Well, this might be the smallest update in a while. But sometimes less is more! The newest batch of Blue Note Tone Poet reissues are in, and the new Heliocentrics is fire. And if you don’t have that Blonde Redhead, we can’t be friends.
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…..pick of the week…..
Blonde Redhead: Melody of Certain Damaged Lemons (Touch & Go) LP
To celebrate the 20th anniversary of Blonde Redhead’s classic album, Melody of Certain Damaged Lemons, Touch and Go present a deluxe vinyl edition pressed on colored 180-gram vinyl courtesy of RTI and packaged in a full-color gatefold jacket with revised cover art and never-before-seen photos from the original recording sessions. Originally released 20 years ago in June of 2000, Blonde Redhead’s third Touch and Go album was recorded earlier that year at Bear Creek Studio in Washington State with Guy Picciotto and Ryan Hadlock. With Guy helping to shape the sound of the record, Simone, Kazu, and Amedeo found themselves in an ideal environment to create the iconic album that emerged from those sessions. Since 2017, the album has gained a rabid new fanbase after the popular TV series Rick and Morty used the song “For the Damaged Coda” as the “Evil Morty” theme music. From the first notes of “Equally Damaged,” you are drawn in – starting with a simple, twisted melody, augmented bit by bit with the rhythms and distinctive vocals and lyrics which are the center of these songs. Moved dramatically to the front of the mix, the vocals on this record are rich and melodic, sometimes recorded with three mics at once to get the depth of the sound. The instrumentation and presentation of each song create intricately layered, provocative, and genuinely emotional songs that continue to play themselves in your head for days. The mix of the guitars, the power of the drums, and the infectiousness of the rhythms, combined with the remarkable vocals and lyrics, make Melody of Certain Damaged Lemons a true masterpiece.
File Under: Indie Rock
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…..new arrivals…..
Aesop Rock: Float (Rhymesayers) LP
In 2000, Aesop Rock released his first official album, “Float”, following his steady ascent in the underground from two previous releases, the collection of works of lore, “Music For Earthworms” (1997), and the “Appleseed” EP (1999). And, while every album Aesop has done since then has captured his continual evolution as both a producer and a writer, “Float” was undeniably exceptional in its own right. For one, there was something impacting about a full-length album, 20 tracks deep, that never had any singles. Every track only existed as part of the album experience. That in mind, the album’s production is split nearly in half between Aesop Rock and longtime collaborator and good friend, Blockhead, as well as one offering from Omega One. The album’s production largely seems to have one collective goal, to immediately capture the intended mood, luring the listener in and leaving them attentive and prepared for the carefully crafted accompanying lyricism. Twenty years after its debut, “Float” is a time capsule of an artist on the brink of fully tapping into creative freedom, while the industry was simultaneously in the middle of a notable shift, which still remains a powerful statement on its own, decades later. To celebrate, Rhymesayers is re-releasing “Float” on 2xLP vinyl, available in three different, limited edition colourways!
File Under: Hip Hop
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Flaming Lips: American Head (Warner) LP
American Head is the best and most consistent studio album from The Flaming Lips since the release of their most successful brace of albums The Soft Bulletin and Yoshimi Battles The Pink Robots. Similar to those records, the 13 cinematic songs on American Head are classically structured and feature the same sonic and production qualities. Kacey Musgraves (a fan who covers “Do You Realize” in her live set) is a guest on three tracks – “Watching the Lightbugs Glow” as well as the focus tracks “Flowers Of Neptune 6” and “God and the Policeman.” “Flowers of Neptune 6” serves as the first new music from The Lips since 2019’s internationally acclaimed King’s Mouth Music And Songs. Produced by Dave Fridmann and The Flaming Lips, it reflects the gentler side of the band’s paisley oeuvre and melodically flows downstream into a welcoming wormhole of wistful summer pop. “We had become a 7-piece ensemble and were beginning to feel more and more of a kinship with groups that have a lot of members in them,” explains frontman Wayne Coyne. “We started to think of classic American bands like The Grateful Dead and Parliament-Funkadelic and how maybe we could embrace this new vibe. The music and songs that make up the American Head album are based in a feeling. A feeling that, I think, can only be expressed through music and songs. We were, while creating it, trying to not hear it as sounds… but to feel it. Mother’s sacrifice, Father’s intensity, Brother’s insanity, Sister’s rebellion…I can’t quite put it into words. Something switches and others (your brothers and sisters and mother and father…your pets) start to become more important to you…in the beginning there is only you… and your desires are all that you can care about…but… something switches. I think all of these songs are about this little switch.”
