORE, MAYBE YOU SHOULD! If you can’t figure out the site, or don’t like to use computers, you can always call the store and we can do an order over the phone. I’ll be at the shop 11-4 week days. Stay safe!

Oh ya… if you don’t follow us on Instagram, WHY NOT?! And now you know.


…..picks of the week…..

r beny: Cascade Symmetry (Dauw) LP
Cascade Symmetry is the culmination of an intense and transformative year-long period. It is an ode to new beginnings and the disintegration of the past. Recorded and mixed September – October 2017 in San Jose, CA; additional recordings and field recordings taken September 2017 in South Korea. Gear used: Eurorack modular synthesizer (Mutable Instruments, Make Noise, Orthogonal Devices, Intellijel, TipTop, Ladik, Malekko Heavy Industry, Mannequins, Qu-Bit Electronix, Doepfer), Novation Peak, Korg Electribe 2, Elektron Analog Heat, Strymon El Capistan, Hosa Technology Cables. Buy Here

r beny: Saudade (Dauw) LP
Forest drives, coastal cliffs, lost loves, aged memories like light gleaming through the trees. Modular synthesizer, Novation Peak, and cassette tape loops recorded and mixed late 2017 at home in San Jose, CA. Additional field recordings from Big Sur, CA. Buy Here

r beny: Full Blossom of the Evening (Dauw) LP
Inspired by nature and emotion. Recorded and mixed by Austin Cairns, march 2016 – august 2016 in san jose, CA. Gear used – Korg Electribe 2, Audiothingies P6, Eurorack Modular (Mutable Instruments, Intellijel, Make Noise, Moog, Alright Devices, Doepfer, Qu-Bit, Vermona, Laurentide Synthworks, Mannequins, 4MS, Bastl, Manhattan Analog, Ladik, Pittsburgh Modular), Teenage Engineering OP-1, Bastl Microgranny, Ciat-Lonbarde Cocoquantus, Apple iPad, Tascam Portastudio. Buy Here

r beny: Eistla (Dauw) LP
A recurring dream. The frozen landscapes of isolation and loneliness. Fragmented memories lost at sea. Cold, sharp light. Glowing rays of hope in the morning. It was just a dream. Modular synthesizer and guitar by Austin Cairns. Recorded and mixed Summer 2018 in Northern California. Buy Here

File Under: Ambient, Electronic

…..new arrivals…..

All Them Witches: Nothing as the Ideal
(New West) LP

All Them Witches have built a career out of playing music that can not be pigeonholed into one specific genre. Nothing as the Ideal was recorded in Studio 2 at the world famous Abbey Road with the help of longtime mixing engineer Mikey Allred. The history and vibe of that setting laid the groundwork for what was to come. The band’s signature psychedelic blues riffs, relentless drums, melodic bass lines and non-linear lyrics are all present. The resulting album is a thought provoking head banger that is the band’s most cohesive album to date.

