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Conor Oberst
Upside Down Mountain (Advance)

Conor Oberst — Upside Down Mountain (Advance) [May 19th, 2014]

USA Flag Conor Oberst — Upside Down Mountain (Advance) 
♣  Poslední dokument o jeho posedlosti únikem, smrtí, plynutím času a potenciálním nalezením klidu ve smyšlené identitě.
♣  Bright Eyes frontman known for introducing indie fans to singer/songwriter tropes like trembling vocals, acoustic guitar, and a confessional approach. Notable instruments:
♣  Collings OM2H
♣  Collings 01SB 

Born: February 15, 1980 in Omaha, NE
Location: Omaha, Nebraska
Album release: May 19th, 2014
Record Label: Nonesuch
Duration:     54:32
Tracks:
01. Time Forgot      (4:37)
02. Zigzagging Toward The Light      (4:05)
03. Hundreds Of Ways      (4:29)
04. Artifact #1      (4:25)
05. Lonely At The Top      (3:45)
06. Enola Gay      (2:24)
07. Double Life      (3:57)
08. Kick      (3:41)
09. Night At Lake Unknown      (4:17)
10. You Are Your Mother’s Child      (3:49)
11. Governor’s Ball      (4:21)
12. Desert Island Questionnaire      (5:41)
13. Common Knowledge      (5:02)
© 2014 Nonesuch Records
Awards:
Billboard Albums
♣  2014 The Billboard 200     #19
♣  2014 Top Digital Albums     #13
♣  2014 Top Modern Rock/Alternative Albums     #6
♣  2014 Top Rock Albums     #6
CREDITS:
MUSICIANS:
♣  Conor Oberst, voice (1–13), guitar (1–13)
♣  Jonathan Wilson, guitars (1–3, 5–9, 11, 12), percussion (1–3, 7, 8, 11), keyboards (1–3, 7, 8, 12, 13), bass (2, 3, 7, 12), drums (2, 3, 7, 11, 12), voice (2, 3, 11), piano (7), organ (7), glockenspiel (12)
♣  Andy LeMaster, bass (1), guitar (1, 7), voice (6, 7), percussion (7), drums (7), keyboards (12)
♣  Cully Symington, drums (1, 5–8), percussion (1, 5–8)
♣  Klara Söderberg, Johanna Söderberg, voice (1, 3, 8, 9, 11)
♣  Joshua Grange, pedal steel (3, 5, 9)
♣  Nathaniel Walcott, trumpet (3, 11), piano (6, 11), organ (11), keyboard (11, 12)
♣  Scott Vicroy, saxophone (3, 11)
♣  Pete Madsen, trombone (3, 11)
♣  Blake Mills — guitars (4), keyboards (4), percussion (4), voice (4)
♣  Macey Taylor, bass (5, 6, 8, 9, 11)
♣  Orenda Fink, voice (6)
♣  Ben Brodin, vibraphone (9)
♣  Leslie Fagan, flute (9)
♣  John Klinghammer, clarinet (9)
♣  Mike Mogis, pedal steel (11)
♣  Corina Figueroa Escamilla, voice (11, 12)
♣  Jason Boesel, drums (12)
♣  Omar Velasco, guitar (12)
PRODUCTION CREDITS:
♣  Produced by Jonathan Wilson and Conor Oberst
♣  Mixed by Jonathan Wilson
♣  Recorded at Fivestar Studios (LA, CA), ARC (Omaha, NE) and Blackbird (Nashville, TN)
♣  Engineered by Bryce Gonzales (Fivestar, Blackbird), Andy LeMaster (ARC) and Ernesto Olvera (Blackbird)
♣  Additional Production, Engineering and Mixing on “Artifact #1” by Blake Mills
♣  Recorded at Zeitgeist Studios (LA, CA)
♣  Engineered by Lionel Darenne
♣  Mastered by Bob Ludwig at Gateway Mastering Studios (Portland, ME)
♣  Horn Arrangements by Nathaniel Walcott
♣  All songs written by Conor Oberst
♣  All songs by Conor Oberst © 2014 Bedrooms; Bedrooms and Spiders (BMI)
♣  All paintings by Ian Felice: Cover, “Creation of the Bulls.” Back, “Horseman.” Interior, “Firing Squad.” Booklet Covers, Details from “Horseman”
♣  Art Direction and Design by Gary Burden and Jenice Heo for R Twerk & Co
Singer–songwriter Conor Oberst's new solo album, Upside Down Mountain, is out on May 19 via Nonesuch Records, with vinyl due May 30. The album is now available to pre-order with an exclusive print featuring the album art, The Creation of the Bulls by Oberst's friend Ian Felice, with an instant download of the tracks "Hundreds of Ways" (above) and "Governor’s Ball" (below): http://www.nonesuch.com/albums/upside-down-mountain.