File Under: Rock, Pop, Psych
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Heliocentrics: Telemetric Sounds (Madlib Invazion) LP
“The Heliocentrics’ albums are all confounding pieces of work. Drawing equally from the funk universe of James Brown, the disorienting asymmetry of Sun Ra, the cinematic scope of Ennio Morricone, the sublime fusion of David Axelrod, Pierre Henry’s turned-on musique concrète, and Can’s beat-heavy Krautrock, they have — regardless of the label on which they’ve released their music — pointed the way towards a brand new kind of psychedelia, one that could only come from a band of accomplished musicians who were also obsessive music fans. Drummer Malcolm Catto and bassist Jake Ferguson are the Heliocentrics’ masterminds and producers, and they are obsessive weirdos in today’s musical climate, searching, progressive humans who are often out-of-time with current trends. They have been playing together for nearly two decades and their collective drive is to find an individual voice. The Heliocentrics search for it in an alternate galaxy where the orbits of funk, jazz, psychedelic, electronic, avant-garde and ‘ethnic’ music all revolve around ‘The One.’ With Madilb’s label Madlib Invazion for Telemetric Sounds, the Heliocentrics have returned to develop their epic vision of psychedelic funk, while exploring the possibilities created by their myriad influences — Latin, African, and more.”
File Under: Funk
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Joe Henderson: State of the Tenor Vol. 1 (Tone Poet) (Blue Note) LP
From November 14 to 16 in 1985, the Joe Henderson trio held court at the Village Vanguard for a legendary 10-set engagement, some of which was recorded for Blue Note and released in 1986 as two volumes under the declarative banner The State of the Tenor. The saxophone titan was 48 at the time, and sat comfortably at the top of the heap among his peers. The great pugilist of the instrument, his muscular approach was reflective of the brash sensibility of the ’80s; the heavy hitters joining him onstage, bassist Ron Carter and drummer Al Foster, complemented Henderson’s take-no-prisoners style with a sense of airy restraint, swinging big when they needed to fill in the negative space. On The State of the Tenor, Volume 1, Henderson pays tribute to saxophone titans like Sam Rivers on his gorgeous ballad “Beatrice.” Henderson was hard-edged where Rivers was lush, manic and disjunctive. He further shows his tender side on the ballads “Ask Me Now,” one of two Thelonious Monk tunes on Volume 1 and a staple of his repertoire, and “Happy Reunion,” a delicate tune that features Henderson as the bull in Duke Ellington’s china shop.” On “Isotope,” Henderson’s lone original, he takes the tune in a more radioactive direction, and it is here where his explosiveness goes nuclear. “Loose Change,” Carter’s sole compositional contribution, offers a glimpse into the straight-ahead hard bop playing that made Henderson’s name. Blue Note Records has announced the continuation of the acclaimed Tone Poet Audiophile Vinyl Reissue Series in 2020. Launched in 2019 in honor of the label’s 80th Anniversary, the Tone Poet series is produced by Joe Harley (from Music Matters) and features all-analog, 180g audiophile vinyl reissues that are mastered from the original master tapes by Kevin Gray of Cohearent Audio. Tone Poet vinyl is manufactured at RTI in Camarillo, CA, and packaged in deluxe Stoughton Printing “Old Style” gatefold Tip-On jackets. The titles were once again handpicked by Harley and cover the crème de la crème of the Blue Note catalog along with underrated classics, modern era standouts, and albums from other labels under the Blue Note umbrella including Pacific Jazz and United Artists Records. Every aspect of these Blue Note/Tone Poet releases is done to the highest-possible standard. It means that you will never find a superior version. “The LPs are mastered directly from the original analog master tapes by Kevin at his incredible facility called Cohearent Mastering. We go about it in the exact same way that we did for so many years for the Music Matters Blue Note reissues. We do not roll off the low end, boost the top or do any limiting of any kind. We allow the full glory of the original Blue Note masters to come though unimpeded! Short of having an actual time machine, this is as close as you can get to going back and being a fly on the wall for an original Blue Note recording session.” – Joe Harley
File Under: Jazz
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Bobby Hutcherson: The Kicker (Tone Poet) (Blue Note) LP
