Format: book/magazine
Price: £15.00 
Book released: November 14th, 2019
Ξ★Ξ      Album „In The Court Of The Crimson King“ bylo po jeho vydání v roce 1969 obrovským hitem hitparád na obou stranách Atlantiku. Znamenalo to počátek jednoho z nekonvenčních a nejinovativnějších outfitů rockové hudby. V té době moc takových průlomových bandů, kteří by vydali třináct studiových alb, trvale náročných s výraznou hudbou, nebylo. S měnící se sestavou personálu v průběhu pěti desetiletí byl jediným konstantním faktorem kytarista Robert Fripp. V roce 2019, kdy King Crimson cestuje po světě a slaví 50 let, nadále vzdoruje očekáváním a tlačí na hranice toho, co je ještě možné v rocku.
Ξ★Ξ      Původně publikovaná v roce 2001 uznávaná biografie King Crimson od Sida Smithe je již dávno mimo tisk. Toto nové, přepracované a rozšířené vydání pokračuje v rešerších. V pohnuté době je za úžasnou cenu na trhu až do 50. výročí turné King Crimson v roce 2019.
Ξ★Ξ      Sid Smith’s In The Court Of King Crimson: An Observation Over 50 Years traces King Crimson’s career from the 1960s underground scene to the present day, featuring interviews with all the principal musicians and people associated with the band, a track by track analysis of studio output and an extensive annotated gigography.  
Ξ★Ξ      A significantly expanded follow~up to the acclaimed  In The Court Of King Crimson from 2002, Smith’s book is an essential companion to one of the most intriguing careers in Rock music history. 
Ξ★Ξ      Long out of print and double the size of its predecessor, the book includes material from King Crimson’s archives plus much previously unpublished material.
Ξ★Ξ      Hardback book, 632 pages (624 + 8 pages of photos).
Ξ★Ξ      Comes with a postcard signed by Sid Smith (while stocks last).
Ξ★Ξ      In The Court Of The Crimson King was a huge chart hit on both sides of the Atlantic upon its release in 1969.  It marked the beginning of one of Rock music’s most innovative and unconventional outfits who would go on to release thirteen studio albums of consistently challenging and distinctive music. 
Ξ★Ξ      With a changing roster of personnel over five decades the one constant factor has been guitarist Robert Fripp. In 2019 as King Crimson tours the world celebrating 50 years they continue to defy expectations and push at the boundaries of what is possible in Rock music. 
♦     In addition to telling the story of the band over the last fifty years, the book includes a detailed track by track analysis of each of the thirteen studio albums recorded between 1969 and 2003, and an annotated gigography celebrating well over 300 performances by King Crimson during the same period.
♦     Sid Smith comments, “Everyone who has ever played in King Crimson over the last fifty years has had the course of their life altered in some way as a result. In interviewing all of those players, plus managers, friends, and professional colleagues associated with the band, you get a sense of what kind of place the Court of King Crimson can be like. The music produced by the band and all its different incarnations over the last five decades have profoundly touched so many people, myself included.
♦     By exploring the context around the making of their studio albums, the various interactions between each of the players and the in~concert experience of band members and fans alike, I suppose in one way the book is really a users’ field guide to King Crimson.”
♦     At over 600 pages In The Court Of King Crimson represents a substantial and authoritative history of the band, its music, and its impact across the last five decades.
♦     Here’s an extract from the book which looks at some of the highs, lows and pressures of life in King Crimson as they embarked upon the road to Red...
♦     Members of the group coped with the pressures of touring in different ways and with varying degrees of success. Fripp, very much feeling burdened by doubts about King Crimson and his responsibilities in it, spent time practising the guitar, reading and scrupulously maintaining his journal. Cross candidly admits he drank more than was probably good for him. “I don’t think I was that unhappy with touring but rather I was getting frustrated with the stage show and my performance, which I wasn’t happy with. I found a note I’d written in the gap between these two tours that I’d contacted somebody to try and get some violin lessons. I knew I needed some help with that. I was realising that I had to take some kind of action to improve things.”
♦     As the band’s profile grew in America, Wetton and Bruford fused into an invincible wall of sound which, though wonderful for audiences, had the effect of sidelining others in the band. Bruford recalls Fripp describing the experience akin to “playing with a flying brick wall” and going on to advise that any player coming into contact with it should “go with it or duck”.
♦     If it was becoming difficult for Fripp, the problems experienced by Cross were also mounting. As the players became louder, he began to find even the effort to compete dispiriting. The volume in concert, coupled with the vagaries of on~stage monitoring, blunted his hearing and tone and, ultimately, his appetite for punishment. The more he tried to move into the musical space towards which the rhythm section gravitated, the more he had to turn up. The more he turned up, the less he heard. The less he heard, the more marginalised he felt. The more marginalised he felt, the more the others would sense this and resent it. And so on.
♦     Worse than that for Cross was a sense that there was little room for him within improvisations he felt were becoming increasingly rock~driven, demonic and, correspondingly, one~dimensional. For him the situation seemed unremittingly bleak as he describes in his notes in The Great Deceiver boxed set. “After gigs I would drink and drown my anger. All the time I was making progress within the group but my confidence was seriously undermined and I often felt lonely, even in the midst of 10,000 people.”
♦     Looking back, Bruford acknowledges that their impatience with Cross effectively shut out the violinist. “I don’t think John and I were in any mood to wait and see if anybody could keep up with us. Robert could and so that was OK, but David didn’t. I have a lot of sympathy with David now. I feel that I wasn’t in a place at the time to be able to understand his ‘white flag’ held up as a truce, saying to us ‘Hold on ... could I be included in this?’ I was too strong and too disinclined to wait for any passengers. It was too much success, too much exuberance, too much coffee, too much tiredness. It was being egged on by a very loud bass player. I’d do it differently now and, as I now know, musical talent is not all about muscles.”
♦     Fripp also accepts that Cross was placed in an increasingly impossible position, which saw a musical and personal distance develop between the violinist and the rest of the group as he failed to meet the strength and volume of the rhythm section. For his part, Wetton says it was difficult to step away from the surging excitement their playing incited. “We’d generally have a rule that if it wasn’t going anywhere then we could stop and go into a formal piece. The trouble was that once Bill and I were going it was difficult to stop. Robert and David might be bored out of their minds, you know, but it was very difficult to stop.”
♦     It wasn’t just Cross experiencing a sense of dislocation. As the tour ground on, crevices of animosity and resentment opened. Bruford cites Wetton’s on~stage volume as being a symptom of the distrust that had begun to subtly gnaw away at old alliances. “John’s onstage sound got unnecessarily loud and that became a huge source of irritation. It’s a way of saying ‘I don’t really want to hear you so I’ll turn myself up’. John got louder and louder and decided he couldn’t trust the sound mixer and he was going to make sure that the guy sitting at the back of a 4,000~seat room was going to hear him play. Of course, it’s a chicken~and~egg thing because the more you play louder, so the sound mixer does turn you down and so on.”
♦     Wetton, himself no stranger to alcohol and other chemical substances, often found solace in the company of several different girlfriends. “I was footloose and fancy~free and we were a popular band touring the US in the ’70s,” he smiled, recollecting his not~so monkish existence at the time. “It was just after the late~’60s free love thing, you know. It was a lovely time to be on the road with a rock band, really.” Bruford laughs at the suggestion that he also might have taken up the life of an on~road Lothario. “I wasn’t much good at sex, drugs and rock’n’roll. I was too bloody knackered.” Aside from thinking, practising and learning to stand on his head, Bruford reveals he took up alto saxophone, learning to play it in his hotel room. “Did he?” said Wetton, taken aback. “That’s a new one on me. I don’t remember that. Several times I had a room next to his and I never heard a toot!”
♦     Seeing Crimson in concert often meant taking in at least two other bands on the same night. With tours organised through Frank Barsalona’s Premier Talent Agency, the pairings could at times be incongruous. “We had some wonderful mismatches,” laughed Wetton ruefully. “Although ’70s audiences were very tolerant because often their edges were smoothed out somewhat by the haze that engulfed them, when you put a rock’n’roll band like Ten Years After, Black Oak Arkansas or ZZ Top with King Crimson, those kinds of pairings didn’t really work. Groups such as The Mahavishnu Orchestra and Procol Harum did work well because there was some degree of crossover between fans.”
♦     Sharing the bill on numerous occasions were The Robin Trower Band. Fripp, a fan of Trower’s playing, tried to catch the first few numbers of the ex~Procol Harum guitarist in concert before going backstage to prepare for his own performance. After gigs, the pair would discuss the challenges they faced with their bands, swap guitar exercises and looked into the practicalities of working together the following year.
♦     “Robin Trower — that was a nice bill,” Wetton remembered. “They had an album that was really doing well and was in the charts. I think, in fact, when it was Crimson, Robin Trower and Golden Earring, the album chart positions were in reverse order of the billing of the bands. You had Golden Earring had an album at No. 6, Robin Trower had one at 22 and Crimson had one at 67! (laughs). But the applause was inversely proportional. Robin used to go down really well but it was always difficult for anyone to follow Crimson. We would end with LTIA2 or Schizoid Man and it’d be difficult for people to top that, really. The sound was so brutal coming from all of us it didn’t actually matter what we played because when we came on, even if we were improvising from the word go, people would just stand and say ‘fucking arseholes — what is this!’ It had such force and presence you couldn’t argue with it really.” One of the many bands who ended up on the receiving end of that force was the UK band Slade. Wetton recalls his incredulity when he was told that the glam~rockers were headlining in Detroit, something of a Crimson stronghold. “We played our set, then Slade came on and they had to survive the boos and jeers. Noddy Holder, their lead singer, came up to the microphone and he said in a broad Wolverhampton accent, ‘If you don’t like it you can all go and have a shit!’ It was superb!”
