Arg! Syng issues with Mailchimp seem to be getting worse, rather than better. If anyone out there happens to be Mailchimp savvy, drop me a line. So, most things are just line listed again here, but I’ve dropped in a bunch from last week that weren’t syncing up then. ANNNNNYWAY… lots of cool stuff in again this week. Been buying more used as well, loaded up the front crates this morning for the weekend, but might have to refill them again tomorrow. Come have a dig…
– 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…..
Tom Van Der Geld: Small Mountain: Music for Four Marimbas (Black Sweat) LP
Black Sweat present a reissue of Tom Van Der Geld’s Small Mountain, originally released in 1986. In 1986, the vibraphonist Tom Van Der Geld composed his personal ode to creation, a tonal poem for all natural beings called Small Mountain. It reveals a pure minimalist inspiration, a vibrant style of sound variations that is decidedly more Zen-impressionistic than the mathematical-metaphysical works of Steve Reich. This music, for four marimbas and other percussion instruments, suggests an emotional osmosis with all the elements, a flow of ecstatic progressions that is more immanence than transcendence. It’s the rain that falls softly on fragrant moss or the fog that hides the frost on the grass; an exotic spectrum of multi-form colors, dances of leaves, branches, sticks, fronds, lianas, swirls of petals and bark. Ode to the wind, to the rainforest, a psalm to the waters energy that opens the portals of the temples of nature. As in the Aboriginal songlines, every place or being on planet Earth becomes, through music, space for the sacred.
File Under: Minimalism, Kris’s Picks
Patricia Wolf: See-Through (Balmat) LP
Following her debut album, I’ll Look for You in Others (Past Inside the Present, 2022), Patricia Wolf joins Spain’s Balmat label with See-Through, her second album. See-Through finds the Portland, Oregon musician and field recordist continuing to develop her signature style of ambient, balancing radiant soundscaping with a carefully expressive sensibility. But the new album is also marked by an important difference. Where I’ll Look for You in Others was largely written in response to the death of a loved one, See-Through represents a kind of rebirth. She wrote and recorded many of the album’s songs quickly, in preparation for an August 2021 broadcast on the online radio platform 9128 Live. Excited for the opportunity to play live after more than a year of the pandemic, Wolf decided to write all new material for the event, working with a lean setup of Octatrack, Roland Synth Plus 10, Make Noise 0-Coast, and Novation Summit. (In fact, Wolf was the first sound designer invited to create patches for the Summit.) She also picked up an acoustic guitar that her brother had loaned her. “Woodland Encounter”, “Under a Glass Bell”, “The Grotto”, “The Mechanical Age”, “The Flaneur”, and “Psychic Sweeping” are all products of those sessions; the through line holding them together is their exploratory spirit and clarity of vision. Other songs, like “A Conversation With My Innocence”, “Recalibration”, and “Psychic Sweeping”, wrestle with the traumas of the preceding year. Though they may linger on the heaviness of loss, Wolf says, “What I discovered is that a stronger archetype had grown inside me to steer my emotions and thoughts to a better place.” Likewise, “Wistfulness” and “Upward Swimming Fish” — her first experiments with VST synthesizers — balance the bittersweet embrace of melancholy with the freedom to choose happiness. “Pacific Coast Highway”, the album’s lone song with drums, might at first seem like an outlier. But it also signals Wolf’s interest in finding a fusion between the introspection of ambient and the togetherness of beat-oriented music. Listeners with keen ears might recognize the album’s closing song, “Springtime in Croatia”: A different mix of the song originally appeared on the 2021 digital compilation second nature & friends Vol. II, from the Seattle label second nature. This marks its first appearance on vinyl, however, and its spiritual home is undoubtedly here, at the close of See-Through.
File Under: Electronic, Ambient, Kris’s Picks
German Army: Endless Suburb (Natural Sciences) LP
Typically inspired by their muses, Brazilian explorer/social activist/ethnographer Sydney Possuelo, and educator/philosopher and Paulo Freore, and their inherent anti-imperialist critiques of USA and nationalism, SoCal’s German Army duo rock into a quietly hypnotic swirl of tape loops and drones here hearkening back to original industrial and experimental gestures by like of O Yuki Conjugate, Bourbonese Qualk or their near namesakes German Shepherds. Possessed by clammy atmospheres, twilight melodies and enervated pulses the album veers from ritualistic ambient to strung out exotica arabesques that all hint at echoes of influence from the West Coast’s industrial ambassador Monte Cazzazza for an absorbing 12-track session.