File Under: Psych, Blues Rock
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Anthrax: Persistence of Time (Megaforce) 4LP
In 1990, while making Persistence of Time, the members of Anthrax looked up from their comic books, quit joking around, and realized they were going to die someday. But unlike its Big Four brethren (Slayer, Metallica, Megadeth), the Fourth Horseband of the Thrashpocalypse didn’t celebrate the coming of the grim reaper. The aptly named Persistence of Time opens with the ticking of a clock and unleashes heart-pounding waves of existential dread, stylistic evolution, and white-hot anger at death itself. Seething anthems like “Keep it in the Family” and “In My World” give way to straight-ahead headbangers like “H8 Red” and a rapid-paced cover of Joe Jackson’s “Got the Time.” Guitarists Scott Ian and Dan Spitz converse with mosquito whines and monster-truck thunder. “Intro to Reality” forms a prog-inspired cocoon with harmonizing twin guitars and contemplative resonance until Frank Bello’s thundering bass hacks its way out and leads straight into the bare-knuckle “Belly of the Beast.” Throughout, Charlie Benante’s virtuosic drumming accelerates and slows the crashing pulse of Anthrax’s last album until 2011 to feature Joey Belladonna’s riotous vocals. The band’s darkest affair, Persistence of Time shakes its fist at mortality, snarls at wasted life, and pits burgeoning maturity against livid, riff-driven metal. Tackling more grown-up motifs, extended arrangements, and slower time signatures than on albums past, the group manages to preserve its youthful energy while expanding beyond the borders of thrash. This 30th anniversary deluxe vinyl 4LP reissue features a remastered version of the original album plus several previously unreleased rarities including a B-side version of “I’m the Man” which leans more hip-hop than the album track, a live version of “Time,” and an early demo of “Got the Time.” The deluxe edition also features new cover artwork, which actually had been the original visual concept for the album. “I was at the height of my Salvador Dali phase, I was just absorbed in his art, and I wanted to tie the two together – Salvador Dali and time,” explained Ian. “I loved what [artist] Don Brautigam did with the original cover, but for this deluxe edition, I wanted it the way I had originally seen the cover in my head – with the clock melting, so that’s what we did.”

File Under: Metal
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Doug Carn featuring Jean Carn: Spirit of the New Land (Real Gone) LP
Of all the artists who recorded for the Black Jazz label, keyboardist and composer Doug Carn was the most prolific, releasing four albums for the imprint. 1972’s Spirit of the New Land was his second Black Jazz release, but the first one (of two) to co-feature his wife, vocalist Jean Carn, in the album title; we’ve chosen to lead with this record from Carn’s catalog not only because it’s the most collectible of the bunch, but also because it showcases his innovative approach of adding lyrics to jazz standards. Thus, both Miles Davis’ “Blue in Green” and Lee Morgan’s “Search for the New Land” are blessed with spellbinding vocals from Jean Carn set to her husband’s words, while Doug Carn originals like “Arise and Shine” and “My Spirit” soar with spiritual fervor on the wings of his wife’s five-octave range. Along for the ride are a stellar cast of players, including trumpeter Charles Tolliver, co-founder of the Strata-East label; saxophonist George Harper, who played with Herbie Hancock and Jimmy Smith among others; trombonist Garnett Brown, who appears on albums by Roland Kirk, Albert Ayler, and Art Blakey among his hundreds of album credits; tuba player Earl McIntyre, whose discography spans from Carla Bley to the Band; and drummer Alphonse Mouzon, founding member of Weather Report. Produced for reissue by Real Gone’s own Gordon Anderson and noted jazz archivist Zev Feldman, remastered by Mike Milchner at Sonic Vision, and pressed on black vinyl by Gotta Groove Records with lacquer cutting by Clint Holley and Dave Polster at Well Made Music, this beautiful, uplifting album comes with a special surprise: liner notes by Pat Thomas, author of Listen, Whitey! The Sights and Sounds of Black Power 1965-1975, that feature excerpts from a freewheeling interview recently conducted with Doug Carn himself!

File Under: Jazz
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Caustic Wound: Death Posture (Profound Lore) LP
Pacific Northwest’s Caustic Wound (featuring members of Mortiferum, Cerebral Rot, Fetid, and Magrudergrind) play unrelenting and punishing brutal death-grind that captures the aesthetic and palpitations of the classic old-school era of the genre (not exceeding 1992 of course). Their debut album, Death Posture, which follows their 2018 Grinding Terror demo, sounds like a foul relic that could have been produced in ’88-91, while upholding a powerful, dark, murky yet unyielding production. This debut eschews and lays waste to the clinical, plastic and ornamental trappings of the modern-day grind scene. In what will most likely despoil and maraud the majority of current death-grind albums, Death Posture renders total annihilation upon the feeble mortal coil.

