Well, I think today is the first day in about a week and a half that I DIDN’T buy any used records for the shop. Probably for the best though, we’ve got a major backlog going on here now. I’ve made a small list below of just SOME of the stuff we’ve put out recently to whet your appetite. Come down this weekend and have a dig.
…..pick of the week…..
Big Black: Atomizer
(Touch & Go) LP
So, there’s so much to love about this album. So frantic, so angsty, so abrassive. It’s the auditory equivalent of crashing through the windshield of your car and then skidding on your face for a block and living to tell the tale. “Originally released in 1985, and now remastered by Steve Albini and Bob Weston at Chicago Mastering, Big Black’s first full-length album Atomizer will be re-released in September 2015. To save you having to do the math in your head, yes, that makes this a 30th anniversary reissue. This remastered version of Atomizer also includes the song “Strange Things” which appeared on the first pressing, but was not present on subsequent vinyl pressings nor on The Rich Man’s Eight Track CD. It also comes with a double sided insert and a digital download coupon. To put this release into context for the uninformed: Big Black began in 1982. Steve Albini, then a sophomore at Northwestern University, fanzine writer and loudmouth, released the Lungs EP on the Chicago co-operative label Ruthless (whose other artists at the time included Naked Raygun and the Effigies). Lungs was recorded in his apartment on a borrowed 4-track for the price of one case of beer. After that record’s release, Jeff Pezzati (singer for Naked Raygun) and Santiago Durango (Naked Raygun, Arsenal), both linchpins of the burgeoning Chicago music scene, joined Big Black. During this period, the band established itself as a live act, recorded two more records, the Bulldozer EP and the Racer X EP, toured the U.S., and had -in general – a pretty good time. Pezzati’s other obligations precipitated his departure from the band in 1984, when he was replaced by Dave Riley, bass player for Chicago swing-punk band Savage Beliefs. This lineup persisted until the band’s self-destruction in August of 1987. Big Black toured the U.S., England, Europe, and Austrailia. They recorded a shitload of records: Il Duce 45, Atomizer LP, Headache EP (which bore the heartbreakingly-honest disclaimer “Warning! Not as good as Atomizer. Don’t get your hopes up, Cheese.”), Heartbeat 45, He’s A Whore 45, Songs About Fucking LP, and the Pig Pile LP.” HIGHEST RECOMMENDATION!
File Under: Punk, Albini, Drum Machines
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…..new arrivals…..
Born Ruffians: Ruff (Paper Bag) DLX LP
The deluxe edition is loaded with unique surprises! We could tell you what makes it so special, but in the internet age there’s little mystery left in music and Born Ruffians love surprises. Order the deluxe edition and discover all the hidden treasures when you receive the vinyl on release date! The deluxe edition will be signed by the band, but that’s about the only surprise that we can share. *Deluxe Edition comes with limited edition Born Ruffians slip mat! The record is RUFF – simultaneously a return to form and a departure from expectations. Songs of refutation, lamentations of forgotten past lives and ecstatic self-erasures that say “eat shit, we did it!”. RUFF, as an idea, is everything – sound, message, band. If Birthmarks was polished and presentable, RUFF is the ugly innards that hide beneath.
