Author Archives: listenrecords

…..news letter #982 – winter?…..

The good news is, if you are reading this, you didn’t get blown away on Tuesday. Probably thanks to all your records weighing down your house. Thankfully new releases are starting to flow! 

As always, big thanks to everyone who’s been hitting up our webstore and placing orders! It’s getting competitive around 5pm when we post up fresh used stock. If you haven’t hit up the WEBSTORE, MAYBE YOU SHOULD! If you can’t figure out the site, or don’t like to use computers, you can always call the store and we can do an order over the phone. We’ll be at the shop 11-6 Monday – Friday & Saturday 11-4. Stay safe!

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

CHECK OUT OUR WEBSTORE!!! 
SUBSCRIBE TO OUR NEWS LETTER!!!!

…..picks of the week…..

Various: Somewhere Between: Mutant Pop, Electronic Minimalism & Shadow Sounds of Japan 1980-1988
(Light in the Attic) LP

Somewhere Between: Mutant Pop, Electronic Minimalism & Shadow Sounds of Japan 1980–1988 hovers vibe–wise between two distinct poles within Light In The Attic’s acclaimed Japan Archival Series—Kankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980–1990 and Pacific Breeze: Japanese City Pop, AOR & Boogie 1976–1986. All three albums showcase recordings produced during Japan’s soaring bubble economy of the 1980s, an era in which aesthetic visions and consumerism merged. Music echoed the nation’s prosperity and with financial abundance came the luxury to dream. Sonically, Somewhere Between mines the midpoint between Kankyō Ongaku’s sparkling atmospherics and Pacific Breeze’s metropolitan boogie. The compilation encompasses ambient pop, underground electronics, liminal minimalism and shadow sounds—all descriptors emphasizing the hazy nature of the nebula. Out–of–focus rhythms wear ethereal accoutrements, ballads are shrouded in static, and angular drums snake skyward on transcendent tones. From the Avant–minimalism of Mkwaju Ensemble and Yoshio Ojima, to the leftfield techno-pop of Mishio Ogawa and Noriko Miyamoto (featuring members of YMO), and highlights from the groundbreaking Osaka underground label Vanity Records, these are blurry constellations defying collective categorization. These tracks also exist in a space of transition when the major label grip on the Japanese recording market began to give way to the escalation of independents. Thanks to the idyllic economic climate and innovations in domestically–manufactured music gear, creators on the edges were empowered to focus on satisfying their artistic visions in the open headspace of home studios. While labels like Warner Music and Nippon Columbia explored new sounds through traditional channels, it was possible for Vanity, Balcony and other indie labels, not to mention self–released artists like Ojima and Naoki Asai, to publish their work via affordable media such as cassettes, 7″ vinyl, and flexi–discs. Expertly curated by Yosuke Kitazawa and Mark “Frosty” McNeill (dublab), Somewhere Between is a collection of music, much of it released for the first time outside Japan, that is bound more by energetic vibration than shared history, genre or scene. They are the sounds of transition and searching—a celebration of the freedom found in floating.

File Under: Japan, Electronic, Pop, Weirdness
Buy Here

Eric’s Trip: Peter (Blue Fog) LP
Out of print and unavailable for many years, one of the most memorable Eric’s Trip releases, aside from the “Love Tara” album, is the indie EP that introduced them to the world. Their youthful energy, catchy songs, and noisy lo-fi recording techniques set them apart from many of the other bands of 1992-93. This newly remixed and remastered vinyl edition now contains more songs, all recorded during the same time period, including the songs from the Belong 7”, their first single. Six songs has now become fifteen, turning the “Peter EP” into the “Peter LP”! Pressed on three colour swirl vinyl, newly scanned artwork and printed inner sleeve. More in next week too!

File Under: Indie Rock, Lo-Fi
Buy Here

…..new arrivals…..

Chet Baker: Sextet & Quartet (Cinevox) LP
Chet Baker is one of the most important and essential characters of modern jazz and over the years he has not lost his strength and color, a fact that’s clearly demonstrated by this release, indeed showing us a quite different Chet Baker. His style has become less slender, more excited, more precise, more violent, and several tracks of this record prove it. The musicians here accompanying Chet Baker are the very best the Italian jazz scene of the time could offer Glauco Masetti on alto sax, Gianni Basso on tenor sax, Renato Sellani on piano, Franco Cerri on double bass, together with the Italian-American Gene Victory on drums. As usual in such situations, arrangements were entrusted to Giulio Libano, who wisely provided the musicians with ample space for their solos. Chet Baker is undoubtedly the protagonist, but a lot of freedom of expression is granted to his fellow adventurers.

File Under: Jazz
Buy Here

Jane Birkin: Di Doo Dah (Light in the Attic) LP
“Di Doo Dah” is the first true solo album from British born actress, model, singer, mother, and French national treasure, Jane Birkin. Emerging as a creative and beatific force in London’s Swinging 60s, she met Parisian provocateur Serge Gainsbourg in 1968 on the film set of Slogan and birthed one of the most fantastic creative collaborations the world has ever known. After the 1969 duet album “Je T’Aime… Moi Non Plus” and the landmark “L’Histoire De Melody Nelson” Jane was ready for her own namesake debut. “Di Doo Dah” sees Birkin, Gainsbourg, and co-conspirator Jean-Claude Vannier (“L’Enfant Assassin Des Mouches”) meld Jane’s fragile vocals with jazz, rock, and lush orchestral textures: a perfect album for living and loving. Light In The Attic’s definitive version of “Di Doo Dah” is available for the first time in North America on 180-gram vinyl, with original artwork, unseen photographs, and extensive liner notes by renowned music journalist Andy Beta (Spin, The FADER). With full cooperation and insight from Birkin herself – not to mention French lyrics and English translations – this reissue truly allows listeners to delve into the album’s witty and frank world of sex, sin, voyeurism, motorcycles, Brighton, and banana boats. So what exactly does Di Doo Dah mean? “Nothing at all!” replied Birkin in a BBC interview from 1973. But this album is far from a throwaway, showing a maturity and musical understanding from all parties involved. By the early 70s, this lady was already a mother and very much aware of traditional gender roles as well as the sexual revolution – clearly able to plumb the necessary emotional depths required to translate Serge’s madcap lyrics and songs. It is true that in Birkin, Serge had finally found his match and most transcendent muse. And although the couple eventually went their separate ways, they left us all whistling much more than “Zipp-a-Dee-Doo-Dah” in the process. Viva Di Doo Dah!

