Category Archives: Weekly News Letters

…..news letter #913 – toe away…..

Well, look at that… records in.. on time, for release. Amazing. Some killer slabs in this week, and as always, new used stuff going in the used bins on the regular. Come on down for a dig.

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…..

LDT04378_

Tropical Fuck Storm: Braindrops (Joyful Noise) LP
Tropical Fuck Storm formed around 2017 in the city of Melbourne, Victoria along Australia’s south-eastern coast. The band released their debut long-player A Laughing Death in Meatspace on Joyful Noise Recordings in 2018. Each of the band’s four members bring considerable experience to the group. Gareth Liddiard and Fiona Kitschin were part of the long-running and critically-acclaimed act The Drones, while Erica Dunn and Lauren Hammel have performed in a variety of well-received projects. Perhaps it’s that wealth of rock and roll experience that allows Tropical Fuck Storm to so expertly deconstruct and distort the genre’s norms. “Everything we do, we try to do it in a weird way. The whole album is full of weird beats, and just weird shit everywhere,” Liddiard explains. He cites Doc at the Radar Station-era Captain Beefheart as a key sonic touchstone, and Braindrops certainly shares the Captain’s penchant for pounding abstract grooves. Tropical Fuck Storm have achieved a uniquely off-kilter sound on Braindrops. Liddiard partly credits this to the group’s use of unconventional equipment, “We use lots of techno gear to make rock and roll because rock and roll gear is boring, and all sounds like Led Zeppelin.” Liddiard’s own description of Tropical Fuck Storm’s sound is nearly as interesting and evocative as the music itself. He describes the LP’s title track as “Fela Kuti in a car crash,” and talks of creating a sonic atmosphere that “sounds like chloroform smells” for “Maria 62.” Liddiard can be a bit more taciturn when asked to get specific on the group’s lyrical themes. “It’s not always a good idea to be too straightforward.” Instead Liddiard favors a “more nebulous and mysterious” approach. A recurring theme on Braindrops concerns the various ways the human brain can be manipulated and controlled for exploitative gain. The bracing “The Planet of Straw Men” is a study of human behavior inside the social media comments section, a place where otherwise reasonable people are seen gleefully engaging in psychotic chest-thumping rhetoric. “It’s about everyone having a screaming match,” Liddiard says. “You see two people yelling at each other on Twitter, but they’re not really yelling at each other, they’re yelling at each other’s idea of the other. Meanwhile countries like Russia are taking advantage of this to push their ideologies and get ahead.” Erica Dunn’s “Who’s My Eugene?” contemplates a more personal example of predatory mind control. “It’s about Eugene Landy, the doctor that drugged the shit out of Brian Wilson and emptied his bank account,” Liddiard explains. Listening to Braindrops is a jarring and exhilarating experience, full of pulsating grooves, black humor, dissonant experimentation, and unsettling dystopian plot-lines. Braindrops is an unrelenting work, from an unrelenting musical ensemble. “Tropical Fuck Storm is a full on thing,” Liddiard offers. “Everything we do, we do it to the death.”

File Under: Rock
Listen Here

…..new arrivals…..

LDB65312_

Beirut: Gulag Orkestrar (Pompeii) LP
Back in print! While it may sound like an entire Balkan gypsy orchestra playing modern songs as mournful ballads and upbeat marches, Beirut’s first album, 2006’s Gulag Orkestar, is actually the work of 19-year-old Albuquerque native Zach Condon, with an assist from Jeremy Barnes (Neutral Milk Hotel, A Hawk and a Hacksaw). There are no guitars on this album; instead, horns, violins, cellos, ukuleles, mandolins, glockenspiel, drums, tambourines, congas, organs, pianos, clarinets and accordions all build and break around Condon’s deep-voiced crooner vocals, swaying to the Eastern European beats like a drunken 12-member carnival band. In the winter of 2005, Condon headed to Sea Side Studios in Brooklyn’s Park Slope where, along with Barnes and A Hawk and a Hacksaw’s Heather Trost, he added percussion and violin overdubs to his original compositions. The resulting record sounds like a Neutral Milk Hotel from behind the iron curtain. Gulag Orkestar is a glorious sweep of music, striking in its emotional content and stunning in its scope.

File Under: Indie Rock
Listen Here

LDB365411_

Beirut: The Flying Club Cup (Pompeii) LP
Back in print! Beirut’s second album The Flying Club Cup (2007), is an homage to France’s culture, fashion, history, and music. Zach Condon immersed himself in Balkan folk, absorbed sounds, scales, styles, and the sonic joys of a skeletally structured, cacophonic ensemble – and moved west. Condon also soaked up the likes of François Hardy, Charles Aznavour, and, most notably, Jacques Brel (a huge influence on both Scott Walker and Mark E. Smith). Most of the album was created at a nondescript Albuquerque office space, aka A Hawk and a Hacksaw’s practice room; Heather Trost plays violin and viola on three songs. Engineering and production assistance came from Griffin Rodriguez (A Hawk and a Hacksaw, Man Man). He helped separate the many instrumentalists involved in recording, as opposed to Gulag Orkestar’s largely solo flight. Additional recording was done with Owen Pallet (Final Fantasy) at the Masonic church studio owned by The Arcade Fire. Within the spectacle and intimacy of The Flying Club Cup, you can hear a love letter to the joie de vivre that defines our existence. Listen closer, and you also hear the emergence of a singular musical talent and his experience living in Paris – unbounded by cultural borders and by where his heart travels.