File Under: Indie Rock, CanCon
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Chvrches: Every Open Eye (Glassnote) LP
In tomorrow…. A lot has changed for CHVRCHES in the past few years. When the Glaswegian trio wrote and recorded their debut, The Bones Of What You Believe (2013), no one had heard of them. The three members (Iain Cook, Martin Doherty and Lauren Mayberry) came together with the idea of working on a writing project together, unsure of what path that would take other than one which belied their previous musical projects and foregrounded melody and classic songwriting styles before everything else. There were no pre-existing ideas of what the record would or should be like, no pre-conceptions and nothing to live up to – just three people in a basement studio in Glasgow making music they believed in. The album went on to sell over 500,000 copies and earned rave reviews far and wide. Approaching the new album, Every Open Eye, one could argue that everything is different for the band but they tried not to treat it that way. CHVRCHES returned to the same hometown studio that had housed them during the recording of their first LP, their basic goal to shut off the outside world and get back to what they know best: writing. Made in CHVRCHES’ Alucard Studios – a converted three-bedroom flat on the southside of Glasgow – Every Open Eye offers an alternative approach in a climate of music written by committee or the same handful of well-known songwriters, going back to the idea that a band can write, record and produce their work entirely by themselves. Using some ideas the band had recorded in venues during their time on the road as a starting point, the band found riffs, loops and melodies they wanted to develop or started from scratch on the synths, pads and machines they had been gathering in their basement to create the instrumentals of the songs. Vocal melodies were developed as the songs took shape with the lyrics added last, developed from words and sentences from notebooks Lauren Mayberry had kept on tour. Musically, Every Open Eye seeks to do more with less. To make big sounds without racking up endless tracks within Cubase sessions. To make something intense and urgent and visceral, using the basic tools of melody, rhythm and arrangement rather than the mentality that ‘more is more’. Sonically, Every Open Eye develops CHVRCHES’ signature style, juxtaposing the light and the dark, creating their own brand of twisted pop music that uniquely merges the organic with the electronic, molding sounds and ideas forged over two years on the road into an electronic-pop record with a heart. Lyrically, Every Open Eye is not a break up album. It is a record about past heartbreaks and getting over them (“Leave A Trace”). About perspective and the benefit of hindsight. About being unapologetic and not being told what to do or who to be (“Bury It,” “Never Ending Circles,” “Playing Dead”). About moving on to better things, holding on to the good and letting go of the bad (“Down Side Of Me,” “Clearest Blue,” “Afterglow”). Mixed by Spike Stent and mastered by Bob Ludwig.
File Under: Electronic, Synth-Pop
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Daft Punk: Tron Legacy (Disney) LP
In tomorrow… A few years ago this came out, and everyone was like “It’s too expensive…” then it sold out and started selling for 4-5 times as much online. Well, now you can buy it for slightly less than it originally cost, so, maybe waiting paid off… “Continuing to exploit their creative urges to their ends, multi-platinum electronic duo Daft Punk (Guy-Manuel de Homen-Christo and Thomas Bangalter) took on one of their most ambitious projects to date in 2008, when they agreed to score the modern remake of the hugely influential 1982 film, Tron. Daft Punk’s reverence of the original film and the themes that define it (the evolving relationship between humans and technology, specifically) rendered them discontented working within the means of their own studio. “We knew from the start that there was no way we were going to do this film score with two synthesizers and a drum machine,” stated Guy-Manuel. Enlisting a 100-piece orchestra, they emerged from the studio after two years with a work whose importance superseded the editing process of the actual film – the movie was cut to the score, atypically. Tron: Legacy peaked at #4 on the Billboard 200 albums chart and was awarded with a gold certification for 500,000 units sold shortly thereafter.”
File Under: Electronic, OST
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Discharge: Toronto 83 (Ugly Pop) LP
In tomorrow… Discharge are one of the greatest punk bands of all time, and this 1983 set captures them in ferocious form. Rescued from an old tape, the sound is violent, dirty and powerful, a raw document of a raw band blazing through 14 tracks of relentlessly furious hardcore. Fully legit and authorised, not a bootleg. WARNING: do not expect NOFX CD sound– this is noise not music!