♣  Upside Down Mountain features many other friends of Oberst’s, including producer Jonathan Wilson, engineer Andy LeMaster, bassist Macey Taylor, multi–instrumentalist Blake Mills, and the Swedish sibling folk–rock vocal duo First Aid Kit. What started as exploratory demos with producer–musician Jonathan Wilson at his Fivestar Studios in the Echo Park neighborhood of Los Angeles, in a home Wilson rents from Oberst, became the first de facto album sessions. Returning to his native Omaha, Nebraska, Oberst kept rolling with the help of frequent collaborator, engineer, and friend Andy LeMaster at his own ARC Studios. Even more tracking followed in Omaha last November and December. Then Oberst and Wilson moved south to Blackbird Studio in Nashville.
♣  “This is a return to an earlier way I wrote,” Oberst says of the songs on Upside Down Mountain. “It’s more intimate or personal, if you will. Even if all my songs come from the same place, you make different aesthetic decisions along the way. For me, language is a huge part of why I make music. I’m not the greatest guitar player or piano player — I’m not the greatest singer, either — but I feel if I can come up with melodies I like that are fused with poetry I’m proud of, then that’s what I bring to the table. That’s why I’m able to do this.”
♣  The vinyl, pressed on a single 140–gram vinyl at Pallas MFG in Diepholz, Germany, includes the complete album on CD.
♣  Prior to the album release, a limited–edition seven–inch single will be released exclusively for Record Store Day (Saturday, April 19). This special single will feature album track "Hundreds of Ways" along with album outtake "Fast Friends" on the B–side.

REVIEW
By Ian Cohen; May 19, 2014; Score: 6.5
♣  Conor Oberst is a 34–year old married man. He’s been a musician in the public eye for nearly half of his life, and over the past decade, he’d be most accurately described as a folk artist. His latest album Upside Down Mountain is being released on Nonesuch, a label whose release slate includes the Black Keys, Natalie Merchant, and Nickel Creek. The cover art is designed by one of the guys in the Felice Brothers, and he’ll be trekking around the country with Dawes. The moment you hear Oberst sing, though, you will forget every single one of these facts and remember every positive and negative association you have with Bright Eyes instead — there’s just no mistaking him for anyone else at this point, and it’s unclear how he feels about that. While claiming “this is a return to an earlier way I wrote”, Upside Down Mountain is Oberst’s latest documentation of his obsessions with escape, death, the passing of time, and the potential of finding serenity in an assumed identity.
♣  That said, Upside Down Mountain isn't a Bright Eyes album, so Oberst’s not driven by the same incessant need for romantic and artistic validation that kept him going until Lifted, nor will circumstances ever align the way they did for his protracted 2005 critical breakthrough. On the plus side of the ledger, you can understand what the hell Oberst is talking about most of the time on Upside Down Mountain, which makes it an immediate improvement over Cassadaga and The People’s Key, two albums that somehow managed to be cryptic and pedantic at the same time.
