Tag Archives: record store day

…..news letter #925 – return…..

Not a huge amount of stuff in this week, but look out, cuz next week is our biggest sale of the year! Our annual BLACK FRIDAY RECORD STORE DAY/ANNIVERSARY SALE! Next week we’ll update you with all the details, but if you’ve been following along, you already know what to expect….

And speaking of top albums of the year… Looks like we’ll be HIRING someone again real soon! If you dream of hanging out and talking about records all day, then bring us a resume along with your top ten albums of 2019 and of all time!

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

CHECK OUT OUR WEBSTORE!!! 
SUBSCRIBE TO OUR NEWS LETTER!!!!

…..pick of the week…..

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Didgin’ For Rainbows: s/t (Didgin’ For Rainbows) LP
On a snowy restless night, Dan Tansy was giving the performance of a lifetime to his roommate, Warren Krick, on his didgeridoo. Warren later joined in on his keyboard and the two quickly realized they were on to something but didn’t know what to call this new band. That night Dan had a dream, where a little man on a flaming pie said, “You will be known as the Beatles but with an A.” “That’s already been taken, mister man,” said Dan… “What about Bananarama?” asked the little man. “A no-go unfortunately,” replied Dan. “Then it must be Didgin’ for Rainbows!” History was made. Our heroes had a name for their new band! But what would a two-piece didgeridoo/keyboard band sound like? Early shows would have sets split up: fifty percent music, fifty percent feeding the crowd watermelon and opening presents! It wasn’t until the addition of new members Lanny McHardy and the greatest Edmonton band, NEK Trio (Ross Nicoll, Dean Kheroufi, Connor Ellinger) that the split leaned more towards music. Gone are the days of watermelon and pinatas full of cooked spaghetti. It was time for the band to take the music seriously and write a full-length album! Recorded over three years, Didgin’ for Rainbows’ debut record is a journey like no other, jumping from genre to genre throughout its running time. Death Bossa, pop, jazz, country, baroque and experimental, all suitable for a perfumed garden, are represented here through the catchiness of the melodies and the band’s top-level musicianship! Didgin’ for Rainbows broke up shortly after recording when Yoko Ono declined their offer to join the band, but they felt it would be criminal not to release their final swan song… One last present for the fans.

File Under: Local, Pop, Psych, Lounge
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…..new arrivals…..

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Aphex Twin: Peel Session 2 (Warp) 12”
On the summer solstice 2019 the extended Warp family came together with online radio station NTS to celebrate the label’s 30th anniversary. With over 100 hours of original music programming, the weekend-long communion featured mixes, documentaries, live performances, film and sessions from the whole Warp roster including Boards of Canada, Aphex Twin, Brian Eno, Flying Lotus, Danny Brown, Autechre and Kelela, plus a handful special guests including Death Grips and Ryuichi Sakamoto. Over the weekend, hundreds of thousands of music fans tuned in to share in the celebration with the label, artists and each other via chat rooms, forums, social media and IRL playbacks in record shops, cafes and bars around the world. Now, Warp continues the radio theme with a special set of releases. WXAXRXP Sessions features ten specially selected sessions recorded for radio from across the history of the label, from Peel sessions in the very early days right up to the aforementioned WXAXRXP x NTS weekend. In the age of immediate, unelected, often low-quality rips of anything that is broadcast, these releases present each session in the highest quality, adorned in beautiful packaging designed by Michael Oswell, with photography by Synchrodogs. Aphex Twin’s Peel Session 2 TX: 04/10/95, one of only two radio sessions Aphex Twin has ever recorded, is comprised of all original material at the time. Presented here as a complete session and on vinyl for the first time!