File Under: Punk, Hardcore
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Girl Band: Holding Hands With Jamie (Rough Trade) LP
Holding Hands with Jamie, Girl Band’s debut album, comes a few years into their tenure; a few years after their first tour, nine days crammed into a Fiat Panda; a few years of stamping 7″ sleeves to sell at merch tables and mail-order; a few years of writing songs and touring and developing a live ferocity unmatched by nearly anyone. Recorded in April 2015 in their home town of Dublin at Bow Lane Studios over two days after returning home from their first-ever US tour, the nine tracks making up Holding Hands with Jamie capture, more than any previous recordings, the tension and abrasive energy of a Girl Band performance. Recalling any number of things but for only milliseconds at a time, Girl Band make a mockery of comparisons, because you can only get as far as “oh this bit sounds like” before a guitar scuff-screams, the bass crunches like a car in a bailing press, or something else visceral and glorious comes from the speakers, and the thought’s erased. But ultimately, anyone who’s paying attention can only conclude, like Noisey did: “The one blindingly obvious thing about Girl Band is that this is fucking great.” “Paint-peelingly vicious” – Toronto Star. “One of the most confident, shit-kicking bands around.” – NME. “You don’t so much listen to a Girl Band song as get strapped into it” – Pitchfork.
File Under: Punk, Noise Rock
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Helen: The Original Faces (Kranky) LP
“When I was a child, I spoke to Helen. “Helen is a pop group from Oregon. Liz Harris (vocals/lead guitar), Jed Bindeman (drums/tambourine), Scott Simmons (bass/guitar), and Helen (backup vocals). Originally started with the intention of being a thrash band, it turned into something else entirely. The Original Faces was recorded over a period of several years in Portland by the band members and their friends Nick, Chris, and, largely, Justin Higgins. Written together, some songs based on Liz and Scott’s demos.”
File Under: LoFi, Shoegaze, Grouper
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Mark Lanegan: 2002 Houston Publishing Demos 2002 (Ipecac) LP
In tomorrow… Mark Lanegan first rose to fame with his band the Screaming Trees in the ’90s. Like other noted artists Lanegan has carved out a strong identity of his own as a vocalist and songwriter informed by the blues but willing to take his darkly poetic sensibility wherever his muse was pointing him, from hard rock to electronics. Cut to 2002, The Screaming Trees had just recently disbanded and Lanegan was in the early years of his solo offerings (at this point he had released a mere five solo albums). The songs on Houston Publishing Demos 2002, were written, recorded, then shelved until now, with the release of this 12-song collection of previously unreleased demos on Ipecac Recordings. In addition to familiar tunes like “Has God Seen My Shadow?,” “Halycon Daze” and “Gray Goes Black,” most of the material here is being unveiled for the first time. Houston Publishing Demos 2002 was produced by Justice Records’ Randall Jamail while the artwork for the album was done by The Mekon’s John Langford.
File Under: Indie Rock
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Nathaniel Rateliff & The Night Sweats: s/t (Fantasy) LP
In tomorrow… BACK IN STOCK! Nathaniel Rateliff & the Night Sweats practically explodes with deep, primal and ecstatic soulfulness. This stunning work isn’t just soul stirring, it’s also soul baring, and the combination is absolutely devastating to behold. You don’t just listen to this record – you experience it. So it’s entirely fitting that the self-titled album will bear the iconic logo of Stax Records, because at certain moments Rateliff seems to be channeling soul greats like Otis Redding and Sam & Dave. But as this gifted multi-instrumentalist honors the legacy of the legendary Memphis label, he’s also setting out into audacious new territory. Those who were beguiled by In Memory of Loss, Rateliff’s folky, bittersweet 2010 Rounder album, will be in for an initial shock when they spin Nathaniel Rateliff & The Night Sweats. But when you delve beneath the rawboned surface of the new album’s wall-rattling presentation, with its deep-gut grooves, snaky guitars, churning Hammond and irresistible horns, you’ll find that same sensitive, introspective dude, who bravely tells it like it is, breaking through his reticence to expose often harsh truths about the life he’s lived, the people he’s hurt and the despair he’s struggled with. The difference between the two albums is that the Nights Sweats’ funkiness insulates the starkly confessional nature of Rateliff’s songs while at the same time underscoring their emotional extremes. As the band blazes away on the soul-rock rave-up “I Need Never Get Old,” the visceral “Howling at Nothing” and the supercharged “Trying So Hard Not to