♣  Besides possessing one of the strongest melodies Oberst has ever penned (and there are plenty here), “Time Forgot” is a welcome reintroduction to the guy who never had trouble getting his point across. Here, he longs to grow a beard, to be left alone, to let the wind scatter thoughts, to just listen. This puts him in a similar mindset as he was on his self–titled record from 2008, the last truly great thing he’s put his name on. ♣  ut there’s been an unmistakable change of perspective — on Conor Oberst cuts like “I Don’t Want to Die (In the Hospital)”, death was impending because he was Conor Oberst, the wildly talented and self–destructive rock singer. Here, he’s not chasing death, but death will catch up with him because he’s Conor Oberst, human being.
♣  The most resonant moments of Upside Down Mountain follow suit in deconstructing Oberst’s myth of himself — during the otherwise chintzy, rhinestone cowboy pop of “Hundreds of Ways”, “I hope I am forgotten when I die” is the most poisonously enunciated line on the LP. Meanwhile, on the mesmerizing minor–key whisper of “Artifact #1”, Oberst just wants to be forgotten while he’s alive — “I don’t want a second chance to be an object of desire/ if that means slipping through your hands.” Sometimes he even has a sense of humor about it all; though “Kick” is addressed to a luckless Kennedy, it’s not a “Diane Young” –style philosophical treatise, but rather one fuck–up relating to another. And when he admonishes a self–absorbed drunk during “Enola Gay”’s rummy strut, it might just be himself. The evocation of solitude in a crowded club links it back to his atomic self–pitying from Digital Ash in a Digital Urn's “Hit the Switch”, but anyone can learn from its hook: “The world’s mean, getting meaner too/ So why do you have to make it all about you?”
♣  But elsewhere on Upside Down Mountain, he wields populist observation like a politician, trying to utilize his homespun wisdom from an elevated plane. Over a decade ago, he claimed “There is no truth, there is only you/ And what you make the truth”, and that sounds more convincing than his attempts to convey his own version of the truth as the genuine article. During “Time Forgot”, he muses, “They say everyone has a choice to make/ To be loved or to be free”, but, really, who says that?  He’s got a lot of big ideas about love throughout — “True love hides like city stars”, “Love was the message...full stop”, “Freedom is the opposite of love”, “Our love is a protective poison”, “There is no dignity in love.” It's easy to think of him like Don Draper, hacking out emotionally manipulative and impeccably worded pitches on a Coronet until something sticks.
♣  His facility with pat truths is most evident in “You Are Your Mother’s Child”, a song that bears an instant resemblance to I'm Wide Awake, It's Morning's homemade valentine “First Day of My Life” in its unadorned simplicity. It’s open–ended enough to be adopted by anyone who wants it to be about their child, but after a striking, writerly first verse, an adolescent’s all–American upbringing feels less like an actual person’s experience than it does a songwriting exercise. It could’ve been written about anyone, but it also could’ve been written by anyone.
♣  But it couldn’t have been sung that way, and the saving grace of Upside Down Mountain is that it makes the case for Oberst as a truly unique and remarkable vocalist.  Earlier in his career, his tremble, quaver and vibrato were seen as affectations of an amateur, but here they're all confidently and carefully utilized like a mastered instrument. For the most part, it gives character to gauzy C&W like “Double Life” and the chugga–chugga festival–folk of “Zigzagging Toward The Light”, but he still has a way of throwing in awkward phrases that stick in your craw like popcorn kernels — “Snickers bar”, “Japanese arcade”, “Klonopin eyes”, and the pronunciation of “parlour trick” to sound like “politrick.”
♣  One line in particular stands out — “I stole all the rhinestones from Carolina/ And sold them out in Bakersfield for cash.” Maybe it’s playing to and against type as the rambling folk artist, since Carolina and Bakersfield are as real as it gets, even if they’re being used as placeholders. It's the kind of line Ryan Adams would unspool — a fitting association since Upside Down Mountain is essentially Oberst’s Ashes & Fire. ♣  It's gorgeous to the point of near gaudiness, a “return to form” after a strange decade evolving from wildly prolific, heartbreak soundtracking, Winona Ryder–dating enfant terrible into a domesticated Americana bard no longer interested in why to be young is to be sad. Hopefully, Oberst will find a way to make "older and wiser" just as revelatory. (http://pitchfork.com/)
____________________________________________________________
♣ While Conor Oberst is best known for his work as Bright Eyes, he has diversified his resume in recent years by releasing music with his supergroup Monsters of Folk, leading his Mystic Valley Band and reuniting with his post–hardcore outfit Desaparecidos. Now, the songwriter release a new solo album Upside Down Mountain on May 20 through Nonesuch.
