Dan Mangan + Blacksmith — Club Meds

Dan Mangan + Blacksmith — Club Meds [January 13, 2015]

Canada        Dan Mangan + Blacksmith — Club Meds 
Location: Vancouver, British Columbia, Canada
Album release: January 13, 2015
Record Label: Arts & Crafts
Duration:     45:29
Tracks:
01. Offred      5:55
02. Vessel      3:08
03. Mouthpiece      3:43
04. A Doll's House / Pavlovia      4:05
05. Kitsch      5:12
06. XVI      3:59
07. War Spoils      2:52
08. Forgetery      3:51
09. Club Meds      3:11
10. Pretty Good Joke      4:51
11. New Skies      4:42
Description:
••  After a two year hiatus, an induction into fatherhood, and some time to regroup, two–time JUNO Award–winner Dan Mangan has returned under a new moniker, Dan Mangan + Blacksmith. The new name encompasses the spirit of the project's longstanding ensemble members joining the band from Vancouver's experimental music community, Kenton Loewen, Gordon Grdina, John Walsh (and often Jesse Zubot, JP carter and Tyson Naylor) with a communal sensibility that merits the marquee amendment.
•  Produced by Colin Stewart and Dan Mangan, Club Meds at times evokes images of subtler American–underground innovators like Blonde Redhead or Steve Reich. At other moments, it hits emotional pay dirt reminiscent of British scene–survivors like Peter Gabriel or Radiohead. Blacksmith brings an unmistakable character to Club Meds; a stark glassy edge that swells and sways like a roaring ocean. Through a fog of analog feedback loops and synths, the band's performances breathe deeply and steadily like a dragon at rest.
____________________________________________________________
••  Call it entering one’s thirties or taking a few years away from the road to sit and reflect. Or, perhaps, more than ever before, call it having something to say.
•   Club Meds is the fourth LP offering from Dan Mangan, and the first under the moniker “Dan Mangan + Blacksmith”. The new namesake is timely, as this album is indicative of a new beginning, of sorts.
•   “Blacksmith” is Kenton Loewen, Gordon Grdina, John Walsh (and often Jesse Zubot, JP carter and Tyson Naylor). Many of these musicians have played with Mangan for years, but there’s a reaffirmed cohesiveness or communal sensibility that merits the marquee amendment.
•   At times, Club Meds evokes images of subtler American–underground innovators like Blonde Redhead or Steve Reich. At other moments, it hits emotional pay–dirt reminiscent of British scene–survivors like Peter Gabriel or Radiohead.
•   Blacksmith brings an unmistakable character to Club Meds; a stark glassy edge that swells and sways like a roaring ocean. Through a haze of analog feedback loops and synths, the band’s performances breathe deeply and steadily like a dragon at rest.
•   The album itself feels like a clearing of the air. It seems fitting, as after seven relentless years of near–non–stop touring, the entire ensemble, and especially Mangan, needed a break. So they took one.
•   There was risk the short hiatus could have crippled the band’s mojo. Mangan’s third album, 2011′s Oh Fortune, received international acclaim, two JUNO Awards and a Polaris Music Prize listing. By many standards, it was just the time to accelerate rather than slow down.
•  “It was like I was obsessed with keeping the plates spinning,” Mangan says from his home in Vancouver, “The distraction was nice, but I had some work to do that didn’t involve performing. I had to think about what it takes to live out a long body of work, and why I wanted that in the first place.”
•   There were other projects to be undertaken. Most notably, Dan becoming a dad and scoring a feature film with bandmate Jesse Zubot (“Hector And The Search For Happiness” starring Simon Pegg).
•   The ensemble laboured intensely over the bed tracks with producer Colin Stewart (Black Mountain, Ladyhawk, Yukon Blonde). Heated moments, heavy discussions and long, sweaty sessions delivered what is no doubt the most mature song–crafting to come from Mangan and his collaborators to date.
•   Mangan and Stewart then worked on and off for four months, meticulously adding and subtracting hundreds of layers of noise and subtext. The result is a fastidiously organized piece of broken, imperfect art.
The lyrics… It’s as if Dan’s newfound fatherhood encouraged him to sharpen his knives — like adding a child into the equation raised the stakes for an already overly–opinionated writer.
•   In the aptly titled Mouthpiece, which rolls along like a decade–in–the–making call–to–arms rant, Mangan stammers out, “Those who pretend to believe hardest might actually begin to / The nature of the bliss the warmth of ignorance gives in to”. This could serve as a thesis statement, but it could also pass you by in the onslaught of similarly weighted lines.
•   And Club Meds is full of ‘em. In Vessel, likely the album’s backbeat–iest track, we’re repeatedly reminded “It takes a village to raise a fool”. In XVI, an ode to Louis and Marie Antoinette as they gaze down upon Occupy Wall St campers, we get a banker’s perspective on the crisis: “See, if you hate the Man, the Man hates you too”.
