The Daysleepers — Creation (Sept. 7, 2018)

The Daysleepers — Creation (Sept. 7, 2018)

                    The Daysleepers — Creation (Sept. 7, 2018) The Daysleepers — Creation (Sept. 7, 2018)Location: Buffalo, New York
Recording: My Daydream Studio
Style: Shoegaze, Dream Pop, Ethereal, Indie Rock
Album release: September 7, 2018
Record Label: self
Duration:     41:10
Tracks:
01 This Dark Universe     5:07
02 Creation     5:11
03 Arclights     4:16
04 Foreverpeople     4:51
05 The Memorymaker     3:40
06 Sundiver     3:37
07 Tropics     3:41
08 Flood in Heaven     5:01
09 The Monolith     4:46
The Daysleepers:
✹    Jeff Kandefer: Vocals, Guitars, Bass VI, Programming, Keyboards
✹    Mario Gimbrone: Drums
✹    Scott Beckstein: Bass
✹    Elizabeth Kandefer: Heavenly Vocal Textures
✹    Creation was written, composed, produced by Jeff Kandefer at My Daydream Studio.
✹    Mastered By: Black Knoll Studio
✹    Illustration: Dimonika
✹    Design: Jeff Kandefer
✹    Programmed Drums on tracks 1 & 5 & Bass on tracks 1, 5 & 9 by Jeff Kandefer
Description:
✹    After a 10 year hiatus, Western New York space rockers The Daysleepers have returned to envelope you in a wave of cosmic oblivion with their new album „Creation“. With songs ranging from massive wall~of~sound epics (Sundiver/Flood in Heaven/Creation), Chill, ambient drifters (This Dark Universe/The Memorymaker/The Monolith), and spacey, upbeat new wave cuts (Arclights/Tropics), The Daysleepers show more variety than ever before, proving they can bring different hues and shades to the shoegaze/dream pop genre all under the umbrella of one monumental album. As Creation effortlessly cascades through ambient textures, thick layers of jetstream guitars, and a thundering rhythm section, one thing is for sure...you’ve never heard The Daysleepers this big before.
✹    We think this album is so special that we wanted to give it the powerful presentation we think it deserves. In this special edition you’ll get:
+ Black Vinyl with Cosmic Radiation Red Splatter
+ Full Color Artwork
+ Printed Inner Sleeve Complete with Lyrics & Liner Notes
+ Digital Download Card
✹    Vinyl is a pricey business! If you could commit your preorder ahead of time to help us fund this unique release you will have the benefit of owning a RARE piece of The Daysleepers history! This is a 1st press run of only 300 that will never be released again in this color configuration.
✹    The Daysleepers are a fully independent project and your support means so much to us! Thank you and we hope you LOVE “Creation” as much as we do. We poured our heart and soul into it and feel it is our greatest artistic achievement yet.
Much Love,
The Daysleepers
Interview
by Jason
√    The Daysleepers has been one of my favorite bands since they hit the scene. Releasing an EP in 2005, the band has released one full-length and a number of EP’s and singles over the years. 2008’s Drowned in the Sea of Sound is arguably one of the best shoegaze albums ever released and the announcement of a follow~up to that brilliant album has finally happened. Jeff Kandefer was kind enough to answer my questions about the 2008 release, the coming of Creation, the making of their new singles and much more.
Q:   ,Hello Jeff. Thanks for taking the time to answer my questions.
✹    Thank you! This site & your radio show are very important to the Shoegaze/Dreampop scene so we are thrilled you asked us to do this. I know you have been a longtime supporter of The Daysleepers from our beginning so thanks for staying with us all these years.
Q:   Well, The Daysleepers have been gone for some time now with a few signs of life since the release of Drowned in a Sea of Sound. What instigated the return with the last 3 singles and The Smiths cover along with mention of a new, forthcoming album?
✹    One thing was probably the return of many of my favorite shoegaze bands. New albums and singles from Swervedriver, MBV, Ride, Lush & Slowdive were certainly very inspiring. The shoegaze scene seemed sort of reinvigorated. I found myself wondering what our return would sound like and started thinking about an abandoned concept I had years ago. All of the sudden ideas started flooding in.
✹    Some may recall we started the “Creation” project back around 2010. I had this interesting concept and some songs started but the circumstances were not right. I didn’t have the right studio equipment or time to dedicate to make the album what it should be. I’m so glad I didn’t force it back then because we wouldn’t have what “Creation” has become today, which I feel is the greatest artistic achievement of my life!
✹    The Smiths cover was just a fun little thing we started messing with basically to test out our new studio recording equipment. I wanted to work with a cover first before the serious process of writing and recording new material with equipment I was sort of unfamiliar with. For me, that cover marks the end of The Daysleepers 1.0. Everything after that starts a new era for the band.  You’ll notice after that I stopped using our original logo that we’ve had since the very beginning. It’s time for some things to change. I believe we have stepped up to the next level.