♣  Previous reports indicated that the country–leaning album was recorded in Nashville with producer Jonathan Wilson (Dawes, Father John Misty). Swedish folk sisters First Aid Kit appear on much of the album.
♣  This is Obert’s first proper solo effort since 2008′s self–titled album. He then released Outer South as Conor Oberst & the Mystic Valley Band in 2009.”

Editorial Reviews
♣  Singer–songwriter Conor Oberst s debut album for Nonesuch Records, Upside Down Mountain, is, as its title implies, a study in contrasts, a glance up to the heavens and a glimpse into the abyss. “There s a certain solitude to this record,” Oberst admits, and themes of loneliness, dislocation, and regret repeatedly surface. Yet its making was far from solitary, as Oberst gathered friends old and new for the recording, including producer Jonathan Wilson, engineer Andy LeMaster, bassist Macey Taylor, multi–instrumentalist Blake Mills, and the Swedish sibling folk–rock vocal duo First Aid Kit. On hushed ballads like “Double Life” and “Artifact #1,” the instrumentation is often stripped down to voices, guitar, and ghostly keyboard; those songs are juxtaposed with tracks like “Governor s Ball,” which sports practically buoyant horn charts, and “Kick,” which is exuberant rock and roll. A squall of electric guitar at the end of “Zigzagging Toward the Light” segues into a Johnny Cash shuffle on “Hundreds of Ways.” The overall warmth of the sound tempers the starkness of the stories being told and Oberst renders his carefully detailed lyrics with an easy intimacy, the still youthful quaver in his voice poignantly underscoring the rueful, decidedly mature words.
♣  Upside Down Mountain also, says Oberst, stands in deliberate contrast to the harder–edged, hypnotically electronic material on 2011 s The People s Key, his previous album with Bright Eyes, or the thrashing social commentary of side–project Desaparecidos: "I m always reacting to what I did most recently. The songs I had been working on before this, for the last Bright Eyes record, they were personal to me and had come from elements of my life, but I wanted them to be bigger, cryptic, coded, to find words I hadn t found in songs before. And working on the Desaparecidos stuff, it s such a specific project and demands a more topical approach. It s made with that purpose in mind."
♣  “Maybe this is a return to an earlier way I wrote songs,” he continues. “It s more intimate or personal, if you will. Even it all my songs come from the same place, you make different aesthetic decisions along the way. For me, language is a huge part of why I make music. I m not the greatest guitar player or piano player I m not the greatest singer, either but I feel if I can come up with melodies I like that are fused with poetry I m proud of, then that s what I bring to the table. That s why I m able to do this.”
Website: http://www.conoroberst.com/
Twitter: https://twitter.com/conoroberst
Press: (US) / (rest of world)
Agent: Ground Control Tou
Facebook: https://www.facebook.com/conoroberst
Also:
INTERVIEW: BUD SCOPPA, Rating: 7 / 10
♣  The shambolic Bright Eyes auteur submits to a Wilsonian extreme makeover...
A decade and a half has passed since Connor Oberst popped into view as an 18–year–old lo–fi Heartland prodigy with a barely contained torrent of words pouring out of him, and it’s tempting to look at the 11 proper albums he’s made with his ever–changing band Bright Eyes and under his own name as an extended coming–of–age narrative. Along the way, he’s survived being classified as “emo’s Bob Dylan”, embraced as an indie heartthrob and vilified as an insufferable, navel–gazing narcissist, before attaining a reasonable degree of cred as a thoughtful, prolific and fearless artist endlessly eager to throw himself into challenging circumstances.