File Under: French, Pop, Chanson
Buy Here

Decemberists: Her Majesty The Decemberists (Kill Rock Stars) LP
For all intents and purposes, “Her Majesty. . .” could best be described as the charming older brother to the band’s previous outing. And, while being recognizably related to its sibling predecessor, it is an altogether different beast. Present and accounted for are the Victorian literary tropes, the rakish mariners, and the Dickensian downtrodden that slouched their way across the lazer imprinted surface of “Castaways and Cutouts”; in “Her Majesty the Decemberists,” a new cast of characters is introduced as well, giving further depth to the richly bizarre songcraft of the band’s bespectacled leading player, Colin Meloy: an aristocratic Jewess, slumming it blindfolded among the exotic avenues of a Chinese bazaar, the coifed and coked-up bon vivants of greater Los Angeles, the writer Myla Goldberg, and a pair of affectionate soldiers, celebrating their comradery among the mortar blasts and trench mud of World War I Belgium. Musically, the band travels.

File Under: Indie Rock
Buy Here

Donald Byrd: Byrd in Flight (Tone Poet) (Blue Note) LP
Blue Note was very lucky to have their Three Trumpeteers; Donald Byrd, Lee Morgan and Freddie Hubbard on the roster at the same time. Their combined, prolific output of albums, many of which attained classic status, is legendary. One constantly near the top of most lists is 1960’s Byrd In Flight. Byrd decided to mix it up, with Jackie McLean (alto) on one date and Hank Mobley (tenor) on the second. Duke Pearson’s signature smooth piano work appears across the board as does the reliable drumming of Lex Humphries. Reggie Workman and Doug Watkins split duties on bass. Both sessions resulted in classic be-bop romps, mostly on originals such as Byrd’s Afro-Cuban tinged “Ghana” and “Lex,” a song dedicated to drummer Humphries. Pearson contributes three solid cuts with “Gate City,” “Bo and My Girl Shirl.” The lone standard tackled, “Little Boy Blue” is given an intelligent yet playful injection of the quintet’s personalities. Blue Note Records has announced the continuation of the acclaimed Tone Poet Audiophile Vinyl Reissue Series in 2020. Launched in 2019 in honor of the label’s 80th Anniversary, the Tone Poet series is produced by Joe Harley (from Music Matters) and features all-analog, 180g audiophile vinyl reissues that are mastered from the original master tapes by Kevin Gray of Cohearent Audio. Tone Poet vinyl is manufactured at RTI in Camarillo, CA, and packaged in deluxe Stoughton Printing “Old Style” gatefold Tip-On jackets. The titles were once again handpicked by Harley and cover the crème de la crème of the Blue Note catalog along with underrated classics, modern era standouts, and albums from other labels under the Blue Note umbrella including Pacific Jazz and United Artists Records. Every aspect of these Blue Note/Tone Poet releases is done to the highest-possible standard. It means that you will never find a superior version. “The LPs are mastered directly from the original analog master tapes by Kevin at his incredible facility called Cohearent Mastering. We go about it in the exact same way that we did for so many years for the Music Matters Blue Note reissues. We do not roll off the low end, boost the top or do any limiting of any kind. We allow the full glory of the original Blue Note masters to come though unimpeded! Short of having an actual time machine, this is as close as you can get to going back and being a fly on the wall for an original Blue Note recording session.” – Joe Harley

File Under: Jazz
Buy Here

Funkadelic: Uncle Jam Wants You (Charly) LP
Masterminded by the larger-than-life figure of George Clinton, Funkadelic was a key component of his influential P-Funk empire. Funkadelic’s unique combination of Rock, Psychedelia and Soul led to the band to crossing over into the pop mainstream and gaining an international following, to become one of the most important groups in the evolution of funk. ‘Uncle Jam Wants You’ was the band’s eleventh studio LP released in 1979. More militant in tone than its predecessor ‘One Nation Under A Groove’ which described a Funk utopia, ‘Uncle Jam’s’ stated mandate was to “rescue dance music from the blahs”. The album features a 15-minute version of what was to become the band’s last hit single ‘(Not Just) Knee Deep’, an edited version of which made no.1 in the US R&B chart. Uncle Jam… had a huge influence on the hip-hop scene, notably the legendary Uncle Jam’s Army. This was Funkadelic’s first album since 1972 not to feature a cover design by artist Pedro Bell (although he did contribute to the interior design). A reference to the “Uncle Sam Wants You!” US Army recruitment poster, the sleeve depicts George Clinton aka Dr Funkenstein in a Huey Newton Black Panthers pose.

File Under: Funk
Buy Here

Jerry Goldsmith: Total Recall (Quartet) 3LP
The first vinyl edition of the complete and iconic Jerry Goldsmith score for Paul Verhoeven’s classic presented in 3 LPs, celebrating its 30th anniversary. DeLuxe trifold package, remixed and mastered by Bruce Botnick, Lacquer master cut by Bernie Grundman, and produced by Botnick and Neil S.Bulk. It contains a booklet with liner notes by Jeff Bond.

File Under: OST, Getyourasstomars
Buy Here

Quinn Harris: Statements (Tidal Waves) LP
Born in Texas but raised in Riverside, California, Quinn Harris first started playing music in 1954 when he saved up his paper route money for an alto sax. At a young age, Harris was influenced by jazz greats John Coltrane, Charlie Parker, Eugene “Jug” Ammons, and Eddie “Lockjaw” Davis. After a stint in the military playing with the 52nd Army Band, Harris attended Berklee College of Music in Boston where he met the Tavares brothers. His relationship with the brothers would continue throughout his career as Harris would later become their touring music director. Harris moved to San Francisco in 1970 where he supported himself gigging in nightclubs and doing promotional work for a number of clubs and bands in the area. While playing around the Bay Area with such acts as Canned Heat, The Whispers and Buddy Miles, Harris was approached one night after a gig by Janis Joplin who invited him to accompany her for a series of upcoming shows. After a chaotic rehearsal Harris turned down Joplin’s offer to join her Kozmic Blues Band and focused his energy on recording and opening a jazz club in Haight-Ashbury called “Quinn’s After Hours”. In 1970 Harris recorded his first full length LP “All In The Soul” with his then band The Masterminds and it was released the same year on the boutique San Francisco label Reynolds Records. The album was followed up with a 7inch single penned by Harris and featuring the female Grammy nominated singer, Lady Bianca (Sly & The Family Stone). The single charted briefly in the UK and is considered a classic to this day. Harris’ second album “Statements” was recorded and self-released in his hometown of Riverside, CA in 1975 (with his eight-piece ensemble The Masterminds). Now considered a classic…back then the album received little notice beyond the small jazz community of the Inland Empire. Harris’ brother Huey, who had experience producing records in Los Angeles, offered to help Quinn with his next recording. What resulted was another great 7’’ single of two originals, “Protect Me From Myself” b/w “I’ll Always Love You”. Getting frustrated with the music industry, Harris decided to pursue his education. First obtaining his teaching credentials and then his master’s degree. Harris spent the remainder of his working career teaching music to High School students, eventually retiring in 2005. Although Harris never received the proper recognition he deserved during his recording career, his music has since found a proper audience with rare soul, jazz and funk collectors all over the world. Today we are extremely excited to announce the FIRST official reissue of Quinn Harris’ funky soul-jazz classic “Statements”. The album features songs made popular by Al Green, Roberta Flack and Minnie Riperton, as well as two originals penned by Harris himself. Fetching hundreds of dollars for an original copy, now this private-pressed record is finally getting a much-deserved reissue! Available as a limited 180g vinyl edition (500 copies) complete with the original 1975 artwork.

