Tag Archives: record store day

….news letter #896 – bunnied…..

Well I hope you found some chocolate eggs last weekend. It would appear that the record world is slowly settling back to normal. New releases, restocks etc. Come down for a dig!

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


…..pick of the week…..


Various: Science & Technology – ERR Rec Library Vol 2 (ERR) LP
Volume number two of Err Rec’s fabulous library music collection is here and as with the first, features the work of a group of contemporary French musicians working under pseudonyms in the field of weird and wonderful vintage sounding library music. Fans of volume one will find much to love here and its just as limited with only 50 available. The artwork was created by the label’s co-founder Bolanile Maté, loosely inspired by the works of Paul Kee and Josef Müller-Brockman. It features Gianni Moretto, Bernold Delgoda, Antonin Fortin, Atmosphere, Bertrand de Rombières etc.

File Under: Electronic, Library
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Late RSD Arrivals/Restocks

A wee selection of late arrivals and restocks… first come, first served, no holds..

Olafur Arnalds: Re:Member+ Strings (Mercury) LP+7″
Angelo Badilamenti/David Lynch: Twin Peaks Season 2 (Warner) LP
Jim Cuddy: Countrywide Soul (Warner) 7″
Gong: Live au Bataclan 1973 (Culture Factory) LP
Groundhogs: Thank Christ for the Bomb (Fire) LP
Hockey Dad: Dreamin’ (Kanine) LP
Modest Mouse: Poison The Well (Glacial Pace) 7″
Mumford & Sons: Delta Acoustic Sessions Live (Island) 10″
OST: Dr. Who – Galaxy 4 (Demon) LP
OST: Dr. Who – Destiny of the Daleks (Demon) LP
Rolling Stones: She’s a Rainbow (Abkco) 10″
Tangerine Dream: Le Parc (Cherry Red) LP
Cecil Taylor: The Great Paris Concert (ORG) LP
Yes: s/t (Rhino) LP
Various: Sonic Unyon: Now We Are 25 (Sonic Unyon) 3LP

….new arrivals…..


Chemical Brothers: No Geography (Virgin) LP
No Geography is The Chemical Brothers’ long-awaited follow-up to 2015’s UK chart-topping and Grammy nominated Born In The Echoes, the electronic music legends’ sixth consecutive UK No. 1. To realize No Geography, the duo built tracks vocal samples; voices were wound tightly into music that Tom Rowlands and Ed Simons found themselves following wherever it led them. Snatches of dialogue from the late ’60s experimental Dial-A-Poem project were chosen that reflected the mood in the studio. Songs were road tested in front of audiences as part of the 2018 live set and honed in regular DJ sets the world over. No Geography is introduced by “Free Yourself” (dubbed “a euphoric, multi-faceted odyssey of blistering synths and deep grooves” by Rolling Stone), “MAH” (described as “a short & bloody ride into our modern media psychosis” by The Guardian) and “Got To Keep On,” a striking groovy and disco-inspired track which proves once again what The Chemical Brothers are capable of when it comes to the diversity of their production skills. Several of the tracks on No Geography feature vocals by Norwegian singer/songwriter Aurora who wrote and recorded parts in the band’s studio in close collaboration with the band while Japanese rapper Nene features on the record’s opening cut “Eve of Destruction.”

File Under: Electronic
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Fidlar: Almost Free (Mom & Pop) LP
Almost Free, the new release from Fidlar touches on many of the tragedies and irritations of modern life: existential dread, gentrification, the inescapable sway of the super-rich and the self-involved, post-breakup telecommunication, performative wokeness, the loneliness of sobriety or the lack thereof. But through sheer force of imagination and an unchecked joie de vivre, the L.A.-based band manages to turn feeling wrong into something glorious and essential. In the age of joyless self-care, Almost Free makes a brilliant case for being less careful, for living without fear of fucking up, and possibly embracing any incurred damage as a lucky symptom of being alive. The album sees the band pushing boundaries into new territory and influences while staying true to their unshakable core. “A lot of the vibe was, ‘Well, why can’t we do that? Why can’t we have horns? Why can’t we have key changes? Why can’t we have a harmonica loop?’,” said lead singer/guitarist Zac Carper. “It was about taking the ceiling off. Having it be limitless. Ain’t no rules,” Elvis Kuehn added “Almost Free feels like a step forward for us in a lot of ways. We tried to be true to ourselves and let the music come out naturally, without fear of how people would receive it.”

File Under: Rock, Punk
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Kelly Finnigan: The Tales People Tell (Colemine) LP
Kelly Finnigan, the lead singer of Bay Area-based indie-soul auteurs Monophonics, presents his debut solo album The Tales People Tell. Over the course of record’s ten new, original songs, Kelly channels a multitude of influences that reflect a lifetime immersed in the music and culture of soul, R&B, and hip­hop – it’s the story of an outsider that followed an unorthodox route, always guided by his own creative north star. Kelly guided the songs on The Tales People Tell from their conception all the way to the record pressing plant over the course of two years. He wrote and produced each track on the record and plays ten instruments throughout, while enlisting the help of friends and legends like drummer James Gadson (Bill Withers, Marvin Gaye, Beck), members of Monophonics, and Kelly’s own father, prominent sideman/keyboardist Mike Finnigan (Jimi Hendrix, Joe Cocker, Etta James). The result is a timeless collection underscored by a sense of community, a family affair of a record that’s at once raw and gritty, tender and emotive, lush and symphonic. Colored vinyl LP pressed at Gotta Groove Records in Cleveland, OH. High quality Stoughton Tip-On gatefold jacket packaging with Mobile Fidelity anti-static innsersleeve, download card, and a lyric sheet insert.