File Under: Indie Rock
Listen Here

LDB12315_

Beirut: The Rip Tide (Pompeii) LP
Back in print! Zach Condon’s music often parallels the exotic mysteries of world travel. Beirut’s previous album, 2007’s The Flying Club Cup, sang a love-letter to France (with a 2009 stop-off in Mexico for the March of the Zapotec EP), many asked where his songs would voyage next, but few predicted the inward journey Condon takes on 2011’s The Rip Tide, an album with the most introspective and memorable songs of his young career. Recorded in Upstate New York, Brooklyn and, of course, Condon’s hometowns of Albuquerque and Santa Fe, The Rip Tide marks a distinct leaping-off point for Beirut. Beginning life as small melodies conceived on piano or ukulele, the songs were built upon by the entire band in the studio before Condon’s paring down and retrofitting. The results sound like they were recorded in a single session, with exciting rhythms matching the upbeat horns and contrasting the mournful strings. No direct geographical affiliation was exhumed; rather, the style that emerges belongs uniquely and distinctly to Beirut, one that has been hinted at all along. Lyrically, Condon’s deep honesty outstrips the simplified nomadic troubadour image of his past. The tracks speak of love, friendship, isolation and community, touching on universal human themes that are less fabricated stories than impressions of life at a quarter-century of age. This dramatic shift expands Beirut’s palate without weighing down the music. “Santa Fe,” a jumpy ode to the town of his youth, is the best pop song he has written yet. Of particular note is “Goshen,” a torch song that wraps itself in Condon’s delicate piano phrases at a level of intimacy never heard before on a Beirut song. The performances of the band, Perrin Cloutier on accordion, Paul Collins on bass, Ben Lanz on trombone, Nick Petree on drums and Kelly Pratt on horns, are spot-on. With contributions by such esteemed colleagues as violinist Heather Trost (A Hawk and a Hacksaw) and Sharon Van Etten, The Rip Tide reveals greater levels the more the listener explores. And one need not even travel very far.

File Under: Indie Rock
Listen Here

LDB35011_

Bon Iver: i,i (Jagjaguwar) LP
i,i is Bon Iver’s most expansive, joyful and generous album to date. If For Emma, Forever Ago was the crisp, heart-strung isolation of a northern Winter; Bon Iver the rise and whirr of burgeoning Spring; and 22, A Million, a blistering, “crazy energy” Summer record, i,i completes the cycle: a fall record; Autumn-colored, ruminative, steeped. The autumn of Bon Iver is a celebration of self acceptance and gratitude, bolstered by community and delivering the bounty of an infinite American music. The sales and accolades are well-known – multiple Gold albums, multiple Grammys, chart-topping collaborations and festival headlines. But even more significantly, with each release Bon Iver quietly shifts the state of modern music. From the boundaries of folk, to the rules of autotune, to production work for others, Bon Iver’s fingerprint finds its way across the mainstream every time. Justin Vernon has always been a master collaborator, and on i,i that desire becomes maximal, with guests ranging from Moses Sumney and Bruce Hornsby to Wye Oak’s Jenn Wasner and the Brooklyn Youth Chorus. Here, the music – and band, and themes, and creative space – are bigger than ever!

File Under: Indie Rock
Listen Here

LDB15800_

Bonnie Prince Billy/Bryce Denssner/Eighth Blackbird: When We Are Inhuman (37D03D) LP
Julius Eastman and Will Oldham are kindred spirits. Self-styled provocateurs, they have positioned themselves on the outskirts of distinct traditions, pulling all manners of musical influence towards their outré stance. Eastman, who passed away in 1990 and whose work is experiencing a necessary revival, harnessed the vocabulary of minimalism for joyfully insurgent ends; Oldham’s songwriting regularly conjures a pantheon that Greil Marcus called “the old, weird America.” These two visionaries collided at Cincinnati’s MusicNOW Festival, and any distance between them was mediated by curator Bryce Dessner and ensemble Eighth Blackbird. On this album, woven between new arrangements of Oldham’s cryptic songs and Eastman’s iconic “Stay On It” are several of Dessner’s “Murder Ballades,” works that tease out the homicidal strain of old folk tunes. In “Down in the Willow Garden,” a classic Appalachian tune, Oldham sings bleary-eyed atop harshly twanging timbres; “Underneath the Floorboards” takes inspiration from a recent murderous classic by Sufjan Stevens. These explorations of violence are natural fits for Oldham, who has always examined the interstices between intimacy and cruelty. Four of his songs appear here in new, sumptuous arrangements by pianist Lisa Kaplan. In Cincinnati, Oldham compared working with Eighth Blackbird to becoming acquainted with a “haunted house,” continually returning to the same spot and observing how his fear was interlaced with a charged energy. The arrangements push Oldham’s voice to new heights, as in the ecstatic refrain of “New Partner” or the lithe polyrhythms of “Beast for Thee.” On “One with the Birds” and “When Thy Song,” shimmering introductions deploy avant-garde effects as a window into Oldham’s bleak, poignant sound world. Musicologist Matthew Mendez has identified the web of influences on Eastman’s “Stay On It”: a post-Stonewall queer subjectivity, which the composer-performer flaunted; disco hits by Diana Ross, to which Eastman regularly danced at a Buffalo gay bar; and 1970s minimalism, via Eastman’s emphasis on what he called not “the pulse” but “the beat.” “Stay On It” was worked out in performance in the ’70s, and no complete score exists. This live rendition, based on archival recordings, sharpens the edges of Eastman’s music while still capturing its anarchic ideal. Oldham’s repetitions of “Stay On It” are subversively subdued, and Dessner’s guitar inserts a punch of the urbane. The riff mutates, changes, fades away, returns triumphantly. It overpowers and is overpowered. Boundaries between musicians and audience dissolve – in concert, percussionist Matthew Duvall ran off the stage to make a surround-sound ruckus – addressing the broader political hierarchies that Eastman sought to triumphantly topple. The party is political.

