Finally starting to get some heavy restocks, and new stuff is starting to trickle in as well! But the real news this week is my hair brained idea… Sunday, Jan 22 … Ja 22… JAZZ! We’re dropping 150+ used jazz slabs on the webshop at noon. Log in and check it out! Obviously they’ll be available in store after that, but first crack will be online only (we’re not open on Sundays!)
OH… and we’re doing something we rarely do… WE ARE HIRING! At least one, maybe two part time positions. Weekend availability is a must! Drop a resume off at the store along with your top ten albums of all time and this year.
– 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…..
Charlie Megira & The Hefker Girl: s/t (Numero) LP
The bastard love child of Elvis and Lux Interior, Israeli guitarist Charlie Megira brewed a heady amalgam of ’50s trash rock, surf-y tremolo, and reverb-drenched goth during his all-too-brief 44 trips around the sun. He recorded seven albums worth of material in 15 years, primarily issued on CD-R, most of which is now unreadable or in a landfill. Armed with only an Eko guitar, a black tuxedo, and his signature wrap-around shades, Charlie Megira was a mold-breaking artist who disintegrated while we were all staring at our phones. In 2006, Israeli garage-nik Charlie Megira took a sonic turn while partnered with Israeli multi-instrumentalist Michal Kahan. The duo wasted no time forging a new path, swapping Megira’s trademark reverb for echo, and guitar-noir for new wave. Their third album together, Charlie Megira And the Hefker Girl is an unabashed continuation of gothy ’80s archetypes employed by Joy Division, The Jesus and Mary Chain, and The Cure. With little impedance, the album fits into Megira’s ageless world of cross-pollinated genres and styles.
File Under: Post Punk, Surf, Goth, Jaime’s Picks, Ian’s Picks, Kris’s Picks
Jeff Greinke: Big Weather (Abstrakce) LP
First ever vinyl release of this tribal ambient gem. A plethora of exotic rhythms and sonic meteorological phenomena. Loops, leftfield beats, and all kinds of textures from the 4th world and beyond. Originally released in 1994 on CD, it is a true beauty of electronic hypnotism and sonic exoticism. Through a highly developed process of layering, Jeff composes and performs music rich in texture, depth, mood, and subtle detail. His blend of electronic and acoustic instruments and textures produces haunting yet inviting soundscapes with a strong sense of place that hover somewhere between the exotic and the familiar. Moreover, you will find here collabs from other great artists: Dennis Rea (Savant) on guitar and Rob Angus with drum programming. Jeff Greinke began composing and performing music in 1980 while studying meteorology at Pennsylvania State University. After moving to Seattle in 1982, Jeff formed the production company and recording label, INTREPID, through which he produced his first LP, Cities in Fog. He has since released twenty other recordings on various U.S. and European labels. He has composed music for film, video, dance, theatre, radio, and art installations. Jeff has toured throughout the United States and Europe and has performed in China, Canada, and Mexico. He has also been a member of numerous ensembles and is founder of the group LAND.
File Under: Fourth World, Ambient, Electronic, Kris’s Picks
The Body: Christs, Redeemers (Thrill Jockey) LP
It has been said by more than a few intrepid listeners that The Body is the most brutal band on the planet. With ravishing grimness and impenetrable walls of noise, the duo of Chip King and Lee Buford create music that goes beyond what is normally considered harsh and violent, advocating a doctrine of misanthropy to those brave enough to take the plunge.