File Under: Experimental, Industrial, Ambient, Kris’s Picks, Ian’s Picks
Beastie Boys: Check Your Head (Capitol) BOX
Celebrating the 30th Anniversary of Beastie Boys’ 2X Platinum Check Your Head album, this limited-edition deluxe reissue is a rare version of the album that was released as a limited run in 2009. Long out-of-print and sought after by fans and collectors, it features two bonus LP’s including remixes, live versions, and B-sides. Featuring the songs ‘So What’cha Want’, ‘Pass the Mic’ and ‘Gratitude’. Check Your Head was a somewhat return to their punk roots and introduced the trio playing their own instruments for the first time on record since their early EP’s.
File Under: Hip Hop
Coil: Constant Shallowness Leads to Evil (Dais) LP
The turn of the millennium ushered in an apex visionary phase for English esoteric duo Coil. Relocating from the city to the coastal quiet of Weston-super-Mare freed them to follow even more fringe obsessions, fully untethered from peer influence. During a single six-month stretch in 2000 they released the devious underworld sequel to Music To Play In The Dark, arcane drone summit Queens Of The Circulating Library, and a malevolent hour-long synthesizer exorcism prophetically titled Constant Shallowness Leads To Evil. This latter work remains one of the group’s most miasmic and mind-expanding creations, on par with Time Machines – a sustained divination of shuddering, psychoactive noise, rippling with the motion sickness of an all-seeing eye. Thighpaulsandra characterizes the album as “an exercise in brutality,” born from a thorny patch of his Serge modular unit that Peter “Sleazy” Christopherson found entrancing. Processing this sliver of electronics into a ravaged labyrinth was a trial and error process, aided by Christopherson’s visual sense of sound, stretching and manipulating it for maximum spatial disorientating. Frequencies nauseously crawl across the stereo field, burrowing into the ear like a sinister brainwashing experiment. An outlier / centerpiece is the 13-minute alien tribalist sea shanty, “I Am The Green Child,” guided by John Balance’s sung-spoken free verse concerning vengeance, oblivion, and insanity, culminating in the memorable refrain, “We’re swimming in a sea of occidental vomit.” But the rest of the record seethes in unhinged instrumental chaos, divided into 18 micro-movements of a composition called “Tunnel Of Goats.” Intended to scramble the functionality of a CD player’s shuffle mode, the piece throbs, thrashes, and flatlines in compressed frenzies of twisted synthesis, at the threshold of some bottomless purgatory, forbidding and unknown.
File Under: Elecrtonic, Industrial, Ambient
Deliluh: Fault Lines (Tin Angel) LP
Learning about what Deliluh has been through these past two years brought the commands on a cassette player to mind: press rewind, forward, play and eject. The band, now a duo of Kyle Knapp and Julius Pedersen, relocated to Europe from their Toronto base with the ambition to plug into a continent that felt more cohesive in terms of a gig circuit and to map new spaces, both terrestrial and spiritual. This bold move came with several adjustments. Fault Lines is also a European record in its making. It first took shape at a session in Copenhagen in January 2019 where the band, still a four piece, recorded the beds before heading out on tour. The plan was to take a post-tour break and track some ideas that could be worked on remotely until everyone got back together in the early summer. Then everything “kind of went sideways”. Fault Lines stayed in an embryonic state for more than half a year, during which Deliluh reconfigured as a two piece. The lockdowns did, however, provide the time to rework material, or reposition ideas in line with the circumstances the pair found themselves in. Julius Pedersen: “We did a lot of heavy lifting at home together in Berlin and Marseille, taking turns training back and forth, throwing shit at the wall and experimenting.” After all this upheaval, does Deliluh still dream of going to another place? Are places different and do they really have a bearing on the creative path? “There’s always another place calling from beyond. Without it we would be stuck and hopeless.