File Under: Indie Rock, Minimalism, Experimental
Listen Here

LDC12815_

Cherubs: Immaculada High (Relapse) LP
Rightfully hailed as “the noisiest pop music on the planet” by Pitchfork, Austin, TX’s cult noise rock trio Cherubs have been purveyors of sonic bedlam since their inception in 1991. After an unforeseen return to the scene from a two-decade hiatus in 2014, the Cherubs have now joined forces with the equally revered Relapse Records for the release of their fifth long-player Immaculada High. Recorded and engineered by Erik Wofford (Explosions in the Sky, The Black Angels, My Morning Jacket) at Cacophony Studio in Austin, Immaculada High is 11 songs of signature Cherubs clamor with an added twist of Texas-sized, psychedelic racket. Smooth, rumbling low-end rhythms interplay with feedback drenched, chuggin’ guitars, relentless tone and vocalist Kevin Whitley’s shrill, life-of-the-LSD-party vocals. On Immaculada High, Cherubs loudly proclaim their title as bonafide noise rock legends who continue to forge transgressive yet remarkably accessible punk for a jaded world.

File Under: Noise Rock
Listen Here

LDB96643___

Donald Byrd: Ethiopian Knights (Blue Note) LP
In honor of Blue Note Records’ 80th Anniversary, the legendary jazz label is launching the Blue Note 80 Vinyl Reissue Series. Distinct from the Tone Poet Audiophile Vinyl Reissue Series, this second series curated by Don Was and Cem Kurosman features 180g vinyl LP releases in standard packaging with albums spanning the many eras of the label’s history presented by themes: Blue Note Debuts, Blue Grooves, Great Reid Miles Covers, Blue Note Live, and Blue Note Drummer Leaders. The series resumes in August 2019 with Part 2 of the Blue Grooves theme – Lou Donaldson Alligator Bogaloo (1967), Donald Byrd Ethiopian Knights (1972) and John Scofield Hand Jive (1994) – and will continue with three albums released each month for the coming year. Trumpet titan Donald Byrd gained his greatest fame in the 1970s when he recorded a series of commercially successful funk/R&B albums for Blue Note. 1972’s Ethiopian Knights is the culmination of the innovative sound that Byrd put forth on Fancy Free, Electric Byrd and Kofi. Combining L.A. studio musicians with Bobby Hutcherson and Harold Land and the Jazz Crusaders’ Joe Sample and Wilton Felder, Byrd paints sonic pictures that draw from the textures of Miles Davis’s In a Silent Way and African music as well as jazz, funk and fusion. These colorful performance sound as lively, lyrical and hip today as they did nearly half century ago.

File Under: Jazz
Listen Here

LDD96681___

Lou Donaldson: Alligator Boogaloo (Blue Note) LP
In honor of Blue Note Records’ 80th Anniversary, the legendary jazz label is launching the Blue Note 80 Vinyl Reissue Series. Distinct from the Tone Poet Audiophile Vinyl Reissue Series, this second series curated by Don Was and Cem Kurosman features 180g vinyl LP releases in standard packaging with albums spanning the many eras of the label’s history presented by themes: Blue Note Debuts, Blue Grooves, Great Reid Miles Covers, Blue Note Live, and Blue Note Drummer Leaders. The series resumes in August 2019 with Part 2 of the Blue Grooves theme – Lou Donaldson Alligator Bogaloo (1967), Donald Byrd Ethiopian Knights (1972) and John Scofield Hand Jive (1994) – and will continue with three albums released each month for the coming year. A hard-bop-meets-soul-jazz classic, Alligator Bogaloo features three ‘Sweet Lou’ Donaldson tunes, including the hit title track, the swinging, R&B styled “The Thang,” with organ shouts and exuberant utterances, and the upbeat “Rev. Moses” where all the band members romp with Lou and a fiery Lonnie Smith leading the way. Lonnie contributes the slow, steady “Aw Shucks!” where the band opens up for instrumental expressions in the relaxed zone. Lou also covers vibraphonist Freddie McCoy’s oozing soul-jazz gem, “One Cylinder” (George Benson’s guitar ebullience is at its best on this track), and closes the long player with a ’30s-era ballad, “I Want a Little Girl.” With Melvin sitting out, this is Lou’s luminous lyrical showcase.

File Under: Jazz
Listen Here

LDJ44718

Jonsi & Alex: Riceboy Sleeps (Krunk) LP
Known primarily for his haunting falsetto and other-worldly presence as the singer in Sigur Rós, Jon Thor Birgisson aka Jónsi has, together with his partner Alex Somers, been exhibiting artwork and staging exhibitions under the name Riceboy Sleeps for years now, including the release of a limited edition picture book. The early fruits of the musical side of this collaboration surfaced in physical form for the first time, with the track “Happiness,” on the exemplary Dark Was The Night Red Hot compilation. Riceboy Sleeps is human in a profound and verging-on spiritual way. It says nothing, literally, and yet living through its 68-minutes you emerge feeling much has been revealed. Its slowly evolving abstract landscapes are both edifying and life-affirming. The record works as a whole, and exists in a contemplative dream-state, unconstrained and mesmeric, seemingly outside time. The record, however, is more active than its apparent antecedents in the ambient output of Brian Eno, and other deliberately low-impact works. Riceboy Sleeps is awash with both tension and stimuli, as well as being frequently, and stunningly, beautiful. Played solely on acoustic instruments in Iceland and featuring long-time string collaborators Amiina, as well as the Kopavogsdaetur choir, Riceboy Sleeps has a suitably organic feel. The full-length Riceboy Sleeps album (the name having migrated from artist moniker to album title) subtly redefined expectations of slow and elegiac instrumental music in 2009.

