…..news letter #884 – snoooooooooooow…..

Looks like we’re in for some real winter weather this weekend! You best come dig tonight before you’re trapped in your house for the next 3 days. There’s not a lot new, but we’ve got plenty of wonderful things to stick in your ear.

Oh ya… and if you follow us on Instagram, you know we’re still putting out amazing used stuff on the regular. 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…..

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Tim Presley’s White Fence: I Have to Feed Larry’s Hawk (Drag City) LP
A new morning is shining through the gauze outside the window—an eternal morning, a next-day-of-life moment that’s always occurring, if you take the time to notice. Tim Presley’s White Fence, informed by the extreme polarities of punk rock and psych, brings forth songs like no others. Two years on from his solo missive, the sense that something has cratered and someone has walked away, somehow alive, is heavy in the air. With I Have to Feed Larry’s Hawk, Tim Presley meets White Fence, and together, they move on.

File Under: Psych, Folk, Punk
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…..new arrivals…..

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Beirut: Gallipoli (4AD) LP
Gallipoli, Beirut’s fifth album, started life when Zach Condon returned to his old Farfisa organ, the same one he used to write his first two albums, Gulag Orkestar (2006) and The Flying Club Cup (2007). After stints writing and recording in both New York and Berlin, with time for Zach to recover from a broken arm, band plus producer Gabe Wax (Speedy Ortiz, Soccer Mommy, Adrianne Lenker / Big Thief) headed to Puglia in Italy to finish the album. With the remote rural setting and “the right amount of isolation,” an intense month of 12 to 16-hour days in the studio with day trips around the coastline followed. Inspired by the surroundings, Gallipoli is unintentionally more visceral than Beirut’s more recent albums, alive with an energy that is further enhanced by every creak and groan of their instruments, every detuned note, and all amp buzz and technical malfunction being left in the cracks of the songs.

File Under: Indie Rock
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Chris Carter: Miscellany (Mute) Box
Miscellany is a new box set of Chris Carter’s early work, collating remastered (and mastered for the first time) solo albums alongside a disc of unreleased archival recordings from 1973-1977. It consists of 6-pieces of vinyl and a 12-page, 12″-sized booklet featuring rare and unseen images, synthesizer schematics and ephemera from Carter’s archive. Both Disobedient and Small Moon will be available here for the first time on vinyl. As a founding member of Throbbing Gristle alongside Cosey Fanni Tutti, Peter “Sleazy” Christopherson and Genesis Breyer P-Orridge, Carter has had a significant role in the development of electronic music – a journey which has continued through his releases as one half of Chris & Cosey, Carter Tutti and a third of Carter Tutti Void, as well as with his own solo and collaborative releases. He is also credited with the invention and production of ground-breaking electronics – from the legendary Gristleizer self-built effects unit through to the Dirty Carter Experimental Sound Generating Instrument, the sold-out TG One Eurorack module (designed with Tiptop Audio) and the Future Sound Systems Gristleizer modules – Carter has created the means to make sounds as well as making the sounds themselves.

File Under: Industrial, Electronic
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Cherry Glazerr: Stuffed & Ready (Secretly Canadian) LP
Cherry Glazerr released their explosive full-length album Apocalipstick on Inauguration Day in 2017. You might think the two tumultuous years since would have driven the band toward even more explicitly topical commentary. But as singer/guitarist/founder Clementine Creevy began writing the first of some thirty songs that would make up the new Stuffed & Ready, she found unexpected inspiration by turning inward. That meant leading her band somewhere new and writing songs that would reveal aspects of herself she realized she’d once concealed. Apocalipstick sizzled with Creevy’s confidence, vision and fiercely idiosyncratic personality. Stuffed & Ready announces Creevy as a songwriter newly tempered and strengthened by coming to terms with her own uncertainty confusion and anger. It’s her go-for-broke honesty that gives Stuffed & Ready its power and gravity. Now a three-piece with drummer Tabor Allen and bassist Devin O’Brien (synth player Sasami Ashworth has moved on to her own solo work), the band made a first version of Stuffed early in 2018 with much-loved engineer and musician John Vanderslice. For six full months, they’d be at the studio by 9:01am, ready to write and record all day and sometimes into the night. Each song had to speak for itself, and if it didn’t, they’d scrap it or change it. She’d named the album on a solo drive through the California desert, inspired once she was free from all distraction. She made the album the same way, eliminating anything that couldn’t answer a single simple question: is this really me? It was exhausting, but somehow joyful, too, and the result is Cherry Glazerr’s most daring and intimate music yet.