File Under: Electronic
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The Band: s/t 50th Anniversary (Universal) LP
When The Band’s seminal eponymous second album was released fifty years ago in September 1969, not much more was known about the reclusive group than when they released their landmark debut, Music From Big Pink, to widespread critical praise and bewilderment, just the year before. The group, made up of four Canadians and one American, was still shrouded in mystery, allowing for listeners and the music press to let their imaginations run wild about who these men were and what this music was that sounded unlike anything else happening at the close of the psychedelic ’60s. Dressed like 19th century fire-and-brimstone preachers and singing rustic, sepia-toned songs about America and the deep south, The Band – Garth Hudson (keyboards, piano, horn), Levon Helm (drums, vocals, mandolin), Richard Manuel (keyboards, vocals, drums), Rick Danko (bass, vocals, fiddle) and Robbie Robertson (guitar, piano, vocals) – was an enigma, unlike any group that came before or after. And their self-titled “Brown Album,” as it would lovingly be called, cemented their status as one of the most exciting and revolutionary bands in years, on the strength of now-classic songs like “The Night They Drove Old Dixie Down,” “Up On Cripple Creek” and “Rag Mama Rag.” The Band’s pioneering, self-titled album receives a suite of newly remixed and expanded editions in November 2019 to mark its 50th anniversary including this 180g vinyl 2LP version featuring the new stereo mix by Bob Clearmountain and all tracks mastered from the original multi-track masters by Bob Ludwig. Chris Bellman cut the vinyl lacquers for the album’s new stereo mix at 45 rpm at Bernie Grundman Mastering. All of the configurations were overseen by Robbie Robertson, similar to 2018’s acclaimed 50th anniversary Music From Big Pink editions. Clearmountain and Robertson’s approach to remixing the beloved album was done with the utmost care and respect for the music and what The Band represents. “The idea was to take you deeper inside the music, but this album is homemade,” Robertson says. “You can’t touch up a painting. It has nothing to do with what you get when you go into a recording studio.” When he expressed his concerns to Clearmountain, the renowned engineer and producer reassured him: “We’re just trying to overcome the original technological limitations in order to bring you closer into the room,” he explained. “I’m going to do everything in my power not to get in the way of this music at all.” The result is a new mix that allows listeners to hear these classic songs in stunning, and often times startling, clarity, packing more of a sonic and emotional punch than ever before. Released in 1968, The Band’s game-changing debut, Music from Big Pink, seemed to spring from nowhere and everywhere. Drawing from the American roots music panoply of country, blues, R&B, gospel, soul, rockabilly, the honking tenor sax tradition, hymns, funeral dirges, brass band music, folk, and rock ‘n’ roll, The Band forged a timeless new style that forever changed the course of popular music. Shortly after its release, Danko broke his neck in a serious car crash and was in traction resulting in The Band’s inability to tour. This only fueled the mystique as they had yet to play live and had only done a few mysterious interviews. Once Danko was healed, the guys relocated to Los Angeles to record their follow up album. Searching for the same clubhouse vibe they had at Big Pink, they eschewed a traditional studio and moved into a house in the Hollywood Hills that had previously been owned by Sammy Davis Jr. The place had enough bedrooms that the group could reside there with their families and a pool house where they set up the studio. While Capitol Records was dumbfounded the guys didn’t want to record in one of their state-of-the-art studios down the street, they ultimately relented and paid for the shipment of their equipment across the country. Recording here was not without its obstacles as getting an upright piano up to the house proved trying and since they were in a residential neighborhood, the pool house needed to be soundproofed from the outside, which was quite a sight. Following dinner together with their families in the main house, The Band, joined by co-producer John Simon who helped shape their sound, as on their debut, would shuffle off to their makeshift studio to write and record their masterpiece, working through the night and stopping around dawn. Listening to these dusty, rural songs, it’s hard to believe they weren’t written in the Appalachian Mountains but instead perched up in the hills overlooking Los Angeles’ sprawling, smoggy metropolis. It’s fitting then that the first song the group recorded for the album was “The Night They Drove Old Dixie Down,” a Civil War story that was inspired by a visit Robertson made to Helm’s family in Marvell, Arkansas. During one of their talks, Helm’s father insisted to Robertson that “The South will rise again!” “I felt that I understood something about Levon from meeting his family,” Robertson says. “I wanted to write a song that he could sing better than anyone in the world.” The song imbues the people of the South with a forlorn dignity much in contrast to their stereotypical portrayals in popular culture – and Helm’s heart-rending vocal tells the song’s story with consummate grace. This was not subject matter that other songwriters were mining from at the time and illustrated how The Band’s primary songwriter, Robertson, did not draw inspiration from typical rock sources, instead pulling from history and his love of classic films and screenplays. Indeed, The Band explores America’s thorny history through indelible archetypes – “The Night They Drove Old Dixie Down” refers to Union cavalry officer George Stoneman’s attack on southwestern Virginia in the last days of the Civil War, “King Harvest (Has Surely Come)” is sung from the perspective of a poverty-stricken farmer who becomes a “union man” to his disappointment, and “Up on Cripple Creek” is about a truck driver’s debauched time with a local girl in Lake Charles, Louisiana. “It was a complicated record,” Helm wrote in his memoir, This Wheel’s On Fire. “We wanted to make one that you didn’t really get until the second time you played it.” The Band was released on September 22, 1969 and made an immediate cultural impact. The days of the group being a so-called ‘underground’ band were over. In short order, the Band appeared on ‘The Ed Sullivan Show,’ one of only two television appearances the group would ever make, and it had a hit single with “Up on Cripple Creek.” In addition, The Band appeared on the cover of Time magazine in January of 1970, the first North American group ever to do so. The Band was instantly hailed by press with The Village Voice’s Robert Christgau, calling it an “A-plus record if I’ve ever rated one” and deeming it “even better” than the Beatles’ classic Abbey Road, released the same week. Ralph J. Gleason wrote in his glowing review for Rolling Stone: “It is full of sleepers, diamonds that begin to glow at different times. As with the Beatles and Dylan and the Stones and Crosby-Stills and Nash, the album seems to change shape as you continue to play it. The emphasis shifts from song to song and songs prominent in the early listening will retreat and be replaced in your consciousness by others, only in later hearings to move to the fore again. Little things pop up unexpectedly after numerous listenings and the whole thing serves as a definition of what Gide meant by the necessity of art having density.” Now, listeners can experience that brotherhood once more on The Band (50th Anniversary Edition), in which five visionaries ended up capturing the soul of America with an album that’s influence still ripples through current music today five decades later!

