…..news letter #994 – same…..

Well, for some weird (annoying) reason, every multi-box shipment I get from one of my US suppliers, one of the boxes always takes the scenic route to get here and shows up, not just one day, but MANY days later than the other box. So there should have been some more great stuff in this list today, like the new GBV, and the Screamers reissue, and the new Woods, and the new Wode, BUT NO. They are slated for a Monday arrival, so next week’s news letter is gonna be pretty bangin’ too. Anyway, even without that box, there’s a ton of great stuff in this week, so read on and click through to buy!

Also! Like the Other Music Documentary, we are again teaming up with Oscilloscope Labs for the distribution/viewing of the new documentary TRUTH TO POWER, about System of a Down’s frontman Serj Tankian. Click the link to rent the film and we’ll get a cut of the proceeds. Rent it HERE

As always, big thanks to everyone who’s been hitting up our webstore and placing orders! It’s getting competitive around 6 pm 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. We’ll be at the shop 11-6 Monday – Friday & Saturday 11-4. Stay safe!

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


…..picks of the week…..

Merope: Salos (Stroom) LP
We got a few of this a couple weeks back but it was gone in a heartbeat and we couldn’t truely hype up how great this record is, but now we’ve got a bunch, and it’s amazing and you should check it out! Haunting Lithuanian folk songs and choral works from Merope, latest lambs to the Stroom flock shepherded by Ziggy Devriendt aka Nosedrip, a big big tip to fans of Kara-Lis Coverdale. Immediately calling to mind strains of the Fonal label circa the mid ‘00s (Islaja, Paavoharju, et al), and likewise lilting, worldly traces of the label’s NSRD/Hardijs Lediņš releases; ’Salos’ is a very non-Sadian suite of pastoralism from the top shelf of Lithuanian music. It’s an effortlessly enchanting listen that never tests the listeners’s patience, carrying us through seven immaculate scenes centred on the lead voice of Indrė Jurgelevičiūtė, and harmonised with the Vilnius Municipal Choir Jauna Muzika, known for their performances of Arvo Pärt’s music. Perhaps most intriguing is the inclusion of American Pakistani multi-instrumentalist Shahzad Ismaily lending electric piano to the fractal bliss of ‘El Dvipa’ and  wistful dreaminess of ‘Luliomoj’ that bookend the set, but if any one song should make you fall for them, try the melt-on-mind delicacy of ‘Vilnia’ and go from there, we reckon.

File Under: Classical, Ambient, Latvia
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Jonathan Fitoussi: Plein Soleil (Obliques) LP
Jonathan Fitoussi is a French composer that explores an electronic music versed in futuristic tones that evokes the vision of the future as it was perceived in the 60s or 70s, mixed with the perception of a unique, utopic world, yet to be reached, yet to be build. On top of two live recordings, several collaborations and music for movies, this is his fifth solo album, and his first for Transversales Disques, a label he co-founded. Leading the electronic aesthetic of its writer towards more rhythmic, hypnotic tracks, this album is also a new step in the ever growing discography of this musician. In Plein Soleil, Jonathan Fitoussi explores the continent of his electronic instruments, watching them move along with him on his journey, like uncharted territories, beyond what’s already been said, done, composed and played. In these tracks, or should we say, between them, something new unfurls. Where, in the past, musical mechanism, melodic shades were shaped by atmospheric frames, reluctant to choose between amniotic and repetition, what’s at play here is of a different nature, more rhythmic, all made of vibrating percussion, of synthetic sparkles that bump into each other and reverberate. The hypnosis of the percussion, the trance of the desiring-machines, the synthesizers immanence, dreaming themselves as bongos, as bass, vibraphones, marimbas, while floating high above, or sometimes far below, timid waves, drones, threads connects the beats together. This is not a dance record, but this a record that’ll caught you dancing, dreaming inside of these tracks leading to other places that at first only exist because of the power of the spirit: “Rayons solaires”, “Vents magnétiques”, “Soleil de minuit”, “Continent blanc”, “Amazonie”…

File Under: Electronic, Ambient
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…..new arrivals…..

Tony Allen w/ Afrika 70: Jealousy (Comet) LP
Comet Records presents the Tony Allen & Africa 70 reissue series with the classic late seventies first four solo albums of Tony Allen remastered and restored: Jealousy, Progress, No Accomodation for Lagos & No Discrimination, all coming in an heavy Deluxe Tip-On Jacket. Recorded with Afrika 70 at the height of their power as Fela Kuti’s band, these are seminal recordings in the pantheon of Afrobeat history. Once again, Comet Records has the opportunity to shine a light on the sheer musicality and originality of the humble drumming giant. Tony Allen’s passing in April 2020 sent a shockwave across the world, as fans and collaborators from Lagos to Brooklyn and everywhere in between mourned the loss of a generous and powerful being, the kind of being we thought would live forever. Thankfully, we have the gift of Tony’s timeless music, starting with these four special solo albums, through which his musical voice guides our dancing feet and full hearts forever. Produced by Fela Kuti in 1975, Tony Allen’s first solo album with Afrika 70, Jealousy, is like the man himself: light on its feet yet deeply settled, spacious yet bursting with magical talent. On the title track “Jealousy” Tony is joyously in his element, conducting one of the mightiest bands in the world – he is the head chef, and the band is cooking. The second track, “Hustler” features one of the most iconic solos in drumming history, a rare glimpse into Tony’s gift of musical phrasing – it is possibly the best example of Tony’s ability to literally speak through his beloved drumset. Tony Allen possessed magic within him, which he spent his entire life sharing with us through his drumming hands, tapping feet and generous heart. That magic is ever-present and strong on these formative solo albums – they are must-haves for Afrobeat fans across the globe.