Know,” which open the album with a sustained outpouring of torrid intensity, Rateliff is opening himself up emotionally as well as physically, the raw grit in his voice conveying anguish and hope in equal measure. The buoyant immediacy of the music makes the hard truths embedded in the songs easier to swallow than it would be in Rateliff’s other primary mode – a solitary guy with a guitar, the brim of his baseball cap pulled down, putting his heart and guts on the line without the protection of his simpatico cohorts. Make no mistake, these songs would stop you in their tracks presented in that naked way as well, but the additional layers of soulfulness provided by the Night Sweats – its core comprising guitarist Joseph Pope III, drummer Patrick Meese and keyboardist Mark Shusterman – bring a convergence of intensities, musical and psychological, to the performances. “S.O.B.” sits at the dead center of the album, between the brutally honest confessionals “I’ve Been Failing” and “Wasted Time.” Thematically, the song is the album’s linchpin – partly a rebuke, partly a cry of defiance, “S.O.B” is the “fuck it all” anthem of a blue-collar kid from the Heartland whose conditioned idea of therapy is a shot and a beer chaser, and then another round, on the way to sweet oblivion. From there Rateliff contemplates some of the sustaining aspects of existence, from redemption by way of the forgiving love of another in “Thank You,” “Look It Here” and “I’d Be Waiting” to sexual heat in the N’awlins-style strutter “Shake.” The album ends on a hopeful note with the relatively laidback “Mellow Out.” When it came time to pick a producer, Rateliff went with Richard Swift, a polymath who has made records under his own name, helmed projects for Damien Jurado, the Mynabirds and others, and has played with The Black Keys and the Shins. Swift’s specialty is summoning (and capturing) inspired performances in the moment, and the synergy in the studio, first with Rateliff and then with his band, was instant and palpable. Rateliff and the Sweats already had the arrangements of the new songs down cold, having shaped them on the road. Swift, knowing a good thing when he heard it, set the mics, honed the sound, giving it plenty of space so that the studio itself served as an integral sonic component. Then he pressed “record” and coaxed it into happening organically.
File Under: Funk, Soul, Blues
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Max Richter: From Sleep (Deutsche Grammophon) LP
One of Britain’s leading contemporary composers has written what is thought to be the longest single piece of classical music ever to be recorded. Sleep is eight hours long – and is actually and genuinely intended to send the listener to sleep. “It’s an eight-hour lullaby,” says its composer, Max Richter. The landmark work is scored for piano, strings, electronics and vocals – but no words. “It’s my personal lullaby for a frenetic world,” he says. “A manifesto for a slower pace of existence.” Sleep will receive its world premiere this September in Berlin, in a concert performance lasting from 12 midnight to 8am at which the audience will be given beds instead of seats and programmes. The eight-hour version will be available as a digital album while a one-hour adaptation of the work entitled From Sleep will be released on double vinyl, both from Deutsche Grammophon. “You could say that the short one is meant to be listened to and the long one is meant to be heard while sleeping,” says Richter, who describes the one-hour version as “a series of windows opening into the big piece.” Richter does not expect anyone to sit down and listen to Sleep in its entirety, although some surely will. “It’s really an experiment to try and understand how we experience music in different states of consciousness.” He says he came up with the idea because of a long-standing fascination: “Sleeping is one of the most important things we all do,” he says. “We spend a third of our lives asleep and it’s always been one of my favourite things, ever since I was a child.” Coinciding as it does with the renewed interest in durational works within the fine art community, Richter says: “This isn’t something new in music, it goes back to Cage, Terry Riley, and LaMonte Young, and it’s coming around again partly as a reaction to our speeded-up lives – we are all in need of a pause button.” Richter adds, “I’m perpetually curious about performance conventions in classical music, our rigid rules that dictate how and what music we can appreciate. Somehow in Europe over the last century, as complexity and inaccessibility in music became equated with intelligence and the avant-garde, we lost something along the way. Modernism gave us so many stunning works but we also lost our lullabies. We lost a shared communion in sound. Audiences have dwindled. All my pieces over the last few years have been exploring this, as does Sleep. It’s a very deliberate political statement for me.”