File Under: Metal
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Mac Demarco: Here Comes the Cowboy Demos (Royal Mountain) LP
Mac DeMarco’s Here Comes The Cowboy Demos is a brand new collection of versions of tracks from the Canadian singer-songwriter, multi-instrumentalist and producer’s fourth full-length Here Comes The Cowboy (2019). Released via Mac’s Record Label, the 14-track affair serves as the companion piece to Other Here Comes The Cowboy Demos, the Record Store Day exclusive featuring previously unheard compositions recorded during the Here Comes The Cowboy sessions. Introduced by the waltzing lead single, “Nobody,” DeMarco described Here Comes The Cowboy as his, “cowboy record. Cowboy is a term of endearment to me, I use it often when referring to people in my life. Where I grew up there are many people that sincerely wear cowboy hats and do cowboy activities. These aren’t the people I’m referring to.”

File Under: Indie Rock
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Brian Eno/Jah Wobble: Spinner (All Saints) LP
25th anniversary reissue of this unique coming together of Brian Eno and ex-Public Image Limited bass player Jah Wobble, also featuring Jaki Liebezeit from Can on drums. Starting life as the soundtrack to Derek Jarman’s Glitterbug, Eno passed stereo mixes of the film cues to Wobble who embellished and built upon them to construct the Spinner tracks. The resulting fusion combines icy ambience with a kind of psychogeographical funk. Printed inner sleeve with notes from both artists and a download card for full album plus two bonus tracks.

File Under: Electronic
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Brian Eno and John Cale: Wrong Way Up (All Saints) LP
30th anniversary reissue of the historic coming together of two icons of leftfield music. Having both started their careers as creative forces in seminal bands (Brian Eno’s unique synthesizer treatments in Roxy Music and John Cale’s viola and bass contributions to the Velvet Underground), they’ve appeared as guest musicians on each other’s records as far back as 1974, the year in which they also made a historic live album with Nico and Kevin Ayers at the Rainbow Theatre in London. They remained friends, and the year prior to Wrong Way Up, Eno produced Cale’s Words For The Dying album. This paved the way for the pair to write and record an album together, notably the first time Eno had delivered a collection of song-based recordings since Before And After Science in 1977. The resulting album is a triumph for both artists, containing the singles “Spinning Away” and “Been There Done That.” Printed inner sleeve with 1990 Eno interview and a download card for full album plus two bonus tracks. “Brian Eno and John Cale’s 1990 collaboration is an album of contention, contrasts, cycles, and pop songs so layered and euphoric it ranks among the best albums either artist has ever made.” – Pitchfork

File Under: Electronic, Pop
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Stan Getz/Joao Gilberto: s/t (Acoustic Sound Series) (Verve) LP
Originally released on Verve Records in 1964, Getz/Gilberto, produced by label head Creed Taylor, was an international sensation, altering the direction of jazz, pop, and the samba itself. It became the focus of a huge bossa nova craze, bringing together Stan Getz (tenor saxophone) with Brazilian stars Joao Gilberto (guitar/vocals) and Antonio Carlos Jobim (composer/pianist), who wrote and co-wrote six of the original eight tracks on the album, as well as Joao’s young wife, Astrud Gilberto. Featuring definitive sound and luxurious packaging, this all-analog Verve reissue is remastered from the original analog master tapes by George Marino at Sterling Sound, pressed at QRP, and housed in a Stoughton tip-on gatefold jacket. When Astrud was spontaneously asked to sing new English lyrics to “The Girl From Ipanema,” her charming, sultry vocals made all the difference. “The Girl From Ipanema” reached No. 1 on Billboard’s Adult Contemporary chart and went to No. 5 on the Billboard Hot 100. Astrud is also featured on “Corcovado.” Other bossa nova classics on the album include “Só Danço Samba,” “Vivo Sonhando,” “O Grande Amor” and “Desafinado.” Backing the main artists here is the Brazilian rhythm section of Sebastiao Neto (bass) and Milton Banana (drums). In 1965, at the seventh annual Grammy Awards, Getz/Gilberto was the first jazz album to win a Grammy for Album Of The Year, while “The Girl From Ipanema” won Record of the Year. Getz/Gilberto also won Best Jazz Instrumental Album and Best Engineered Album, Non-Classical. The album’s engineering award was also the first Grammy for the late, legendary Phil Ramone, who recorded the album at his renowned A&R Recording studio. Getz/Gilberto’s wildly addictive charm proved that the bossa nova had legs and that the infectious syncopated rhythm could be leveraged as easily as the blues to captivate music listeners.