File Under: Indie Rock, Sigur Ros
Listen Here

LDL01117_

Lightning Bolt: Wonderful Rainbow (Thrill Jockey) LP
Legendary band Lightning Bolt’s Wonderful Rainbow is one of the most quintessential albums to come from the underground in the last 20 years. Included in lists like Pitchfork’s “200 top albums of the 2000s” and the book 1001 Albums You Must Hear Before You Die, Lightning Bolt’s seminal record solidified their place as pillars of the underground community. Wonderful Rainbow saw the duo of Brian Chippendale (drums/vocals) and Brian Gibson (bass) being compared to the likes of Slayer, Ornette Coleman, and early Boredoms, and captured the bristling, immeasurable energy of their mythical live shows, which continue to astonish audiences today. The album’s now iconic artwork (drawn by Chippendale) mirrors the music’s curious and exhilarating blend of chaos, noise, intense beauty, and childlike wonderment. Lightning Bolt paved the way for countless artists who followed them, cracking the noise-rock and underground scenes wide open with an album as frenetic and violent as it is overflowing with joyful abandon. Wonderful Rainbow is released for the first time ever with the full artwork as initially conceived by Lightning Bolt in 2003. Front and back artwork familiar to fans is still there but now in a full wrap. This wrap has full-color artwork on the inside, originally only available as a small insert. The LP jacket itself is never before released artwork created at the time of the album. All artwork has been created by Chippendale.

File Under: Noise Rock
Listen Here

LDM27665_

Lillie Mae: Other Girls (Third Man) LP
Lillie Mae’s new Third Man Records album Other Girls features eleven new, original songs produced by Grammy-winner Dave Cobb at Nashville’s famed RCA Studio A. The Nashville singer, songwriter, downtown scene slayer, and most-wanted fiddler signals a reclaimed confidence and bold evolution here, telling women’s stories – including her own – that build on the strength of her 2017 Jack White-produced debut. Lillie Mae led a sequestered childhood touring in a motorhome with her musician parents, constricted by religious boundaries. In her adolescence she busked from RV parks to the Rio Grande, swept through Nashville clubs, and achieved Top 40 country status in her sibling group Jypsi, but on Other Girls, a new side of herself emerges with more to say than ever before. She embraces personal triumphs on “I Came For The Band (For Show),” breathes new perspective into “Terlingual Girl,” a song she wrote as a 19-year-old in the South-Texan desert, and professes brave truths as heard in “You’ve Got Other Girls for That.” After a vagabond past, crossing paths with hundreds of musicians, she limits the cast of Other Girls to just her brother, sister, and a few trusted collaborators.

File Under: Folk, Country
Listen Here

LDM73781_

Charles Mingus: Mingus Mingus Mingus Mingus (Impulse) LP
Verve and Impulse! Records launch the new Vital Vinyl series with UMe, celebrating essential jazz LPs from the enduring catalogues of the two iconic labels. Throughout 2019, Verve and Impulse! will be making no fewer than 40 key albums from the 1950s, ’60s and ’70s available again on 180-gram vinyl. Each will feature their original cover artwork, track listings and liner notes. Some of these albums will become available for the first time in years, while others that are already in print will now be perennially available. This 1963 recording is a major showcase for the multi-talented Charles Mingus as a bassist, pianist, and writer. From the blues-painted bass moaning that opens “II BS,” to the blazing fire of “Hora Decubitis,” these tunes come furiously barreling out one after another. Speed and density aside, however, there are also multi-color, lovely tunes like Duke Ellington’s “Mood Indigo” and Mingus’ paean to Lester Young. More than anything, though, Mingus Mingus Mingus Mingus Mingus is a major document due to the presence of two alternating big ensembles, anchored by Jaki Byard on piano and fronted by a herd of horn players, Eric Dolphy and Booker Ervin chief among them.

File Under: Jazz
Listen Here

EPR054LP_CU

Jonas Munk & NicklasSorensen: Always Already Here (El Paraiso) LP
Jonas Munk and Nicklas Sørensen team up for a genre-defying record that explores American minimalism, psychedelia, and electronic music — both vintage and contemporary. On a foundation of interlocking guitar and synthesizer patterns, the duo constructs lengthy pieces that are experimental yet welcoming in nature, precisely executed yet with room for soaring improvisation. Always Already Here pays homage to the masters of classical minimalism (Steve Reich, Terry Riley) and the pioneers of electronic music and kosmische (Brian Eno, Manuel Göttsching), still it doesn’t sound derivative or retrospective. The type of hypnotic bliss Munk and Sørensen strive for is distinctly timeless. Always Already Here came to life during a handful of intense sessions in Munk’s studio in Odense, Denmark. However, from a larger perspective the record seems to be a culmination of several years of collaborating. From 2010-2014, Munk recorded and produced three full-length albums for Sørensen’s band Papir, and in the period 2015-2017 the two collaborated on Sørensen’s two solo efforts Solo and “Solo 2”. During the same period they have occasionally performed live as a duo, playing semi-improvised shows based around guitars and synthesizers. These live shows have assuredly influenced their collaborative work with an explorative, animated quality ? which is especially apparent on the album’s free flowing, zen-orientated B-side. Always Already Here ties together several musical threads: academic pattern-music, psychedelia, avant-garde sound exploration as well as a highly melodic sensibility. It’s a multi-layered, colorful album that demands full sonic immersion.

File Under: Kosmische, Minimalism, Ambient
Listen Here

LDP18399_

Pharmakon: Devour (Sacred Bones) LP
Devour marks the fourth full-length record from Margaret Chardiet’s project Pharmakon and her most intense output to date. Like her previous albums, Devour comes with a strong concept that is exorcised throughout the five demolishing tracks on the album, using imagery and language of self-cannibalism as allegory for the self-destructive nature of humans. Each of the five songs echoes a stage of grief associated with this cyclical chamber of self-destruction and the chaos surrounding us that leads us to devour ourselves in an attempt to balance the agony. The album was recorded by Ben Greenberg (Uniform) and is the first Pharmakon album recorded live in studio. The A and B sides were each recorded as a continuous take with vocals from start to finish, marking a totally new process for the artist that allows the ferocity and immediacy of her live performance to resonate throughout. Devour also explores new sonic territory, with denser electronics, groovier hooks, and moments of her most unhinged vocal deliveries to date. As one of the premiere vanguards of modern industrial and power electronics, Chardiet continuously pushes the genres and everyone involved in them, and with the release of Devour, she has once again changed the game.