•   As for the title, Mangan includes the following missive in the album’s liner notes:
Sedation is massive. It surrounds us like a thick wet blanket. To be numb is to allow others to control your reality. It makes some people feel better, to know that you suffer also, that their numbness is shared like a virus. But unity in numbness is a façade, and not nearly as magical as a unity born of awakeness.
•   CLUB MEDS is about sedation. Sedation can be chemical, but not exclusively so. There is a great vacation from actuality going on. Maybe there always has been. It seems like everybody else is already at the party and that life is somehow easier or more fun under the fog. But instead, it only makes people feel more alone, more dangerous, more desperate.
•   It’s okay, though. We’re all just particles. // DM
___________________________________________________________
•   The follow up to 2011’s highly acclaimed, award winning ‘Oh Fortune’ sees the Vancouver–based artist return after a few years out of the limelight, this time officially joining forces with his long–time — now integral–band members to play under the moniker Dan Mangan & Blacksmith. The name Blacksmith alludes to a craft that takes years to master and marks the start of a new era in Dan Mangan’s work, where the band play a larger role than ever before and the result is their heaviest, most intricate and most fearless work to date. The album title, ‘Club Meds’, is a pun on one of the driving lyrical motions of the record; the idea that we’re all on vacation from having to be honest with ourselves — that sometimes it’s easier to medicate than deal with reality. In his home–country of Canada, Dan Mangan has grown up in the public eye since garnering attention with his 2009 record ‘Nice, Nice, Very Nice’. Produced by Colin Stewart and Dan Mangan, ‘Club Meds’ now sees him step from the singer–songwriter bracket, into the Technicolor splendour of a full band with poise, self–confidence and a new found depth & complexity. Blacksmith is Kenton Loewen (drums), Gordon Grdina (guitar), John Walsh (bass) and often JP Carter (trumpet), Jesse Zubot (violin) and Tyson Naylor (keys). They bring an unmistakable character to ‘Club Meds’; a stark glassy edge that swells and sways like a roaring ocean. Through a fog of analog feedback loops and synths, the band's performances breathe deeply and steadily like a dragon at rest."
In french:
•   Un album assez différent des précédents et aux arrangements plus complexes, mais qui remet pas en cause les qualités du singer songwriter Canadien.
Website: http://danmanganmusic.com/
Twitter: https://twitter.com/danmanganmusic
Facebook: https://www.facebook.com/danmanganmusic
Management
Kieran Roy |
Label
Canada & USA | Kieran Roy |
Europe | City Slang | &
UK | City Slang |
AUS/NZ | Carney Nir |
ABOUT:
an Mangan is a two–time JUNO award winning & two–time Polaris Music Prize listed musician and songwriter. He lives in Vancouver, British Columbia with his wife and son. He is about to release his fourth full–length album and, with the help of Jesse Zubot, scored Hector And The Search For Happiness, a feature film starring Simon Pegg. Dan has also infrequently been a contributing writer for some publications such as Huffington Post Canada and The Guardian (Arts section).
Through many twists, turns and a good deal of fortune, Mangan’s primary project has come to be known as DAN MANGAN + BLACKSMITH.
HERE ARE SOME BRIEF NOTES ABOUT DAN MANGAN + BLACKSMITH //
>> BLACKSMITH is John Walsh, Gordon Grdina, Kenton Loewen, and often JP Carter, Jesse Zubot and Tyson Naylor
>> Has shared stages or toured with: The Walkmen, Decemberists, Okkervil River, Broken Social Scene, Timber Timbre, Jeff Mangum, Mumford & Sons, Edward Sharpe and the Magnetic Zeros, Junip, Phosphorescence, The Vaccines, tUnE–yArDs, Cake, Metric, Howe Gelb, Jackson Browne, Bowerbirds, The Head and The Heart, Blind Pilot, Hey Rosetta!, Mother Mother, KD Lang, Patrick Watson, The Shins, Sam Roberts Band, Sarah Harmer, Alison Krauss, Lucinda Williams, Japandroids, Jason Collett, Zeus, Macklemore, Vampire Weekend, City & Colour, Yukon Blonde, Sondre Lerche, Warpaint, Other Lives, Suuns, Lucius, Bear’s Den, Spoon, Tegan & Sara
>> Recipient 2012 JUNO Award “Alternative Album of the Year”
>> Recipient 2012 JUNO Award “New Artist of the Year”
>> Recipient Long-list 2012 Polaris Music Prize for Oh Fortune
>> Recipient Short-list 2010 Polaris Music Prize for Nice, Nice, Very Nice
>> Recipient 6 WCMA Awards
>> Recipient 6 CBC3 BUCKY Awards
>> Recipient 2010 iTunes Canada “Artist of the Year”
>> Recipient 2009 Verge Award “Artist of the Year”
•   The following is a letter / first–person–bio I wrote to explain the state of things during the band’s touring hiatus from late 2012 through early 2015. Now that we’ve announced the imminent release of Club Meds, I felt it was time to retire it. That said, I didn’t want to just delete it, so I’m posting it here for anybody lurking around the site who might find it interesting. Ciao.