Recorded in 1963, The Kicker was actually vibraphonist Bobby Hutcherson’s first session as a leader for Blue Note, but for reasons lost to time it was shelved, and instead Hutcherson’s album Dialogue was released as his debut two years later. First released in 1999, and getting its first-ever vinyl release here, The Kicker is a sequel to guitarist Grant Green’s masterpiece Idle Moments, which was recorded one month earlier with the exact same personnel featuring Green, tenor saxophonist Joe Henderson, pianist Duke Pearson, bassist Bob Cranshaw, and drummer Al Harewood. Blue Note Records has announced the continuation of the acclaimed Tone Poet Audiophile Vinyl Reissue Series in 2020. Launched in 2019 in honor of the label’s 80th Anniversary, the Tone Poet series is produced by Joe Harley (from Music Matters) and features all-analog, 180g audiophile vinyl reissues that are mastered from the original master tapes by Kevin Gray of Cohearent Audio. Tone Poet vinyl is manufactured at RTI in Camarillo, CA, and packaged in deluxe Stoughton Printing “Old Style” gatefold Tip-On jackets. The titles were once again handpicked by Harley and cover the crème de la crème of the Blue Note catalog along with underrated classics, modern era standouts, and albums from other labels under the Blue Note umbrella including Pacific Jazz and United Artists Records. Every aspect of these Blue Note/Tone Poet releases is done to the highest-possible standard. It means that you will never find a superior version. “The LPs are mastered directly from the original analog master tapes by Kevin at his incredible facility called Cohearent Mastering. We go about it in the exact same way that we did for so many years for the Music Matters Blue Note reissues. We do not roll off the low end, boost the top or do any limiting of any kind. We allow the full glory of the original Blue Note masters to come though unimpeded! Short of having an actual time machine, this is as close as you can get to going back and being a fly on the wall for an original Blue Note recording session.”
– Joe Harley
File Under: Jazz
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Jackie McLean: It’s Time (Tone Poet) (Blue Note) LP
This impassioned quintet session from 1964 weaves elements of post-bop and free jazz into a supremely spirited program of original compositions by Jackie McLean and the young trumpet sensation Charles Tolliver. McLean and Tolliver were joined by pianist Herbie Hancock, bassist Cecil McBee, and drummer Roy Haynes. While the music was classified as “the new thing” at the time, the searing cry of the blues is ever-present in McLean’s brilliant alto saxophone playing. The striking artwork is one of Reid Miles’ most memorable cover designs. Blue Note Records has announced the continuation of the acclaimed Tone Poet Audiophile Vinyl Reissue Series in 2020. Launched in 2019 in honor of the label’s 80th Anniversary, the Tone Poet series is produced by Joe Harley (from Music Matters) and features all-analog, 180g audiophile vinyl reissues that are mastered from the original master tapes by Kevin Gray of Cohearent Audio. Tone Poet vinyl is manufactured at RTI in Camarillo, CA, and packaged in deluxe Stoughton Printing “Old Style” gatefold Tip-On jackets. The titles were once again handpicked by Harley and cover the crème de la crème of the Blue Note catalog along with underrated classics, modern era standouts, and albums from other labels under the Blue Note umbrella including Pacific Jazz and United Artists Records. Every aspect of these Blue Note/Tone Poet releases is done to the highest-possible standard. It means that you will never find a superior version. “The LPs are mastered directly from the original analog master tapes by Kevin at his incredible facility called Cohearent Mastering. We go about it in the exact same way that we did for so many years for the Music Matters Blue Note reissues. We do not roll off the low end, boost the top or do any limiting of any kind. We allow the full glory of the original Blue Note masters to come though unimpeded! Short of having an actual time machine, this is as close as you can get to going back and being a fly on the wall for an original Blue Note recording session.” – Joe Harley
File Under: Jazz
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MF Doom: MM… Food (Rhymesayers) LP