File Under: Afrobeat, Funk
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Tony Allen w/ Afrika 70: Progress (Comet) LP
Comet Records presents the Tony Allen & Afrika 70 reissue series with the classic late seventies first four solo albums of Tony Allen remastered and restored: Jealousy, Progress, No Accomodation for Lagos & No Discrimination, all coming in an heavy Deluxe Tip-On Jacket. Recorded with Afrika 70 at the height of their power as Fela Kuti’s band, these are seminal recordings in the pantheon of Afrobeat history. Once again, Comet Records has the opportunity to shine a light on the sheer musicality and originality of the humble drumming giant. Tony Allen’s passing in April 2020 sent a shockwave across the world, as fans and collaborators from Lagos to Brooklyn and everywhere in between mourned the loss of a generous and powerful being, the kind of being we thought would live forever. Thankfully, we have the gift of Tony’s timeless music, starting with these four special solo albums, through which his musical voice guides our dancing feet and full hearts forever. Progress showcases Afrika 70 doing what they do best: digging deep and bringing the force, but always with remarkable restraint and swagger, propelled by Tony’s steady hands and feet. The title track, “Progress” starts with a bang and never loses steam – a performance so fierce that it stands alongside Fela’s most powerful anthems. The second track, “Afro Disco Beat” shows Tony Allen at one of his creative peaks. He tells: “What I was saying on Progress was that instead of fighting Fela for money, I was trying to progress and create on my own. Progress is what a hard worker is looking for I had to look it for myself” (Taken from Tony’s autobiography by Michael Veal). Tony Allen possessed magic within him, which he spent his entire life sharing with us through his drumming hands, tapping feet and generous heart. That magic is ever-present and strong on these formative solo albums – they are must-haves for Afrobeat fans across the globe.

File Under: Funk, Afrobeat
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Daniel Bachman: Axacan (Three Lobed) LP
Daniel Bachman has never shied away from bold musical statements, those that follow his exacting vision for what can be seen as “guitar music”. The bold and engrossing “Axacan” sees Bachman defiantly playing against type and creating one of the most introspective and deeply personal albums of instrumental music released in recent memory. A solo affair, “Axacan” weaves together Bachman’s acoustic guitar and harmonium alongside raw field recordings from various locations, events and phenomena to create a conceptual collage that is both documentary and authorial. There is very little superficial “sound for sound’s sake” here. Each creak, clatter, or bang colors Bachman’s aural Polaroids with deep and personal significance. It is a similar approach to the one he used on 2018’s “The Morning Star” but here sharpened and honed to a razor’s edge. Give yourself over to “Axacan” and let it wow you in the moment and change you afterwards.

File Under: Folk, Guitar
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Beachwood Sparks: s/t (Curation) LP
20th Anniversary re-issue of the debut album from the pioneers of West Coast Americana/Country Rock. Remastered for vinyl with original artwork updated and bonus disc of previously unreleased & unheard recordings. Originally issued on Sub Pop Records in 2000 the album was widely praised by fans and critics alike opening up a new generation to the West Coast sounds of the Byrds/Flying Burrito Brothers with Beachwoods own spin of 90s indie-rock and post-punk influences creating a new sound that has since garnered well over 5,000,000 plays on Spotify and selling over 150,000 physical units.

File Under: Indie Rock
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DSKNT: Vacuum Y Noise Transition (Sentient Ruin) LP
Swiss black metal void sculptors DSKNT are back with their immense sophomore LP “Vacuum γ-Noise Transition,” a devouring nightmare of omnipotent sonic annihilation conceived at the most liminal edges of sanity. The reality-destroying album takes shape as a dark and multidimensional hallucination deep into reality’s most cryptic and terrifying truths, a place where entropy and chaos assume near-corporeal and hyper-realist forms, becoming empirical laws and axioms of all manifestations therein, with the music serving as the abhorrent mathematical key that allows the listener to unlock this realm beyond and “see” the horrors that populate reality beyond the reach of the five senses and of the terrestrial dimension. Harrowingly evocative and devastating beyond comprehension, “Vacuum γ-Noise Transition” assumes its hideous form through a ravaging maze of managed guitar fractals, eviscerating compositional deconstructionism and an inhuman event horizon of decaying soundscapes and oppressive atmospheres that dismantle the listener piece by piece, forcing mind and soul apart to disintegrate in each other’s reflection. Somewhat claiming the torch of absolute avant-garde violence and abhorrence from bands like Deathspell Omega and Portal, the devastating album is an all-encompassing and sensorially annihilating masterpiece that transitions this heritage of aural abominations into its most unavoidable future and inevitable conclusions, reshaping the DNA of surrealistic extreme metal as we know it and pulverizing all its known thresholds through a hideous out of body experience ritualized through total aural abandon.

File Under: Metal
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The Embarrassment: s/t EP (Last Laugh) LP
Before they broke up in 1983, this quartet from Wichita, Kansas rocked furiously, with less brittle/more melodious guitar than the Scottish new wave pop bands Orange Juice and Josef K to whom the Embos were sometimes compared. While John Nichols’ vocals weren’t incredible (Bill Goffrier’s guitar work nearly was), the Embarrassment did convey a promising array of nuances—from wistfulness to sarcasm—and an inquisitive, adventurous way with arrangements. The lyrics vary in quality, but “Don’t Choose the Wrong Song” and “Elizabeth Montgomery’s Face” show budding verbal pithiness; “Wellsville” has a laconic melodic strength. Best of all, most of the debut EP’s five songs grow on you with each listen.

File Under: Indie Rock
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Flock of Dimes: Head of Roses (Sub Pop) LP
On her second full-length record, Head of Roses, Jenn Wasner follows a winding thread of intuition into the unknown and into healing, led by gut feelings and the near-spiritual experience of visceral songwriting. The result is a combination of Wasner’s ability to embrace new levels of vulnerability, honesty and openness, with the self-assuredness that comes with a decade-plus career as a songwriter, producer, multi-instrumentalist and prolific collaborator. Simply put, Head of Roses is a record about heartbreak, but from a dualistic perspective. It’s about the experience of having one’s heart broken and breaking someone else’s heart at the same time. But beyond that, it’s about having to reconcile the experience of one’s own pain with the understanding that it’s impossible to go through life without being the source of great pain for someone else. Showcasing the depth of Wasner’s songwriting capabilities and the complexity of her vision, Head of Roses calls upon her singular ability to create a fully-formed sonic universe via genre-bending amalgamation of songs and her poetic and gut punch lyrics. It’s the soundtrack of Wasner letting go – of control, of heartbreak, and of hiding who she is. Head of Roses puts Wasner’s seismically powerful voice front and center. Those vocals help thread it all together – it’s a textured musicality, quilted together by intentionality and intuition. The LP was mostly written during the isolation of early Covid-19 quarantine and fresh heartbreak. Some songs, like the title track, came to Wasner wholly-formed, like fever dreams. Aside from album opener “2 Heads,” which Wasner had been saving for this purpose since she wrote it in 2015, Head of Roses was born from just a few months at her North Carolina home, during a feverish period of productivity spanning from March through June of 2020. On her 2016 debut album If You See Me, Say Yes, Wasner controlled every element of the production, meticulously crafting her solo debut to be a definitive statement of ability and artistry. Despite having succeeded in assuring herself of her own capabilities as a musician and producer, she felt drained by the demands of working in creative isolation. Instead, for Head of Roses, she felt drawn to a looser, more collaborative process – and reached out to friend and co-producer Nick Sanborn (Sylvan Esso) to help her understand what this new process could look like. Recorded with a small group of collaborators in quarantine at Betty’s in North Carolina, Head of Roses captures Wasner’s vision and expands upon it, with input from Meg Duffy (Hand Habits), Matt McCaughan (Bon Iver, Lambchop), and Adam Schatz (Landlady).