File Under: Funk, Soul
Buy Here

Haruomi Hosono: Medicine Compilation from the Quiet Lodge (Great Tracks) LP
“Medicine Compilation from the Quiet Lodge” features ultimate ambient music that invites listeners to another world, including masterpieces such as “Honey Moon”, which has a duo vocal with Akiko Yano, and was originally recorded on the album “Tropical Dandy” and the funky “Aiwoiwaiaou” with lively singing voices. The album was originally released in 1993 and is now issued on vinyl in Japan for the first time.

File Under: Japan, Ambient
Buy Here

Japandroids: Massey Fucking Hall (Arts & Crafts) LP
Coloured wax! Vancouver duo Japandroids release their first-ever live album, reverently titled Massey Fucking Hall after the historic Toronto venue where it was recorded. The 12 tracks include live versions of songs from all three of the band’s critically acclaimed studio albums. Massey Hall is a celebrated Toronto venue that originally opened in 1894. With a capacity of nearly 3,000, the theater has hosted historic performances from fellow Canadian artists Oscar Peterson and The Tragically Hip. Landmark live albums by Neil Young and Rush were also recorded on its stage. “We never thought we’d have the opportunity to play at Massey Hall,” drummer David Prowse explained. “It’s the most legendary venue in Canada by far, but it didn’t seem like a natural spot for a band like us to play. It’s a 100+ year old seated theatre, which isn’t the usual type of spot you expect to see Japandroids. Honestly, when we got off the stage that night, I remember feeling a sense of relief and exhilaration, but the whole thing felt like a bit of a blur. It was a very emotional show for me. We were both pretty nervous getting up on that stage.” A band known for their kinetic live shows and rigorous international touring schedule, Japandroids hope releasing their first-ever live album during this global pandemic can be a healing balm for their fans. “I really, really miss live shows,” Prowse admits. “I miss playing them and I miss being in the crowd. When you love music, there are few things more uplifting and cathartic than being in a room full of people at a live show. To not have that opportunity to experience live music together with a group of people has been hard to adjust to. It’s disorienting and it makes me sad to think about it. I hope that maybe in some small way people who are feeling similarly can find some solace in this record. They can hear the crowd and listen to us having the time of our lives at a historic venue and maybe that makes life a little easier for a minute, and reminds them that those moments will happen again down the road.”

File Under: Indie Rock
Buy Here

Maggot Brain #3 Magazine
“We’re back with ink on paper and stoked to bring you a Super-Packed special issue of our arts and music quarterly Maggot Brain! For our cover story, we dive into the genesis and continued import of our namesake, with a lengthy feature by Detroit music journo Ana Gavrilovska on the mind-melting fifty-year-old Funkadelic masterpiece Maggot Brain. We also have rare photos of the White Stripes live at Paychecks Lounge in Hamtramck Michigan from 1999 by noted photographer Doug Coombe. There’s a mini-roundtable discussion on gay rights pioneer Morris Knight and San Francisco’s brilliant hippie queer activist pranksters the Cockettes and the must-see pages with Rachel Leah Gallo’s eight-page bio-comic on the delightful and obscure kitchen-folk singer Connie Converse. Includes: Jessica Beard’s vital, personal yet succinct piece on accountability and community in the music scene; RJ Smith dives deep on Fortune Records in a review of the Mind Over Matter book; Murat Cem Mengüç documents the impromptu art show that sprung up around the White House at the start of the Black Lives Matter movement; Andy Beta on Brazilian composer, anthropologist, and musician Priscilla Ermel’s gorgeous work; Instagram sensation Tara Booth in an intimate interview with Amy Gillfeather; Joshua James Amberson goes deep on poet Lydia Tomkiw and her stunning new wave band Algebra Suicide; Michael Gonzales on 1990s neo-soul singer Ephraim Lewis; Robert Gordon on Memphis’ primitivist aesthete Tav Falco — an excerpt from the final chapter to It Came From Memphis.”

File Under: Reading
Buy Here 

Meridian Brothers: Cumbia Siglo XXI (Bongo Joe) LP
After the very acoustic “¿Dónde estás María?”, I decided to try a new experiment taking as a reference the legendary group “Cumbia siglo XX” which is a group who explores a futuristic vision of coastal cumbia in the 80s, together with other groups such as “Grupo folclórico”, “2000 voltios” and others, mainly under the label Machuca and Felito records. This new 80s cumbia was a combination of funky basses and a further evolution of the rhythms, blending this style with disco and even rock music and superimposing the traditional versus the urban context and the modernity. Meridian Brothers took this as a departing point and inspiration, making the same experiment but in XXI century, using the modern media of this time; all kinds of drum machines, guitars and synths, algorithmic software etc, and also taking into account the global exposition of modern cumbia in the 2010s. So all kinds of influences and genres are blended around this cumbia axis. Urban beats, synthy grooves, glitches and all kinds of swear words (and its censoship &$*/&##), and all kinds of slang languaje are included in the songs of the album. All these elements are filtered and passed through the traditional train of thought of Meridian Brothers, which is the figuration of an abstract picture of sound put it within a concrete context or cultural tendency.

File Under: Latin America
Buy Here

Rza: Ghost Dog: The Way of the Samurai OST (36 Chambers) LP
Available on red, or white vinyl! “Ghost Dog – Original Motion Picture Score, produced by The RZA, is now available on official Vinyl and CD editions! This masterpiece was previously only given a limited Japanese release, and is the first film score produced by The RZA and features appearances by Wu Tang Clan.”

