…..news letter #1035 – s’much…..

Another monstrous week for new arrivals and restocks. It was hard to cap it at just 3 picks this week as there’s so many great slabs in. As usual, things are already flying and selling out of the site, so dig in and get to it. Obviously, no used post tonight.

As previously mentioned, in line with current health restrictions we are operating as below..

– in-store shopping/pick ups – 11 – 6 pm Monday – Friday, 11 am – 4 pm Saturday
(if you don’t want to come into the store for a pick up, call and/or use the back door)
– Max 4 people in the store at a time
– Wear a mask(if you don’t have one, we’ll have some)
– Sanitize your hands(we’ll have some)

…..picks of the week…..

HTRK: Rhinestones (N&J Blueberries) LP
‘Rhinestones’, the 5th studio album by HTRK. It finds the duo stripped to a quietly cathartic, windswept arrangement of bare vocals rent with spectral webs of synth and countrified guitar in a wholly inimitable style that’s enveloped and crushed our spirit like nothing else we heard all year. It does that thing so few albums do of feeling entirely familiar, cut from classic material, but skewed just off centre in a way that makes it hit entirely differently.  If yr into anything from Dean Blunt to Mark Hollis, Gillian Welch to Slowdive, we’re pretty sure it’ll lodge itself deep in your heart. Recorded in their native Dandenong Ranges, Australia, ‘Rhinestones’ contains some of HTRK’s most aching/gratifying songwriting secreted in subtly plangent sheets of dubbed guitar, pads and crackling 808s that forge a sort of quasi-Americana that feels comforting and out of place. The soul of their songcraft somehow bleeds out more clearly than ever, infusing every song from the heartbreak pucker of ‘Kiss Kiss and Rhinestones’ to the intoxicating sway of ‘Gilbert and George’ with the tumescent glow of MDMA-tingled flesh and the uncanniest air of déjà vu. All nine songs land with a level of sensitivity that reveals every shimmering string, pad and echoic snare contrail like a halo around Jonnine’s voice, which regales tales of love, friendship and the mysteries of the night with a diaristic directness that has devastating emotional impact. In key with the times, the songs feel like the soundtrack to emptied cities, casting gothic shadows in the spellbinding reverbs of ‘Valentina’ and mottled beauty of ’Siren Song’, while Conrad Standish (CS + Kreme) lends bass guitar gilding to the empty saloon sashay of ‘Real Headfck,’ and ’Straight To Hell’ basks in a transition between the golden and crepuscular hours. Oh – and  ‘Sunlight Feels like Bee Stings’ – what a title?! No other band do it quite like HTRK, and ‘Rhinestones’ feels like their purest iteration, conjured in a mist of love and inebriation.

File Under: Dream Pop, Lo-Fi, Ambient
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Ulla: Tumbling Towards a Wall (Experiences LTD) LP
Immersively sensual, diaristic entries by cult US ambient avatar Ulla (aka Ulla Straus), the first release on Experiences Ltd, a new label run by Special Guest DJ (uon, Caveman Paradise), and a big recommendation if yr feeling Huerco S, Nadia Khan, Dominique Lawalrée, Ryuichi Sakamoto. ‘Tumbling Towards a Wall’ is a keening batch of dematerialised atmospheres and lilting rhythms bound to lull listeners into hypnagogic states with its anxiety-sink ambient spongiforms and diary-like and drift-away textures. In eight low-lit and fuzzy parts they feel out smudged textures flecked with iridescent, gauzy melodies and habitual, stream-of-consciousness keys that toe the finest line between enervated and ember-like. It’s a proper, cockle-warming sound that says its piece with measured modesty and a glowing sense of soul that resonates with Dominique Lawalrée and Ryuichi Sakamoto just as much as Ulla’s peers, such as Special Guest DJ and Pendant. The sort of record that may leave users struggling to even get up and flip the sides, such is its soporific pull, ‘Tumbling Towards a Wall’, enacts a sort of slow motion collision with all the sensuality of knackered Ballardian pillow-talk. Each track here teases the senses with a range of frayed, fractured and breezily unresolved structures that exert an ideal ambient sleight-of-hand primed to lead listeners’ thoughts off on their own woozy tangents between the music’s mix of syrupy/brittle rhythm and elusive atmospheric clag. On the A-side the sounds all remains detectably electronic, but for those who manage to keep their lids over half-mast, the B-side blossoms with sampled acoustic textures between a scudding choral cut-up that’s surely worth the entry alone, and in the closing thread of rainy day piano keys that perfuse and wilt in the heart-clutching closing piece. For solitary reflection, Ulla’s first mononymous release is a gorgeous record that mellows and balances any physical or mental space it comes into contact with.

File Under: Ambient
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AHRKH: Bliss Waves (From the Heart Realm) (Zamzam) LP
∿ ∞ _-¨ Ultradimensional Transportation Music ∿ ∞ _-¨
“Forget your worries, lie back, and rest your mind. Watch the sun gently set on this world as pink-tinged clouds drift by like thoughts in your mind and feel yourself letting go . . . nowhere to go . . .nowhere to be. Nothing matters, nothing exists outside of this moment . . . right here. . . right now.” ZamZamRec are ecstatic to announce the first vinyl release from AHRKH, the solo project of Gnod’s A P Macarte : BLISS WAVES (FROM THE HEART REALM).  Recorded during the first UK lockdown in 2020, BLISS WAVES brings us an hour of undulating, swirling, vaporous and transcendent waves of sonic bliss. Macarte may be best known for blowing out our senses with his work in the experimental noise collective GNOD, however he returns this time to ZamZamRec under his solo moniker AHRKH with a triad of delicate, transcendental sound works, more closely aligned with the ambient sonic journeys he transports us on via his monthly NTS radio show, Golden Ratio Frequencies. Following on Macarte’s 2015’s ZamZam release “Tone Mantra”, and from last year’s deeply meditative “Beams From A Spiritual Panorama” cassette (Golden Ratio Freq), BLISS WAVES (FROM THE HEART REALM) finds the Manchester-based artist and Sound Therapist delving into a more “Nu-Age” sound palette of mystikal aeriferous sound waves, cascading arpeggiators and bliss-out drone tones, resulting in something akin to Laraaji’s ecstatic zithers being dosed in psilocybin and modulated through LSD soaked synthesisers. Though recorded during the first UK Lockdown in 2020, the music wasn’t initially intended to be a “lockdown” album. It was simply born out of a time of innocent play and deep rest, as the world outside seemingly slowed down and offered a collective moment of quiet repose.

File Under: New Age, Ambient
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…..new arrivals…..

Alien Nose Job: Paint It Clear (Feel It) LP
One of the most familiar faces in the busy Melbourne music scene; Jake Robertson (who you may remember from such class acts as Ausmuteants, Hierophants, School Damage, et al) returns in full-fledged form with another unruly record from his solo alter-ego ALIEN NOSEJOB. Thirteen months on since the hardcore-punk inspired concept album, ‘Once Again The Present Becomes The Past’, Alien Nosejob turns the ship back to front and sails in a new direction, yet again. Paint It Clear mixes sounds of classic 80’s new wave and post punk whilst sprinkling in the occasional disco track on top. But don’t let these descriptions throw you off – it still carries Robertson’s classic screech of cheeky yet witty lyrics and sharp songwriting hooks. After three home-recorded records prior to this, Mikey Young has finally been phoned in to take over the production controls and breathes a whole new way of life into Alien Nosejob. Never before has ANJ been heard in such fidelity. The clarity! The definition! The dynamics! It all shines brighter than ever before resulting in a record that Robertson’s “parents could actually listen to”. There’s a little something for everyone; whether it be 80’s Cure-inspired synths in Duplicating Satan, the robust Devo-like feel of Leather Gunn, the sing-along chorus of Crusader of Coles, or the melodic, minor closer that is Bite My Tongue. There’s even The Butcher; a piano ballad inspired by the Fun Boy Three, showcasing Jake’s skills as not just a songwriter, but a damn fine singer.

File Under: Punk
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Anteloper: Kudu (International Anthem) LP
ANTELOPER is the electric brain child of JAIMIE BRANCH (fly or die, high life) and JASON NAZARY (little women, helado negro, bear in heaven). Branch and Nazary have been playing together as trumpeter and drummer for years, since meeting at the New England Conservatory of Music in 2002, but in this duo both musicians include synthesizers to push further into the spectral space ship ether. With deep rhythmic passages, telepathic improvisations and effortless melodic negotiations, Anteloper pushes forward, swinging its horns all the while.

File Under: Jazz, Electronic
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Félicia Atkinson & Jefre Cantu-Ledesma: Un Hiver En Plein Été (Shelter Press) LP
Dunno what sort of alchemy took place in Brooklyn in 2019, but this first in-person (full length) collaboration between long-time file-sharers Félicia Atkinson and Jefre Cantu-Ledesma is – quite dramatically – the most enveloping and deep work either artist has been involved with in both their respective and mutual careers thus far. There’s a deeply Badalamenti-esque quality at play here – and we don’t mean the throw-away stuff – but a properly enveloping fog o smoke, all shuddering, single-note bass plucks and neon lit engineering that’s like an arthouse companion to Bohren & der Club of Gore via Richard Youngs’ peerless CXXI set from earlier this year, into 80’s 4AD and classic Tarkovsky’s scores. Aye, we’re into this one, big time. Resounding with a discrete, sublime sense of closeness, ‘Un Hiver En Plein Ete’ (‘A Winter in the Middle of Summer’) renders the results of Atkinson and Cantu-Ledesma’s studio sessions in August, 2019. To our ears, the six parts offer a whirling, transient sense of joy in the act. Everything feels in a perpetual motion, with instrumental gestures enlivened by a subtle but key use of electro-acoustic rendering that leaves space to the imagination, from the tip-of-tongue unfurling of Félicia’s ASMR-like vox and Jefre’s oily bass strokes in ‘And All The Spirals of the World’ to the aleatoric enigma of the field recording textures that precipitate glistening wind-played chimes and the sonorous, floating pads of ‘The Hidden’, enriching the stereo-swirled spiritual jazz intimation of ‘Septembers’, and with an absorbing mix of rawness and oneiric surreality on the album’s nine minute centrepiece ‘Not Knowing’ that reminds us of the strange state of stasis offset by the gnawing knowledge of a world in psychic distress. While their performance – Atkinson on piano and voice, and Cantu-Ledesma harnessing space dilating electronics – is distinct, the music itself offers an emotionally unified sense of purpose; it’s a musing on friendship that transcends artistic influences and guiding narrative lines. The duo still make connections to the past, but on “Un Hiver En Plein Ete” they sing a song of closeness, and gesture at the sublime jumble of thoughts and desires that dissolve and weather with time. Isolated by borders, restrictions, sickness and circumstance, it feels as if friendship is more insurgent than ever.