File Under: Funk, Soul
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Foxygen: Seeing Other People (Jagjaguwar) LP
Los Angeles-based Foxygen, the duo of Sam France and Jonathan Rado, return in 2019 with the new album, Seeing Other People. The nine-track collection was written and produced entirely by Foxygen at Sonora Recorders in Los Feliz, California and engineered and mixed by Shawn Everett. Throughout, Foxygen’s keen ability to experiment with and expand upon classic pop and rock sounds bloom, and it also features contributions from legendary drummer Jim Keltner. Seeing Other People sees Foxygen at their very best, “chopping up pop culture and spinning it into a sticky, wicked web.” The particular flavor on this album, the band suggests, is “Sad-Boy Plastic-Soul Adult-Contemporary Cartoon-Noir Music.” Aptly named after the adult phrase “maybe we should see other people,” Seeing Other People is Foxygen’s most straightforward “goodbye” album yet; “Goodbye to the drugs, to the partying. Goodbye to my twenties now, Goodbye to my Saint Laurent-model-body. Goodbye to the touring circus – that’s right, no more shows or tours for a while. Goodbye, hopefully, to the anxiety attacks. Goodbye to beating myself up because I didn’t fit into those leather pants anymore. Fuck it. Goodbye to the facilities. And goodbye the leeches in my life,” says France. The album is filled with self-referential tales of touring, partying, of being young and in a band, and saying farewell to the grittier, darker aspects of it all. “I remember a quote from Rado sticking with the press a few years ago about how we’d lived every rock n roll cliche in, about, one year. Well, here’s the album about it. Another movie. I don’t know what’s next. But here’s a snapshot of it all.” Lead single, “Livin’ A Lie,” is an acknowledgement of fame-hungry mimicry as France sings “you’re name-dropping me all the time / You know I don’t really care for it / yeah you know that I don’t really care about it/ How does it feel to be livin a lie?”

File Under: Indie Rock
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Aldous Harding: Designer (4AD) LP
Designer finds Aldous Harding hitting her creative stride. After Party, Harding came off a 100-date tour and went straight into the studio with a collection of songs written on the road. Reuniting with John Parish, producer of Party, Harding spent 15 days recording and 10 days mixing at Rockfield Studios, Monmouth and Bristol’s J&J Studio and Playpen. From the bold strokes of opening track “Fixture Picture,” there is an overriding sense of an enigmatic artist confident in their work, with contributions from Huw Evans (H. Hawkline), Stephen Black (Sweet Baboo), drummer Gwion Llewelyn and violinist Clare Mactaggart broadening and complimenting Harding’s rich and timeless songwriting.

File Under: Indie Rock
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Damien Jurado: In the Shape of a Storm (Mama Bird) LP
Speaking about the films that influenced his fourteenth album, the solitary masterwork In the Shape of a Storm, Damien Jurado tosses out a list of favorites – American Graffiti, Paris, Texas, The Last Picture Show – films in which settings serve as silent, omniscient characters. But inquire about the curious way he writes songs, the hazy manner by which he seems to channel them from beyond the beyond, and the cinematic reference point he reaches for is a surprising one. “You ever see that movie Ghost? Whoopi Goldberg’s character, Oda Mae Brown – that’s who I am. These spirits are showing up at her door, jumping into her body. That’s how I feel. I don’t know what’s coming out of me…I just show up and deliver it.” For more than two decades, Jurado has sung folk songs brimming with prophetic imagination. Whether singing ballads about killers, wounded lovers, UFO cults, or yes, the phantoms of departed friends, he’s populated his work with eerie foretelling, the sense that he’s divining something just on the verge of happening. He wrote his last record, 2018’s The Horizon Just Laughed as a goodbye letter to his home of Seattle, WA, before he’d even decided to leave there for sunny Los Angeles. And while he recorded the ten songs featured on In the Shape of a Storm months before the passing of his longtime collaborator and close friend Richard Swift, it’s no coincidence that Swift’s death looms over the album. “His absence is very much felt on this record,” Jurado says. Damien has always worked fast, but In the Shape of a Storm came together with unprecedented speed. Recorded over the course of two hours one California afternoon, it’s Jurado’s sparsest album to date. Gone are the thundering drums and psychedelic arrangements that defined the trilogy of concept albums he made with Swift. Gone even is the atmospheric air that hovered above his early albums for Sub Pop. Here, there’s only Jurado’s voice, acoustic guitar, and occasional accompaniment from Josh Gordon, playing a high-strung guitar tuned Nashville style, rendering its sound spooky and celestial. Though fans have long requested a solo acoustic album, the prospect never made sense to Jurado, until one day it simply did. “It just felt like it was time,” Jurado says. The idea of an unadorned album became its own medium in his mind, like a painter who sets down his brushes and instead opts for charcoal pencils instead. “There is nothing left to hide,” Jurado sings on “Lincoln,” which opens the record. It’s something of a thesis statement for these songs. Everything here is clear and laid bare, two-tone, like the drawing Jurado crafted for the record’s cover. Originally written for 2000’s The Ghost of David, “Lincoln” was shelved and forgotten about until Damien came across it on an old cassette tape. The discovery inspired him to go about gathering up songs that had never found proper homes. As a result, In the Shape of a Storm is like an archive of previously abandoned songs. And yet, despite their disparate nature, Jurado’s visions hang together in curiously symmetrical ways: the moon shines in both the echo-drenched “Silver Ball” and closer “Hands on the Table”; rain ties the title song to the lilting “Oh Weather.” Jurado repeatedly returns to oceanic poetry – waves, tides, and shores – and to the theme of anchors, the metaphorical ones we use to tether ourselves to the sea floor and to each other. These are songs about the enormity of the unknown – the shape of storms that threaten to swallow us whole – and above all, they are songs about the connections that keep us from drifting away. “We are not meant to be on our own,” Jurado sings on “Throw Me Now Your Arms.”