♦     Wetton recalled the profound impact of singing in front of 18,000 people in Phoenix’s Feyline Fields, between Strawbs and Trower. The same gig also lodged in David Cross’s memory. “It was lovely and for me in such an alien environment, out in the desert. So different, so strange. You can’t buy experiences like that. It was such a privilege to be able to take part in that event, to go on at that time was just perfect as the sun was going down.” For Cross, where Crimson appeared on the bill wasn’t a particularly big deal. “It was just all part of the job. The good thing about headlining is you got to play longer, suppose. One of the things that did help us as an improvising band was that, because we did do supports, we had to tailor our set to wherever we were. Sometimes we were doing a 45~minute set, sometimes less, and you had to fit into that slot and deliver what was appropriate for that time, while at the same time give people the flavour of what you were up to. That could be quite challenging but I think that’s what kept us focused.”
♦     Regardless of where they were on the bill, the sound Crimson made, on what turned out to be this line~up’s final, tour, was committed and forceful. It wasn’t just down to volume although, as several eye~witnesses attest, the band was undoubtedly loud. Often audiences had no idea that the piece they were hearing was improvised, a forgivable misunderstanding considering the way such blows could sometimes be introduced. For example at the Palace Theatre, Providence, an audibly amused Fripp pronounces ahead of the first blow of the evening: “This is a new piece we’ve been working on for a considerable amount of time. This is a cosmic voyage which seeks to depict musically, seven states of altered consciousness. This is called A Voyage To The Centre Of The Cosmos, subtitled My Mate Atman.”
♦     On some occasions, such as the memorable performance at Asbury Park, there was no time for such jollity. Straight after Exiles, an ever~eager Bruford performs a typically crisp snare roll, laying down a wonderful groove. Six seconds in, Fripp can be heard shouting “F!” across the stage. A couple of beats later the bass grunts, the guitar growls and the band take a collective leap into the unknown. Years later, those who saw the performance, and the many more who heard it on USA, marvel at what is widely regarded as one of the finest moments of Crimson in any incarnation.
♦     “Improvisation and extemporisation; what’s the difference? Extemporisation is what the musicians do and improvisation is what happens when it comes to life,” says Fripp. “Spontaneous composition? Trio is an example of that. It was improv but it sounded written. The Sheltering Sky, another example.”
♦     Listening to the improvisations from 1974, one becomes aware of distinct areas the improvisations fall into, not exactly a map but there are recurring motifs and moods. Were these consciously worked at or allowed to develop on their own?  “You work with these musicians and you have some sense of how they might respond in a certain situation,” offers Fripp. “Then you have Asbury Park — ‘F!’. All right, what are you anticipating might happen after that? Where is that going to go? Well, all you know is it’s going to begin somewhere around F and then, who knows? So you’re working with these characters; you know the areas they are likely to move to, and then sometimes it goes somewhere else. That’s what it is, and sometimes it moves towards a formal structure that can be formalised in a piece — or not.”
♦     In those moments, Cross believes they were operating around the rawer edges of how music is constructed. “If you throw the rules out of the window then you do start to come up with ways of talking about music in the way that we used to; starting with big bangs, steady climb~outs, fade~outs or cross~fades. We were talking about music in rather general terms because we didn’t have any specifics mapped out. When I’ve endeavoured to walk down anything like a similar road with musicians since, they’re terrified of doing that, or if they do, they can’t play a tune. Somehow we could see the value in playing tunes, singing songs and, at the same time, exploring anything else that was around or came to mind. It’s dead lucky that we were able to do that. Considering how young we were, it was quite extraordinary really.”
♦     “There was an undeniable force with that band. It was not any one individual. It was the whole band,” suggested Wetton. “I can’t tell you because I was on stage, but I think if you were standing in the audience you would feel this raw wave of power. It was just a kind of attitude really, a big attitude coming off stage at you. What people forget is that when they think of King Crimson they tend to think of balladic, Mellotron~led stuff. Actually by the time we were doing Red and on the road, it’s fucking metal — sheet metal coming off the stage at you.”
♦     But conflict remained, particularly for the increasingly marginalised Cross. As early as April, at Columbus, Ohio, tensions between Cross and Bruford spilled over on stage, despite the fact that Fripp judged the gig to be a good one, noting it was the “first time we’re as big as we can be”. By the time the band played their historic gig in New York’s Central Park, the decision had already been taken that Cross and Crimson would part company. “Over my life I’ve come to realise that playing the violin is a core activity for my existence. It’s not really something I can pick up and put down. If I don’t do it, I don’t feel right and I don’t feel like me. So I guess if I wasn’t playing as well as I wanted to, then I wasn’t feeling right about me and that needed to be addressed somehow, and I guess that meant I just had to get out of the situation which I found myself in. Leaving King Crimson was not a decision made in any particular moment and was based on instinct rather than reason. Although I enjoyed so much of being part of KC, touring was increasing my levels of anxiety to an untenable degree and I didn’t have the psychological resources to keep coping. The avoidance of that particular pressure grew into a more pleasant vision of the future than continuing. On stage in Central Park I loved being, there but offstage the balance was shifting fast in favour of self~preservation.”
♦     Cross’s position in the band was the subject of ongoing discussion in those final weeks before Central Park. There was talk about replacing Cross in the middle of the tour with ELO violinist Wilf Gibson. Fripp had previously worked with Gibson on Keith Tippett’s Centipede album and on King Crimson’s Islands where he had been responsible for fixing up the small string ensemble for Prelude: Song Of The Gulls. Gibson, who died in 2014, remembered receiving a call about possibly joining Crimson while he was on tour with ELO in the USA. “The schedule we had with ELO made you feel like some product, like a packet of cornflakes or something rather than a musician. The criss~crossing of America on the first ELO tour was suicidal. Florida one day, Boston the next, Los Angeles the day after. We sometimes shared the bill with Crimson. There was a place we crossed paths somewhere like Fresno or Sacramento, somewhere on the West Coast,” said Gibson. “You got to a stage where your brain was absolutely scrambled. It took me weeks to get over that. I went up to Norway to my in~laws and just sat in a boat fishing for about six weeks.” Back at home in London, he attended a meeting at EG’s offices where a firm offer was made and terms were discussed although no members of Crimson were present. “At the time my son was three years old and my daughter was one year old. The reason I turned it down was what the management put to me would have meant spending the next two years touring the States. I could see the prospect of having to bring my kids up in America which I didn’t want at all. I had a house in Wimbledon that I had to keep up and it would have been a huge upheaval. I was a bit brutal about it at the time. It was a very good offer. The money they offered me was really good payment for the gigs and a retainer, but I was a bit uneasy about replacing their violinist — dead man’s shoes and all that. Eventually I said ‘No, it’s not for me’.”
♦     Despite these difficulties, the band was still capable of magnificent improvisations. Wetton recalled: “Usually we’d start with an atmosphere, hit in with a riff and reach a climax, then fizzle out. Maybe one night in every five it would be brilliant and for us — that was enough because we’d got a result. You can’t do it every night but that was a risk we were always prepared to take.”  The intensity could vary tremendously, even during the same show. At Toronto’s Massey Hall, on 24 June 1974 (documented on the fourth disc of The Great Deceiver boxed set), they launched into a blistering groove reminiscent of The Mahavishnu Orchestra’s The Noonward Race. Yet somewhere in between The Night Watch and Fracture, the spark haemorrhages away to produce, in the aptly titled Clueless And Slightly Slack, an indeterminate, unfocused prodding which hangs Cross out to dry. For Fripp, there are many reasons for such an occurrence. “A performance can be violated and damaged, often in ways which are not immediately apparent or obvious. Surreptitious recording, photography, drugs kicking in, even violence on the premises, all disturb the performance. Sometimes this is connected to the group. Mostly, it is not.”
♦     The band always tried to avoid giving obvious cues to each other in improvisations which led many to miss the fact that what they were hearing was not the debut of a forthcoming composition. Wetton takes some pride in this. “We knew what was going on most of the time but nobody else did and it looks like we are performing miracles. We were very much against signals or cues which were obvious to anyone other than ourselves. There was a rule whereby, if one of the guys led off somewhere, there was an absolute commitment to follow in that direction, no matter where it might lead. It was very supportive. There had to be that understanding.”
♦     Wetton took the view that a more demonstrative player than Cross was needed. Fripp agreed, at least in part, recording that the thinking behind this was to do with Cross’s widening disconnection from Crimson’s musical direction. It was also agreed that problems of confidence and self~esteem had rendered Cross’s personality too insecure for him to remain. Fripp says: “The balance of the group, conceived as a quintet, had been lost. Part of this was that Jamie balanced Bill and without Jamie’s counterbalance, ordering and direction, Bill’s energies become increasingly unrestrained. The rhythm section got stronger, and essentially became the front line. The degree to which the guitarist held his own with them is debatable: even if considered as strong a player, he was outweighed two to one. As an individual, David Cross was probably a gentler character than Bill and John, and not as likely to move into the clinches. But, as an instrument, the violin could not hold its own in an electric power context alongside (at least) the mighty Bass Beast Of Terror.”
♦     With one eye looking out for the person and one eye on business, tour manager Dik Fraser argued that Cross might be inclined to do something stupid — and the music might suffer as well — if told that he was out. Only Bruford felt that the violinist should stay on. He was outvoted. It was agreed that Cross should be told by EG when he returned to the UK, with Fripp insisting that his objection to not telling Cross in person had been over~ruled.
♦      Looking back, the guitarist says: “I was infuriated that, even when we began recording Red, David Cross had not been told by EG. This was in direct violation of the undertaking I had been given. EG’s Standard Operating Procedure was clearly not one of transparency.”
♦     1974’s final gig, in New York’s Central Park on 1 July was always going to be an important one though, as the players left Rhode Island that morning, they could hardly have envisaged it would be King Crimson’s last for more than seven years. “There was enough testosterone onstage that night to drive an F~14,” Wetton recalled. For Fripp the gig had a power he’d not felt since 1969 — “the bottom of my spine registered ‘out of this world’.”
♦     It was the expressed hope of Wetton and others in the team that Central Park, like Hyde Park in 1969, might thrust the band into wider recognition. “Everybody at Island and Atlantic believed in the band and gave us a lot of support, a great management team and, for my money, I thought we were the best in the game. We had the plot,” says the bassist.
♦     But the gig nearly didn’t happen due to a terrible mains hum which threatened to swamp the PA sound. Fripp’s inclination was to cancel unless the technical difficulties could be overcome. A vote was taken and it was agreed to go ahead. At a little after 8.30 pm, as the mellifluous strains of No Pussyfooting — still unreleased in the USA at that point — gently massaged the atmosphere, Crimson took the stage with a highly flammable 21st Century Schizoid Man.