File Under: Indie Rock
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Death From Above: Heads Up Demos (Third Man) 7”
Hot-off-the-Third Man Press, Death From Above’s completely unheard and previously unreleased early demos from the Heads Up EP gets the vinyl treatment. This black vinyl 7″ comes with three cover art variants — distributed at random.

File Under: Indie Rock
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F.J. McMahon: Spirit of the Golden Juice (Anthology) LP
The world that inspired Spirit of The Golden Juice nearly 50 years ago has moved on. F.J. McMahon moved on with it. Originally pressed in a small quantity and scattered along the California coastline in 1969, F.J. McMahon’s first and only album, Spirit Of The Golden Juice, is a spell-binding blend of singer-songwriter emotion and spiraling guitar accompaniment with a raw, adventurous character all its own. Well-chronicled and loved since its rediscovery, Spirit Of The Golden Juice is an album concerned with memory and mystery and the preservation of the two. It’s also about the weight of personal experience and how we tow it around with us. F.J.’s simple, personal approach to songwriting allows us the space to fill in our own colors and our own faces. Its themes are there in plain sight, but the questions it asks are sometimes left for us to answer for ourselves. The simple notes on the back side of the album still say it best: F.J. McMahon is an artist with something to say and he says it in a simple earthy style.

File Under: Country
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Siouxsie & the Banshees: The Rapture (Geffen) LP
Siouxsie & The Banshees began life as a punk outfit (with Sid Vicious on drums no less) before mutating into post-punkers on their way to becoming one of the most influential goth rock bands of all time. To this day, decades after their disintegration, the group’s fanatical fan base and influence continues to grow. In 1995 the group returned after a long absence with the stylish The Rapture, their final album produced in part by John Cale. Swan song highlights like “O, Baby” and the title cut certainly find the band leaving with their dignity and genius still intact. Remastered from the original ¼” tapes and cut at half speed at Abbey Road studios, London. Both artwork and audio have personally been overseen and orchestrated by Siouxsie Sioux and Steven Severin.

File Under: Post Punk
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Siouxsie & The Banshees: Kaleidoscope (Geffen) LP
Siouxsie & The Banshees began life as a punk outfit (with Sid Vicious on drums no less) before mutating into post-punkers on their way to becoming one of the most influential goth rock bands of all time. To this day, decades after their disintegration, the group’s fanatical fan base and influence continues to grow. With ex-Magazine guitarist John McGeoch on board, the band turned out Kaleidoscope in 1980, a subtler and more melodic effort than their prior two records. On the strength of the U.K. Top 20 smash “Happy House,” the album reached the Top Five and has been cited as an influence by artists like The Cure, The Smiths, and Radiohead. Remastered from the original ¼” tapes and cut at half speed at Abbey Road studios, London. Both artwork and audio have personally been overseen and orchestrated by Siouxsie Sioux and Steven Severin.

File Under: Post Punk
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This Mortal Coil: It’ll End in Tears (4AD) LP
The inspiration of Ivo Watts-Russell, This Mortal Coil emerged in the early-80s when the post-punk scene was splintering in exciting new ways and Ivo’s  then-fledgling record label 4AD was in the thick of it all. This Mortal Coil were not a band per se, never performing live, rather a collaboration of musicians, with both Ivo and co-producer John Fryer the only constants while the cast rotated. Experimentation was rife over three albums, they produced a heady mix of original works, musical links and reinterpretations of impeccably curated songs; helping to introduce a new audience to the talents of a previous generation, including Big Star, Tim Buckley, Roy Harper, Spirit, Gene Clark, Dino Valenti, Rain Parade, Emmylou Harris, Syd Barrett and Colin Newman. Intriguing, almost amorphous, the ethereal qualities of This Mortal Coil were further enhanced by the stunning artwork that ran throughout the project – with the mysterious figure of Pallas Citroën adorning each album cover, making her the project’s de facto face. Released two years after their debut, Filigree & Shadow (1986) was no less ornate than its predecessor. It was a double LP with no defined breaks between tracks so each of its four sides became a self-contained unit. The core expanded to add Simon Raymonde (Cocteau Twins) and arranger Martin McCarrick, backing (with the help of members of Dif Juz and The Wolfgang Press) a variety of new singers Ivo handpicked including Alison Limerick, Dominic Appleton (Breathless), sisters Deirdre and Louise Rutkowski, Caroline Seaman (Heavenly Bodies) and Richenel. An intense record, The Quietus called it “tortured yet oddly euphoric… (music which) could easily rip flimsy souls apart.” Using remasters made from the original analogue studio tapes by the late, great John Dent at Loud Mastering, this double vinyl reissue will come housed in a beautiful, hand finished and high-gloss gatefold sleeve with re-imagined artwork by Ivo Watts-Russell and Vaughan Oliver, 4AD’s long-time visual partner.