File Under: OST, Hip Hop
Buy Here

Seatbelts: Cowboy Bebop OST (Milan) LP
Black vinyl. The legendary original soundtrack to Cowboy Bebop is finally available on vinyl! The Bebop crew is just trying to make a buck. This motley lot of intergalactic loners teams up to track down fugitives and turn them in for cold hard cash. Spike is a hero whose cool façade hides a dark and deadly past. The pilot Jet is a bruiser of a brute who can’t wait to collect the next bounty. Faye Valentine is a femme fatale prone to breaking hearts and separating fools from their money. Along for the ride are the brilliant, but weird, hacker Ed and a super-genius Welsh Corgi named Ein. On their own, any one of them is likely to get lost in the sprawl of space, but together, they’re the most entertaining gang of bounty hunters in the year 2071. Composed and performed by Yoko Kanno and the band SEATBELTS, the music of Cowboy Bebop is one of the signature elements of the series. The energetic jazz-infused pieces rip and roar across the stars and are as indispensable as the crew of the Bebop themselves.

File Under: OST
Buy Here

Tim Story: Threads (Dais) LP
Orange vinyl version! The saga of composer Tim Story’s 1982 debut is a case study in the shifting sands of the early progressive music industry. Recorded on a Tascam 4-track reel-to-reel in his basement bedroom in Whitehouse, Ohio using a ragtag array of equipment – salvaged vibraphone, pawn shop Les Paul, his mother’s spinet piano, a PAiA synth kit assembled by his girlfriend’s father, and a Yamaha CS-30 – Story optimistically dubbed six cassettes and sent them around the world. Following a polite rejection from Klaus Schulze, the French avant-garde label Atem (This Heat, Univers Zero, Art Zoyd) reached out with an offer to release Threads via their new instrumental electronic subdivision, Labyrinthes. After several letters confirming terms of the arrangement as well as multiple rounds of test pressings, correspondence suddenly ceased. Some months later the label folded, never having begun. Synchronistically, however, Schulze’s copy ended up in the glovebox of an engineer associate, who happened to play it for a couple visiting journalists with contacts at a newish Norwegian imprint, Uniton Records (Popul Vuh, Harold Budd). Impressed, they connected Story to the label head, but by then he’d already recorded a follow-up, the more neoclassical-leaning In Another Country, which became his inaugural release. Finally, 40 years later, Dais Records is rectifying history’s error by properly issuing Threads on vinyl for the first time. It’s a beautiful, beguiling work, exploratory but emotive documenting, as Story puts it, “the path not taken… like the first chapter of a book that was set aside to begin another.” Despite only being in his early twenties at the time of its creation, Threads feels finessed and considered, weaving through a diverse spectrum of moods and minimalist melodies. From sunburst synthesizer devotionals (“Tethered By A Thread”) to shadowy cosmic drift (“Without Waves,” “Iso”) to fragile piano vignettes (“Burst,” “Scene And Artifact”), Story’s compositional instincts skew subtle and sophisticated, carving gemstones of fluctuating radiance. He cites his discovery of tape loops as a central tool in the process, allowing him to generate recurring patterns of echoes and texture, decaying in volume and fidelity as desired: “A whole new and inspiring world opened up.” As both time capsule and discographical fountainhead, Threads vividly captures the threshold sensation of early 1980’s electronic music: post-kosmische, pre-new age, before ambient became codified, just as synthesizers began slipstreaming into the underground. It’s an album of beginnings and forking paths, inner space voyaging towards limitless horizons, born of “youthful dedication to something one loves, in a world that feels uncertain.”

File Under: Ambient, New Age
Buy Here

M. Ward: Think of Spring (Anti) LP
Orange vinyl version! M. Ward’s new album Think of Spring is a collection of songs originally recorded by Billie Holiday – a muse to Ward and many others. Ward achieved the intimate sound of this record by filtering the original songs and strings through a single acoustic guitar, using various alternate tunings and a minimal amount of textures and studio manipulation. Most of the songs were recorded on an analog Tascam four track. The title Think of Spring comes from a poem written in 1924 by Jane Brown-Thompson that eventually became “I Get Along Without You Very Well” in 1938 – the first song on the record. “I first heard [Billie’s album] Lady In Satin in a mega-shopping mall somewhere in San Francisco,” M. Ward explained. “I was about 20 years old and didn’t know much about Billie’s records or her life or how her voice changed over the years. Anyway, the sound was coming from the other side of the mall and I remember mistaking her voice for a beautiful perfectly distorted electric guitar – some other-world thing floating there on this strange mournful ocean of strings and I was hooked for life.”

File Under: Indie Rock
Buy Here

Various: Oto No Wa (Music for Dreams) LP
Clear vinyl! For the fifth entry in our Collector`s Series we enlist the skills of Japan-based musical connoisseurs, Ken Hidaka, Max Essa, and Dr. Rob. Their compilation Oto No Wa sets out to map the evolution of chilled Japanese sounds across 3 decades, collecting 14 tracks, produced by a wide range of artists. From ambient pioneers to dance-floor veterans, to a 9-piece reggae band, Little Tempo, percussionist Kazuya Kotani, and organic, psychedelic collective, Olololop. Beginning in the late 1980s, the era when “environmental music” became prevalent, there`s Yoshio Ojima`s cool computer-generated Sealed. The compilation also includes later work by his contemporaries Takashi Kokubo, and Yoshiaki Ochi. Theirs are compositions designed for art galleries and museum installations. “BGM” built from emerging technology, and / or counterpoint tapped out expertly on sticks and stones. The 90s give us the seminal electronics of Susumu Yokota, and the solar-flare strut of Scha Dara Parr – Japan’s answer to The Beastie Boys. Here, remixed by the legendary Major Force. Moving into the 21st century we have the post-house productions of Flower Records. Kentaro Takizawa`s oceanic Gradual Life, and Little Big Bee`s colourful coral reef-diving Scuba. Fellow traveller, Kaoru Inoue`s “Kyushu kosmische”. Representing the next decade are Flower Records’ current rising stars, Coastlines, who calmly combine classic fusion, library music, and gentle nova bossa nova rhythms. Alongside them are the sun-baked electro-acoustics of Karel Arbus & Eiji Takamatsu, plus Chillax` previously unreleased epic analog / modular jam. All of these selections are the result of some serious “digging” but more importantly they represent physical connections made during Ken’s 20-plus-year career in the “Biz”, Max` decade of DJing all over Japan. Music made by folks interviewed by Rob at the websites, Test Pressing and Ban Ban Ton Ton. Friendships forged at Lone Star – the trio’s long-running party, which takes place every month at Bar Bonobo in Harajuku.

File Under: Japan, Ambient
Buy Here

…..Restocks…. 