File Under: Metal
Alison Cotton: The Portrait You Painted of Me (Fire) LP
“Here we have the third solo LP by London’s Alison Cotton, following on previous successes, All Quiet at the Ancient Theatre and Only Darkness Now. And as with each of Cotton’s projects it is a stylistic advance as well as another example of her dark signature sound. Alison’s work with bands is well documented by recordings with Saloon, 18th Day of May, Trimdon Grange Explosion, and her current, ecstatic folk/psych duo, The Left Outsides. But her solo recordings always seem a bit more experimental in terms of song structure and musical texture, as the six tracks on The Portrait You Painted of Me clearly demonstrate. The touchstones of her sound are viola, harmonium, and voice, but these are merged together in all sorts of different ways, creating a rich and thoroughly artastic suite of songs. ‘Murmurations Over the Moor,’ is a wordless piece of layered vocals, drifting like fog towards a sunset over the green undulations of Northeast England (from whence she hails.) ‘The Last Wooden Ship’ evokes the shipyards of Sunderland using droning harmonium and viola lines, laced with piano and percussion events, while her voice calls out like one of Tim Buckley’s Sirens urging listeners to a rocky demise. ‘I Buried the Candlesticks’ has a haunted, traditional feel with its dolorously folky viola melody laid across a thick carpet harmonium, and small bursts of percussion that sound like cannonade heard through the thick cold walls of a castle in winter. ‘That Tunnel Underground Seemed Neverending’ is a musical vision of Northumberland’s mining culture at the dawn of the 20th Century — labyrinthine, subterranean, dimmer than night. ‘Violet May,’ the only ‘song’ on the album, was inspired by a trip to Vita Sackville-West’s Sissinghurst Castle. Its plot deals with a reclusive artist who has forsaken all else for a life of solitary creation in her tower. The structure and sound, make me think of a post-modern approach to lyrical concerns dealt with by folk singers of the British ’60s, but the actual arrangement is closer to something John Cale might have done with Nico on The Marble Index. And finally, we have ’17th November 1962,’ inspired by nearly forgotten memories of disaster with a fishing boat, a storm and an ill-fated rescue attempt. The song (and album) ends with what sounds like a forlorn foghorn cutting across waves of night with Alison’s voice again evoking the Sirens. Damn, what a good spin. As with its predecessors, The Portrait You Painted of Me was recorded at home in London, beautifully produced by Alison’s partner, Mark Nicholas. She expressed concern at one point that the album might be a little too heavy in spots for some listeners, but that is a canard. I think one of the main things people relish about Alison’s solo work is exactly the somber, exquisite melancholy she creates. This is some serious and remarkable stuff.” –Byron Coley, 2022
File Under: Ambient, Classical
Duster: Duster (Numero) LP
After a 19-year hiatus, Duster came back with their S/T chef-d’oeuvre in 2019. Recorded in band member Clay Parton’s garage (aka Low Earth Orbit), the record bears all the hallmarks of the band’s early work: gaunt basslines, spindly guitars, and melancholy lyrics that lurk in the background.
File Under: Slowcore, Indie Rock
Fountains of Wayne: Out-of-State Plates (Real Gone) LP
Led by the scintillating songwriting team of Chris Collingwood and the late, great Adam Schlesinger, power pop maestros Fountains of Wayne put out a number of absolutely brilliant albums, of which we at Real Gone Music have been fortunate so far to reissue two, Welcome Interstate Managers and Traffic and Weather. But of all the great records released by this New York-area band, this one, the 2005 odds ‘n’ ends 2-CD set Out-of-State Plates, remained reportedly among the closest to the heart of Schlesinger, who died tragically of COVID in 2020. A mixture of demos, B-sides, live performances, and unreleased tracks (the great “Maureen” and “The Girl I Can’t Forget”), it’s an always entertaining, often hilarious, and (of course!) never less than tuneful romp through about a decade’s worth of recordings, all wittily annotated by Collingwood and Schlesinger. Covers both heartfelt and tongue-in-cheek (Jackson Browne’s “These Days” and Britney Spears’ “Baby One More Time”) and holiday fare (“I Want an Alien for Christmas,” “Chanukah Under the Stars”) lie alongside such B-side gems as “Baby I’ve Changed” and “I’ll Do the Driving” and a live “She’s Got a Problem.” For its vinyl debut, we’ve created a fetching gatefold featuring the duo’s commentary inside, and pressed this 2-LP set in “Junkyard Swirl” vinyl to match the cover photo. Rummage around the collective psyche of one of the greatest indie rock acts of the last 30 years!