File Under: Ambient, Classical,
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David Bowie: Low (Parlophone) LP
Celebrate the 45th Anniversary of David Bowie’s landmark Low album with this limited orange vinyl edition. First released by RCA Records on Friday, January 14 1977, Low was Bowie’s 11th studio album. The album’s working title was New Music: Night And Day, but saw a last minute name change to the visually punning Low. It was Bowie’s first exploration into the electronic and ambient music realms. The album was recorded following Bowie’s move to West Berlin after a period of drug addiction and personal instability, Low became the first of three collaborations with producers Brian Eno and Tony Visconti, later termed the Berlin Trilogy. Following through with the avant-garde inclinations of Station to Station, yet explicitly breaking with David Bowie’s past, Low is a dense, challenging album that confirmed his place at rock’s cutting edge. The record is defiantly experimental and dense with detail, providing a new direction for the avant-garde in rock & roll. Driven by dissonant synthesizers and electronics, Low is divided between brief, angular songs and atmospheric instrumentals. Throughout the record’s first half, the guitars are jagged and the synthesizers drone with a menacing robotic pulse, while Bowie’s vocals are unnaturally layered and overdubbed. During the instrumental half, the electronics turn cool, which is a relief after the intensity of the preceding avant pop. Half the credit for Low’s success goes to Brian Eno, who explored similar ambient territory on his own releases. Eno functioned as a conduit for Bowie’s ideas, and in turn Bowie made the experimentalism of not only Eno but of the German synth group Kraftwerk and the post-punk group Wire respectable, if not quite mainstream. Exclusive ORANGE vinyl produced by Parlophone Records in 2022 in celebration of the album’s 45th Anniversary.

File Under: Rock, Ambient
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Burial: Antidawn (Hyperdub) LP
Antidawn reduces Burial’s music to just the vapors. The record explores an interzone between dislocated, patchwork songwriting and eerie, open-world, game space ambience. In the resulting no man’s land, lyrics take precedence over song, lonely phrases color the haze, a stark and fragmented structure makes time slow down. Antidawn seems to tell a story of a wintertime city, and something beckoning you to follow it into the night. The result is both comforting and disturbing, producing a quiet and uncanny glow against the cold. Sometimes, as it enters ‘a bad place’, it takes your breath away. And time just stops.

File Under: Ambient, Electronic
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Donald Byrd & Art Pepper: Motor City Scene (BMG) LP
Hailing from the Detroit jazz scene, trumpeter Donald Byrd and baritonist Pepper Adams join forces with guitarist Kenny Burrell, pianist Tommy Flanagan, bassist Paul Chambers and drummer Louis Hayes (aka “Hey” Lewis) to form the all-star sextet heard on 1960’s Motor City Scene (also issued as Stardust). The album opens with “Stardust,” or “music to get lost in” as described by All About Jazz. Adams then takes the lead on “Philson” followed by Chambers and Hayes’ up-tempo version of “Trio.” “Libeccio” reflects a contrast of talent from the entire sextet while the proceedings end on a high note with their hard-swinging rendition of “Bitty Ditty.” 180g vinyl LP reissue.

File Under: Jazz
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Bill Callahan & Bonnie Prince Billy: Blind Date Party (Drag City) LP
The Blind Date Party hosted by Bill Callahan and Bonnie ‘Prince’ Billy and featuring AZITA, Matt Sweeney, Alasdair Roberts, Matt Kinsey, Sean O’Hagan, Bill MacKay, George Xylouris, Dead Rider, David Pajo, Mick Turner, Meg Baird, Ty Segall, Emmett Kelly, Cory Hanson, Six Organs of Admittance, David Grubbs, Cassie Berman, Cooper Crain and Sir Richard Bishop happened online in the fall and winter of ’20–’21—but the party planning dated back to the spring of 2020. Stuck at home, with no gigs in the foreseeable future, Bill, Bonnie and Drag City needed an outreach program to keep themselves busy, not to mention sane. In the absence of any company or anything on the calendar, playing songs they loved was an idea; playing with people they loved, the desire. And making it fun—so pairing someone with someone else having no say in the matter, the essence of the blind date, was the plan. Favorite songs were chosen; players from around the Drag City galaxy were messaged. Pretty soon, songs were flying back and forth—music in the air!

File Under: Folk, Indie Rock
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Celer: Sunspots (Oscarson) LP
In ascending order, September. The lava pools are a steady hue of blood red (1). This doesn’t change throughout the seasons (2). However, after months – almost 1.5 years now, the longer I stare at them on my daily walks through the bolsons, the bubbles seem to turn it into a more burnt orange (3). In addition, my lungs feel increasingly burned, from nightly chainsmoking (4). I’ve been able to reduce my intake of wine (white wine no longer makes me nauseous) to one bottle per week (5). Usually this is after what should be the most stable day of communication with family and/or friends – of which I’m allotted one day per week, as their schedules allow (6). In addition, there are nightmares. Reconciliation fantasies (7), or alternate realities of which are the most absurd, with shifting centuries (8). Lastly, there is the view from waist level, and up, in kaleidoscopic form (9). Everyday is the same. This projected sunlight, symmetrical patterns, tilted surfaces – by now it should be obvious why each direction is the same – it is all simultaneous (10). I’m starting to feel this way as well – I think that is the effect of this place (11). You heard this before, and have seen this before. I’ll leave you with this – stop expecting something to change – because it already happened, you just were looking for the wrong kind of change (12). All music by Will Long. Created with reel-to-reel tape micro-samples and homemade reel tape flanging. Mastered by Stephan Mathieu at Schwebung

File Under: Ambient
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Ceptic Frog: s/t (Lion) LP
Ultra-rare rehearsal sessions from 1969 by this South African heavy psych / acid rock band, mastered from a tape transfer — and yet still doom-laden, dark, heavy, and as messy as can be, in all the right ways. Influences from heavy bands of the time, such as Black Sabbath, Deep Purple and Steppenwolf are noticeable, with proto-doom and psych/funk undercurrents. Do you like fuzz guitar? You’re going to hear it screaming and wailing and building to epic tidal waves and crashes, the kinds of astonishing guitar cascades not heard since you cued up the best of all available live Jimi Hendrix recordings. “In here lies the bones of all heavy metal ancestors. Enter at your own peril.” — a poster on Reddit And talking about a track known online as ‘Bufo Gutturalis,’ another poster’s assessment: “I gotta say this is one of the most shocking songs from 60s, it’s impressive how the sound can be heavy and dark — it is also one of the [earliest] released songs most closely to call proto-doom.” “When you listen to the stuff, well the first thing you might say is ‘this stuff is pretty raw’ and you are right. But that is what I always dug about it… I was told they would all go to a rehearsal session after smoking lots of “Durban Poison” and I think the result really speaks for itself. I am very happy that this little dirty gem is finally seeing the light of day. I have no idea what the world is going to think of it, but maybe because there’s no names, faces, or information other than my own recollections, maybe that forces the listener to use their imagination. Ceptic Frog, 1969: music created by South African teenagers very high on Durban Poison. Gotta love it.” —Rich Patz, ShroomAngel Records

File Under: Africa, Psych
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Cindy: 1:2 (Mt. St. Mtn) LP
“Karina Gill. She became a musician only recently, having sat on the sidelines while ex-partners and friends made their stabs at it. Gill describes a chance encounter with an abandoned Squire Strat left in the basement by a previous tenant, ‘mummified in electrical tape with the remnants of a burrito on the head stock’, that led her to begin carefully strumming her way through simple chords and making her own songs. After one interesting self-released LP, still finding their footing, the band made the masterful and buzzed-about Free Advice, which went from a limited cassette on local SF label Paisley Shirt to vinyl pressings on Tough Love (UK) and Mt. St.Mtn. (USA). Cindy’s third LP arrives in quick succession, the quietly devastating 1:2. Jesse Jackson on bass, Simon Phillips on drums and Aaron Diko on keyboards weave the perfectly thin web behind Gill’s slow Velvety strums and murmured melodies. The rhythm section brings the crude flow, while the keys add subtle and surreal counterpoint to the withering world Gill depicts in her lyrics. ‘Songs tie together seemingly disparate things by the logic of mood,’ Gill tries to explain. This isn’t dream-pop sunshine bliss; half-closed black drapes hang on the window where the narrator stares into the middle distance. ‘Sometimes you say you’re feeling small/You plan all day for your own funeral’, she intones in Party Store. Gill has a way of halting her phrasing that makes it feel like her thoughts are gently tumbling into the abyss. It’s this unsettling quality mixed with the hazy atmosphere that makes Cindy’s new LP 100% addicting and the perfect antidote to comfort listening.”—Glenn Donaldson, 2021. Edition of 400 copies on bone colored vinyl.

File Under: Indie Rock
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John Coltrane: Crescent (Impulse) LP
This 1964 Bob Thiele-produced gem features John Coltrane’s jazz quartet – consisting of McCoy Tyner, Jimmy Garrison and Elvin Jones – playing all original Coltrane compositions, with the leader playing tenor saxophone exclusively. The music represents Coltrane’s masterly return to meticulous form and structure, and post-bop modality, after several years of free-form experimentation alternating with traditional balladeering. The performances of these five compositions are regarded as some of the finest and most lyrical playing ever recorded by the Coltrane quartet. This all-analog 180g vinyl LP reissue was mastered from the original analog tapes by Ryan K. Smith at Sterling Sound, pressed at QRP, and comes housed in a Stoughton tip-on gatefold jacket.