File Under: Indie Rock
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Karen O & Dangermouse: Lux Prima (BMG) LP
Lux Prima is the first release from iconic Yeah Yeah Yeahs frontwoman Karen O and legendary musician-producer Danger Mouse. The two originally met to discuss collaboration in 2007 as mutual admirers, but in 2015, they got serious and made a plan – entering the studio with no sonic parameters and a handful of references – Lux Prima was born. “Title track Lux Prima is the first song we wrote for the record,” says O. “After making music for the past twenty years and embarking on making this record with Danger Mouse I knew a couple things: one was that the spirit of collaboration between us was going to be a pure one, and two was that the more I live the less is clear to me. When you create from a blurry place you can go places further than you’ve ever been. I think we both were excited to go far out.” “‘Woman’ came like a bolt out of the blue when we were in the studio,” adds O. “We did a first pass where I was blurting unintelligible words and Danger Mouse and I were like ‘Dang! That was intense. What’s that word I keep saying? Woman.’ The atmosphere was volatile with it being just after the election. A lot of people felt helpless like you do when you’re a scared kid looking for assurance that everything is gonna be alright. I like to write songs that anyone can relate to but this one felt especially for the inner child in me that needed the bullies out there to know you don’t fuck with me. I’m a woman now and I’ll protect that inner girl in me from hell and high water.”

File Under: Indie Rock
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Mountain Goats: In League with Dragons (Merge) LP/DLX LP
The Mountain Goats’ In League with Dragons surges with wild tales of revenge and redemption, heroes at a crossroads, and great figures in decline. The band present twelve new songs penned by John Darnielle that luxuriate in a wide swath of sounds, from shades of the ’80s Athens scene to swaths of outlaw country and a few motorik meditations. In League with Dragons was engineered by Matt Ross-Spang (Margo Price, Jason Isbell, John Prine) and recorded by the Mountain Goats – songwriter and guitarist Darnielle, drummer Jon Wurster, bassist Peter Hughes, and multi-instrumentalist Matt Douglas – at Blackbird Studios in Nashville, TN. Robert Bailey contributed additional vocal arrangements and strings were performed by the Macedonian Radio Symphonic Orchestra. “This album began life as a rock opera about a besieged seaside community called Riversend ruled by a benevolent wizard, for which some five to seven songs were written. When I’m focusing on a project, I always distract myself from the through-line with multiple byways, which are kind of like mini-games within the broader architecture of a long video game. As I worked on the Riversend stuff, weird noir visions started creeping in, probably under the influence of Leonardo Sciascia (a Sicilian author, he wrote mysteries) and Ross MacDonald’s The Zebra-Striped Hearse, which a friend from Port Washington gave me while I was in the thick of the writing. “I thought these moods helped complicate the wizards and dragons a little, and, as I thought about my wizard, his health failing, the invasion by sea almost certain to wipe out half his people, I thought about what such a person might look like in the real world: watching a country show at a midwestern casino, or tryout pitching for an American League team years after having lit up the marquees. Finally, I wrote the title track, which felt like a drawing-together of the themes in play: rebellion against irresistible tides, the lush vistas of decay, necessary alliances. I am earnestly hoping that a new genre called “dragon noir” will spring from the forehead of nearly two years’ work on these songs, but, if not, I am content for this to be the sole example of the style.” – John Darnielle

