Well, not AS much in this week as most weeks lately, but some killer slabs as always. The Thomas Leer & Robert Rental is a killer slab of electronic, industrial, ambient that deserves more talk. The new Tarotplane is a wonderful soundbath of new age psychedelic bliss. Jimmy Smack is just insane. For the jazz lovers, obviously there’s some new Blue Note reissues, but even better are the New Jazz Orchestra, Daniel Villarreal, & Patrick Shiroishi. A super crazy new Nurse With Wound reissue available as a pricey double LP, or an even more pricey boxset. And a bunch of other lovely thangs as well. Also if you get all the way to the bottom, we’ve added some hefty used slabs to the site! These ones have been in the store from our RSD drop, but you out of towners have yet to see em… or maybe now that they’re online, some of you will cave…
– in-store shopping/pick ups – 11 – 6 pm Monday – Friday, 11 am – 5 pm Saturday
(if you don’t want to come into the store for a pick up, call and/or use the back door)
– We will be wearing masks, if you want to, great! If not, that’s also fine, but please be respectful of other people’s space and decisions.
– Sanitize your hands (we’ll have some)
…..picks of the week…..
Thomas Leer & Robert Rental: The Bridge (Mute) LP
The Bridge, a seminal electronic album, will now be available on vinyl for the first time since its original release in 1979! With Robert Rental unfortunately passing away in 2000, this record, Thomas Leer and Rental’s one and only album together, stands alone in capturing the duo’s pioneering capabilities. The Bridge was originally released on Throbbing Gristle’s Industrial Records label in 1979 and is considered to be an early electronic avant-garde synth-pop masterpiece, seeing the likes of John Foxx, Propaganda, Art of Noise and ABC citing the pair as key influences. Rental also collaborated with Mute Records founder Daniel Miller as The Normal, releasing the first single on the label “T.V.O.D.”/”Warm Leatherette” in 1978.
File Under: Electronic, Ambient, Industrial, Ian’s Picks, Kris’s Picks
Tarotplane: Light Self All Others (Impatience) LP
Tarotplane offers up a new portal of possibility, entitled Light Self All Others, on the Impatience label. An unshackled mind melt of amorphous Berlin School electronics, glistening guitar tones, snatches of disembodied voices and rumblings of percussive melody, Light Self All Others is an invitation to introspection, turning Tarotplane’s sky seeking kosmiche towards a resonant, contemplative core. Drifting between dreams, the record is infused with an emotional ambiguity that veers from foreboding to catharsis via pointed sonics of often unplaceable origin. Light Self All Others emerged from a wealth of material collected over the period from 2019-2021. In a self-described “haphazard” process, Tarotplane throws down hundreds of loops, riffs and samples, intuitively collaging disparate nuggets into form which the self-taught guitarist can riff over. Following some heavy-handed post processing, the emergent sound is too busy to be strictly ambient, too zonked to be considered rock, instead resting on a modern psychedelic perch of it’s own somewhere in between. Light Self All Others seamlessly cycles through ten tracks over the course, each piece constituting a beguiling, valuable piece of a vibrant whole/hole. From opener Pedestrian To Freeze Frame’s gently pulsing pads and soaring lead lines a feeling resembling optimism emerges, while Supermarket Tropicals could be a call to prayer from a utopian future, or equally hold music at the local ketamine clinic. A Fraught Parallel’s hazy urgency seems to foreshadow an imminent demise, cryptic effected samples attempting to get a warning through but thwarted by an engulfing hum and swooping guitar, and Portals Of Possibility’s ritualistic drone is anchored to a gently beating morse code rhythm while the thunder cracks and threatens to capsize the ship. Album closer Paradise Adjacent scrambles the signal one last time, a slo-mo showdown from a sci-fi saloon. With acoustic guitar, an idealist monologue and some fx pedals it closes the curtain with the kind of lonely, disorienting cosmic koan it’ll take a lifetime to answer. Light Self All Others offers Tarotplane’s most complete work, a thrilling, expanding head trip from a parallel future. Tarotplane is PJ Dorsey, from Baltimore, Maryland. He’s previously released records on 12th Isle, Lullabies For Insomniacs, Noir Age and VG+.
File Under: Psych, Ambient, New Age, Kris’s Picks
Jimmy Smack: Death is Certain (Knekelhuis) LP
Across two 7”s, Death Or Glory (1982) and Death Rocks (1983) and one 12”, Anguish (1982) Jimmy Smack carved his own bleak chasm amidst the LA Death Rock scene that he inhabited. After decades dormant in the crypt, Knekelhuis compiles Smack’s full recorded output, providing it a lavish place to rest on the Death Is Certain LP. While his local punk contemporaries pursued aggressive hardcore and political punk, Jimmy Smack donned corpse paint (before it would later become synonymous with the European black metal movement) and found a home performing in venues like the Anti-Club, amongst other subterranean dwellers Christian Death, Dead Hippie and 45 Grave. Even within this lurid milieu, Jimmy Smack stood alone. Hating Life (from Death Rocks) easily locates Jimmy within the negative-punk and KBD lexicon. However his recordings, consisting of voice, rhythm box and electrified bagpipe drones, otherwise veer closer to other-worldly avant-garde rituals. Jimmy’s background in theatre and performance art helping inform not only his menacing stage presence, but also spawning the singularity of his sound. Death Is Certain comes housed in a printed inner sleeve featuring rarely seen archival photos, liner notes by Cooper Bowman and excerpts from an interview with Jimmy Smack conducted by Juan Mendez (Silent Servant)
File Under: Weird, Punk, Electronic, Ian’s Picks
7FO: Ran – Bouten (Conatala) LP
2021 brings a new album by Osaka electronic musician / producer 7FO. This work is a departure from the recent global ambient / new age approach, and the unique sound aesthetic created using only hardware equipment is a new frontier of 7FO or a return to his origin. “Ran – Bouten” is a new electronic music album with a poetic sensibility using machines.Discovered by overseas labels such as RVNG intl., Bokeh Versions, and Metron-and with the release that followed EM Records in his hometown Osaka, it’s like his personal folk craft that was once quietly played at his own pace. Music has reached listeners around the world. In recent years, he has been touring from a famous performance with Tapes at the Belgian “Meakusma Festival 2019” to a Japan-Korea tour. “Ran – Bouten” was born as a result of facing the sound alone without being asked by anyone to cool down the heat when the steaming and intense experience had settled down. Inside the cool electronic sound like a water bath, you can feel the maker’s heart sending hot blood.Peep into the condensed universe of a home-recorded miniature world that looks like an independent production of unknown age. He was alone in a dark room, making full use of KAWAI’s 1990 digital and FM synthesizers , tracing the shape of nature and resonating the micro and macro sound worlds. The Rhythm and melody that continues to the Paradise Pure Land, which floats in a dreamy atmosphere, is the true value of 7FO even without his guitar play.Mastering by Makoto Oshiro, which supports everything from home listening to club sound systems. Hiroaki Hidaka designed the jacket to make the image of the sound appear cool and friendly everywhere.