File Under: Jazz
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Stanley Cowell: Musa-Ancestral Streams (Pure Pleasure) LP
Musa Ancestral Streams remains a relative oddity in the pantheon of jazz’s black consciousness movement — a solo piano set of stunning reach and scope, its adherence to intimacy contrasts sharply with the bold, multi-dimensional sensibilities that signify the vast majority of post-Coltrane excursions into spiritual expression, yet the sheer soulfulness and abandon of Stanley Cowell’s performance nevertheless vaults the record into the same physical and metaphysical planes. Cowell’s energy and touch are remarkable as if guided by divine power, and for all the music’s structural spaciousness and rhythmic freedom, not a note feels out of place, let alone excessive. Most intriguing is “Travelin’ Man,” an overdubbed “duet” featuring Cowell on both acoustic and electric piano that underscores his uncommon affinity for space and presence.

File Under: Jazz
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Larry Douglas Alltet: Dedications (Tidal Waves) LP
Larry Douglas has ruled as one of San Francisco’s top trumpet/flugelhorn players for more than three decades. A native of Statesboro, Georgia, Douglas found early inspiration in the music of his older brother Gary (who played trumpet) and his high school teacher James Blakely (who played alto saxophone). While in college, he and his group Funk, Incorporated (a self-proclaimed Earth, Wind, & Fire pre-cursor band), took first place in the national and international levels of the Budweiser Music Festival competition. He moved to San Francisco, as a member of the United States Army’s Sixth Division Band, in 1975. With his velvety-silky tone and wide-ranging musical curiosity, Douglas has been one of the Bay Area’s biggest jazz names for decades. In addition to leading his own Jazz-funk group, (The Larry Douglas Alltet), he has worked with such stellar musicians as Freddie Hubbard, Chuck Berry, Albert Collins and Sun Ra. As a member of ‘Johnny Otis and His Orchestra’, his playing was featured on four albums including the Grammy-nominated ‘Spirit Of The Black Territory Bands’…and later Douglas toured internationally with Johnny’s son, Shuggie Otis. Mr. Douglas has a Bachelor’s degree in instrumental music education from Florida A&M, and a Masters of Music degree from the San Francisco Conservatory, Douglas has shared his musical knowledge with students at Aptos Middle School, from 1981 until 1990, and Galileo High School of San Francisco, since 1991. He also teaches a jazz history course at Vista Community College. Currently Douglas collaborates with renowned percussionist Jorge Pineda, whose curvier approach to Latin percussion and improvisational fluency make for a shimmering partnership. Larry Douglas has become a mentor and a father to five children of his own. All of them followed in his musical footsteps. One of his sons, LaDamon (also known as Fatboi) is a hip-hop producer in Atlanta who has produced music for big names such as Gucci Mane, Flo Rida, and 2 Chainz. Larry even plays trumpet & flute on ‘The Hustle’ by Nas, a track his son produced. His debut solo album Dedications, which we are proudly presenting you today, was released in 1985 as a tribute to his son and the boy’s two aunts. Dedications received tremendous response all over the globe and two tracks from the album were even sampled by Madlib in 2010. Also featured on these recordings are some serious all-star guest musicians from the likes of Ronald Wilson (Sun Ra Arkestra) and Jimmy Lewis (Horace Silver, Idris Muhammad). If you enjoy high-energy electric fusion, strong percussions, straight-up traditional acoustic jazz, vibrant horns, plenty of soul-funk-latin influences and frenetic pulsating rhythms…then this is a highly recommended gem for your record collection (and a must-have for seekers of rare grooves). Whether playing trumpet or trombone, Mr. Douglas is the master of his craft and Dedications will satisfy even the most demanding listeners. By the end of the album you are simply left wanting MORE. It’s musicians like Larry Douglas who truly keep the flame of jazz burning bright. Tidal Waves Music now proudly presents the FIRST ever vinyl reissue of this fantastic album (originally privately pressed and released in 1985). This rare record (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited 180g vinyl edition (500 copies) complete with the original artwork and sleeve notes by Larry Douglas himself.

File Under: Jazz
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Dream Unending: Tide Turns Eternal (20 Buck Spin) LP
Derrick Vella (Tomb Mold) and Justin DeTore (Innumerable Forms) have joined their dark psyches and deliberate, distinctive approaches to create Dream Unending. While it might be possible to point to certain elements of their debut album Tide Turns Eternal that are familiar in that regard, the fact is Dream Unending takes these two stalwarts of the modern underground death metal scene in some entirely new and unexpected directions, offering the first glimpse of what promises to be a constantly evolving form. Imbued with the dark atmosphere and wilting romanticism of the legendary “Peaceville 3”, (Anathema in particular), Dream Unending merely uses that moment in time as a starting point to compose songs that drift between emotional states both forlorn and uplifting. Ascendent Floydian guitar textures and sparkling The Cure-esque strumming lift Tides Turns Eternal out of the purely metal realm, where moody rock introspection allows for Elysian respite before DeTore’s world crushing roar assures no escape from earthly tumult is certain. Yet Tide Turns Eternal is more a fever dream than the perpetual nightmare typical of the genre, a place where guarded hope is as possible and real as despair. In that way Dream Unending step into riskier territory, free to explore the vivid spectrum of human sentiment that ultimately leads away from the nihilism of everlasting pain.

File Under: Metal
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Elkhorn: The Black River (Debacle) LP
Elkhorn are longtime friends Jesse Shepard (12 string acoustic guitar) and Drew Gardner (electric guitar). Fresh off their debut tape on Beyond Beyond is Beyond, this incredible duo fuses a rich vein of American primitive with psych, jazz, and improv. The result is a nearly perfect album that wildly bounds through the American story of guitar in the 20th century. It is a high wire act of the highest order. Album will come on heavyweight vinyl in a beautiful sleeve designed by Mikey Rioux with spot UV gloss embellishment.

File Under: Guitar, Folk, Psych
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Exek: Advertise Here (Castle Face) LP
“Gliding in on the twin engine discordant tones we’ve come to love from EXEK comes their new transmission Advertise Here. Beats bumping up thru a flapping spring reverb, gilded production choices, stripped bass bubbling in the cauldron. With each pass of the witch’s ladle, words float in the steam over the cacophonous concoction. The coven that croons together slays together, with every layer peeling back on our ear’s tongue we will exclaim ‘wicked’—perhaps their strongest effort yet. “The twin engines reappear now, tardy, guitar and synthesis, rounded edges, worn and ever so slightly fuzzed out—perfection. This LP strives for new lyrical highs in my opinion. Pop at an arm’s length, thru a greasy lens: A conversation. A conversation on drugs. A passing comment that sticks an utterance from the death bed. Reminiscent of Brian Eno, White Fence, PiL, Full Circle, ESG, all things Geoff Barrows, Eroc, Lard Free, and music of free weirdos everywhere. This one is the mossy titled deck of a half submerged shipwreck, a green light in a red room, a lump of clay, the end of the night when you think ‘perhaps I should have left ages ago,’ but it’s too late now…you’re in too deep…might as well have one more dance. “This LP is leaping even further out into the unknown for EXEK. A trip indeed, full of hits with zero diss and lots of hiss on no near miss.” —John Dwyer

File Under: Post Punk
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Aretha Franklin: Sparkle OST (Rhino) LP
The soundtrack to the 1976 movie ‘Sparkle’ was created by two Soul music giants, Aretha Franklin and Curtis Mayfield. Whilst the movie stars Irene Cara and Lonette McKee primarily sang the songs on the film, this album features the Queen of Soul herself, accompanied by composer and producer Curtis Mayfield. The songs on the soundtrack feature the instrumental tracks and backing vocals from the film versions, with Franklin’s voice taking the place of the original lead vocalists. This is the first time Sparkle has been available on vinyl since 1976. Highlights include Aretha classics like “Something He Can Feel” and “Hooked on Your Love”. Exclusive CRYSTAL CLEAR vinyl produced by Rhino Records for their 2022 ‘Start Your Ear Off Right Campaign’.

File Under: Funk, Soul, OST
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Gabber Modus Operandi: puxxximaxxx (Danse Noir) LP
Aisha Devi’s Danse Noire label reissues Gabber Modus Operandi’s mindboggling combo of microtonal Balinese gamelan and screaming carnival gabber. Absolutely galaxy brain post-colonial hardfuzion free expression from one of the globe’s most fascinating duos. Originally released in 2018, Indonesian duo Gabber Modus Operandi’s debut album “PUXXXIMAXXX” showed the world the artistic and political power of radical fusion. By bolting together trash culture, European hard dance hedonism, heavy metal/punk theatrics and Indonesian gamelan elements, Ican Harem and DJ Kasimyn came up with a “chaotic pastiche” that has by now surpassed its influences without losing its cutting sense of humor. If you heard 2019’s “HOXXXYA” then you should have an idea of where GMO’s interests lie – “PUXXXIMAXXX” is maybe more raw, more unhinged and even more flamingly carnivalesque. From the very beginning the duo make their intentions clear, wielding a wavering trumpet loop before adding 400bpm kicks that roll like a tidal wave over traditional Indonesian percussion like it’s nothing at all. There’s no hesitance in Kasimyn and Harem’s resolve, they take risks that should make most producers embarrassed. Think the Danes are putting a fresh spin on hard trance? Well listen to ‘Pariah’, that takes the “festival somewhere in the distance” supersaw sound and slathers it over rolling gabber kicks before disintegrating into wobbly, ambient ritual magick. ‘Jathilan Titan’ might be even better, wrapping those same trance leads in beating Indonesian percussion without losing the 7am-on-a-mystery-drug-cocktail essence of the ‘ardkore experience. By the time we get to ‘Goroxxx’ with its swung rhythm and dense, chattering vocal mangles, there can be no denying that “PUXXXIMAXXX” is a unique proposition. While half of Europe is trying to recapture the sounds of a lost rave they never attended, GMO use the discarded shells of dance subgenres to cobble together a completely unique vanguard rave sound that doubles as a middle finger to the dull, aggy purists