♣  In 2005, he simultaneously released a pair of Bright Eyes albums, the folky I’m Wide Awake, It’s Morning and, in a total departure from his previous records, the synth–driven Digital Ash In A Digital Urn. After Bright Eyes’ relatively straightforward (apart from the Easter eggs hidden in the artwork) Cassadega (2007), he traveled to Mexico with a bunch of musician friends to cut 2008’s Conor Oberst, then took them on an extended tour, at the end of which he initiated an experiment in democracy, calling on his bandmates to write songs and take lead vocals.
♣  The resulting LP, Outer South (2009) released under the nameplate Conor Oberst And The Mystic Valley Band, was a ramshackle mess and apparently got that notion out of his head. On Oberst’s next endeavour, 2011’s The People’s Key, made with his longtime collaborators Mike Mogis and Nate Walcott as Bright Eyes, he pushed himself to the opposite extreme, going for a modern–pop/arena–rock record that Mogis described at the time as “Police meets Cars” and Oberst compared (in theory) to the Killers. And while the Cars’ influence is detectable in the taut grooves, the record’s overall weirdness rendered it far from radio–ready.
♣  Now a 33–year–old married man with a career spanning nearly half his lifetime, Oberst appears to have gained a degree of perspective on his work and his place in the musical universe. His boyish earnestness, the frayed, adenoidal quaver he claims to despise and his obsessive love of language are unchanged, seemingly as permanent as birthmarks, and are now the self–acknowledged tools of his trade. But, as he’s shown so often during the last nine years, the context is everything for this artist. On this go-round, Oberst turned to Jonathan Wilson, the North Carolina native turned LA musical preservationist who’s making a name for himself as a producer (Dawes, Father John Misty, Roy Harper) and solo artist.
♣  Oberst knew what he was getting — a virtuosic instrumentalist and hands–on studio pro who values authenticity and overtly venerates the golden age of SoCal folk rock in his work, different values than Oberst had attempted to cohere with on his previous records. Given the stylistic thrust and a batch of Oberst songs that are somewhat more accessible and less verbose than anything he’s penned before, Swedish sister duo First Aid Kit were a natural fit, and on the six tracks on which they appear, their harmonized voices caress Oberst’s wobbly bray like liquid gold, filling in the crags. They bring an organic richness to the aural backdrops meticulously constructed by Wilson, who further burnishes the arrangements with brass, reeds, vibraphone, glockenspiel, pedal steel and keyboards. The producer’s neoclassic aesthetic brings colour, scale and retro richness — but also much–needed structure — to signature Oberst opuses like “Time Forgot”, “Kick” and “Governor’s Ball”, so much so that less ornamented tracks like the solo acoustic “You Are Your Mother’s Son” and the closing “Common Knowledge” seem threadbare by comparison. But the album’s deepest, most beguiling song, “Artifact #1”, features only young LA standout Blake Mills, whose guitars, keys and percussion render the performance luminous, and whose name I strongly suspect you’ll be seeing in these pages with some frequency in the future.
♣  Upside Down Mountain makes a persuasive case for itself as the Conor Oberst album for people who don’t particularly like Conor Oberst, but more meaningfully, it’s a record this restless artist can settle into and build on as he continues to mature, because it solves his chronic problems while presenting him with a newfound sweet spot. (Bud Scoppa)
Q&A
Conor Oberst
♣  Several of these songs strike me as hallucinatory or dreamlike.
♣  All my songs are daydreams — no joke. These were written over a three-year period, so in that sense it seems less conceptual than other records I’ve made, where the songs were written closer together. But I suppose there are some through–lines, thematically speaking. I guess the idea that we’re all alone on our own little mountaintops, that life is a struggle for connection, to feel less alone. We do the best with the tools we’re afforded, but we all die alone. Solitude should not be the enemy. It is our most natural state.
♣  We’ve watched you grow up in public. How do you view your journey as an artist and a human being, and how does this album reflect that journey?