♦     Towards the end of the set, the band played their epic new number Starless. Fripp recalls: “As the sun went down and we moved into the ominous bass riff emerging from the Starless vocal, red stage lights faded up from behind the band. For me, a stunning theatrical moment highlighting the tension within the piece and the group; a moment of resonance.” Wetton: “I don’t think you get that level of energy in bands that often. I don’t think there were that many bands around at the time, doing that kind of stuff, who could touch us.”
♦     Wetton later enjoyed a far more lucrative career in Asia, who at one point sold 800,000 units a day. Yet he was in no doubt which part of his career meant the most to him. “If I shuffle off this mortal coil tomorrow, that gig would be the one for me. All the stuff with Asia and everything else is just icing on the cake. That was the one ... it was almost tearful it was so emotional. It should have been the beginning of something rather than an ending.”
Website: https://www.dgmlive.com/ 
Twitter: https://twitter.com/dgmhq 
FB: https://www.facebook.com/kingcrimsonofficial/ 
Weave: https://weave.me/weave/?King_Crimson  
Ξ★Ξ      King Crimson are an English progressive rock band formed in London in 1968. King Crimson have been influential both on the early 1970s progressive rock movement and numerous contemporary artists. The band has undergone numerous formations throughout its history of which 21 musicians have been members; since October 2017 it has consisted of Robert Fripp, Jakko Jakszyk, Tony Levin, Mel Collins, Pat Mastelotto, Gavin Harrison, Jeremy Stacey and Bill Rieflin. Fripp is the only consistent member of the group and is considered the band’s leader and driving force. The band has earned a large cult following. They were ranked No. 87 on VH1’s 100 Greatest Artists of Hard Rock.
Ξ★Ξ      Developed from the unsuccessful trio Giles, Giles and Fripp, the band were a seminal part of the early progressive rock genre, which is characterised by extended instrumental sections and complex song structures. King Crimson’s debut album, In the Court of the Crimson King (1969), remains their most successful and influential release, with its elements of jazz, classical and experimental music. Their success increased following an opening act performance for the Rolling Stones at Hyde Park, London, in 1969. Following the less successful In the Wake of Poseidon (1970), Lizard (1970), and Islands (1971), the group reached a new creative peak with Larks’ Tongues in Aspic (1973), Starless and Bible Black (1974) and Red (1974). Fripp disbanded the group in 1974.
Ξ★Ξ      In 1981, King Crimson reformed with a change in musical direction which lasted for three years, resulting in the trio of albums Discipline (1981), Beat (1982) and Three of a Perfect Pair (1984). Following a decade~long hiatus, Fripp revived the group in 1994 and released Thrak (1995). Since 1997, several musicians have pursued aspects of the band’s work and approaches through a series of related bands collectively referred to as ProjeKcts. In 2000, the band reunited once more and released The Construkction of Light (2000). The band’s most recent album is The Power to Believe (2003). In 2008 the band undertook a tour to celebrate their 40th Anniversary and continue to perform live in various capacities. The band remained inactive after 2009 until 2013, when the band revived under a new lineup.
★   „In the Court of the Crimson King“ (subtitled An Observation by King Crimson) is the debut studio album from the English rock band King Crimson, released on 10 October 1969 on Island Records in England and Atlantic Records in America. The album is considered to be one of the first and most influential of the progressive rock genre, where the band largely departed from the blues influences that rock music was founded upon and combined elements of jazz, classical, and symphonic music.
★   „In the Wake of Poseidon“ is the second studio album by English progressive rock group King Crimson, released in May 1970 by Island Records in Europe, Atlantic Records in the United States, and Vertigo Records in New Zealand. The album was recorded during instability in the band, with several personnel changes, but repeats the style of their first album, In the Court of the Crimson King. As with their first album, the mood of In the Wake of Poseidon often changes from serene to chaotic. The album was their highest~charting in the UK, reaching number 4. It has been well received by critics.
★   „Lizard“ is the third studio album by British progressive rock band King Crimson, released in December 1970 by record label Island. It was the second recorded by a transitional line~up of the group that never had the opportunity to perform live, following In the Wake of Poseidon. This is the only album by the band to feature bassist and vocalist Gordon Haskell, apart from his appearance on the song „Cadence and Cascade“ from the previous album, and drummer Andy McCulloch as official members of the band.
★   „Islands“ is the fourth studio album by English band King Crimson, released in December 1971 on the record label Island. Islands would be the last King Crimson studio album before the group’s trilogy of Larks’ Tongues in Aspic, Starless and Bible Black and Red. It is also the last album to feature the lyrics of founder member Peter Sinfield.
★   „Larks’ Tongues in Aspic“ is the fifth studio album by the English progressive rock group King Crimson, released on 23 March 1973 through Island Records. This album is the debut of King Crimson’s fifth incarnation, featuring original member and guitarist Robert Fripp and new members John Wetton (vocals, bass), David Cross (violin, Mellotron), Jamie Muir (percussion), and Bill Bruford (drums). It is also a key album in the band’s evolution, drawing on Eastern European classical music and European free improvisation as central influences.
★   „Starless and Bible Black“ is the sixth studio album by English progressive rock band King Crimson, released in March 1974 by Island Records in the United Kingdom and by Atlantic Records in the United States. Much of the album was recorded live, but edited and blended with studio material.
★   „Red“ is the seventh studio album by English progressive rock group King Crimson, released in 1974 by Island Records in the United Kingdom and by Atlantic Records in the United States. It was their last studio recording of the 1970s and the last before the lead member Robert Fripp temporarily disbanded the group. Though their lowest~charting album at the time, spending only one week in the UK charts, Red has received critical acclaim.
★   „Discipline“ is the eighth studio album by English progressive rock band King Crimson, released on 22 September 1981 by E.G. Records in the United Kingdom and by Warner Bros. Records in the United States. This album was King Crimson’s first album following a seven~year hiatus. Only founder Robert Fripp and later addition Bill Bruford remained from previous incarnations. The rest of the band was Adrian Belew (guitar, lead vocals) and Tony Levin (bass guitar, Chapman Stick, backing vocals). The album resulted in a more updated 1980s new wave~oriented sound.
★   „Beat“ is the ninth studio album by the British rock band King Crimson, released in 1982 by record label E.G. It is the first King Crimson studio album to feature a band line~up identical to that of their previous album.
★   „Three of a Perfect Pair“ is the tenth studio album by English band King Crimson, released in March 1984 by record label E.G.
★   „THRAK“ is the eleventh studio album by the band King Crimson released in 1995, the successor to the preceding mini-album VROOOM (1994).
★   „The Great Deceiver“ is a live 4CD box set by the band King Crimson, released on Virgin Records in 1992. In 2007, it was reissued as two volumes of 2 CDs each. The track listing on the volume 1 CD 1 lists 11 tracks, incorrectly listing The Talking Drum and the abbreviated „Larks’ Tongues in Aspic, Part Two“ from the Pittsburgh show from CD 1 of the volume 2 set.
★   „Heavy ConstruKction“ is a live album (3~CD set), incorporating video footage, by the band King Crimson, released by Discipline Global Mobile records in 2000. The album features recordings from King Crimson’s European tour of May to July 2000, taken from DAT recordings of the front~of~house mixing desk.
★   „Radical Action to Unseat the Hold of Monkey Mind“ is a box set by King Crimson, released on 2 September 2016.