File Under: Rock
Hearn Gadbois: Rar Avis (Abstrakce) LP
A compilation of Hearn Gadbois’ tracks, published here and there along the years (1983- 2020). Most of them are home recordings with very little or no diffusion, so this release tries to shed some light on these amazing compositions. A sound related to Hassell’s 4th world, but developed in a very personal way (he even designs & makes some of his instruments) that feels different and goes far beyond. Using mostly acoustic instruments, Hearn combines a love of traditional trance/ecstatic rhythms with the sensibilities of an outsider artist, creating a music that is both archaic and post-modern. A really original and rare work, difficult to classify or explain… In Hearn’s own words, included in the liner notes: “The pieces compiled here tend to fall, with some overlap, into a few broad categories as near as I can tell: Mystery Psychedelic Crime Jazz (Tuba City, Flesh of the Spirit), Ayahuasca Hut Bachelor Pad Music (Night, Take the Waters, Wood), or Party Music that just fell from the sky or bubbled up through a crack in the earth (Flown Home, What the Goatherd Heard)”. As a percussionist, composer for dance and film, instrument designer/ builder, session musician and teacher, Gadbois worked with Meredith Monk, Sussan Deyhim, Gabrielle Roth, Yoko Ono, Patti Smith, Suzanne Vega, The Master Musicians of Jajouka, and Wim Wenders, to name but a few.
File Under: Fourth World, Experimental, Electronic
Jack Kerouac & Steve Allen: Poetry for the Beat Generation (Real Gone) LP
The story behind this album, which marked Jack Kerouac’s debut as a recording artist, is almost as fascinating (but not quite) as the performances it contains. Kerouac had completely bombed in his first set during a 1957 engagement at the Village Vanguard when TV personality, comedian, and musician Steve Allen volunteered to accompany him on piano during the second. The results were so impressive that legendary engineer Bob Thiele then brought the duo into the studio to record an album for Dot Records. In true, stream-of-consciousness, Beat fashion, the entire album was cut in one session with one take for each track, Allen’s piano weaving in and out and occasionally commenting on Kerouac’s verbal riffs to great effect. However, when Poetry for the Beat Generation was ready for release in March 1958, Randy Wood, the president of Dot Records, was appalled by the then-daring language and subject matter and canceled the release…but not before 100 promo copies got out (and if you have one you’re set for life)! Thiele then left the company over the dispute and got the master tape in the bargain, which he finally released on the Hanover label which he founded with Allen in June 1959. That release still stands as one of the most momentous spoken word albums not just of the ‘50s but of all time…and we at Real Gone Music are proud to bring it to you in a milky clear vinyl version in Jack Kerouac’s 100th birthday year!
File Under: Spoken Word, Jazz
Jack Kerouac & Al Cohn & Zoot Sims: Blues and Haikus (Real Gone) LP
Just like its predecessor, Poetry for the Beat Generation, legendary beatnik writer Jack Kerouac’s second album, Blues and Haikus, teamed him with producer Bob Thiele and came out on Thiele’s Hanover label in 1959. But this time around, instead of the debut’s inspired amateur jazz piano flourishes from Steve Allen, Kerouac insisted on bona fide jazz musicians to accompany his stream-of-consciousness prose. And boy, did he get them—big-time post-bop saxophonists Al Cohn and Zoot Sims made their bones in Woody Herman’s band, and here they provide effective counterpoint commentary to Kerouac’s readings. As for those who approach this release from a more literary angle, Blues and Haikus reflects Kerouac’s interest in Eastern religion and meditative practices as expressed in his novel The Dharma Bums as opposed to the more On the Road-like exultations of Poetry for the Beat Generation. But whatever your interest, boppish or bookish, Blues and Haikus is an essential document from one of our most iconic American authors, and, after listening to this album, one thing is for sure: no one is having a better time at this recording session than Kerouac himself! On the occasion of Kerouac’s 100th birthday year, our release of this cult classic record comes in tobacco tan vinyl!
File Under: Spoken Word, Jazz
Fela Kuti: Afrodisiac (Knitting Factory) LP
‘Afrodisiac’ is the fifth in the series of celebratory Fela 50th Anniversary reissues. Like its predecessors in the series, this double LP edition is on color vinyl; the A/B side is green marble and C/D side is on red marble. 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. The songs on ‘Afrodisiac’ were tracks that Fela and the Nigeria 70 (Later Africa 70) re-recorded at Abbey Road Studios in 1972 after they had become hits in Nigeria. The best known song on the album is ‘Jeun Ko Ku’, a satire about gluttony and Fela’s first major hit across West Africa. In Pidgin English the title means “chop and quench”, which, in turn, means “eat and die” in Standard English. ‘Afrodisiac’ was first re-issued on vinyl in 2014 as part of the Fela Box Set #3 curated by Brian Eno.