Q:   Can you talk a bit about The Daysleepers’ aesthetic? What I mean by this is your sound and how you shape it and think about it. In the shoegaze scene, it’s unique and I always know when I’m listening to one of your tracks.
✹    That’s great to hear! I think there is definitely a danger in this scene that things can start to sound the same if, as a whole, we don’t add in our own unique elements. If we are just going to do our best Cocteau Twins, My Bloody Valentine or Slowdive impression, it may sound really great, but it doesn’t really advance the scene. Plus, there is already a Slowdive and a MBV…and they are back with new material now. Not that we don’t borrow elements from those bands, they are the very foundations of what we do, but there needs to be more. You’ll see in reviews of our material that people compare us to these classic bands but if you really listen to our music, under the reverb and delay it is very different. Songs like “Release the Kraken” and “Megaton Supernova” don’t sound like Slowdive, Cocteau Twins or My Bloody Valentine but they do have elements in common. If anything, I’d compare us more to The Cure, Disintegration/Wish era, with a bit more reverb & noise. The way I have always viewed shoegaze/dreampop is that underneath the reverb, delay and distortion you should just have a really great song. Those effects pedals give our genre that big, lush, spacey sound that we all love, and underneath all that can be almost anything…but it has to be a good song at its core. It’s why we have such extremes in the genre. Cocteau Twins do not sound like Swervedriver, but they can both be played next to each other on DKFM and it works! That kind of diversity within the genre is great.
✹    Another thing that I think sets us apart is our influences. We are definitely inspired by new and old shoegaze/dreampop bands but I was a fan of The Cure, The Smiths, Talk Talk, Japan, Tears for Fears, New Order & Depeche Mode long before I listened to shoegaze. So I have those influences. I am also heavily influenced by indie rock/alternative bands like The Shins, Sunny Day Real Estate & Interpol, as well as artists like Bjork. We all like post hardcore bands like Circa Survive & Mars Volta. Scott and Mario are big Elliott & Sigur Ros fans. All of these influences live under the layers of reverb, delay and distortion in our music.
✹    I also think my vocals and vocal melodies are a bit different for the genre. I don’t really hear too many singers that sound like me in shoegaze. The most important element to me in any song we write is the melody. It should be pretty and it should get stuck in your head. That’s what I shoot for anyway. In the shoegaze genre you hear a lot of male singers with more droning, goth type voices and females with sweet, heavenly voices. I like both of those styles, but I’d rather be closer to the Elizabeth Fraser side of the vocal spectrum than the Jesus & Mary Chain drone sound. It just seems to work better for our brand of dreampop/shoegaze.
✹    Those are just some of the reasons I feel The Daysleepers are unique…sorry it’s a bit long winded.
Q:   Besides The Smith’s cover, “Creation” was your first single back on the scene. Can you talk a bit about the writing and recording of that particular track and why it became the one you released first?
✹    That’s an interesting one. It is one of the best tracks we have ever created but it was definitely not easy. I knew it was going to be our big return and the title track of the next LP so it felt like a lot of pressure. I wanted this track to hit hard and have the most massive sound we were capable of. I definitely think we accomplished it, but it almost drove me insane. I had just bought all this new studio gear and I wasn’t very familiar with it all yet, but here my goal was to make a professionally engineered song that could be played alongside all the heavy hitters. It seemed impossible, but we went to work and I was impressed with our progress. I had to swap distortion, fuzz and overdrive pedals several times because I wasn’t getting the sound I wanted. I spent 3 months mixing and remixing that song until it sounded right. There was, I think about 30 layers of guitars which made mixing very challenging. If you don’t mix that many layers correctly it will all just turn to mush and everything gets lost in the mix. After a while I started to feel crazy from how intensely I was listening to the track. I recut the vocals after not being happy with the first pass. Eventually everything fell into place and we ended up with a perfect title track that seems to be getting universal praise. When it went right to #1 on the DKFM charts for the month it was released that was certainly encouraging. I don’t need that kind of validation to make music but of course it’s nice to know people appreciate the hard work and passion you put into a creative work. It can be motivating. It was also nice to know people still cared about The Daysleepers after being inactive for a while. “Creation” was also voted the #4 track of 2017 on DKFM, so that was more great news for us!
Q:   So, is the album still going to be called Creation (if Creation is the title, please elaborate on the concept) and is there a label already attached to its release? If so, is there a timeline for release?