File Under: Electronic, Industrial
Listen Here

a1880393696_10

Steve Roach: The Magnificent Void (Hearts of Space) LP
For the first time ever on vinyl, Steve Roach’s Hearts of Space Records solo debut “The Magnificent Void”. A Magnum Opus of pure oceanic sound and Roach’s most sophisticated atmospheric work to date. The final track “Altus”, Latin for both “”high”” and “”deep””, says much about this work. The most demanding and textural of Roach’s work, it has more in common with 20th century avant-garde than other genres. A chilling and beautiful continuous flow of harmonic sound-worlds. Melody and harmony are present throughout in a surreal play of light and dark colors.

File Under: Ambient, Electronic
Listen Here

LDR73835__

Sonny Rollins: On Impulse! (Impulse) LP
Verve and Impulse! Records launch the new Vital Vinyl series with UMe, celebrating essential jazz LPs from the enduring catalogues of the two iconic labels. Throughout 2019, Verve and Impulse! will be making no fewer than 40 key albums from the 1950s, ’60s and ’70s available again on 180-gram vinyl. Each will feature their original cover artwork, track listings and liner notes. Some of these albums will become available for the first time in years, while others that are already in print will now be perennially available. Sonny Rollins made some excellent recordings for Impulse! in the mid-1960s, a time when his unassailable skills and acrobatic approach made him a leading saxophonist, and one of the few to rival John Coltrane. Each of the five tracks collected here tell the complex, glorious story of Rollins’s talent, especially in the stretched-out solos where his knack for inventively de- and re-constructing melodies is evident. Highlights include “On Green Dolphin Street,” “Everything Happens to Me” and “Three Little Words.”

File Under: Jazz
Listen Here

LDS73842__

Archie Shepp: Fire Music (Impulse) LP
Verve and Impulse! Records launch the new Vital Vinyl series with UMe, celebrating essential jazz LPs from the enduring catalogues of the two iconic labels. Throughout 2019, Verve and Impulse! will be making no fewer than 40 key albums from the 1950s, ’60s and ’70s available again on 180-gram vinyl. Each will feature their original cover artwork, track listings and liner notes. Some of these albums will become available for the first time in years, while others that are already in print will now be perennially available. Among the more radical musicians signed to Impulse! was Archie Shepp. The saxophonist initially spent six years with the label, from 1964-1969, during which time he released eleven very varied albums including the free music classics Four For Trane, Fire Music and Mama Too Tight. Popular yet non-commercial, 1965’s Fire Music finds Shepp working in a sextet with the likes of alto saxophonist Marion Brown and drummer Joe Chambers and showcasing both his compositional and improvisational prowess with the multi-part “Hambone” serving as the undeniable standout. His music grew more politicized as the decade wore on, blending avant-garde flavors with soul, funk and African influences (Shepp would return for a second stint at Impulse! in the early 70s).

File Under: Jazz
Listen Here

LDW37714_

Whitney: Forever Turned Around (Secretly Canadian) LP
Forever Turned Around came together over several sessions across the country. Though Julien Ehrlich is Whitney’s lead singing drummer while Max Kakacek is the lead guitarist, when writing, both transcend their roles to piece together each offering lyrically and compositionally. After a session with producers Bradley Cook (Hand Habits, Hiss Golden Messenger) and Jonathan Rado (Weyes Blood, Father John Misty) helped color in the arrangements, the album revealed itself when they reunited with original rhythm guitarist Ziyad Asrar in his basement Chicago studio – the same place where they hashed out debut Light Upon The Lake. Restlessness is at the heart of Whitney’s resonant sophomore album – priorities shift, relationships evolve, home can become far away, and even when luck momentarily works out, there’s still that underlying search for something better. Happiness can be fleeting but this album proves that even when it feels like time is turning on its head and there’s either a moment of clarity or crippling doubt, there’s still beauty in figuring it all out.

File Under: Indie Rock
Listen Here

LDW04125_

Why?: AOKOHIO (Joyful Noise) LP
Yoni Wolf has spent the last two decades traveling the remote sonic terrain where underground hip hop, avant-pop, and psych-rock meet. Some of Yoni’s most compelling and critically-praised musical experiments have been issued under the moniker WHY? and his latest entry is no exception. On AOKOHIO Yoni condenses the essential elements of WHY? into a stunningly potent musical vision. Co-produced by Yoni and his brother Josiah, AOKOHIO presents a rich palette of musical voices that emerge and disappear into a constantly shifting kaleidoscope of sound. While the album features many notable guest contributors, from Lala Lala’s Lillie West, to Nick Sanborn and Amelia Meath of Sylvan Esso, the listener’s attention remains squarely directed on Yoni’s voice and vision. AOKOHIO finds Yoni rethinking fundamental aspects of his approach to creating and delivering his music. The album is presented as six movements comprised of two to four songs each, with some segments appearing as brief fragments that dissolve within seconds. Ultimately AOKOHIO sees Yoni pushing to find meaning and peace of mind in the moment, even if it’s not exactly where he wants to be. “The title is sarcastic I guess,” Yoni offers. “But it’s also wishful. A lot of my album titles have been names of maladies, like Alopecia and Mumps, Etc. I don’t want to project that into the world. You know, ‘A-OK Ohio, I’m here and it’s fine.’ It’s like a mantra, ‘A-OK Ohio, I’m here and it’s OK.’ Even though in reality, everyday I’m like, ‘I’ve got to get the hell out of Ohio.'”

File Under: Hip Hop
Listen Here

…..Restocks…. 