Human Impact — Human Impact (13 March 2020)
Johanna Warren — Chaotic Good (May 1, 2020)
Skylar Gudasz — Cinema (April 17, 2020)
Stereolab — Margerine Eclipse (Nov. 29, 2019)
Avey Tare — Eucalyptus (July 21, 2017)
Wasuremono — „Let’s Talk, Pt. 1“ (April 23rd, 2021)
Black Country, New Road — For the first time (Feb. 5, 2021)
Hearty Har — „Radio Astro“ (Feb. 19, 2021)
Richard Youngs — „Holograph“ (April 2, 2021)
Chris Cornell No One Sings Like You Anymore, Vol. 1 (03/17/2021)
Fatima Yamaha — Spontaneous Order (Nov. 20, 2020)
T~Tops — „Staring at a Static Screen“ (28 May, 2021)
Bonnie “Prince” Billy — I Have Made A Place (Nov. 15th, 2019)
Merzbow .. Prurient — „Black Crows Cyborg“ (April 2021)
Narrow Head — 12th House Rock (Aug. 28th, 2020)
The Fratellis — Half Drunk Under A Full Moon (8th May, 2020)
LENKA DUSILOVÁ — ŘEKA (Nov. 6th, 2020)
LENKA DUSILOVÁ — ŘEKA (Nov. 6th, 2020)
1600 x 1224 Hen Ogledd — Free Humans.png
Moondog — On The Streets Of New York (Feb. 14, 2020)
MoE/Mette Rasmussen — Tolerancia Picante (March 25, 2019)
The Fratellis — Half Drunk Under A Full Moon (8th May, 2020)
ULRICH SCHNAUSS — A Long Way To Fall — Rebound (3rd April, 2020)
Telex — „This Is Telex“ (April 16, 2021)
Allegra Krieger — The Joys of Forgetting (August 7, 2020)
Scorn — Cafe Mor (Nov. 15, 2019)
Bo Ningen — Sudden Fictions (26th June, 2020)
Grey Daze — Amends [Deluxe Edition] (July 3, 2020)
Bill Callahan — Gold Record (Sept. 4, 2020)
John Frusciante — Maya (Oct. 23, 2020)
Vertigo Metamorphosis
Mary Lattimore — Silver Ladders (Oct. 9, 2020)
Woods — „Strange to Explain [More Strange]“ (July 23, 2021)
The Orb — „Abolition Of The Royal Familia — Guillotine Mixes“ (A
Christian Kjellvander — „About Love and Loving Again“ (Oct. 30,
The Adobe Collective — All the Space That There Is (10 Jan 2020)
Andy Statman — Old Brooklyn (2011)
Endless Field — Alive in the Wilderness (June 12, 2020)
#643: Sarathy Korwar & Upaj Collective — Night Dreamer Direct​~​
The Warriors Of The Wonderful Sound — SOUNDPATH (Nov. 6, 2020)
Juana Molina — Halo (May 5th, 2017)
Grey Daze ©Photo credit: Anjella / Sakiphotography
Mike Cooper — Playing With Water (Nov. 6, 2020)
Juana Molina — „Segundo“ [21st Anniversary] (June 4, 2021)
Les Filles de Illighadad — Eghass Malan (Oct. 28, 2017)
Bernice — „Eau De Bonjourno“ (March 5, 2021)
Khruangbin — Mordechai (June 26, 2020)
Caribou — Our Love (October 14, 2014)
Vijay Iyer, Linda May Han Oh, Tyshawn Sorey — „Uneasy“ 04/09/21
Hornscape — Hornscape (March 6th, 2020)
Lo Tom — LP2 (September 11, 2020)
Maja S. K. Ratkje — Sult (31 March 2019)
Orchards — Lovecore (March 13th, 2020)
Drive~By Truckers — The Unraveling (Jan. 30, 2020)
Sarah Harmer — Are You Gone (Feb. 21st, 2020)
OWEN PALLETT — „ISLAND“ (May 22, 2020/March 5, 2021)
Albertine Sarges — The Sticky Fingers (29 Jan., 2021)
Woods — City Sun Eater in the River of Light (April 8, 2016)
Fairport Convention — 50:50@50 (June 9, 2017)
The Flaming Lips — American Head (Sept. 11, 2020)
Nina Kohoutová — Blue Sunray (Feb. 6th, 2020)
Ballrogg — Rogging Ball (Oct. 30th, 2020)
Buju Banton — Upside Down (June 26, 2020)
Alberto Posadas : Poética del Laberinto, cycle pour quatuor de s
Maria Muldaur & Tuba Skinny — „Let’s Get Happy Together“ (2021)
The Gray Havens — She Waits (Nov. 7, 2018)
Vladislav Delay — „Rakka II“ (April 2, 2021)
Orlando Weeks — A Quickening (June 12, 2020)
Hibiscus Biscuit — Reflection of Mine (March 1st, 2020)
Anna Calvi — „Hunted“ (2020)
Matthew E. White & Lonnie Holley — „Broken Mirror: A Selfie Refl
Dumpstaphunk — „Where Do We Go from Here“ (2020)
Elysian Fields — Transience of Life (Sept. 4, 2020)
Molina — Vanilla Shell (Jan. 24, 2020)
Bruce Ackley, Fred Frith, Henry Kaiser, Aram Shelton — Unexpecte
The Magnetic Fields — QUICKIES VINYL BOX SET (June 19, 2020)
Devin B. Thompson — Tales of the Soul (Oct. 30, 2020)
The Men — Mercy (Feb. 14, 2020)
Julia Holter — Never Rarely Sometimes Always (March 13, 2020)
Still House Plants — Fast Edit (Aug. 14, 2020)
Lydia Ainsworth — Darling Of The Afterglow (2019)
The Magnetic Fields — QUICKIES VINYL BOX SET (June 19, 2020)
Woods — With Light and with Love (April 15, 2014)
Lydia Ainsworth — Phantom Forest (May 10, 2019)
William Parker — „Mayan Space Station“ (July 23, 2021)
Fairport Convention — Shuffle and Go (29 Feb., 2020)
Pierre Favre DrumSights — Now (Apr 2016)
Philip B. Price — Bone Almanac (Nov. 8, 2019)
NEØV — „Picture Of A Good Life“ (15 Jan., 2021)
MORCHEEBA Blackest Blue (May 14, 2021)
Debashish Bhattacharya JOY!guru cover
Mark Lanegan — The Winding Sheet (May 11, 1990)
Gemma Ray — Psychogeology [Feb. 15th, 2019, Deluxe Edition, 2020
Courtney Barnett — MTV Unplugged [Live In Melbourne] (2019)
Badly Drawn Boy — Banana Skin Shoes (22nd May, 2020)
Arbouretum — Let It All In (March 20, 2020)
Laura Veirs — MY ECHO (23rd Oct., 2020)
emozpěv — Spolu (1st May 2020)
Whyte Horses — Empty Words (March 9, 2018)
Ajimal — As It Grows Dark / Light (June 26, 2020)
Hail The Ghost — Arrhythmia (6th Dec. 2019)
CECILIA BARTOLI — Opera Proibita (Sept. 13, 2005)
Tim Heidecker — Fear of Death (Sept. 25, 2020)
Markus Reuter — TRUCE (Jan. 17, 2020) cover
The Who — WHO [Deluxe Edition] (22 Nov. 2019)
Childcare — Wabi~Sabi (31st May, 2019)
Whyte Horses — Hard Times (17th of Jan., 2020)
Bacchae — Pleasure Vision (March 6, 2020)
PVRIS — Use Me (March 3, 2020)
CLT DRP — Without The Eyes (Aug. 28th, 2020)
Ajimal — As It Grows Dark Light (June 26, 2020)
Joywave — Possession (March 13, 2020)
Sufjan Stevens — Aporia (March 27, 2020)
Midnight Sister — Painting the Roses (Jan. 15, 2021)
John Cale — „Artificial Intelligence“ (6 Sept. 1985)
Anna Burch — Quit The Curse (Feb 2, 2018)
Wolf Parade — Thin Mind (Jan. 24, 2020)
Work Drugs — Delta (December 5, 2012)
Deserta — Black Aura My Sun (Jan. 17, 2020)
Sink Ya Teeth — Two (28th Feb. 2020)
Georgia — Seeking Thrills (10th Jan., 2020)
A.O. Gerber — Another Place to Need (May 22, 2020)
Deerhoof — Future Teenage Cave Artists (May 29, 2020)
The Growlers — Natural Affair (25th Oct. 2019)
His Name Is Alive — Ghost Tape EXP (Dec. 8, 2020).png
James Taylor — American Standard (Feb. 28th, 2020)
Alogte Oho and his Sounds of Joy — Mam Yinne Wa (Nov. 8, 2019)
Sam Gendel — Satin Doll (13 Mar 2020)
Kaleidoscope — Faintly Blowing (11 April 1969, Reissue, Remaster
Motorpsycho — The All Is One (2CD) (28 Aug., 2020)
Ryan Adams — Ryan Adams (September 8, 2014)
Roman Hampacher — Bílá Vrána (December 6, 2020)
Trees Speak — Ohms (3rd April, 2020)
Peter Murphy — „The Last and Only Star“ (25th June, 2021)
Nadine Shah — Kitchen Sink (June 5, 2020)
Skinny Pelembe — Dreaming Is Dead Now (May 24, 2019)
CLT DRP — Without The Eyes (Aug. 28th, 2020)
Broken Social Scene — Live at Third Man Records (Feb. 28, 2020)
Perfume Genius — Set My Heart On Fire Immediately (15th May 2020
Ryan Adams — Wednesdays (Dec. 11, 2020)
Deerborn — Where Demons Hide (Aug. 28, 2020)
Brendan Benson — Dear Life (April 24, 2020)
Harvestman — Music for Megaliths (May 19, 2017)
Kolna — Smrtí zatepla (Nov. 30, 2020)
Marc Ribot’s Ceramic Dog — „Hope“ (June 25th, 2021)
Lucia Cadotsch — Speak Low (Feb. 26, 2016)
Perfume Genius — No Shape (5 May, 2017) BC