File Under: Indie Rock
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Andrew Hill: Passing Ships (Tone Poet) (Blue Note) LP
Andrew Hill is one of the most distinctive pianists and composing talents in jazz. Yet this profoundly moving session recorded in 1969 sat unreleased until 2003 when it was finally issued on CD through the efforts of Blue Note archivist Michael Cuscuna. Hill penned all seven of Passing Ships’ compositions for an ensemble featuring Woody Shaw and Dizzy Reece on trumpet, Julian Priester on trombone, Joe Farrell on saxes, flute and bass clarinet, Howard Johnson on tuba, Bob Northern on French horn, Ron Carter on bass, and Lenny White on drums. Passing Ships stands comparison to Hill’s greatest work, and is presented for the first time on vinyl with this Tone Poet Edition. Blue Note Records’ acclaimed Tone Poet Audiophile Vinyl Reissue Series continues in 2021. Launched in 2019 in honor of the label’s 80th Anniversary, the Tone Poet series is produced by Joe Harley (from Music Matters) and features all-analog, 180g audiophile vinyl reissues that are mastered from the original master tapes by Kevin Gray of Cohearent Audio. Tone Poet vinyl is manufactured at RTI in Camarillo, CA, and packaged in deluxe Stoughton Printing “Old Style” gatefold Tip-On jackets. The titles were once again handpicked by Harley and cover the crème de la crème of the Blue Note catalog along with underrated classics, modern era standouts, and albums from other labels under the Blue Note umbrella including Pacific Jazz and United Artists Records. Every aspect of these Blue Note/Tone Poet releases is done to the highest-possible standard. It means that you will never find a superior version. “The LPs are mastered directly from the original analog master tapes by Kevin at his incredible facility called Cohearent Mastering. We go about it in the exact same way that we did for so many years for the Music Matters Blue Note reissues. We do not roll off the low end, boost the top or do any limiting of any kind. We allow the full glory of the original Blue Note masters to come though unimpeded! Short of having an actual time machine, this is as close as you can get to going back and being a fly on the wall for an original Blue Note recording session.” – Joe Harley

File Under: Jazz, Audiophile
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Iceage: Seek Shelter (Mexican Summer) LP
Coloured vinyl! A decade on from their first record, Iceage continue to harness their lives together through music. This journey, in music and life, has never progressed in a linear fashion. Seek Shelter – Iceage’s fifth LP and first for Mexican Summer – is proof that their lives are still happening through their music, and that they remain determined to harness it. Enrolling Sonic Boom (Pete Kember of Spacemen 3) to produce, Seek Shelter sees Iceage’s propulsive momentum pushing them in new, expansive, ecstatic directions. The sound of an emotional core unwound, Seek Shelter radiates warmth and a profound desire for salvation in a world that’s spinning further and further out of control. Seek Shelter, the band’s first record made with an outside producer, was recorded at Namouche, a dilapidated wood-paneled Lisbon radio studio of 1960s vintage where the band set up for 12 days. It is the longest time they have spent recording a record. Steady rain dripped through the ceiling; they had to arrange their equipment around puddles and slowly-filling buckets covered in cloth so that the sound of droplets wouldn’t reach the mics. Sonic Boom arranged garden lamps from a nearby party store for mood lighting in the high-ceiling space. A choir, the Lisboa Gospel Collective, joined the band for two tracks on the final day in the studio providing a new scale to singer/primary songwriter Elias Bender Rønnenfelt’s incantations. Rønnenfelt casts their new producer as a sparring partner, another wayward mind to bounce ideas off of. “We wanted a partner that had some noise that we didn’t have, more a wizard than a producer. We thought he’d be that kind of wizard for us, and we were right – he came in with a truckload of strange equipment that we’d never seen before.” With Seek Shelter, they’ve managed to hold onto a core of total presence and constant risk while writing their most ambitious songs to date.

File Under: Punk
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Iron & Wine: Archive Series Vol. 5 Tallahassee Recordings (Sub Pop) LP
Loser edition! Sub Pop presents Archive Series Volume No. 5: Tallahassee the lost-in-time debut album from Iron & Wine. The collection was recorded over a two-year (1998-99) window during which Iron & Wine’s Sam Beam attended Florida State University’s College of Motion Picture Arts. Three years later, Iron & Wine would issue The Creek Drank the Cradle and begin a run of records widely praised as being part of a new blueprint in the singer-songwriter genre. Tallahassee doesn’t attempt to re-write history but instead aims to document the very first steps in Beam’s journey to becoming one of America’s most original and distinctive artists. The eleven-song collection was culled from a number of recordings that had been (mostly) forgotten by Beam himself but had been preserved by former roommate and one-time Iron & Wine member, EJ Holowicki. Holowicki, who went on to work as a sound designer at Skywalker Sound, was a catalyst in making sure Beam documented these songs while the two were roommates in a house on St. Augustine St. near campus. In addition to serving as both engineer and bassist, Holowicki also worked as an archival producer in preparing the tracks for official release. Tallahassee, with its sparse instrumental canvas and live-in one-room takes, is very much akin to early Iron & Wine releases, The Creek Drank the Cradle, The Sea & The Rhythm, and In the Reins. From the wandering country-esque tempo of “Calm on the Valley” to the more mid-tempo Harvest-era vibe of “This Solemn Day,” the seeds of the portrait of an artist as a young man are all present. While still in their formative stages, the lyrical imagery and intimate musical nature that have become trademarks of the Iron & Wine “sound” are present throughout Tallahassee. Early music file-sharers have long claimed ownership of a number of early Iron & Wine recordings, many that still have yet to be officially released. While this record will not quite correct all the wrongs of the early days of the internet, it will fill in many of the blanks for long-time fans.