✹    It is still called “Creation”. I have been obsessed with the concept since I first thought of it a few years after “Drowned in a Sea of Sound”. I won’t go too deep into the meaning of it because it’s a pretty personal & spiritual concept for me. To simplify it, it’s just my thoughts and observations of the universe before and after life was created, intelligent design and my place in all of this as one individual in the cosmos. I like the contrast here because that is both a huge spiritual concept and a very personal one. The songs reflect this too. Some are huge abstract concepts and others are very relatable human observations. Like all of our music though, that is just what it means to me. Whatever you think the songs are about when you hear them…that’s also what they are about. I try to keep things fairly open from the listener’s perspective so they can interpret as they see fit.
✹    We have been talking to a few of our favorite record labels. We have offers but we haven’t made any decisions yet. I think we’ll have to soon though. I’ve always liked self-releasing our material, I’m a bit of a control freak, but I feel sometimes it limits the band from the exposure we could get with the help of a label. So we are investigating that.
✹    As far as a timeline, the record will be done before summer, which means a release should come around September/October. Being the writer, producer, mixing all the tracks, programming and recording all the guitars, keys & vocals…it is not a fast process. There is a lot for me to do and I have to make sure it’s all quality, but my deadline is end of spring. Whatever is not ready by then doesn’t go on the album.
Q:   I sort of want to go back and talk a bit about Drowned in the Sea of Sound. It’s one of my favorite albums of all time and I’m curious what you think of it looking back. How does the album sit with you now that almost a decade has passed since its release?
✹    I love the album. It marks such a great time in my life and all the feelings that are associated with that time come flooding back when I listen to it. With our circumstances then and with what we were trying to achieve, I think we accomplished exactly what we set out to do. It’s a solid album with a nice variety of songs to keep it interesting. I don’t think it’s perfect though. Now that I produce our music there are production things I would change if “Drowned…” was being recorded now, but I don’t think you can look at past albums like that. There’s always things you would change in hindsight. We had basically a solid week in the studio to record that album and I think for the time given, I am blown away by the quality of it. Especially now when I’ll spend a whole night just tracking one guitar part or recording one verse of vocals to perfect them.
✹    The 10th Anniversary limited edition Vinyl release of this album will be out this year! I’m working with Clairecords/Tonevendor on it. First time on vinyl for this one. Keep up with us on Instagram for the latest news and updates on this and the “Creation” album.
Q:   Do you have any favorite tracks from Drowned in the Sea of Sound? Which are they and why?
✹    “Release the Kraken”, “Distant Creatures” & “Summerdreamer” I would say are my top 3 favorites on the album. I think I just like the production and execution of those the best. I also love the cosmic sound of “Space Whale Migration”. Our bass player Scott wrote and programmed the main composition for that song. Here’s a fun fact that some might not know, the one track on the album is named “Megaton Supernova” NOT “Megatron Supernova”. On the CD packaging it is spelled correctly but I think when the information was entered into iTunes there was an error. It’s a big error too because one is a celestial phenomenon and the other is an evil Transformers character. It changes the meaning of the title quite a bit. Also, I was more of a Thundercats fan than Transformers so it’s not even reflective of my childhood.
Q:   So, it’s been about a decade since you started releasing music. Has your writing process changed over time and, if so, what is new about how you all go about writing tracks now?
✹    Actually our first EP came out in late 2005, so it’s been well over a decade since we started releasing music. Time really flies! The process has definitely changed for this record. Now I am pretty much the Robert Smith figure in the band. While I don’t wear lipstick, I do write all the songs, record my parts and then kind of direct the band as to what I am looking for with bass and drums. From there they give me what they came up with and any feedback they have. Then I start mixing the tracks. This process is pretty effective because it is a single vision for an entire concept and it seems to be working out great for this album. There is a strong unified theme to it because of this method. In the past it had been more collaborative when we could all be in the same room weekly writing the music live but that’s no longer possible. I have always been the lead songwriter and the sort of director of the band, so that element remains the same, but now I am in control of the production too.
Q:   Returning to the singles, can you talk a bit about the writing and recording of “Foreverpeople”?
✹    I think it’s a beautiful song and I love the way it turned out. It is a very personal song for me. I get choked up listening to it sometimes. It’s actually the first track I started writing for the “Creation” album. Before I started seriously writing these songs I knew I needed some new pedals if I wanted to take the guitar sounds to the next level. I tried so many reverbs, delays and distortions until one by one I found the perfect sounds. Once that was set, one of the first guitar parts I wrote was that opening riff in “Foreverpeople”. It just gave me the feeling of floating through space so I knew it was a keeper for this album. The song “Creation” came to me very soon after that. I was working on them simultaneously.
Q:   For the gearheads who read Somewherecold, can you talk a bit about your gear? What sort of guitars/bass/drums and FX do you all use?
