What a weekend! We can’t tell you how much we appreciate all the orders during our anniversary sale last weekend. And we’ve had lots of people telling us that they are choosing shops like ours this year, to support local, and people telling us they appreciate our decision to remain closed and offering curbside. So thanks! It means a lot. But all that mushiness aside, there’s lots to read! Lots of good stuff in this week, all up on the site now. And we’ve added an Xmas section, where you’ll find Christmas records as well as some of our top selling gift ideas, brushes things like that.
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…..picks of the week…..
Rapoon: Vernal Crossing (Abstrakce) LP
Vernal Crossing is Rapoon’s fourth album, originally released in 1993 by Staalplaat. One of the most interesting records released by Robin Storey (founding member of the pioneering industrial group zoviet-france) on vinyl now for the first time. A magic balance between percussion and electronics, creating mind-bending tapestries of minimalistic patterns and quasi-melodic drones fused with occasional doses of well-placed white noise. An approach much in debt to his 12-year stint with zoviet-france. It paints a gossamer diaphanous drifting veil of mood over the top. Other than some moody loops and psychoacoustic dimensions, it sounds authentic — hardly a trace of crude electronics or sampling. The drumming — in soft tones rather than hard hitting ones — does nothing to intrude on the passive mood. The overall atmosphere does not really change throughout the recording making it a cool, pacifying atmosphere while having the madcap tempo which would be very easy to dance to. This edition includes a new track called “Total Crossing”, edited/constructed by Colin Potter, who has overseen the remastering of the record. A deep drone trance/meditation edit that blew Robin’s own mind (and ours!). The successful experiment explained by Colin: “I imported all the masters to my DAW to make a mock-up of the LP and initially they were all together at the beginning of the multitrack, before I spaced them out in the record’s running order. And I thought… what would it sound like with them all playing at once?”
File Under: Fourth World, Electronic, Ambient, Tribal
Alison Cotton: Only Darkness Now (Feeding Tube) LP
“Here is the second solo LP by the wonderful London-based singer/multi-instrumentalist Alison Cotton. Originally issued on cassette by the mighty Bloxham Tapes, just about everyone who heard Only Darkness Now suggested it might make for an excellent LP. And hey — they were right. Alison’s debut LP All Is Quiet at the Ancient Theatre received wide ranging critical acclaim from placing in the Guardians Writers ‘Album Of The Year’ to placing in the Quietus ‘Albums of the Year’. Ms. Cotton has a storied past performing with Saloon and The Eighteenth Day of May, and she still may be found doing likewise with The Left Outsides . . . Only Darkness Now begins with a sidelong instrumental track, ‘Behind the Spiderweb Gate,’ during which Cotton displays her immense drone chops, organizing rich, thick layers of viola, Omnichord, and voice into the soundtrack for a totally immersive trip. The effect is such that seconds become minutes and as time stretches till eventually, in the peak, time ceases to have any meaning whatsoever — a beautiful state to be transported too as everything slows down. You could spend a whole year listening to this one. The second side starts with ‘In Solitude I Will Fade Away,’ a collage of Alison’s voice, twinned and then some. It’s short and sweet with just a little drumming to move things along. ‘How My Heart Bled in Bleeding Heart Yard’ brims with as much longing as it title suggests. It opens with a long instrumental passage, emphasizing the human pace of a harmonium’s breath patterns, soon joined by a viola, also offering tones of a very human quality. All of this swells into a chorale of immense and mournful depth before being joined by Nico-like vocals that raise a wordless alarm. ‘The Hill Was Hollow’ is a short mystery for percussion and violin. Unravel at your own peril. Finally there is ‘Shirt of Lace.’ This is a studio recording of one of Alison’s regular live covers. The song is by the late Dorothy Carter (a visionary American musician whose work bridged experimental and medieval musics) and Cotton’s version is a sheer blast — her vocals curling and twisting high above a supple bed of key drones, string plucks and sliding arco passageways . . . one of the very few albums I can name that matches the cold fire of Nico’s Marble Index and it does so without taking a single step that isn’t purely Alison’s own…” –Byron Coley, 2020 Edition of 300.
File Under: Ambient, Classical
Band Whose Name is a Symbol: Berserkir II (Feeding Tube) LP
Dateline unknown — emanations from a planet in meltdown. The universal cosmic event tracker estimates between 22 to 52 points of possible physical contact with The Band Whose Name Is A Symbol but it has lost count. This Canadian improv unit have over the last few years started to get the gushing love and attention they have always deserved. Like all the best artists, they do not fit snugly into any genre — as from one moment to the next their ability to create cosmically juiced up and fucked up music which in many cases when played and recorded was the first time and last time said tracks will ever be played. This has proven to be the case time after time across too many releases to mention (no wonder Damo Suzuki always calls on TBWNIS to back him up). If you said Berserkir Volume II could be the pinnacle, you would yet again be getting caught up in the moment of magic they spin on you. Berserkir II contains four long tracks of hypnotic and freaked out cosmic haze (all recorded in the same four-hour session that yielded Berserkir Volume I). There are zero overdubs whatsoever and no studio gimmickry. The pieces are framed by supercharged, blistering, psychedelic dual guitars, pummeling rhythm, mutated; Miles-inspired flights of free form trumpet and flowing synth drones touching side excursions into the depths of alien prog. One may well be compelled to crank this up loud and leave speakers and mind, shattered and melded together in a smoldering heap on the floor! End of transmission…
File Under: Psych
Alain Bellaiche: Sea Fluorescent (Souffle Continu) LP
Souffle Continu Records present the first ever reissue of Alain Bellaïche’s Sea Fluorescent, originally released in 1976. Frenchman who is on the return from the USA is something unusual. Everything seemed to start out well for Alain Bellaïche: Born in Tunis, childhood in Cannes, studies at the Ecole des Beaux-Arts in Paris, his first folk concerts folk in youngsters’ houses and clubs where everyone was well behaved… Then, in 1973, he left for the States. Bellaïche would settle for around ten years, with, as a soundtrack, the two albums that he would record there. Metropolitain (1974), which was the fruit of his collaboration with the Heldon guitarist Alain Renaud, and Sea Fluorescent. In the catalog of Asylum, David Geffen’s first label, Bellaïche’s music was listed alongside that of the Byrds, Tom Waits, Joni Mitchell, and Bob Dylan. In a Rock & Folk interview, Bellaïche expressed his regrets as to the prudence of French musicians: “I never had a group… perhaps the guys here are not motivated to play this kind of music.” It’s of note that the influences of the expatriate were, for example, Led Zeppelin, John McLaughlin, Weather Report, Herbie Hancock, The Spencer Davis Group… Bellaïche, a multi-faceted and iconoclastic musician, composed Sea Fluorescent just following his desires: from a cosmic ballad (“St Andrea”), to West Coast funk (“California”), dreamlike Spanish influences (“Spanish Roots”), optimistic blues (“Foolin’ Myself”), a solar track (“I’m Angry”, “Sun Blues”). And the Frenchman was in good company: Jean-Marie Fabiano (from Fabiano Orchestra) on percussion, Jerry Mahavishnu Goodman on violin on “Got My Place In That Country” or John Hicks whose cascades of notes bring reggae and western closer to the “reassembled” jazz that the pianist was playing at the time. A highly sought-after French jazz funk fusion nugget. Remastered from the master tapes. Licensed from Alain Bellaïche.