File Under: Electronic, Gabber, Gamelan
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Golden Dragon: s/t (Subliminal Sounds) LP
Limited deluxe edition of 499 copies. Includes an insert with line notes and photos. First-time limited-edition reissue of this mega super-crazy rare US hard rock/metal heavy psych private press LP from 1981. Golden Dragon were a wild Filipino-American quartet from the Bay Area lead by Freddy Mabuhay. The album is filled with heavy blazing psyched out metallic rock, blistering guitar solos loaded with fuzz and wah, heavy riffs and stoned vocals. Freddy was the bass player in the legendary band Dakila who had a fantastic album out on Epic in 1972. Later in 1978, after playing the Diamond Head Crater Festival in Hawaii, Freddy formed his own group; Golden Dragon. In 1981 he and his band; consisting of his brother and two musicians from the legendary Bay Area punk band VKTMS, recorded the amazing Golden Dragon album. The album was only pressed in a few copies to be sent out as a demo to secure a record deal. Unfortunately, the deal never happened, and the album stayed unreleased and pretty much unobtainable for all these years. The short lived, but lethal, Golden Dragon band performed live at the legendary venue Mabuhay Gardens, aka The Fab Mab, in San Francisco. Sadly, Freddy passed away shortly thereafter, and the mighty Golden Dragon’s music stayed obscure growing to mythical status among hard rock and psych rock aficionados. Subliminal Sounds has now put together this release in cooperation with the surviving musicians. It’s finally time for the world to experience the mighty sound of Golden Dragon!

File Under: Psych, Metal
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Dexter Gordon: Daddy Plays the Horn (BMG) LP
180g vinyl LP reissue of Dexter Gordon’s 1955 release Daddy Plays the Horn featuring the gems “Confirmation,” “Autumn In New York” and “You Can Depend On Me.” The tenor saxophonist wasn’t quite THE Dexter Gordon when he made Daddy Plays the Horn, but his unique, obtuse way of playing the saxophone and hitting his rhythm section’s playing at weird, swinging angles was already fully formed here. Recorded in between periods of tumult and distress – he was in and out of jail with a bear of a heroin addiction – Gordon is one of the finest men to ever put a reed in his mouth, and this album – particularly “Autumn in New York” – belongs in every discerning jazz lover’s collection.

File Under: Jazz
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Grateful Dead: Fillmore West 1969, March 1 (Rhino) BOX
3-LP on 180-gram vinyl, housed in a two-piece box. Limited-Edition of 9,000 (WW). Liner Notes By Jesse Jarnow & Michael Parrish. Audio timing and speed correction by Plangent Processes and newly mastered by Jeffrey Norman. Available for the first time on Vinyl. Not available in other official physical or digital formats. Produced for release by David Lemieux. LP1 SIDE A 01 That’s It For The Other One SIDE B 01 New Potato Caboose 02 Doin’ That Rag LP2 SIDE A 01 Cosmic Charlie 02 Dupree’s Diamond Blues 03 Mountains Of The Moon SIDE B 01 Dark Star LP3 SIDE A 01 St. Stephen 02 The Eleven SIDE B 01 Turn On Your Lovelight 02 Hey Jude

File Under: Psych, Jamz
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Harari: Genesis (Tidal Waves) LP
Harari was formed in the late sixties and originally known as The Beaters, the South African group consisting of guitarists Selby Ntuli & Monty ‘Saitana’ Ndimande, bassist Alec Khaoli and drummer Sipho Mabuse decided to change their name to Harari during a tour through Rhodesia (now Zimbabwe) in 1976. With their afro-rock/funk/fusion style they achieved huge successes back home and in the neighbouring states, and they were the first local black pop/rock band to appear on South African TV. The album we are presenting you today (Genesis from 1977) comes swinging right out the gate with a set of six monster anthems, explosive up-tempo jams, gorgeous vocal harmonies and chants, Afro-centric fusions of rock, funk and indigenous influences. The album is packed with mesmerizing drum-grooves, psychedelic improvisations and catchy Afrobeat rhythms. This is a quintessential Harari record that every serious collector or fan needs to have in his collection. Originally released in 1977 on Gallo Records South Africa (and later repressed in 1982 on the same label), Tidal Waves Music now proudly presents the first official reissue of this rare album (original copies tend to go for LARGE amounts on the secondary market…that is if you’re lucky enough to come across one). This is also the FIRST time ‘Genesis’ is being released outside of the African continent. This unique record comes as a deluxe 180g vinyl edition (strictly limited to 500 copies) with obi strip and featuring the original artwork.

File Under: Africa, Funk, Psych
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Masaru Imada Trio + 2: Green Caterpillar (Le Tres Jazz Club) LP
Le Très Jazz Club present a reissue of Masaru Imada Trio + 2’s Green Caterpillar, originally released on Three Blind Mice in 1975. Fuzati (Klub Des Loosers), producer and die-hard crate digger, has teamed up with Modulor to launch the Le Très Jazz Club label, dedicated to jazz vinyl reissues. For the first two releases, Mine (LTJC 001LP) and Green Caterpillar, presented here, Le Très Jazz Club has chosen to celebrate Japan. Japanese jazz is sadly one of the best-kept secrets in music. But, it would be stupid to not discover Green Caterpillar by Masaru Imada Trio + 2. Led by Masaru Imada and his Fender Rhodes, the record opens with “A Green Caterpillar”, an 11-minute piece whose groove is somewhat reminiscent of Marc Moulin and his Placebo band. “A Straight Flash” continues along this line, while on “Blue Impulse” and “Spanish Flower” sees Imada use the piano in a much more modal style.

File Under: Japan, Jazz
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Akira Ito: Marine Flowers (Glossy Mistakes) LP
Some artists have gained huge recognition, some records have been idealized to the point of becoming cult albums… and that’s exactly the case of Marine Flowers, by Japanese multi artist Akira Ito. An album that is unique, delicate, exploratory… a true one-of-a-kind sonic adventure that 35 years after its first release comes back in the form of a reissue via Glossy Mistakes. Looking back, Akira Ito’s artistic career began not in music but in acting. Born in Japan in 1945, he developed a prodigious ability to perform and a childhood acting career blossomed. However, as acting gigs dried up, actor/director Shintaro Katsu encouraged him to follow his steps into the music industry. With the rise of Western rock and soul music lighting up Japanese radio, Akira Ito stood to capitalize in the localized mid-60s “Group Sounds” craze by becoming a performing musician, joining touring bands across Japan fusing western and Shōwa-era pop styles. But Akira’s musical interests changed throughout his life experiences and travels, up to the point when he knew exactly what he wanted to do (without knowing how to do it): healing music. Akira understood that once he set up shop at Hitokuchizaka Studios in Tokyo the work of translating these ideas began in earnest. First, he started his own record label, dubbing it “Green & Water’’ to promote a series of releases that would strike a more organic tone, envisioning a series of Japanese Environmental Music records. Marine Flowers would be one of four self-penned albums on the label dedicated to esoteric symbolism like “Hopi Prophecies”, “Prayers”, and the “Four Corners Of Water”. Originally released in 1986 and on its 35th anniversary, Marine Flowers deserves this fresh reissue, making this masterpiece available for everyone. Liner notes are written by Diego Olivas, author of the blog Fond/Sond, from an interview with the artist coordinated by Ken Hidaka.

File Under: Japan, Electronic, Ambient
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Durand Jones & The Indications: Live Vol. 1 (Colemine) LP
In 2012 Durand Jones left his small-town in Louisiana, alto saxophone in tow, for the Jacobs School of Music at Indiana University. “Being a singer was never part of the plan,” Jones admits. But soon enough he found his way in front of a rowdy rock-n-roll band belting out a rambunctious rendition of “Dock Of The Bay,” to a basement full of drunken undergrads. That rowdy band unfolded into The Indications which includes founding members Aaron Frazer (drums, lead vocals) and Blake Rhein (guitar). Inspired by a handful of dusty and obscure 45s bearing names like The Ethics, Brothers of Soul and The Icemen, The Indications set out to make a record steeped in heavy drums, blown-out vocals, and deep grooves. Gathered around a Tascam 4-track cassette recorder and a case of Miller High-Life, the group spent their Sunday evenings recording into the early hours of the morning. The result is their modern soul masterpiece Durand Jones & The Indications (Dead Oceans/Colemine Records). With comparisons from Charles Bradley, Lee Fields to Al Green, this young band are now at the forefront of 60’s soul revival. Their sweaty, fiery live shows have earned them a reputation for giving it their all each night which can be witnessed on Durand Jones & The Indications Live Vol. 1. Available for the first time on limited translucent blue vinyl, the album includes tracks from their debut and deep cut soul covers fans have become accustomed to experiencing live.

File Under: Funk, Soul
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Quincy Jones: $ OST (Rhino) LP
The soundtrack to the 1971 Columbia Pictures film ‘$’ was composed and produced by the legendary Quincy Jones. The album includes performances from Roberta Flack, Little Richard and Doug Kershaw. This is the first time the soundtrack has been available on vinyl in twenty years. Exclusive MINT GREEN vinyl produced by Rhino Records for their 2022 ‘Start Your Ear Off Right Campaign’.