Belle & Sebastian: If You’re Feeling Sinister (Matador) LP
Black Midi: Schlagenheim (Rough Trade) LP
Calexico and Iron & Wine: Years to Burn (Sub Pop) LP
Clash: London Calling (Epic) LP
Miles Davis: Kind of Blue (Columbia) LP
Father John Misty: Pure Comedy (Sub Pop) LP
Johnny Griffin: Introducing (Blue Note) LP
Hot Snakes: Jericho Sirens (Sub Pop) LP
Ikebe Shakedown: The Way Home (Colemine) LP
Jamie XX: In Colour (XL) LP
Khruangbin: Universe Smiles Upon (Night Time Stories) LP
Kids See Ghosts: s/t (Universal) LP
Mdou Moctar: Ilana: The Creator (Sahel) LP
National: Boxer (Beggars) LP
Radiohead: Kid A (XL) LP
Sleep: Holy Mountain (Earache) LP

Advertisements
Tagged , , , , , , ,

…..news letter #912 – naptime…..

Well, almost everything in this week is and should have been in sooner, but looks like everything out next week is actually shipping on time…MIRACLE! And loads in next week, so good thing this one is a light one.

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…..

LDK367213_

King Gizzard & The Lizard Wizard: Infest the Rats’ Nest (ATO) LP
The planet is in trouble. Dire trouble. But fear not: Melbourne, Australia seven-piece King Gizzard & The Lizard Wizard have returned with Infest The Rats’ Nest to save us all, this time armed only with blast beats, an arsenal of well-oiled guitars that are locked and loaded, and a desire to melt faces clean off. Their fifteenth studio album, Infest The Rats’ Nest is by far The Gizz’s hardest and heaviest album to date. How metal is it? Very metal. Maybe even more. King Gizzard & The Lizard Wizard aren’t mere dabbling dilletantes either. Their love of this ferocious music runs deep, and was previously explored on 2017’s apocalyptic concept album Murder Of The Universe, hinted at during 2016’s award-winning Nonagon Infinity’s more bludgeoning moments and elsewhere in numerous hardcore psychedelic freak-outs in their back catalogue. “In year 4 there was an older kid who was into Rammstein,” explains Stu of his early discover discovery of metal’s extremities. “I made friends with him and we put together a performance at our school assembly where we headbanged to ‘Du Hast’. I got whiplash, which I thought was pretty cool. That was my introduction to heavy metal, and soon Rammstein led to Metallica, Metallica led to Slayer, Slayer led to Kreator and Sodom. The German bands really kicked my ass and scared the hell out of me too. Later on, when I picked up a guitar I realized that shit was too hard to play, so I got into rock ‘n’ roll and garage. That was liberating.” Infest The Rats’ Nest is the sound of King Gizzard & The Lizard Wizard scratching the thrash metal itch, fully and unequivocally. Ferocious and direct, “Organ Farmer” is built on drums that gallop away like a battalion of wild horses over the horizon and a triple guitar attack set to stun. It’s the type of sub-three minute song you wish Hetfield and Co. still made. “Venusian 1” goes at it even harder, a shredding collection featuring an army of guitars. A guitarmy, if you will. This is an album dripping with disdain and disgust for a planet consuming itself in a mass act of cannibalism. “Superbug” sings of the type of lurgy that will one day destroy us all, while the utterly nihilistic “Self-Immolate” sees riff piled upon riff and Stu Mackenzie delivering a vocal display to stand alongside the likes of Tom Araya or Max Cavalera. “I’m a pretty shit singer but I do think of my voice as an instrument,” laughs the frontman. “You’ve got lots of tones and different sounds in there you can experiment with.” Elsewhere recent single “Planet B” is a frantic, bludgeoning beast of a song, a scorched earth blitzkrieg that depicts a world burning through its natural resources (“Open your eyes and light the fluid / Get into a petrol siphon / Low on meals, browning fields / Bury children…”) and charging headlong into a population exodus that may only be solvable through the colonization of other planets. Breakneck closer “Hell” meanwhile is the last black bile-spewing word on musical brutality. King Gizzard meet the fears and anxieties of a planet head on; here is a place where uncompromising music meets the concerns of contemporary cli-fi, that emerging movement of writing centered around ecological disaster and its repercussions. “The A-side of the album is set in the near future and is about real shit going on right now – especially ecological disaster,” explains Stu of the album’s grand themes. “We’ve got a lot of things to fear. The B-side tells the story of a group of rebels who are forced to leave Planet Earth and try to settle on Venus. I spend a lot of time thinking about the future of humanity and the future of Planet Earth. Naturally these thoughts seep into the lyrics.”

File Under: Psych, Punk, Rock
Listen Here

…..new arrivals…..

LDB17934_

Blanck Mass: Animated Violence Mild (Sacred Bones) LP
“In this post-industrial, post-enlightenment religion of ourselves, we have manifested a serpent of consumerism which now coils back upon us. It seduces us with our own bait as we betray the better instincts of our nature and the future of our own world. We throw ourselves out of our own garden. We poison ourselves to the edges of an endless sleep. “Animated Violence Mild was written throughout 2018, at Blanck Mass’ studio outside of Edinburgh. These eight tracks are the diary of a year of work steeped in honing craft, self-discovery, and grief – the latter of which reared its head at the final hurdle of producing this record and created a whole separate narrative: grief, both for what I have lost personally, but also in a global sense, for what we as a species have lost and handed over to our blood-sucking counterpart, consumerism, only to be ravaged by it. “I believe that many of us have willfully allowed our survival instinct to become engulfed by the snake we birthed. Animated – brought to life by humankind. Violent – insurmountable and wild beyond our control. Mild – delicious. This is perhaps the most concise body of work I have written to date. Having worked extensively throughout my musical life with dramatics, narrative, and ‘melody against all odds’, these tracks are the most direct and honest yet. The level of articulation in these tracks surpasses anything I have utilized before.” – Benjamin John Power