File Under: Indie Rock
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Marissa Nadler & Stephen Brodsky: Droneflower (Sacred Bones) LP
Droneflower is in bloom. The new collaboration between Marissa Nadler and Stephen Brodsky (Cave In, Mutoid Man), is a sprawling and expansive exercise in contrasts. It is the sound of the war between the brutal and the ethereal, the dark and the light, the past and the present, and the real and imagined. Brodsky met Nadler for the first time in 2014 at Brooklyn’s Saint Vitus Bar when he came to see her play on her July tour, and they quickly became friends. Both of them had been wanting to explore songwriting that didn’t fit into their existing projects, and they soon became energized by the prospect of working together. One of the first ideas they discussed was a horror movie soundtrack, and while Droneflower isn’t that, it is a richly cinematic album. It’s easy to imagine much of the record set to images, though it wasn’t composed that way. The first song that came together was “Dead West,” based around a beautiful acoustic guitar piece Brodsky wrote while living on Spy Pond, just outside of Nadler’s home base in Boston. By the time they started working on the song earnest, Brodsky had moved to Brooklyn. Nadler added lyrics and vocal melodies remotely, and even from a distance it was obvious there was real kismet in the collaboration. All the songs on Droneflower were recorded in home studios, and they throb with the frisson of that intimate environment. For much of the recording process, Brodsky would stop by the ramshackle studio that Nadler set up in Boston whenever he was in town visiting family. Songs like “For the Sun” were written on the spot there, lyrics and all. The lush ambient pieces “Space Ghost I” and “Space Ghost II” began as Brodsky piano compositions and were later fleshed out by additional instrumentation and Nadler’s inimitable vocals. Nadler and Brodsky also recorded two cover songs for the album – the epic Guns n’ Roses power ballad “Estranged” and Morphine’s beguiling “In Spite of Me.” Since childhood, Nadler had been transfixed by the “Estranged” video where Axl Rose swam with dolphins, and she and Brodsky breathe new life into the song here. Their take on “In Spite of Me” is invigorated by a guest appearance from Morphine saxophonist Dana Colley, who ironically didn’t play on the original recording but is indispensable on Nadler and Brodsky’s version.

File Under: Indie Rock
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LDP39813_Prince: Rave In2 the Joy Fantastic (Legacy) LP
The Prince Estate and Legacy Recordings present the next round of physical titles set for release as part of the ongoing and definitive Prince catalog project, first time vinyl LP pressings of 1999’s Rave Un2 the Joy Fantastic and its 2001 remix Rave In2 the Joy Fantastic. Rave Un2 the Joy Fantastic, Prince’s only album for NPG/Arista (and last released under the unpronounceable “Love Symbol” moniker), is a record which showcased the music legend’s mastery of pop and R&B on simmering jams like “The Greatest Romance Ever Sold” and “Man ‘O’ War” and also boasts a surprising range of guest artists including Chuck D, Eve, Gwen Stefani, Ani DiFranco, and Sheryl Crow (Prince even covers Crow’s smash hit “Every Day is a Winding Road” on the album).

File Under: Pop, R&B
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Reigning Sound: Abdication… For Your Love (Merge) LP
Produced by Dan Auerbach of The Black Keys and Reigning Sound frontman Greg Cartwright, Abdication…For Your Love was originally available solely as a promotional giveaway. This 2019 colored vinyl LP reissue marks the first wide release of the record. In a 2011 review of the album, the A.V. Club wrote, “Reigning Sound’s allegiance is to producing great songs that move feet and rip out hearts, not to any particular scene or fashionable pose.” Paste also described it as a collection of “nicely recorded songs that sometimes rock, sometimes don’t, but are always well put together.” After the release of Abdication…, Reigning Sound put out the much-loved Shattered LP in 2014. Includes a download card with the digital-only bonus track “What Did I Tell You.”

File Under: Rock, Punk
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The-Slits-Cut-Album-Cover-web-optimised-820Slits: Cut (Island) LP
Overseen by reggae producer Dennis Bovell, Cut was originally released in September 1979 and remains one of the post-punk era’s most seminal releases. The record gained instant notoriety due to its controversial cover image depicting the three Slits – Ari Up, Viv Albertine and Tessa Pollitt – clad in mud and loincloths. However, the music contained within was every bit as striking. Enhanced by future Siouxsie & The Banshees star Budgie’s crisp, inventive drumming, the girls’ natural quirkiness came careening to the fore on scratchy but exuberant pop-punk tracks including ‘So Tough’, ‘Typical Girls’ and the irreverent, anti-consumerist ‘Shoplifting’, but the album’s spacy sensurround also owed a debt of gratitude to Bovell’s deft studio techniques, which graced highlights such as ‘Adventures Close To Home’ and the football- and TV-dissing ‘Newtown’. The Slits were first formed in London in 1976 by members of early punk outfits groups The Flowers of Romance and The Castrators. The group’s early line-up consisted of Ari Up (Ariane Forster) and Palmolive (aka Paloma Romero, who played briefly with Spizz Energi and later left to join The Raincoats), with Viv Albertine and Tessa Pollitt replacing founding members Kate Korus and Suzy Gutsy. Along with Buzzcocks, The Prefects and Subway Sect, The Slits supported The Clash on their 1977 ‘White Riot’ tour. They again joined The Clash on their widely-publicised ‘Sort It Out’ UK tour on November and December 1978, during which The Clash were supporting the release of their second album, Give ‘Em Enough Rope. Cut also broached the UK Top 40 and has since been enthusiastically championed by trailblazing musicians ranging from trip-hop futurists Massive Attack to feminist punks Sleater-Kinney. Following Cut, The Slits’ sound and attitude became increasingly experimental and avant-garde during the early 1980s. The band toured widely and released another album, Return Of The Giant Slits before breaking up in early 1982.