File Under: Dream Pop, Ambient, Electronic
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This Mortal Coil: Filigree & Shadow (4AD) LP
The inspiration of Ivo Watts-Russell, This Mortal Coil emerged in the early-80s when the post-punk scene was splintering in exciting new ways and Ivo’s  then-fledgling record label 4AD was in the thick of it all. This Mortal Coil were not a band per se, never performing live, rather a collaboration of musicians, with both Ivo and co-producer John Fryer the only constants while the cast rotated. Experimentation was rife over three albums, they produced a heady mix of original works, musical links and reinterpretations of impeccably curated songs; helping to introduce a new audience to the talents of a previous generation, including Big Star, Tim Buckley, Roy Harper, Spirit, Gene Clark, Dino Valenti, Rain Parade, Emmylou Harris, Syd Barrett and Colin Newman. Intriguing, almost amorphous, the ethereal qualities of This Mortal Coil were further enhanced by the stunning artwork that ran throughout the project – with the mysterious figure of Pallas Citroën adorning each album cover, making her the project’s de facto face. Debut album, It’ll End In Tears (1984) forged the template for This Mortal Coil, whilst also helping to crystallize 4AD’s emerging signature sound and shining a light on some of their stable with Cocteau Twins, Colourbox and Dead Can Dance all involved (the line-up was completed by Howard Devoto of Buzzcocks/Magazine fame and Cindytalk’s Gordon Sharp). An important record of its time, Pitchfork recently named it one of the best dream-pop albums ever, stating that it “catalyzed 4AD’s ascendance from the stilted poetics of goth rock to the kings of gauzy transcendence.” Using remasters made from the original analogue studio tapes by the late, great John Dent at Loud Mastering, this vinyl reissue will come housed in a beautiful, hand finished and high-gloss gatefold sleeve with re-imagined artwork by Ivo Watts-Russell and Vaughan Oliver, 4AD’s long-time visual partner.

File Under: Ambient, Electronic, Dream Pop
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Toro Y Moi: Outer Peace (Carpark) LP
Following the ever-emotive Boo Boo, Toro Y Moi’s new album Outer Peace is a time capsule that captures our relationship to contemporary culture into one comprehensive, sonic package. As both a producer and designer, Chaz Bear utilizes abstract sound pairings with recognizable samples for his most pop influenced record to date, including features from ABRA, WET, and Instupendo. This is no departure from his funk and disco roots, which can be heard on “Ordinary Pleasure,” later fusing into variations of house with tracks like “Freelance” and “Laws of the Universe.” Smooth interludes melt into fast paced beats, paralleling the feeling of driving through the Bay Area, where Bear spent most of his time writing the album. Outer Peace is duality. It embodies whatever form you choose to inhabit in the moment. Listen and let your imagination become the universe.

File Under: Pop, Indie Rock, Electronic
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…..Restocks…..