File Under: Jazz
Com Truise: In Decay, Too (Ghostly) LP
Much like its predecessor, In Decay, the 2014 compilation of unreleased, early Com Truise recordings, In Decay, Too unlocks a new set of rarities and unheard fragments from the past for the producer’s legion of fans. To accomplish such a feat, the Com camp tapped the Internet’s foremost Com Truise archivist, Polychora (formerly Comrade), whose YouTube channel has diligently documented Seth Haley’s musical output since his earliest Komputer Cast (Haley’s podcast mix series) days. Polychora’s vault and input helped Haley and the team locate and curate the ultimate sequence of career-spanning off-album material, showcasing an artist in perpetual orbit of hazy machinist nostalgia. Haley’s singular style of melodic beat music is the work of countless iterations; with In Decay, Too, his idiosyncratic exercises, experiments, and pivots pause for a rightful wave of appreciation. Following the smeared introductory tones of “Zeta,” the album locks into its first robotic groove on “Compress – Fuse,” a trademark Truise treatment with cascading synth lines and deep, sinister low-end bass stabs. Further down is the suspiciously bright “False Ascendancy,” which lures listeners through a labyrinth of drum patterns and siren-like keys, all colliding into “Constant Fracture.” The track pushes to the point of stress, reaching the album’s apex with a punishing series of blows before fading to relief, where the beatless and contemplative “Trajectory” awaits. In 2019, Com Truise left his previous sci-fi narratives behind for the visceral Persuasion System, a markedly more human record, which now makes In Decay, Too something like a bookend to an era. One last transmission from coordinates unknown; a culminating exhale ahead of what’s still yet to come.
File Under: Electronic
Loren Connors: Unaccompanied Acoustic Guitar Vol. 1 (Feeding Tube) LP
“Here is the first volume of protean solo improvisations recorded by Loren Connors in his artist’s garret in New Haven, Connecticut. It was committed to tape on February 20, 1979 and pressed to vinyl soon after. As with the two earlier LPs on Loren’s Daggett label, singer/recorder-player Kath Bloom also appears on this record, although only on the second side. Those prior LPs were both issued in 1978, The first was Acoustic Guitar/Gifts a split LP with Loren solo on one side and with Kath joining him on the flip. The second was Fields, which I have been assured uses the same split format. Although most people cannot help themselves from believing all nine volumes of this series (all of which we will be reissuing) are of a piece, the first volume represents a real declaration of identity for Loren. He was introducing himself publicly as a guitar player, although his approach was still very much dictated by the influence of the painter, Mark Rothko, who Loren once described as using a minimal palette to create vital art. The music on Unaccompanied Acoustic Guitar Vol. 1 is less violent than the solo side of the Acoustic Guitar/Gifts split. I’ve never been able to hear a copy of Fields, so I can’t compare that one. But the feel to this session is bluesy, in as much as Loren’s wordless vocals have a surface similarity to a hellhound’s, and while he was not using a slide, most of the notes he plays are bent to the edges of their known range. Fahey always said blues was ‘about’ anger, however and there’s not really any of that here. I am more reminded of this Rothko quote. ‘You’ve got sadness in you, I’ve got sadness in me … and my works of art are places where the two sadnesses can meet, and therefore both of us need to feel less sad.’ The first side is solo. On the second Loren is joined for a bit by Kath on hums and recorder. The music brims with sorrow more than anything else. And while it’s clear Loren was embracing an abstract avant garde aesthetic vis-a-vis his playing, the urge to communicate seems to lie at its roots. Whatever you choose to call it, this is the beginning of something quite beautiful.” –Byron Coley, 2020
File Under: Ambient, Guitar
Drones: Here Come the Lies (Bang!) LP
Bang! Records reissue The Drones’ Here Come The Lies, originally released in 2002. At last! The Drones’ first album on vinyl available outside of Australia. In order to exceed the sound pollution of Melbourne’s — the hometown of the band — big city noise back in the day (2003), The Drones overdrive their amps to a brutal level, strum their strings the hard way and beat the drums in an unheard-of way. This is blues from the gutter. Big city blues, although some call it noise. Sure, there’s enough overdriven chords on this album to please any noise fan, but there’s more. The sound sways between a chorus of dissonance and numerous tactical silences, only to emphasize the music even more. You can’t have noise if you don’t have silence (makes sense doesn’t it?) Also, the band writes lyrics that fully correspond to the music, making the package truly whole. Helping the band doing this is the anti-production-a-go-go; thank you for the squeals and the good feedback. Rock and blues, that’s what The Drones are all about. Doing it the hard way. 150 gram vinyl; gatefold sleeve; edition of 500.