File Under: Electronic, Ambient, Japan
Bizarre Ko Ko Ko: 00 Time (Wah Wah) LP
Released on Karl Kronfeld’s Synoptik Records, it was the label’s only release, thus becoming a rare, sought after, private pressing. Weird, intriguing atmospheres and a plethora of synthesized sounds, sequencers, cold sounding keyboards and even mellotron parts make this a darker offering than Aphorisms Insane. Venturing into stark, spooky post-industrial territories it manages to combine the primitive cosmicism of early Tangerine Dream with the dystopic sound-scapes of Asmus Tietchens, 80’s Conrad Schnitzler or the synthetic gothicisms of Peter Frohmader. An album that should appeal not only to fans of cosmic synthetic music, but also those interested in the more experimental strains of cold wave & minimal synth (Robert Rental, Dome, a.o.) The Wah Wah edition is the first ever reissue of this rare sought after collector’s item. 100% analogue lacquer cut direct from the original master tape by Moritz illner @ Duophonic Gmbh and reproducing the original Dalí-esque sleeve artwork in a strictly limited edition of 500 copies only.
File Under: Experimental, Electronic
Claypool Lennon Delirium: Monolith of Phobos (ATO) LP
Two worlds have collided, and what glorious and odd worlds they are. After a successful summer tour pairing Primus with The Ghost of a Saber Tooth Tiger, Les Claypool and Sean Lennon decided to combine their abstract talents into a project called The Claypool Lennon Delirium. 2016’s well-received Monolith of Phobos served as the project’s first spawn. Phobos Moon Edition pressed on gatefold colored vinyl 2LP.
File Under: Rock
Eucalyptus: Moves (Telephone Explosion) LP
Toronto-based octet Eucalyptus has been steadily gathering a devoted cult following since the release of their debut 10″ Eeeeeuuucaaaaaaallyyypppptus in 2012. Led by acclaimed saxophonist and composer Brodie West, the band’s languid, kaleidoscopic jazz is very much a collective endeavour, the product of an internal network of improvisational synergy they’ve built over more than a decade together. Moves is their sixth release, and somewhat of a milestone. In addition to it being the octet’s most psychedelic and arrestingly soulful release thus far, it’s also their longest—their first, in fact, to cross into bonafide full-length territory. They’re marking the occasion by joining the roster of Toronto favourite Telephone Explosion Records.
File Under: Jazz
Fiume: II (L.I.E.S.) LP
Croatia’s Fiume delivers a full length eight track lp for L.I.E.S., following his cult 2019 Bunker Records release. Jasmin Mahmić, (who is also known for his Le Chocolat Noir project) returns with his absolute blackened industrial onslaught straight from the depths of the Balkans. Fiume takes us into a netherworld of short circuited electronics, scrap yard soundscapes and foreboding, stark ,straight from your worst nightmare vocals. Barren wastelands, tropical depression, vast nothingness of the modern age, pillaged republics and metropolis’ that have gone wrong, this is world downfall music. Let your own irrelevance stare you down in the mirror, minutes crawl like days, horror of life goes on. These are the sounds in your head, try to claw your way out. Recommended!
File Under: Electronic
Ronnie Foster: Two Headed Freap (Blue Note) LP
Blue Note Records has announced the continuation of the Classic Vinyl Reissue Series which presents 180g vinyl LP reissues in standard packaging mastered by Kevin Gray and manufactured at Optimal. The pressings are all-analog whenever an analog source is available, with Gray mastering directly from the original master tapes. While the first 16 titles of the series focused on the best-known Blue Note classics from the 1950s and 60s, the new run of titles curated by Don Was and Cem Kurosman broadens its scope to span the many eras and styles of the legendary label’s eight-decade history presented by themes: Bebop, Hard Bop, Soul Jazz, Post-Bop, Avant-Garde, The 70s, The Rebirth, and Hidden Gems. Organist Ronnie Foster has collaborated with many greats over the course of his career from George Benson to the Jacksons to Stevie Wonder who brought the organist in to record on his seminal album Songs In The Key Of Life. But Foster first caught the ear of Blue Note Records co-founder Francis Wolff with his standout performance on Grant Green’s searingly funky live album Alive! recorded in 1970. Foster would go on to make his own Blue Note debut two years later with the 1972 jazz-funk classic Two Headed Freap produced by George Butler. The vibrant 8-song set included funky covers of Al Green, Wilson Pickett, and Joe Simon along with 5 compelling originals including the propulsive opening track “Chunky,” the breezy jam “Summer Song,” and “Mystic Brew,” a visionary track which A Tribe Called Quest would later sample on their hip hop classic “Electric Relaxation.”
File Under: Jazz
Frightnrs: Always (Daptone) LP
Before Dan Klein’s unfortunate passing, The Frightnrs agreed to keep a promise he asked of them – continue making music together. Part of that promise has been made manifest here…Daptone Records is proud to present ALWAYS! – the raw, soulful new long player from The Frightnrs. The road to Always began with a period of intense songwriting back when The Frightnrs and producer Victor Axelrod (Ticklah) were working on the group’s debut, rocksteady masterpiece, Nothing More to Say. In addition to the scorchers heard therein, Axelrod and The Frightnrs agreed many of the recordings were too sweet to tamper with in order to fit the rocksteady mold. Some were created at their headquarters in Queens with Dan on the mic, some were elaborations on older ideas, others were brand new creations made at the finish line. Thanks to the vocal stems they had captured in this golden period, Dan Klein’s other-worldly voice lived on, giving The Frightnrs all the raw material they needed for an entire album’s worth of new, original music. So with that, The Frightnrs and Axelrod returned to the studio and painstakingly conceptualized, tracked, re-tracked and mixed them into a complete album with their beloved friend singing lead. The fruits of this arduous process lay bare the undying love and respect between musical brothers.The last song written for this album, “Why Does it Feel Like a Curse”, married two song concepts with one of Dan’s original vocal performances – creating a beautiful, flawless composition that not only serves as a highlight reel of their editing skills and songwriting prowess, but also as a kind of metaphor for The Frightnrs journey. The perfect ending for ALWAYS.