File Under: Classic Rock
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Art Blakey & The Jazz Messngers: Meet You at the Jazz Corner of the World 1 
Art Blakey & The Jazz Messngers: Meet You at the Jazz Corner of the World 2 (Blue Note) LP
In honor of Blue Note Records’ 80th Anniversary, the legendary jazz label is launching the Blue Note 80 Vinyl Reissue Series. Distinct from the Tone Poet Audiophile Vinyl Reissue Series, this second series curated by Don Was and Cem Kurosman features 180g vinyl LP releases in standard packaging with albums spanning the many eras of the label’s history presented by themes: Blue Note Debuts, Blue Grooves, Great Reid Miles Covers, Blue Note Live, and Blue Note Drummer Leaders. The series resumes in November 2019 with Part 1 of the Blue Note Live theme  –  Art Blakey & The Jazz Messengers – Meet You at the Jazz Corner of the World Vol. 1 and 2 (1960), Horace Silver – Doin’ The Thing (1961) and Grant Green – Alive! (1970) – and will continue with three albums released each month for the coming year. The legendary NYC jazz club Birdland was sacred ground for drummer Art Blakey who recorded three live albums for Blue Note at the venue between 1954-1960: A Night at Birdland, At the Jazz Corner of the World, and Meet You at the Jazz Corner of the World. This last date featured one of the greatest lineups of Blakey’s powerhouse outfit The Jazz Messengers with Lee Morgan on trumpet, Wayne Shorter on tenor saxophone, Bobby Timmons on piano, and Jymie Merritt on bass. Spirits are high on this superb outing from the iconic introduction by MC Pee Wee Marquette through two volumes of thrilling hard bop! This Blue Note 80 Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