File Under: Indie Rock
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Kuzu: The Glass Delusion (Astral Spirits) LP
DAVE REMPIS (alto / tenor / baritone saxophones), TASHI DORJI (guitar) and TYLER DAMON (drums) recorded October 13th, 2018 at Elastic Arts in Chicago and October 14th, 2018 at The Sugar Maple in Milwaukee, WI.

File Under: Jazz
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Le Deal: Jazz Traficantes (Favorite) LP
Favorite Recordings presents Jazz Traficantes by LE DEAL, a new musical adventure from the finest French jazzmen with Florian Pellissier (Piano & Fender Rhodes – Camaraõ Orkestra, Cotonete, Aldorande, Setenta), Yoann Loustalot (Flugelhorn – Bruit Chic, Old & New Songs, Aerophone, Lucky Dog), Théo Girard (Upright Bass – Pensée Rotatives, Discobole) and Malick Koly (Drums – The Wallace Roney Quintet). Needless to say, they’re used to play all over the globe and quite often to New York. During one of these trips to the Big Apple, they discovered that the legendary Van Gelder studio (where most of Blue Note, Verve and CTI albums were recorded) was still active and opened so they decided to book a few days session. Here is the story told by Florian Pellissier: “The tracks had been written the night before. We were going to run through them and then record. A simple plan. Van Gelder had passed a while back, but he left the keys and secret codes with his faithful assistant Maureen before heading off to create the right sound up in heaven. Nothing had changed in the atmosphere or configuration, not even the way the mics were placed. The studio and its wooden beams still exuded New York’s sixties jazz, dimly lit streets and clubs where anything might happen past midnight. Maureen knew just how to capture the ambiance of the sessions and bottle the energy without spilling a drop, taking infinite care to collect each cymbal tone, drum roll and trumpet phrase, without losing a single vibrating bass string or the slightest keyboard pause.” Indeed, the four contrabandists succeeded to deliver an outstanding album, filled with themes that’ll get stuck in your head, just like in the 19 minutes long performance “Mexican Junkanoo Suite” and its three parts. But more than just beautiful melodies, LE DEAL truly managed to bring a sense of drama to their compositions, going into the deepest emotions through gutted arrangements, improvising with great attention to the articulation of their ideas. From the beginning to the end, musicians and engineers did their best to emulate the proper vintage sound. Jazz Traficantes could prove once and for all that French Jazz can indeed cross the borders. The album will be available as Tip-On Deluxe Vinyl LP but also on CD & Digital with a bonus track, “Noche en la Carcel”.

File Under: Jazz
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©© les freres Smith: Free to Go (©©©©) LP
After a first album released on Comet Records in 2011 and acclaimed by the media (Selection FIP, playlist Radio Nova, Vibrations, Songlines, Gilles Peterson, Laurent Garnier, etc…), the ©© Les Frères Smith collective is back with an even more ambitious new LP. Recorded the old school way and mixed by genius producer Masta Conga in line with the tradition of the great albums of the analog era, which results in a warm and heavy sound ; a production worth the ones by the Nuyorican Daptone Records or Truth & Soul. More mixed, varied and generously sprinkled with multiple influences inherited from the warm 70’s sound, their dynamic and sharp music on record reveals itself totally explosive on stage where the Parisian combo is now recognized as one of the best live afrobeat acts, mainly thanks to years of stage experimentations and multiple tours in France, the UK and Europe (Roskilde Festival, UK, Lounge on the Farm Festival, Germany, Nuits Zébrées Nova, Denmark, Sweden, Switzerland, Benelux, Slovenia, etc…). After featurings on the first album with Fela Kuti musicians, Tony Allen and Oghene Kologbo, the second LP will feature the divine Malian singer Mamani Keïta, Guinean griot Djeli Moussa Condé and the over vitamined Barbadian flow of Milo, who all three collaborated with the Smith family on this new album. Other vocals are done by charming and enchanting Swala Emati Smith, with a soul resonant of the Lauryn Hill style, and the charismatic Prosper Smith in a Camerounese, revendicative and libertarian spoken word.

File Under: Funk, Soul 
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Mega Wave Orchestra: s/t (Libreville) LP
The music on this compilation was, for the most part, originally released privately in Geneva in 1988; the Mega Wave Orchestra, the brain-child of musician, mathematician and composer Christian Oestreicher, was conceived as an multi-media electronic music orchestra. The Orchestra created a new hybrid music. It was a music with roots in the jazz and classical traditions, but one which also drew on the sonic freedom of musique concrete and the kind of total experience offered by psychedelia. The diverse backgrounds and specialisms of each of the band members/writers resulted in a wide variety of music: from austere drones and granular aural detail to warm oddball fusion and gorgeous but cracked vocal jazz. But it was Oestreicher’s presence, at both the start and end of the process, that provided a sure conceptual framework and a comprehensive sound world. There are useful contemporary comparisons to be made: zoned synth jazz like the Azimuth LP on ECM or Karin Krog’s Freestyle; Larry Heard’s sequencer dreamtime; the Valium minimalism of Pep Llopis or Jun Fukamaki; Dexter Wansel’s shimmering arrangements for Loose Ends, or even the FM sheen meets cold war threat of Donald Fagen’s Night Fly. Here, too, is the sound of music technology about to snowball and define its own aesthetic, unknowingly prefiguring auteurish bedroom producers like Black Dog or The Detroit Escalator Company. The heart of this music’s appeal lies in Oestreicher’s complex intentions and methodologies. He revels in occupying the unsteady ground between analogue and digital, pushing his players to robotic precision while opportunistically grabbing on to the unpredictable results of computer error. He harks back to communal rigour of big band or orchestra structures, while understanding beautifully that the sounds of the future will not be synthesised imitations of existing instruments but something entirely other. He seizes on the value of resituating or recombining the sounds given to him by his bandmates, twisting them out of shape to create vivid new worlds for the listener to occupy. As a mathematician, he approaches the problem of group music making with a seriousness that results in beauty as a matter of course.

File Under: Electronic, Experimental
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Merope: Naktes (Granvat) LP
The 3th album by MEROPE with own compositions and Lithuanian folk melodies. A unique trio sound with a blend of acoustic instruments, voice, el. guitar and electronics. Naktes presents a world full of wonder, inspired by the atmosphere of the night.
I tired out my feet
tramping dew’s golden ore.
I leaned on a white three
until my arm was sore.
I gazed at the forest’s green
till I couldn’t see anymore.