FIle Under: OST, Funk, Soul
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La Timpa: Equal Amounts Afraid (O___o?) LP
Fresh from an appearance on Space Afrika’s ‘Honest Labour’ album, collaborations with Klein and Lol K and a placement in the Dazed 100 list, LA Timpa finally offers his head-turning ‘Equal Amounts Afraid’ album on vinyl following a short CD run just before the pandemic hit in early 2020. Served up on promising yung London label O___o, and made with additional mixing from Solange collaborator Kwes and mastering from sometime Dean Blunt engineer Amir Shoat, ‘Equal Amounts Afraid’ is a beautiful smudge of pop experimentation riddled with timeless musical soul. Following from his 2016 debut ‘Animal’, and guest production for Cold Specks’ trip hop sound, LA Timpa’s gently reserved and melancholic productions push an intimate pop vocabulary into spectral, dreamlike dimensions. Introspective and avant like Klein’s psyched chop-ups, as sensuous as Blood Orange, but with a taste for expressively harmonised pop refrains that clearly recall Yves Tumor via Richard Youngs, the album unfolds with its own logic, deploying eyelid-tugging levels of hypnagogic charm that practically demand to be heard in sequestered, lowlit situations. Seducing us to his singular temporality and hazy atmosphere with the vaporous falsetto and ambient soundfield of sirens and groggy bass in ‘Around’, a cut-up interlude leads into fragmented music box melody and intimate plainsong on ‘Fertile’, while ‘Core’ almost echoes the 4AD dream-pop of A.R. Kane, and ‘Give’ beautifully dematerialises indie-pop into ambient gauze. ‘Backyard Exotic’ surfaces his strangest side in a maze of mushied songcraft, ushering a trippier 2nd half where the songs really start to fray between ‘Caretaker’, the smokers’ hymnal vignette ‘Towel Under The Door’, before channelling Thom Yorke in the melting Mbira melody of ‘Rattle Snake’, and spooling out into proper ambient soul with the spine-tracing lines of ‘Tried Ice’ and the smudged magic of ‘Memory Phone’ where he truly divines a strength in his vulnerability in a way that should resonate with the most sensitive souls.

File Under: Electronic
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Lambchop: I Hope You’re Sitting Down/Jack’s Tulips (Merge) LP
Lambchop began in the 1990s, at the time pronouncing itself “Nashville’s most fucked-up country band.” Provocative it may have been, but the description made sense: at the heart of all that ruckus was a band at once defying and embracing the musical legacy of its hometown. Merge Records offers up a first time U.S. vinyl pressing of Lambchop’s 1994 label debut I Hope You’re Sitting Down / Jack’s Tulips complete with the bonus track, “Or Thousands of Prizes.” The auspicious affair delivers the 10 plus piece Nashville band’s moody, slightly warped vision of the world…sprawling yet microcosmic. Gatefold 2LP-set.

File Under: Indie Rock, Folk, Country
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Tor Lundvall: Beautiful Illusions (Dais) LP
New York painter and musician Tor Lundvall initially envisioned his fourteenth album, Beautiful Illusions, as an entirely instrumental affair, “inspired by memories of sitting in a church or cathedral watching the shifting sunlight through stained glass.” Although he ultimately chose to wreath the majority of the tracks with hushed, poetic vocals, his original muse still resonates. These are certainly songs of shadowplay and vaulted skies, the quiet grandeur of dusk deepening on the horizon. Lundvall characterizes the lyrical subject matter, too, in ways both specific and surreal, exploring “the doubts, the anxieties and even the bleak fantasies the mind spirals into during moments of isolation, separation and distance.” Tricks of the eye, mind, and ear, magnified by silence and the looming long winter. Shivering pulses and muted bass lines tread the twilight while icicle synths and wiry guitar map the melody until the voice enters, narrating oblique moods of essence and absence, tenderness and truth. Glimpses of dark humor flicker in the wordplay but the greater sonic landscape is one of falling leaves and failing light, small gestures rendered as revelation, cloaked in reverb and spatial fog. Lundvall’s mastery of nuance and negative space continues to heighten, whispered brushstrokes of the invisible and the unsaid, what lies beneath and what lies beyond: “Behind the shields and false fronts is usually a sadness. The heartbreaking reflections of what might have been.”

File Under: Ambient
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Charles Mingus: Jazz Experiments (BMG) LP
The Jazz Experiments Of Charles Mingus is a fairly obscure collaboration between Mingus and John LaPorta that contains both modern classical and cool jazz compositions plus Mingus’ piano debut. This six-piece set is highlighted by fresh arrangements of “What Is This Thing Called Love” and “Stormy Weather.” Recorded in 1954 for Period Records, the sessions were originally issued on two 10″ records, titled Jazzical Moods. Bethlehem then acquired the material and repackaged and remastered it as this 12″ record. 180g vinyl LP reissue.

File Under: Jazz
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My Dad is Dead: …And He’s Not Gonna Take It Anymore (Scat) LP
Originally released in 1986, the debut album by My Dad Is Dead is remarkable not only for its strong and varied material, but also how the aesthetic of MDID’s music was fully formed and instantly recognizable from the git-go. Here are the open modal guitar tunings, the primitive drum machine paired with live drums, the complete rejection of the pentatonic scale and related 1970s guitar techniques, and the dry, journalistic language that brings a distanced, subdued pathos to the harrowing characters and their situations. Few artists who traffic in the darker realms of the human condition do so without some degree of melodrama; Mark Edwards’s penchant for understatement and distance brings even more gravity and impact to these songs of lost souls in a dying city. All these qualities would become hallmarks of the My Dad Is Dead sound for years to come. Like Edwards’s next few albums, …And He’s Not Gonna Take It Anymore was performed and written entirely by himself, which only deepens the feeling of isolation that permeates the album. This 2021 reissue was remastered by John Golden Sr. and is a huge sonic improvement over the original pressing and early ’90s European editions. Best of all, it includes an entire bonus LP of rare 1985 recordings that were only issued on cassette at the time. These are raw, primitive 4-track recordings that ooze with post-industrial Cleveland malaise. They include nine previously unnreleased songs, and early versions of four songs that were re-recorded for the album. Fans are certain to find some new favorites here.

File Under: Indie Rock
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Negative Reaction: s/t (Zaius) LP
Negative Reaction’s brilliant, lone album was originally released as a cassette for Terse Tapes (Tom Ellard/Severed Heads) then quickly pressed onto vinyl by Dogfood Production Systems (home of the estimable Slugfuckers) so you know the pedigree is tip-top. While you’d be correct in assuming the vibe here is experimental-merely by association-what you might not be prepared for is the most perfect example of dystopian malaise ever released by a band from the (then) burgeoning post-punk movement. It’s easy to forget-or simply not be aware-that in the nascent dawn of the 80’s, specific, niche genres hadn’t been painstakingly carved out. Negative Reaction’s album trods forth across the landscapes of industrial, experimental & minimal, gathering the Cold War gloom, the bleak threat of impending global nuclear holocaust, then forging it all into this S/T masterpiece. Done primarily with recitation, blurred guitar lines, echos & feedback, it’s a harrowing snapshot from the other side of an inevitable apocalypse. It’s beauty is in it’s simplicity; it doesn’t go for the jolt, like SPK, nor does it attempt to shock, like Throbbing Gristle. Negative Reaction go for the sublime, matter of factly & evenly laying down six tracks of impending doom that give “John” & The Book of Revelation a run for it’s money. One of the most pivotal records ever from a bygone era that was teeming with them. Edition of 250. RIYL: The Barons, Plast, Factrix, Prominent Disturbance, Vertical Slit-Slit & Pre-Slit.

File Under: Experimental, Lo-Fi
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Nonexistent: s/t (Downwards) LP
Iceman Junglist Kru’s Luke J Murray, Grumbling Fur’s Alex Tucker and Paper Dollhouse’s Astrud Steehouder join forces for NONEXISTENT, a dank, monochrome album of electric ragas, lowrise warehouse drone and ‘ardkore vapour trails for Regis’ Downwards imprint. Hinging around the processed cello of visionary dronesmith and psych se’er Alexander Tucker – fresh from the excellent Microcorps project – his fellow north east London residents Steehouder and Murray bring Prophet 5 synth and sampled electronic textures to the table for an uneasy examination of the unrest below the surface of blighty in the early 2020s. The nine pieces come to evoke and explore a sort of deep topographical reading of their native landscape, transmuting inspiration from Walthamstow’s hinterland overlap of residential, woodland, and industry, with a palette of damp, mildewy tones and depressive atmospheres that get under the skin by a clammy process of osmosis. Murray’s smudged samples fuse ‘ardkore and illbient signatures into a surrealist backdrop, so disembodied voices become ghosts of the past, and backwashed percussion transforms into jangling industrial chains or coal-fired machinery. Distorted through a modular rig, Tucker’s cello drones don’t lose their inherent baroque grandeur, but take on cybernetic armor plating, materializing in-and-out of Steehouder’s brassy analog chords. Simultaneously pulled by retrogressive, atavistic, pagan spirits and and the tarnished allure of progression, the album oscillates from dankly soothing sensations and gritty abrasion on ’Terminal Starfall’ to the gristly, keening distortion and percussive porridge of finale ‘Cold Walls’; transitioning between the curdled glory of ‘October Mission’ to the stereoscopic eye-wobble and shivering vox of ‘Attachment Areas’, before leaching into the cinematic beauty of ‘Deepening Ground’, and turning lorry alarms into tart ambient residue on ‘Dedicated Tear’, leaving ears ice-burned with the sheer electronics of ‘Skeleton Scars’. NONEXISTENT have made a soundtrack not to the end of the world, or a bolted-on power-ambient aesthetic flex for the always-online Netflix gen, but a shared reflection on history and present turmoil that’s far too cerebral and elemental for binging. Stirring together disparate ingredients, the trio have concocted an antidote to British malaise at a point where it’s never been worse.

File Under: Ambient
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OST: Juno (Rhino) LP
The soundtrack to the acclaimed coming-of-age feature film ‘Juno’ is lively blend of alt-rock and classic hits. Highlights include music from The Moldy Peaches, Velvet Underground, Cat Power, Sonic Youth, Belle & Sebastian, The Kinks and Buddy Holly. It also features a version of “Anyone Else But You” performed by the stars of the film, Michael Cera and Elliot Page. ‘Juno’ is a coming-of-age narrative which centers on whip-smart Juno (Ellen Page, in a breakthrough role), a teenage girl faced with an unplanned pregnancy from an afternoon with the charmingly unassuming Bleeker (Michael Cera). Juno finds her unborn baby the perfect set of parents in Mark and Vanessa Loring (Jason Bateman and Jennifer Garner), an affluent suburban couple who are eager to adopt. Along with the total support of her parents, (Allison Janney and J.K. Simmons) Juno conquers her problems head-on, displaying a youthful exuberance that is both smart and unexpected. Exclusive NEON GREEN vinyl produced by Rhino Records for their 2022 ‘Start Your Ear Off Right Campaign’.