File Under: Reggae, Dub
King Gizzard & The Lizard Wizard: Demos 1 & 2 (Gizz Picks) LP
Both volumes of the Gizz Demo’s on a lovely double pack. “OK, so this one required a fair old loosening of the ego to put out there. But sometimes you’ve just gotta make yourself as small as an ant and let go… These are recordings which were never supposed to see the light of day. But here they are: loose as; sloppy as. Hopefully endearing. In truth, an insane amount of effort and love went into these songs and I feel buoyed by sharing them. I’ve shed my skin, I’m a butterfly, I’m on fire. Stu xoxox” LP1 Side A 1. Music To Kill Bad People To 2. Evil Death Roll (Demo) 3. Dirt (Demo) 4. BIT BIT BIT BIT BIT BIT BIT 5. Sketches Of Brunswick East (Demo) 6. Demo No. 79 Side B 7. Planet B (Demo) 8. The Bird Song (Demo) 9. Muddy Water (Demo) 10. Mars For The Rich (Demo) 11. Footy Footy (Demo) 12. Stevie Ray Horn 13. Automation (Demo) 14. Fishing For Fishies (Demo) Recorded between 2011 – 2020 by King Gizz LP2 Side A 1. Music To Eat Bananas To 2. The Spider And Me (Demo) 3. Most Of What I Like (Demo) 4. 9 TET 5. Demo No. 67 6. Danger $$$ (Demo) 7. Horology (Demo) 8. Honey (Demo) Side B 9. The 10th Boogie 10. Let It Bleed (Demo) 11. Tezeta (Demo) 12. Scared Of Christmas 13. Sleepwalker (Demo) 14. Straws In The Wind (Demo) Recorded between 2011 – 2020 by King Gizz
File Under: Psych
Alex Ho: Move Through It (Music From Memory) LP
Debut album from Alex Ho out of Los Angeles. In his foundational essay on Los Angeles, L.A. Glows, the essayist Lawrence Weschler speaks on the city’s uncanny, immediately recognizable light; “The late-afternoon light of Los Angeles—golden pink off the bay through the smog and onto the palm fronds.” Weschler traces the city’s mysterious refracted light from the iconic paintings of David Hockney through the city’s frequent portrayal on film and TV, noting its ability to put residents into a state of “egoless bliss.” Similarly, Alex Ho’s new album for Music From Memory, ‘Move Through It’, radiates with the unmistakable LA glow. While the Pasadena native’s studio work is just now coming to light, Ho has long been a fixture in the Los Angeles dance music scene, throwing what are perhaps the city’s most musically expansive warehouse events and carving out a singular voice as a DJ, as heard on his brilliant Moony Habits show for NTS. The eight-track record, however, lands in a more contemplative zone, better suited for a golden hour drive than a night out. Though it’s his first record, ‘Move Through It’ is the accomplished work of a fully-formed artist, produced patiently between 2017 and 2020 with help from friends including Baba Stiltz, Phil Cho, Damon Palermo and John Jones. “Mark,” the Koanic track conclusion side A, is an arpeggiated slow burn reminiscent of Pino Donaggio’s brilliant score for Brian De Palma’s 1984 film Body Double. Ho’s stunning, pure falsetto soars above gentle melodies. “Miss Suzuki,” the piece that originally caught the ear of MFM’s Jamie Tiller and Tako, opens the record with a blue, cinematic sway. Ho’s facility for poignant melodies—easily conveyed through saxophone, vibes, various keyboards and his own voice—shines on “College Crest Drive,” as well as the title track. The lyrical “Move Through It” and the restrained and beautiful closing cut, “TYFC,” are abetted by glimmering Kraut guitar figures courtesy of John Jones. While Ho’s rhythms and melodies paint a crystal-clear musical vision, the music’s emotional centre is more elusive, indicative of a yearning feeling synonymous with the City Of Angels. Hitting these hazy and subtle notes, Move Through It falls within a canon of sun-addled records spanning from Herb Alpert’s “Rotation” to Dam-Funk’s Private Life trilogy as Garrett. An immersive and concise statement, Alex Ho’s ‘Move Through It’ is as warm and uncanny as the city that inspired it, a definitive LA album.
File Under: Electronic
Interactive Music: s/t (All Night Flight) LP
Retrospective mid 90’s tracks from of Uwe Schmidt (Atom Heart).. TIP! “Manchester record store / label All Night Flight delves into the labyrinthine back-catalogue of respected producer Uwe Schmidt’s private label Rather Interesting with a vinyl sampler of the 1995 self-titled album Interactive Music. Previously released on CD only, Interactive Music came during a time of explosive creativity for Schmidt (also known as Atom™, Atom Heart, or Señor Coconut), where the German artist sought to release a new, individual album each month, each backed by their own design and conceptual structure with the goal of expanding the boundaries of technology, sound and electronic music as a whole. The motivation behind Interactive Music was to explore a new way of composing music, allowing both machinery and recorded elements to ‘interact’ with each other within a systems-based arrangement whilst incorporating any randomness and unpredictability that arose in order to create a sense of the organic or sentience within the machines. The four tracks here plucked from the original source demonstrate the breadth of styles Schmidt covers under his intuitive systems approach, leading with the atmospheric slo-motion creep of opener ‘Dynamic Link’, followed by the spluttering, melody-rich, UK-techno indebted ‘Kinky Sky Candy Drops’ that pays homage to Warp’s legendary Artificial Intelligence series of the early 90’s. On the B-side, ‘I See No Evil’ unleashes a taut electro piece, heavily enriched with Schmidt’s intricate drum programming and unique ear for sound design, whilst the extended closer ‘Assembler’ sees the ‘Interactive Music’ system firing on all pistons with an array of percussive and melodic elements working in unison for a heavily textured, free-form, electronic free-jazz-jam. A pioneering and easy to overlook masterclass in electronic production, rightly framed in a fresh new context. Remastered by Miles Whittaker (Demdike Stare). “
File Under: Electronic
Brother Jack McDuff: Moon Rappin’ (Blue Note) LP
Blue Note Records has announced the continuation of the Classic Vinyl Reissue Series which presents 180g vinyl LP reissues in standard packaging mastered by Kevin Gray and manufactured at Optimal. The pressings are all-analog whenever an analog source is available, with Gray mastering directly from the original master tapes. While the first 16 titles of the series focused on the best-known Blue Note classics from the 1950s and 60s, the new run of titles curated by Don Was and Cem Kurosman broadens its scope to span the many eras and styles of the legendary label’s eight-decade history presented by themes: Bebop, Hard Bop, Soul Jazz, Post-Bop, Avant-Garde, The 70s, The Rebirth, and Hidden Gems. Brother Jack McDuff was already a well-established and prolific organist who led his own soul jazz bands throughout the 1960s when he came to Blue Note Records in 1969. Following his label debut Down Home Style, McDuff made one of the most creatively ambitious albums of his career with Moon Rappin’, which was released in 1970. The album featured 5 funky, spaced-out McDuff originals including hard-grooving numbers like “Flat Backin'” and “Loose Foot,” as well innovative tracks like “Moon Rappin'” and “Oblighetto,” which would later be permanently ingrained into hip hop history when it was sampled by A Tribe Called Quest as the foundation of 2 of their all-time classic tracks: “Scenario” and “Check the Rhime.”