File Under: Indie Rock
Lee Fields & The Expressions: Big Crown Vaults Vol. 1 (Big Crown) LP
Big Crown Records is always sitting on a handful of unreleased songs that didn’t make their way to albums. Listening back to these gems they decided to launch a new series entitled Big Crown Vaults and the first volume features the music of Lee Fields & the Expressions. These tunes were cut during the Special Night and It Rains Love sessions. When you hear these tracks you can imagine how difficult some of these decisions were in the first place to leave them off the albums. An absolute standout is “Regenerate,” a song that finds Lee in the country soul realm, a style that Fields, a North Carolina native, flourishes in. A drum break starts the song and then drops into a chorus where El Michels, Paul & Big Bill Schalda belt out the earworm chorus. Lee sings an encouraging tune about finding your way out of a low point in a relationship while The Expressions lay down an airtight groove. “Thinking About You” takes it back to the dance floors with what will surely be a hit at soul parties around the globe. An uptempo drum break opens the song and Lee launches into a tale about the unbreakable bond with his significant other and how they keep each strong through moments of hardship and pain. People who have seen Lee perform live in the last decade might have been lucky enough to hear his rendition of Little Carl Carlton’s “Two Timer.” For those of you who haven’t heard it, Big Crown Vaults has got you covered. A faithful version of the song showcases Lee’s gorgeous voice and the Expression’s unwavering groove. Another treat on here is the fuzzed out funk banger “Do You Know” where Fields uses his platform to address some of our societal woes in a “Make The World” style. A deeper from the vaults number is “Out To Get You,” an instrumental that Lee never laid down vocals to. Even as just a rhythm track it stands as a testament to The Expressions musical prowess, the band that created five studio albums with Lee Fields which will go down in history as stone classics.
File Under: Funk, Soul
Mort Garson: Plantasia (2LP/45RPM) (Sacred Bones) LP
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), 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. Plants date back to the dawn of time, but apparently, they loved the Moog, never mind that the synthesizer had been on the market for just a few years. Most of all, the plants loved the ditties made by composer Mort Garson. 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. When one writer rhetorically asked: “How was Garson’s music so ubiquitous while the man remained so under the radar?” the answer was simple. Well before Brian Eno did it, Garson was making discreet music, both the man and his music as inconspicuous as a Chlorophytum comosum. Julliard-educated and active as a session player in the post-war era, Garson wrote lounge hits, scored plush arrangements for Doris Day, and garlanded weeping countrypolitan strings around Glen Campbell’s “By the Time I Get to Phoenix.” He could render the Beatles and Simon & Garfunkel alike into easy listening and also dreamed up his own ditties. “An idear” as Garson himself would drawl it out. “I live with it, I walk it, I sing it.” But as his daughter Day Darmet recalls: “When my dad found the synthesizer, he realized he didn’t want to do pop music anymore.” Garson encountered Robert Moog and his new device at the Audio Engineering Society’s West Coast convention in 1967 and immediately began tinkering with the device. With the Moog, those idears could be transformed. “My mom had a lot of plants,” Darmet says. “She didn’t believe in organized religion, she believed the earth was the best thing in the whole world. Whatever created us was incredible.” And she also knew when her husband had a good song, shouting from another room when she heard him humming a good idear. Novel as it might seem, Plantasia is simply full of good tunes. Hearing Plantasia in the 21st century, it seems less an ode to our photosynthesizing friends by Garson and more an homage to his wife, the one with the green thumb that made everything flower around him. “My dad would be totally pleased to know that people are really interested in this music that had no popularity at the time,” Darmet says of Plantasia’s new renaissance. “He would be fascinated by the fact that people are finally understanding and appreciating this part of his musical career that he got no admiration for back then.” Garson seems to be everywhere again, even if he’s not really noticed, just like a houseplant. The Mother Earth’s Plantasia audiophile edition is presented as a 45rpm vinyl 2LP-set culled from a deluxe remastering of the original master tapes.
File Under: Early Electronic
Group A: Initiation (BFE) LP
Group A was formed in 2012 when art student and musician Tommi Tokyo (synths, drum machines, vocals) met textile design graduate Sayaka Botanic (violin, sampler, tapes) and her friend Kaoru. Inspired by radical art movements of 20th century, Tommi’s idea was to form a new band with non-musicians in attempt to approach music differently. Since their first performance at gallery COMMUNE in Tokyo, the project has explored the possibilities in breaking the preconceptions of live performance. The group (A) attempts to subvert the boundary between musical performance and performance art incorporating use of the body, live-painting, noise, acoustics, and poetry in their formative performances. They create a unique mixture of dark minimal synth and avant-noise with striking visuals and stage performances. Group A carries on the very breath of early pioneers and the Japanese underground scene from the early 80’s. This is the vinyl edition of group A’s first full lenght studio album self-released in October 2013 only in CDR format. 9 tracks of genuine experimental minimal electronics. “We were aiming to make an album that introduces the world of group A. I was in my second grade of graphic design course and was finding lots of inspirations in history class where i learned about Japanese old customs and Shinto. Belief, folklore and symbolism about stones, wood and paper. Everyday i would go straight to the studio after the class and tell Sayaka everything i learned that day, have a beer and then jam for hours. That’s how this album was created. We imagined ourselves to be living in this imaginary cave where we create rituals all day long..” Tommi about “Initiation” Silver foil on red paper made from recycled fibers and waste from cherries. includes grey cardboard insert.
File Under: Experimental, Industrial
PJ Harvey: Rid of Me (Universal) LP
Just a year after the acclaimed release of her debut album Dry (1992), PJ Harvey returned with the art-punk classic Rid Of Me which pushed the genre and listener to extremes and yielded the singles “50ft Queenie” and “Man-Size.” Alternating between searing noise/feedback and sparse open spaces, Rid Of Me is a riveting emotional experience. As usual, legendary producer Steve Albini maximizes every space and sound, working with the exacting, mechanical precision for which he’s known. It’s the perfect complement to Harvey’s harsh, stark, disturbed songwriting. This period also firmly established Harvey’s creative relationship with photographer and director Maria Mochnacz who shot the artwork and also directed the videos for “50ft Queenie” and “Man-Size.” Rid Of Me attracted reams of positive press on release. Pitchfork described it as “searing and monumental,” the BBC suggested it was “an essential one that demands your attention from beginning to end” and Record Collector declared it was “an album of defiance – harrowing and brilliant.” This vinyl LP reissue of Rid Of Me is faithful to the original recording and package with cutting by Bob Weston at Chicago Mastering under the guidance of Steve Albini. UMC/Island’s comprehensive reissue campaign will see PJ Harvey’s entire back catalogue – plus her two albums in collaboration with John Parish – released on vinyl over the next 12 months. For the first time, each of Harvey’s album demos will also be available on stand-alone vinyl.