File Under: Classical, Ambient
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Telekenesis: Ad Infinitum (Merge) LP
When it came time to make Ad Infinitum, the fourth Telekinesis album, drummer/songwriter/principal architect Michael Lerner found himself in a predicament. In just under five years, he had released three fantastic records—Telekinesis! (2009), 12 Desperate Straight Lines (2011), and Dormarion (2013)—each more ambitious than the last. He had toured all over the world, shared stages with great bands, and enthralled fans of his infectious, ebullient power pop. Newly married and happily ensconced in the home studio he’d assembled in his West Seattle basement, Lerner found himself asking the question that has haunted modestly successful bands down the ages: What do you do after the rock and roll dreams you had when you were 19 have come true? “I went down to the basement,” Lerner recalls, “and started playing the same chords I always play… I just felt like I’d exhausted everything I knew. I was not excited at all. I just could not make another power-pop album.” While many artists have made fruitful use of vintage sounds and production techniques in recent years, Ad Infinitum is a different animal. It feels less like a time capsule and more like a time machine. In the movie version of the story, Lerner would stumble on his way down the stairs, hit his head, and wake up in 1983, and the only way he could get back to the present day would be to make a record using available instruments. Then he’d wake in 2015 to discover he’d been in his basement studio all along. And the record he’d made in that strange dream state would turn out to be Ad Infinitum, the most ambitious and assured Telekinesis release to date.
File Under: Indie Rock
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Wand: 1000 Days (Drag City) LP
Recorded in Los Angeles and San Francisco in between tour days, 1000 Days finds Wand searching in corners. Where have all the people gone? Where have they put them? Panoramas of the body history are viewed through Wand’s spy-glass as it sweeps the horizon. Major mutations blooming and ballooning in the cities. The vault where plans for an invasion gather dust. The latest fables buzzing down the civil wire. All these and more are folded and packed neatly into a traveler’s trunk stuffed with tonal frequencies – sounds that tickle a Pavlovian response, the heartache and the sadness and the anger that we feel, the tug of our highest ideals. All by punching a key or playing a chord – an illusion made of parts representing a sequence or set of steps that, taken together, add up to an exploded diagram of a subject and its perception, meant to be swallowed as a whole. Whether it addresses a way of life, a homebrewed philosophy, a dark part of history or a cacophony of personal desires, the song remains truly a thing, regardless of the angle of affection.
File Under: Psych Rock
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Elyse Weinberg: Greasepaint Smile (Numerophone) LP
The unreleased second album by an original lady from the canyon. Recorded and recanted in 1969, Greasepaint Smile is more assured than its self-titled, Tetragrammaton-issued predecessor. Weinberg’s finger-picked acoustic is layered over distant drumming, while her gravel-pit voice evokes life, love, and mortality. Fellow Torontonian Neil Young sears “Houses” with his signature fuzz-tone, casting chaos over the beautiful ballad, while J.D. Souther, Kenny Edwards, and Nils Lofgren, pick up the slack. Masterfully produced by David Briggs, Greasepaint Smile has climbed out of the canyon and is bound for every turntable east of the 405.
File Under: Folk
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Neil Young: Monsanto Years (Reprise) LP
In tomorrow… Neil Young + Promise of the Real have joined forces for the new ecologically/environmentally-focused studio album, The Monsanto Years, inspired by the food industry conglomerate Monsanto. For this guitar-centric, full steam-ahead and highly-charged rock album, Young is joined by Promise of the Real, an LA-based rock band fronted by Lukas Nelson (vocals/guitar), along with Micah Nelson (guitar, vocals), Anthony Logerfo (drums), Corey McCormick (bass) and Tato Melgar (percussion). The album’s artwork is a send up of the famous American Gothic painting featuring Young and his girlfriend Daryl Hannah.