File Under: OST
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Pinegrove: 11:11 (Rough Trade) LP
Pinegrove’s new album 11:11 is an unqualified triumph, an album that seizes listeners with hook-filled songs imbuing feelings of warmth, urgency, and poetic beauty, even as it asks some of life’s big and difficult questions. On previous Pinegrove recordings, band member Sam Skinner usually oversees mixing duties, but this time out, noted producer and former Death Cab for Cutie member Chris Walla has assumed the role. Calling previous album Marigold’s production “crisp and contained,” Hall, who co-produced 11:11 with Sam, sought more of a “messier” feel for these new songs. Most of the recording took place at two Hudson Valley facilities (Levon Helm Studios in Woodstock and The Building in Marlboro) with the final touches done side by side with Walla in Seattle. 11:11 features lush soundscapes, organs, Megan Benavente’s melodic and adventurous bass playing, Josh Marre’s signature guitar work and a special guest-Doug Hall, Evan’s father-playing piano on many tracks. The record sounds intimate, yet expansive. “It spends equal time on optimism, community, reaffirming what we are and how it’s our duty to look out for one another” says singer Evan Stephens Hall. “There’s anger, love, hope and grief. The record has all of that.” The opening mini epic track, “Habitat,” is a two-part masterpiece of texturalism, brimming with robust, percussive guitars and driven by unsettling shifts. Another key track is “Alaska,” – a happy-go-lucky romp of dense, bracing guitar rock, lurching out of the gate with tectonic force and boasting hooks at every turn. Later, the breezy, pastoral folk-tinged “Iodine” glistens with exquisite vocal harmonies, and “Flora” is a beautifully appointed apology to nature, its luxurious country rock feels connected to past masters like the Flying Burrito Brothers or early Wilco. The Deluxe version of the album is pressed on colored vinyl with a split opening cover plus an insert and a booklet.

File Under: Indie Rock
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Popol Vuh: Vol. 2 – Acoustic & Ambient Spheres (BMG) LP
Popol Vuh follows-up 2019’s Vol. 1: The Essential Album Collection with the 180g vinyl 4LP-set, Vol. 2: Acoustic & Ambient Spheres featuring the albums Seligpreisung (1973), Coeur de Verre (1978), Agape-Agape Love Love (1983) and Cobra Verde (1987). The set consolidates four significant albums from the 1970s and the 1980s, conflating ambient musical phases of Popol Vuh. It sheds light on their central, recurring motives and styles of rock music, folk-ethno-fusion, ambient music and two atmospheric soundtracks for legendary Werner Herzog movies. All of the albums were newly remastered, include one bonus track each and appear with adjusted original artworks. The box set is rounded out with three picture prints, a picture still from the movie Coeur de Verre, the original movie poster of Cobra Verde and an insert with detailed liners and photos.

File Under: Ambient, Prog, OST
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Roedelius * Dallas Acid: Mind Cinema (Astral Spirits) LP
Hans-Joachim Roedelius: Piano, Organ, Keyboards. With DALLAS ACID: Michael Gerner: Modular Synthesizer, Mellotron, Moog One; Linda Beecroft: Gongs, Moog Voyager, Azzam Bells, Vocals, Lyrics; Christian Havins: Moog Voyager, Mellotron. “…I’m looking forward to playing live together with you Linda, Christian and Michael wherever on the globe, as soon as the Covid restrictions are abrogated. This would be a great pleasure for me. Stay healthy, yours” – Joachim “It has been a privilege to have the opportunity of recording with you Joachim. Thank you for opening the doors to the sonic cinema and ushering in our minds. Lights, Camera, Action – or as you once told us – DO IT!”—Dallas Acid

File Under: Electronic
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Severed Heads: City Slab Horror (Medical) LP
Repress of Medical’s 2014 reissue of the long out of print and crucial LP Australia’s Severed Heads (alongside “Since The Accident” also being repressed by Medical). Released in 1985 and features some of the most important yet underrated electronic music of the genre. Characterized by a fusion of experimental tape loop manipulation perfectly integrated into synth-based and quite catchy pop stylized tunes. Features the standout tracks “Goodbye Tonsils”, “We Have Come For This House” and the lovely “4.W.D” track. For fans of innovative early industrial/wave crossovers such as Cabaret Voltaire, early Coil, and Chris & Cosey. Limited Edition.

File Under: Electronic, Industrial
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Severed Heads: Rotund for Success (Medical) LP
Medical continues it’s exploration and admiration our beloved Severed Heads. Long overdue and much needed reissue of their 1989 album “Rotund For Success”. Special expanded 2LP version including alternate versions and remixes. “Rotund” is a treasure trove of hits including “All Saints Day”, “Greater Reward” and “Big Car”. Includes deluxe gatefold heavy duty full color jacket featuring the iconic pineapple and pine cone featured on the singles. Remastered by Mr. Ellard himself. Double 160gm black vinyl. Limited Edition.

FIle Under: Electronic, Industrial
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Severed Heads: Since The Accident (Medical) LP
Repress of Medical’s 2014 reissue of the long out of print and crucial LP Australia’s Severed Heads (alongside “City Slab Horror” also being repressed by Medical). Released in 1983 and features some of the most important yet underrated electronic music of the genre. Characterized by a fusion of experimental tape loop manipulation perfectly integrated into synth-based and quite catchy pop stylized tunes. Features the hit “Dead Eyes Opened” as well as other standout tracks such as “A Million Angels” and “A Relic Of The Empire”. For fans of innovative early industrial/wave crossovers such as Cabaret Voltaire, early Coil, and Chris & Cosey. Limited Edition.

File Under: Electronic, Industrial
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Speedy Ortiz: The Death of Speedy Ortiz & Cop Kicker… Forever (Carpark) LP
It’s been ten years since Sadie Dupuis recorded the first Speedy Ortiz songs, a solo experiment that quickly became her full-time band. Since then, Speedy has produced an expansive and critically revered discography, toured worldwide, and inspired next generations of bands with inventive songwriting and advocacy to better the music industry. But in 2011, the younger Dupuis was struggling through concurrent traumas: heartbreak from first love, leaving her hometown of New York for Massachusetts, and the grief of losing several young friends. Speedy’s first songs glowed within the contrast of noisiness and intimacy, raw sonic elements that came with closely processing vulnerabilities and Dupuis’ insistence on performing and recording each instrument alone. Now, ten years later, Speedy’s first self-released collections will be widely available for the first time and reissued as a double LP The Death of Speedy Ortiz & Cop Kicker…Forever, alongside previously unreleased tracks from that era.

File Under: Indie Rock
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Andy Stott: Luxury Problem (Modern Love) LP
Following on from a pair of Extended Players released in 2011 (“Passed Me By” / “We Stay Together”) Andy Stott returns to Modern Love with ‘Luxury Problems’, an 8 track album of new material recorded over the last 12 months. Five of the tracks on the album feature Alison Skidmore, Andy’s onetime Piano teacher whom he hadnt seen since he was a teenager back in 1996. There was no grand gesture in mind, it just sort of happened – but after almost a year of studio work the result is really quite unlike anything you’ll have heard from him before. ‘Numb’ opens the album with Alison’s voice; layered and looped but essentially left bare and exposed, tumbling into a dense shuffle, sort of somewhere between Theo Parrish and Sade, but more fucked. ‘Lost and Found’ follows and deploys a growling rave bassline, the beat assembling itself around a squashed Linndrum like a submerged Prince/Cameo production, haunted and impenetrable, but full of funk. ‘Sleepless’ started life as a drum edit that sooner or later succumbed to Stott’s intense rhythmic shifts. It’s a sound that’s been imitated countless times since the release of ‘Passed Me By’, here re-tooled and re-built for its next phase. ‘Hatch The Plan’ ends the first half of the album with some heavily treated location recordings and a low end grind that probably doesnt quite prepare you for the vocal arrangements that follow – it’s just a beautifuly inverted pop song. The second half opens with ‘Expecting’, the most recognisably ‘Stott’ moment on the album: a wrecked, deliriously knocked 4/4 shuffle deployed at halfspeed; those heavy kickdrums sucking in everything around them. ‘Luxury Problems’ is next and offers up the album’s most quietly euphoric and open 5 minutes; conventional arrangements and drumloops disrupted by sharp percussive loops that mess with what you know: it’s straight and beautiful and unbalanced and damaged, somehow all at once. “Up the box” goes somewhere else entirely, an extended intro that seems to build continuously for 3 minutes before breaking off into a slowed-down Amen edit, creating a kind of narcotic Jungle variant that fragments everything and ends just at the point you think it’s going to go off, before “Leaving” finishes the album with an almost unbareably beautiful arrangement of voice and synth and a final key-change that takes you from joyful to forlorn in an instant.

File Under: Electronic, Techno
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Stott, Andy: Faith in Strangers (Modern Love) LP
‘Faith In Strangers’ was recorded between January 2013 and June 2014, and was edited and sequenced in July 2014. Making use of on an array of instruments, field recordings, found sounds and vocal treatments, it’s a largely analogue variant of hi-tech production styles arcing from the dissonant to the sublime. The first two tracks recorded during these early sessions bookend the release, the opener ‘Time Away’ featuring Euphonium played by Kim Holly Thorpe and last track ‘Missing’ a contribution by Stott’s occasional vocal collaborator Alison Skidmore who also appeared on 2012’s ‘Luxury Problems’. Between these two points ‘Faith In Strangers’ heads off from the sparse and infected ‘Violence’ to the broken, downcast pop of ‘On Oath’ and the motorik, driving melancholy of ‘Science & Industry’ – three vocal tracks built around that angular production style that imbues proceedings with both a pioneering spirit and a deep sense of familiarity. Things take a sharp turn with ‘No Surrender’- a sparkling analogue jam making way for a tough, smudged rhythmic assault, while ‘How It Was’ refracts sweaty warehouse signatures and ‘Damage’ finds the sweet spot between RZA’s classic ‘Ghost Dog’ and Terror Danjah at his most brutal. ‘Faith in Strangers’ is next and offers perhaps the most beautiful and open track here, its vocal hook and chiming melody bound to the rest of the album via the almost inaudible hum of Stott’s mixing desk. It provides a haze of warmth and nostalgia that ties the nine loose joints that turn this album into the most memorable and oddly cohesive of Stott’s career to date, built and rendered in the spirit of those rare albums that straddle innovation and tradition through darkness and light.