File Under: Indie Rock
Catherine Christer Hennix: Unbegrenzt (Blank Forms) LP
Unbegrenzt is the third in an ongoing series of archival records of the unheard music of Swedish composer Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It follows Selected Early Keyboard Works (2018) and Selections from 100 Models of Hegikan Roku, named the #1 archival release of 2019 by The Wire (BF 007LP, 2019), in addition to a two-volume collection of Hennix’s writing titled Poësy Matters and Other Matters. Recorded in February of 1974 and featuring Catherine Christer Hennix (recitation, percussion, electronics) and Hans Isgren (bowed gong), Hennix’s realization of Karlheinz Stockhausen’s “Unbegrenzt” (German for “unlimited”) from Aus den Sieben Tagen is an elaboration both rigorous and radically different from the canonical 1969 recording issued by Shandar. The collection of 15 text pieces written in Paris during May of 1968, Aus den Sieben Tagen, denies its performers notated direction and instead provides poetic cues that hinge upon Stockhausen’s conception of “intuitive music,” a Eurocentric perspective on improvisation antithetical to the vernacular forms Hennix had engaged with as a young drummer performing in Stockholm jazz clubs with musicians like Bill Barron, Cam Brown, Hans Isgren, Lalle Svenson, Allan Vajda, Bo Wärmell, and many others. While both Hennix and Isgren saw the formal prospect of Aus den Sieben Tagen as a productive development of and beyond La Monte Young’s event scores, she here steadfastly counters his rationalization of intuition with the Principle of Sufficient Reason. (Cf. Brouwer’s Lattice.) Eschewing the busy, conservatory-addled lapses into idiomatic citation of Stockhausen’s 1969 recording, Hennix’s alternative realization of the “Unbegrenzt” score’s instructions to “play a sound with the certainty that you have an infinite amount of time and space” is based on her concept of “Infinitary Compositions”, the trademark of her ensemble The Deontic Miracle which, at one time, considered adding Stockhausen, La Monte Young, and Terry Jennings scores to its repertoire. Taking a mature, minimal iteration of Stockhausen’s compositional method of “moment-forming” to heart, her version’s dark, controlled feedback and amplified bowed gong subtly shift through an immanent sequence of formative moments, step by step. Its bubbling computer noise, percussion, and repeated ominous transient sounds of temple blocks over the bowed gong terminate with the integrated recitation of exotic text fragments from Hevajra Tantra which faithfully take Stockhausen’s score into deeper vistas of the unconscious and a more devastating opening to the unlimited time and space of a dreaming mind. Audio restoration and mastering by Stephan Mathieu, with an essay by Bill Dietz.
File Under: Experimental, Avant Garde, Drone
Nicolas Jaar: Telas (Mana) LP
“Four new chapters from Nicolás Jaar in Telas. Here, again, it’s the odder and more essence-like devotion to sound that is semi-narrative, ambient, and concrète that we heard and were drawn to in Pomegranates. Telas gestures towards a more refined tone, with less sudden shifts and vignettes, incrementally shaping an hour of self-reflective music with tracks building and collapsing across its vinyl sides. When Telas was first drafted and presented to Mana it felt appropriate to mention a sense of monastic retreat. Where Pomegranates often felt epic-like in its scope and shifting scales, this album conveys images of quieter moments spent tending to a vegetable patch within a cloistered garden, perhaps, or the threading of a tapestry with filigree. Nicolás often moves slowly and deliberately throughout, focused on manipulating gauzy fibres and room tone or fluttering around other cryptic actors, so that when bursts of clarity and emotion appear they take on a deeper character. There’s a greater sense of contemplation and patience in the album’s logic, pointing to a conception of art, melody, and sound which is continuously under construction. In relationship with sister-album Cenizas and surface qualities of recent Against All Logic material it feels that there’s a centre being defined and meditated upon. Telas was made between December 2016 and January 2020.” Black & clear vinyl in gatefold jacket, with art by Somnath Bhatt.
File Under: Electronic
Ariel Kalma/Jonathan Fitoussi: Encyclopedia of Civilizations Vol. 3: India (Abstrakce) LP
Third volume of “The Encyclopedia of Civilizations”, a collection of split LP’s where selected artists offer their own insight into fascinating ancient cultures. This time we bring you a cosmic and spiritual ambient journey inspired by one of the greatest ancient civilizations: India. The LP is presented in a special limited edition (500 copies) with an extensive booklet including liner notes about the origins of India to help you to immerse yourself in this fascinating civilization while you listen to the music. The sleeve is printed in the old way, letterpressed with metal movable type as Gutenberg used to do it. “Veda” was composed & performed live on October 13, 2018 by Jonathan Fitoussi at Gesu Church, Toulouse, France using the 1864 church pipe organ and an EMS SYNTHI synthesizer. The track was inspired by readings about the ancient sacred Hindu texts known as the Vedas. A sustained, warm and deep float supported by the centennial pipe organ and the the church’s natural reverb. “Yin Yang” was conceived by Ariel Kalma in 1975 while taking music lessons in India. It brings into a lovely meditative state with those long, long ‘pranayama’ breathing notes. “Flute Meditation” is actually two Kalma pieces blended together. The first part was recorded in 2017 and played on a floating xaphoon mini sax. The second part is from 1979, recorded with an Indian bamboo flute, saz, electric piano. It was originally much longer, adapted here for one side of the LP. Wind melodies, polyphonic color, ambient space, setting modal flute melodies and nature field recordings. The results collapse distinctions between “electro-acoustic”, “biomusicology” and “ambient” categorization. Jonathan Fitoussi is a French composer residing in Paris. He works on minimalist and contemporary musical forms exploring a fusion of electronic and acoustic sounds with melodic textures, colors and emotions in a cinematographic aesthetic style. As a composer of electronic music, Jonathan Fitoussi is engaged in practices of analog and modular synthesis, projects supported by the pioneers of electronic music like Suzanne Ciani and Morton Subotnick. Ariel Kalma, was born in Paris and learned to play recorder and saxophone as a youth. He studied computer science in college, and while at university he met Salvatore Adamo, who soon hired Kalma into his touring band on a world tour as a saxophonist and flautist. Around this time, he made experimental tape pieces using his own recorded instruments, found sounds, church organs, and poetry. In 1974 he took a one way plane to in India, learning rudimentary classical Indian music and developing an interest in meditative and drone music. He was also influenced by American minimalist music. In 1975, he recorded and self-released an album, Le Temps des Moissons while working at the GRM studio of INA Pierre Henry in Paris. His 1978 album Osmose features Borneo rainforest nature sounds recorded by Richard Tinti. Over 4 decades, Ariel Kalma published several vinyl LP’s, cassettes, and CD’s. His compositions have been used for modern dance-theatre, films, musical poetry, guided meditations and transformational groups.