File Under: Electronic, Noise, Punk, Techno
Listen Here

LDB19987

Kenny Burrell: Introducing Kenny Burrell – Tone Poet (Blue Note) LP
Introducing Kenny Burrell put the jazz world on notice in 1956 that an extraordinary new guitarist was on the scene who combined bebop and the blues with smoky aplomb. Burrell is accompanied on this stellar set of original and standard compositions by Tommy Flanagan on piano, Paul Chambers on bass, bebop icon Kenny Clarke on drums along with the percussion sensation from Cuba, Candido. This legendary session launched the career of one of the giants of modern jazz guitar who would go on to record his magnum opus Midnight Blue for Blue Note in 1963. The Blue Note Tone Poet Series was born out of Blue Note President Don Was’ admiration for the exceptional audiophile Blue Note LP reissues presented by Music Matters. The label brought Joe Harley (from Music Matters), aka the “Tone Poet,” on board to curate and supervise a series of reissues from the Blue Note family of labels. Extreme attention to detail has been paid to getting these right in every conceivable way, from the deluxe gatefold jacket graphics and printing quality to superior mastering (all analog direct from the master tapes) by Kevin Gray to superb 180-gram audiophile LP pressings by Record Technology Inc. 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
Listen Here

LDE29918_

Eluvium: Pianoworks (Temporary Residence) LP
Pianoworks is Eluvium’s first solo piano album since his sophomore album, An Accidental Memory In The Case Of Death (2004). Inspired by the quiet thoughts and solitary observations of children – and the evolution/dissolution of that ephemeral, uncorrupted wonder of simple joy – Pianoworks begins with a song about children’s piano lessons, and culminates with an etude driven by the struggle to hold onto innocence and imagination as adulthood settles in. The record’s dramatic simplicity in both execution and expression is with purpose: Cooper wants the music to be simple enough to inspire children and novices to play, and the concept simple enough to resonate regardless of age or experience. As any minimalist painter, poet, or architect can attest, it is oftentimes the profoundly simple art that proves to be the most time-consuming and torturous to produce. Pianoworks exemplifies this dichotomy, having been recorded, re-recorded, and re-re-recorded in the span of nearly a decade. Cooper exhausted every attempt to achieve a very specific, peculiar sound that is out of time – a sound not entirely lost in an attic, but also one not easily found in a playlist. The process to achieve this elusive sound was painstaking, but it has yielded a rare kind of music that is as uncomplicated as it is uncompromised.

File Under: Piano
Listen Here

LDE08517_

Explosions in the Sky: How Strange, Innocence (Temporary Residence) LP
2019 marks the 20th anniversary of the birth of Explosions In The Sky. To celebrate the occasion, the band and Temporary Residence LTD. will release deluxe remastered and repackaged editions of two highly sought-after, long out-of-print pieces of their historic catalog: their debut album, How Strange, Innocence (available on vinyl for the first time since 2004); and The Rescue (available on vinyl for the first time ever). The members of Explosions In The Sky played their first show, at the University of Texas’ student radio station, on July 4, 1999, under the short-lived moniker, Breaker Morant. A year later, they recorded their first album, How Strange, Innocence, over the course of two days, and made 300 CD-R copies to sell at shows and give to friends in their hometown of Austin. In 2001, they signed to Temporary Residence and released their breakthrough second album, Those Who Tell The Truth Shall Die, Those Who Tell The Truth Shall Live Forever, leaving the legend of How Strange, Innocence to proliferate on file-sharing and tape trading sites in a pre-iTunes and YouTube era. Following their third album, The Earth Is Not A Cold Dead Place, the band released a single vinyl pressing of How Strange, Innocence as the debut release on a friend’s short-lived local imprint, Ruined Potential Records. Sold exclusively on a 2004 North American tour, the sole pressing of 300 sold out immediately, quickly becoming an urban legend for fans. Now, in honor of the band’s 20th anniversary, Temporary Residence brings this treasured document of Explosions In The Sky’s humble beginnings back into the world. The How Strange, Innocence – Anniversary Edition has been beautifully remastered by Heba Kadry – with vinyl lacquers cut by Bob Weston – and packaged in an incredible full-color, heavyweight triple-gatefold jacket with matte varnish, heavyweight full-color insert, and custom vinyl etching containing the charming story of How Strange, Innocence in the band’s own words. This is the definitive sound, look, and feel of the album that started one of the most inspiring and unique careers in modern underground music.

File Under: Indie Rock, Post Rock
Listen Here

LDE32611_

Explosions in the Sky: The Rescue (Temporary Residence) LP
2019 marks the 20th anniversary of the birth of Explosions In The Sky. To celebrate the occasion, the band and Temporary Residence LTD. will release deluxe remastered and repackaged editions of two highly sought-after, long out-of-print pieces of their historic catalog: their debut album, How Strange, Innocence (available on vinyl for the first time since 2004); and The Rescue (available on vinyl for the first time ever). The Rescue is commonly referred to as Explosions In The Sky’s “secret album,” mostly due to the fact that since its initial limited mail-order only CD release in 2005, it has never been made commercially available on any format, in any store, anywhere in the world. In 2005 – after having toured the world for over a year straight in support of The Earth Is Not A Cold Place, and scoring the major motion picture, Friday Night Lights – Explosions In The Sky took the year off to physically, emotionally, and creatively recharge. It was during this period that they decided to try making an entire album in a method that was totally foreign to them: Quickly, and loosely. They came up with the idea to compose, rehearse, record, and mix an entirely new song each day for eight days in a row. They kept the rules simple and strict: the song had to be crafted from start to finish in one day, and could not be revisited once that day was done. The band would produce, record, and mix everything themselves in their own homes, without outside assistance or interference. With such rigid parameters, the expectations were kept suitably low. The quality of the album that bloomed was startlingly high. The songs had a lightness and unruliness that starkly contrasted their catalog, while maintaining the same emotional resonance that had already become a trademark of their music. The Rescue – Anniversary Edition has been beautifully remastered from the original 24-bit stereo mixes, and is packaged in a full-color jacket with a full-color heavyweight inner sleeve featuring the hand-written story of The Rescue, as told by the band upon its completion in 2005. This is the long-overdue, definitive presentation of a rare but requisite piece of Explosions In The Sky’s remarkable history.