File Under: Jazz
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Joy Division: Closer: 40th Anniversary
(Rhino) LP

Joy Division recorded only two albums before singer Ian Curtis tragically took his own life in 1980. But what the Manchester quartet lacked in longevity, they more than made up for in quality. The two albums were pioneering and helped shape the sound and mood of the alternative music that followed in the band’s wake. Joy Division will be re-releasing a 40th anniversary colored 180g vinyl LP edition of their sophomore album Closer in July 2020. The release follows 2019’s reissue of the group’s ground-breaking debut album Unknown Pleasures. If Unknown Pleasures was Joy Division at their most obsessively, carefully focused, ten songs yet of a piece, Closer was the sprawl, the chaotic explosion that went every direction at once. Who knows what the next path would have been. But steer away from the rereading of his every lyric after that date, treat Closer as what everyone else thought it was at first – simply the next album – and Joy Division’s power just seems to have grown. Martin Hannett was still producing, but seems to have taken as many chances as the band itself throughout – differing mixes, differing atmospheres, new twists and turns define the entirety of Closer, songs suddenly returned in chopped-up, crumpled form, ending on hiss and random notes. Opener “Atrocity Exhibition” was arguably the most fractured thing the band had yet recorded, Bernard Sumner’s teeth grinding guitar and Morris’ Can-on-speed drumming making for one heck of a strange start. Keyboards also took the fore more so than ever – the drowned pianos underpinning Curtis’ shadowy moan on “The Eternal,” the squirrelly lead synth on the energetic but scared-out-of-its-wits “Isolation,” and above all else “Decades,” the album ender of album enders. A long, slow crawl down and out, Curtis’ portrait of lost youth inevitably applied to himself soon after, its sepulchral string-synths are practically a requiem. Songs like “Heart and Soul” and especially the jaw-dropping, wrenching “Twenty Four Hours,” as perfect a demonstration of the tension/release or soft/loud approach as will ever be heard, simply intensify the experience. Joy Division was at the height of their powers on Closer, equaling and arguably bettering the astonishing Unknown Pleasures, that’s how accomplished the four members were. Rock, however defined, rarely seems and sounds so important, so vital, and so impossible to resist or ignore as here.