File Under: Post-Punk
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Soak: Grim Town (Rough Trade) LP
Soak returns after four years with a new album, bringing with her four years worth of growth, introspection and understanding. The result is Grim Town, the follow-up to her Mercury Music Prize-nominated debut Before We Forgot How To Dream, which saw her win the prestigious Choice Music Prize for Album of the Year, the Northern Irish Music Prize, and the European Border Breaker Award, in addition to being shortlisted for a Q Award. Her astonishingly assured, emotionally mature songwriting was often hailed as wise beyond its years; but, as her new album often asks, when do we ever truly shake off those childlike fears, the imposter-syndrome, the outsider-status? The term ‘to come of age’ lands with so much expectation, but with Grim Town, Bridie Monds-Watson dissolves all such assuredness with imaginative, ambitious, and cathartic results. It is almost as though the greater soundscape – heavier in places, more pop-focused in others – has given Soak the confidence to put her long overdue introspections in the firing line. It’s beauty and brutality is there from the album open opener, “Get Set Go Kid” which traces the train-tracks out of depression (“I’ve got to get out, I can’t live here anymore!”) and was as inspired by the audio-visual environmentalism of Pink Floyd’s The Wall as Bridie’s train-obsessed Grandad on voiceover duties.

File Under: Indie Rock
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Bad Brains: Black Dots (Wax Audio) LP
Beatles: Abbey Road (Apple) LP
Beatles: Sgt. Pepper’s (Apple) LP
Ryan Bingham: American Love Song (Thirty Tigers) LP
Leon Bridges: Coming Home (Sony) LP
The Clash: London Calling (Epic) LP
Danger Doom: Mouse & the Mask (Lex) LP
Miles Davis: Sketches of Spain (Legacy) LP
Miles Davis: Live Evil (Music on Vinyl) LP
Bob Dylan: Blood on the Tracks (Legacy) LP
Brian Eno: Another Green World (Astralwerks) LP
Brian Eno: Ambient 1 – Music for Airports (Astralwerks) LP
Funkadelic: s/t (Westbound) LP
Funkadelic: Maggot Brain (Westbound) LP
Herbie Hancock: Headhunters (Music on Vinyl) LP
Herbie Hancock: Sextant (Music on Vinyl) LP
Idles: Brutalism (Partisan) LP
Khruangbin: Con Todo (Dead Oceans) LP
Khruangbin: Universe Smiles Upon… (Innovative Leisure) LP
King Crimson: In the Court of the Crimson King (Pangyric) LP
Madlib: Beat Konducta (MMS) LP
Stephen Malkmus: Sparkle Hard (Matador) LP
Les McCann: Layers (Get on Down) LP
Meters: s/t (Music on Vinyl) LP
Modern Lovers: s/t (Music on Vinyl) LP
Modest Mouse: Lonesome Crowded West (Glacial Pace) LP
Modest Mouse: This is a Long Drive… (Glacial Pace) LP
Nine Inch Nails: The Fragile (Nothing) LP
Nine Inch Nails: The Downward Spiral (Nothing) LP
Parliament: Mothership Connection (Universal) LP
Pink Floyd: Dark Side of the Moon (Pink Floyd) LP
Portishead: s/t (London) LP
Portishead: Dummy (Polydor) LP
Radiohead: Kid A (XL) LP
Paul Simon: Graceland (Legacy) LP
Smiths: Hatful of Hollow (Rhino) LP
Smiths: Queen is Dead (Rhino) LP
Laurie Spiegel: The Expanding Universe (Unseen Worlds) LP
Midori Takada: Through the Looking Glass (WRWTFWW) LP
Uncle Acid: Wasteland (Rise Above) LP
Sharon Van Etten: Are We There Yet? (Jagjaguwar) LP
Visible Cloaks & Yoshio Ojima & Satsuki Shibano: Serenitatem (RVNG Intl) LP
Kanye West: 808s & Heartbreaks (Def Jam) LP
Kanye West: Late Registration (Universal) LP
Kanye West: My Beautiful Dark Twisted Fantasy (Universal) LP
White Stripes: Icky Thump (Third Man) LP

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…..news letter #895 – bunny day…..

Hooooboy, what a day! Our eternal thank yous to all you fine folks that came out on Saturday and partook in the RSD festivities. Another great day filled with great people, great times, great vibes, and great records. So again, thank you thank you thank you. And another big thank you to our fine friends who gave us some great swag to give away… Arturo Denim, Rosebud, Local 124, Barber Ha, Sherbrooke Liquor, Daptone Records, & Didgin’ For Rainbows. Moving on… not a LOAD of new stuff in this week, but there are a few sweet new slabs, and a few of our choiciest left overs from RSD.