File Under: Ambient, Electronic
Eyvand Kang: Ajaeng Ajaeng (Idealogic Organ) LP
“To be heard with ears half bent, or with one side facing what Maryanne Amacher calls ‘the third ear’. The great reverence in which the Tanpura is held by Indian classical music, its transcendental but occulted place in the tradition alongside its normal function as a drone, made a strong impression on the composer such that it has taken decades to formulate even a simple Tanpura Study. The fundamentals, the Om, as well as the overtones, the music of the spheres — all these have their valid rights, but in Tanpura Study they are embedded in a series of gestures, what I call signatures, on the melodic level. In ‘Tanpura & Harpsichord’, there is an encounter of overtones with chords braided into pun-notes, what Gerard Grisey calls ‘degrees of transposition’. Taken together, this amounts to a non-spectralism in which, contrary to first impressions, there are no fundamental frequencies, even in the bass. Ajaeng Ajaeng: with respect to European string instruments, the technique col legno affords the direct encounter of wood and string, opening the way to a more tactile conception of the sustained sound, while bringing the materiality of the bow and its practices into question. In violin, viola, cello bows, Pernambuco wood offers an ideal example of extraction, colonialism, deforestation. With the Ajaeng, a Korean musical instrument, the situation is more complex. The dialectic of court to folk music, always political, always incendiary, may be heard here in the encounter of forsythia and silk, of Dae Ajaeng to So Ajaeng, and on a broader level of Dang Ak (Tang Dynasty music) to Hyang Ak (native Korean music) and their representations. Alternating music and sound, overtone arrays mingled with noise, marked by the bow change, in flamelike patterns which flicker, emerge, and fade again. A slow-down structure, also formalized in Time Medicine, seems to produce a long decrescendo, with the technique of the players drawing out the flicker patterns in a kind of game. The point here is not to produce a drone but to delve into the question of life in sound. This apparent emergence of life is due to the apparatus, what Marx calls a ‘social hieroglyphic’, which brings forsythia and silk together in technique, cultivated by practices which are themselves sustained by the real relations of student to teacher to student…” –Eyvind Kang, April 2020
File Under: Experimental
King Gizzard & The Lizard Wizard: San Francisco ’16 (ATO) LP
Just under a month after delivering their award-winning 2016 album Nonagon Infinity, King Gizzard & The Lizard Wizard took the stage at San Francisco’s The Independent for a set both wildly frenetic and meticulously executed. In one of their final club gigs before bursting onto the international scene – soon selling out amphitheaters and headlining festivals – the Melbourne septet laid down a breakneck performance that, in the words of SF Weekly, “made every organ ache just right.” Multi-tracked and impeccably mixed, Live in San Francisco ’16 simultaneously channels the massive energy of King Gizzard’s set while echoing the sweaty intimacy of the 500-capacity venue. Newly unearthed by ATO Records, Live in San Francisco ’16 captures an extraordinary moment in the band’s increasingly storied history, a 13-song spectacular likely to leave every listener awestruck and adrenalized. Deluxe Edition colored vinyl 2LP-set housed in a mirror board jacket.
File Under: Psych
Ned Langin: Seastones (Important) LP
First copies on transparent blue vinyl. Important Records announce the release on vinyl LP of Ned Lagin’s Seastones Sets 4 and 5. Ned Lagin’s Seastones is a pioneering electronic composition interweaving metaphors from nature, science, art and music and the origins of music. Reflecting the technology, science, modern art, new ecological awareness and optimism of the times and culture, Seastones embodies the history of electronic music by taking full advantage of tape music, analog synthesizers, and computer technology. Originally released by the Grateful Dead’s Round Records in 1975, Seastones’ reputation as a gem of electronic music was further enhanced by the celebrity of the musicians who contributed to the source material. Seastones musicians include Ned Lagin (processed piano, clavichord, organ, prepared piano, electric piano, synthesizers), Jerry Garcia (processed electric guitar, pedal steel guitar, voice), Phil Lesh (processed electric bass), David Crosby (processed electric guitar and vocals), Grace Slick and David Freiberg (processed vocals), and Mickey Hart and Spencer Dryden (percussion). This new LP presents two crafted Seastones sets (Sets 4 and 5, 18 tracks) drawn from the entire Seastones composition and contains gorgeous extended processed vocals by Garcia, Crosby, Slick, and Freiberg, and beautiful abstract instrumental passages by Lagin and all. Lagin is considered a pioneer in the development and use of minicomputers and personal computers in real-time stage and studio music composition and performance. Seastones was influenced not only by modern jazz and forms for improvisation, but also by Lagin’s studies of early, Renaissance, and 20th century music. He was a touring, studio, and guest keyboard player with the Grateful Dead from 1970 to 1976. Seastones composition began in 1970, while Lagin was attending the Massachusetts Institute of Technology (MIT). In 1974, with a minicomputer and an E-mu modular analog synthesizer, Lagin was able to play a polyphonic keyboard and hybrid computer-controlled instrument, as well as create simple generative musical processes. The normal controls found on the analog synthesizer were customized to accept computer control and the system was large enough to input audio and control voltages from the other musicians’ instruments. This means that the synthesizer controls which were processing the incoming audio from the musicians could be controlled by what the artists were playing. These control voltages and timing signals derived from the amplitude envelope shapes of what the musicians played. Each track on Seastones is what Lagin refers to as a “moment form”. Each track is self-contained, like a sea stone on the beach. Lagin: “… Like real sea stones, the Seastones moment forms are each a placetime, a time island, a droplet of time. They are composed and synthesized and skeletal improvisational forms…” Seastones: Sets 4 and 5 is available in this audiophile edition of 2000 copies. This audiophile quality LP was cut by Golden Mastering and pressed at RTI to insure excellence in reproducing Seastone’s rich analog sound.
File Under: Electronic, Grateful Dead
Laughing Hands: Dog Photos (BFE) LP
Laughing Hands worked in the experimental music scene in Melbourne in the very early 1980s. They were an improvisation group using tapes, synthesisers, guitar and hand percussion much of which was then treated through the synthesisers, producing their soft, insistent and rhythmic sound. “Dog Photos” was originally releasedin 1981 by band´s own label Adhesive records. The sounds in these 11 pieces are a combination of direct to tape & cassette to tape recordings, a perfect mix of electronic tape explorations, spectral synths shadings and foreground rhythm abstractions. For fans of Chris & Cosey, Dome, Cabaret Voltaire, Coil…
File Under: Experimental, Industrial
Les Rallizes Denudes: France Demos (Take It Acid Is) LP
Feedback drenched noise for the classic “France” Demos from Japanese psych noise legend, Les Rallizes Denudes.