After re-launching his career in the late nineties with a string of singles on Fondle Em Records, leading up to the instant-classic Operation: Doomsday album, MF DOOM relentlessly pushed forward, always innovating along the way, building what has become one of the most storied and revered careers in the world of Hip Hop. One apex point along that journey took place circa 2003/2004 with DOOM releasing Viktor Vaughn Parts 1 & 2, Madvillainy with Madlib (a legend in his own right), King Geedorah’s Take Me To Your Leader, and MM..FOOD all in that short and explosive timeframe. While all of those projects have been revered by fans and critics alike, MM..FOOD is the only album that officially exists as the proper follow-up to Operation: Doomsday. MM..FOOD finds DOOM digging deep into vocal soundbytes related, as well as fitting to his namesake and artistic vision, meticulously building a cohesive album narrative. Diligence in mind, his writing is as sharp, witty and often shocking as ever. Production-wise, DOOM utilizes a fine blend of familiar and obscure sample sources, complimentarily working together to both satisfy and intrigue. And, while MM..FOOD is mostly the work of a mad scientist in his secret lair, a sprinkling of super-villain team ups with Count Bass D, Madlib, PNS of The Molemen, Stahhr, and Mr. Fantastik, all add to the album’s overall flavor. Even after all these years MM..FOOD remains a satisfying feast for both returning true believers, as well as herds of new fans who happily and eventually find their listening ears in the clutches of DOOM.
File Under: Hip Hop
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Oathbreaker: Ease Me & 4 Interpretations (Deathwish) LP
Oathbreaker return with their latest release “Ease Me”. Recorded by Michael Neyt at Jetson and later mixed and mastered by Jack Shirley at Atomic Garden, the song is a near perfect Oathbreaker creation. Continuing their evolution as one the most intriguing heavy bands out there today. The song was initially released as part of the Adult Swim’s “Metal Swim 2” compilation in 2019. The track now sees a proper physical release along with diverse remixes/reinterpretations from incredible artists Jesu, Chelsea Wolfe, Wife, and Michael A. Muller. Adding new dimensions of sound to the richly emotional track.
File Under: Metal
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Old 97s: Twelfth (ATO) LP
Old 97’s, the iconic alt-country outfit fronted by Rhett Miller, returns on ATO Records with their twelfth album! Twenty-seven years in, Old 97’s still features its original lineup – Miller, guitarist Ken Bethea, bassist Murry Hammond, and drummer Philip Peeples – and Twelfth is a testament to the band’s staying power. The album’s cover image of former Dallas Cowboys quarterback Roger Staubach is both an homage to Miller’s childhood hero and a recognition that, in making their livings as musicians, the 97’s themselves have achieved their lifelong dreams. Loose and raw, the record is an ecstatic celebration of survival, a resounding ode to endurance and resilience from a veteran group that refuses to rest on their considerable laurels. Working out of Sputnik Sound in Nashville, Miller and his longtime bandmates teamed up once again with Grammy-winning producer Vance Powell (Chris Stapleton, Jack White), and while the resulting album boasts all the hallmarks of a classic Old 97’s record (sex and booze, laughter and tears, poetry and blasphemy), it also showcases a newfound perspective in its writing and craftsmanship, a maturity and appreciation that can only come with age and experience. Perhaps the band is growing up; maybe they’re just getting started. Either way, Old 97’s have never been happier to be alive. While Miller collaborated with writers like Butch Walker and Nicole Atkins on Graveyard Whistling, he penned everything on Twelfth himself (outside of the Spaghetti Western-esque “Happy Hour” and hypnotic album closer “Why Don’t We Ever Say We’re Sorry,” which were both written and sung by Hammond). It’s a return to form he credits in part to his increasing comfort with sobriety, a comfort that finds him effortlessly running the gamut from playful romance (the dreamy “I Like You Better”) and brash bravado (the blistering “Confessional Boxing”) to supernatural fantasy (the Kinks-ian “This House Got Ghosts”) and old-school twang (the rollicking “Bottle Rocket Baby”). It’s perhaps the jaunty “Absence (What We’ve Got)” that captures this particular moment in Old 97’s history best, though, as Miller marvels at the way things change while staying the same. “The wine turns into whiskey / And the whiskey turns to tears / It’s been this way for years,” he sings, later summing the whole magic act up with a deceptively simple confession: “This is what I do.”