————–
•   Musician bios are often rife with language of grandeur. The truth is that most bands start out the same way. Most bands get their first gigs in a similar fashion. And most bands that weave themselves into the larger social fabric of their era do so by more pedestrian means than we, the audience, would like to believe.
•   All of my favourite bands played the long game. Stayed in process. Didn’t get greedy or lazy. I admire musicians with a longstanding body of work that, at each phase, tested and warped the boundaries of their contextual environment. Bands fall ass–backwards into acclaim and attention, but nobody stays relevant for a long period of time by mistake.
•   The story that has accompanied me to a rewarding and somewhat–sustainable career in music is that I was a DIY guy. A hard workin’ nice guy who paid his dues. People like to root for the underdog, and I’m not slagging it, either. Though it does drive my crazy sometimes. It takes over the conversation. Most times, I’d rather talk about the intention behind the music than discuss the story around the music.
•   To some extent, the story is true. Mostly, I think I was lucky a lot of times in a row and I was too stubborn to quit.
•   I took to the road in my early twenties because I was terrified of the banality of a “real job”. I had a hunch that there was this exciting world of touring bands and desperately wanted to be a part of the action. There were fantastic images in my head of dingy bars and arguments with promoters. It sounded awesome.
•   I had grown up listening to my parents’ LPs and was first given a guitar as a young kid. I started a band in highschool. We were terrible, but the experience was suitably thrilling anyhow. During one of our shows in the basement of a community centre, a friend crowd–surfed atop an audience of less than twenty people. That story seems embarrassingly cute at this point, but the feeling on the stage when it happened was like a drug that I wanted to do over and over again.
•   Just after narrowly finishing an undergrad degree, I recorded a short EP of acoustic songs. It wasn’t very good. I got a lot of constructive feedback from the world and I listened very carefully. When the time was right, I managed to con a line of credit from my local credit union, pulled together some musicians and made a full–length album called Postcards and Daydreaming. It was a little bit better. Again, I got a lot of constructive feedback from the world and I listened very carefully.
•   It still felt like I was trying to emulate the images of grandeur in my head, though. It took a long time before I felt like anything I was singing about was mine. The greatest gift I had at that time was an understanding of how little I knew. The good (and bad) news is that, at least for me, this feeling never goes away.
•   I began to tour. Anywhere that would have me. At the time, I was enamored with the idea of the travelling troubadour. I toured around Europe by train, playing small cafes and bars. I wanted to be thought of in that light. I toured alone in a borrowed station wagon throughout the United States and Canada. I even made it to Australia.
•   I got cocky, then deflated, then over–confident, then destroyed. It was a grueling process. I basically rambled around like a disheveled hobo but it helped me feel really alive. It was, at times, pretty dire, but also very eye opening. I had a beautiful excuse to just travel around all over the place, bumbling gig to gig like a smoker goes pack to pack.
•   Nobody grills you about the real world when you’re a student. Maybe that’s why we have career students. It’s kind of the same thing when you ask your manager at the restaurant for three weeks off every month because you have to tour the UK, or Manitoba, or Vancouver Island, or wherever. Though the reality of the circumstances is a slog, the story carries just enough mystique that people are generally supportive.
I read a lot of books. I dove ambivalently deeper into debt. But even when I was completely broke and exhausted, there was always just one more reason to have another stab, and one more exciting thing to look forward to.
•   I wrote a lot of songs. I even began to get a small following in a few select pockets around the world. I was invited to play large music festivals. As I mentioned before, even though there were tough times, I also got lucky a lot. People seemed to want to give me the benefit of the doubt. At times, I felt if I were idle for more than a few minutes, the horseshoes might fall out of my ass. Momentum is a strange thing.
•   As I started to prepare to make a second album, I looked for musicians from Vancouver’s more experimental music scenes to help me flesh out my newest songs. I was tired and lonely from all the solo touring and wanted to be a part of an ensemble. •   Finding the right players was, in hindsight, an incredibly important part of this story.
•   I wanted to find people who would push me musically. I wanted to be the least proficient musician in the room. I met Kenton Loewen, who I had previously seen play drums in a band now known as Mother Mother. Through mutual friends, I also found John Walsh and Aaron Joyce. The four of us traveled to Toronto to record an album called Nice, Nice, Very Nice with a producer named John Critchley. The title was in reference to Kurt Vonnegut’s Cat’s Cradle, a book that is still very dear to my heart. This was in late 2008.
•   The album was still sonically rooted in the acoustic folk genre that I’d first embraced, but it had flashes of something more distinctive also. In my opinion, Nice, Nice, Very Nice could be best described as charming. I don’t mean to sound so dismissive. The album changed my life. It was a stepping stone for me in many ways.
•   The best thing for me about that album was that I was beginning to find my own unique way of writing songs. I wasn’t trying to emulate vague icons of present–day nostalgia like I had been before. I was inside my own voice. I wore influences of all kinds, but I didn’t hear any other bands or musicians who wrote songs from quite the same vantage point. And I began to get noticed.