File Under: Psych, Japan
Gianmarco Liguori: Duga-3+ (Sarang Bang) LP
Sarang Bang Records present Duga-3+, an expanded reissue Gianmarco Liguori’s third solo album, Duga-3, originally released on the label in 2011. Duga-3, composed and produced by New Zealand-based multi-instrumentalist Gianmarco Liguori, was originally released in 2011 in an edition of 200 copies. The album quickly sold out, with original copies sought after by collectors and fans of Murray McNabb and Kim Paterson (who appear on the LP), both pioneers of jazz rock in New Zealand in the early 1970s. Co-producer Murray McNabb (1947-2013), keyboardist with legendary NZ jazz rock group, Dr Tree in the 1970s, recorded his album Song For The Dreamweaver with ECM artists Ron McLure and Adam Nussbaum in New York (1990), and had performed with the likes of Don Cherry, Ed Blackwell, Charlie Haden, Joe Henderson, and Sam Rivers. He was also a top-tier composer/arranger for film, television, and radio. Also features contributions from Brian Smith (Ian Carr’s Nucleus, Keith Tippet, Centipede). Deluxe tip-on gatefold jacket.
File Under: Jazz
Frank Lowe: The Flam (Black Saint) LP
Black Saint Vinyl present a reissue of Frank Lowe’s The Flam, originally released in 1975. Frank Lowe, one of the most powerful tenor sax voices in the post-free jazz era and one of the main figures in the mid-70s NY jazz loft scene. The Flam recorded and released on Black Saint in 1975 stands as one of Lowe’s best albums ever. This is highly Intense music with deep meaning and timeless message performed by an amazing collective featuring Frank Lowe (tenor sax), Leo Smith (trumpet, flugelhorn, wood flute), Joseph Bowie (trombone), Alex Blake (bass, electric bass), and Charles “Bobo” Shaw (drums).
File Under: Jazz
Ayalew Mesfin: Mot Aykerim (You Can’t Cheat Death) (Now Again) LP
“Ayalew Mesfin stands aside the likes of Mulatu Astake, Mahmoud Ahmed, Hailu Mergia and Alemayehu Eshete as a legend of 1970s Ethiopia. Mesfin’s music is some of the funkiest to arise from this unconquerable East African nation. Mesfin’s recording career, captured in nearly two dozen 7″ singles and numerous reel-to-reel tapes, shows the strata of the most fertile decade in Ethiopia’s 20th century recording industry, when records were pressed constantly by both independent upstarts and corporate behemoths, even if they were only distributed within the confines of this East African nation. Though Mesfin was forced underground by the Derg regime that took control of Ethiopia in 1974, he has returned almost 50 years later with this triumphant set albums — the first time that his music has been presented in this form. These albums give us a chance to discover a rare and beautiful moment in music history, in anthologies built from Mesfin’s uber-rare 7″ single releases and from previously unreleased recordings taken from master tapes. Mot Aykerim gives us a chance to discover a rare & beautiful moment in music history, in an anthology built from his uber-rare 7″ single releases. Contains an oversized 11″ x 11″ 16 page book that tells the story of modern Ethiopian music and Mesfin’s role within it.”
File Under: Ethiopian Jazz
Ayalew Mesfin: Wegene (My Countrymen) (Now Again) LP
“Ayalew Mesfin stands aside the likes of Mulatu Astake, Mahmoud Ahmed, Hailu Mergia and Alemayehu Eshete as a legend of 1970s Ethiopia. Mesfin’s music is some of the funkiest to arise from this unconquerable East African nation. Mesfin’s recording career, captured in nearly two dozen 7″ singles and numerous reel-to-reel tapes, shows the strata of the most fertile decade in Ethiopia’s 20th century recording industry, when records were pressed constantly by both independent upstarts and corporate behemoths, even if they were only distributed within the confines of this East African nation. Though Mesfin was forced underground by the Derg regime that took control of Ethiopia in 1974, he has returned almost 50 years later with this triumphant set albums — the first time that his music has been presented in this form. These albums give us a chance to discover a rare and beautiful moment in music history, in anthologies built from Mesfin’s uber-rare 7″ single releases and from previously unreleased recordings taken from master tapes. Wegene gives us a chance to discover a rare & beautiful moment in music history, in an anthology built from his uber-rare 7″ single releases. Contains an oversized 11×11″ 16-page book that tells the story of modern Ethiopian music and Mesfin’s role within it.”
File Under: Ethiopian Jazz
Steve Potts: Musique Pour le Film D’un Ami (Souffle Continu) LP
Souffle Continu Records present the first ever reissue of Steve Potts’s Musique Pour Le Film d’Un Ami, originally released in 1975. In 1975, Steve Potts left Steve Lacy for a time to compose Musique Pour Le Film d’Un Ami following the proposition from the film’s director Joaquín Lledó. With guest musicians of quality and from vairied horizons, the saxophonist recorded a soundtrack ranging from modal jazz to free funk and from dirty grooves, to java wah-wah with disconcerting elegance. Rather than blaxploitation, Potts and his group offer us their mixploitation made in Paris which would be recognized way beyond the boundaries of La Défense. If you have never seen Sujet ou le secrétaire aux 1001 tiroirs (1975), Steve Potts will allow you to listen to it. The film was made by a friend of his, Joaquin Noessi, a pseudonym of Joaquín Lledó, for which the saxophonist composed the music in the mid-70s. It was recorded in Saint-Germain-des-Prés and Potts was joined by the musicians he played with regularly at the time with Steve Lacy (Jean-Jacques Avenel, Ambrose Jackson, Kenneth Tyler) but not just them… Because, on Musique Pour Le Film d’Un Ami, you hear funk musicians (pianist Frank Abel and percussionist Donny Donable, both also expatriates, who played in the group Ice), nimble French musicians (Elie Ferré and Christian Escoudé on guitars, Joss Basselli on accordion) and unclassifiable men-of-all-seasons (Keno Speller on percussion and Gus Nemeth on double bass). The production was assured by another iconoclastic figure: Jef Gilson. It was an eclectic team, and they made an eclectic album, as shown by the track titles. Steve Potts just has to shake it all up and let the notes pour out: modal, (even cosmic, jazz) free funk, dirty grooves, cool jam sessions, bistro boogie, java wah-wah… Musique Pour Le Film d’Un Ami is a shattering album of shattered atmospheres. Remastered from the master tapes. Restored artwork. Licensed from Steve Potts.