File Under: Alt Country
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Lee Scratch Perry: Cloak & Dagger (Music on Vinyl) LP
Lee Perry first came to prominence working with Coxsone Dodd’s fabled Studio One. This is where Scratch earned the nickname with the wildly popular Jamaican hit record and dance craze “Chicken Scratch.” After a fall out with Dodd, Perry moved on to a stint with Joe Gibb’s Amalgamated. Again in a dispute over compensation Perry moved on to form his own label, Upsetter and established his house band, the Upsetters. By 1973 Perry had also established Black Ark, a recording studio of his own that functioned as an effective fertilizer throughout what was Jamaica’s most innovative period for sounds and recording techniques. In that year, as Perry and Black Ark entered a period of heavy dub output, Scratch recorded Cloak And Dagger. This early dub outing is a testament to Perry’s lo-fi mastery as he utilized his TEAC four-track, Soundcraft board, tape delays, phasers, reverb and any other ambient sounds he could get this hands on rather than just record instruments. Get On Down celebrates a piece of reggae history and one of Lee Perry’s crowning achievements with this reissue of Cloak And Dagger, presented here as originally issued in Jamaica in 1973.
File Under: Reggae
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Kalyani Roy: Virtuoso of Sitar Vol 1
(Vishra) LP
First vinyl reissue of this Indian classical masterpiece recorded by Shrimati Kalyani Roy in the late 1960s. Undoubtedly one of the most talented sitar players in the history of the instrument. She is considered as one the finest female players in a field that was dominated by her male counterparts. On these recordings, a two-volume set, she is accompanied by Manick Das (tabla) and Namita Chatterjee (tambura). Recorded in Japan on September 20th, 1974. Vol. 1 and Vol. 2 (V 2011LP) come as two separate LPs.
File Under: Middle Eastern
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Kalyani Roy: Virtuoso of Sitar Vol 2
(Vishra) LP
First vinyl reissue of this Indian classical masterpiece recorded by Shrimati Kalyani Roy in the late 1960s. Undoubtedly one of the most talented sitar players in the history of the instrument. She is considered as one the finest female players in a field that was dominated by her male counterparts. On these recordings, a two-volume set, she is accompanied by Manick Das (tabla) and Namita Chatterjee (tambura). Recorded in Japan on September 20th, 1974. Vol. 1 (V 2010LP) and Vol. 2 come as two separate LPs.
File Under: Middle Eastern
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Silvia Tarozzi: Mi Specchio e Rifletto
(Unseen Worlds) LP
Silvia Tarozzi, inspired by the poet Alda Merini and her studies with composer Garret List, worked with intimate personal history to write songs of love, motherhood, and the mystery hidden behind the curtain of everyday life. Over the course of nearly a decade, Tarozzi practiced setting the poetry of Alda Merini to music and then replacing it with her own to reflect her own life experiences. As a result, Mi specchio e rifletto feels both poetic and earnestly autobiographical. A longtime collaborator of Eliane Radigue and a talented free improvisor, Tarozzi inspires as sensitive awareness while echoing progressive music forebearers. Past masterpieces reverberate throughout: the gentle chamber explorations of Penguin Cafe Orchestra, the science fiction of Franco Battiato’s Fetus, the abstract free jazz flourishes of Maria Monti’s Il Bestiario, the sweetness of Caterina Caselli’s Primavera. As a solo performer, Tarozzi has collaborated with composers Eliane Radigue, Pauline Oliveros, Pascale Criton, Cassandra Miller and Martin Arnold. Her musical approach was particularly influenced by the work and friendship with Oliveros. In duo with Deborah Walker, and as a member of Ensemble Dedalus, she has worked with Christian Wolff, Jürg Frey, Michael Pisaro, Catherine Lamb, Sébastien Roux, and many others. She previously released Philip Corner ‘xtreemizms: early & late on Unseen Worlds in 2018.