File Under: Punk
Dope Lemon: Hounds Tooth (BMG) LP
2017 EP from Angus Stone’s (one half of sibling duo Angus & Julia Stone) psychedelic alt-pop project Dope Lemon on colored vinyl. Hounds Tooth features the warm, reverb-laden cuts “Home Soon,” “Only Lovers Left Alive” and “Where Do You Go.”
File Under: Rock, Psych
Duster: Capsule Losing Contact (Numero) LP
Available again! San Jose’s sonic cure-all for the Y2K hangover that never materialized, Duster emerged from a cloud of lonely bong rips to take indie rock to the moon, and beyond. Scotch-taped guitars toggle between a chorus of brittle winter trees and a blanket of distorted fuzz. The low rumble of a cardboard box being kicked in a dead mall keeps pace in the background, as muffled, sung-spoken vocals ponder the great mysteries of modern mundanity. Three years of home recording accidents and blown-out 2AM studio experiments are spread across four LPs or three CDs, gathering the short-lived trio’s Stratosphere and Contemporary Movement albums, 1975 EP, singles, demos, and other miscellaneous debris into one escape pod, now free to drift in the endless void of space. Mastered from a mix of crusty cassettes, decaying DATs, and warbly analog tape, Capsule Losing Contact is housed in a rusted slipcase with all four albums secured in heavy weight tip-on jackets. An accompanying lyric book guides the listener through Duster’s lo-fi worldview, adorned with the last gasps of an expired golden age as captured on Polaroid and disposable Kodak cameras.
File Under: Indie Rock, Slowcore
Interrupters: In The Wild (Hellcat) LP
After three studio albums and over a decade deep into the music game, THE INTERRUPTERS deliver their new album, In The Wild. This 14-track opus is the real deal; it’s a story of survival, a story of resilience, by a band being bold and rejecting the easy impulses of simply repeating what’s worked before. Together during lockdown, Aimee Interrupter, partner and guitarist Kevin Bivona, and his younger twin brothers, Jesse (drums) and Justin (bass), decided to put idle hands to work. After building a home studio in their garage together, Kevin stepped up and took charge of production duties to become “the accountable one” this time around. The record took shape in an unforced and organic fashion, and the recording process was evidently a fun one, which is reflected in the sound of the album, gliding across a spectrum of breathless punk rock, doo-wop, gospel, dancehall, and the band’s customary nods to the lineage of two-tone. It’s further evidenced in the uplifting spirit and the glittering rollcall of guests (Tim Armstrong, Rhoda Dakar, Hepcat, The Skints) involved too. Thanks to the cocoon of the intimate environment they’d built and relaxed working practices, the results made for the most personal Interrupters album to date, as well as being the one all four feel most connected to. The follow-up to their 2018 breakthrough album, Fight The Good Fight, which spawned multiple singles including “She’s Kerosene”, with over 50 Million streams to date. This smash-hit sent the band to the top of the radio charts and across the globe, playing live with everyone from Dropkick Murphys to Green Day. It was Spring 2020 as they were headed out on an 8-week Hella Mega stadium tour in support of Green Day, Weezer, and Fall Out Boy, when like the rest of the world, the band’s plans went kaput. The forced time at home gave them a period of much-needed rest, followed by an injection of creative energy that led the band to write over 80 songs, curate a live album and documentary film about their lives and their first trip to Japan. THE INTERRUPTERS will be back on the road starting this Spring, co- heading with Flogging Molly and touring through the remainder of 2022 and beyond.
File Under: Punk
Kiwi Jr: Chopper (Self Release) LP
Kiwi Jr. takes neon flight off the digital cliff on third album Chopper – like The Monkees starring in Blade Runner; like Michael Mann directs Encino Man. Ten songs with synth shimmer, zen gongs with yard strimmer. There’s a melancholy to all forms of flight, and the view out the Chopper is as hazy as it gets: mission-oriented, both stealth and self-realized. This album is decidedly anti-patio-sunscreen-Beach Boys bachelor cruise sing-a-long. Sure, these songs let a little light through the blinds, but they sting insomnia, corrupt mayors, Kennedy Curses, sex tapes, and deer rifles. Chopper is the bird’s eye view of the big event – a real nighttime character of oil stain, film grain, search light, night flight. It is muscular and fragile; loud yet quiet: both an observer and somehow the observed spectacle itself.