File Under: Jazz
Rammellzee & K-Rob: Beat Bop (Mr. Bongo) LP
Much about ‘Beat Bop’ is shrouded in mystery. Who really produced it? Why was Jean-Michel Basquiat relegated from rapper on the track to drawing the cover and labels? What are they actually rapping about for most of the ten-minute length? These questions, however, are all part of the enigma and rich legend surrounding a song that is an undisputed piece of true hip-hop genius. The combination of graffiti artist Rammellzee and rapper K-Rob is a potent one, with each MC adopting a persona – hustler and B-Boy respectively – that they maintain against an unusual swirling backdrop that must be one of the best instrumentals ever committed to wax. The original Tartown Record pressing was limited to 500 copies, a mere test pressing in the eyes of the assembled artists, with scarcity further driven by Basquiat’s rising rep in the art world. Those few hundred copies – and a subsequent re-release on Profile Records (the same label where K-Rob played out the rest of his brief career) – punched well above their weight in terms of lasting influence. Consider the early vocal tones of the Beastie Boys (who also sampled the track), or the huge part it played in the sound of Cypress Hill and B-Real. His voice is almost homage to Rammellzee’s on ‘Beat Bop’, while they also lifted the chorus of ‘Shoot ‘Em Up’ and even a sample of ‘Cypress Hill’ from the track too. It’s unsurprising – this is a multi-layered, complex song that reveals a little more of itself each time you play it but remains damn funky. This reissue boasts the vocal and instrumental versions in full, as well as both the full cover and label artwork from the original Tartown Release.
File Under: Hip Hop
Emma Ruth Rundle & Thou: My Our Chambers Be Full (Sacred Bones) LP
Purple vinyl version! Stemming out of an offer from Roadburn Festival organizer Walter Hoeijmakers, mutual acquaintances, and a shared love of each other’s output, May Our Chambers Be Full is the first recorded document of collaboration between Emma Ruth Rundle and Thou. While their solo material seems on its face to be quite disparate, both groups have spent their respective careers lurking at the outer boundaries of the heavy metal scene, the artists having more in common with DIY punk and its spiritual successor, grunge. May Our Chambers Be Full straddles a similar, very fine line both musically and thematically. While Emma Ruth Rundle’s standard fare is a blend of post-rock-infused folk music, and Thou is typically known for its downtuned, doomy sludge, the conjoining of the two artists has created a record more in the vein of the early ’90s Seattle sound and later ’90s episodes of Alternative Nation, while still retaining much of the artists’ core identities. Likewise, the lyrical content of the album is a marriage of mental trauma, existential crises, and the ecstatic tradition of the expressionist dance movement. “Excessive sorrow laughs. Excessive joy weeps.” Melodic, melancholic, heavy, visceral. The visual art accompanying this work was created in collaboration with preeminent New Orleans photographer Craig Mulcahy. The faceless, genderless models are meant to emphasize this pervasive state of ambiguity and emotional vacillation, the images falling somewhere between modern high fashion and classical Renaissance.
File Under: Metal
Sentuhla: La Curva Paralela (Abstrakce) LP
Sentuhlà is one of the many aliases of musical jack of all trades José Guerrero, a long standing figure in the already rich underground scene of Valencia. In this solo excursion he explores the vast possibilities of mechanical repetition, the machine funk of dirtbag rhythms and proper boogie DIY synth music, sculpting a syncopated sound that is both modern and atavistic. Coming from a deep knowledge and ability to communicate very diverse sounds, slow jams unfold into dance music for clear eyed lounge lizards for whom sleaze comes not dizzy but focused. Whitened african rhythms beat up no wave disco pleasure points, managing the hard task of being very cool and nonchalant, but also hot and dedicated. This closed door nightclub music will appeal to fans of the new developments in dance music that put Cabaret Voltaire, impLOG or Orchestre Poly-Rythmo de Cotonou into XXI Century basements. The record comes also with a killer remix by Tolouse Low Trax, probably our favourite producer in modern rhythmic music.
File Under: Electronic
Horace Tapscott: Live at Lacma 1998 (Dark Tree) LP
“Horace Tapscott with the Pan Afrikan Peoples Arkestra and the Great Voice of UGMAA – Why Don’t You Listen? Live at LACMA, 1998 — H. Tapscott (pianist, conductor), M. Session (s., a. and t. sax), P. Ranelin (trombone), Alan Hines (double bass), L. Large (double bass), T. Ware (double bass), D. Dean (drums), N. Agindotan (congas), B. Madison (perc.), D. Trible (voc.), The Great Voice of UGMAA”\
File Under: Jazz
Twinkle3: Minor Planets (Marionette) LP
“Minor Planets completes a trilogy of cosmically themed electro-acoustic albums by UK and Berlin based trio Twinkle3, 15 years in the making. This third installment is once again all about the unique synergies the group discover in combining free group improvisation with studio and musique-concrete techniques. The group’s combined love of everything from Lee Perry to Noh Theatre via Karlheinz Stockhausen and King Sunny Ade lead them to respond musically to create a single universe where they all coexist and interact. Aleatoric analogue sequencing, chamber-like acoustic improvisation and dub treatments become distilled into a distinct and emotive narrative that takes us on an exhilarating hyperspace cruise to the outer reaches. Clive Bell is a virtuoso of the Shakuhachi. His aesthetic takes us on a timbral journey between noise and pitch, expressed and phrased rhythmically by the contour of human breath. This creates a perfect context and focus for a music that moves seamlessly between rhythm, suspension, time modulated analogue states, dissonance and melody. Richard Scott and David Ross share a background in acoustic free improvisation and have pioneered new approaches to rhythm using self-designed analogue systems. On Minor Planets these seemingly paradoxical orthodoxies cross-pollinate in a spirit of wonder and optimism to produce original and experimental music that is both life affirming and uplifting. Album artwork by Benjamin Kilchhofer captures the feeling of peering through the vacuum of space and catching a rare glimpse of the mysterious alien biomes, fossils, and silhouettes cast by dwarf planets, asteroids, Kuiper belt, and other trans-Neptunian objects.”