File Under: Experimental
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Stanley Turrentine: That’s Where It’s At
(Tone Poet) LP
What happens when you combine Stanley Turrentine’s blues-drenched tenor saxophone with Les McCann’s soulful and funky piano? You end up with one of both men’s best albums, an album considered to be one of the foundational sessions of soul jazz. Turrentine and McCann are joined on the appropriately titled 1962 Blue Note release, That’s Where It’s At by bassist Herbie Lewis (a member of McCann’s group at the time) and drummer Otis “Candy” Finch. Stand out tracks include “Smile, Stacey,” the deep blue groove of “Soft Pedal Blues” and the in-the-pocket soul of “Light Blue.” Blue Note Records has announced the continuation of the acclaimed Tone Poet Audiophile Vinyl Reissue Series in 2020. Launched in 2019 in honor of the label’s 80th Anniversary, the Tone Poet series is produced by Joe Harley (from Music Matters) and features all-analog, 180g audiophile vinyl reissues that are mastered from the original master tapes by Kevin Gray of Cohearent Audio. Tone Poet vinyl is manufactured at RTI in Camarillo, CA, and packaged in deluxe Stoughton Printing “Old Style” gatefold Tip-On jackets. The titles were once again handpicked by Harley and cover the crème de la crème of the Blue Note catalog along with underrated classics, modern era standouts, and albums from other labels under the Blue Note umbrella including Pacific Jazz and United Artists Records. Every aspect of these Blue Note/Tone Poet releases is done to the highest-possible standard. It means that you will never find a superior version. “The LPs are mastered directly from the original analog master tapes by Kevin at his incredible facility called Cohearent Mastering. We go about it in the exact same way that we did for so many years for the Music Matters Blue Note reissues. We do not roll off the low end, boost the top or do any limiting of any kind. We allow the full glory of the original Blue Note masters to come though unimpeded! Short of having an actual time machine, this is as close as you can get to going back and being a fly on the wall for an original Blue Note recording session.”
– Joe Harley
File Under: Jazz
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Valium Aggelein: Black Moon (Numero) LP
Just as Duster’s landmark debut album Stratosphere was making its first orbit, Clay Parton, Dove Amber, and Jason Albertini tracked a largely improvised companion capsule under their Valium Aggelein alter ego. An ode to ’70s Kosmische, Hier Kommt Der Schwartze Mond is a skeletal space nap for the prozac generation. Remixed and remastered from the original 16 track analog tapes, the 1998 album has been adjoined by 15 period-appropriate bonus tracks. A fuzzy masterpiece, hidden in plain sight, by the most important slowcore band of all time.
File Under: Slowcore, Duster, Shoegaze
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Mike Westbrook: Marching Song Vol 1
(Audio Clarity) LP
London’s experimental jazz scene was given an unexpected shot in the arm in the mid-1960s, when the famed jazz club established at Soho’s Gerrard Street by esteemed trumpeter Ronnie Scott was served with an 18-month notice; before moving to its present location on Frith Street, Scott allowed the unfettered expressions of free jazz to be let loose, transforming the club’s regular playlists. Inspired by the excesses of the Brotherhood of Breath, the free-jazz big-band ensemble led by South African pianist, Chris McGregor, British jazz pianist Mike Westbrook began leading a big-band of his own, their Monday night jam sessions leading to a range of material, issued on a series of sublime LPs by Decca sub-label, Deram Records. The two-volume antiwar epic, Marching Song, was released at the height of the Vietnam War in 1969; along with Westbrook’s and subtle arrangements, featured musicians include trombonist Paul Rutherford, saxophonist Mike Osborne, South African bassist Harry Miller, plus guitarist Chris Spedding, who would shortly work with Jack Bruce, Pete Brown and a host of others, and enjoy a long and distinguished solo career. Vol 1’s six lengthy instrumentals include raucous opener, “Hooray!” and the contemplative “Landscape,” plus the incredible drama of the title track.