File Under: Jazz
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Boards of Canada: Peel Sessions (Warp) 12”
On the summer solstice 2019 the extended Warp family came together with online radio station NTS to celebrate the label’s 30th anniversary. With over 100 hours of original music programming, the weekend-long communion featured mixes, documentaries, live performances, film and sessions from the whole Warp roster including Boards of Canada, Aphex Twin, Brian Eno, Flying Lotus, Danny Brown, Autechre and Kelela, plus a handful special guests including Death Grips and Ryuichi Sakamoto. Over the weekend, hundreds of thousands of music fans tuned in to share in the celebration with the label, artists and each other via chat rooms, forums, social media and IRL playbacks in record shops, cafes and bars around the world. Now, Warp continues the radio theme with a special set of releases. WXAXRXP Sessions features ten specially selected sessions recorded for radio from across the history of the label, from Peel sessions in the very early days right up to the aforementioned WXAXRXP x NTS weekend. In the age of immediate, unelected, often low-quality rips of anything that is broadcast, these releases present each session in the highest quality, adorned in beautiful packaging designed by Michael Oswell, with photography by Synchrodogs. Boards of Canada’s Peel Session TX: 07/21/98, the group’s one and only radio session, is presented here for the first time in its complete form, with the inclusion of the previous broadcast-only track “XYZ.”

File Under: Electronic
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Delia Derbyshire & Martin Hannett: The Synth & Electronic Recordings Exchange (Ozit) LP
Forty years since Martin Hannett first used synths and electronic sound effects in production work on Joy Division’s Unknown Pleasures, this album looks at 21 tracks of electronic and synth music that Hannett had compiled in the the mid 70s to early 80s whilst exchanging tapes by post with electronic music pioneer Delia Derbyshire. The compiled work from the two electronic music geniuses was to have been released by Hannett but was shelved in the early 80s. Here it is as he put it together for the planned album. Gatefold 180g vinyl LP.

File Under: Early Electronic
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Flying Lotus: Infinity Infinitum – Maida Vale Session (Warp) LP
On the summer solstice 2019 the extended Warp family came together with online radio station NTS to celebrate the label’s 30th anniversary. With over 100 hours of original music programming, the weekend-long communion featured mixes, documentaries, live performances, film and sessions from the whole Warp roster including Boards of Canada, Aphex Twin, Brian Eno, Flying Lotus, Danny Brown, Autechre and Kelela, plus a handful special guests including Death Grips and Ryuichi Sakamoto. Over the weekend, hundreds of thousands of music fans tuned in to share in the celebration with the label, artists and each other via chat rooms, forums, social media and IRL playbacks in record shops, cafes and bars around the world. Now, Warp continues the radio theme with a special set of releases. WXAXRXP Sessions features ten specially selected sessions recorded for radio from across the history of the label, from Peel sessions in the very early days right up to the aforementioned WXAXRXP x NTS weekend. In the age of immediate, unelected, often low-quality rips of anything that is broadcast, these releases present each session in the highest quality, adorned in beautiful packaging designed by Michael Oswell, with photography by Synchrodogs. Flying Lotus Presents Infinity Infinitum – Maida Vale Session TX: 08/19/2010 – a classic live session from around the breakthrough Cosmogramma album, featuring a full live band including Thundercat, Miguel Atwood-Ferguson and Ravi Coltrane. The session features the otherwise unheard track “Golden Axe.”