File Under: Jazz
Mecanica Popular: Baku-1922 (Wah Wah) LP
A welcome departure from their first effort, the record has gained greater reconection in recent years when contemporary audiencies could fully aprreciate the strenght and harsher direction the duo decided to take for their follow-up album. More rhythmically-oriented tunes whilst revisiting some old-favorites like Daguerrotipo or La Edad del Bronce (both off their first album, but albeit in new mixes). The Wah Wah edition has been mastered from the original tapes by Eugenio Muñoz, reproduces the original sleeve artwork and and features an insert with photos and info. It is a strictly limited edition of 500 copies only.
File Under: Experimental, Electronic
Merzbow & Lawrence English: Eternal Stalker (Dais) LP
On their first official collaboration, Japanese noise pioneer Masami Akita aka Merzbow and Australian sound sculptor Lawrence English present a harrowing, surrealist portrait of nocturnal industrial activity, spawned by field recordings made in a sprawling factory complex seven hours north of English’s home in Brisbane. He characterizes the area as “uneasy and unsettling,” awash in the sickly glow of smelters and refinement machinery, somehow not of this world – a liminal quality vividly captured in Andrei Tarkovsky’s sprawling purgatorial opus, Stalker, to which the title alludes. Akita, too, described early drafts of Eternal Stalker as feeling “like the soundtrack to a dystopian science fiction opera.” A mood of mechanical dread and ruined futures permeates each of the album’s seven potent compositions. Opener “The Long Dream” sets the stage with steady rain on sheet metal, punctured by thunder and metallic echoes, reverberating to the rafters in a collapsing warehouse. Quickly the tempest rises. “A Gate Of Light” and “Magnetic Traps” both convulse in churning furies of electric demolition and rattling chains, roaring and relentless. “The Visit” and “Black Thicket” operate more at a distance, surveying the topography of steam, rust, and liquid metal from above, their flickers of violence like gunfire swallowed by blankets of darkness. This is noise at its most elemental and unknowable: brooding, bristling, and opaque, stalking forbidden peripheries of chaos and creation. Discussing Akita’s music, English refers to its “intense substrata that is purely psychedelic; it consumes and confounds.” The seasick swells of friction and fracture subsume the listener, forcing an auditory surrender: “this saturation of the senses can be a euphoria.” Proof comes halfway through “The Golden Sphere,” when the howling mayhem subtly recedes, revealing an eerie siren drone hovering in the void, like the resonance of a dead star galaxies away. Slowly a seething, venomous wall of volume returns, shredding the signal until its frequencies fray, whipping away into the eye of the storm. The combined effect merges obliteration and liberation, rapture and ravagement; it’s the sound of dissolution as resolution, uprooted and unmoored, finally freed from form.
File Under: Experimental
Charles Mingus: Presents Charles Mingus (Candid) LP
The combo here, referred to by Charles Mingus as The Jazz Workshop, had been in residence at the Showplace on W. 4th St. in Greenwich Village for nearly a year when they entered the studio to record what became the album Presents Charles Mingus in October of 1961. Saxophone and bass clarinet Eric Dolphy, trumpeter Ted Curson, and drummer Dannie Richmond had been performing the material on this album for weeks. Mingus decided to set a mood that might resemble a night at the club, in hopes to capture the fierceness the musicians had been exploring on stage. “I finally realized that a lot of jazz records don’t make it because the guys almost unsoundly cage their approach in a studio from what they do every night,” Mingus said. “I finally wanted to make an album the way we are on the job.” To recreate this atmosphere, Mingus introduces the songs as if he were speaking to the audience, giving off the illusion of a live album. The charade paid off. Produced by Candid co-founder, famed music critic and social activist, Nat Hentoff, the album accomplishes what the best of Mingus’s work accomplishes; the perfect tension between jazz played as an ensemble and jazz played as totally free. Cut directly from the original master tapes by Bernie Grundman and pressed on 180g vinyl LP, this reissue includes extraordinary liner notes written by Hentoff himself, giving a context and insight that adds to the experience of hearing these magnificent performances.
File Under: Jazz
Jonny Nash & Ana Stamp: There Up, Behind the Moon (Melody as Truth) LP
Melody As Truth is proud to announce ‘There Up, Behind the Moon’, a collaborative album from Romanian musician Ana Stamp and Jonny Nash. For this collaboration, the pair spent over two years researching, arranging and recording Romanian folklore songs, aiming to give new context to these traditional, forgotten melodies.Throughout the album Ana’s vocals sit in delicate balance with Nash’s signature minimalist arrangements, accompanied with cimbalom, piano, double bass and guitar. ‘Bright Girl’, ‘For You I Am Missing’, ‘On a Mountain Realm’, ‘Sacred Conversations’, ‘Noble Tree’ are arrangements from traditional Romanian “star songs” and carols, usually sung in connection to various rituals that take place throughout the year. ‘Clouds Passing By’ is a cover of a traditional song, covered by Oșoianu Sisters. In addition the album contains two classical piano compositions by Romanian composer Sigismund Toduță’, ’Upwards’ and ‘There Up, Behind The Moon’ to complete the atmosphere. Ana’s contemplative, thoughtfully paced re-interpretation and performance of these pieces reflects feelings of waiting and longing over time. In describing her first album ‘There Up, Behind The Moon, Ana says “it represents an important element of my connection with Romanian folklore and the country landscape that encompasses many feelings, ranging from longing to joy or melancholy at times. Rituals and traditions are part of our roots that we take with us wherever we go.”