File Under: Indie Rock
Fela Kuti: Roforofo Fight (Knitting Factory) LP
“Roforofo Fight” is the 4th in the series of celebratory Fela 50th Anniversary reissues. Like its predecessors in the series, this version will be on color vinyl and the LP will be wrapped in a gold foil obi-strip with a brief essay on the album and Fela’s global impact on music. Like Fela’s other early 70’s releases he uses each side of his LPs to create a deep groove that pulls the listener in and follows with metaphoric lyrics that call out and critique the corrupt hangover of colonialism. The lyrics of the title track illustrate Fela’s frustration at intolerant, violent human behavior by depicting a fight that breaks out in the streets in Lagos. The second song ‘Go Slow’ is a 17:22 minute groove of super funk featuring the deep rhythmic interplay that is a hallmark of Fela’s Afrobeat. Lyrically, the song uses traffic jams in Lagos as a metaphor to criticize the harmful social and environmental impact of urbanization.
File Under: Funk, Afrobeat, Africa
Lightning Bolt: Oblivion Hunter (Thrill Jockey) LP
Lightning Bolt redefines what it means to be DIY. An utterly singular band in every way, unbridled creativity and energy propel them well past most categorical boundaries, least of which is the boundary between band and audience. Theirs is an immersive experience – a sound so huge it can swallow us all.
File Under: Noise Rock, Punk
Madonna: Finally Enough (Rhino) LP
Madonna made history once again when she topped the Dance Club Songs chart for the 50th time, making her the first and only recording artist to have 50 No. 1 hits on any single Billboard chart. To celebrate this historic milestone, Madonna curated two new collections: Finally Enough Love – 50 Number Ones, a new 50-track collection that includes her favorite remixes of those chart-topping dance hits that have filled clubs worldwide for four decades, and this abridged 16-track vinyl 2LP version, simply titled Finally Enough Love.
File Under: Pop
Tony Molina: In the Fade (Run For Cover) LP
Tony Molina loves and appreciates a well-crafted song, and he’s one of the absolute best in the game at writing them. What he doesn’t love so much is being told he’s “maturing” as a musical artist. His last solo album had what could be described as a jangly, ’60s-ish sound, and some listener reactions threw him off a bit. “I kept hearing: ‘Oh, he’s maturing, he’s getting into other shit, writing more mature stuff,'” he says. “I thought, ‘Man, that’s kinda lame, no I’m not…’ Any time somebody expects something of me, I’m usually gonna do the opposite.” Running the other way isn’t exactly how his new record came about, but writing and recording In the Fade, Molina’s first under his own name in four years, did provide occasion to look back in time through his lengthy musical history while also blazing a new path forward. In early 2020, embarking on recording a new album, he started taking inventory in a way he hadn’t really done before, delving deep into his personal archives for songs that might fit alongside the new material he’d been writing and demoing. Many of the ostensibly “mature” musical elements that some listeners have latched on to in his recent work – piano, Mellotron, the occasional English accent – actually date back well over a decade to Ovens, the criminally underrated band with whom Molina wrote and recorded five albums in the early to mid-2000s. In the Fade revisits a few songs from those days. “I had a bunch of old stuff that I had tried recording in the Ovens days [as well as] some songs that only got to the demo stage back then and I kind of forgot about,” he says. There were several gems to be found in there, and they helped set him off on the path to making a record that’s arguably his best yet. Molina likens In the Fade to a compilation, encompassing every phase of his recording career to date while also fitting together as a tight, endlessly listenable album. “The main thing I was trying to tie everything together with was just really good melodies for the entire record, all the way through,” he says. “Every song I wanted to have a really solid hook, because there are different styles.” These hooks permeate the record’s heavier guitar-pop tunes as well as its more delicate folk-rock and indie-pop tracks. As he describes it, In the Fade is a very “pop” album. It’s a return in part to the Ovens sound, but also features elements of his more recent material and introduces some intriguing new wrinkles.