File Under: Rock
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Youth Lagoon: Savage Hills Ballroom (Fat Possum) LP
In tomorrow… Trevor Powers, the Idaho musician known as Youth Lagoon, has found what used to be destructive is now what gives him life. “I’ve never felt truly comfortable. It’s this feeling of uneasiness that follows me everywhere I go because my thoughts never shut up,” says Powers. “It used to exhaust me, but I’ve learned discomfort is invaluable. Safety makes us numb. It’s when we find ourselves in territories we’re unfamiliar with that we can really grow.” While on tour throughout Europe, Powers received a phone call from home informing him that one of his closest friends had drowned in the local river. After canceling the tour and flying home for the funeral, the following months marked a defining shift in Powers’ approach to songwriting. “Just how entwined we are never truly hit me before that,” claims Powers. “We are all connected. Even strangers. Our existence is one dazzling pattern that repeats itself endlessly. What makes us distinct is our flaws. In our defects lies something great.” Youth Lagoon’s third album Savage Hills Ballroom is rooted in discomfort, rather than avoiding it. Influenced by society’s desire to exude a flawless existence, the album’s musical direction and visual aspects were conceived on Powers’ late-night walks through Idaho’s suburbs. “When I see rows and rows of seemingly ideal houses, I can’t help but think that humanity has an innate craving to look perfect. And usually the better someone’s life seems from the outside, the more they’re hiding,” states Powers. “I’ve had a lot of barriers for a long time that I haven’t let people past, and I’ve gotten really sick of playing pretend.” Shortly after meeting co-producer Ali Chant through a series of webcam chats, Powers relocated to Bristol, UK for two months to record Savage Hills Ballroom at Toybox Studios — an underground recording space in a vaulted Georgian basement.
File Under: Indie Rock
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Various: Daptone Gold 2 (Daptone) LP
In tomorrow…The Daptone Gold II double LP is packaged in a silver foil gatefold sleeve and comes with a poster, liner notes and iron-on. CD is packaged in a deluxe embossed silver foil digipak with liner notes. A collection of fan favorites, 45 only, and exclusive killers soooo good it turns Gold to Platinum. Dig on 21 tracks hand-picked by Daptone Staff, Musicians, and fans. But what’s REALLY special are the exclusive tracks by Naomi Shelton & the Gospel Queens, as well as “The Baddest Band in the Land” The Dap-Kings, who offer up a dance-floor dominator, “Thunderclap.” Still need more convincing? How about extensive liner notes from the foremost authority on SOUL Music, Mr. Fine Wine – the DJ behind WFMU’s longest running SOUL program, Downtown Soulville. For the vinyl enthusiast, there are a couple special goodies inside each silver foil embossed 2xLP Gatefold: a double-sided FULL-SIZED poster adorning all the album artwork that has made Daptone the world’s #1 source for the modern yet classic aesthetic. And for you crafty sorts, there’s an iron–on Daptone Logo sporting the mantra “There’s no Business Like Soul Business”, you can put on the back of your favorite white demin jacket. …just saying. It’s the perfect album for those down with the Daptone Sound, but who also enjoy consolidation. Voila! Daptone Gold Volume II.
File Under: Funk, Soul
…..used goodies…..
Haven’t done one of these in a long while, but we’ve had a flood of great used stuff coming in lately so I figured I’d tease those of you who don’t come dig through the bins on the regular. We probably put at least 100 new used records out every week, be sure to come dig…..