File Under: Africa, Afrobeat, Funk
Fela Kuti: Shakara (Knitting Factory) LP
Fela Kuti (1938-1997) was a Nigerian musician, producer, arranger, political radical, outlaw and the originator of Afrobeat. A titanic musical and sociopolitical voice, Fela’s legacy spans decades and genres, touching on jazz, pop, funk, hip-hop, rock and beyond. “Shakara” is the 6th 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 used 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. This special edition also includes a bonus 7″ of the two album tracks, Lady and Shakara, remixed by Ezra Collective. One of the most important bands in the UK at the moment, Ezra Collective is pioneering a new sound that hails from UK grime, hip hop, Afrobeat, and jazz.
File Under: Africa, Afrobeat, Funk
Charles Mingus: East Coasting (Bethlehem) LP
East Coasting is a lesser-known gem in the Charles Mingus catalog recorded in New York City in August of 1957 and released on the Bethlehem label in December of the same year. It finds the bassist/leader supported by Bill Evans (piano), Clarence Shaw (trumpet), Jimmy Knepper (trombone), Shafi Hadi (alto & tenor saxophone), and Dannie Richmond (drums). Mingus is usually known for his wild, soulful and avant-garde compositions. East Coasting is mellow by comparison, but it still cooks on a musical level. The Mingus touches are there; the trombone, drummer Dannie Richmond and of course the dark emotional undercurrent looms large, too. Remastered 96 kHz/24 bit audio pressed on 180 gram vinyl LP at Precision Record Pressing in Canada.
File Under: Jazz
Modulo 1000: Nao Fale Com Parades (Mr. Bongo) LP
Módulo 1000 were not messing around when they made ‘Não Fale Com Paredes’. It holds its own, not just as a raw, heavy, experimental “Brazilian” psychedelic rock album, but as a raw, heavy, experimental psychedelic rock album, full-stop! Formed in Rio de Janeiro in 1969, Módulo 1000 honed their craft as the house band in clubs and resorts in São Paulo where they predominantly covered American artists such as Jimmy Hendrix as well as British giants, Led Zeppelin. After acquiring a taste for fame following the performance of one of their tracks at the Rio International Song Festival, the band focussed their attention on composing original material. Their manager, Marinaldo Guimarães, encouraged the band to explore their experimental and creative sides. This, in parallel with the explosion of experimental music in Brazil, resulted in the band performing alongside heavyweights such as O Têrço; there was a happening in the air. Módulo 1000 recorded just one album. Released on Top Tape records in 1972, it featured Eduardo Leal on bass, Candido FariaHau on drums, Daniel Cardone on guitar, violin and vocals, and Luiz Paulo Simas on organ, piano, and vocals. ‘Não Fale Com Paredes’ was produced by the popular DJ, Ademir Lemos, and came housed in a fold-out cover featuring tripped-out artwork and design by Wander Borges. However, due the uncompromising nature of its wild, heavy psychedelic rock sound, the album was destined not to be played on the radio in Brazil. Rumours suggest that the label didn’t understand the album, and as a result, it wasn’t promoted or marketed. Thus, like many other underground cult classics, it was lost in the ether, only later to be rediscovered by a new audience at a different time. One thing is certain, you definitely know when you’ve heard Módulo 1000. The sound is raw, heavy and at points quite aggressive, more Black Sabbath than Os Mutantes. It floats between psychedelic rock, prog rock, early metal, and dare we say, displays elements of proto-math-rock. The band’s discography includes a 7″ single, as well as their music being featured on several compilations for Odeon Records, additionally they released a 7″ single under their alias ‘Love Machine’ for Top Tape Records. These compositions are included as bonus tracks on the CD version of our reissue.