A Tribe Called Quest: Midnight Marauders (Jive) LP
Bully: Sugaregg (Sub Pop) LP
Bully: Losing (Sub Pop) LP
Don Cherry: Brown Rice (A&M) LP
Coil: Sara Dale’s Sensual Massage (Infinite Fog) LP
Miles Davis: Nefertiti (Music on Vinyl) LP
Miles Davis: On the Corner (Music on Vinyl) LP
Nick Drake: Pink Moon (Universal) LP
Eric’s Trip: Love Tara (Sub Pop) LP
Fake Names: s/t (Epitaph) LP
Ella Fitzgerald: Sings the Cole Porter Songbooks (Verve) LP
G.I.S.M.: Detestation (Relapse) LP
Buddy Guy: Damn Right, I’ve Got the Blues (Music on Vinyl) LP
Herbie Hancock: Empyrean Isles (Blue Note) LP
Herbie Hancock: Headhunters (Music on Vinyl) LP
Lauryn Hill: Miseducation of Lauryn Hill (Legacy) LP
Khruangbin: Mordechai (Dead Oceans) LP
Clifford Jordan Quartet: Glass Bead Games (Pure Pleasure) LP
Kendrick Lamar: To Pimp A Butterfly (Aftermath) LP
Delvon Lamarr Organ Trio: Live at KEXP! (Colemine) LP
Minor Threat: s/t (Dischord) LP
Minor Threat: Out of Step (Dischord) LP
Thelonious Monk: Genius of Modern Music Vol 2 (Blue Note) LP
Nirvana: Nevermind (Geffen) LP
Kelly Lee Owens: Inner Song (Smalltown Supersound) LP
Paul Simon: Graceland (Legacy) LP
Nina Simone: And Piano! (Music on Vinyl) LP
Jimmy Smith: Prayer Meetin’ (Tone Poet) (Blue Note) LP
McCoy Tyner: Tender Moments (Tone Poet) (Blue Note) LP
Blue Gene Tyranny: Out of the Blue (Unseen Worlds) LP
Kanye West: College Dropout (Def Jam) LP
Kanye West: My Beautiful Dark Twisted Fantasy (Def Jam) LP
Various: Even A Tree Can Shed Tears (Light in the Attic) LP

…..news letter # 981 – payments…..

Well, I feel like I should take this opportunity to welcome a bunch of new readers. It would seem our webshop and email list weren’t syncing up so some of you might be getting this email for the first time. How exciting for you! If you’ve placed an order this week, you also might have noticed the payment options have changed a little. We got rid of that pesky yellow Paypal button which caused many issues, especially if you wanted your order shipped, and more importantly, we are now using a new payment processor for credit card payments. It is the same company that provides the back end for our site. They are very secure, and more cost effective for us. I’m told the process is easier and faster than using Paypal, so don’t be afraid, and give it a try! 

As always, big thanks to everyone who’s been hitting up our webstore and placing orders! It’s getting competitive around 6pm when we post up fresh used stock. If you haven’t hit up the WEBSTORE, MAYBE YOU SHOULD! If you can’t figure out the site, or don’t like to use computers, you can always call the store and we can do an order over the phone. We’ll be at the shop 11-6 Monday – Friday & Saturday 11-4. Stay safe!

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

CHECK OUT OUR WEBSTORE!!! 
SUBSCRIBE TO OUR NEWS LETTER!!!!

…..pick of the week…..

J. Peter Schwalm & Arve Henriksen: Neuzeit (Rarenoiserecords) LP
How we define the age we live in depends entirely on the frame we choose to view it through. On one timescale we’re just getting settled into the 21st century; zoom out and we’re deeply entrenched in the Anthropocene. We might be waking to the dawn of an enlightened, interconnected new era or teetering on the brink of a sixth mass extinction. Neuzeit, which German electro-acoustic composer J. Peter Schwalm views through his new duo outing with the Norwegian trumpeter Arve Henriksen, is generally taken to refer to the modern era that began in the 16th century and witnessed the rise of Western Civilization. Schwalm chooses to take the term on it’s face, however; the fusion of “new” and “time” he defines as a period marked by sudden and drastic change. To borrow another word from the German, it ably yet dauntingly captures the zeitgeist of our tumultuous moment, one in which political upheaval, global pandemic and catastrophic climate change seem poised to usher in an uncertain new existence.

File Under: Jazz, Ambient, Experimental
Buy Here

…..new arrivals…..

Aaron Frazer: Introducing… (Colemine/Dead Oceans) LP
Aaron Frazer (of Durand Jones & The Indications) releases his debut album, Introducing… via Dead Oceans and Easy Eye Sound. A testament to his wide-ranging influence and deep gratitude for his musical community, Introducing… is both loving and gracious, critical without losing hope, and a showcase of a young artist on a seriously soulful ascent. Working with producer Dan Auerbach of The Black Keys, Frazer expertly calibrates consciousness-raising, as previewed by early single “Bad News,” and the desire to be enveloped by love. Where previous songs were written in a partial state of turmoil, Frazer’s debut LP shows maturation and range. The 12 songs on Introducing… combine ‘70s soul with Auerbach’s particular sensibilities, and include songs with a message in the key of Gil Scott-Heron, as well as uplifting tales of love told through a blend of disco, gospel, and doo-wop. The album was recorded in a week at Auerbach’s antique and ephemera-laden studio in Nashville following a rapid and prolific songwriting session. Fellow single “Over You” is telling of the collaboration between Frazer and Auerbach. “‘Over You’ is inspired by the legendary northern soul 45s that electrified dance floors across the UK in the 1960s,” says Aaron. “Breakneck speeds and breakbeat drums challenged even the best dancers to pull out all the stops. Lyrically, ‘Over You’ captures a moment of despair in the darkest hour of a breakup. But sometimes to feel better, you just gotta shake your ass.”  For Introducing…, Auerbach called on a crew of heavy session players – including members of the Memphis Boys (who played on Dusty Springfield’s “Son of A Preacher Man” and Aretha Franklin’s “You Make Me Feel Like A Natural Woman”), symphony percussionist Sam Bacco, and several members of the Daptone-Big Crown Records universe. “I really didn’t want to make a retro record with Aaron; I wanted it to be its own thing, have its own sound. The crew had not made records together before, so it was a very fresh feeling that I think will strike a chord with people. There’s this amazing cross-section of musicians, young and old, with Aaron leading the way.” With a collaborative vision, Introducing… manages to hit the sweet spot between intuition, intentionality, and craft – a love song that’s both personal and universal.