He filled his ears
until the birds were all heard,
He scrolled his eyes
until the stars were all learned.

File Under: Ambient, Electronic, Experimental, Classical
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Ennio Morricone: Uccidete Il Vitello Grasso E Arrostitelo
(Tranversales Disques) LP

For the first time on LP, Maestro Morricone’s full score for Uccidete il vitello grasso e arrostitelo. A 1969 giallo-noir, full of cruel twists, directed by Salvatore Samperi. This almost unknown soundtrack wasn’t released at the time and the original master tapes were carefully archived in the vault of legendary C.A.M. label. Conducted by Bruno Nicolai and featuring voices by Edda Dell’Orso.The maestro delivers one his best scores from the late 60’s. A psych-baroque journey with typical beat arrangements, crazy organs solos, wah-wah guitars and tense harpsichord phrases. Including the previously unreleased “Shake introspettivo”. Remastered from the original master tapes.

File Under: OST
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Nashville Ambient Ensemble: Cerulean (Centripetal Force) LP
Centripetal Force is excited to announce the release of Cerulean, the first full length recording from the Nashville Ambient Ensemble. Organized and led by electronic composer Michael Hix, the ensemble’s lineup is made up of some of the city’s most creative and innovative artists, many of whom have been heralded by Bandcamp as being part of an experimental music movement dubbed the “New Weird South.” In addition to Hix on synthesizers, the group includes the talents of Luke Schneider (Third Man Records) on pedal steel guitar, Kim Rueger (Belly Full of Stars) on piano, Jack Silverman on baritone electric guitar, Deli Paloma-Sisk (Diatom Deli) on voice, Cynthia Cárdenas on guitar synth, and Timon Kaple on electric guitar. Cerulean explores musical pathways with a distinctive Nashville sound, a unique approach amongst similar artists and releases. We believe this is what sets the Nashville Ambient Ensemble apart from their contemporaries and think that you will agree. For fans of William Tyler, Cocteau Twins, Fennesz and Emily A. Sprague. Edition of 300 copies.

File Under: Ambient
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New Order: Education Entertainment Recreation (Warner) LP
New Order presents a vinyl 3LP edition of a special performance, their only UK show of 2018 (November 9) at London’s Alexandra Palace and the first live show from the band’s now established line-up of Bernard Sumner, Stephen Morris, Gillian Gilbert, Phil Cunningham, and Tom Chapman. Sonically spectacular, spanning 2 hours 20 minutes, the show joyously mixed New Order classics, their latest acclaimed album (2015’s Music Complete), and covers of Joy Division’s finest. Opening with “Singularity” from Music Complete, they eased back in time to 1993’s “Regret,” to “Love Vigilantes” from 1985’s Low-Life to “Ultraviolence” from 1983’s Power, Corruption and Lies. Later, their power over the dance floor was proven by sublime performances in the manner of the celebrated extended 12-inch remixes they are synonymous with such as “True Faith,” “Blue Monday” and “Temptation,” before a three-song Joy Division mini set to end. A career-spanning celebration, the band were on relentlessly sparkling form, blending eras and genres and redefining themselves as perhaps the most vital British band of recent decades. Lauded by both fans and critics, it is a timely reminder of the connection we are all missing from live music and the nights we have to look forward to.

File Under: Electronic, Pop
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Bruno Nicolai: Defense de Savoir (Transversales Disques) LP
Transversales Disques proudly presents the first LP reissue of Défense de savoir (L’uomo a destra basso nella fotografia) original soundtrack written by italian composer Bruno Nicolai. During the Giallo boom of the early 70’s, a lot of French film directors started working with maestro Ennio Morricone. French director Nadine Trintignant decided to hire the maestro’s musical orchestrator and collaborator Bruno Nicolai to compose the score of her fourth movie, a political thriller starring her husband Jean-Louis Trintigant. Recorded at Morricone’s Ortophonic studio in Rome, this OST is undoubtedly the most underrated Bruno Nicolai’s soundtrack, probably because it was only released in France at the time. Presented here with previously unreleased tracks as an alternative to the rare original french pressing. Limited Edition. Remastered from the original master tapes.

File Under: OST
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Nyssa Musique: Comme au Moulin (Ici Bientot) LP
After NEF’s album in 2019, Ici Bientôt is happy to present today the reissue of “Comme Au Moulin” by Nyssa Musique. Paris 1985… ‘Extra-European’ Traditions meet Jazz and Minimal Music. An unusual array of instruments turn music into a dialogue. For a unique record … vivid, full of texture, somewhere between Midori Takada, Don Cherry and Jon Hassell. Beginning of the eighties, 5 musicians rehearse in a contemporary dance class hall, upstairs from the ‘’New Morning”, renowned Music venue in Paris. Nyssa Musique is born. Passionate for a long time about traditional music, like those of the Middle East, India and East Asia, but also about African traditions, they throw a bridge between Jazz and ‘Extra-European’ traditions, resulting in what would be called “Spiritual Jazz” today, a little bit in the style of Don Cherry’s Organic Music or Pharoah Sanders. With the notable difference, however, that their creations are strongly infused by contemporary classical and repetitive music, notably Steve Reich’s work with whom they share a great interest for the traditional cultures of Southeast Asia, particularly Indonesia and its gamelans. In the original group we have Armand Amar, Ballet Music composer and John Boswell. Both specialists of traditional hand percussion which they had been studying for a long time in India and the Middle East, they are also very fond of synthesizers. Three other talented musicians quickly join them: Jean-François Roger, percussionist, marimba and vibraphone specialist, Henri Tournier, multi-flutist and Renaud Garcia-Fons, double bass player, who has a passion for the Middle East and has developed a virtuosic play of the bow, reminding that of Cecil Mc Bee. Each of them enriches the ensemble with their personality, originality and musical generosity. The rehearsal hall is rapidly invaded by the phenomenal instrumentarium put together by Armand Amar. A great opportunity for the musicians, for the dancers, to have access to an endless choice of instruments, offering infinite possibilities for mixing different colors and timbres. Their sense for being a group and their great capacity for improvising culminates, in 1986, in the composition of their first and only album Comme au Moulin (« As by the windmill”), testimony of years of creating without hidden agenda. Authentic, free and vibrant, still today, this album has no real equivalent. Even though it recalls the Fourth World current by its combination of traditional instruments with a subtle use of synthesizers, Comme au moulin gives more space to improvisation. It may also recall those of Midori Takada, less the New Age esthetics. An album that should delight as well lovers of “Love Supreme” by John Coltrane, of “Vernal Equinox” by Jon Hassell, as those of Moondog, an artist who, like them, invented a music based on the use of untypical percussions, at the confluence of ‘Extra-European’ traditions, Jazz and Classical, all together complex and hypnotic.