✹    Most people who know our band know I’m obsessed with Fender Jazzmasters. I have had several of them over the years but now I have 2. I know they have become one of the official guitars of Shoegaze along with the Jaguar but my love for Jazzmasters goes back way before I knew what shoegaze was. I started playing guitar when I was 13 or 14. My first real guitar was a Fender Mustang. I just always loved the look of Fender offset guitars. A lot of the grunge musicians on MTV at that time started playing offset guitars and I just had to have one. That was the sound I wanted. I remember one time seeing the band Bush play on that awesome old MTV show “120 minutes” and the singer had a purple Jazzmaster with a red tortoiseshell pickguard and I was like “What is that thing?” It just looked like the best guitar in the world to me. I got one soon after and fell in love with them! It is without question the perfect guitar for me. For this album I bought a new Fender American Professional Jazzmaster and I am crazy about it! I definitely wanted the Jazzmaster sound but something a little different from our other albums. The American Pro pickups are wound in a way that is different from classic Jazzmaster pickups and they are a bit brighter/hotter sounding. It records beautifully because you can have a wall of guitars but these specific pickups seem to punch through the mix with a bit more clarity for lead guitar lines. The pickups also seem to do a little bit of compression so you still get dynamics, but also a nice even guitar track and I don’t have to do hardly any compression on the software end. In early 2017 I also purchased a Squier Bass VI and made some modifications by adding a Staytrem Bridge and appropriately gauged strings which are at the very least, mods that need to be made to one of these. I recorded many tracks on our Soft Attack EP with a Fender Bass VI I had years ago, but I didn’t use it enough to justify the $2,000 price tag, so I sold it. When Squier came out with this $450 model I knew I had to get one, and I knew I’d have to modify it at that cheap of a price. It is a great Bass for the money especially after the upgrades. And of course I use “Starla” my tried and true 2005 Black Fender American Vintage 62’ Reissue Jazzmaster on this album. She has been on every release from the very beginning. Scott has a gorgeous 70’s Sunburst Fender Jazz Bass that he has used on every Daysleepers track. We are an all Fender guitar band (Please sponsor us). I always say if Fender never made guitars I probably wouldn’t play. I’m not really interested in anything else.
✹    Mario uses a Roland electronic drum kit. This gives us tons of control dialing in the drum sounds and effects we want & eliminates the complications of recording acoustic drums. This is new for this album. “Drowned…” and the EP’s were all acoustic drum kits. I personally like the electronic drum kit sounds much better for the type of music we are making now. We can get those huge arena sounding drums effortlessly and they sound so powerful.
✹    I have a Fender Deluxe Reverb Reissue Amp that I think is pretty great. As far as pedals go, my two favorites are my Strymon DIG & BlueSky pedals. They just take reverb and delay to a whole new dimension but they are fairly simple to use. They are really the foundation of my guitar sound on “Creation”. For my drive section I have a Big Muff Tone Wicker Fuzz, Rat II Distortion and Boss OD~3 Overdrive. More than anything, I experimented and tried so many Fuzz and Overdrive pedals. In my opinion nothing compared to these for what I was looking to do. So many drive pedals, especially Fuzz pedals, lose chord definition when you record them. With these I was able to retain some of that and still get those rich low end textures. I also have a BOSS CE~2 Chorus pedal which is the best Chorus pedal I’ve ever played. My goal was to simplify my studio board to 8 pedals, but I wanted them to be the perfect 8 pedals for the album. I wanted a shorter, clean signal path with the highest quality sounds imaginable. I couldn’t be happier with my rig now. It’s simple and perfect.
Q:   So what’s next for The Daysleepers? Any live gigs planned? Should we expect another single? If so when?
✹    Right now I can’t see anything beyond finishing this album and everything that goes with that (mixing, mastering, promotion, labels, merchandise, vinyl, and packaging). It is my total focus for the band at the moment, as well as the vinyl reissues of the older material.
✹    There will definitely not be any new singles until maybe right before the album releases. As it is I’m afraid I may have released too many. Creation will be in the 8~10 track range. That being the case you’ve already heard a good portion of it, but I think it was necessary to give our fans something more than one single after waiting so long. So we did it for you! On another note though, when you hear how the album flows in order with the other songs, I think these singles will take on new life as they are all part of this massive, cosmic, audio journey. When you hear it all together it will definitely be a beautiful, noisy experience.
Q:   Thanks so much for answer my questions. Cheers!
✹    Anytime Jason! Thanks for the opportunity.
✹    https://somewherecold.net/
Twitter: https://twitter.com/the_daysleepers
Bandcamp: https://thedaysleepers.bandcamp.com/album/creation
_____________________________________________________________

The Daysleepers — Creation (Sept. 7, 2018)

ALBUM COVERS XI.

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RADEK BABORÁK a jeho ORQUESTRINA na PIAZZOLLOVSKÉ ALBUM.
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ÁSGEIR: IN THE SILENCE
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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)
Morgan1
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)