File Under: Ambient
New Jazz Orchestra: Western Reunion London 1965 (Mad About) LP
British Jazz Masterpiece from 1965 featuring Neil Ardley, Ian Carr, Barbara Thompson and John Hiseman. Reissue for the first time on 180 gram black vinyl. In the mid-60’s London scene, the NJO was one of those unavoidable and big-band groups (originally started as Clive Burrows Orchestra), where almost everyone who was anyone on the scene or almost transited through the group, which was normally the vehicle for composer Neil Ardley. You’ll find in the WR album, among others, stellar names like Ian Carr (of RCQ and Nucleus fame), Barb Thompson, Tony Reeves, John Hiseman (all three of future Colosseum fame), Trevor Watts (future Amalgam) plus a bunch more of lesser-known, but no-less gifted musicians like Paul Rutherford, etc. The line-up would fluctuate to include many other household names. The New Jazz Orchestra was formed in December 1963, its name reflecting both the youth of its members – their average age was only 23 – and their mission to perform the new kind of orchestral jazz that was then developing in America but still to be heard in Britain. The personnel included such (then) non-jazz instruments as flute, horn and tuba in addition to the standard brass, saxes and rhythm line-up of the big band. This is the NJO’s first album, recorded in March 1965 before an invited audience to make the young band feel at ease. The NJO was the offspring of a popular weekend jazz club, the “Jazzhouse” based at the Green Man, Blackheath (demolished to make way for Allison Close) where the “house” band was the Ian Bird Quintet (initially comprising Ian Bird, tenor sax; Clive Burrows, baritone sax; Johnny Mealing, piano; Tony Reeves, bass and Trevor Tomkins, drums – Mealing and Tomkins left to join the newly formed Rendell-Carr Quintet and were succeeded by Paul Raymond and Jon Hiseman respectively. The ensemble featured many London-based jazz musicians, such as Harry Beckett, Jack Bruce, Ian Carr, Dave Gelly, Michael Gibbs, Dick Heckstall-Smith, Jon Hiseman, Henry Lowther, Don Rendell, Frank Ricotti, Paul Rutherford, Barbara Thompson, Trevor Tomkins, Michael Phillipson, Les Carter, Tom Harris, Trevor Watts and Lionel Grigson. Ardley, Gibbs, Carter, Rutherford, Michael Garrick, and composer Mike Taylor all contributed pieces and arrangements.
File Under: Jazz
Nurse With Wound: Who Can I Turn to Stereo (Nor Nordung) LP/BOX
“Who Can I Turn To Stereo” by Nurse With Wound for the first time on Vinyl! It will be released as double album (including bonus material), strictly limited and numbered and in different colors (Black, Transparent, Silver and Gold). There will be a special Boxset edition also, including splattered marbled vinyls, a bonus material CD (exclusive in the boxset), T-shirt, Notebook and special printings! Stay tooned!
File Under: Experimental
Orgone: Lost Knights (3 Palm) LP
With a signature sound signified by lockstep rhythms & a deep grasp of soul and funk, Orgone has built a reputation over the past 2 decades as being one of the tightest, fieriest live bands in the country and a top notch crew in the studio. On their new album Lost Knights, Orgone offer up a collection of heavy-duty psychedelic funk-rock anthems created to be played loud and raucously. The release features lead vocal contributions from Orgone’s ever expanding extended family of some the finest soulful singers on the West Coast – Terin Ector, Jamie Allensworth, Phil Diamond, with special appearances from Jesse Wagner (The Aggrolites) and Kelly Finnigan (Monophonics). A first of sorts, for the band, in featuring an all male fronted lineup on an album. The tough, punchy, and hard hitting production highlights a body of work both “head banging”-ly satisfying and eminently groovy. Opener “Working for Love” rolls out the gate with a crunchy drum break and slams into a heavy guitar and bass riff behind Ector’s call to loving arms and irresistible singalong chorus. The rest of the album thunders on with Funkadelic-style guitar and gloriously gritty Hammond organ percolating through timely songs of protest, brotherhood, unity, reverence and loss. Instrumentals “Samson” and “Crusader” round out the record, highlighting the trademark Orgone sound; instantly classic and dusty, at times chunky, at times sprawling; always on point. Lost Knights is ultimately a fun record- an expansion of a profound part of the band’s DNA, their exploration of the cosmic haze between early Westbound catalog, 70s garage rock, skateboards, and the muscular power of a metallic crimson ‘68 Chevy Camaro with racing stripes.
File Under: Funk
Plankton Wat: Hidden Path (Thrill Jockey) LP
The music of Dewey Mahood is steadfast in its pursuit of transcendence. For the past two decades as Plankton Wat, Mahood has contoured his melodic guitar playing into wholly transfiguring pieces. His fluid compositions apply ethereal, elastic textures to grounded rhythmic grooves that recall the cosmic and the earthly in equal measure. Hidden Path is an album built on reflection and discovery, turning the thrill of exploring obscured passages into inward revelations. Originally presented as a limited cassette in 2017, and now presented on vinyl for the first time, remastered by Amy Dragon, Hidden Path is a distillation of Mahoodâ€™s musical practice as a way of life, a patient celebration of the unexpected, unhurried and exhilarating.
File Under: Psych, Folk
Rada: Upadesa (Wah Wah) LP
Ángel Rada is one of the most interesting music experimantalists of Venezuela. He started his career in the late 1960s as a member of The Gas Light, one of the big names on Venezuela’s live circuit in the era, sharing the stages with other artists such as Apocalipsis, Un Dos Tres y Fuera, Vytas Brenner, Daniel Grau, Pablo Schneider, Miguel Ángel Fuster… Rada is one of the three basic artists who set an electronic music scene in Venezuela, along with Miguel Ángel Noya and Vinicio Adames. Rada had attended the Escuela Superior de Música José Ángel Lamas and then continued his studies in Germany, where he was impressed by krautrock music, especially by its more electronic side. He met Kraftwerk when they were recording at Kling Klang Studio, and also knew Klaus Schulze–who would become an example for him to to follow. This contact with the Kraut scene would be the biggest influence on his works from the 1970s, which would end synthesizing in Rada’s first record: 1983’s Upadesa, originally released on his own independent label Uranium Records. Since then he has released more than 20 albums up to date, making him one of the most prolific experimental musicians not only in his country but also in the whole world. Rada’s aproach to electronic music is based in what he calls ethnosonic music. He is interested in the mixture of various styles which he filters through the use of technology, so in his electronic compositions one can hear echoes of ethnic sounds from all over the globe as well as some jazz influenced improvisation, ambient and synthesized sounds. The Wah Wah edition is the first ever vinyl reissue of this landmark LP and has been remastered for vinyl by Roger Prades @ Prades Mastering. Includes an insert with liner notes by Salvatore Maldera. It is a strictly limited edition of 500 copies only.