File Under: Electronic
Waveform Transmission: V 3-3.9 (Astral Industries) LP
Original artwork by Theo Ellsworth. Mastered by Noel Summerville. 2×12″, 180 gram vinyl; gatefold sleeve.
File Under: Ambient
Tatsuhisa Yamamoto: Ashioto (Black Truffle) LP
Black Truffle announce Ashioto, the first international solo release from Japanese drummer-percussionist-composer Tatsuhisa Yamamoto. Active for over a decade, Yamamoto has performed and recorded extensively with artists such as Jim O’Rourke, Eiko Ishibashi, and Akira Sakata, as well as participating in innumerable improvised and ad hoc groups. Ashioto presents two wide-ranging pieces that combine Yamamoto’s percussion work with piano, field recordings, electronics, and contributions from guest musicians Daisuke Fujiwara and Eiko Ishibashi. Beginning with a passage of chiming metal percussion, the first side slowly builds into a rolling, open groove reminiscent of Yamamoto’s work on Eiko Ishibashi’s acclaimed Drag City LP, The Dreams My Bones Dream (2018). Spacious piano and synth notes, along with Ishibashi’s spare melodic figures on processed flute, hover above this propulsive rhythmic foundation, the whole effect adding up to a more abstract take on the area explored on Rainer Brüninghaus’s ECM classic Freigeweht (1981). The LP’s second side opens up a cavernous space filled with ominous electronics and shimmering metallic percussion, which organically transitions into a passage of rumbling piano chords and mysterious concrète sound. Later in the piece, Daisuke Fujiawara’s saxophone enters, playing melancholic melodic fragments that are looped and layered, creating a seasick swaying effect familiar to listeners of James Tenney’s works with tape delay systems. Beginning as delicate bass drum pulses, Yamamoto’s accompanying percussion eventually builds the piece into a raging torrent of free-improv splatter, processed sax and fizzing electronics. Though grounded in instrumental performance, Ashioto is very much a studio construction, making inventive use of electro-acoustic principles in its editing and mixing. Together with its sister Ashiato — a different take on the same “script” released simultaneously on Japanese label Newhere — Ashioto demonstrates to an international audience for the first time the true breadth and ambition of Yamamoto’s work. Mastered by Jim O’Rourke. Cover photos by Kuniyoshi Taikou. Design by Lasse Marhaug.
File Under: Experimental
Various: Mr. Bongo Record Club Vol. 4 (Mr. Bongo) LP
Curating the tracks for a Mr Bongo Record Club compilation is always such a pleasure. At a time when the expression “Music is My Sanctuary” has an even greater cathartic impact for many people, we set out to make this volume an extra special one – like an old favourite mixtape or playlist. For Volume 4 in this series, we continue in the same mould as with previous editions, selecting current favourites and rare lost gems from the Brazilian, African, soul, funk, and disco genres. We present tracks from artists such as Azwon, Cindy & The Playmates, and Zé Roberto to name just a few. However, one main departure and progression to this edition is the first time inclusion of recordings by contemporary artists. These come from Matthew Tavares (of BADBADNOTGOOD fame), Wax Machine, and DJ Format & The Simonsound, which were originally featured on either limited private press vinyl releases or were previously only available digitally. We felt their inclusion was important and wanted to share these wonderful discoveries with a wider audience. They also complement, enrich, and fit perfectly with the flow and journey of the compilation. Support from Hunee, Antal, DJ Marky, Volcov, Jazzanova, J Rocc, Carlos Nino, Laurent Garnier, Benji B and many more. Here at Mr Bongo we hope you will enjoy this selection of seventeen eclectic songs (in tempo and style) as much as we do, whether they make you move your feet, take you on a trip somewhere, or trigger a happy memory. 1. The Modern Tropical Quintet – Midnight in Moscow / 2. James Reese & The Progressions – Throwing Stones (Kenny Dope Mix) / 3. Cindy & The Playmates – Don’t Stop This Train / 4. Carnival – Eyes Growing Wider / 5. Azwon – Paradise Island / 6. Carlos Puebla And Santiago Martinez And Pedro Sosa – Sun Sun Damba E / 7. Pepe Sanchez – Sentimiento / 8. DJ Format & The Simon Sound – The Peruvian / 9. Hamlet Minassian – Al Elnim / 10. Idrissa Soumaoro, L´Eclipse De L´ I.J.A. – Nissodia (Mike D Remix) / 11. Teaspoon Ndelu – Sputla / 12. The Mombasa Vikings – Mama Matotoya / 13. Lincoln – Amanhã O Tempo Muda / 14. Don Ricardo – Sonho Lindo / 15. Zé Roberto – Lotus 72 D (Fast) / 16. Wax Machine – Extralude (Wyndham Earl’s More Than-An-Interlude Remix) / 17. Matty (Matthew Tavares) – Selfportrait
File Under: African, Ethiopian, Jazz, Funk
Olafur Arnalds: Some Kind of Peace (Decca) LP
Bad Religion: Christmas Songs (Epitaph) LP
Bon Iver: For Emma, Forever Ago (Jagjaguwar) LP
Phoebe Bridgers: Punisher (Dead Oceans) LP
Carla Dal Forno: You Know What You Want (Blackest Ever Black) LP
Ella Fitzgerald: Wishes You a Swinging Christmas (Verve) LP
KMD: Bl_ck B_st_rds (Metal Face) LP
Kendrick Lamar: Good Kid, M.A.A.D. City (Aftermath) LP
John Legend: A Legendary Christmas (Universal) LP
Ramsey Lewis: More Sounds of Christmas (Universal) LP
Tor Lundvall: Yule (Dais) LP
Thelonious Monk: Palo Alto (Impulse) LP
Kacey Musgraves: The Kacey Musgraves Christmas Show (Universal) LP
Nurse With Wound: Rock And Roll Station (Abstrakce) LP
She & Him: A Very She & Him Christmas (Merge) LP
Frank Sinatra: A Jolly Christmas (Capitol) LP
Frank Sinatra: Ultimate Christmas (Universal) LP
Touche Amore: Lament (Epitaph) LP
Various: A Capitol Christmas (Capitol) LP
Various: A Capitol Christmas II (Capitol) LP
Various: Soul Slabs Vol. 1 (Colemine) LP
Various: Stax of Funk: The Funky Truth (BGP) LP
Various: Stax of Funk 2: More Funky Truth (BGP) LP