File Under: Brazil, Psych
Pulse Emitter: Dusk (Hausu Mountain) CS
Portland-based composer / producer / synthesist Daryl Groetsch creates music under the name Pulse Emitter. Channeling his love and mastery of styles ranging from new age to Berlin school kosmische to drone to progressive electronic music, Groetsch crafts emotionally resonant synth pieces teeming with diverse melodic architectures and textural details. Dusk, his third release on Hausu Mountain, joins a nearly two-decade long catalog of Pulse Emitter music that includes releases on labels like Aguirre Records, Constellation Tatsu, and NNA Tapes — along with a slate of self-releases of whispered ambient sketches under his given name and forays into the dungeon synth idiom under the moniker Endless Fog. Dusk shifts the dial of Groetsch’s practice a few notches from the all-consuming drift captured on Swirlings towards a more hybridized strain of Pulse Emitter music that treats rhythm and harmonic complexity with equal importance to pure shimmering synth texture. His work bridges themes like the grandeur of the cosmos and the natural beauty of planet Earth with an exploration of the inner-space within the mind, resulting in excursions that prove just as personal to his experience as they are universal in scope.
File Under: Ambient, Tapes
Rahbek, Loke & Frederik Valentin: Together (Posh Isolation) LP
“Together” is the third collaborative album by Frederik Valentin & Loke Rahbek, following 2020’s “Elephant” and 2017’s “Buy Corals Online”. The album was originally conceived in response to a commission by the Danish documentary festival CPH:Dox to create an alternate soundtrack to Chris Marker’s sublime documentary travelogue from 1983, “Sans Soleil”. Lo-fi vignettes of guitar and field recordings are presented alongside electroacoustic experiments, as enchanting invitations to rhythmical synthetic worlds, with each finding poise about Marker’s meditation on the nature of human memory. With acoustic instruments treated digitally and instrumental performances reinterpreted, “Together” travels the lush path of their earlier works to new destinations. The album unfolds like a series of postcards, its colours bleached by the sun and its stories told with blurry fragments. Behind the details, the ruling stories are seamlessly enjoyed if not intimately entwined. On bike in the city, swimming in the harbour, birch trees, kissing, first teenage acid trip, experiencing the oneness of life in a messy adolescent apartment. Stargazing eye-to-eye, every face seems familiar. Colourful blankets, being broke, feeling joyous, sandals, a fountain, flowers. Preteens high on soda with joy-blushed skin. Like Marker, Together travels in time to revisit lost emotions. The inner cosmology of Valentin & Rahbek’s work is that of naturalistic reportage just gently sprayed by the crashing tide of psychedelic curiosity. “Together” is about finding the miraculous in the ordinary. It’s about trying to find composure in a world where suffering and ecstasy live as next door neighbours. It’s about how we are dying even as we tremble with as much life as we’ve ever felt. Valentin’s long wake of solo works and collaborations include his productions with Yung Lean (as Jonatan Leandoer127) for the album “Nectar”, as well as their joint commission for Sweden’s Cullberg Ballet, and most recently includes last year’s exquisite double EP “0011001/ 0011000” for Posh Isolation. For more than a decade, Rahbek has been making electronic music as Croatian Amor and a wealth of other monikers. He has been running Posh Isolation with Christian Stadsgaard since 2009. The cover features the work of Copenhagen-based photographer Halfdan Venlov, portraying the city’s youth in a cemetery in central Copenhagen, and forms part of his ongoing series “Under Heaven”. The sunny meeting against unkept headstones and weathered memorials is an evocative companion to the blissful details “Together” encloses.
File Under: Electronic
Claire Rousay: a heavenly touch (American Dreams) LP
claire rousay’s a heavenly touch blends piano, percussion and field recordings into a hushed, transgressive mix. Originally issued on cassette in April 2020 by Already Dead Tapes, this marks its first appearance on vinyl, mastered by Andrew Weathers (Lucy Liyou, Hayden Pedigo, More Eaze). Coming on the heels of last year’s breakout album, a softer focus (American Dreams), or her 2022 LP everything perfect is already here (Shelter Press), a heavenly touch foreshadows rousay’s future releases and serves as a North Star in her acclaimed discography. It’s crucial to understanding her development as an artist.