File Under: Electronic, Experimental
Daniel Romano’s Outfit: Content To Point the Way (You’ve Changed) LP
In 2020, Daniel Romano and his increasingly exalted band “The Outfit” were forced home, faced with the cancellation of tours and all live engagements at the beginning of the Covid-19 pandemic. Almost immediately, Daniel instigated a near legendary run of new albums, releasing 10 full-length albums in the span of nearly the same number of weeks. Genre-spanning, astoundingly distinct artist achievements of an unprecedented order, these albums were originally released exclusively in digital only formats on Bandcamp. They were direct and immediate missives from one of the most talented, prolific, ambitious, and exciting artists of his generation. We are thrilled to begin releasing these albums now in very special limited-edition vinyl pressings. “Content To Point The Way” offers fans the long-awaited return of the traditional timeless country that Daniel Romano became known for on albums such as Sleep Beneath The Willow, Come Cry With Me, and If I’ve Only One Time Asking, but here elevated by his current group The Outfit, world’s finest purveyors of musical skill and vibe. Stunning wordplay, timeless songwriting, and musical brilliance combine on one of Daniel Romano’s most popular releases.
File Under: Rock, Country, Folk
Patrick Shiroishi: Hidemi (American Dreams) LP
The concentration camps that Japanese Americans had to go through has been a major part of my work for the last couple of years,” says Los Angeles-based composer and saxophonist Patrick Shiroishi. Hidemi, a solo multilayered woodwind journey, considers the personal experience of his grandfather after getting out. “His name is Hidemi Pat,” Shiroishi explains, “so I was named after him, but I never got to meet him, as he passed away before I was born.” As Patrick’s name is in memory to his grandfather, Hidemi is too, and across the album’s nine tracks, Shiroishi brings the listener through tension and release, showcasing something unfiltered, beautiful, and ultimately hopeful, a testament to perseverance and grace. All of the album was written and performed by Shiroishi, who sang and played alto, baritone, tenor, C melody, and soprano saxophones, stacking up layers of harmonies often each recorded in one take. RIYL: Colin Stetson, Battle Trance, Upsilon Acrux.
File Under: Jazz
Silent Servant: Optimistic Decay (L.I.E.S.) LP
Los Angeles’ Silent Servant returns to the fold with his first solo offering since his 2018 “Shadows of Death and Desire” LP for Hospital Productions. Mendez wastes no time on the opener “Cyber Luminescence” featuring Cabaret Voltaire’s Stephen Mallinder on vocals, with a modern take on classic synthwave displaying a heavier production style, with fluttering kr-55 hi-hats, synthesized snares, and a chaotic punk energy. This is not without melody and catchiness, as Mallinder drives the track full on; masterfully singing about a dystopian future which we very well may be living in at this moment. “Raw Optics” is Silent Servant in true form layering an atmospheric backdrop over driving raw sequences and vicious drum programming. “Solitude Illuminated” is the real centerpiece of the record though, as Mendez goes into a new territory finding a balance between uplifting slow house music and his signature shadowy techno. Where his classic “Lust Abandon” was more Distant Dreams pt. II, “Solitude Illuminated” is more akin to something like Dearborn’s house classic “New Dimension” but taking a fresh production approach on this bassline driven seven minute anthem. Truly a welcome return by Mendez. Each record comes with a large heavy grade paper fold out poster.
File Under: Electronic
Esperanza Spalding: Songwrights Apothecary Lab (Concord) LP
Esperanza Spalding’s new album Songwrights Apothecary Lab explores how songwriters may incorporate knowledge in consultation with practitioners of music therapy, neuroscience, and more to create music that can have a specific effect on the listener. These 12 new songs were created and recorded with different musicians in her traveling lab over the past several months and follow her Grammy Award-winning album from 2019, 12 Little Spells. Vinyl 2LP edition with the bonus track “Formwela 12.”
File Under: Jazz
Jon Spencer & The Hitmakers: Spencer Gets It Lit (Bronzerat) LP
The incredible, indelible Jon Spencer (Blues Explosion, Boss Hog, Pussy Galore, Heavy Trash, etc) is back with the incendiary HITmakers—and with his hottest record yet! Spencer Gets It Lit is classic Jon Spencer taken to the extreme—electro-boogie, constructivist art pop, and a psychedelic swamp of industrial sleaze and futurist elegance. It is an epic master work of freak beat from the world’s weirdest garage. Across brain-boggling layers of fury, fuzz guitar, and a crash-bang battery of phaser blasts, photon torpedoes, and otherworldly zounds, he frantically spits, croons, rhapsodizes, and seduces. Spencer Gets It Lit is his most complex and groovy record in years, a dark, danceable odyssey—both a studied take-down of the early 21st century, and a celebration of the place where electricity meets the mind. Thirteen wicked hot songs of love, loss, lust, life—from the Farfisa-fueled, warped psycho-punk rave-up of “Junk Man,” to the intimate lover’s plea of “My Hit Parade,” to the outer-space, end-of-days country funk of “Worm Town,” Spencer Gets It Lit delivers all of the friction, excitement, and post-modern depravity one could ever ask for! Says Spencer, “Send out the Hit Signal! This is the most uncompromising album I’ve ever made!”