FIle Under: Indie Rock
Moor Mother: Jazz Codes (Anti) LP
Called “the poet laureate of the apocalypse” by Pitchfork, Moor Mother returns with her second album for ANTI- and a companion to her celebrated 2021 release Black Encyclopedia of the Air. Jazz Codes uses poetry as a starting point, but the collection moves toward more melody, more singing voices, more choruses and more complexity. In its warm, densely layered course through jazz, blues, soul, hip-hop, Jazz Codes sets the ear blissfully adrift and unhitches the mind from habit. Through her work, Ayewa illuminates the principles of her interdisciplinary collaborative practice Black Quantum Futurism, a theoretical framework for creating counter-chronologies and envisioning Black quantum womanist futures that rupture exclusionary versions of history and future through art, writing, music, and performance.
File Under: Jazz, Experimental
Mountain Goats: Bleed Out (Merge) LP
Maybe you are just like John Darnielle: In the depths of the pandemic winter at the end of 2020, the Mountain Goats frontman passed the time trapped at home in North Carolina watching pulpy action movies, finding comfort in familiar tropes and sofabound escapism. But you are not really like Darnielle, unless the action movies you found comfort in included French thrillers like 2008’s Mesrine, vintage Italian poliziotteschi, or the 1974 Donald Pleasence mad-scientist vehicle The Freakmaker. Or unless watching them brought you back to your formative days as an artist, when watching films fueled and soundtracked your songwriting jags and bare-bones home recordings and in turn inspired your 20th album to be a song cycle about the allure – and futility – of vengeance. But there’s no shame in not being like Darnielle; few people are. The resulting performance is Bleed Out, a cinematic experience unto itself. One song about preparing to exact bloody revenge begat another song about the act of exacting bloody revenge and then more songs about and the causes and the aftermath of being driven to exact bloody revenge, each delivered with the urgency and desperation deserving of their narrators and circumstances.
File Under: Indie Rock, Folk
Oasis: Be Here Now (Big Brother) LP
Following up the massive success of Oasis’ breakout 1994 debut Definitely Maybe and 1995’s massive (What’s the Story) Morning Glory?, 1997’s Be Here Now was one of the most anticipated album releases of all time. Moving over eight million copies to date, it was produced by Owen Morris and Noel Gallagher and recorded at Abbey Road, Ridge Farm, Air, Master Rock and Orinoco Studios between November 1996 and April 1997. Originally mastered by Mike Marsh at The Exchange; the album was then remastered in 2016 by Ian Cooper at Metropolis Studios. As well as “D’You Know What I Mean?,” the band’s third No. 1 single, the album features the ambitious 9-minute “All Around The World” plus evergreen classic “Stand By Me.” The epic elements of “Be Here Now” are contrasted by the heartfelt introspection of “Don’t Go Away” and the surreal psychedelia of “Magic Pie.” Be Here Now stands as a unique album in the Oasis catalogue with its unrepentant excess and supersize swagger. 25 years on, it enjoys legendary status as the sound of a generation-defining band at their absolute peak. 25th anniversary colored vinyl 2LP.
File Under: Rock
Radio Birdman: Essential Radio Birdman (Sub Pop) LP
Founded in Australia by Michigan native, guitarist Deniz Tek and vocalist Rob Younger, Radio Birdman was one of the crucial forebears of underground, high-energy punk. Blending the Motor City sound of bands like The Stooges and MC5 that permeated Tek’s youth, with elements of surf-rock, Radio Birdman developed a sound that was truly all their own. And yet, their recordings have remained obscure and generally unattainable. Until now. This 22-track, single disc collection is the first release of Radio Birdman material in the U.S. in over twenty years. This has newly designed cover art and contains remastered tracks from Burned My Eye EP, Radios Appear, and Living Eyes, as well as the live tracks from Paddo ‘77 that were included in the “Ashes” box set.
File Under: Punk
Jonathan Richman & The Modern Lovers: s/t (Omnivore) LP
Jonathan Richman formed The Modern Lovers in 1970 in Boston with Jerry Harrison (Talking Heads), and Ernie Brooks and David Robinson (The Cars). The band recorded a series of demos, first with John Cale (The Velvet Underground) and later with producer Kim Fowley. Both sets of demos were eventually released, but not until the original group had disbanded. In 1975 Jonathan relocated to California and secured a recording deal with Beserkley Records. By 1976 he had pulled together a new version of The Modern Lovers. This group included the holdover David Robinson from the original band and added, Leroy Radcliffe and Greg ‘Curly’ Keranen (The Rubinoos). Co-Produced by Beserkley founder Matthew King Kauffman and Glen Kolotkin (Jimi Hendrix, Janis Joplin), the self-titled release delivered on Richman’s desire for more acoustic and harmony-based material with tracks like “New England” and “Here Come The Martian Martians.”