•   2009 was a year of great changes for me. Nice, Nice, Very Nice was released in Canada by a small independent record label called FU:M, based in Vancouver. It was embraced by pockets of Canadian radio, particularly the CBC and college stations. By some process of miracle, I won “Artist of the Year” at the Verge Music Awards — an accolade from a satellite radio station that came with a $25,000 prize. I paid off some debt and bought a van. My face landed on the cover of weekly arts papers in a handful of Canadian cities. My mother was proud. Shit was getting real.
•   Nice, Nice, Very Nice was long-listed, then short-listed for the Polaris Music Prize. The song “Robots” won the CBC3 Bucky Award for “Song of the Year”. It was a cute song with a very memorable and repetitive ending that became a bit of a spectacle at our live shows. I often get asked if I’m sick of that song now. I’ve been singing it for many years and we pretty much have to play it most times we perform. Though I think we now have much better songs to offer, I cannot dismiss the connection some people feel to “Robots”. I just never want it to feel like a recital of days–gone–by. I want every song to feel current and alive and laterally relevant to the moment it exists in. Hopefully, we still play it in that way.
•   There were shuffles in the band. A few good friends and players went on to other things. Kenton Loewen brought in guitarist Gord Grdina. The two of them had a long history together in the avant–garde experimental jazz scene throughout North America and Europe and gave the ensemble a newfound credibility within that realm. Doors opened to collaborate with other out–of–the–box players like Jesse Zubot, JP Carter, Peggy Lee and Tyson Naylor. I had fallen into the hands of musicians that tugged and challenged me in new directions and I loved it. I have learned so much from my band, I can’t even explain it.
•   There were more tours and more festivals. Considering the lift my universe had received from Nice, Nice, Very Nice (including a newfound signing to my favourite Canadian label, Toronto–based Arts & Crafts), I felt some pressure to really deliver with the next album.
•   The band and I worked with Colin Stewart on what would become my favourite offering to date. We called it Oh Fortune. I asked a mutual friend of the band, Eyvind Kang, to write orchestral arrangements for a handful of new songs, many of which had been test–driven on the road.
•   The lyrics were less cute. The arrangements were sweeping and, at times, grandiose. The band sounded more like an intricate rock band than an indie–folk band. •   These new experimental influences had taken a rooting in the songs. Nice, Nice, Very Nice had fit quite nicely within the world of Canadian independent music at the time of its release, but Oh Fortune didn’t lend itself to being as easily sonically pigeon–holed. That was exciting to me. The only through line between all the albums seemed to lie in my vocals, which had been whittled and weathered over the years into a gravelly off-timed timbre and cadence.
•   There was some anxiety that the new direction would disinterest what following we had amassed. Fortunately, the stars aligned once again and when Oh Fortune was released in late 2011, it quickly received more attention than its predecessor. In 2012, it even won JUNO awards for “Alternative Album of the Year” and I awkwardly accepted a “New Artist of the Year” award on behalf of what, in my eyes, had truly become an ensemble. The album was long-listed for the Polaris Music Prize. Critics seemed to like the album, but what was even more rewarding was that I liked the album. I no longer yearned for constant external reassurance that I wasn’t making complete crap.
•   Support slots at festivals turned into headlining slots and clubs turned into concert halls. Through relentless touring and a strong ethos of letting go, we had become a band that people in the business could generally count on to ‘bring it’. Again, I cannot give enough credit to the band. Through every insane experience of ambitious travel itineraries, physical/mental exhaustion or rough hangovers, I always walk on stage feeling cradled by dedicated and capable hands.
•   After a half–decade of touring six to nine months of each year, we decided to take 2013 away from the road. My wife was due to have a baby, the rest of the band had been back–burner–ing their other musical projects for far too long and, to be honest, we all just needed a break.
•   I was offered a new kind of gig that I could work on from home in Vancouver while on tour–hiatus. I was asked to score a feature film called Hector and the Search for Happiness starring Simon Pegg, for which I asked Jesse Zubot to help with the orchestral arrangements. The film is scheduled for release in 2014, as will be our next album. In December, we’ll get to work on our fourth studio attempt. Once again, it seems a sonic left turn is well underway. These newer demos don’t sound much like anything I’ve done before.
•   This year has been so important to me in countless ways. I feel re–energized and ready to take the next step. I became a father, which is a role I do not take lightly.    Throughout this journey, another factor that I haven’t mentioned is the person I was coming home to. Kirsten was my girlfriend through seven years of ups and downs, and has now been my wife for just over one year. I don’t know if any of this would have been possible without her constant support and guidance.