Courtney Barnett & Kurt Vile: Lotta Sea Lice (Matador) LP
Bon Iver: For Emma, Forever Ago (Jagjaguwar) LP
Boygenius: s/t (Matador) LP
James Brown: Live at the Apollo (Polydor) LP
James Brown: Sex Machine (Polydor) LP
Alice Coltrane: Journey in Satchidananda (Impulse) LP
Deerhunter: Why Hasn’t Everything (4AD) LP
Dinosaur Jr: I Bet On Sky (Jagjaguwar) LP
Nick Drake: Pink Moon (Island) LP
Brian Eno: Ambient 1: Music for Airports (Astralwerks) LP
Brian Eno: Ambient 4: On Land (Astralwerks) LP
Brian Eno: Another Green World (Astralwerks) LP
Brian Eno: Before and After Science (Astralwerks) LP
Brian Eno: Discreet Music (Astralwerks) LP
Brian Eno: Here Come the Warm Jets (Astralwerks) LP
Brian Eno: Music for Films (Astralwerks) LP
Buffalo Springfield: s/t (Rhino) LP
Buffalo Springfield: Again (Rhino) LP
Childish Gambino: Camp (Glassnote) LP
Childish Gambino: Awaken, My Love (Glassnote) LP
Dexter Gordon: Our Man in Paris (Blue Note) LP
Steve Gunn: Unseen In Between (Matador) LP
Iron Maiden: Killers (Parlophone) LP
Kendrick Lamar: Good Kid, M.A.A.D. City (Aftermath) LP
Kendrick Lamar: To Pimp a Butterfly (Aftermath) LP
Dan Mangan: More or Less (Arts & Crafts) LP
Meters: s/t (Music on Vinyl) LP
Radiohead: Amnesiac (XL) LP
Catherine Ribeiro: Ame Deout (Anthology) LP
Catherine Ribeiro: Paix (Anthology) LP
Pharoah Sanders: Tauhid (Anthology) LP
Sonic Youth: Goo (Geffen) LP
Sonic Youth: Murray Street (Geffen) LP
Sons of Kemet: Lest We Forget… (Naim) LP
Spiritualized: And Nothing Hurt (Fat Possum) LP
Dusty Springfield: Dusty in Memphis (Universal) LP
Tirzah: Devotion (Domino) LP
Sharon Van Etten: Remind Me Tomorrow (Jagjaguwar) LP
Kurt Vile: B’lieve I’m Goin’ Down (Matador) LP
Kurt Vile: Smoke Ring For My Halo (Matador) LP
Frank Zappa: Hot Rats (Zappa) LP

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…..news letter #883 – yeeesh…..

Well, back to slim pickings for new releases again. But, I’m buying used stuff like crazy lately so… COME FOR A DIG!

Oh ya… and if you follow us on Instagram, you know we’re still putting out mazing used stuff on the regular. 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….

stacks-of-vinyl-recordsUSED RECORDS!
I know, I know… I keep saying this but I keep buying more! A few years ago I bought a bunch of Beatles and Kinks off a guy, and this week he decided to let go of the rest of his collection, so we’ve got some really nice stuff right now. AND I just bought a couple more boxes of great Brazilian, Jazz, Psych, Experimental reissues and OGs, so those will be getting priced up and put out pretty soon too! Not to mention We keep getting little stacks of contemporary wax.

…..new arrivals…..

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Green River: Dry As A Bone (Sub Pop) LP
In tomorrow??? The story of Seattle’s rise to global rock supremacy in the late ’80s and early ’90s begins with Green River. Made up of Jeff Ament (bass), Mark Arm (guitar/vocals), Bruce Fairweather (guitar), Stone Gossard (guitar), and Alex Shumway (drums), the quintet put out three 12″s and a 7″ single during its brief existence. Green River’s influence on Seattle’s music scene spread far and wide thanks to the members’ dispersion into bands including Pearl Jam, Mudhoney, and Love Battery, as well as the punk-glam-sludge-rock songs they left behind. “By ’83, ’84, there was definitely a movement that was happening within hardcore, like Black Flag slowing down for My War,” says Arm. “The Replacements and Butthole Surfers were rearing their heads, and they’re very different bands, but they’re not hardcore – the Replacements are pretty much straight-up rock, and Butthole Surfers were God knows what. Sonic Youth’s Bad Moon Rising was around, and a lot of really interesting post-hardcore things were happening.” Green River, which formed in 1984, was part of that evolution, with a sound that straddled a lot of different genres – blues, punk, bloozy straight-ahead rock. The mini-LP Dry As A Bone, which came out in 1987, and the band’s lone full-length Rehab Doll, which came out in 1988, were released as a single CD with a few bonus cuts, including their sneering cover of David Bowie’s “Queen Bitch” and their marauding version of Dead Boys’ “Ain’t Nothin’ to Do,” in 1990 – but they’ve been unavailable on vinyl for years. Now, these slices of Seattle music history are not only back in print, they’re accompanied by items from the vaults that had been forgotten about for decades. Dry As A Bone was recorded at Jack Endino’s Reciprocal Recording in 1986, and it shows the band in furious form, with Arm’s yowl battling Fairweather and Gossard’s ferocious guitar playing on “This Town” and “Unwind” opening as a slow bluesy grind then jump-starting itself into a hyperactive chase. The deluxe edition includes Green River’s cuts from the crucial Seattle-scene compilation Deep Six, as well as long-lost songs that were recorded to the now-archaic format Betamax. Green River’s place in American music history is without question, but these recordings paint a more complete picture of the band – and of rock in the mid- to late-’80s, when punk’s faster-and-louder ideals had begun shape-shifting into other ideas. 2LP-set with gatefold jacket, custom dust sleeve and download.