Richard Abrams: Levels and Degrees of Light (Delmark)
Albert Ayler: The Last Album (Impulse)
Blue Cheer: Vincebus Eruptum (Philips)
Arthur Blythe: The Grip (India Navigation)
John Cale: Fear (Island)
Jaki Byard Experience: s/t (Prestige)
Miles Davis: Bitches Brew (Columbia)
Miles Davis: Four and More (Columbia)
Miles Davis: Kind of Blue (Columbia)
Miles Davis: Water Babies (Columbia)
Miles Davis: Get up With It (Columbia)
Miles Davis: Live Evil (Columbia)
Eric Dolphy: Iron Man (Columbia)
Chico Freeman: Kings of Mali (India Navigation)
Marvin Gaye: Live at the London Palladium (Motown)
Buddy Guy: I Was Walking Through The Woods (Chess)
Humble Pie: s/t (A&M)
The Kinks: Kink Kontroversy (Reprise)
JB Lenoir: Natural Man (Chess)
Memphis Slim: Real Folk Blues (Chess)
Charles Mingus: Mingus Ah um (Columbia)
Van Morrison: Astral Weeks (Warner)
Mothers of Invention: Freak Out (Verve)
The Move: Shazam (A&M)
James Newton: Password Del Mar (India Navigation)
Pharoah Sanders: Live at the East (Impulse)
Archie Shepp: Atttica Blues (Impulse)
Sly and the Family Stone: Fresh (Epic)
Spooky Tooth: It’s All About… (Island)
Sun Ra: It’s After The End Of The World (MPS)
Television: Marquee Moon (4 Men With Beards)
Townes Van Zandt: Flying’ Shoes (Tomato)
Velvet Underground: White Light/White Heat (Verve)
Neil Young: Harvest (Reprise)
Various: Blues Piano Orgy (Delmark)
Various: Heavy Heads Voyage 2 (Chess)
Various: Mississippi Moaners 1927-1942 (Yazoo)
Various: The Roots of America’s Music 1 (Arhoolie)
Various: Sanctified Singers Part One (Folkways)
…..Restocks…..
Air: Pocket Symphonies (Parlophone) LP
Air: Talkie Walkie (Parlophone) LP
Air: Virgin Suicides (Parlophone) LP
Animal Collective: Sung Tongs (Fat Cat) LP
Beach House: Depression Cherry (Sub Pop) LP
Black Keys: Brothers (Nonesuch) LP
J Dilla: Donuts (Stones Throw) LP
Nick Drake: Five Leaves Left (Island) LP
John Fahey: Great San Bernardino Birthday Party… (4 Men With Beards) LP
Father John Misty: I Love You, Honeybear (Sub Pop) LP
Fuzz: s/t (In The Red) LP
Half Japanese: Box 2 1987-1989 (Fire) Box
Iron Maiden: Book of Souls (Parlophone) LP
Kinks: Something Else (Sanctuary) LP
Kinks: Village Green Preservation… (Sanctuary) LP
Kinks: Arthur of The Decline.. (Sanctuary) LP
Kraftwerk: Autobaun (EMI) LP
Kraftwerk: Man Machine (EMI) LP
Kraftwerk: Tour de France (EMI) LP
Fela Kuti: He Miss Road (Knitting Factory) LP
LCD Soundsystem: 45:33 (DFA) LP
Led Zeppelin: III (Warner) LP
Led Zeppelin: In Through The Out Door (Warner) LP
Led Zeppelin: Physical Graffiti (Warner) LP
Lootpack: Soundpieces: Da Antidote (Stones Throw) LP
Lumineers: s/t (Universal) LP
Melvins: Eggnog/Lice-All (Boner) LP
MF Doom: Mmm… Food (Rhymesayers) LP
Neu!: 2 (Gronland) LP
Neu!: 75 (Gronland) LP
Neurosis: Times of Grace (Relapse) LP
Night Beats: s/t (Trouble In Mind) LP
Nine Inch Nails: Ghosts I-IV (Null) LP
Nine Inch Nails: The Slip (Null) LP
Quasimoto: The Unseen (Stones Throw) LP
Roxy Music: s/t (Capitol) LP
Roxy Music: Country Life (Capitol) LP
Shannon & The Clams: Gone By The Dawn (Hardly Art) LP
Silver Jews: Natural Bridge (Drag City) LP
Sturgill Simpson: Metamodern Sounds in Country Music (Thirty Tigers) LP
Sinoia Caves: Beyond The Black Rainbow OST (Jagjaguwar) LP
Spoon: Ga Ga Ga Ga Ga (Merge) LP
Sufjan Stevens: Carrie & Lowell (Asthmatic Kitty) LP
Viet Cong: s/t (Flemish Eye) LP