♣  There’s no dramatic arc to my narrative. If I ever self–mythologize, it’s usually for comic effect. A common critique of my music has always been that I’m very self–absorbed and narcissistic, which it probably is, but it's interesting to note now with social media and Instagram and Facebook how disgustingly self–absorbed most everybody is. I don’t feel bad about mine in the least. I’ve turned my self–absorption into rock’n’roll records for the last 20 years. Not everyone deserves a platform. You should have to earn it by contributing something of value. Being famous for being famous is just straight–up sad. And funny. Fortaken: http://www.uncut.co.uk/ 
____________________________________________________________

Conor Oberst
Upside Down Mountain (Advance)

 

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Grimes — Visions (2012)
Jessie Ware — Glasshouse (Deluxe; 20 Oct 2017)
Kavus Torabi — Hip to the Jag (May 22, 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)
Amanda Palmer — Forty~Five Degrees: Bushfire Charity Flash Rec.
Veneer — Recovery (April 15, 2020)
Sara Serpa — Recognition (June 5th, 2020)
BECK — Uneventful Days (St. Vincent Remix)
Oddfellow’s Casino — Burning! Burning! (7 Aug., 2020)
This Will Destroy You — Vespertine (June 9, 2020)
Teen Daze — Morning World
Sara Serpa, Ingrid Laubrock, Erik Friedlander — Close Up (2018)
THE DEARS — ‘Lovers Rock’ (May 15, 2020)
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,
Sonny Landreth — Elemental Journey (May 22, 2012)
Laura Perrudin — Perspectives & Avatars (Oct. 9, 2020)
CocoRosie — Put the Shine On (6 March 2020)
Whyte Horses — Hard Times (17th of Jan., 2020)
Jessie Ware — What’s Your Pleasure (June 26, 2020)
Corb Lund — Agricultural Tragic (June 26, 2020)
Thomas Dybdahl — Fever (March 13, 2020)
Born Ruffians — Juice (April 3, 2020)
Michael Landau — The Michael Landau Group Live (Oct. 31, 2006)
Marc Ribot’s Ceramic Dog — What I Did On My Long ‘Vacation’ EP
The Beths — Jump Rope Gazers (July 10th, 2020)
Carissa Johnson — A Hundred Restless Thoughts (Dec. 18th, 2019)
Christine Ott — Chimères (pour ondes Martenot) (May 22, 2020)
Eleanor Friedberger — Rebound (May 4th, 2018)
Futurebirds — Teamwork (Jan. 15th, 2020)
Emmy the Great — Second Love (March 11, 2016)
My Morning Jacket — The Waterfall II (Aug. 28, 2020)
ELEANOR FRIEDBERGER — NEW VIEW (January 22, 2016)
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)
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)
Gerald Cleaver — Signs (March 27, 2020)
The Crossing & Donald Nally — James Primosch: Carthage (05/2020)
Immigrant Union — Judas (June 19, 2020)
KMRU — Peel (18th Sept., 2020)
Spy Machines — Spy Machines (April 3, 2020)
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)
Jerskin Fendrix — Winterreise (April 17, 2020)
Julianna Barwick — Healing Is a Miracle [Japan Edition] (2020)
Joy Division — Closer (40th Anniversary) [2020 Digital Master] (
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)
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
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)
SLY & THE FAMILY DRONE FC (17, 2020)
Låpsley — Through Water (March 20th, 2020)
Sarah Longfield — Dusk (April 22, 2020)
Soundwalk Collective with Patti Smith — Peradam (Sept. 4th, 2020
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)
930 x 827 tmavší podklad.jpg
P/\ST — /Expedice do vnitrobloku\ (Oct. 5, 2019)
Roland Tings — Salt Water (Nov. 8, 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)
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