File Under: Grunge
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Green River: Rehab Doll (Sub Pop) LP
In tomorrow??? The story of Seattle’s rise to global rock supremacy in the late ’80s and early ’90s begins with Green River. Made up of Jeff Ament (bass), Mark Arm (guitar/vocals), Bruce Fairweather (guitar), Stone Gossard (guitar), and Alex Shumway (drums), the quintet put out three 12″s and a 7″ single during its brief existence. Green River’s influence on Seattle’s music scene spread far and wide thanks to the members’ dispersion into bands including Pearl Jam, Mudhoney, and Love Battery, as well as the punk-glam-sludge-rock songs they left behind. “By ’83, ’84, there was definitely a movement that was happening within hardcore, like Black Flag slowing down for My War,” says Arm. “The Replacements and Butthole Surfers were rearing their heads, and they’re very different bands, but they’re not hardcore – the Replacements are pretty much straight-up rock, and Butthole Surfers were God knows what. Sonic Youth’s Bad Moon Rising was around, and a lot of really interesting post-hardcore things were happening.” Green River, which formed in 1984, was part of that evolution, with a sound that straddled a lot of different genres – blues, punk, bloozy straight-ahead rock. The mini-LP Dry As A Bone, which came out in 1987, and the band’s lone full-length Rehab Doll, which came out in 1988, were released as a single CD with a few bonus cuts, including their sneering cover of David Bowie’s “Queen Bitch” and their marauding version of Dead Boys’ “Ain’t Nothin’ to Do,” in 1990 – but they’ve been unavailable on vinyl for years. Now, these slices of Seattle music history are not only back in print, they’re accompanied by items from the vaults that had been forgotten about for decades. Rehab Doll, recorded largely at Seattle’s Steve Lawson Studios, bridges the gap between the taut, punky energy of Dry As a Bone and the bigger drums and thicker riffs that were coming to dominate rock in the late ’80s. This new edition of Rehab Doll includes a version of “Swallow My Pride” recorded to 8-track at Endino’s Reciprocal Recording, which features a more accurate depiction of how the band sounded when they played live. “When I listen to these mixes, I think, ‘This is how we actually sounded – this is the kind of energy we had,'” says Shumway. Green River’s place in American music history is without question, but these recordings paint a more complete picture of the band – and of rock in the mid- to late-’80s, when punk’s faster-and-louder ideals had begun shape-shifting into other ideas. 2LP-set with gatefold jacket, custom dust sleeve and download.

File Under: Grunge
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Earl Sweatshirt: Some Rap Songs (Columbia) LP
Earl Sweatshirt returns after a three year hiatus with his brisk third studio album, Some Rap Songs which offers up 15-songs in just 24-minutes. The follow-up to 2015’s I Don’t Like Shit, I Don’t Go Outside was inspired by the death of his father, former South African poet laureate Keorapetse Kgositsile, who is featured on the record. “I hope what people take away is…I guess just brevity,” Earl explained to Vulture. “I’m always trying to whittle this shit down…I have to be really thoughtful of what I’m doing. Music is a really powerful thing, and the people that I feel, like, get applauded for the subtlety are the people that care and are aware of the powerful shit that they’re wielding. I’m aware of the fact that [Some Rap Songs] is kind of a hissing thing. There’s a lot of technical imperfections. The track list has gotta be perfect, and the song gotta loop perfect, and I gotta exit before…I really dedicate a lot of myself to not over-rapping.”

File Under: Hip Hop
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Anderson.Paak: Oxnard (12 Tone) LP
With a soulful essence harkening back to the iconic voices of the ’70s, yet embodying a raw uniqueness fully present in the now, acclaimed singer/rapper/drummer/producer, Anderson .Paak, has successfully alchemized a cross-section of musical styles – R&B, hip-hop, and dance – into a solid, undeniable, irresistible “genreless sound.” Anderson’s new album, Oxnard, is a nod to the Southern California city where he grew up. It’s the Grammy-nominated artist’s third studio album and first to be released on Dr. Dre’s label Aftermath Entertainment. He shared with Rolling Stone that “… this is the album [he] dreamed of making in high school, when [he] was listening to [Jay-Z]’s The Blueprint, The Game’s The Documentary, and [Kanye West’s] The College Dropout.” Oxnard includes his latest single, “Tints” with Kendrick Lamar along with album features from J. Cole and Pusha T plus notable production from Dr. Dre and Om’Mas Keith.

File Under: Hip Hop
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