•   In any story of perseverance, I think there is a tendency to give too much credit to the protagonist for persevering. Too often, we overlook all the help we’ve received and how many head–starts we were given. I have had and continue to have more than my share. You should know that your attention is very much a part of my good fortune. Thank you. x, Dan
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Dan Mangan + Blacksmith — Club Meds

 

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Wrekmeister Harmonies — We Love to Look at the Carnage (2020)
Calexico / Iron & Wine — Years to Burn (2019)
Fairport Convention — 50:50@50 (June 9, 2017)
Fairport Convention — Shuffle and Go (29 Feb., 2020)
James Taylor — American Standard (Feb. 28th, 2020)
The Magnetic Fields — Quickies (May 15, 2020)
Moses Sumney — græ Part 1 & 2 (May 15, 2020)
The Dream Syndicate — „The Universe Inside“ (April 10, 2020)
The Third Mind — The Third Mind (Feb. 14, 2020)
ANNA CALVI — HUNTED (March 6, 2020)
Jonathan Wilson — Rare Birds (March 2nd, 2018)
Jonathan Wilson — Dixie Blur (March 6, 2020)
Luke Haines — Beat Poetry For Survivalists (6 Mar. 2020)
Sink Ya Teeth — Two (28th Feb. 2020)
Stian Westerhus — Redundance (March 5, 2020)
Thomas Dybdahl — The Great Plains (Feb 24, 2017)
Thomas Dybdahl — Fever (March 13, 2020)
PETR KALANDRA — Petr Kalandra & ASPM 1982 — 1990 (Feb. 26, 2020)
Al Di Meola — Across the Universe: The Beatles, Vol. 2 (2020)
Sam Gendel — Satin Doll (13 Mar 2020)
Chapelier Fou — Deltas (Sept. 22, ​2014)
Chapelier Fou — Meridiens (Feb. 28, 2020)
CocoRosie — Put the Shine On (6 March 2020)
Dungen — Live (March 13, 2020)
Queer Jane — Home (Dec. 1, 2016)
Hornscape — Hornscape (March 6th, 2020)
Joywave — Possession (March 13, 2020)
Walter Martin — The World at Night (Jan. 31, 2020)
Morrissey — I Am Not a Dog On a Chain (March 20th, 2020)
Human Impact — Human Impact (13 March 2020)
Hibiscus Biscuit — Reflection of Mine (March 1st, 2020)
Markus Reuter — TRUCE (Jan. 17, 2020) cover
Orchards — Lovecore (March 13th, 2020)
Julia Holter — Never Rarely Sometimes Always (March 13, 2020)
Cathedral Bells — Velvet Spirit (March 6, 2020)
Bacchae — Pleasure Vision (March 6, 2020)
The Dears — Times Infinity Volume One (September 25, 2015)
Amanda Palmer — Forty~Five Degrees: Bushfire Charity Flash Rec.
THE DEARS — ‘Lovers Rock’ (May 15, 2020)
Eivind Aarset & Jan Bang — Snow Catches On Her Eyelashes (2020)
Waxahatchee — Saint Cloud (March 27, 2020)
Michael Landau — The Michael Landau Group Live (Oct. 31, 2006)
Låpsley — Through Water (March 20th, 2020)
Elysian Fields — Transience Of Life (May 7, 2020)
Baxter Dury — The Night Chancers (20 March 2020)
The Weeknd — Beauty Behind the Madness (Aug. 28th, 2015)
The Weeknd — Beauty Behind the Madness (Aug. 28th, 2015)
False Heads — It’s All There But You’re Dreaming (13 March 2020)
False Heads — It’s All There But You’re Dreaming (13 March 2020)
The Album Leaf — OST (March 20, 2020)
Real Estate — The Main Thing (28th Feb., 2020)
Villagers — The Art Of Pretending To Swim (03/19, 2020) DELUXE E
Villagers — Darling Arithmetic [Deluxe Version] (April 10, 2015)
Noveller — Arrow (June 7, 2020)
Justine Vandergrift — Stay (Feb. 7th, 2019)
The Electric Soft Parade — Stages (Jan. 8, 2020)
Ben Watt — Storm Damage (31st Jan., 2020)
Anoushka Shankar — Love Letters (7 Feb., 2020)
Roger Eno | Brian Eno — Mixing Colours (20 March, 2020)
Alberto Posadas : Poética del Laberinto, cycle pour quatuor de s
Sufjan Stevens — Aporia (March 27, 2020)
Beck — Deep Cuts (March 2020)
BECK — Uneventful Days (St. Vincent Remix)
Béla Fleck & Toumani Diabaté — The Ripple Effect [2LP, March 27,
Arbouretum — Let It All In (March 20, 2020)
Pearl Jam — Gigaton (March 27, 2020)
Loveblind: Visions
Loveblind: Visions
San Fermin — San Fermin (Nov. 11, 2013)