File Under: Post Punk
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Logic System: Venus (Wewantsound) LP
Wewantsounds reissue Logic System’s Venus, originally released in 1981. Reissued outside of Japan for the first time in 40 years. Hideki Matsutake started his career as the assistant of Japanese electronic music master Isao Tomita in the early ’70s, he went on to work with Ryuichi Sakamoto and then Yellow Magic Orchestra as their keyboard programmer and unofficial fourth member. In 1981 he started his own Logic System project recording Venus that year in Los Angeles with Don Grusin, Nathan East, and Michael Boddicker, brilliantly mixing synth funk, ambient, and boogie with a touch of fusion jazz predating vaporwave by a mere 30 years. While the first album, Logic had a harder techno feel, the second one, Venus, was different affair. Recorded in Los Angeles at the new state of the art Yamaha Studio, it was loosely themed on the Greek goddess Venus and had a funkier more organic sound. For the album, Matsutake had asked a handful of American musicians to provide songs he would then add his synth magic touch to. The updated sound was achieved by switching from the Moog III to the E-mu modular System (which Matsutake brought over to LA) and other synths like the Prophet 5, the Roland MC-8 and TR 808, and the Yamaha GS-1, a forerunner of the DX7. The result is an amazing futuristic mix of electronic music and early ’80s funk, announcing many genres to come, from techno and house to French electro and vaporwave. From the breezy ambient synth of “I Love You” to the city pop edge of “Be Yourself” (originally written by Nathan East for Debra Laws) and the vocoder-led Daft Punk-ish “Take A Chance”, Venus is a fascinating album that both pushes the boundaries of electronic music and is yet strangely accessible and beautiful. The other key elements of Venus is the artwork designed by legendary Japanese illustrator Pater Sato. Sato had started in Japan in the early ’70s doing many album covers for Japanese artists, including Tatsuro Yamashita’s cult Spacy LP (1977) before moving to New York in 1979 to pursue a career in fashion and advertising. His airbrush style became hugely influential over the years. The original album came with a beautiful eight-panel insert illustrated by Sato which Wewantsounds has reproduced. Also includes obi strip and a second insert featuring credits and line-up, plus liner notes by Hashim Kotaro Bharoocha with an exclusive interview of Hideki Matsutake. Remastered from the original tapes.

File Under: Japan, Electronic
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Metallica: S&M 2 (Blackened) 4LP
Indie exclusive orange vinyl! Metallica and the San Francisco Symphony’s September 6 and 8, 2019 S&M2 concerts were historic on multiple levels: They served as the grand opening of San Francisco’s Chase Center, reunited the band and Symphony for the first time since the 1999 performances captured on the Grammy-winning S&M album, and featured the first-ever symphonic renditions of songs written and released since those original S&M shows. The sold out shows were rapturously received by the 40,000 fans who traveled from nearly 70 countries, as well as the media: Rolling Stone raved “the group proved that anything was possible,” Variety noted an atmosphere “buzzing with excitement,” while the Mercury News witnessed “a concert that fans will be talking about for decades to come,” and Consequence of Sound hailed “a true celebration of Metallica and their musical prowess.” Now the occasion comes to life once more with the release of Metallica and San Francisco Symphony’s S&M2. With this long-awaited Blackened Recordings release, S&M2 can be fully experienced by others beyond those who squeezed into the Chase Center over those two unforgettable evenings. S&M2 is a landmark release in the Metallica catalogue, both sonically and visually. Produced by Greg Fidelman with James Hetfield and Lars Ulrich, the S&M2 live album captures more than two and a half hours of James, Lars, Kirk Hammett and Robert Trujillo joining forces with the nearly 80-strong San Francisco Symphony, legendary Musical Director of the orchestra Michael Tilson Thomas, and conductor Edwin Outwater. The newly remixed and remastered audio has truly been taken to the next level from the October 2019 theatrical version that played in over 3,700 cinemas worldwide.