File Under: Jazz, Minimalism
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Emmanuelle Parrenin/Detlef Weinrich: Jour de Greve (Versatile) LP
Imagine Prometheus, the thief of fire, the father of civilisation, had been spellbound by the sirens chanting and never felt pain, when the eagle bit his liver. Total enchantment, created by sound to overcome the pain of existence. A sound, styled by the ideal harmony of body and soul. And yet, the pain is still there, hidden between the notes, driving a romantic vision of salvation. If Prometheus could have translated his fictitious epiphany into singing, it might sound like Ghédalia Tazartès’s chanting in “White Layers Over Black Paper”, one of the eight snake dance tracks-not-tracks by German producer Detlef Weinrich aka Tolouse Low Trax and French singer, hurdy-gurdy, spinet and harp player Emmanuelle Parrenin. During some days of intimate plays in Paris they created “Jours de Grève”, a bouquet of music full of mirrors, eyes, statues, secret doors, rooms, and blood. With the offhanded help by friends and like-minded souls like Versatile aura mystic Gilbert Cohen, French avant-garde saxophone player Quentin Rollet and his fellow countryman, experimental voice artist Ghédalia Tazartès, they transformed in Cohen’s studio impulsive emotions into a kind of medieval cult sound that dances with tribal dub layers in search for a higher ground. The session took place during an intensive time of public strikes in the French capital, that tied up the public life of Paris and gave birth to the album’s title Jours de Grève. After the jam, Weinrich drove back to his old hometown Düsseldorf, sat down with his friend Jan Schulte aka Wolf Müller and mixed the captured notes, sounds, rhythms and singings into pristine tripping music, that avoids stylistic categorisations. As rather architecture, sculpture, painting, performing or film could express what Parrenin’s hypnotic hurdy-gurdy performances, Tazartès’s ancient deeply emotive ululations, Rollet’s almost religious saxophone notes and Weinrich’s toting grooves evoke in the psyche, it might be better to go back to Prometheus and the fire, that brought us light and warmth. Jours de Grève does too. And it is a stolen one. A borrowed one. Affected by art and life outside of sound. Lent from a forgotten monument in a random city around the world. Swayed by an afternoon glass of wine in a Parisian street café. Affected by music of all ages. Unconsciously developed in the spirit of Philippe Doray and Les Asociaux Associés, Théâtre du Chêne Noir d’Avignon or Areski Belkacem’s collaborations with Brigitte Fontaine. Above all Emmanuelle Parrenin extramundane voice swings, mutating between speech and chant, while Ghédalia Tazartès mourns like a wise illusionist. In tunes like “Caltec’s Dance” you even feel the airiness of early Fun Boy Three recordings. All that is rooted on Weinrich’s Tolouse Low Trax magnetic signature grooves, this time floating between dark tribal upbeat sexiness and dubbed-down bass sculpturalism. If it is true that illuminating music stirs by its mysterious resemblance to the objects and feelings which motivated it, then “Jours de Grève” is an in impulse composed primitive state of rhizomatic paranormal psychic phenomenon, that incorporates all the worlds, that the naked eye cannot see.

File Under: French, Experimental, Tazartes
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Peacers: Blexxed Rec (Drag City) LP
An electrical tension enters the room—a guitar, left to its own devices, is surfing the breeze. Breaking in the air, smiling from ear to ear. Bicoastal, even! Suddenly, The Peacers are back with their third album. The time has been kind. Three years since they went about their sophomore affect, Introducing the Crimsmen—but you know how it is in these important years, everything changing. Lots goes down, lots to go back through later. That second Peacers record was made by the second Peacers lineup, after 2/3rds of the first gang made for the door after the first LP. In came Bo Moore, Shayde Sartin and Mike Shoun—but after they’d finished making Crimsmen, singer Mike Donovan moved out of his old San Francisco digs to the east coast and made two solo albums. So, who êtes vous this time, The Peacers? Check the ‘Better Than Ever’ box, that’s who! Up til now, The Peacers records were consistently great no matter who they were, delivering Mike D’s irrepressible subterranean pop in a full color spectrum of moods from purple to blue-black to sometimes white. Blexxed Rec is a different time in the band’s life—a second album from the same lineup, plus with a country in between them. Recorded in SF and Hudson, NY with The Peacers’ production ear for small and curious detail in full spectrum, Blexxed Rec is a blessed event for all yer rock and roll people.
File Under: Punk
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Rag ‘n’ Bone Man: Life By Misadventure (Columbia) LP
Rag‘n’Bone Man (aka Rory Graham) returns three years after his ground breaking, award winning debut, Human, with a renewed sense of purpose, on a sparkling new album, full of heart and soul. Life By Misadventure is an incredible collection of emotional songs to touch us when we need it most. While a dose of heavy blues and soul lives within some of these new tunes, the majority of this new album finds Rag‘n’Bone Man taking a huge step forward as an artist, a songwriter, and a singer capable of showcasing tremendous warmth and real emotion with every breath. The bulk of the album was produced and recorded by Grammy Award-winning producer and multi-instrumentalist Mike Elizondo (Eminem, 50 Cent, Fiona Apple, Alanis Morissette) at his studio just outside Nashville. First single “All You Ever Wanted” is propelled by choppy rhythm guitars and a restlessness we’re all currently feeling. The album was recorded purposefully like a live album – the sound is real and 100% human. Long time collaborators Ben Jackson-Cook (keys, co-songwriter and co-producer of the album), Bill Banwell (bass, and co-songwriter) and Desri Ramus (backing vocals) are joined by drummer Daru Jones (Lazaretto-Jack White) and guitarist Wendy Melvoin who joined Prince’s Revolution. Together these musicians have made an album full of joy and immediacy, something all too rare these days of autotune and countless overdubs. Life By Misadventure is the perfect tonic for these times. An album of depth and soul, about growing up and moving forward. Enjoy the trip.