File Under: Rock
Soichi Terada: Asakusa Light (Rush Hour) LP
Back in 2015, Japanese deep house pioneer Soichi Terada stepped back into the limelight courtesy of Sounds From The Far East, a Rush Hour-released, Hunee curated retrospective of material released on his Far East Recording label in the 1990s and early 2000s. Buoyed by the positive response and renewed interest in his work, Terada went back into studio to record his first new album of house music for over 25 years, Asakusa Light. Developed over 18 months, Terada tried to recreate the mental and physical processes that led to the creation of his acclaimed earlier work. Those familiar with Terada’s celebrated, dancefloor-focused sound of the 1990s – a vibrant, atmospheric, and emotive take on deep house powered by the twin attractions of groove and melody – will find much to enjoy on Asakusa Light. “I tried to recall my feelings 30 years ago, but when I tried it, I found it super difficult,” he explains. “I didn’t even know what I thought about myself five years ago, and the mental metabolic cycle seems to be faster than I thought. I tried different methods, including digging up my old MIDI data and composing by remembering old experiences. With the help of Rush Hour, I found some of the light from my heart that I had 30 years ago. I nicknamed the light I found in my heart, ‘Asakusa Light’.” Produced using the very same synthesizers and drum machines that powered his 1990s work, the album is a joyous, colourful and life-affirming collection of timeless house music that not only recalls Terada’s own impeccable back catalogue, but also that of similarly celebrated contemporaries such as the Burrell Brothers or Ben Cenac (Dream 2 Science, Sha-Lor). Terada, who has spent much of the last two decades writing video game music, has always had a gift for combining warm, undulating synthesizer basslines and perfectly programmed machine drums with stirring chords, smile-inducing melodies and mellow musical flourishes. It’s this immersive, sun-kissed and tuneful trademark style that takes centre stage on Asakusa Light, an album for the ages. The set begins with the alien-sounding chords, soft-touch percussion and dawn-friendly warmth of ‘Silent Chord’ and ends on a high via the bouncing string stabs, starlight chords and thickset grooves of ‘Blinker’; in between, you’ll find a deluge of effortlessly feelgood music that’s the aural equivalent of a dopamine rush at sunrise. There are subtle variations aplenty throughout the album – see the 8-bit lead lines and pulsing electronic textures of ‘Takusambient’, the vintage Tony Humphries flex of ‘Diving Into Minds’ and the effortlessly funky ‘Marimbau’ – but it’s the uniquely atmospheric, vivid and tactile nature of Terada’s loved-up sound that resonates. After well over 30 years in house music, the light in his heart is shining brighter than ever.
File Under: Electronic
Daniel Villarreal: Panama 77 (International Anthem) LP
Panama-born, Chicago-based drummer Daniel Villarreal is known to many for his work in Dos Santos, Wild Belle, The Los Sundowns, Valebol Rudy de Anda, and many more. He’s one of the busiest players on the Chicago scene. If you’re in the Windy City, find him almost any night of the week at a bar, club, or venue near you, either behind the drumkit or behind the turntables, donning a beaver skin stetson hat, with his baby blue vintage Mercedes parked out front. For his lead artist debut Panama 77 he engages a diverse array of friends and collaborators – including Bardo Martinez (Chicano Batman), Jeff Parker (Tortoise), Marta Sofia Honer (Adrian Younge), Anna Butterss (Jenny Lewis), and Aquiles Navarro (Irreversible Entanglements) – to create a vibrant and verdant suite of multi-textural psychedelic instrumental folk-funk. The album was recorded in several locations across Chicago & Los Angeles, including an outdoor session in the backyard of Chicali Outpost. RIYL: Herbie Hancock, William Onyeabor, Francis Bebey, Dos Santos, Makaya McCraven, Jeff Parker, El Michels Affair, Willie Colon, NOMO, Roy Ayers
File Under: Jazz
Vumani: Isiqedakoma (Hot Casa) LP
Much in demand album from 1986. Not much is known about the mysterious pop sensation Vumani or his short musical career. Originally from KwaZulu Natal he made his way to Johannesburg in the mid 80’s to follow his dream of becoming a recording artist. He was able to make that dream come true when talent scouts from Decibel Music came across the charismatic youngster. At the time Decibel was still a small fish trying to make waves and the label believed in Vumani they had found the star they were looking for. Being a label with mostly groups signed to the catalog they needed a Front Man to push into the growing demand for Solo Artists that were dominating the airwaves and catching the hearts of youngsters. Up to this point Decibel had one major hit record. In 1986 they released a single by an artist named David Thanzwane. The music was a direct rip off of the first hit Single by Shangaan Disco pioneer Paul Ndlovu. Copying the music of both sides of the original single the “covers” offered different lyrics and hooks also sung in xiTsonga. This was enough to trick the masses and the single led to record sales for the small label. The unintentional outcome of the single was that from then on the producers and label had one sound they wanted to pump out in hopes of recreating that magic. This desire to create another Shangaan Disco hit would be the backbone of the Vumani sound and what makes his music so special and collectable after all these years. That same year Vumani would release two Singles, Black Mampatile and Guy Fawkes. Musically these playful and fun singles would have great appeal to youngsters as they sung of daily life in the Townships. Black Mampatile being a game of Hide and Seek, Banana Kari referring to the trucks that would go around the Township exchanging chips and snacks for glass bottles and of course every child’s favourite reason the dress up on November 5th, Guy Fawkes Day. Both singles were received well and a few more tracks were later recorded to create the full album Isiqedakoma. Although he would sing in Zulu the music was unmistakable for Shangaan Disco. The synth heavy bass lines and happy melodies along with relatable fun lyrics were a perfect blend for an album that would make people dance if they were out at a Tavern or Shabeen on a weekend or just enjoying at home with family and friends. Vumani quickly became the Label’s top priority with managers making sure he always had the freshest clothing styles to go along with his persona, and he never missed any performances or opportunities to impress a crowd. His popularity grew in the Township’s but with that came the unfortunate and all too common problems with fame. He started getting mixed with wrong crowds. He would record another album for Miracle Music, the Decibel sub label that had emerged to focus on the more underground sounds of the post synth pop era. Musically things were going well for Vumani but it would be his life off the stage that would catch up with him. Always known for his commitment to his music and fans one day he uncharacteristically failed to show up and was never heard from again. His body would later be found in a burnt car on the outskirts of Soweto. What led to his tragic death was never known but with the company he kept it is not hard to imagine what one of the many situations that led to that horrific ending could be. His funeral was attended by the entire Township it seemed as people packed the service and flowed out onto the streets, a testament to his popularity and the love the people had for one of their own.
File Under: Africa, Funk, Boogie, Disco
Warpaint: Radiate Like This (Virgin) LP
Radiate Like This – Warpaint’s anticipated new record and their first in almost six years – arrives with its own very modern mythology intact, continuing the strange, brilliant, beautiful story of the band and quite neatly picking up where 2016’s Heads Up left off. If the previous album was the coming of age, Radiate Like This presents Warpaint mk II in all their glory, a luminous coalescence of sound and vision, an album that pulsates with ideas, energy and – most crucially – gorgeous melodies. Co-produced by the band with Sam Petts-Davies, the 10-track collection is introduced by lead single “Champion” which the band says is about, “being a champion to oneself and for others. We are all in this together, life is too short not to strive for excellence in all that we do.”