File Under: Electronic, Techno
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Sure Fire Soul Ensemble: Step Down (Colemine) 7″
Step Down is the definitive noir soundtrack for the end of the age of disinformation. What better way to usher it out than with this heavily blaxploitation influenced funk anthem. Let huge horns, fuzz guitar, harpsichord, and funky flute be your guide. The B-side, La Fachada, pays homage to a San Diego late night favorite with a beautifully dreamy mandolin driven tune. That floaty feeling you get with a belly full of tacos, Tecate, and their staple slow roasted pinto beans. Maybe a few hits of your favorite California grown recreational cannabis too. Wait… what were we talking about…

File Under: Funk, Soul
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TAPES: Silence Please (Good Morning Tapes) LP
Wandering mystic Jackson Bailey aka Tapes returns to Good Morning Tapes on a vinyl edition of his ’Silence Please’ suite, as found on a rare cassette edition in 2018. After ticking off musical trips to Japan, the Caribbean, and Nebraska, we return to Tapes’ Indian sojourn for a hypnotic reminder of his omnivorous tastes, rolling out four cuts of balmy tabla and new age arp ragas that take on a new life on vinyl. It’s kinda mad how he applies a Midas touch to everything in earshot, always getting down to the quintessence of whatever style he picks, but always with a sort of necessary, raw vivacity that knits all his work together. DJs, early morning dancers and Yoga enthusiasts will be in their element; the awning drones and rippling tabla of ‘Part 1’aligns the chakras for a supple session taking in something like Charanjit Singh-meets-Steve Reich in the phasing loll and harmonious choral motifs of its Part 2, before he brings the crunchy drums forward in Part 3 primed to get Goan sand tramplers going, and really pushes out to the stars in the supremely heady 7 minutes of Raagini Ni, with its lushly coruscating, just intonation tuned arps allowed to bleed into the red.

File Under: Electronic
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Thee Sinseers: What’s His Name (Colemine) 7″
Thee Sinseers are the premier band in Southern California’s souldies scene and their new single “What’s His Name” represents what’s the come from the future-household-name Joey Quiñones’ mind. He produces, writes, and plays nearly everything you hear on recordings of Thee Sinseers. So enjoy this sweet slice of soul from Joey and co. It certainly won’t be the last time you hear his name!

File Under: Funk, Soul
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Worm: Foreverglade (20 Buck Spin) LP
Burrowing through the mire of the endless Floridian swamps like an arcane travesty of nature, the shadow-bound entity more commonly known only as Worm present Foreverglade, a strange amalgam of things that ooze, things that crawl and some things that remain still for centuries before crumbling back into the dust and dirt unobserved by mortal eyes. Utterly ambitious while being steeped in the ancient practices of tradition and ritual observance, on Foreverglade Worm finds its truest incarnation, where the catacombs of funereal and oppressively heavy death doom are further thrown open, letting drift out the lurking obscurity of black metal’s cemetery stench. And yet an adept virtuosity and ghostly ethereality invokes the grim dark beauty of the swamps as much as the veiled creeping horrors. What’s certain is Foreverglade is suffocatingly heavy, filled with shimmering gloomy atmosphere and a reeking foul humidity that superbly embodies the mysteries and monstrosities of the murk. To that end, Worm reach a new apex of creative sorcery while signaling it has only begun to unleash what lies beneath the mists.

File Under: Metal
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Kiyoshi Yamaya: Wamono Groove: Shakuhachi & Koto Jazz Funk ’76 (180g) LP
Following the already classic Wamono A to Z trilogy, 180g presents an exceptional collection of jazz funk / rare groove tunes recorded in the mid-seventies at the Nippon Columbia studios by three giants of Japanese music: arranger Kiyoshi Yamaya, koto legend Toshiko Yonekawa and shakuhachi master Kifu Mitsuhashi. Born in 1932 in Tokyo, Kiyoshi Yamaya started his musical career in 1953 when he played in various jazz bands in town. In 1957, Yamaya joined Nobuo Hara’s famous jazz big band Sharps & Flats as a baritone saxophone player and started composing, arranging, and recording for them and other big bands. He became a key jazz figure in Japan in the sixties together with Norio Maeda and Keitaro Miho, both jazz pianists, composers and arrangers, by forming the Modern Jazz Three Association – which aimed at improving the level of Japanese jazz composition and arrangement. In the mid-seventies, his Contemporary Sound Orchestra explored jazz funk fusions with traditional Japanese melodies and instruments such as the shakuhachi, koto, biwa, and shamisen. These works were recorded for a series of panoramic Japanese albums released domestically on Denon and Nippon Columbia, from which the tracks on this compilation are taken from. Toshiko Yonekawa, born 1913 in the city of Himeji, not so far from Osaka, is the eldest daughter of koto and shamisen master Kin’o Yonekawa. She started studying both instruments with her talented father from the age of 3, played in her first concert at 8, and was only 12 years old when she first appeared on national radio. Her unique style of koto playing is widely recognized due to the extreme accuracy of the intonation and rhythm, as well as the unequaled beauty of the instrument’s sonority. After a life decorated with awards and prizes, Toshiko Yonekawa was named a Living National Treasure in 1996. Born in Tokyo in 1950, Kifu Mitsuhashi is a great master of Koto style shakuhachi. After completing the NHK Hōgaku Training Program in 1972, Mitsuhashi became a member of Pro Musica Nipponia, a group of leading composers and top-ranking musicians devoted to performing a wide-ranging repertoire of classical and contemporary compositions from both Japan and the West – in which all music is performed by traditional Japanese musical instruments. Mitsuhashi has toured the world for hundreds of recitals, also as a soloist, and has performed his art with the greatest ensembles such as the BBC Symphony Orchestra and the Berliner Philharmoniker. In 2020, Kifu Mitsuhashi was awarded the Order of the Rising Sun.

File Under: Japan, Funk, Jazz
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Yellow Swans: Drowner (Yellow Swans Archive) LP
Finally! The first broadly available edition of Drowner Yellow Swans lands after a slew of hiccups. So this was originally a tape cobbled together in that space between At All Ends and Going Places. Can’t remember if we had decided to wrap up the band at this point, but it was about that time where we were fried from touring, Gabe was thinking about moving to Canada, things were IN MOTION. We had this whole string of shows lined up with Sissy Spacek in the PNW, Wiese had a stack of blank takes and a new imprint. HEY, sounds like it’s time for a new tape. Because of the historically ridiculous lag between making an album and it being available to the public, the timeline is a bit weird, but this was essentially following up our last tour tape, Deterioration, which was also just sort of an assembly of basement recordings. We had ditched the idea of compositions at this point and were just JAMMING. and jamming often. Basically, we had a dedicated practice studio and were rehearsing and recording several days a week. Just banging it out and dedicating it all to tape. Both Deterioration and Drowner have this sort of snapshot character of our process, sifting through a state of the band when we were thinking more about one thing than another. If Deterioration is our most kosmiche, I would say that Drowner is our most gonzo psych rock record. still as noisy and fried as ever, but pulling from Loveless, Rallizes, Main.. but also just like… our own insular process of playing and listening and touring and repeating that for years. Drowner was basically recorded months before Going Places and Being There but projects a different focus on dynamics, drama and NOISE. This could be because we were gearing up to play shows with Spacek and knew we’d be playing with The Rita and Iron Lung on this jaunt. Gotta be up to crust you know? – Pete

FIle Under: Noise, Experimental
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Frank Zappa: 200 Motels (Zappa) LP
200 Motels turns 50! In celebration of Frank Zappa’s famous 1971 “Surrealistic Documentary,” Zappa Records, UMe and MGM are pleased to present the original soundtrack, a double album set featuring all original packaging including the booklet and poster and brand new remastering by legend Bernie Grundman at Bernie Grundman Mastering. Pressed on 180g vinyl by Optimal Media in Germany. Released in October 1971, 200 Motels was a miraculous feat, a cinematic collision of the venerated musician and composer’s kaleidoscopic musical and visual worlds that brought together Zappa and his band, The Mothers, Ringo Starr as Zappa – as “a large dwarf” – Keith Moon as a perverted nun, Pamela Des Barres in her acting debut, noted thespian Theodore Bikel, the Royal Philharmonic Orchestra, and an incredible assortment of characters (both on screen and off) for a “surrealistic documentary” about the bizarre life of a touring musician. A heady, psychedelic stew of low and high brow art forms, the film, written by Zappa and co-directed by him and Tony Palmer, mixed together irreverent comedic skits, madcap satire, eye-popping animation and virtuosic on-screen musical performances from both The Mothers and the RPO for a fascinating and free-wheeling multimedia extravaganza. Shot in just 10 days with a budget of around $650,000 from distributor United Artists, 200 Motels was one of the first movies to be filmed entirely on videotape and Zappa and crew pushed the envelope of the burgeoning new medium’s possibilities, mostly notably through its use of spectacular – and at the time – state-of-the-art visual effects. Described by Zappa as “at once a reportage of real events and an extrapolation of them… other elements include ‘conceptual by-products’ of the extrapolated ‘real event’ … In some ways the contents of the film are autobiographical,” 200 Motels was hailed by the Los Angeles Times as a “a stunning achievement” with “just the right touch of insanity,” and the “Zaniest piece of filmusical fantasy-comedy since The Beatles’ ‘A Hard Day’s Night” by Daily Variety. The music, and its corresponding soundtrack, was equally diverse, a wild pastiche of avant garde rock and orchestral compositions interspersed with dialog from the film. Up until that time, compositions like the finale piece, “Strictly Genteel,” were some of the most ambitious material ever written and recorded by Zappa. The band in the film and on the soundtrack consisted of Zappa (guitar & bass), Mark Volman (vocals & special material), Howard Kaylan (vocals & special material), Ian Underwood (keyboards & winds), Aynsley Dunbar (drums), George Duke (keyboards & trombone), Martin Lickert (bass), Jimmy Carl Black (vocals), and Ruth Underwood (orchestra drum set), not to mention the aforementioned Royal Philharmonic Orchestra. In true Zappa fashion as he wrote in the album’s original liner notes, “This music is not in the same order as in the movie. Some of this music is in the movie. Some of this music is not in the movie. Some of the music that’s in the movie is not in the album. Some of the music that was written for the movie is not in the movie or the album. All of this music was written for the movie, over a period of 4 years. Most of it (60%) was written in motels while touring.”