File Under: Ambient
Russell, Pee Wee & Coleman Hawkins: Jazz Reunion LP
This superb recording features a reunion of two of jazz’s finest – tenor-saxophonist Coleman Hawkins and clarinetist Pee Wee Russell. At the time of this session, the two had not been on a recording date together in 32 years. The elder statesman of jazz stretch out on two Duke Ellington tunes, two originals by Russell, and the standard “Tin Tin Deo.” Produced by Candid Records A&R man and founder Nat Hentoff at the Nola Penthouse Studios in New York City in 1961 and released that same year. Pee Wee Russell, though often mistakenly associated only with Dixieland jazz, defied classification. His unorthodox playing and highly individualistic and spontaneous clarinet style pushed boundaries. Coleman Hawkins is almost unanimously considered to be one of the first prominent saxophonists of jazz. While he came up with swing during the big band era, he had a crucial role in the development of bebop in the 1940s. And by the 1960s’ he was considered a jazz patriarch. Cut directly from the master tapes by Bernie Grundman and pressed on 180g vinyl LP, the release includes extraordinary liner notes written by Hentoff, giving a context and insight that adds to the experience of hearing these magnificent performances.
File Under: Jazz
Sun Ra: Prophet (Modern Harmonic) LP
Featuring what may be his only recordings on the Prophet keyboard, these once lost performances expand the omniverse of Ra across a stellar set of lengthy cuts! All recorded in a single day and finally making their terrestrial debut, pressed on yellow vinyl and packaged with a Prophet keyboard brochure plus notes from Ranthropologist Brother Cleve!What happens when a Prophet meets a Prophet? The answer lies within these grooves.Amongst the hundreds of recordings issued by Sun Ra and his Arkestra, under their various guises, the majority were recorded in concert or in makeshift studios such as their early 1960s set-up at NYC’s Choreographer’s Workshop. Beyond those, roughly 22 albums were recorded at Variety Recording Studio in New York’s Times Square. However, on August 25, 1986, Sun Ra and cohorts entered Mission Control, a state-of-the-art 24-track studio north of Boston, which was teeming with electronic keyboards and otherworldly sound generators. Nestled within that arsenal was a brand-new digital ultra keyboard — the Prophet VS (“Vector Synthesizer”).Of all the keyboards Ra played throughout his half-century career, the Prophet was one of the most sophisticated. There’s no evidence that he had played either of the instrument’s earlier incarnations, the Sequential Circuits Prophet-5 and Prophet-10. Created using microprocessors, a then-new technological advance, under the auspices of engineer Dave Smith in 1978, the Prophet-5 revolutionized electronic music as the first polyphonic and, most importantly, programmable synthesizer.Ra was intrigued by the Prophet (surely by the instrument as well as by the name). Recorded during a single day, it’s about time that these once lost performances have now been found.It was a joy and a thrill to be sitting at the console hearing this music for the first time, especially with my fingers on the faders and knobs of the mixing desk. We watched the oxide fly off the 2″ tap
File Under: Jazz, Electronic
xx, The: Coexist (10th anni. Colour) LP
With Coexist, The xx cemented their status as a truly global breakout act. On the follow up to their acclaimed, era-defining debut, the London based trio of Romy Madly Croft, Oliver Sim and Jamie Smith (aka Jamie xx) continued to deal in compelling, sparse atmospherics but expanded their musical world, especially through producer Jamie’s growing electronic sound palette. Featuring the fan favorites “Angels,” “Fiction” and “Sunset,” The xx reissue Coexist on colored vinyl LP in celebration of the album’s 10th anniversary.