File Under: Electronic, Hip Hop
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Bill Frisell: Harmony (Blue Note) LP
Acclaimed guitarist Bill Frisell makes his Blue Note Records debut with his newest project Harmony. Produced by his longtime collaborator Lee Townsend – and recorded by Tucker Martine at Flora Recording in Portland, Oregon – Harmony features Frisell with a wholly distinctive quartet comprising two longtime collaborators – Petra Haden, voice; Hank Roberts, cello and voice – plus a relative newcomer, Luke Bergman, on acoustic guitar, baritone guitar, bass and voice. The result of a commission from the FreshGrass Music Festival, an organization dedicated to the vitality of contemporary American roots music, Harmony features new compositions, imaginatively reworked music from Frisell’s catalog and a typically sharp selection of jazz and Americana staples. Throughout, Haden’s dreamlike, often wordless lead vocals and the trio’s quietly powerful harmonies grant Frisell’s music dimensions it’s never known before. Remarkably, the thoughtful beauty and evocative patience that mark his guitar playing are both smartly accented and greatly magnified. Longtime fans will recognize Frisell’s ongoing calling to both honor the totality of American music and represent his personal history with integrity. “If I think back throughout my whole life, all the music that I’ve loved,” he says, “why can’t it all be there at the same time? You can play a Bob Dylan song and you can play a standard song or a Charlie Parker song, and they can fit together. Why not? There’s no reason why you can’t have ‘Lush Life’ and ‘Red River Valley’ on the same album. They’re both beautiful songs.” Frisell had long wanted to match these particular talents and test the alchemy of this unique, drum-less configuration. Hovering between a chamber ensemble, small-group jazz and a classic American harmony group, the dynamic and sense of interplay here are organic and unmistakable – not least between Frisell and Haden, who are essentially family. Petra’s father, the late bass champion Charlie Haden, was a mentor of sorts to Frisell, who played with Charlie in revered bands featuring the drummers Paul Motian and Ginger Baker. Frisell and Petra have developed their own sublime accord, which they’ve showcased on projects like Frisell’s gracefully nostalgic 2016 album When You Wish Upon a Star. Frisell, who does not sing, has worked with plenty of brilliant vocalists in the past, he points out. But Harmony is something altogether different, he explains. “We premiered in San Francisco in 2016,” Frisell says, “and, kind of at the last minute, I thought, ‘Wow, everybody sings.’ They sang a few things, and I was like, ‘OK, now I think we’re really on to something.'”

File Under: Jazz
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Grant Green: Alive! (Blue Note) LP
In honor of Blue Note Records’ 80th Anniversary, the legendary jazz label is launching the Blue Note 80 Vinyl Reissue Series. Distinct from the Tone Poet Audiophile Vinyl Reissue Series, this second series curated by Don Was and Cem Kurosman features 180g vinyl LP releases in standard packaging with albums spanning the many eras of the label’s history presented by themes: Blue Note Debuts, Blue Grooves, Great Reid Miles Covers, Blue Note Live, and Blue Note Drummer Leaders. The series resumes in November 2019 with Part 1 of the Blue Note Live theme  –  Art Blakey & The Jazz Messengers – Meet You at the Jazz Corner of the World Vol. 1 and 2 (1960), Horace Silver – Doin’ The Thing (1961) and Grant Green – Alive! (1970) – and will continue with three albums released each month for the coming year. After a prolific five-year run from 1961-1965 when he made more than 20 great hard bop and soul jazz albums for Blue Note, guitarist Grant Green took a four-year hiatus from recording. When he returned to Blue Note in 1969, Green’s style had moved into funkier territory as was perfectly captured on his first-ever live album Alive! which captured a hard-driving set of jazz-funk at the Cliché Lounge in Newark, NJ in 1970. The band is propelled by drummer Idris Muhammad who keeps a fire burning under Green, saxophonist Claude Bartee, vibraphonist Willie Bivens, organists Ronnie Foster & Neal Creque, and Joseph Armstrong on congas. The closing track “Down Here On The Ground” was famously sampled by A Tribe Called Quest on their hip-hop classic Low End Theory. This Blue Note 80 Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

File Under: Jazz
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Mogwai: Ten Rapid (Rock Action) LP
After the success of the limited edition coloured vinyl for 2018’s Record Store Day, Mogwai’s sell-out 1997 compilation album of singles, b-sides and rarities from 1996-1997 is getting a re-press. This time on a limited run of dark green heavyweight vinyl and released again via the bands own Rock Action Records. It will come with download code and this colour will only be available as a limited run worldwide and has been produced especially for National Album Day 2019 in Europe. After this, it goes back to black!