Also, it’s Easter this weekend, so our hours over the weekend shall be…

Friday – 12 – 5
Saturday – 11 – 6
Sunday – Closed
Monday – 11 – 6

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


…..pick of the week…..


Kilchhofer Anklin: Moto Perpetuo (Marionette) LP
“For the ninth Marionette, Kilchhofer and Anklin release their collaboration record Moto Perpetuo. Michael Anklin is a drummer and percussionist based in Switzerland. He’s involved in various bands, collaborations and interdisciplinary projects. Anklin has previously appeared on a few recordings from Kilchhofer’s album The Book Room. Kilchhofer uses his main instrument — the modular synth — in a more electroacoustic manner, where he derives and processes voltages from Anklin’s playing. The album title describes the fascinating idea (yet impossible reality) of a perpetual motion — where no energy is lost yet energy is constantly being created, an endless music, yet far away from generic ambient or minimal music. Anklin’s live drumming influences delicate feedback patches on Kilchhofer’s synth, where dry and transient heavy percussion and synthesizer sounds erupt into a feral electroacoustic instrument. A fluid concept of time where the rhythmic pulse constantly shifts is at the heart of the record. The idea was to create an instrument where acoustics and electronics are interconnected and dependent on each other. The smallest disturbance could sway the entire system out of order. This idea of a circular motion was at the center of the recording process and is also reflected in the artwork which resembles a topographical view of a closed natural habitat. Kilchhofer and Anklin draw inspiration mainly from their rural surroundings and mountain landscapes where natural overtones and stumbling rhythms navigate through high plateaus and velds to stony ravines and wooden trails — on a never ending quest for an ‘ur-klang’; a primordial, ancestral music.” LP includes download code; Risograph insert.

File Under: Electronic, Ambient, Fourth World
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…..new arrivals…..


Budos Band: V (Daptone) LP
As menacing and unhinged as ever, the pride of Staten Island is back with their fifth full-length offering, V. Raw and absent of the modern technological trappings, the Budos pick up where they left off with 2014’s “Burnt Offering”, and finds the group expanding on the brooding, fuzz-fueled riffs, whilst harkening back to the Ethiopian inspired rhythms and percussive proclivity that put Budos Band on the map.

File Under: Funk
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Captain Beefheart: Trout Mask Replica (Third Man) LP
A stone cold weirdo classic that for some INSANE reason hasn’t been properly reissued until now, and as this write up says, until you’ve seen this reissue, you might as well have seen a childen’s drawing of the cover, this restoration is absolutely incredible. Trout Mask Replica is a touchstone in the history of recorded music. The mix of dada absurdist blues and previously unexplored experimental avenues has long been praised as one of the greatest albums of all time. As so eloquently put by John Peel, “If there has been anything in the history of popular music which could be described as a work of art in a way that people who are involved in other areas of art would understand, then Trout Mask Replica is probably that work.” In full partnership with the Zappa Family Trust and to celebrate the relaunch of the seminal Bizarre label imprint, Third Man Records is proud to announce Captain Beefheart and the Magic Band’s Trout Mask Replica. Out of print on vinyl for nearly ten years, this remaster was helmed by industry legend Bob Ludwig and cut by the estimable Chris Bellman at Bernie Grundman Mastering. Utilizing crystalline-quality safety masters kept in the Zappa family vault for decades by the trustworthy Joe Travers, the audio here is positively glorious. Every last skronk breathes full life into the room. Every twisted guitar figure uncurls onto paths previously unpaved. Every last bark and howl shines resolute through the vast emptiness of your mind. Previous countless Trout Mask Replica repressings used scans of scans of scans of the cover image, but the original Cal Schenkel cover photo has been tracked down and reproduced here at its clearest — its resolution from the original release in 1969. If you’ve only ever seen a jpg online or fuzzy, smeared-looking CD issues from the 90’s, be prepared to be wowed by the fully engaging spectrum this iconic image casts. This 2xLP is pressed on heavyweight 180-gram black vinyl for that full-on frenetic feeling.

File Under: Rock, Blues, Outsider
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Alex Zhang Hungtai: August at Akiko’s (Factory 25) LP
Hungtai has captivated us since he emerged from Montreal’s burgeoning music scene at the early 2010’s as Dirty Beaches, and his movements since have taken turns that have been both unexpected and entirely in keeping with his unique aesthetic approach, pushing ever further into the rawly expressive style that has earned him cult-like status over the course of the past decade. August At Akiko’s is in some respects his most unvarnished and personal work to date – infused with location recordings made in Hawaii, the music reflects the serene, introspective ambience of the film itself. Opening with the short, naked field recording of ‘Temple Bell’, and resolving with the harmonious glow and dissonant shards of keys in ‘Ocean Boy’, the soundtrack is dominated by two contrasting tracts featuring Hungtai on his favoured sax. The first, ‘Sky Burial’ is a starkly brooding piece opening with a menacing rumble and clatter of ceremonial Buddhist music where he joins in, tentatively at first, but growing into a ripping display of wounded beast bleats and whirling shreds as febrile and roving as the background drums. In sharp contrast, the flipside is free of drums, leaving Hungtai blowing beautifully blue whims to himself. Unadorned and as vulnerable as could be, the side ends with a meditative solo piano piece which acts as a perfect distillation of the stillness and inner peace the film manages to capture so well, living in the seams between dreams, reality, and memory, with a temporality all of its own.  Stunning.