Dinosaur Jr — „Sweep It Into Space“ (April 23rd, 2021)
Perfume Genius — No Shape (5 May, 2017) FC
Cocteau Twins — Victorialand (April, 1986, Reissue 2020)
Wolf Alice — „Blue Weekend“ (4th June, 2021)
Isbells — Sosei (March 1, 2019)
Sons of Kemet — „Black to the Future“ (May 14, 2021)
The Feather — Room (10 July, 2020)
Songs for the Late Night Drive Home (Feb. 5, 2016)
Last Days of April — „Even the Good Days Are Bad“ (May 7, 2021)
Benoît Pioulard & Sean Curtis Patrick — Avocationals (2019)
Spc Eco — Dark Matter (Nov. 20, 2015)
Juliana Hatfield — Weird (Bonus Edition) (Jan. 18, 2019)
Caribou — Suddenly (Feb. 28th, 2020)
Sam Tudor — „Two Half Words“ (May 7, 2021)
SPC ECO — June (June 1, 2020)
Waxahatchee — Saint Cloud (March 27, 2020)
Florist — Emily Alone (July 26, 2019)
Chapelier Fou — Deltas (Sept. 22, ​2014)
The Boomtown Rats — Citizens of Boomtown (13 March, 2020)
The Flaming Lips — The Soft Bulletin (Nov. 29, 2019)
Emile — The Black Spider / Det Kollektive Selvmord (May 1, 2020)
Larkin Poe — Self Made Man (June 12th, 2020)
Delilah Montagu — „This Is Not a Love Song EP“ (Feb. 5th, 2021)
Wesley Gonzalez — Appalling Human (June 12, 2020)
Pottery — Welcome to Bobby’s Motel (June 26th, 2020)
Mint Field — Sentimiento Mundial (25 Sept., 2020)
Art d’Ecco — „In Standard Definition“ (April 23rd, 2021)
Cosmo Sheldrake — Galapagos [Original Soundtrack] 2019
The Telescopes — Hidden Fields (August 7th, 2015)
Eyvind Kang — Ajaeng Ajaeng (May 1, 2020)
Django Django — „Glowing in the Dark“ (2021)
Eyvind Kang — Ajaeng Ajaeng (May 1, 2020)
The Antlers — „Green To Gold“ (March 26, 2021)
Kyrie Kristmanson — Lady Lightly (Jan. 10, 2020)
Yorkston/Thorne/Khan — Navarasa : Nine Emotions (24th Jan. 2020)
Hey Colossus — Dances / Curses (Nov. 6, 2020)
Ralph of London — The Potato Kingdom (19th June, 2020)
Kilbey Kennedy — „Jupiter 13“ (March 5, 2021)
Sigur Rós — Odin’s Raven Magic (Dec. 4, 2020)
Arca — „Madre“ (22 Jan., 2021)
Cotatcha Orchestra — Bigbandová elektronika / Bigband Electronic
Locate S,1 — Personalia (April 3, 2020
HMLTD — West of Eden (7 Feb., 2020)
OLYMPIC — „Kaťata“ (October 30, 2020)
Noveller — Arrow (June 12, 2020)
Sugai Ken | Lieven Martens — „KAGIROI“ (March 29, 2021)
Chapelier Fou — Meridiens (Feb. 28, 2020)
HMLTD ©Dean Hoy
Cathedral Bells — Velvet Spirit (March 6, 2020)
Vladislav Delay, Sly Dunbar, Robbie Shakespeare — 500~Push~Up
Orwell — Parcelle brillante (24 April 2020)
Peter Murphy — „Lion“ (June 2nd, 2014)
Tarotplane — „Horizontology“ (February 8, 2021)
Tame Impala — The Slow Rush (Feb 14, 2020)
REBECCA FOON — WAXING MOON (21st Feb., 2020)
Noveller — Arrow (June 7, 2020)
Virginia Plain — Strange Game (Dec. 13, 2019)
Blinker the Star — Juvenile Universe (20 Nov., 2020)
Teho Teardo — Ellipsis dans l’harmonie (March 6th, 2020)
Signe Marie Rustad — When Words Flew Freely (Nov. 15, 2019)
Stian Westerhus — Redundance (March 5, 2020)
Beck — Deep Cuts (March 2020)
Keeley Forsyth — Debris (17 Jan., 2020)
KeiyaA — Forever, Ya Girl (March 27, 2020)
John Craigie — Asterisk the Universe (June 12, 2020)
Ellipsis dans l’harmonie BACK COVER
Paul Weller — „Fat Pop (Volume 1)“ (14th May, 2021)
Horse Lords — „The Common Task“ (March 13, 2020)
Half Japanese — Crazy Hearts (4th Dec., 2020)
Lavender Diamond — Incorruptible Heart (Sept. 2012)
MARY — Die Before Death (September 4, 2020)
The Belmondos — Memory Lane (Nov. 20, 2020)
Troi Irons — Flowers (Sept. 25, 2020)
The Dears — Times Infinity Volume One (September 25, 2015)
The Album Leaf — OST (March 20, 2020)
Joensuu 1685 — ÖB (09 Oct., 2020)
Black Tape For A Blue Girl — „Ashes In The Brittle Air“ [Remaste
Jack Peñate — After You [Expanded Edition] (2020)
Thomas Dybdahl — The Great Plains (Feb 24, 2017)
Lavender Diamond — Now Is the Time (Dec. 4, 2020)
Bowerbirds — „becalmyounglovers“ (April 30th, 2021)
Grimes — Visions (2012)
Grandbrothers — All the Unknown (15 Jan., 2021)
Jessie Ware — Glasshouse (Deluxe; 20 Oct 2017)
Kavus Torabi — Hip to the Jag (May 22, 2020)
Adrian Crowley — „The Watchful Eye of the Stars“ (30th April, 20
Bella White — Just Like Leaving (Sept. 25, 2020)
Pharoah Sanders — „Live In Paris (1975): Lost ORTF Recordings“
Oddfellow’s Casino — The Raven’s Empire (2012)
Calexico / Iron & Wine — Years to Burn (2019)
Chris Potter — There Is a Tide (Dec. 4, 2020)
Amanda Palmer — Forty~Five Degrees: Bushfire Charity Flash Rec.
Veneer — Recovery (April 15, 2020)
Chris Potter — Circuits (Feb. 22, 2019)
Sara Serpa — Recognition (June 5th, 2020)
BECK — Uneventful Days (St. Vincent Remix)
The Flaming Lips — „The Soft Bulletin Companion“ (4 March 1999/J
God Is an Astronaut — „Ghost Tapes #10“ (Feb. 12, 2021)
Oddfellow’s Casino — Burning! Burning! (7 Aug., 2020)
This Will Destroy You — Vespertine (June 9, 2020)
Scoundrels — Music From The Arch (Sept. 11, 2020)
Teen Daze — Morning World
Sara Serpa, Ingrid Laubrock, Erik Friedlander — Close Up (2018)
Rufus Wainwright — Unfollow the Rules [Deluxe Version] (July 9,
THE DEARS — ‘Lovers Rock’ (May 15, 2020)
Greenslade — Time and Tide (2 cd, 1975/2015)
Bellows — The Rose Gardener (Feb. 22, 2019)
Ariel Pink — House Arrest (2002/Mar 2011/April 24, 2020)
The Jayhawks — XOXO (July 10, 2020)
Béla Fleck & Toumani Diabaté — The Ripple Effect [2LP, March 27,
Budokan Boys — So Broken Up About You Dying (2 Oct. 2020)
John Vanderslice — „Time Time is Lonely“ (June 12th, 2001)
Sonny Landreth — Elemental Journey (May 22, 2012)
Laura Fell — Safe from Me (Nov. 20, 2020)
Laura Perrudin — Perspectives & Avatars (Oct. 9, 2020)
CocoRosie — Put the Shine On (6 March 2020)
Anthony Moore — Out (20 Nov., 2020)
Soho Rezanejad — „Perform and Surrender“ (Dec. 04, 2020)
Whyte Horses — Hard Times (17th of Jan., 2020)
Tindersticks — Distractions (Feb. 19, 2021)
„Mojo Presents Steve Marriott, Small Faces, Humble Pie: Afterglo
Jessie Ware — What’s Your Pleasure (June 26, 2020)
Corb Lund — Agricultural Tragic (June 26, 2020)
Scott Matthew — Ode to Others (April 20, 2018)
Thurston Moore — „screen time“ (Feb. 5, 2021)
Raed Yassin — Archeophony (Nov. 27, 2020)
Thomas Dybdahl — Fever (March 13, 2020)
Born Ruffians — Juice (April 3, 2020)
Growing Up Live — 3LP Half Speed Remaster (Nov. 27, 2020)
Michael Landau — The Michael Landau Group Live (Oct. 31, 2006)
The Weather Station — Ignorance (Feb. 5, 2021)
Marc Ribot’s Ceramic Dog — What I Did On My Long ‘Vacation’ EP
The Beths — Jump Rope Gazers (July 10th, 2020)
Coultrain — „Phantasmagoria“ (April 9, 2021)
Carissa Johnson — A Hundred Restless Thoughts (Dec. 18th, 2019)
Anna Calvi — „Hunted“
Christine Ott — Chimères (pour ondes Martenot) (May 22, 2020)
Eleanor Friedberger — Rebound (May 4th, 2018)
Smashing Pumpkins — Cyr (27th Nov., 2020)
Calexico — Seasonal Shift (Dec. 4th, 2020)
Futurebirds — Teamwork (Jan. 15th, 2020)
Emmy the Great — Second Love (March 11, 2016)
My Morning Jacket — The Waterfall II (Aug. 28, 2020)
Cornershop — „England Is a Garden“ (6th March, 2020)
Negativland — The World Will Decide (Nov. 13, 2020)
Kill The Dandies! — Your Blood My Veins (Feb. 5, 2021)
Chris Brokaw — „Puritan“ (Jan. 15, 2021)
Cormons Jazz & Wine of Peace festival 2008 ©Ziga Koritnik
Andrej Šeban — Triplet (March 22, 2019) inner cover