File Under: Soul, Funk, Durand Jones
Buy Here

Full of Hell: Weeping Choir (Relapse) LP
Full Of Hell make their Relapse debut with their most explosive album to date, Weeping Choir. Dynamic, pissed, and wholly urgent, the highly anticipated Weeping Choir is a definitive statement of intent by one of the underground’s most dynamic and virulent entities. Full Of Hell have once again culled the extreme elements from hardcore, metal, and power electronics to redefine darkness and sheer brutality. Distorted guitars, and ominous, disparate electronics grind and gnash against rapid-fire drumming, as Full Of Hell take themes of religion, loss, hatred, and set them ablaze. Recorded by the critically acclaimed Kurt Ballou at GodCity Studio, Weeping Choir sees Full Of Hell fully unleashed. Abrasive, confrontational, none equal!

File Under: Metal
Buy Here

Gun Club: Miami (Blixa) LP
They recorded their debut album, 1981’s Fire of Love, for the local Slash/Ruby label. But when it came time to record a follow-up, the group decamped to New York to work with producer Chris Stein of Blondie and his new label, Animal. The results were 1982’s stunning Miami, an album that didn’t get its proper due back in the day. Blixa Sounds will right that wrong with a deluxe reissue. The double-vinyl edition will contain a digitally remastered version of the original 12-track album, as well as demos of every track.  The double-vinyl will be released as a two-LP set packaged in a gatefold cover with extensive liner notes by drummer Terry James Graham and journalist Craig Rosen, as well as rare photos and ephemera. The CD version is a two-disc set, also with liner notes, photos and ephemera.

File Under: Punk
Buy Here

Syl Johnson: Dresses Too Short (Numero) LP
Green vinyl edition! Syl Johnson’s first LP hit stores in the summer of 1969. True to its era, it wasn’t so much an album as a collection of singles. The four non-single tracks (“Soul Drippin’,” “Fox Hunting On The Weekend,” “Same Kind Of Thing,” and “I’ve Got The Real Thing”—none of them a throwaway) were outtakes tacked on to capitalize on the expanding long-player market. Prolific designer and photographer Jerry Griffith shot the cover on a South Michigan Avenue building’s balcony. Despite blaring its title in Christmas-y, green-and-red cover lettering, Dresses Too Short never found its season creatively or commercially, selling just a few thousand copies before being discontinued in the mid ’70s.

File Under: Funk, Soul
Buy Here

Kinks: s/t (Sanctuary) LP
Red vinyl! One of the most important and influential artists in rock history, The Kinks have been credited by many as the crucial ’60s genesis for everything from heavy metal to garage punk to Britpop. The centerpiece of the 1964 debut album from lead singer/rhythm guitarist Ray Davies, lead guitarist and brother Dave Davies, bassist Pete Quaife, and drummer Mick Avory is certainly “You Really Got Me,” with its riff to end all riffs. “The first album was done as quick as possible,” Mick remembers. “Ray hadn’t written many songs, so most of it was just what we did on stage.” Kinks was a raw splatter of an album, with a few selections that show Ray Davies discovering himself as a songwriter (“Stop Your Sobbing,” “Just Can’t Go To Sleep”) along with rapid-fire recordings of the R&B covers that had first got them noticed. “I’m A Lover Not A Fighter, “Beautiful Delilah,” “Long Tall Shorty,” and “Cadillac” had all been in their live set for a while, but most unique was Ray’s angle on “Got Love If You Want It.”  Kinks was a huge commercial success, reaching No.3 on the UK album charts, and it stands as an excellent polaroid of the early, pre-fame Kinks, a London R&B group scrabbling for their distinctive sound.

File Under: Rock, Pop
Buy Here

Bob Marley & The Wailers: Burnin’ (Half Speed Master) (Island) LP
In November 2020, twelve Bob Marley albums will be available on premium half-speed mastered vinyl. This specialist artisan process results in a more detailed representation of the original sound source cuts, with a far superior high-frequency (treble) response, and richer and fuller low to middle frequencies. All tracks were mastered by Miles Showell at Abbey Road Studios in London. Abbey Road’s world-renowned engineers have been cutting grooves into discs since the studios first opened their doors in 1931. This record was pressed from a master cut using a precision technique known as half-speed mastering. The procedure requires the source master and the cutting lathe to run at half speed on a specially adapted Neumann VMS-80 lathe. This rare and specialized technique transforms difficult to cut highend frequencies into relatively easy to cut mid-range frequencies. The result is a cut with excellent high frequency response and very solid and stable stereo images. In short, half-speed mastering produces a master of the highest quality that enables the pressing plant to produce a superlative record. The album Burnin’ was released the same year as Bob Marley And The Wailers’ Island debut Catch A Fire and launched the reggae anthems “I Shot The Sheriff” and “Get Up, Stand Up.” Eric Clapton’s No. 1 pop version of “I Shot The Sheriff” gave a major boost to reggae’s acceptance with the general public and to recognition for Marley, who some have called the first Third World superstar. But the album would be the last Wailers effort with Tosh and Livingston. By 1974, the original trio of Marley, Tosh and Livingston broke up, going their separate ways.

File Under: Reggae
Buy Here

Bob Marley & The Wailers: Catch A Fire (Half Speed Master) (Island) LP
In November 2020, twelve Bob Marley albums will be available on premium half-speed mastered vinyl. This specialist artisan process results in a more detailed representation of the original sound source cuts, with a far superior high-frequency (treble) response, and richer and fuller low to middle frequencies. All tracks were mastered by Miles Showell at Abbey Road Studios in London. Abbey Road’s world-renowned engineers have been cutting grooves into discs since the studios first opened their doors in 1931. This record was pressed from a master cut using a precision technique known as half-speed mastering. The procedure requires the source master and the cutting lathe to run at half speed on a specially adapted Neumann VMS-80 lathe. This rare and specialized technique transforms difficult to cut highend frequencies into relatively easy to cut mid-range frequencies. The result is a cut with excellent high frequency response and very solid and stable stereo images. In short, half-speed mastering produces a master of the highest quality that enables the pressing plant to produce a superlative record. In 1971, Marley founded his own Tuff Gong label and was signed to Island Records by its leader Chris Blackwell, who had licensed some of his band’s previous releases and offered Marley a deal to record their debut album. Catch A Fire was their first album released outside Jamaica, signaled the emergence of reggae’s patron saint and immediately earned global acclaim, even garnering the group its first tour of the U.S. Reggae’s first true album, rather than a collection of singles, Catch A Fire includes such well-known tracks as “Stir It Up,” “Concrete Jungle” and “Slave Driver” – all of them fiery, politically charged, and uncompromising.