File Under: Rock
Tall Dwarfs: Unravelled: 1981 – 2002 (Merge) LP
A deep dive into the 21-year journey of New Zealand DIY pop pioneers Tall Dwarfs, aka Alec Bathgate and Chris Knox (both previously of Toy Love and The Enemy fame). Designed and painstakingly curated by Bathgate himself, this 55-track collection comprises songs from across the band’s discography which spans a slew of full-length albums, EPs, singles, and compilation cuts released between 1981 and 2002. Unravelled is an abbreviated primer into the ramshackle brilliance of Tall Dwarfs, whose influence has lived on through artists as varied as Pavement, Yo La Tengo, Beck, Waxahatchee, Bill Callahan, Unknown Mortal Orchestra, the Mountain Goats, and Neutral Milk Hotel, just to name a few.
File Under: Indie Rock
Unwound: Fake Train (Numero) LP
After the Pacific Northwest grunge raids of the early ’90s that saw Nirvana, Mudhoney, and even the Melvins hoisted up the major label flagpole, Unwound’s 1993 debut came as a welcomed reprieve for underground noise-niks everywhere. A pulsing cluster of wiry feedback, lurching bass, and single stroke rolls, Fake Train entangles the energies of frustrated backpack emo, faded Riot Grrrl back issues, and their own dash of teen spirit and unleashes it all in an earsplitting 10-song assault.
File Under: Punk
Unwound: New Plastic Ideas (Numero) LP
An album Maximum Rock ‘N’ Roll deemed not punk enough to review, Unwound’s 1994 sophomore effort was a lethal depth charge aimed at major label grunge and independent hardcore alike. From the off-kilter, vertiginous rhythm of “Entirely Different Matters” to the neck-snapping velocity of “What Was Wound” to the relentless pounding at the end of “All Souls Day,” New Plastic Ideas is the Sonic Youth loving older sister to Fake Train’s post-punk-obsessed little brother.
File Under: Punk
Viagra Boys: Cave World (Year0001) LP
In this time of strife, insanity and confusion, only one band is depraved enough to offer themselves up as herald. Like sin-eaters if sins had to be ingested from a very small spoon, Viagra Boys have consumed the utterly incomprehensible chaos of our era and distilled it into 12 immaculate tracks of post-truth-cow-funk-kraut-wave-enlightenment. Cave World, their third studio album includes the singles “Ain’t No Thief”, “Troglodyte” and “Punk Rock Loser”.
File Under: Punk
Hank Williams Jr: Rich White Honky Blues (Easy Eye) LP
Hank Williams, Jr.’s sound has always been built on the blues and his latest album, Rich White Honky Blues, is a sonic testimony to that. The project came together over three hot days in Nashville, recorded live with the finest blues session players in the country at producer Dan Auerbach’s legendary studio, Easy Eye Sound. Never one to rest on his laurels, even after 56 studio albums, the acclaimed Country Music Hall of Fame member is still finding new creative ground to explore. Vinyl LP with poster.
File Under: Country
Bernie Worrell: All the Woo in the World (Music On Vinyl) LP
Bernie Worrell was a keyboardist and composer best known as a founding member of Parliament-Funkadelic and for his work with Talking Heads. He is a member of the Rock and Roll Hall of Fame, inducted in 1997 with fifteen other members of Parliament-Funkadelic. Worrell broke genres, not only within funk, but also hip hop and rock. Critics described him as one of the most widly innovative and technically dazzling musicians in pop music history. In 1978 he released his solo debut album All The Woo In The World, which was produced by George Clinton, who was another mastermind behind Parliament-Funkadelic. The album features several guest performances by P-Funk alumni, including Junie Morrison, Garry Shider, Bootsy Collins and Eddie Hazel. All The Woo In The World is available as a limited edition of 1500 individually numbered copies on translucent red coloured vinyl.