The Heliocentrics — Infinity Of Now (Feb. 14, 2020)
Jenny Lewis — On the Line (March 22, 2019)
Dungen — Live (March 13, 2020)
Jake Blount — Spider Tales (May 29, 2020)
Andrej Šeban — Triplet (March 22, 2019) cover
Sonny Landreth — Blacktop Run (Feb. 21, 2020)
Læetitia Shériff — Pandemonium, Solace And Stars
Gerald Cleaver — Signs (March 27, 2020)
The Crossing & Donald Nally — James Primosch: Carthage (05/2020)
The Drums — Brutalism (April 5, 2019)
Eli Winter — „Unbecoming“ (21 Aug 2020)
Laila Sakini ‎— Into the Traffic, Under the Moonlight (10 Dec.,
Immigrant Union — Judas (June 19, 2020)
KMRU — Peel (18th Sept., 2020)
Spy Machines — Spy Machines (April 3, 2020)
Negativland — True False (25 Oct., 2019)
David Cross & Peter Banks — Crossover (17 Jan., 2020)
Jake Blount — Spider Tales (May 29, 2020)
EELS — Earth To Dora (Oct. 30th, 2020)
Art Feynman — Half Price At 3:30 (June 26th, 2020)
Jorge Elbrecht — „Presentable Corpse — 002“ (28th May 2021)
Jerskin Fendrix — Winterreise (April 17, 2020)
Julianna Barwick — Healing Is a Miracle [Japan Edition] (2020)
Joy Division — Closer (40th Anniversary) [2020 Digital Master] (
Jorge Elbrecht — „Presentable Corpse — 002“ (28th May 2021)
Sophie Tassignon — Mysteries Unfold (April 24, 2020)
Anika Nilles — For a Colorful Soul (Jan. 10, 2020)
Ospalý pohyb — Ostrava (October 17, 2016)
Deradoorian — Find the Sun (Sept. 18, 2020)
All The Best, Isaac Hayes (A Spoken Word Album)
Ospalý pohyb — ø (May 24, 2016)
James Harries — Superstition (Jan. 31, 2020)
Zoongideewin — Bleached Wavves (June 19, 2020)
Nitin Sawhney — Live At Ronnie Scotts (Nov. 17, 2017)
HOUPACÍ KONĚ: SOULKOSTEL 8 11 2019 (April 25, 2020)
Recondite — Dwell (Jan. 24, 2020)
Kacey Johansing — No Better Time (Nov. 20, 2020)
Yoko Ono, Kim Gordon & Thurston Moore — YOKOKIMTHURSTON
Com Truise — Persuasion System (May 17, 2019)
Kazuomi Eshima & Masahiko Takeda — Inheritance for Soundscape
Erik Griswold — All’s Grist That Comes To The Mill (03/20, 2020)
Caspian — Dust and Disquiet (Sept. 25, 2015)
Låpsley — Through Water (March 20th, 2020)
Sarah Longfield — Dusk (April 22, 2020)
Soundwalk Collective with Patti Smith — Peradam (Sept. 4th, 2020
M. Caye Castagnetto — „Leap Second“ (Jan. 22, 2021)
Erik Griswold — All’s Grist That Comes To The Mill (03/20 2020)
Circa Waves — Sad/Happy (March 13th, 2020)
Bob Dylan — Rough and Rowdy Ways (June 19th, 2020)
Kurt Wagner of Lambchop. ©Picture Joanna Bongard
Art d’Ecco — „In Standard Definition“ (April 23rd, 2021)
Sol Seppy — The Bells Of 12 (June 21, 2019)
930 x 827 tmavší podklad.jpg
P/\ST — /Expedice do vnitrobloku\ (Oct. 5, 2019)
Roland Tings — Salt Water (Nov. 8, 2019)
Eamon O’Leary — The Silver Sun (Jan. 15, 2021)
Martin Barre — „Live At The Factory Underground“ (Feb. 14, 2019)
M.Ward — Migration of Souls (April 3, 2020)
33EMYBW — Golem (25 Sept., 2019)
The Third Mind — The Third Mind (Feb. 14, 2020)
CocoRosie — Restless (Feb. 12th, 2020)
Sean Henry — A Jump from the High Dive (Nov. 1, 2019)
Mike Cooper — Playing With Water (Nov. 6, 2020)
Ben Featherstone — Prisoner to the Wind (Dec. 20th, 2019)
Ailbhe Reddy — Personal History (23 Oct., 2020)
Thomas Köner — Motus (Feb. 20, 2020)
Lanterns On the Lake — Spook the Herd (21 Feb., 2020)
A Winged Victory for the Sullen — The Undivided Five
Nick Hakim | Roy Nathanson — „Small Things“ (April 16, 2021)
The Telescopes — Songs of Love and Revolution (Feb. 5, 2021)
Of Montreal — Ur Fun (Jan. 17, 2020)
Ryan Adams — „Big Colors!“ (June 11, 2021)
Lanterns On the Lake — Spook the Herd (21 Feb., 2020)
Seaway — Big Vibe (Oct. 16th, 2020)
Surprise Chef — Daylight Savings (Oct. 16, 2020)
Ryley Walker — „Course in Fable“ (April 2, 2021)
Sega Bodega — Salvador (Feb. 14, 2020)
Klara Lewis — Ingrid (1st May 2020)
Vivienne Wilder — Postromantic (June 12, 2020)
Prophecy Playground — Comfort Zone (Feb. 15, 2020)
Kurt Vile — Speed, Sound, Lonely KV EP (2nd Oct., 2020)
Steve Earle — Townes (May 8, 2009)
Neil Young & Crazy Horse — Colorado (Oct. 25, 2019)
Oiseaux~Tempęte — From Somewhere Invisible (19 Dec., 2019)
Hamilton Leithauser (The Walkmen) — Dear God (Aug. 2015)
Steve Earle & The Dukes — Ghosts of West Virginia (May 22, 2020)
Nitin Sawhney — „Immigrants“ (19 March, 2021)
Real Estate — The Main Thing (28th Feb., 2020)
Myopia Exclusive Crystal Clear Vinyl
The Kills — Ash And Ice (June 3, 2016)
James Harries — Before We Were Lovers
Irena and Vojtěch Havlovi — „Melodies in the Sand“ (March 5, 202
ANNA CALVI — HUNTED (March 6, 2020)
Elysian Fields — Transience Of Life (May 7, 2020)
SOFIA TALVIK — Paws of a Bear (Sept. 27, 2019)
Badge Époque Ensemble — Self Help (Nov. 20, 2020)
Ali Holder — Uncomfortable Truths (April 10, 2020)
Sungazers — Wasting Space (May 18, 2020)
Really From — „Really From“ (March 12, 2021)
Neil Young — Homegrown (19th June, 2020)
Lightning Bolt — Hypermagic Mountain (October 18, 2005, March
Craig Fortnam — „Ark“ (16 July, 2021)
Sixth June ‎— Trust (17 Jan 2020)
Bellows — The Rose Gardener (Feb. 22, 2019)
Tatsuhisa Yamamoto 山本達久 — Ashioto (Oct. 21, 2020)
From Atomic — Deliverance (April 2020)
Cermaque — Lament (22nd May, 2020)
Fuzzy Lights — „Burials“ (July 2nd, 2021)
Alfie Templeman — „Forever Isn’t Long Enough“ (May 7th, 2021)
Tatsuhisa Yamamoto 山本達久 — Ashioto (Oct. 21, 2020)
Laurel Halo — Raw Silk Uncut Wood (July 13, 2018)
Anna von Hausswolff — Dead Magic (March 2018)
Moses Sumney — græ Part 1 & 2 (May 15, 2020)
Lauren Lakis — Daughter Language (Jan. 22, 2021)
Elizabeth And The Catapult — Like It Never Happened (24/01/2014)
David Thomas Broughton & Juice Vocal Ensemble — Sliding The Same
Marissa Nadler — unearthed (March 20, 2020)
Lake Street Dive — „Obviously“ (March 12th, 2021)
Jaye Jayle — Prisyn (Aug. 7, 2020)
Sweet Trip — You Will Never Know Why (Jan. 22, 2021)
PETR KALANDRA — Petr Kalandra & ASPM 1982 — 1990 (Feb. 26, 2020)
Justine Vandergrift — Stay (Feb. 7th, 2019)
Iceage — „Seek Shelter“ (May 7th, 2021)
Hamilton Leithauser — The Loves of Your Life (10 April 2020)
Bombay Bicycle Club — Everything Else Has Gone Wrong (01/24/20)
Gráinne Duffy — Where I Belong (Sept. 19, 2017)
Anthony Gomes — Containment Blues (2020)
Sports Team — Deep Down Happy (5th June, 2020)
Nonlocal Forecast — Bubble Universe! (March 1, 2019)
Lionel Loueke — HH (Sept. 11, 2020)
Al Di Meola — Across the Universe: The Beatles, Vol. 2 (2020)
LENKA NOVÁ — DOPISY (21.03./24.04., 2020)
Genesis Revisited: Live at The Royal Albert Hall — 2020 Remaster
Tedeschi Trucks Band — „The Fireside Sessions [Episode One / Epi
Kim Myhr & Australian Art Orchestra — Vesper (17.04. 2020)
Veronica Swift — „This Bitter Earth“ (March 19, 2021)
The Electric Soft Parade — Stages (Jan. 8, 2020)
Villagers — The Art Of Pretending To Swim (03/19, 2020) DELUXE E
Mountaineer — Bloodletting (May 22nd, 2020)
Ólafur Arnalds — Some Kind Of Peace (6 Nov., 2020)
Steve Hackett — Under A Mediterranean Sky (Jan. 22, 2021)
Anna von Hausswolff — All Thoughts Fly (Sept. 25, 2020)
Tara Fuki — Motyle (Nov. 13th, 2020)
Peel Dream Magazine — Agitprop Alterna (3rd April 2020)
Nicholas Cords — Touch Harmonious (Nov. 6, 2020)
Destroyer — Have We Met (Jan. 31, 2020)
John McLaughlin, Shankar Mahadevan, Zakir Hussain — Is That So?