File Under: Blues, Soul
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Satomimagae: Hanazono (RVNG Intl) LP
Satomimagae entrusts listeners with Hanazono, a compendium of miniature beauty, a sonic globe enclosed with subtly resonant energies. Satomi’s fourth full-length arrives as an invitation to revel in your immediate and imagined surroundings; to make time and space for guileless curiosity and garden variety enchantment. Hanazano, translated as “flower garden,” is a tribute to everyday mysticism, that sense of pure and private wonder excited by a stone, a river, or winds. Its often unplugged and affective register does not emanate from raw, emotional sources, rather a more devotional, process-oriented yet playful framework. Described by Satomi as a “small outer space,” this sound enclosure is a safe remove from the world where an artist can create, just for herself. Each song on Hanazono is dedicated to a simple theme, object or image, out of which grows uncomplicated melodies wrapped in layers of textural warmth, like a flower subtly moving in sway with its environment. Accompaniments of avian calls and electric guitar strata, added by Hideki Urawa, who also mixed Hanazono, suggest a spacious firmament above this burgeoning bed of earth. An ecology of simple, cyclical refrains are bathed in humming ethers, elegiac entreaties cross-pollinating with ludic and layered folk vibrations. These are songs, lyrically light footed and tunefully mellow. Every element has its place, blooming in synchronicity with its sphere. Hanazono realizes a shift in the artist’s habitually intimate and introspective tendencies. Though there are perceptible shades to this space – suggestions of isolation and vulnerability – there is a balance of light which resonates outwards. There is a sense of seeing the world around with wide-eyes, and belonging to it. This way of looking and being is reflected in the folktale relief print illustration which covers the album, setting a scene of sanctuary and insight for this green, growing patch of sound.

File Under: Japan, Folk, Pop
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Squrl & Jozef Van Wissem: Only Lovers Left Alive OST (Sacred Bones) LP
Coloured vinyl! Jim Jarmusch’s 2013 crypto-­vampire love story film, Only Lovers Left Alive is set against the romantic desolation of Detroit and Tangier and features an underground musician (Adam, played by Tom Hiddleston), who is deeply depressed by the direction of human activities. He reunites with his resilient and enigmatic lover (Eve, played by Tilda Swinton). Their love story has already endured several centuries at least, but their debauched idyll is soon disrupted by her wild and uncontrollable younger sister (Ava, performed by Mia Wasikowska). Can these wise but fragile outsiders continue to survive as the modern world collapses around them? Only Lovers Left Alive won the 2013 Cannes award for best soundtrack. The soundtrack, predominantly by Dutch lutenist Jozef Van Wissem and SQÜRL (Jim Jarmusch, Carter Logan and Shane Stoneback), also features Zola Jesus, Yasmin Hamdan and Madeline Follin (of Cults). Avant-Baroque lute weaves through twenty-first century guitar grit, heavy back beats, Moroccan percussion, synth bass, field recordings, and numerous sonic effects to create a cinematic tapestry. The physical formats of the soundtrack have gone out of print and in the years that have followed it has remained a favorite of critics and fans alike, who have continued to hunt down the limited vinyl copies in existence. Sacred Bones is thrilled to bring this incredible soundtrack back into circulation.

File Under: OST
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Teke::Teke: Shirushi (Kill Rock Stars) LP
TEKE::TEKE is a unique beast. A seven-piece experimental-rock band that fuses traditional Japanese instruments and influences with loud fuzzy guitars, trombone, flute, keys and a powerhouse rhythm section to create a modern take on a sound reminiscent of 1960’s-70’s-era psychedelic Japanese soundtracks. The delirious yet sharp song arrangements are a perfect playground for vocalist Maya Kuroki’s wide range of singing and theatrical delivery, where her voice sometimes screams frantically and sometimes soothes. Live, the band’s frenetic energy is palpable, a vibrant punk circus that hits you like a storm. Their debut album ‘SHIRUSHI’ (or ‘signs of great changes to come’) takes you through a vast array of imagery and sonic landscapes. Recorded and mixed by Seth Manchester (Battles, Daughters) at Machines with Magnets and mastered by Heba Kadry (Bjork, Julianna Barwick), the resulting album is as storied and unique as the band itself.

File Under: Psych
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The Who: Sell Out (Geffen) LP
By early 1968, The Who had been a prominent part of British pop culture for three years. Their reputation as a live force, and Pete Townshend’s growing ambition as a writer, was taking them beyond the bounds of throwaway chart music, and ever closer to the grand concepts of their later work. In January 1968, they took a major step in that direction with their third album, The Who Sell Out, which made its British chart debut. The album was Townshend’s big statement about commercialization and the demands on himself and the band to be presented as a product – and they certainly had some fun with it. Behind the bold front cover images of Pete with his Odorama deodorant and Roger Daltrey with his bathtub of baked beans, the record featured mock commercials, three John Entwistle compositions (for which he performed lead vocals) and an opening track, “Armenia City In The Sky,” written by John ‘Speedy’ Keen of Thunderclap Newman. Keen’s most famous song, the band’s UK No. 1 “Something In The Air,” was of course produced by Townshend. The Who Sell Out also boasted a major hit single, in the form of the somewhat psychedelic “I Can See For Miles,” which preceded it in the Autumn of 1967 and reached No. 10 in the UK. The song also became their only top ten hit single in the US, where it peaked at No. 9 on the Billboard Hot 100. The album peaked at No. 13 in the UK, well below the top five heights of their first two albums, and stalled at No. 48 in America. But as a forerunner of the big ideas that were soon to emerge from the band, it was a significant release.