San Fermin — The Cormorant I & II (Oct. 4, 2019/April 3, 2020)
Stove — ‘s Favorite Friend (Oct. 31, 2018)
Queer Jane — Amen Dolores (March 27, 2020)
Rory Block — Prove It On Me (March 27, 2020)
Lizzy Farrall — Bruise (March 27, 2020)
Lilly Hiatt — Walking Proof (27 March, 2020)
The Chats — High Risk Behaviour (March 27, 2020)
Kazuomi Eshima & Masahiko Takeda — Inheritance for Soundscape
Marissa Nadler — unearthed (March 20, 2020)
Lucy Railton — Paradise 94 (22 Mar 2018)
BECCA STEVENS — WONDERBLOOM (March 20th 20, 2020)
Trees Speak — Ohms (3rd April, 2020)
Teho Teardo — Ellipsis dans l’harmonie (March 6th, 2020)
Ellipsis dans l’harmonie BACK COVER
Cocteau Twins — Head Over Heels
Cocteau Twins — Treasure
Cocteau Twins — Garlands (1982, Reissue 2020)
1600 x 1600 High Violet (10th Anniversary Expanded Edition).jpg
Riva Taylor — ‘This Woman’s Heart .1’ (27 Mar 2020)
Amy LaVere — Painting Blue (27 Mar 2020)
Sea Wolf — Through a Dark Wood (March 20, 2020)
Locate S,1 — Personalia (April 3, 2020
Anna Burch — Quit The Curse (Feb 2, 2018)
M.Ward — Migration of Souls (April 3, 2020)
Peel Dream Magazine — Agitprop Alterna (3rd April 2020)
ANDREW BIRD — CAPITAL CRIMES (April 1st, 2020)
Spy Machines — Spy Machines (April 3, 2020)
Richard Barbieri ‎— Past Imperfect / Future Tense (Mar 2020)
DAVID POMAHAČ — DO TMY JE DALEKO (Feb. 7, 2020)
KIESLOWSKI Tiché lásky
Born Ruffians — Juice (April 3, 2020)
LENKA NOVÁ — DOPISY (21.03./24.04., 2020)
Ezra Bell — This Way to Oblivion (3rd April, 2020)
Songdog — Happy Ending (27th March, 2020)
Laurel Halo — Raw Silk Uncut Wood (July 13, 2018)
Laurel Halo — Possessed (April 10, 2020)
Laura Marling — Song for Our Daughter (April 10th, 2020)
Hamilton Leithauser (The Walkmen) — Dear God (Aug. 2015)
Hamilton Leithauser — The Loves of Your Life (10 April 2020)
Don Gallardo — The Lonesome Wild (April 2, 2020)
Cowboy Junkies — Ghosts (30 Mar 2020)
The Mountain Goats — Songs for Pierre Chuvin (April 10, 2020)
Darnielle, Jon Wurster, Matt Douglas, Pete Hughes. ©Josh Sanseri
Erik Griswold — All’s Grist That Comes To The Mill (03/20, 2020)
Erik Griswold — All’s Grist That Comes To The Mill (03/20 2020)
Varga Marián — Solo in Concert (1. feb. 2018)
Joe Bonamassa & The Sleep Eazys — Easy To Buy, Hard To Sell
Midwife — Forever (April 10, 2020)
Moondog — On The Streets Of New York (Feb. 14, 2020)
Damon Locks Black Monument Ensemble — Where Future Unfolds (2019
Meredith Monk & Bang on a Can All~Stars — Memory Game (03/27/20)
Pharoah Sanders — „Live In Paris (1975): Lost ORTF Recordings“
I Like to Sleep — Daymare (April 17, 2020)
MoE/Mette Rasmussen — Tolerancia Picante (March 25, 2019)
The Tiger Lillies — Cold Night in Soho (10 Feb. 2017)
The Tiger Lillies — Edgar Allan Poe’s Haunted Palace
Sarah Jarosz — World On The Ground (June 5, 2020)
Kate Amrine — This Is My Letter to the World (Jan. 24, 2020)
Fiona Apple — Fetch The Bolt Cutters (17 Apr., 2020)
The Tiger Lillies — Covid~19 (April 10, 2020)
Veneer — Recovery (April 15, 2020)
Siobhan Wilson — The Departure (10 May, 2019)
BC Camplight — Shortly After Takeoff (24 April 2020)
Siobhan Wilson — There Are No Saints (14 Jul, 2017)
Brendan Benson — Dear Life (April 24, 2020)
Ali Holder — Uncomfortable Truths (April 10, 2020)
From Atomic — Deliverance (April 2020)
Whyte Horses — Hard Times (17th of Jan., 2020)
Gerald Cleaver — Signs (March 27, 2020)
Sophie Tassignon — Mysteries Unfold (April 24, 2020)
HOUPACÍ KONĚ: SOULKOSTEL 8 11 2019 (April 25, 2020)
Sarah Longfield — Dusk (April 22, 2020)
Ariel Pink — House Arrest (2002/Mar 2011/April 24, 2020)
All The Best, Isaac Hayes (A Spoken Word Album)
Prophecy Playground — Comfort Zone (Feb. 15, 2020)
Mark Lanegan — Straight Songs Of Sorrow (8th May, 2020)
Genesis Revisited: Live at The Royal Albert Hall — 2020 Remaster
Joan As Police Woman — Cover Two (May 1, 2020)