THE SHAKING SENSATIONS — “How Are We to Fight the Blight” 2xLP
Alphaxone — Dystopian Gate (Jan. 14, 2020)
Lanterns On The Lake — The Realist (Dec. 18, 2020)
A Certain Ratio — ACR Loco (25th Sept., 2020)
THE SCHRAMMS — “Omnidirectional” (June 21st, 2019)
David Thomas Broughton — The Complete Guide To Insufficiency /re
Aimee Mann — Bachelor No. 2 (20th Anniversary Edition) (Nov. 27,
The Chap — Digital Technology (10 Jan., 2020)
Joan As Police Woman — Cover Two (May 1, 2020)
Isobutane — Mementos (Jan. 29, 2021)
The Shivas — “Dark Thoughts” (October 25, 2019)
Kim Myhr & Australian Art Orchestra — Vesper (17.04. 2020)
Lucy Railton — Paradise 94 (22 Mar 2018)
Drive~By Truckers — The Unraveling (cover)
The Shins — “Heartworms” (March 10, 2017)
Elizabeth & The Catapult — „Sincerely, E“ (March 5, 2021)
The Weeknd — Beauty Behind the Madness (Aug. 28th, 2015)
M. Ward — Think of Spring (Dec. 11, 2020)
The Shins — “The Worms Heart” (Jan. 18, 2018)
Psychic Markers — Psychic Markers (29 May, 2020)
Julianna Barwick — Circumstance Synthesis (Dec. 20, 2019)
The Weeknd — Beauty Behind the Madness (Aug. 28th, 2015)
Meredith Monk & Bang on a Can All~Stars — Memory Game (03/27/20)
Drive~By Truckers — The Unraveling (cover)
The Heliocentrics — Infinity Of Now (Feb. 14, 2020)
Blanck Mass — „Mind Killer“ (May 14th, 2021)
Eivind Aarset & Jan Bang — Snow Catches On Her Eyelashes (2020)
Richard Barbieri ‎— Past Imperfect / Future Tense (Mar 2020)
Kevin Morby — Sundowner (October 16, 2020)
Paul Weller — On Sunset [Deluxe Edition] (3rd July, 2020)
EVA ROHLEDER — Babské ucho (Nov. 9th, 2020)
Laurel Halo — Possessed (April 10, 2020)
Helena Deland — Someone New (16 Oct., 2020)
Stereolab — „Electrically Possessed [Switched On Volume 4]“ (Feb
Devendra Banhart — Ma (September 13, 2019)
Field Music — Making a New World (Jan. 10, 2020)
Gráinne Duffy — Voodoo Blues (Oct. 15, 2020)
The Memories — Pickles & Pies (May 29, 2020)
Norah Jones — Pick Me Up Off the Floor (June 12th, 2020)
Highasakite — Uranium Heart (Feb. 1st, 2019)
Pearl Jam — Gigaton (March 27, 2020)
Walter Martin — The World at Night (Jan. 31, 2020)
The Tiger Lillies — Cold Night in Soho (10 Feb. 2017)
Silkworm — In The West (24 Jan., 2020)
Marillion — „Marbles“ (30th April, 2021, 3 LP)
Chavez — Gone Glimmering [Expanded Edition] (Oct. 23, 2020)
Kamaal Williams — Wu Hen (July 24, 2020)
Caspian — On Circles (January 24, 2020)
Jennifer Curtis & Tyshawn Sorey: Invisible Ritual (2020)
Hypnotic Brass Ensemble
Don Gallardo — The Lonesome Wild (April 2, 2020)
Damon Locks Black Monument Ensemble — Where Future Unfolds (2019
The Tiger Lillies — Edgar Allan Poe’s Haunted Palace
Mark Lanegan — Straight Songs Of Sorrow (8th May, 2020)
I Break Horses — Warnings (08 May 2020)
Maxïmo Park — „Nature Always Wins“ (26th Feb., 2021)
Avishai Cohen — „Two Roses“ (April 16, 2021)
Spiritualized — „Lazer Guided Melodies“ (March 30, 1992, Remaste
Cocteau Twins — Head Over Heels
Angel Olsen — „Song of the Lark and Other Far Memories“ (May 7,
Cocteau Twins — Treasure
Sarah Jarosz — World On The Ground (June 5, 2020)
The Innocence Mission — See You Tomorrow (Jan. 17, 2020)
Daniel Lanois — „Heavy Sun“ (March 19, 2021)
Father John Misty — „Off~Key In Hamburg“ (March 23, 2020)
M G Boulter — „Clifftown“ (April 23rd, 2021)
False Heads — It’s All There But You’re Dreaming (13 March 2020)
The Tiger Lillies — Covid~19 (April 10, 2020)
Portico Quartet — „Terrain“ (May 28, 2021)
Hawkwind — Acoustic Daze (25 Oct. 2019)
I Am Planet — „Záznamy ticha“ (30 April, 2021)
The Avalanches — We Will Always Love You (11 Dec., 2020)
Beautify Junkyards — Cosmorama (15th Jan., 2021)
Portico Quartet — „Terrain“ (May 28, 2021)
Wendy Eisenberg — Auto (Oct. 16, 2020)
I Am Planet — „Záznamy ticha“ (30 April, 2021)
TANYA DONELLY: Swan Song Series bonus tracks (FC)
Kate Amrine — This Is My Letter to the World (Jan. 24, 2020)
Liz Phair — „Soberish“ (4th June 2021)
CONCEPT ART ORCHESTRA — „100 YEARS“ (11.12.2020)
Juliana Hatfield — „Blood“ (May 14, 2021)
Wrekmeister Harmonies — We Love to Look at the Car (2020)
False Heads — It’s All There But You’re Dreaming (13 March 2020)
WHITE TAIL FALLS — Age Of Entitlement (May 29, 2020)
Susan Alcorn Quintet — Pedernal (Nov. 13, 2020)
Coloured Clocks — Flora (May 2, 2020)
Daniel Knox — Won’t You Take Me with You (Jan. 15, 2021)
Indoor Voices — Animal (Feb. 14, 2020)
Jane Weaver — „Flock“ (March 5, 2021)
Midlake — Antiphon (Nov. 4, 2013)
Jonathan Wilson — Rare Birds (March 2nd, 2018)
KIESLOWSKI Tiché lásky
Fiona Apple — Fetch The Bolt Cutters (17 Apr., 2020)
Lucrecia Dalt — Syzygy (Oct. 15, 2013)
Hayden Thorpe — Diviner (24 May 2019)
Cocteau Twins — Garlands (1982, Reissue 2020)
Alessandra Leão ‎— Macumbas e Catimbós (24/05/2019)
Cowboy Junkies — Ghosts (30 Mar 2020)
Liz Simmons — „Poets“ (March 1, 2021)
Laura Marling — Song for Our Daughter (April 10th, 2020)
Wendy Eisenberg — Its Shape Is Your Touch (Oct. 2018)
Baxter Dury — The Night Chancers (20 March 2020)
San Fermin — San Fermin (Nov. 11, 2013)
Sara Bareilles — What’s Inside Songs From Waitress (11/06, 2015)
Joe Strummer — „Assembly“ (26 March, 2021)
The Heliocentrics — Telemetric Sounds (Aug. 7, 2020)
JAMES YORKSTONE — The Wide, Wide River (22nd Jan., 2021)
The Dream Syndicate — „The Universe Inside“ (April 10, 2020)
Black Sabbath: Black Sabbath (13 Feb., 1970)
Third Coast Percussion & Devonté Hynes — Fields (Oct. 11, 2019)
White Tail Falls — Age of Entitlement (May 29, 2020)
MUFF — Fatalust (Nov. 1, 2019) cover
Ben Watt — Storm Damage (31st Jan., 2020)
San Fermin — The Cormorant I & II (Oct. 4, 2019/April 3, 2020)
Saša Niklíčková — Zmačkaná žena (Oct. 26, 2020)
Stephen Duffy — I Love My Friends [Expanded Ed] (10 May 2019)
I Break Horses — Chiaroscuro
Sea Wolf — Through a Dark Wood (March 20, 2020)
Ezra Furman — Sex Education [Original Soundtrack] (April 24, 202
Tom Petty — „Southern Accents“ (March 26, 1985/2006)
Dan Blake — „Da Fé“ (March 12, 2021)
Yorkston | Thorne | Khan — Navarasa : Nine Emotions (2020)
Jetstream Pony — Jetstream Pony (May 22, 2020)
Anupam Shobhakar — „Dawn of Paradise“ (Nov. 13, 2020)
Genghis Tron — „Dream Weapon“ (March 26, 2021)
HAIM — „Women in Music Pt. III“ [Expanded Edition] (June 26, 202
Stove — ‘s Favorite Friend (Oct. 31, 2018)
ANASTASIA MINSTER — Father ©Michael Haley
Jonathan Wilson — Dixie Blur (March 6, 2020)
Ethel Cain — „Inbred“ (April 23, 2021)
Fruition — Broken At The Break Of Day (Jan. 23, 2020)
Weyes Blood — “Wild Time” from Titanic Rising
1600 x 1600 High Violet (10th Anniversary Expanded Edition).jpg
Sara Bareilles — More Love: Songs from Little Voice Season One (
The Sufis — Double Exposure (Jan. 24, 2020)
Martin Barre — Roads Less Travelled (26 Oct. 2018)
Loney dear — „A Lantern and a Bell“ (March 26, 2021)
Loveblind / Sleeping Visions (March 27, 2020)
Jon Regen — Higher Ground (October 4, 2019)
Walter Martin — The World at Night (Jan. 31, 2020)
Asher Gamedze – Dialectic Soul (July 10, 2020)
Frances Quinlan — Likewise (Jan. 31, 2020)
Jon Regen — Higher Ground (October 4, 2019)
Motorpsycho — „Kingdom of Oblivion“ (April 16th, 2021)
KING CRIMSON, The Night Watch
Brooklyn Raga Massive — In D (Nov. 21, 2020)
Kaitlyn Aurelia Smith — The Mosaic of Transformation (May 15, 20
Matt Berninger — Serpentine Prison (Oct. 16, 2020)
Susan Alcorn, Leila Bordreuil, Ingrid Laubrock
Rizan Said — Saz û Dîlan (Oct. 11, 2019)
Nick Cave | Warren Ellis — „Carnage“ (Feb. 25, 2021)
Ásgeir — Bury the Moon (7 Feb., 2020)
Sharon Van Etten — „epic Ten“ (April 16, 2021)
Riva Taylor — ‘This Woman’s Heart .1’ (27 Mar 2020)
Wrangler — A Situation (28 Feb., 2020)
Juraj Griglák, From The Bottom (Sept. 16, 2019)
Half Moon Run — A Blemish in the Great Light (Nov. 1, 2019)
Cheerleader — Almost Forever (Feb. 7, 2020)
Queer Jane — Amen Dolores (March 27, 2020)
BECCA STEVENS — WONDERBLOOM (March 20th 20, 2020)
Mogwai — „As the Love Continues“ [Deluxe Edition] (19/02/2021)
Juraj Griglák — From the Bottom (Sept. 16, 2019)
Einstürzende Neubauten — Alles In Allem (May 29th, 2020)
Torres — Three Futures (29th Sept. 2017)
Kaitlyn Aurelia Smith — The Kid (October 6, 2017)
Bison Bone — Find Your Way Out (Sept. 25, 2020)
Oh Wonder — No One Else Can Wear Your Crown [Deluxe Edition]
These New Puritans — The Cut (2016~2019) (14 Feb. 2020)