File Under: ‘Metal’
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Jonathan Richman: I, Jonathan (Craft) LP
Craft Recordings releases I, Jonathan – the 1992 lo-fi masterpiece from singer-songwriter Jonathan Richman – on vinyl for the very first time! I, Jonathan is a standout title from the offbeat artist’s solo catalog and features such fan favorites as “I Was Dancing in the Lesbian Bar,” “Parties in the U.S.A.” and “That Summer Feeling.” Originally released on Rounder Records, I, Jonathan is among several special reissues that will help commemorate the legendary roots label’s 50th anniversary. Hailed for his authentic storytelling and candid observations about life, Richman holds a unique place in modern musical history. The artist first emerged in the ’70s as the quirky frontman of the Boston proto-punk group, The Modern Lovers. Heavily inspired by the Velvet Underground, Richman and his bandmates soon built a cult following and garnered interest from a variety of record labels. While the founding members of the group disbanded in 1974, Richman relocated to the West Coast, where he assembled a new lineup (re-christened as Jonathan Richman and the Modern Lovers) and moved away from the harder, electric sounds of his earlier days. By the late ’80s, however, when he signed to Rounder, Richman was primarily a solo act. 1992’s I, Jonathan marks Richman’s fourth studio album as a solo artist and stands as one of the defining records of his career. While Richman made his return to a full-band setting in this album – engaging a variety of his musical friends to lend their talents – the songs’ arrangements remain beautifully sparse. Strongly influenced by vintage rock ‘n’ roll, Richman’s catchy, lo-fi melodies are bolstered by handclaps and vocal harmonies, while his lyrics are simultaneously candid, charming, naïve and wise. Highlights include “Velvet Underground,” in which the artist pays tribute to his musical heroes, and wonders out loud about their song “Sister Ray.” In “Parties in the U.S.A.,” Richman mourns the fact that nobody gathers for beach or block parties in the modern era of TV and stereos. “Twilight in Boston,” meanwhile, finds Richman recalling his many “Lonely walks in the twilight” around his hometown, walking past the city’s Public Gardens, the iconic swan boats, Beacon Street and Fenway Park. Perhaps the best-known song, however, is the exuberant “I Was Dancing in the Lesbian Bar,” in which he sings about the joys of letting go and dancing without the fear of uptight onlookers. Richman performed the song on Late Night With Conan O’Brien – becoming the show’s second-ever musical guest (following Radiohead). He would continue to make appearances on the popular variety show for years to come. While Richman certainly had a fervent following of fans prior to I, Jonathan, the release brought him greater exposure and has become a standout title in his impressive catalog.

File Under: Rock, LoFi
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Ulrich Schnauss: A Strangely Isolated Place (Scripted Realities) LP
Ulrich Schnauss, the highly respected German electronic music composer has taken the opportunity to remaster his entire back catalogue having recently had all his recording rights returned to him. “The second of five albums, “A Strangely Isolated Place” was originally released in 2003. It is generally regarded as a landmark electronic music statement. Ulrich’s long term AV collaborator Nat Urazmetova has re-imagined and refreshed the artwork.”

File Under: Electronic
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Elliott Smith: s/t – 25th Anniversary Expanded Edition (Kill Rock Stars) LP
Indie exclusive coloured vinyl! When Elliott Smith’s self-titled second album came out in 1995, it was ignored by the press but championed by artists from the Beastie Boys to Fugazi. To commemorate the twenty-fifth anniversary of Elliott Smith, the Kill Rock Stars label is releasing a special deluxe package, which includes a new remastering of the original record; a coffee table book of previously unseen photographs by JJ Gonson with handwritten lyrics, reminiscences from Smith’s friends and colleagues, and previously unseen photographs; and a bonus disc documenting the earliest known recording of Smith performing as a solo act. The set is a revelatory look at an under-appreciated work by an artist whose influence continues to expand seventeen years after his death.

File Under: Indie Rock
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Colter Wall: Western Swing & Waltzes and Other Punchy Songs (Thirty Tigers) LP
The music industry is no stranger to cowboys – but it’s been a long while since any with an authentic affinity for the North American West came along and carried around a love for heroes like Ramblin’ Jack Elliot and Ian Tyson. Enter 24-year-old Colter Wall, whose dusty baritone voice and deep well of stories are almost single-handedly carrying traditional western music into the future. Wall’s approach is that of a preservationist, pure as the prairie wind, and is on full display on his new self-produced album Western Swing & Waltzes and Other Punchy Songs. Wall’s 10-track ode to the themes and labors of western life picks up where his last album left off, with a reverence for his “working cowboy kin” and a whole mess of cowboy songs. Along the Blanco River bank, outside the small town of Wimberley, Wall rounded up his band, hot off a North American tour, to lay down these ten new songs at Yellow Dog Studios, deep in the heart of Texas. From his previous recording sessions with Dave Cobb at the helm, Wall began to take in what it meant to produce a record; the decision making, risk-taking, and band-leading all learned along the way. With Western Swing & Waltzes, it was Wall’s turn to take the reigns. His band. His choices. And the finished product is diverse and effortlessly cool, with an extra log or two on the fire. Songs like “High & Mighty,” cowboy poet and rancher Lewis Martin Pederson III’s ode to a legendarily tough bronco, showcase Wall’s well-curated and hard-working touring band – Patrick Lyons (pedal steel, dobro, mandolin), Jake Groves (harmonica), Jason Simpson (bass), and Aaron Goodrich (drums); joined by Emily Gimble on piano and Doug Moreland on fiddle – while others like Wall-penned “Talkin’ Prairie Boy” feature just Wall’s voice and guitar. However arranged, there’s an earnestness to these songs, roughly half of them written by Wall and half by Wall’s direct influences and fellow purveyors of honest, hard-earned tunes for the prairie and beyond. About the album, Wall said, “these songs are punchier than I am.” Giving credit where credit is due however, Wall is no slouch on the ranch. As any new cattleman would, he adds to his herd, as he does his musical legacy with Western Swing & Waltzes and Other Punchy Songs.