Kuře v hodinkách — Flamengo
Kuře v hodinkách — Flamengo
Devon Williams — A Tear in the Fabric (May 1, 2020)
Johanna Warren — Chaotic Good (May 1, 2020)
emozpěv — Spolu (1st May 2020)
THE LEAGUE OF ASSHOLES — UNPLUGGED (1st May 2020)
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Zuzana Mikulcová — Slová
The Fratellis — Half Drunk Under A Full Moon (8th May, 2020)
The Fratellis — Half Drunk Under A Full Moon (8th May, 2020)
Cocteau Twins — Victorialand (April, 1986, Reissue 2020)
Coloured Clocks — Flora (May 2, 2020)
I Break Horses — Warnings (08 May 2020)
Hawkwind — Acoustic Daze (25 Oct. 2019)
Indoor Voices — Animal (Feb. 14, 2020)
I Break Horses — Chiaroscuro
Einstürzende Neubauten — Alles In Allem (May 29th, 2020)
100 Gecs — 1000 gecs (May 31, 2019)
Evergreen — Overseas (15 Jun 2018)
Kurt Rosenwinkel Trio — Angels Around (May 8, 2020)
The Feather — Room (10 July, 2020)
Eyvind Kang — Ajaeng Ajaeng (May 1, 2020)
Eyvind Kang — Ajaeng Ajaeng (May 1, 2020)
Kaitlyn Aurelia Smith — The Mosaic of Transformation (May 15, 20
Kaitlyn Aurelia Smith — The Kid (October 6, 2017)
Mr. Alec Bowman — I Used to Be Sad & Then I Forgot (May 1, 2020)
György Ligeti — Lontano (22. Oct.,1967)
OWEN PALLETT — Heartland (March 3, 2014)
Badly Drawn Boy — Banana Skin Shoes (22nd May, 2020)
A.O. Gerber — Another Place to Need (May 22, 2020)
Kaleidoscope — Faintly Blowing (11 April 1969, Reissue, Remaster
Perfume Genius — Set My Heart On Fire Immediately (15th May 2020
Perfume Genius — No Shape (5 May, 2017) BC
Perfume Genius — No Shape (5 May, 2017) FC
Sungazers — Wasting Space (May 18, 2020)
Cermaque — Lament (22nd May, 2020)
Mountaineer — Bloodletting (May 22nd, 2020)
Jetstream Pony — Jetstream Pony (May 22, 2020)
Steve Earle — Townes (May 8, 2009)
Steve Earle & The Dukes — Ghosts of West Virginia (May 22, 2020)
Sixth June ‎— Trust (17 Jan 2020)
White Tail Falls — Age of Entitlement (May 29, 2020)
Weyes Blood — “Wild Time” from Titanic Rising
Nicole Atkins — Italian Ice (29 May 2020)
Deerhoof — Future Teenage Cave Artists (May 29, 2020)
Deradoorian — Find the Sun (Sept. 18, 2020)
Bob Dylan — Rough and Rowdy Ways (June 19th, 2020)
The Magnetic Fields — QUICKIES VINYL BOX SET (June 19, 2020)
The Magnetic Fields — QUICKIES VINYL BOX SET (June 19, 2020)
This Will Destroy You — Vespertine (June 9, 2020)
Jake Blount — Spider Tales (May 29, 2020)
Jake Blount — Spider Tales (May 29, 2020)
Yoko Ono, Kim Gordon & Thurston Moore — YOKOKIMTHURSTON
Psychic Markers — Psychic Markers (29 May, 2020)
The Memories — Pickles & Pies (May 29, 2020)
Songs for the Late Night Drive Home (Feb. 5, 2016)
Spc Eco — Dark Matter (Nov. 20, 2015)
SPC ECO — June (June 1, 2020)
Yves Tumor — Heaven to a Tortured Mind (April 3, 2020)
Norah Jones — Pick Me Up Off the Floor (June 12th, 2020)
Larkin Poe — Self Made Man (June 12th, 2020)
Ezra Furman — Sex Education [Original Soundtrack] (April 24, 202
Endless Field — Alive in the Wilderness (June 12, 2020)
Wesley Gonzalez — Appalling Human (June 12, 2020)
Noveller — Arrow (June 12, 2020)
Kim Myhr & Australian Art Orchestra — Vesper (17.04. 2020)
Kim Myhr & Australian Art Orchestra — Vesper (17.04. 2020)
Andrej Šeban — Triplet (March 22, 2019) inner cover
Andrej Šeban — Triplet (March 22, 2019) cover
The Crossing & Donald Nally — James Primosch: Carthage (05/2020)
Jerskin Fendrix — Winterreise (April 17, 2020)
Zoongideewin — Bleached Wavves (June 19, 2020)
ULRICH SCHNAUSS — A Long Way To Fall — Rebound (3rd April, 2020)
Sports Team — Deep Down Happy (5th June, 2020)
Wrekmeister Harmonies — We Love to Look at the Car (2020)
Midlake — Antiphon (Nov. 4, 2013)
ANASTASIA MINSTER — Father ©Michael Haley
Jessie Ware — Glasshouse (Deluxe; 20 Oct 2017)
Teen Daze — Morning World
Jessie Ware — What’s Your Pleasure (June 26, 2020)
Art Feynman — Half Price At 3:30 (June 26th, 2020)