Of Montreal — Ur Fun (Jan. 17, 2020)
Lanterns On the Lake — Spook the Herd (21 Feb., 2020)
Sega Bodega — Salvador (Feb. 14, 2020)
Klara Lewis — Ingrid (1st May 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)
Real Estate — The Main Thing (28th Feb., 2020)
Myopia Exclusive Crystal Clear Vinyl
James Harries — Before We Were Lovers
ANNA CALVI — HUNTED (March 6, 2020)
Elysian Fields — Transience Of Life (May 7, 2020)
SOFIA TALVIK — Paws of a Bear (Sept. 27, 2019)
Ali Holder — Uncomfortable Truths (April 10, 2020)
Sungazers — Wasting Space (May 18, 2020)
Neil Young — Homegrown (19th June, 2020)
Sixth June ‎— Trust (17 Jan 2020)
Bellows — The Rose Gardener (Feb. 22, 2019)
From Atomic — Deliverance (April 2020)
Cermaque — Lament (22nd May, 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)
David Thomas Broughton & Juice Vocal Ensemble — Sliding The Same
Marissa Nadler — unearthed (March 20, 2020)
PETR KALANDRA — Petr Kalandra & ASPM 1982 — 1990 (Feb. 26, 2020)
Justine Vandergrift — Stay (Feb. 7th, 2019)
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
Kim Myhr & Australian Art Orchestra — Vesper (17.04. 2020)
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)
Anna von Hausswolff — All Thoughts Fly (Sept. 25, 2020)
Peel Dream Magazine — Agitprop Alterna (3rd April 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)
A Certain Ratio — ACR Loco (25th Sept., 2020)
THE SCHRAMMS — “Omnidirectional” (June 21st, 2019)
David Thomas Broughton — The Complete Guide To Insufficiency /re
The Chap — Digital Technology (10 Jan., 2020)
Joan As Police Woman — Cover Two (May 1, 2020)
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)
The Weeknd — Beauty Behind the Madness (Aug. 28th, 2015)
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)
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)
Laurel Halo — Possessed (April 10, 2020)
Helena Deland — Someone New (16 Oct., 2020)
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)
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)
Kamaal Williams — Wu Hen (July 24, 2020)
Caspian — On Circles (January 24, 2020)
Jennifer Curtis & Tyshawn Sorey: Invisible Ritual (2020)
DAVID POMAHAČ — DO TMY JE DALEKO (Feb. 7, 2020)
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)
Cocteau Twins — Head Over Heels
Cocteau Twins — Treasure
Sarah Jarosz — World On The Ground (June 5, 2020)
The Innocence Mission — See You Tomorrow (Jan. 17, 2020)
False Heads — It’s All There But You’re Dreaming (13 March 2020)
The Tiger Lillies — Covid~19 (April 10, 2020)
Hawkwind — Acoustic Daze (25 Oct. 2019)
Wendy Eisenberg — Auto (Oct. 16, 2020)
TANYA DONELLY: Swan Song Series bonus tracks (FC)
Kate Amrine — This Is My Letter to the World (Jan. 24, 2020)
Wrekmeister Harmonies — We Love to Look at the Car (2020)
False Heads — It’s All There But You’re Dreaming (13 March 2020)
Coloured Clocks — Flora (May 2, 2020)
Indoor Voices — Animal (Feb. 14, 2020)
ELYSIAN FIELDS — Pink Air
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)
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)
The Heliocentrics — Telemetric Sounds (Aug. 7, 2020)
The Dream Syndicate — „The Universe Inside“ (April 10, 2020)
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)
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
Yorkston | Thorne | Khan — Navarasa : Nine Emotions (2020)
Jetstream Pony — Jetstream Pony (May 22, 2020)
Stove — ‘s Favorite Friend (Oct. 31, 2018)
ANASTASIA MINSTER — Father ©Michael Haley
Jonathan Wilson — Dixie Blur (March 6, 2020)