File Under: Reggae
Buy Here

Metz: Atlas Vending (Royal Mountain) LP
“Change is inevitable if you’re lucky,” says guitarist/vocalist Alex Edkins about Atlas Vending, the fourth full-length album by Toronto’s Metz. “Our goal is to remain in flux, to grow in a natural and gradual way. We’ve always been wary to not overthink or intellectualize the music we love but also not satisfied until we’ve accomplished something that pushes us forward.” The music made by Edkins and his compatriots has always been a little difficult to pin down. Their earliest recordings contained nods to the teeming energy of early ‘90s DIY hardcore, the aggravated angularities of This Heat, and the noisy riffing of AmRep’s quintessential guitar manglers, but there was never a moment where Metz sounded like they were paying tribute to the heroes of their youth. If anything, the sonic trajectory of their albums captured the journey of a band shedding influences and digging deeper into their fundamental core – steady propulsive drums, chest-thumping bass lines, bloody-fingered guitar riffs, the howling angst of our fading innocence. With Atlas Vending, Metz not only continues to push their music into new territories of dynamics, crooked melodies, and sweat-drenched rhythms, they explore the theme of growing up and maturing within a format typically suspended in youth. Covering seemingly disparate themes such as paternity, crushing social anxiety, addiction, isolation, media-induced paranoia, and the restless urge to leave everything behind, each of Atlas Vending’s ten songs offers a snapshot of today’s modern condition and together form a musical and narrative whole. Album opener “Pulse” is a completely unnerving exercise in reductionist tension, with verses providing little more than a lone discordant chord, a hammering kick drum, and the occasional punctuation of a diving bass note. From there Metz launches into “Blind Youth Industrial Park,” an absolute scorcher of paranoid dissonance and malicious force centered on a chromatic descending riff and a merciless four-to-the-floor drum battery. The album hits its stride with “No Ceiling” – a minute-and-a-half rager that comes about as close to containing a pop hook as anything Metz has ever written. Though it’s still saturated with in-the-red distortion, this truncated anthem about discovering love and purpose provides the rare counterpoint to the band’s grievous compositions. But there’s no yielding to complacency on Atlas Vending, and the mercurial nature of love and romance is expertly captured in the alternately brutal verses and beguiling choruses of “Hail Taxi.” If Metz’s current mission is to mirror the inevitable struggles of adulthood, they’ve successfully managed to tap into the conflicted relationship between rebellion and revelry with the song’s tactics of offsetting their signature bombast with anthemic melodic resolutions. The song sequencing follows a cradle-to-grave trajectory, spanning from primitive origins through increasingly nuanced and turbulent peaks and valleys all the way to the climactic closer, “A Boat to Drown In.” While past Metz albums thrived on an abrasive relentlessness, the trio embarked on Atlas Vending with the goal to make a more patient and honest record – something that invited repeated listens rather than a few exhilarating bludgeonings. It’s as if the band realized they were in it for the long haul, and their music could serve as a constant as they navigated life’s trials and tribulations. The result is a record that sounds massive, articulate, and earnest. Bolstered by the co-production of Ben Greenberg (Uniform) and the engineering and mixing skills of Seth Manchester (Daughters, Lingua Ignota, The Body) at Machines with Magnets in Pawtucket, Rhode Island, Metz deliver the most dynamic, dimensional, and compelling work of their career.

File Under: Punk
Buy Here

Sleaford Mods: Spare Ribs (Rough Trade) LP
Recorded in lockdown in a furious three-week studio blitz at JT Soar in July, the polemical Jason Williamson and dexterous producer Andrew Fearn kick against the pricks with unrivalled bite, railing against hypocrisy, inequality and apathy with their inimitable, scabrous sense of humor. And Spare Ribs, featuring Amy Taylor of Melbourne punks Amyl and the Sniffers and the British newcomer Billy Nomates, finds the duo charged with ire at the UK Government’s sense of entitlement, epitomized by its devil-may-care approach to the coronavirus crisis. Commenting on the new album Jason says, “‘Our lives are expendable under most governments, secondary under a system of monetary rule. We are stock if you like, parts on a shelf for the purposes of profit, discarded at any moment if fabricated or non-fabricated crisis threatens productivity. This is constant, obviously and notably in the current pandemic. The masses cannot be present in the minds of ill-fitting leaders, surely? Or else the realisation of their catastrophic management would cripple their minds. Much like the human body can still survive without a full set of ribs we are all ‘spare ribs’, preservation for capitalism, through ignorance and remote rule, available for parts.”

File Under: Post Punk
Buy Here

Swans: Children of God (Young God) LP
Swans present a remastered reissue of Children of God via Mute / Young God Records. The album, originally issued on Product Inc. (a subsidiary of Mute) in 1987 will be available on vinyl in its original packaging for the first time since that release. “By 1986/7 Swans had run its course with the physical assault of sound that we had employed previously for the most part. I wanted to move on to other things and didn’t want to get stuck in some style, which in our case had the potential of becoming cartoonish if we’d continued in that direction. So, I pushed the music into unfamiliar territory. We spent 6 weeks in an old isolated medieval sawmill in Cornwall, England “experimenting” and hashing things out. Even though there was the inevitable tension between myself and the musicians at that time, I remember that episode fondly and miss everyone involved…sigh. Everyone did a great job musically, as well as imbibing with enthusiasm the local brews and eating huge amounts of free food. Jarboe came more to the fore as a presence too. “The lineup of Gira / Kizys / Westberg / Jarboe / Parsons was a really good version of the band – one of the best live versions of Swans ever – actually much more intense and visceral in performance than in the nuanced takes of the songs on these recordings. Lyrically, I’d always seized on abstract subjects like money/power/sex/work, etc., and I was watching a lot of Jimmy Swaggart on TV (the televangelist), and I thought he was a great rock performer, so I stole his thunder as best I could. I didn’t want to mock the religious impulse, which would have been a typical thing to do at the time, but instead to get inside it. Everyone wants to lose themselves in something bigger than they are. I don’t know if this is a bad thing or a good thing. Anyway, Children of God was a major turning point for Swans and the musical tendencies that are first engendered here were fertile ground for the remaining future records.” – Michael Gira/Swans 2008 “Children of God, one of the band’s strongest releases, established Gira as an Old Testament tyrant obsessed with the nature of love, human frailty, and the midnight beauty of black orchids. Much of Swans’ earliest work on Filth and Young God found the band fixating on single beats in a brutally sweeping, industrial cacophony, in many ways the realization of the theories of the Futurists. Later, with the addition of Jarboe, Gira brought more varied sounds into the mix, melding hooks and spatial variation to the unwavering rhythms. Children of God stands as a solid example of this transition: the maniacally heavy drone of the album’s opener, “New Mind” gives way to the fragility of Jarboe’s “In My Garden”. This is one of a dozen wonderful juxtapositions here; in its expansiveness, Children of God brings to mind disparate touchstones: Joy Division’s factory-worker melancholy, more elaborately atmospheric Black Metal bands like Emperor who deal in swirling beauty and intensity, Big Black for pure aggression, and old-time softness of traditional folk.” – Brandon Stosuy, Pitchfork 2003