File Under: Jazz, OST, Experimental
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Basil Kirchin: Worlds Within Worlds (Trunk) LP
This is in all seriousness, the biggest, bestest RSD release ever… maybe just reissue to come out ever! Major holy grail here for me. Needless to say I freaked out when I saw it on the list, HOWEVER, this record is not for everyone, it’s a pretty wild ride. But, if you like a little adventure in your listening, then maybe you should give it a whirl…. Worlds Within Worlds: Part I And II is one of the most important experimental and improvised jazz-based recordings of all time. Released in 1971 it sold just a handful of copies, but has become a keystone in the development of ambient sounds; originals now fetch £1000+. This is the first time this exceptional, unique, and highly desirable record has been repressed. Originally conceived whilst walking round the docklands in Hull, Basil Kirchin felt that the futuristic music he had often imagined could actually be made. Only in 1969 and with the help of an arts grant could he afford the vital equipment he needed: a Nagra tape machine and Sennheiser directional microphone. Armed with these tools he set about recording landscapes, people, places, machines, animals, birds, bees, the zoo, and the autistic children from Schurmatt in Switzerland. He then took these recordings, edited them and then began the process of slowing them down to reveal the “little boulders of sound” hidden deep within the recordings. Kirchin built up layers of noise, symphonies of slowness, and then encouraged his jazz associates including Derek Bailey and Evan Parker to improvise along. The result was WWW, and nothing quite like it had been made or heard before. Today it offers listeners a mesmerizing sonic experience that remains years ahead of its time. This first ever repress features a new gatefold sleeve (Kirchin hated the original sleeve), with images of Kirchin, his original field recording tapes, and notes by WWW fan Thurston Moore (Sonic Youth). Edition of 1500 with 300 on gold vinyl; the LPs will be mixed randomly — there will be no way of telling which color is which as all LPs will be sealed. Personnel: Basil Kirchin, Evan Parker, Derek Bailey, Claire Deniz, Graham Lyons, Daryl Runswick, Frank Ricotti. The perfect RSD release.

File Under: Jazz, Avant Garde, Experimental
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Kevin Morby: Oh My God (Dead Oceans) LP
With his four acclaimed solo albums and myriad records of various collaboration, Kevin Morby has become a true musical auteur. Each record possesses its own unique persona and explores intriguing themes and fertile terrain through shifting, focused textures and dexterous, dedicated skill. And now, with the lavish, resplendent, career-best double LP Oh My God, Morby delivers a grandiose director’s cut of his biggest statement to date, epic in scope as well as sound. Throughout his past work, Morby has noticed the ubiquity of an apparent religious theme. Though not identifying as “religious” in the slightest, Morby recognizes in himself a somewhat spiritual being with a secular attitude towards the soulful. And so, in an effort to tackle that notion head-on and once-and-for-all, he wrote what would become his first true concept-album. If Singing Saw was Morby’s LA record, and City Music was his ode to New York City, then Oh My God lives in the sky, above the weather, both nowhere and everywhere at once. “This one feels full circle, my most realized record yet,” he says. “It’s a cohesive piece; all the songs fit under the umbrella of this religious theme. I was able to write and record the album I wanted to make. It’s one of those marks of a life: this is why I slept on floors for seven years. I’ve now gotten the keys to my own little kingdom, and I’m devoting so much of my life to music that I just want to keep it interesting. At the end of the day, the only thing I don’t want is to be bored. If someone wants to get in my face about writing a non-religious religious record? Thank god. That’s all I gotta say.”

File Under: Indie Rock
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Murlocs: Manic Candid Episode (ATO) LP
The Murlocs are led by King Gizzard and the Lizard Wizards‘ Ambrose Kenny-Smith and feature Gizz’s lead guitar player Cook Craig. Their new album Manic Candid Episode was recorded at Melbourne’s Newmarket studios and was produced by Stu Mackenzie (King Gizzard) and mixed by NYC musician Jarvis Taveniere (Real Estate, Woods, Parquet Courts). Formed in late 2010, the five members of The Murlocs play their own blown-out, distorted brand of soulful R&B. Their up-tempo snare cracks and noisy guitars, accompanied by Ambrose’s warm vocals have been described as a mesmerizing, demented dance party.