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
ROBERT FRIPP — THE KITCHEN (New York, NY) — 05 FEB 1978
Sara Bareilles — More Love: Songs from Little Voice Season One (
The Sufis — Double Exposure (Jan. 24, 2020)
ÁSGEIR: IN THE SILENCE
Martin Barre — Roads Less Travelled (26 Oct. 2018)
Loveblind / Sleeping Visions (March 27, 2020)
Walter Martin — The World at Night (Jan. 31, 2020)
Asher Gamedze – Dialectic Soul (July 10, 2020)
Frances Quinlan — Likewise (Jan. 31, 2020)
KING CRIMSON, The Night Watch
Kaitlyn Aurelia Smith — The Mosaic of Transformation (May 15, 20
Matt Berninger — Serpentine Prison (Oct. 16, 2020)
Rizan Said — Saz û Dîlan (Oct. 11, 2019)
Ásgeir — Bury the Moon (7 Feb., 2020)
Riva Taylor — ‘This Woman’s Heart .1’ (27 Mar 2020)
Juraj Griglák, From The Bottom (Sept. 16, 2019)
Cheerleader — Almost Forever (Feb. 7, 2020)
Queer Jane — Amen Dolores (March 27, 2020)
BECCA STEVENS — WONDERBLOOM (March 20th 20, 2020)
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)
Thin Lear — Wooden Cave (24th July, 2020)
Torres — Silver Tongue (Jan. 31, 2020)
Anoushka Shankar — Love Letters (7 Feb., 2020)
Free To Grow — Imperfection (Aug. 7, 2020)
Dan Croll — Grand Plan (21 Aug., 2020)
Lilien Rosarian ~ A Day in Bel Bruit (June 9, 2019)
Jim Noir — A.M Jazz (Dec. 20, 2019)
Shemekia Copeland — Uncivil War (October 23rd, 2020)
I Like to Sleep — Daymare (April 17, 2020)
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)
Varga Marián — Solo in Concert (1. feb. 2018)
No~Man — Love You To Bits (Nov. 22, 2019)
Blackbird & Crow — Ailm (17 Jan 2020)
Bruce Springsteen — Letter to You (Oct. 23, 2020)
Amy LaVere — Painting Blue (27 Mar 2020)
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
Martin Barre — Away With Words
Ezra Bell — This Way to Oblivion (3rd April, 2020)
All Them Witches — Nothing as the Ideal (Sept. 4, 2020)
Queer Jane — Home (Dec. 1, 2016)
RADEK BABORÁK a jeho ORQUESTRINA na PIAZZOLLOVSKÉ ALBUM.
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)
The Waterboys — Good Luck, Seeker (Deluxe) (Aug. 21, 2020)
Maarja Nuut & Ruum — World Inverted (11th Sept., 2020)
Kuře v hodinkách — Flamengo
Daniel Bachman — Green Alum Springs (June 6, 2020)
Midwife — Forever (April 10, 2020)
Siobhan Wilson — The Departure (10 May, 2019)
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)
Sean O’Hagan — Radum Calls, Radum Calls (2019)
Nicey Nice World — Obelisks and Asterisks (Sept. 22, 2020)
Robert Plant — Carry Fire (2 LP, 13/10/2017)
Le Butcherettes — DON’T BLEED EP (14 Feb 2020)
Mike Polizze — Long Lost Solace Find (July 31, 2020)
First Aid Kit — Stay Gold (2014)
Land of Talk — Indistinct Conversations (July 31, 2020)
Kuře v hodinkách — Flamengo
Luke Haines — Beat Poetry For Survivalists (6 Mar. 2020)
Nicole Atkins — Italian Ice (29 May 2020)
Maria Schneider Orchestra — Data Lords (24th July, 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 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
Becca Mancari — The Greatest Part (June 26, 2020)
learning structures, vol. 3: distance between us
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)
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)
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)
Ytamo — Vacant (June 12, 2020)
Pancrace — The Fluid Hammer (09 Sep 2019/2LP)
Humanist — Humanist (21 Feb., 2020)
White Lies — To Lose My Life… [10th Anniversary Deluxe Edition]
Slow Pulp — Moveys (Oct. 9, 2020)
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)
Delta Spirit — Into The Wide (Deluxe Edition, Sept. 9, 2014)