File Under: Rock, Experimental, Industrial
Buy Here 

Mary Timony: Mountains (Matador) LP
Mary Timony’s debut solo album, “Mountains”, is the latest entry in Matador Records’ Revisionist History series. The album comes back to us as a gold foil-embossed gatefold double album and includes the previously unreleased original takes of “Return to Pirates,” “Poison Moon,” and “Killed by the Telephone,” which were delivered along with the original master tapes 20 years ago, but were omitted from the final album. The record, remastered by Bob Weston, is completed by a newly recorded orchestral version of “Valley of One Thousand Perfumes” produced by composer Joe Wong (Russian Doll, Midnight Gospel) and mixed by Dave Fridmann. At the turn of the century, Timony (Ex Hex, Wild Flag, Hammered Hulls) was already a celebrated presence in American underground music – a fixture of D.C. and Boston rock ‘n’ roll via her work in Autoclave and Helium respectively. “Mountains” found Timony dialing into territory that was barer and more confessional than her work in Helium. Stark arrangements were augmented with newly ornate instrumentation – piano, vibraphone, and viola – and the lyrics were tinted with slyly occult imagery.

File Under: Indie Rock
Buy Here

Trampled By Turtles: Blue Sky and the Devil (Thirty Tigers) LP
Available on vinyl for the first time, 2005’s Blue Sky and the Devil is the sophomore full-length effort from Duluth, MN progressive bluegrass group Trampled By Turtles. The band’s sound showcases their northern roots through bluegrass and folk-rock rifts. They utilize the future and past by using both modern electric instruments and tools, as well as more traditional acoustic instruments. With five chart-topping albums, the band has evolved their sound while always staying true to their roots of bluegrass.

File Under: Country, Folk, Bluegrass
Buy Here

Trampled By Turtles: Songs from a Ghost Town (Thirty Tigers) LP
Available on vinyl for the first time, 2004’s Songs from a Ghost Town is the debut album by Duluth, MN progressive bluegrass group Trampled By Turtles. The band’s sound showcases their northern roots through bluegrass and folk-rock rifts. They utilize the future and past by using both modern electric instruments and tools, as well as more traditional acoustic instruments. With five chart-topping albums, the band has evolved their sound while always staying true to their roots of bluegrass.

File Under: Country, Folk, Bluegrass
Buy Here

Kurt Vile: Speed, Sound, Lonely KV (ep) (Matador) LP
A handful of coloured copies for the first few to order… Kurt Vile’s Speed, Sound, Lonely KV (EP) was recorded and mixed in sporadic sessions that spanned four years at The Butcher Shoppe studio in Nashville, TN. It includes five songs – covers of John Prine and “Cowboy” Jack Clement as well as two originals – and was recorded alongside a cast of local heavies like Bobby Wood, Dave Roe, Kenny Malone and Matt Sweeney (Chavez, Superwolf). Most importantly, it features what Vile calls “Probably the single most special musical moment in my life” – a duet with the late John Prine on the songwriter’s well-loved tune, “How Lucky.”

File Under: Indie Rock
 Buy Here

Women: Rarities 2007-2010 (Flemish Eye) LP
Ten years ago, Flemish Eye released ‘Public Strain’, the second album by Women. Just over a month after the album’s release, the short-lived band was finished; however, the reverberations of ‘Public Strain’ were widespread. It became regarded as a modern-day masterpiece, and a clear touchstone for countless albums since its release. Now, a decade later, Flemish Eye announces a special limited-edition 12″ of rarities in celebration of the band and the album. Fans around the world have waited years to hear snippets of rare material, and five of these long-rare tracks are now available in one collection. ‘Rarities 2007-2010’ features material that was either hard-to-find or never released, all mastered properly for the first time.

File Under: Indie Rock
Buy Here

…..Restocks…. 
  Avalanches: We Will Always Love You (Astralwerks) LP
Beastie Boys: Licensed to Ill (EMI) LP
Beastie Boys: Paul’s Boutique (EMI) LP
Beastie Boys: To The 5 Burroughs (EMI) LP
Matt Berninger: Serpentine Prison (Concord) LP
Leonard Cohen: Greatest Hits (Columbia) LP
D.O.A.: Something Better Change (Sudden Death) LP
Miles Davis: Complete Birth of the Cool (Blue Note) LP
Bill Evans: Some Other Time (Resonance) LP
Kelly Finnigan: A Joyful Sound (Colemine) LP
Four Tet: There is Love in You (Text) LP
Fugees: The Score (Legacy) LP
Stan Getz & Joao Gilberto: Getz/Gilberto (Acoustic Sounds Series) (Verve) LP
Herbie Hancock: Takin’ Off (Blue Note) LP
P.J. Harvey & John Parish: Dance Hall at Louse Point (Island) LP
P.J. Harvey: Rid of Me (Island) LP
Jason Isbell: Something More Than Free (Southeastern) LP
Durand Jones & The Indications: American Love Call (Dead Oceans) LP
Khruangbin: Con Todo El Mundo (Dead Oceans) LP
Adrianne Lenker: Songs and Instrumentals (4AD) LP
Jackie McLean: A Fickle Sonance (Blue Note) LP
Jackie McLean: It’s Time  (Tone Poet) (Blue Note) LP
Molchat Doma: etazhi (Sacred Bones) LP
Nirvana: Nevermind (Geffen) LP
Pharaoh Overlord: 6 (Rocket) LP
Pink Floyd: Dark Side of the Moon (Pink Floyd) LP
Primitive Man: Scorn (Relapse) LP
Radiohead: A Moon Shaped Pool (XL) LP
Radiohead: Amnesiac (XL) LP
Radiohead: In Rainbows (XL) LP
Nina Simone: I Put a Spell on You (Acoustic Sound Series) (Verve) LP
Sturgill Simpson: Metamodern Sounds in Country Music (Thiry Tigers) LP
Silvia Tarozzi: Mi Specchio e Reiletto (Unseen Worlds) LP
Stanley Turrentine: Hustlin’ (Tone Poet) (Blue Note) LP
Townes Van Zandt: Flyin’ Shoes (Fat Possum) LP
War on Drugs: Live Drugs (Super High Quality) LP
Various: Let’s Do the Boogaloo (BGP) LP
Various: Mighty Super Funk (BGP) LP
Various: Return of the Funk Soul Sisters (BGP) LP
Various: Stax of Funk (BGP) LP
Various: Super Funk Vol 5 (BGP) LP