File Under: Indie Rock, Post Rock
Listen Here

LDH41581_

Hold Steady: Thrashing Thru the Passion (French Kiss) LP
“Just after the new year, we headed up to Woodstock to The Isokon studio to record some new songs. We were joined by producer Josh Kaufman and engineer D. James Goodwin, who have helped us record everything we’ve done for the past few years. It was a highly productive session, we pretty much just set up and cranked through the songs. The songs came together quickly and we were psyched on how they sounded. Overdubs happened back in Brooklyn, with our friends Stuart Bogie and Jordan McLean adding horns and Annie Nero doing some backup vocals. “We thought “Denver Haircut” sounded like the first track on a record. “Blackout Sam” sounded like it should close an album side. In fact, these five songs together sounded like a cool A side of an album. So, after D. James Goodwin mixed the songs, we decided to put them together with some of our favorite songs we’d recorded in the past few years and make it an album. We pondered a track list for a bit, had our friend Dave Gardner master it, and here it is. We call it Thrashing Thru The Passion, which is taken from a line on “You Did Good Kid”. “I’ve remarked for a while now that this six- piece lineup of THS is the best we’ve ever had. It’s not really even negotiable. And fifteen years in, I believe that we are making some of our very best music. We’ve come to a place that feels both fun and vital. When I listen to these songs, I feel a sense of joyfulness – I hear friendship, community, positivity and a love of rock and roll music. This band has changed all of our lives, and it continues to make changes. Good ones. “We’ve also made changes in how we release music. In late 2017, we dropped “Entitlement Crew” and “A Snake in the Shower” as a surprise before our second annual Massive Nights run at the Brooklyn Bowl. We made it available on Bandcamp, with a suggested donation that raised money for a charity. We’ve repeated that a number of times now, dropping these digital singles just before a run of shows. It’s been fun to release music this way, it feels almost like a new episode of a serial. It also allowed us to escape some of the promotional obligations that come with releasing a full LP. In short, it keeps things exciting and fresh. “This time, with Thrashing Thru The Passion, we have released an album with five new songs and five that have been previously released digitally. That felt right this time. We can’t say what we will do next time, but with the recording industry where it is in 2019, it feels wide open. We will continue to take the advice Paul Stanley offered on the classic Kiss song, “Room Service”, and do what we feel.” – Craig Finn

File Under: Indie Rock
Listen Here

LDI54185_

 Ikebe Shakedown: Kings Left Behind (Colemine) LP
Ten years ago, Ikebe Shakedown began pushing the boundaries of instrumental music. Each new track and live set has sent them deeper into combining the primal elements of ’70s soul, raw psychedelic style, and cinematic Western soundtracks with powerful grooves and soaring melodies. Now, with their new release, Kings Left Behind, the band is giving listeners more mystery and majesty than ever before. The album features the entire group collaborating to produce tracks that deliver punches right to the gut, even as dreamy guitars and lush horn melodies and string arrangements capture the imagination. The album was recorded by Ikebe Shakedown bassist, Vince Chiarito, at Hive Mind Recording. Opened with band saxophonist, Mike Buckley, and another collaborator in 2017, Hive Mind has become a home base for the band, leading to more experimentation with the textures and sounds of a genre they define as Instrumental Soul. Pressed at Gotta Groove Records in Cleveland, OH, the vinyl LP is stored in Gotta Groove anti-static innsersleeve and packaged in a high quality Stoughton Tip-On gatefold jacket.

File Under: Funk, Soul, Psych
Listen Here

LDI000518_

Iron & Wine: Live at Third Man Records (Third Man) LP
Iron & Wine performed and recorded an absolutely captivating live set of songs in the Blue Room venue at Third Man Records in Nashville. Armed with spartan set-up of a guitar, microphone and his minimal backing band in front of a sold-out audience, Iron & Wine’s Sam Beam ambled through his discography, on touchstones like “Naked As We Came” from classic album Our Endless Numbered Days, “The Trapeze Swinger” from Around the Well and “Winter Prayers” from Ghost on Ghost. It was a heartfelt experience without sacrificing any charm, personality or gestalt crowd connection.

File Under: Indie Rock, Folk
Listen Here

…..Restocks…. 

Amyl & The Sniffers: s/t (ATO) LP
David Axelrod: Earth Rot (Now Again) LP
Bon Iver: For Emma, Forever Ago (Jagjaguwar) LP
Brian Eno: Apollo (Astralwerks) LP
Brian Eno: Here Comes the Warm Jets (Astralwerks) LP
Jimmy Giuffre: Jimmy Giuffre 3, 1961 (ECM) LP
Freddie Hubbard: Open Sesame (Blue Note) LP
Melvins: Houdini (Third Man) LP
Hank Mobley: No Room for Squares (Blue Note) LP
Portishead: Dummy (Go Beat) LP
Sam Rivers: Contours (Blue Note) LP
Pharoah Sanders: Thembi (Impulse) LP
Ty Segall: First Taste (Drag City) LP
Sinoia Caves: Beyond the Black Rainbow (Jagjaguwar) LP
Scott Walker: Tilt (Drag City) LP
Yeah Yeah Yeahs: It’s Blitz (Interscope) LP
Various: Warfaring Strangers: Acid Nightmare (Numero) LP
Various: Wayfaring Strangers: Cosmic American Music (Numero) LP

Tagged , , , , , ,
Advertisements