Vennart — „In The Dead, Dead Wood“ (6th Nov., 2020)
Laetitia Shériff — Stillness (Nov. 6, 2020)
Gillian Frame — „Pendulum“
Thin Lear — Wooden Cave (24th July, 2020)
Torres — Silver Tongue (Jan. 31, 2020)
Kings of Leon — „When You See Yourself“ (March 5, 2021)
King Khan — The Infinite Ones (Oct. 30, 2020)
Anoushka Shankar — Love Letters (7 Feb., 2020)
Free To Grow — Imperfection (Aug. 7, 2020)
Dan Croll — Grand Plan (21 Aug., 2020)
Andrej Šeban — „Zep Tepi“ (May 21, 2021)
Lilien Rosarian ~ A Day in Bel Bruit (June 9, 2019)
Form and Chaos — „Gateways“ (March 16, 2021)
Jim Noir — A.M Jazz (Dec. 20, 2019)
Brad Mehldau & Orpheus Chamber Orchestra — „Variations on a Mela
Shemekia Copeland — Uncivil War (October 23rd, 2020)
I Like to Sleep — Daymare (April 17, 2020)
Psychedelic Porn Crumpets — SHYGA! The Sunlight Mound (5th Feb.,
Kaki King — Modern Yesterdays (Oct. 23, 2020)
Bill MacKay and Katinka Kleijn — STIR (Oct. 17, 2019)
The Mountain Goats — Getting Into Knives (Oct. 23, 2020)
Ben Sidran — Blue Camus (Oct. 2014)
Varga Marián — Solo in Concert (1. feb. 2018)
Peter Bruntnell — „Journey to the Sun“ (June 11, 2021)
Paris Jackson — Wilted (Nov. 13, 2020)
No~Man — Love You To Bits (Nov. 22, 2019)
Death Cab for Cutie — The Georgia EP (Dec. 4th, 2020)
Blackbird & Crow — Ailm (17 Jan 2020)
Liz Longley — Liz Longley (March 17, 2015)
Van der Graaf Generator — Recorded Live in Concert
Bruce Springsteen — Letter to You (Oct. 23, 2020)
Amy LaVere — Painting Blue (27 Mar 2020)
The Chills — „Scatterbrain“ (May 14, 2021)
100 Gecs — 1000 gecs (May 31, 2019)
Devendra Banhart — Vast Ovoid (July 24, 2020)
Cold Chisel — Blood Moon (6 Dec., 2019)
Cold War Kids — New Age Norms 1 (Nov. 1, 2019)
Blackbird & Crow © 2020 Author: Megan Doherty
WaqWaq Kingdom — Essaka Hoisa (Nov. 15, 2019)
The Mountain Goats — Songs for Pierre Chuvin (April 10, 2020)
Hawktail — Formations (Jan. 10, 2020)
Morrissey — I Am Not a Dog On a Chain (March 20th, 2020)
Jack Peñate — After You (29th Nov. 2019)
Villagers — Darling Arithmetic [Deluxe Version] (April 10, 2015)
Ashley Paul — Window Flower (May 13, 2020)
Daniel Bachman — The Morning Star (July 27, 2018)
Roger Eno | Brian Eno — Mixing Colours (20 March, 2020)
Darnielle, Jon Wurster, Matt Douglas, Pete Hughes. ©Josh Sanseri
Joe Bonamassa & The Sleep Eazys — Easy To Buy, Hard To Sell
Axel Flóvent — You Stay by the Sea (15 Jan., 2021)
Preston Lovinggood — Consequences (June 10, 2018)
Martin Barre — Away With Words
Ezra Bell — This Way to Oblivion (3rd April, 2020)
All Them Witches — Nothing as the Ideal (Sept. 4, 2020)
Shafiq Husayn — The Loop (March 29, 2019)
Sinikka Langeland — „Wolf Rune“ (April 9, 2021)
Queer Jane — Home (Dec. 1, 2016)
Damien Jurado — „The Monster Who Hated Pennsylvania“ (2021)
Moonchild — Little Ghost (6th Sept. 2019)
Evergreen — Overseas (15 Jun 2018)
Mr. Alec Bowman — I Used to Be Sad & Then I Forgot (May 1, 2020)
Real Estate — „Half A Human“ (March 26, 2021)
The Waterboys — Good Luck, Seeker (Deluxe) (Aug. 21, 2020)
Dave Scanlon — Pink in each, bright blue, bright green (Jan. 15,
Ani DiFranco — „Revolutionary Love“ (Jan. 29, 2021)
CYHSY, New Fragility (Coke Bottle Clear) 2021
Maarja Nuut & Ruum — World Inverted (11th Sept., 2020)
Richard Youngs — Dissident (Jan. 25, 2019)
Kuře v hodinkách — Flamengo
Daniel Bachman — Green Alum Springs (June 6, 2020)
Midwife — Forever (April 10, 2020)
MORCHEEBA: Blackest Blue (May 14, 2021) (blue vinyl)
Kamasi Washington — Becoming (Music from the Netflix Original Do
Michal Mihok — „The Imprint“ (April 29, 2019)
Siobhan Wilson — The Departure (10 May, 2019)
Twin Shadow — „Twin Shadow“ (July 9th, 2021)
Steve Harley — „Uncovered“ (21 Feb., 2020)
Kris Delmhorst — Blood Test
Martin Burlas & Musica falsa et ficta — Hexenprozesse
I Don’t Know How but They Found Me — Razzmatazz (Oct. 23, 2020)
Songdog — Happy Ending (27th March, 2020)
Zuzana Mikulcová — Slová
Holly Herndon — PROTO (Winner of Tais Awards 2020)
Rory Block — Prove It On Me (March 27, 2020)
Cate Le Bon — Here It Comes Again (2020)
Tunng — Tunng Presents…DEAD CLUB (Nov. 6, 2020)
Sean O’Hagan — Radum Calls, Radum Calls (2019)
Lost Horizons — In Quiet Moments (Dec. 4, 2020/2021)
The Black Keys — „Delta Kream“ (May 14th, 2021)
Sweet Trip — „A Tiny House, in Secret Speeches, Polar Equals“ (M
Nicey Nice World — Obelisks and Asterisks (Sept. 22, 2020)
Pink Floyd — Delicate Sound of Thunder (1988)
Robert Plant — Carry Fire (2 LP, 13/10/2017)
Ben Sidran — Who’s the Old Guy Now (Nov. 20, 2020)
Le Butcherettes — DON’T BLEED EP (14 Feb 2020)
Lee Ranaldo, Jim Jarmusch, Marc Urselli, Balázs Pándi — „Churnin
Devin Sinha — The Seventh Season (Oct. 21, 2014)
Marillion — „With Friends At St David’s“ (Nov. 13, 2020)
Mike Polizze — Long Lost Solace Find (July 31, 2020)
Typhoon — „Sympathetic Magic“ (Jan. 22nd, 2021)
Arab Strap — „As Days Get Dark“ (March 5, 2021)
First Aid Kit — Stay Gold (2014)
Land of Talk — Indistinct Conversations (July 31, 2020)
Kuře v hodinkách — Flamengo
The League Of Assholes — „CODA“ (Jan. 20, 2021)
Luke Haines — Beat Poetry For Survivalists (6 Mar. 2020)
Suzi Quatro — „The Devil in Me“ [Japan Edition] (Jan. 22, 2021)
Devin Sinha — Liminal Space (Oct. 23, 2020)
Sarah Neufeld — „Detritus“ (May 14, 2021)
Nicole Atkins — Italian Ice (29 May 2020)
Maria Schneider Orchestra — Data Lords (24th July, 2020)
Lambchop — TRIP (Nov. 13th, 2020)
Son Lux — Learning Structures vol. 1~4 (Oct. 11th, 2019)
BC Camplight — Shortly After Takeoff (24 April 2020)
Delta Spirit — What Is There (Sept. 11th, 2020)
The Hold Steady — „Open Door Policy“ (Feb. 19, 2021)
John Mclaughlin — „Liberation Time“ (July 16th, 2021)
The Magnetic Fields — Quickies (May 15, 2020)
learning structures, vol. 3 distance between us (Oct. 11, 2019)
Cold War Kids — New Age Norms 2 (Aug. 21, 2020)
learning structures, vol. 2: end firma
Suns Of The Tundra — „Murmuration“ (Nov. 15, 2019)
Arushi Jain — „Under the Lilac Sky“ (July 9th, 2021)
Becca Mancari — The Greatest Part (June 26, 2020)
learning structures, vol. 3: distance between us
Severin Bells — A Brighter Side to the Unknown (24th Oct., 2020)
The Apache Relay — Apache Relay (April 22, 2014)
Thurston Moore — By The Fire (Sept. 25, 2020)
Kurt Rosenwinkel Trio — Angels Around (May 8, 2020)
Frazey Ford — U kin B the Sun (Feb. 7th, 2020)
Lizzy Farrall — Bruise (March 27, 2020)
Alice Peacock — Minnesota (Sept. 20th, 2019)
Devon Williams — A Tear in the Fabric (May 1, 2020)
Gwenifer Raymond — Strange Lights Over Garth Mountain (2020)
LENKA DUSILOVÁ — ŘEKA (Nov. 6th, 2020)
STEREOLAB: Oscillons from the Anti~Sun
Hallelujah the Hills — A Band Is Something to Figure Out (2016)
Loveblind: Visions
Lilly Hiatt — Walking Proof (27 March, 2020)
Mekons — Deserted (March 29, 2019)
Loveblind: Visions
Throwing Muses — Sun Racket (Sept. 4, 2020)
Sean McMahon ― You Will Know When You’re There (March 1, 2019)
Deradoorian — Find the Sun (Sept. 18, 2020)
The Chats — High Risk Behaviour (March 27, 2020)
Tylor Dory Trio — Unsought Salvation (Dec. 21, 2019)
György Ligeti — Lontano (22. Oct.,1967)
Yves Tumor — Heaven to a Tortured Mind (April 3, 2020)
Cub Sport — LIKE NIRVANA (24 July, 2020)
Guranfoe — Sum of Erda (Dec. 13, 2019)
Susanne Sundfør — Self Portrait (Original Score, 10th Jan. 2020)
Ronnie Godfrey — Shades of Blue (Oct. 25, 2019)
Intocable ― Percepcion (March 15, 2019)
Kibby — „Blabracadabra“ (May 14, 2021)
Father John Misty — God’s Favorite Customer (June 1st, 2018)
Ytamo — Vacant (June 12, 2020)
Pancrace — The Fluid Hammer (09 Sep 2019/2LP)
k.d. lang — „makeover“ (May 28, 2021)
Humanist — Humanist (21 Feb., 2020)
White Lies — To Lose My Life… [10th Anniversary Deluxe Edition]
Slow Pulp — Moveys (Oct. 9, 2020)
Andrej Šeban — Rock and Roll z Rači (11. Sept., 2020)
The Go Betweens — „Liberty Belle And The Black Diamond Express“
Wrekmeister Harmonies — We Love to Look at the Carnage (2020)
Bright Eyes — Down In The Weeds, Where The World Once Was (Aug.
Hallelujah the Hills — I’m You (Nov. 15, 2019)
OWEN PALLETT — Heartland (March 3, 2014)
Siobhan Wilson — There Are No Saints (14 Jul, 2017)
Erlend Apneseth — Fragmentarium (Jan. 31, 2020)
Paul McCartney — McCartney III (18 Dec., 2020)
Amaarae — The Angel You Don’t Know (Nov. 12, 2020)
Delta Spirit — Into The Wide (Deluxe Edition, Sept. 9, 2014)