File Under: Garage Rock
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Shovels & Rope: By Blood (Dualtone) LP
Known for their honest, literate, and narrative-driven songwriting, acclaimed husband and wife duo Cary Ann Hearst and Michael Trent (aka Shovels & Rope) inject raw and fiercely passionate emotion into the 10 tracks on their new album By Blood. It opens with the pulsating mantra of “I’m Comin’ Out,” a song with multiple subtexts ranging from the obvious, to a baby about to emerge, to showing up for the revolution with “the taste of blood in my mouth.” The “blood” referred to in the poignant title track is a message to their young daughter about the unbreakable union of family. As storytellers, Shovels & Rope create cinematic vignettes built around flawed characters who strive for greatness but are often overtaken by their shortcomings. Tracks such as the new wave-infused “The Wire” and the enduring epic “Carry Me Home” exude the vulnerability and fragility that comes with love. The duo puts their twist on the modern murder ballad in “Pretty Polly,” while an inspiring message of hope, strength, and acceptance is at the heart of the tale in “C’mon Utah.” As with their previous work, By Blood was produced by Trent and recorded at their in-home studio, recently upgraded to a new structure in their backyard. Outside of fiddle on one track (“Hammer”) and horns on another (“Twisted Sisters”), all instruments and vocals were performed by Hearst & Trent.

File Under: Folk, Country, Rock
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Sunn o))): Life Metal (Southern Lord) LP
Sunn O))) is pleased to collaborate with Record Store Day to release Life Metal for the first time on vinyl on April 13th via USA/UK/EU indie retail. Life Metal, their first studio album in four years, will be supported by SUNN O)))‘s first US tour since 2017 and the premier US tour of their 2019-2020 season, including stops at The Masonic Lodge in Detroit, Howard Theatre in Washington, DC, Agora Theatre in Cleveland, Ohio, Rockefeller Chapel in Chicago, Illinois (by demand second show added), The Caves in Pelham, Tennessee, and Brooklyn Steel in Brooklyn, New York. Dates and details can be found below, with more info to come soon. SUNN O))) has also revealed two very special listening events in London and Paris in the lead up to the release. These are free, open to the public and available on a first come, first serve RSVP basis. “With great pleasure we present a few special public deep-listening sessions of our forthcoming album Life Metal. Our wish and intention are to offer the astounding presence, detail and color of this recording on great PA systems in a public situation as an introduction. Part of the joy of producing and mastering this album in the studio was that we were fortunate to be able to listen on the perfect high-fidelity playback situations for the record, top precise studio sound guided by the best ears in the business. With these public listening sessions, we hope to get a step closer to that experience of being inside the studio for you all at these special events, a few weeks before the album is unleashed upon the world.” – Stephen O’Malley & Greg Anderson / SUNN O)))

File Under: Metal, Ambient, Drone, Doom

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Orville Peck: Pony (Royal Mountain) LP
Combining the lulling ambience of shoegaze with the iconic melodies and vocal prowess of classic American country music, enigmatic outlaw cowboy – Orville Peck, croons love and loss from the badlands of North America. The resulting sound is one completely his own, taking the listener down dusty rose-colored desert highways, through a world where worn out gamblers, aloof road-dogs and lovesick hustlers drift in and out of his masked gaze. Orville’s debut album, Pony, delivers a diverse collection of stories that sing of heartbreak, revenge and the unrelenting tug of the cowboy ethos. Warm lap steel guitars and echoing drums move through dreamy ballads, campfire lullabies and sometimes frantic buzzsaw tunes, all the while paying homage to his country music roots. Single-pocket jacket with poster insert and download coupon.

File Under: Country, Indie Rock
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Yawpers: Human Question (Bloodshot) LP
The Yawpers are the sheep in wolf’s clothing. Through their first three albums, the group divined a signature style-what Pitchfork described as “an expansive vision of rock ‘n’ roll, one that cherrypicks from various folk traditions: punk, rockabilly, blues, whatever they might have on hand or find in the trash.” The sound is a front-heavy, groovy, fire & brimstone punk-blues overlying a dynamic and metaphysical roots rock. On their fourth album Human Question, the Denver trio zooms out to a more vast and accessible stylistic and spiritual universe. The 38-minute thrill ride generates growth and cathartic self-reflection for audience and performer alike. If there was justice in this world, the Yawpers would be the savior that rock and roll didn’t know it was waiting for.

File Under: Rock
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Arcade Fire: Everything Now (Sony) LP
Courtney Barnett: Double EP (Mom+Pop) LP
Courtney Barnett: Sometimes I Sit And Think (Mom+Pop) LP
Courtney Barnett: Tell Me How You Really Feel (Mom+Pop) LP
Budos Band: s/t (Daptone) LP
Budos Band: 3 (Daptone) LP
Cochemea: All My Relations (Daptone) LP
Dylan & The Band: Before the Flood (Columbia) LP
Bob Dylan: Blonde on Blonde (Columbia) LP
Earth: Bees Made Honey (Southern Lord) LP
Michael Garrick: Prelude to Heart is a Lotus (Gearbox) LP
Jaylib: Champion Sound (Stones Throw) LP
Sharon Jones: Dip-Dappin’ (Daptone) LP
Madvillain: s/t (Stones Throw) LP
Olympians: s/t (Daptone) LP
Pink Floyd: Dark Side of the Moon (Pink Floyd) LP
Rage Against The Machine: s/t (Legacy) LP
Thundercat: Drunk (Brainfeeder) Box
Kamasi Washington: The Epic (Brainfeeder) Box

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