File Under: Country
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Yo La Tengo: Electr-o-Pura (25th anniversary edition) (Matador) LP
Continuing with their ever-expanding Revisionist History series, Matador Records presents a 25th anniversary reissue of Yo La Tengo’s 1995 album Electr-o-pura. Now in a gatefold sleeve and cut from the original 58 minute master, the new reissue is pressed for the first time on two LPs to ensure the highest quality of audio the album has had on vinyl to date! Reuniting with Painful producer and engineer Roger Moutenot, Yo La Tengo’s Ira Kaplan, Georgia Hubley and James McNew set up shop at Alex the Great studios in Nashville, TN to record their seventh studio album Electr-o-pura. Chock full with moments of pop gold like “Tom Courtenay,” melancholic ballads such as the gorgeous, Hubley-fronted “Don’t Say A Word (Hot Chicken #2),” and sweeping, feedback-laden jams like the show-stopping “Blue Line Swinger,” Electr-o-pura expands on the venturous songwriting established on Painful with stunning craft and a deepened exploration of contrasting textures, moods and atmospherics. Now 25 years since its original release, Electr-o-pura remains an electrifying document of one of America’s most beloved bands hitting their creative stride and stands as one of the most sublime records the band has released in their uninterrupted 36-year career!

File Under: Indie Rock
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Courtney Barnett: Sometimes I Just Sit…. (Mom + Pop) LP
Charles Bradley: Changes (Daptone) LP
Phoebe Bridgers: Punisher (Dead Oceans) LP
The Cure: Pornography (Elektra) LP
Miles Davis: Kind of Blue (Legacy) LP
Faith No More: Angel Dust (Rhino) LP
Haim: Women in Music pt III (Columbia) LP
Harmonia: Musik Von Harmonia (Gronland) LP
Jon Hassell: Listening to Pictures (Pentimento Vol 1) (Ndeya) LP
Jon Hassell: Seeing Through Sound (Pentimento Vol 2 (Ndeya) LP
Freddie Hubbard: Hub-Tones (Blue Note) LP
Madvillain: Madvillainy (Stones Throw) LP
Mission of Burma: Signals, Calls & Marches (Matador) LP
Lee Morgan: Cornbread (Tone Poet) (Blue Note) LP
Mortiferum: Disgorged from Psychotic Depths (Profound Lore) LP
OST: The Doll Squad (Modern Harmonic) LP
OST: Girl in Gold Boots (Modern Harmonic) LP
Shabaka and the Ancestors: Wisdom of Elders (Brownswood) LP
Swell Maps: A Trip to Marineville (Secretly Canadian) LP
Tengger: Nomad (Beyond Beyond is Beyond) LP
Paul Westerberg: Stereo/Mono (Vagrant) LP
Wilco: A Ghost is Born (Nonesuch) LP
Yes: s/t (Rhino) LP