File Under: Indie Rock
We Jazz Magazine #3: Tetragon (We Jazz) Mag
The third issue of the new We Jazz Magazine, “Tetragon” for Joe Henderson. 128 pages 174 x 250 mm in size and printed on 140g Edixion paper with laminated 300g ‘Invercote’ covers. All articles presented IN ENGLISH. Stories include Joe Henderson by Daniel Spicer, International Anthem by Tina Edwards, Tokyo Jazz Joints by Philip Arneill, Ben Lamar Gay by Stewart Smith, Smooth Jazz by Francis Gooding, ESP-Disk by Matti Nives, UK Folk & Jazz by Gareth Allen, The Lisbon Scene by Rui Miguel Abreu, plus many more. “Brilliant new mag from people at We Jazz. Top Marks. Great Contributors. Jazz needs this!” – Gilles Peterson
File Under: Reading
Various: And Felt Like… (Knekelhuis) LP
Compilation of all new productions from a wealth of international talent, put together by Knekelhuis. Label Text “This is a story of friendship, about how it grows stronger through the years. But it’s just as much about fledgling togetherness and shared art in times of crisis. The result is an introspective document of contemporary music, in spirit of Eno and Hassell. A space where we embrace our differences and speak the language of collectivity together, where we reflect, adapt and value each artist’s contribution equally. To witness a multitude of cultural backgrounds that speak one like-minded language. Soothing and illuminating. And felt like… Mastered by Amir Shoat and artwork by Keziah Phillips and Steele Bonus.”
File Under: Experimental
Various: DFA Compilation #2 (DFA) 4LP
Behold, Compilation #2. A compendium what are arguably the best prime-era DFA cuts, mostly all recorded and/or remixed at the old DFA Studios on W. 13th Street (with some notable exceptions), released as 12-inches and then compiled onto a 3xCD set for convenience because, at the time, people actually bought CDs more than vinyl. Now, in the spirit of time not really being much of a linear thing anymore, and for their own selfish desire to have this version of Liquid Liquid’s “Bellhead,” produced by the DFA, finally committed to wax, DFA Records has reverse engineered this thing back onto vinyl and presented it as a four-record boxed set. They went back and found the master tapes or files for each song – a not insignificant effort given the label’s habit of disorganization. They then rather painstakingly resequenced and remastered it with the guy they trust with such things: Bob Weston at Chicago Mastering Service. The lacquers Bob cut were plated and pressed at what DFA believe to be one of the best pressing plants in the country: QRP in Salina, Kansas. It sounds remarkable. It looks great (Rob Carmichael re-did the original packaging, adding a new photo from DFA OG Tim Saccenti from one of the original parties at W. 13th St.).
File Under: Electronic
Various: Hyperituals Vol. 1 – Soul Note (Hyperjazz) LP
The theme that runs through Hyperituals is the exploration of the possibilities of sound, rhythm, remix, and endless sampling. Inspiring listening, interpretation, and reinterpretation. Is it an exercise in cratedigging that explores the past of some of the most important yet sometimes forgotten record labels and aims to bring to light music that is contemporary both in its sound and its message. The first stage of this journey is represented by Black Saint/Soul Note, an Italian ‘double’ label based in Milan that, since the 1970s and throughout the 1980s, established itself as one of the most important imprints for international jazz. Founded respectively in 1975 by Giacomo Pellicciotti and in 1979 by Giovanni Bonandrini (to whom Pellicciotti sold Black Saint in 1977), Black Saint and Soul Note have represented a safe haven for incredible and brilliant artists who were unable to find their space elsewhere. By combining jazz tradition with the political vanguard sentiment of the time, the two sister labels were able to press and produce more than five hundred records (still available today – the catalogue is now owned by CAM Jazz), many of which are by some of the brightest names in creative jazz or the ‘avant-garde’ of the era. Black Saint and Soul Note always placed the artists, their visions, and their music at the center, giving them total freedom of creative expression. It is thanks to this constant, cutting-edge and meticulous commitment that today we have some of the shiniest musical gems by Sun Ra, Archie Shepp, Don Cherry, Max Roach, Anthony Braxton, David Murray, and many others. And it is this long list of jazz gods and idols that led the two labels to be recognized as the best in the world by critics, winning the DownBeat Critics Poll for Best Record Label for six years in a row, from 1984 to 1990, conquering the American market.
File Under: Jazz
Actors: It Will Come To You (Artoffact) LP
Amyl & The Sniffers: s/t (ATO) LP
Arcade Fire: We (Columbia) LP
Badbadnotgood & Ghostface: Sour Soul (Lex) LP
Bon Iver: Bon Iver, Bon Iver (Jagjaguwar) LP
Bon Iver: For Emma, Forever Ago (Jagjaguwar) LP
Calexico: El Mirador (Anti) LP
Car Seat Headrest: Twin Fantasy (Matador) LP
Ian Carr: Belladonna (Mr. Bongo) LP
Deftones: Ohms (Warner) LP
Deftones: White Pony (Reprise) LP
Dope Lemon: Rose Pink Cadillac (BMG) LP
The Fall: Dragnet (Cherry Red) LP
The Fall: Live at the Witch Trials (Cherry Red) LP
Myriam Gendron: Ma Delire – Songs of Love, Lost & Found (Feeding Tube) LP
Godspeed You! Black Emperor: G_d’s Pee AT STATE’S END (Constellation) LP
German Army: Passage Through Selk’nam Hain Ceremony (L.I.E.S.) LP
Jesus Lizard: Head (Touch & Go) LP
Jesus Lizard: Liar (Touch & Go) LP
New Order: Low-Life (Rhino) LP
Olympians: s/t (Daptone) LP
Pearl Jam: MTV Unplugged (Legacy) LP
Orville Peck: Bronco (Columbia) LP
Popol Vuh: Essential Album Collection Vol 1 (BMG) BOX
Porridge Radio: Waterslide, Diving Board, Ladder to the Sky (Secretly Canadian) LP
Portishead: PNYC: Live at the Roseland Ballroom (Go! Beat) LP
Queens of the Stone Age: Villains DLX (Matador) LP
Radiohead: Hail to the Thief (XL) LP
Radiohead: In Rainbows (XL) LP
Sault: Untitled (Black Is) (Forever Living Originals) LP
Sault: Untitled (Rise) (Forever Living Originals) LP
Slint: Spiderland (Touch & Go) LP
Spectral Wound: A Diabolic Thirst (Profound Lore) LP
Swans: Soundtracks for the Blind (Young God) 4LP
Velvet Underground: Loaded (Universal) LP
Wet Leg: w/t (Domino) LP
Jack White: Fear of the Dawn (Third Man) LP
Neil Young: Harvest (Reprise) LP
Neil Young: Harvest Moon (Reprise) LP