File Under: Funk
Wu-Lu: Loggerhead (Warp) LP
Comprising of 12 tracks, Wu-Lu’s ‘LOGGERHEAD’ was built with his band at a West London pub and at The Betty Fjord Clinic in Norway. It’s laced with revvy, etherial guitars that warp and loom like electric pylons, concrete walls of bass that power out of drill-influenced, triplet-laced drums and piano melodies that pull you through. ‘LOGGERHEAD’ pulls from the past and reshapes it for now. Drawing on many streams of influence, it is music for the underrepresented, for those without a voice, and for those who struggle to break down barriers.
File Under: Hip Hop
Neil Young & The Restless: Eldorado (Reprise) LP
In April 1989, Neil Young released the five-track mini-album Eldorado on CD in Japan and Australia under the name Neil Young and the Restless. Neil (guitar/vocals) was backed by Rick Rosas on bass and Chad Cromwell on drums, with long-time Crazy Horse band-mate Frank “Poncho” Sampedro contributing guitar on the title track. Long sought after by Young fans, this wonderful album and guitar tour-de-force finally gets a first US release on vinyl outside of Australia. Number ORS 21 in Neil’s Official Release Series, the album features four Young compositions, plus a cover of the American standard “On Broadway,” written by Leiber, Stoller, Weil and Mann.
File Under: Rock
Various: Rise Jamaica! (Trojan) LP
Marking the 60th anniversary of Jamaica’s independence in August 2022, this celebratory double vinyl album collection showcases an array of major hits and previously unissued tracks all of which were recorded in the year that the island became a sovereign nation: 1962. The first of the two LPs focuses on the biggest home-grown sellers of the year, featuring ska and R&B hits by such celebrated foundation artists as Jimmy Cliff, Derrick Morgan, Owen Gray and Don Drummond, while the second disc comprises 14 previously unissued recordings, produced by the country’s leading sound system operator-turned-record producer, Duke Reid.
File Under: Reggae
Various: Something Borrowed, Something New: A Tribute to John Anderson (Easy Eye) LP
There are giants that walk among us. John Anderson is truly a country legend, as his remarkable career has spanned over a staggering 40+ years, starting in 1977 to his last release, Years, produced by Dan Auerbach in 2020. In that period, Anderson has charted more than 40+ singles on the Billboard Country Music Charts, including an impressive five number ones in numerous decades. In 2014 Anderson was elected into the prestigious Songwriters Hall of Fame. His wake of influence throughout his recording career has become that of legend. It was during the recording of Years for Easy Eye Sound that noted artists, running the gamut from peers to the influenced, started coming out of the woodwork to heap praise on his body of work. From those many encounters, Dan Auerbach hatched the idea of a tribute to the genius of John Anderson. The herculean talents of everyone from Luke Combs to John Prine, from Eric Church to Tyler Childers, Nathaniel Rateliff to Brothers Osborne, and Ashley McBryde to Gillian Welch & David Rawlings and many more all came together to pay tribute to John and his remarkable contributions in this stunning album.
File Under: Country
Chet Baker: In New York (Craft) LP
Bauhaus: Crackle (Beggars) LP
Black Midi: Cavalcade (Rough Trade) LP
Black Midi: Hell Fire (Rough Trade) LP
Phoebe Bridgers: Punisher (Dead Oceans) LP
Leon Bridges: Coming Home (Columbia) LP
Daft Punk: Random Access Memories (Columbia) LP
Eric Dolphy: Out to Lunch (Blue Note) LP
Feist: The Reminder (Arts & Crafts) LP
Fleetwood Mac: Rumors (Rhino) LP
Gatecreeper: Sonoran Depravation (Relapse) LP
Gatecreeper: Deserted (Relapse) LP
Delvon Lamarr Organ Trio: I Told You So (Colemine) LP
Adrianne Lenker: Songs & Instrumentals (4AD) LP
Lumineers: III (Dualtone) LP
Minor Threat: s/t (Dischord) LP
Nine Inch Nails: Pretty Hate Machine (TVT) LP
Parquet Courts: Wide Awake (Rough Trade) LP
Pearl Jam: Ten (Legacy) LP
Zito Righi e Seu Conjunto: Alucinolandia (Mr. Bongo) LP
Spoon: Girls Can Tell (Merge) LP
Taylor Swift: Red (Republic) LP
Tyler The Creator: Igor (Columbia) LP