File Under: Post Rock, Indie Rock
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Mount Kimbie: WXAXRXP Session (Warp) LP
On the summer solstice 2019 the extended Warp family came together with online radio station NTS to celebrate the label’s 30th anniversary. With over 100 hours of original music programming, the weekend-long communion featured mixes, documentaries, live performances, film and sessions from the whole Warp roster including Boards of Canada, Aphex Twin, Brian Eno, Flying Lotus, Danny Brown, Autechre and Kelela, plus a handful special guests including Death Grips and Ryuichi Sakamoto. Over the weekend, hundreds of thousands of music fans tuned in to share in the celebration with the label, artists and each other via chat rooms, forums, social media and IRL playbacks in record shops, cafes and bars around the world. Now, Warp continues the radio theme with a special set of releases. WXAXRXP Sessions features ten specially selected sessions recorded for radio from across the history of the label, from Peel sessions in the very early days right up to the aforementioned WXAXRXP x NTS weekend. In the age of immediate, unelected, often low-quality rips of anything that is broadcast, these releases present each session in the highest quality, adorned in beautiful packaging designed by Michael Oswell, with photography by Synchrodogs. Mount Kimbie WXAXRXP Session TX: 06/21/2019 finds the expanded live line-up of Mount Kimbie demonstrating how their material has evolved on the road in this bespoke session first broadcast as part of the WXAXRXP x NTS takeover. Featuring a guest appearance from Mica Levi.

File Under: Electronic
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nêhiyawak: Nipiy (Arts & Crafts) LP
nêhiyawak hails from amiskwaciy (Edmonton) on Treaty 6 territory. On the band’s debut album, nipiy – out October 24 on Arts & Crafts – the trio of Indigenous artists – Kris Harper (vocals, guitars), Marek Tyler (drums), and Matthew Cardinal (synths, bass) – transcends a new intersection of traditional storytelling and contemporary sound. A collection of songs strongly inspired by the Idle No More movement, says Harper, “nipiy is for those who don’t seem to fit in for myriads of reasons. To inspire others to use their voice and to send messages to future generations.” nêhiyawak – whose name refers directly to their nêhiyaw ancestry – is a spirited expression of Indigeneity. nipiy, which translates to water, is the title of nêhiyawak’s first full length album. The flow and pace of the album, symbolic of the flow and pace of water, begins and ends with pieces dedicated to kisiskâciwanisîpiy (North Saskatchewan River), a river that flows through the center of amiskwaciy. In the band’s words, “There are many important ideas and teachings that we were raised with in our lives, but few more important that water. It’s a modern conversation with complex meanings and understandings. Our record is dedicated to the life-giving force of water.” Produced by Colin Stewart (The New Pornographers, Black Mountain, Destroyer), nêhiyawak’s sound combines terse post-rock soundscapes and surreal pop, with sheer electronic ambience, chiming guitars, and propulsive rhythm. At times grand and emotional, at times cool and reticent, their music is a tapestry of sonic and cultural exploration. Anchored by the hollowed pounding of carved cedar log drums and Harper’s resilient poetry, nipiy combines the teachings of nêhiyawak’s Elders with the band’s own interests in music, instrumentation and lyrics. nêhiyawak’s debut album tells their story of collective experience – a band empowered by history and progress, adding to the body of work.

File Under: Indie Rock, Local
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LDO106218_Oneohtrix Point Never: KCRW Session (Warp) 12”
On the summer solstice 2019 the extended Warp family came together with online radio station NTS to celebrate the label’s 30th anniversary. With over 100 hours of original music programming, the weekend-long communion featured mixes, documentaries, live performances, film and sessions from the whole Warp roster including Boards of Canada, Aphex Twin, Brian Eno, Flying Lotus, Danny Brown, Autechre and Kelela, plus a handful special guests including Death Grips and Ryuichi Sakamoto. Over the weekend, hundreds of thousands of music fans tuned in to share in the celebration with the label, artists and each other via chat rooms, forums, social media and IRL playbacks in record shops, cafes and bars around the world. Now, Warp continues the radio theme with a special set of releases. WXAXRXP Sessions features ten specially selected sessions recorded for radio from across the history of the label, from Peel sessions in the very early days right up to the aforementioned WXAXRXP x NTS weekend. In the age of immediate, unelected, often low-quality rips of anything that is broadcast, these releases present each session in the highest quality, adorned in beautiful packaging designed by Michael Oswell, with photography by Synchrodogs. Oneohtrix Point Never’s KCRW Session TX: 10/23/2018 finds OPN’s Myriad Ensemble re-interpreting studio material in these four tracks picked from a recorded KCRW session with appearances by ADR, Kelly Moran and Eli Keszle.