FIle Under: Rock
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Various: All Welcome Vol. 3 (Good Morning Tapes) LP
Gorgeous third almanac from Good Morning Tapes, plucking exclusive pearls by label regulars Pataphysical, Nueen, Salamanda, Angel Hunt, Yama Yuki and Saphileaum, for the good of yr health. Continuing to provide succour for stressed energies with their latest volume of the hugely collectable “All Welcome” series, volume 3 opens with an exclusive addition to São Paolo-based Yama Yuki’s impressionistic projection of ‘Inverted Cities’ with the elegant froth of ‘Bucharest’, and sashes thru the lilting synthetic thumb piano and midi flute melodies on the 4th world charmer of ‘Eclipse’ by Nueen, to take in shoreside Balearic atmospheres in the rolling congas and warm breeze of Saphileaum’s ‘Arif’, and the Far Eastern environmental music of S. Korea’s Salamanda on ‘Planting a Blue Velvet’. Pataphysical follow that quietly unmissable ‘Hapticality’ tape with another arpeggiated pearl on ‘Xochitl’, this time sounding something like Bola’s classique ‘Forcasa 3’, before  Angel Hunt’s ’Skulp Haunt’, ends things off with a smudged tripped pop energy, like a heat-haze inversion of Massive Attack’s ‘Karmacoma’. Aye.

File Under: Ambient, Electronic
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Various: Brighter Days Ahead (Colemine) LP
From label owner Terry Cole, “It was on March 16, 2020 that we closed up our storefront as the reality of a worldwide pandemic began to spread across the Midwest. We had no idea how it was going to impact our shop, our label, or the artists we represent. We were all fortunate to have our family members stay safe and healthy; however, the livelihood of many of our friends and artists were drastically and immediately impacted. No tours, no live performances, record shops closed, pressing plants shut down, etc. And while the level of uncertainty was unnerving, from that uncertainty came the idea for Brighter Days Ahead. We knew we wanted to continue to release new music, but proceeding with our heavy 2020 release schedule as planned seemed ill advised. So the idea was to release individual tracks from many of our artists on a weekly basis and as a musical family, we could all help shine light on each individual artist weekly. Strength in numbers! So throughout the summer and into the fall, that’s what we did. We released several dozen tracks and the weekly announcements certainly garnered a strong sense of community for our artists and fans alike. We’re very proud to present Brighter Days Ahead: a compilation from our talented stable of artists on both our Colemine and Karma Chief imprints.”

File Under: Funk, Soul
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Various: I Am The Center: Private Issue New Age 1950-1990 (Light in the Attic) BOX
Back in stock on yellow vinyl! “Sound created the universe. It wasn’t a word. Sound created atoms; sound and light are the original manifesting principles for worlds… A musician sources that primeval, eternal sound, and it comes out as music.” – Constance Demby Forget everything you know, or think you know, about new age, a genre that has become one of the defining musical-archaeological explorations of the past decade. I Am The Center: Private Issue New Age In America, 1950-1990 is the first major anthology to survey the golden age of new age and reveal the unbelievable truth about the genre. For new age, at its best, is a reverberation of psychedelic music, and great by any standard. This is analog, handmade music communicating soul and spirit, often done on limited means and without commercial potential, self-published and self-distributed. Before it became big business and devolved into the spaced out elevator music we know and loathe today, this was the real thing. From mathematical musical algorithms to airport murder mysteries to Henry Mancini and Bugs Bunny, the connections to mainstream culture run in curious directions. (Did you know, for instance, that a track from the first modern private press new age album is featured on the Blade Runner soundtrack? It’s called “Pompeii, 76 A.D.”, and we’ve got it here.)I Am The Center is a knowing, but never cynical overview that invites listeners at last to the mainspring of a misunderstood genre’s greatest lights. Many of the biggest names are present — Iasos, inter-dimentional channeler of “paradise music”; Laraaji, discovered by Brian Eno playing for spare change in Washington Square Park; and the recently famous JD Emmanuel, icon to a new generation of drone, ambient, noise musicians. Call it what you will — before it was anything else, it was new age. Lovingly conceived and lavishly presented, I Am The Center features stunning paintings by the legendary visual artist Gilbert Williams, and liner notes by producer Douglas Mcgowan, who weaves the words and images of the wizards and sorceresses of new age into a prismatic portrait of music that can finally be recognized for what it is: great American folk art.

File Under: New Age, Ambient
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Cannonball Adderley: Somethin’ Else (Blue Note) LP
Mulatu Astatke: Ethio Jazz (P-Vine) LP
Robbie Basho: Art of the Acoustic Steel String Guitar 6 & 12 (Gnome Life) LP
Robbie Basho: Visions of the Country (Gnome Life) LP
Beach Boys: Pet Sounds (Capitol) LP
Bikini Kill: Pussy Whipped (Bikini Kill) LP
Charles Bradley: Victim of Love (Daptone) LP
Childish Gambino: Because the Internet (Glassnote) LP
Alice Coltrane: Ecstatic Music of… (Luaka Bop) LP
Alvin Curran: Canti E Vedute Del (Superior Viaduct) LP
Dangerdoom: Mouse & The Mask (Lex) LP
Richard Dawson: Peasant (Domino) LP
Deux Filles: Silence & Wisdom (Dark Entries) LP
Nick Drake: Bryter Layter (Island) LP
Nick Drake: Five Leaves Left (Island) LP
Nick Drake: Pink Moon (Island) LP
Brian Eno: Here Come the Warm Jets (Astralwerks) LP
The Ex: Dignity of Labour (Superior Viaduct) LP
Fall: Grotesque (After the Gramme) (Superior Viaduct) LP
Bill Fay: Still Some Light Part 1 (Dead Oceans) LP
Fugazi: Red Medicine (Dischord) LP
Fugazi: The Argument (Dischord) LP
Green-House: Music For Living Spaces (Leaving) LP
Jon Hassell: Vernal Equinox (Ndeya) LP
Tim Hecker: Virgins (Kranky) LP
Hot Chip: Coming On Strong (Moshi Moshi) LP
Isengrind: Snowbringer Cult (Ba Da Bing) LP
Milla Jovovich: The Divine Comedy (Real Gone) LP
Khruangbin: Con Todo El Mundo (Dead Oceans) LP
King Gizzard & The Lizard Wizard: L.W. (KGLW) LP
LCD Soundsystem: Sound of Silver (DFA) LP
LCD Soundsystem: This is Happening (DFA) LP
Adrianne Lenker: Songs and Instrumentals (4AD) LP
Low: Secret Name (Kranky) LP
Chris Marker: La Jetee (Superior Viaduct) LP
Meters: Fire on the Bayou (Music on Vinyl) LP
MF Doom: Operation: Doomsday (Metal Face) LP
Microphones: In 2020 (PW Elverum) LP
Mdou Moctar: Afelan (Sahel Sounds) LP
Mount Eerie: Ocean Roar (PW Elverum) LP
Mount Eerie: Wind’s Poem (PW Elverum) LP
Mount Eerie: A Crow Looked At Me (PW Elverum) LP
Marissa Nadler: Path of the Clouds (Sacred Bones) LP
Natural Snows Buildings: Snowbringer Cult (Ba Da Bing) LP
Molly Nilsson: These Things Take Time (Night School) LP
Oh Sees: Orc (Castle Face) LP
Tom Petty: Wildflowers & All the Rest (Warner) LP
Robert Pollard: From A Compound Eye (GBV Inc) LP
Radiohead: The Bends (XL) LP
Red Hot Chili Peppers: Blood Sugar Sex Magic (Warner) LP
George Russell: New York, N.Y. (Verve) LP
Sam Gopal: Escalator (Morgan Town Blue) LP
Sonic Youth: A Thousand Leaves (Goofin’) LP
Swans: Children of God (Young God) LP
Matt Sweeney & Bonnie Prince Billy: Superwolf (Drag City) LP
Talking Heads: Fear of Music (Rhino) LP
Twinsistermoon: Snowbringer Cult (Ba Da Bing) LP
Caetano Veloso: Araca Azul (Elemental) LP
Visible Cloaks, Yoshio Ojima & Satsuki Shibano: FRKWYS Vol. 15: Serenitatem (RVNG Intl.) LP
Wasted Cathedral: I’m Gonna Love You ‘Til the End of Time (Centripetal Force) LP
Kenny Wheeler: Windmill Tilter (Decca) LP
Wire: Pink Flag (Pink Flag) LP
Witch: Lazy Bones (Now Again) LP
Wooden Shjips: Vol. 1 (Holy Mountain) LP
X: Los Angeles (Fat Possum) LP
Various: Country Funk 1 (Light in the Attic) LP
Various: Country Funk 3 (Light in the Attic) LP
Various: Pacific Breeze 1 (Light in the Attic) LP
Various: Pacific Breeze 2 (Light in the Attic) LP

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