Bo Ningen — Sudden Fictions (26th June, 2020)
Khruangbin — Mordechai (June 26, 2020)
Pottery — Welcome to Bobby’s Motel (June 26th, 2020)
Orlando Weeks — A Quickening (June 12, 2020)
John Craigie — Asterisk the Universe (June 12, 2020)
Kavus Torabi — Hip to the Jag (May 22, 2020)
Nadine Shah — Kitchen Sink (June 5, 2020)
Paul Weller — On Sunset [Deluxe Edition] (3rd July, 2020)
Corb Lund — Agricultural Tragic (June 26, 2020)
Christine Ott — Chimères (pour ondes Martenot) (May 22, 2020)
The Beths — Jump Rope Gazers (July 10th, 2020)
Ashley Paul — Window Flower (May 13, 2020)
Grey Daze — Amends [Deluxe Edition] (July 3, 2020)
Grey Daze ©Photo credit: Anjella / Sakiphotography
Ajimal — As It Grows Dark / Light (June 26, 2020)
Ajimal — As It Grows Dark Light (June 26, 2020)
Eleanor Friedberger — Rebound (May 4th, 2018)
ELEANOR FRIEDBERGER — NEW VIEW (January 22, 2016)
Immigrant Union — Judas (June 19, 2020)
Julianna Barwick — Healing Is a Miracle [Japan Edition] (2020)
Neil Young & Crazy Horse — Colorado (Oct. 25, 2019)
Neil Young — Homegrown (19th June, 2020)
The Jayhawks — XOXO (July 10, 2020)
Joy Division — Closer (40th Anniversary) [2020 Digital Master] (
Daniel Bachman — The Morning Star (July 27, 2018)
Daniel Bachman — Green Alum Springs (June 6, 2020)
Becca Mancari — The Greatest Part (June 26, 2020)
Ytamo — Vacant (June 12, 2020)
Bright Eyes — Down In The Weeds, Where The World Once Was (Aug.
Thin Lear — Wooden Cave (24th July, 2020)
Devendra Banhart — Vast Ovoid (July 24, 2020)
Cub Sport — LIKE NIRVANA (24 July, 2020)
Sara Serpa — Recognition (June 5th, 2020)
Sara Serpa, Ingrid Laubrock, Erik Friedlander — Close Up (2018)
Klara Lewis — Ingrid (1st May 2020)
Buju Banton — Upside Down (June 26, 2020)
Son Lux — Learning Structures vol. 1~4 (Oct. 11th, 2019)
learning structures, vol. 3 distance between us (Oct. 11, 2019)
learning structures, vol. 2: end firma
learning structures, vol. 3: distance between us
The Boomtown Rats — Citizens of Boomtown (13 March, 2020)
Ralph of London — The Potato Kingdom (19th June, 2020)
Mike Polizze — Long Lost Solace Find (July 31, 2020)
Land of Talk — Indistinct Conversations (July 31, 2020)
The Heliocentrics — Infinity Of Now (Feb. 14, 2020)
TANYA DONELLY: Swan Song Series bonus tracks (FC)
The Heliocentrics — Telemetric Sounds (Aug. 7, 2020)
KMRU — Peel (18th Sept., 2020)
Kris Delmhorst — Blood Test
Bill Callahan — Gold Record (Sept. 4, 2020)
MUFF — Fatalust (Nov. 1, 2019) cover
Asher Gamedze – Dialectic Soul (July 10, 2020)
Allegra Krieger — The Joys of Forgetting (August 7, 2020)
Still House Plants — Fast Edit (Aug. 14, 2020)
Vladislav Delay, Sly Dunbar, Robbie Shakespeare — 500~Push~Up
The Waterboys — Good Luck, Seeker (Deluxe) (Aug. 21, 2020)
Martin Burlas & Musica falsa et ficta — Hexenprozesse
Holly Herndon — PROTO (Winner of Tais Awards 2020)
Maria Schneider Orchestra — Data Lords (24th July, 2020)
Cold War Kids — New Age Norms 1 (Nov. 1, 2019)
Cold War Kids — New Age Norms 2 (Aug. 21, 2020)
Free To Grow — Imperfection (Aug. 7, 2020)
Throwing Muses — Sun Racket (Sept. 4, 2020)
Narrow Head — 12th House Rock (Aug. 28th, 2020)
Laura Veirs — MY ECHO (23rd Oct., 2020)
PVRIS — Use Me (March 3, 2020)
Dan Croll — Grand Plan (21 Aug., 2020)
All Them Witches — Nothing as the Ideal (Sept. 4, 2020)
The Flaming Lips — American Head (Sept. 11, 2020)
Elysian Fields — Transience of Life (Sept. 4, 2020)
Sara Bareilles — What’s Inside Songs From Waitress (11/06, 2015)
Sara Bareilles — More Love: Songs from Little Voice Season One (
Delta Spirit — Into The Wide (Deluxe Edition, Sept. 9, 2014)
Lo Tom — LP2 (September 11, 2020)
The Telescopes — Hidden Fields (August 7th, 2015)
Slow Pulp — Moveys (Oct. 9, 2020)
Deerborn — Where Demons Hide (Aug. 28, 2020)
Deradoorian — Find the Sun (Sept. 18, 2020)