File Under: Jazz
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Mike Westbrook: Marching Song Vol 2
(Audio Clarity) LP
London’s experimental jazz scene was given an unexpected boost in the mid-1960s, when the famed jazz club established at Soho’s Gerrard Street by esteemed trumpeter Ronnie Scott was served with an 18-month notice; before moving to its present location on Frith Street, Scott allowed the unfettered expressions of free jazz to be let loose, transforming the club’s regular playlists. Inspired by the excesses of the Brotherhood of Breath, the free-jazz big-band ensemble led by South African pianist, Chris McGregor, British jazz pianist Mike Westbrook began leading a big band of his own, their Monday night jam sessions leading to a range of material, issued on a series of sublime LPs by Deram. The two-volume anti-war epic, Marching Song, was released at the height of the Vietnam War in 1969; along with Westbrook’s subdued piano and subtle arrangements, featured musicians include trombonist Paul Rutherford, saxophonist Mike Osborne, South African bassist Harry Miller, plus guitarist Chris Spedding, who would shortly work with Jack Bruce, Pete Brown and a host of others, and enjoy a long and distinguished solo career. Vol 2 has eight instrumentals, including the lovely “Home,” which hints at South African influence, the startling audio dystopia of “Introduction,” plus the driving musical cacophony of “Tension,” making maximal uses of the big-band format.
File Under: Jazz
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Various: What’s This That Stands Before Me? (Sacred Bones) LP
To celebrate the 50th anniversary of both the self-titled Black Sabbath album and ‘Paranoid,’ Sacred Bones is proud to present ‘What Is This That Stands Before Me?’, a compilation of Sabbath covers recorded by artists from across our roster. Black Sabbath stands at the crossroads of every Sacred Bones employee and artist’s musical taste, and it was a great pleasure for us to work together to reimagine some of their most beloved songs. Here you’ll find Sabbath through the filter of the post-Soviet darkwave of Molchat Doma, the experimental folk of Hilary Woods, the laid-back psych of Moon Duo, and a half dozen more genres besides. Satan’s coming ’round the bend.
1. The Soft Moon – Black Sabbath
2. Molchat Doma – Небеса и Ад (Heaven and Hell)
3. Thou – Supernaut
4. Marissa Nadler – Solitude
5. Hilary Woods – N.I.B.
6. Zola Jesus – Changes
7. Moon Duo – Planet Caravan
8. Dean Hurley – Warning (Bar Band Version)
9. Uniform – Symptom of the Universe
File Under: Indie Rock
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…..Restocks….
Syd Barrett: Barrett (Harvest) LP
Syd Barrett: Madcap Laughs (Harvest) LP
Behexen: Nightside Emanations (Debemur Morti) LP
Behexen: My Soul for His Glory (Debemur Morti) LP
Brian Eno: Ambient 4: On Land (Astralwerks) LP
Brian Eno: Before and After Science (Half speed remaster) (Astralwerks) 2LP
Brian Eno: Discreet Music (Half speed Remaster) (Astralwerks) 2LP
Al Green: Green is Blues (Fat Possum) LP
Mdou Moctar: Ilana: The Creator (Sahel) LP
Modest Mouse: Lonesome Crowded West (Glacial Pace) LP
Moon Duo: Escape (Sacred Bones) LP
Nick Mason’s Saucerful of Secrets: See Emily Play (Legacy) LP
Saade Bonaire: s/t (Captured Tracks) LP
Paul Simon: Graceland (Legacy) LP
Laurie Spiegel: The Expanding Universe (Unseen Worlds) LP
Stark Reality: Discovers Hoagy Carmichael’s Music Shop (Now Again) LP
Stooges: Live at Goose Lake (Third Man) LP
Harry Styles: Fine Line (Columbia) LP
Yo La Tengo: Electr-o-Pura (Matador) LP