File Under: Indie Rock
Alvvays: Blue Rev (Self Released) LP
Archers Of Loaf: Reason In Decline (Merge) LP
Beach House: Depression Cherry (Sub Pop) LP
Beach House: 7 (Sub Pop) LP
Blood Incantation: Timewave Zero (Century Media) LP
Boards of Canada: Music has the Right to Children (Warp) LP
David Bowie: Blackstar (Columbia) LP
Boygenius: Boygenius (Matador) LP
Byrd, Donald: Places And Spaces (Blue Note) LP
Coltrane, Alice: Ptah The El Daoud (Verve) LP
Coltrane, John: Coltrane’s Sound (2LP-180g/45rpm) (ORG) LP
Dacus, Lucy: Historian (Matador) LP
Miles Davis: Get Up With It (Music on Vinyl) LP
Death Grips: Money Store (Epic) LP
DeMarco, Mac: This Old Dog (Captured Tracks) LP
Duster: Contemporary Movement (Numero) LP
Duster: Together (Numero) LP
Bob Dylan: Highway 61 Revisited (Legacy) LP
Father John Misty: I Love You, Honeybear (Sub Pop) LP
Fear: The Record (Rhino) LP
Fugazi: Repeater (Dischord) LP
Garson, Mort: Mother Earth’s Plantasia (Sacred Bones) LP
Getz, Stan & Joao Gilberto: Getz/Gilberto (Verve) LP
Green, Grant: Idle Moments (Blue Note) LP
Guided By Voices: Alien Lanes (Matador) LP
Harding, Aldous: Party (4AD) LP
Hill, Andrew: Smokestack (Blue Note) LP
Hill, Andrew: Point Of Departure (Blue Note) LP
Ishikawa, Akira & Count Buffalos: Uganda (Dawn Of Rock) (Mr. Bongo) LP
Jesus Lizard: Down (Touch & Go) LP
Kawasaki, Ryo: Juice (Mr. Bongo) LP
Mitchell, Blue: Bring It Home To Me (Blue Note) LP
Moctar, Mdou: Ilana: The Creator (Sahel Sounds) LP
Moctar, Mdou: Afrique Victime (Matador) LP
Moncur, Grachan III: Evolution (Blue Note) LP
National: Trouble Will Find Me (4AD) LP
Outkast: Aquemini (Jive) LP
Outkast: ATLiens (LaFace) LP
Outkast: Speakerboxxx/The Love Below (LaFace) LP
Outkast: Stankonia (Laface) LP
Pixies: Doolittle (4AD) LP
Preoccupations: Arrangements (Flemish Eye) LP
Radio Birdman: The Essential Radio Birdman 1974-1978 (Sub Pop) LP
Radiohead: In Rainbows (XL) LP
Radiohead: I Might Be Wrong (XL) LP
Radiohead: OK Computer (XL) LP
Run The Jewels: Run The Jewels (Seeker) LP
Say She She: Prism (Colemine) LP
Shorter, Wayne: Speak No Evil (Blue Note) LP
Smashing Pumpkins: Gish (EMI) LP
Smile: A Light For Attracting Attention (XL) LP
SoiSong: qXn948s (Dais) LP
Sons of Kemet: Black To the Future (Impulse) LP
Special Interest: Endure (Rough Trade) LP
Spoon: Transference (Matador) LP
Spoon: Gimme Fiction (Matador) LP
Spoon: Lucifer On the Sofa (Matador) LP
Harry Styles: s/t (Columbia) LP
Harry Styles: Harry’s House (Columbia) LP
Harry Styles: s/t (Columbia) LP
System of a Down: Toxicity (American) LP
A Tribe Called Quest: Midnight Marauders (Jive) LP
Tyler, The Creator: Call Me If You Get Lost (Columbia) LP
Tyler, The Creator: Igor (Columbia) LP
Tyner, Mccoy: Expansions (Blue Note) LP
Tyner, Mccoy: Tender Moments (Blue Note) LP
Tyner, Mccoy: The Real McCoy (Blue Note) LP
Unintended: Unintended (Blue Fog) LP
Various: Eccentric Soul: The Way Out Label (Numero) LP
Various: Valley Of The Sun: Field Guide To Inner Harmony (Numero) LP
Various: Eccentric Soul: The Capsoul Label (Numero) LP
Various: Technicolor Paradise (Numero) LP
Velvet Underground: Loaded (Universal) LP
Washington, Kamasi: Heaven And Earth (Young) LP
Weyes Blood: And In The Darkness, Hearts Aglow (Sub Pop) LP
Winston Brothers: Drift (Colemine) LP
Wire: Pink Flag (Pink Flag) LP
Wire: Chairs Missing (Pink Flag) LP
Wire: 154 (Pink Flag) LP
Yo La Tengo: And Then Nothing Turned Itself Inside Out (Matador) LP
Yo La Tengo: Summer Sun (Matador) LP