File Under: Electronic
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Horace Silver Quintet: Doin’ the Thing (Blue Note) LP
In honor of Blue Note Records’ 80th Anniversary, the legendary jazz label is launching the Blue Note 80 Vinyl Reissue Series. Distinct from the Tone Poet Audiophile Vinyl Reissue Series, this second series curated by Don Was and Cem Kurosman features 180g vinyl LP releases in standard packaging with albums spanning the many eras of the label’s history presented by themes: Blue Note Debuts, Blue Grooves, Great Reid Miles Covers, Blue Note Live, and Blue Note Drummer Leaders. The series resumes in November 2019 with Part 1 of the Blue Note Live theme  –  Art Blakey & The Jazz Messengers – Meet You at the Jazz Corner of the World Vol. 1 and 2 (1960), Horace Silver – Doin’ The Thing (1961) and Grant Green – Alive! (1970) – and will continue with three albums released each month for the coming year. “We’d like for you all to help us get in the groove, let your hair down, and come on and get in the music with us,” says Horace Silver in the spoken introduction to Doin’ The Thing, the only live album the great pianist made during his remarkable three-decade tenure on Blue Note Records. Recorded in May 1961 at the Village Gate in NYC, this exuberant live date featured Silver’s great quintet with trumpeter Blue Mitchell, tenor saxophonist Junior Cook, bassist Gene Taylor, and drummer Roy Brooks on a set of sterling Silver original compositions. This Blue Note 80 Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

File Under: Jazz
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Various: Jambu (Analog Africa) LP
Jambu is an exhilarating, cinematic ride into the beauty and heart of what makes Para’s little corner of the Amazon tick. The hip swaying, frantic percussion and big band brass of the mixture of carimbo with siria, the mystical melodies of Amazonian drums, the hypnotizing cadence of the choirs, and the deep, musical reverence to Afro-Brazilian religions, provided the soundtrack for sweltering nights in the city’s club district. Booklet featuring previously unpublished photos from the archives of the musicians themselves, an essay about Belem’s night live, the development of the tropical music scene and a dozen of interviews made in the city of Belem between 2012 and 2016. Gatefold vinyl with 24-page magazine-format booklet & full digital album as a high-quality download in MP3, FLAC and more.

File Under: World, Funk, Afro, Brazil

…..Restocks…..

Courtney Barnett: Sometimes I Just Sit and Think (Mom + Pop) LP
Boy Harsher: Country Girl (Nude) LP
Kenny Burrell: Introducing (Blue Note) LP
Don Cherry: Brown Rice (A&M) LP
J Dilla: Donuts (Stones Throw) LP
Nils Frahm: Felt (Erased Tapes) LP
Ernest Hood: Neighborhoods (Freedom to Spend) LP
Idles: Joy as an Act of Resistance (Paritsan) LP
Nick Ingman: Big Beat (Modern Harmonic) LP
Jaylib: Champion Sound (Stones Throw) LP
King Geedorah: Take Me to Your Leader (Big Dada) LP
Kiss: Alive (Universal) LP
Kiss: Love Gun (Universal) LP
Kiss: s/t (Universal) LP
JD McPherson: Socks (New West) LP
Charlie Megira: Tomorrow’s Gone (Numero) LP
Messthetics: Anthropocosmic Nest (Dischord) LP
Tom Rogerson/Brian Eno: Finding Shore (Dead Oceans) LP
Syrinx: Tumblers from the Vault (ReRVNG) LP
Gabor Szabo: Sorcerer (Impulse) LP
Tragically Hip: In Violet Light (Universal) LP
Tragically Hip: Up to Here (Universal) LP
Scott Walker: Scott 4 (Universal) LP

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….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.

CHECK OUT OUR WEBSTORE!!! 
SUBSCRIBE TO OUR NEWS LETTER!!!!

…..pick of the week…..

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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…..

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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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…..Restocks…. 

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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