File Under: Rock
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Zeal & Ardor: Wake of a Nation (Zeal & Ardor) LP
“It is and remains my conviction that a story has to speak for itself, and that any words a writer adds to it after he has finished telling it are a cop-out, a lie or a mistake”. While I agree I feel pressed to make an exception for this EP. ‘Wake of a Nation’s intent and context should be obvious. I like to revel in ambiguity and in room for interpretation. This is not the case here. These 6 songs are a knee jerk reaction to what has happened to my fellow people in the last months. Originally I was set to record an album scheduled to come out next year. As these songs were written due to the horrendous events that instilled them I decided to release them as soon as possible. Using the rich heritage and culture as a part of my musical identity it felt like cowardice to sit by and continue with my routine as if nothing happened. This record is for Michael Brown, Eric Garner, George Floyd and the countless untold and nameless killed. It is for the brave souls willing to take a stand and ready to risk their own wellbeing so that others may have theirs intact.
File Under: Metal
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Various: Alan Lomax’s American Patchwork (Mississippi) LP
2xLP set of performances documented by Alan Lomax during his final American field recording project, newly remastered and all previously unreleased on vinyl! This set brings together the standout recordings Lomax made in his attempt to document the last vestiges of the “local surround” in Mississippi, Appalachia, and Louisiana. Intimate performances by R.L. Burnside, Tommy Jarrell, Boyd Rivers, Napoleon Strickland and many more form a rich tapestry of distinctly American musical traditions. From 1978 to 1983, Alan Lomax and a video-crew travelled through the American South and Southwest, documenting its traditional music — miners, moonshiners, and Primitive Baptists in Kentucky; flat-footers, string bands, and Piedmont blues in North Carolina; Cajun cowboys, fiddlers, and zydeco stompers in French-speaking Louisiana; and fife-and- drum ensembles, gospel quartets, former railroad track-liners, levee-camp muleskinners, and players on the pre-war blues circuit in Mississippi. This footage ultimately totaled some 350 hours and was edited into Lomax’s American Patchwork series, which aired on American public television in 1991. But given the strictures of the form, hundreds of discrete performances and compelling scenes were left unseen and unheard.
File Under: Blues
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Various: AOR Global Sounds 1977-1984 (Volume 5) (Favorite) LP
Favorite Recordings and Charles Maurice proudly present the 5th edition of the AOR Global Sounds compilations series: 8 rare and hidden tracks, produced between 1977 and 1984 in various parts of the world. Started in 2015, the AOR Global Sounds series was born from the will of Charles Maurice (aka Pascal Rioux) to share his longtime love for the AOR and WestCoast movement and highlight its influence for many artists in the late 70s and early 80s. In this 5th volume, he selected again highly forgotten productions, deeply infused with Disco and Soul flavors. Half of the compilation’s tracklist is naturally coming from the US, homeland of this music style, while the other half is made of productions from all over the globe, from France or United Kingdom to Venezuela. And for most of these beautiful songs, it came from artists and bands rather unknown and often released as private press. Often, these records will have a special story, sometimes they’re just part of the universal quest of finding true love. Nonetheless, they all carry a wide range of emotions magnified by the music. For example, “Don’t Take It Away” by Westside is as a love song about a new relationship, recorded in Minnesota and mastered on Sunset Bld. (Hollywood) by Bernie Grundman, who worked on Thriller – funny thing, the original LP is a picture-disc, which was still quite rare back in the days because the singer saw one from Mickael Jackson when visiting the studio. “Til’ Mornin’ Comes”, the only release by The Ferry Brothers, is also a love song, recorded in NYC with notably Gwen Guthrie, Vivian Cherry & Patti Austin singing as backup vocalists. On “What Its Meant To Me”, Jonathon Hansen remembers with emotion the good times spent with the members of his band including the vocalist he was in love with. On “J’Irai Squatter Ton Cœur”, Didier Makaga better-known as a French Boogie & Pop singer, arranger & composer, sings a charming declaration of love on a heavy and groovy eighties production. “You Never Know” by Rhapsody, recorded in Connecticut, sounds more like an East coast fusion of Soul and Jazz-Funk à la James Mason. “What You Do To Me” by Sugar Cane was highlighted on a Pittsburgh Rock Radio compilation: listening to this smooth ballad with its amazing Moog synth break will lift your soul. “Kailua” by Venezuelan Jazz-Funk band Esperanto, is a song about Hawaii which evocates bucolic dreamy nights facing the ocean, a typical AOR vibe. Finally, “I Need You” from Mark Williamson is a blue-eyed soul UK groover ending on a four-on-the-floor climax!

File Under: Funk, Soul, Disco
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Black Pumas: s/t (ATO) LP
Bohren & Der Club of Gore: Black Earth (PIAS) LP
David Bowie: Blackstar (Columbia) LP
Can: Future Days (Mute) LP
The Clash: Give ‘Em Enough Rope (Epic) LP
Cyrnai: 1980 – 1990 (Dark Entries) BOX
John Coltrane: Blue Train (Blue Note) LP
Death Cab For Cutie: Transatlanticism (Barsuk) LP
Elder: Dead Roots Stirring (Armageddon) LP
Elder: Lore (Armageddon) LP
Fleet Foxes: s/t (Sub Pop) LP
Fruit Bats: The Pet Parade (Merge) LP
Fugazi: s/t (Dischord) LP
Gruesome: Twisted Prayers (Relapse) LP
Richard Hell: Destiny Street Remixed (Omnivore) LP
Joy Division: Unknown Pleasures (Rhino) LP
Kraftwerk: Autobaun (Parlophone) LP
Kraftwerk: Man Machine (Parlophone) LP
Kraftwerk: Trans Europe Express (Parlophone) LP
Khruangbin: Con Todo El Mundo (Dead Oceans) LP
King Gizzard & The Lizard Wizard: K.G. (King Gizzard) LP
King Gizzard & The Lizard Wizard: Live in San Francisco (King Gizzard) LP
Mary Lattimore: Silver Ladders (Ghostly) LP
Peggy Lee: Black Coffee (Acoustic Sound) (Verve) LP
Corb Lund: Cover Your Tracks (New West) LP
Mr. Bungle: Raging Wrath of the Easter Bunny Demo (Ipecac) LP
Nails: Unsilent Death (Southern Lord) LP
Nirvana: MTV Unplugged In New York (Geffen) LP
Tom Petty: Finding Wildflowers (Warner) LP
Pink Floyd: Dark Side of the Moon (Pink Floyd) LP
Pink Floyd: Meddle (Pink Floyd) LP
Rage Against The Machine: s/t (Legacy) LP
Gil Scott-Heron: I’m New Here (XL) LP
Gil Scott-Heron: Pieces of a Man (BGP) LP
Silkworm: In the West (Comedy Minus One) LP
Smog: A River Ain’t Too Much to Love (Drag City) LP
Justin Townes Earle: Saint of Lost Causes (New West) LP
Ween: God Ween Satan (Plain) LP
Neil Young: Young Shakespeare (Reprise) LP
Various: Saigon Supersound Vol. 1 (Saigon Supersound) LP
Various: Saigon Supersound Vol. 2 (Saigon Supersound) LP
Various: Wilcovered (BMG) LP

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