1
 
BILL CALLAHAN DAN BEJAR WILL OLDHAM CASS McCOMBS

2100 x 1198 Bill Callahan. Dan Bejar. Will Oldham. Cass McCombs.

 BILL CALLAHAN|DAN BEJAR|WILL OLDHAM|CASS McCOMBS
•★••     Kartáčováním prstů napříč šesti strunami se jeho slova prakticky zastaví: “Nikdy nechci umřít.”
•★••     Bill Callahan. Dan Bejar. Will Oldham. Cass McCombs. Lurking just outside the mainstream, these celebrated songwriters explain the intricacies of how their ...
•★••     Brushing his fingers across six strings, his words practically stop time: “I don’t ever want to die.”
•★••     It’s a phrase that binds nearly all of humanity, but performing at Washington’s Sixth & I Historic Synagogue, Bill Callahan sings it as if the idea belongs exclusively to him. He sounds sincere, serene and, above all, singular.
•★••     But when it comes to conjuring new mysteries from old guitars, he’s not entirely alone. Along with Dan Bejar, Will Oldham and Cass McCombs, Callahan stands among the greatest songwriters alive.
•★••     All four are beloved in the world of indie rock, an insular world that doesn’t really deserve them. They’re actually the heirs of Bob Dylan. But spelling that out feels lofty. And reductive. (Plus, it suggests that only white guys can embody the legacy of a white guy.)
•★••     But like Dylan before them, all four are asserting their gravity in the North American mystery zone where cosmopolitan sophistication and folk mysticism overlap. They each write songs that feel deeply familiar and profoundly unknowable. They’re each in love with weird jokes, the English language and deep stares into the void. And while they each operate within the grand, exhausted tradition of the singer~songwriter, their work feels mysteriously unprecedented.
•★••     It’s growing stronger. As the 21st century collapses around them, the quiet magnetism of their music seems to increase exponentially. They hoard mystique in a mediascape designed to obliterate it. They hoard words, too, refusing to burn them in gratuitous interviews, or compulsory stage banter, or 140~character hiccups to the universe. The less they say, the more powerful the songs become. The fusty, patrician, expired idea is reborn as the filthy, hidden, renegade idea.
•★••     They each visited the Washington area late last year and agreed to explain how their songs come into existence. Or at least try.
>>>>>>
Listening for the mysteries
Bill Callahan
•★••     With each new album — he’s up to about 20 now — his voice sounds a fraction deeper, as if he’s excavating life.
•★••     But when Bill Callahan speaks, his words arrive in higher, dreamier clusters. Now 48, he speaks as if he grew up on the California coast, even though he was raised in Silver Spring, Md., by parents who worked for the NSA.
•★••     He’s handsome and composed, like a zen version of Wes Hightower in “Urban Cowboy.” In a few hours he’ll be seated up on the bimah of a synagogue in Chinatown, singing about death, dirt, love, rivers and regret. For now, he’s backstage, slumped in an armchair, slowly searching for the right words.
•★••     He locates them effortlessly in song. “You looked like worldwide Armageddon while you slept,” he sings on a recent album in cosmic deadpan baritone. This is Callahan at his best, using quiet observation and uncomplicated language to trap life’s weird chaos in a place that’s calm and clean. “That has been the main driving force, I think, for me,” Callahan says of his craft. “It’s just nice to have one little thing squared away. Temporarily.”
•★••     The goals were much different back in the ’80s. That’s when Callahan first began making music as Smog, issuing messy bursts of electric guitar and four~track tape hiss that helped stoke a wider underground fascination with low~fidelity rock recordings. But his strides as a lyricist quickly earned him his own cult. He’s been called an ascetic, a sphinx, a dreamboat, a jerk [1], a genius. But as his music cooled, his lyrics began to carry the more mysterious freight. “Twenty years ago, I wanted the music to be just that: chaos,” Callahan says. “A haze of noise and then a clear voice. A lot of the songs were only two or three lines. Now, true clarity is to be unclear. If you can do it right, it puts [the song] into the listener more than just telling them something. Kind of give them a little puzzle, almost. Mix things up a little bit so they have to figure out what it is. It’s more internal. They undo the puzzle, and it’s inside them.”
1:
•★••     Callahan doesn’t avoid the press like he used to. But he still feels that too few interviews resemble actual conversation. “I can get a bad reputation because there are bad interviewers out there,” he says. “Or maybe just interviewers who are having a bad day. I have no voice against that. Someone can just write, ‘Oh, this guy is this way.’ But they never put any criticism on themselves. Nobody ever writes, ‘Oh, I really f—ed up this interview.’ . . . I get asked a lot of almost impossible~to~answer questions. So it may seem like I’m holding something back, but I just don’t know the answers.'”
>>>
•★••     That explains the enigmatic generosity that’s bloomed in Callahan’s lyricism since he abandoned the Smog moniker in 2007 and began recording under his own name. Every year since, his songs have asked more of the listener’s patience [2] and have delivered bigger rewards. If the music feels more delectable, it might be because it’s actually starving you. Last year’s “Dream River” is among Callahan’s most spartan and finest work.
2:
•★••     “I do think we’re living in a distracted time,” Callahan says of America’s dwindling collective attention span. “If you sit and watch a whole movie at once in a theater, or sit and listen to a record, or read a book, it’s so nourishing. It’s like eating food that’s good for you. I need that to be sane. If I put on a record in my house and I go into another room, I feel really guilty that someone’s done all this work and I’m doing something else for a second. It’s disrespectful. A waste of work.”
>>>
•★••     “The only words I’ve said today are ‘beer’ and ‘thank you’ ” he reports from a bar stool on the album’s opening cut, “The Sing.” It’s a moment of bewildering intimacy; we’re invited inside the singer’s lonesome head only to bask in its stillness. It makes the melodies feel more beautiful. It makes the jokes funnier. Beer . . . Thank you . . . Beer . . . Thank you . . .
•★••     Cryptic punch lines are sprinkled shrewdly throughout Callahan’s songbook. At the finale of his 2011 album “Apocalypse,” when the singer croons, DC 450 funny for inexplicable reasons, even to its author.
•★••     “Partially, it was like [film] credits — the catalogue number — it’s something that no one pays attention to,” Callahan says, pacing his explanation with long silences. “I was trying to elevate the catalogue number to poetry.” [3]
>>>
3:
•★••     As for poetry proper, Callahan has no use for it. “I mostly hate poetry,” he says. “It’s no fun. I think it’s the most presumptuous art. I always feel like people are lording their knowledge or their connectedness to the language over me when I’m reading it. I mean, 80 percent of the poetry I’ve read, I don’t understand it. So what’s the point?”
>>>
•★••     Now living in Austin, Callahan has been taking a more disciplined approach to songwriting, playing guitar for a minimum of 20 minutes each day and, as ever, finishing every song he starts. Some songs will go through revisions that abandon their foundations, but it’s important that no work is wasted. And here, the calm in Callahan’s voice carries the slightest whiff of boredom.
•★••     “There’s not a lot to say about the process because it just kind of happens,” he says of songwriting. “I think that’s why people are so interested in it. Music is such a mysterious thing, and we don’t really know why it does what it does to us. [Listeners] think because you made it, you have some key to that secret of why. But we don’t.”
•★••     All he knows how to do is wait and listen for it.
•★••     “If you’re writing a song, you’re not really writing it,” he says. “It’s just like a band, a ribbon floating through the atmosphere. And if you concentrate or relax enough, you can hear it. You can see the words and hear the music. It’s almost like letting go of yourself, I think. It’s very hard. That probably sounds crazy to people.”
•★••     And then he smiles because he knows it isn’t.
>>>>>>>
Hating the guitar enough to play it
Dan Bejar
•★••     He’s taking his sweet time because when dinner is over, he’ll have to go on stage. “I’m just a working stiff,” Dan Bejar says. “This is my lot. I gotta go on tour. It’s what I do.”
•★••     Self~deprecation is typical of Bejar, a 41~year~old from Vancouver, B.C., who goes by Destroyer and records his best work by lashing himself into obstructions of his own creation. “I enjoy a conceptual framework, even if it’s really negative,” Bejar says. “Even if I know it’s a terrible idea, I have parameters.”
•★••     Ditching the guitar for a cache of synthesizers seemed like a terrific idea in 2011 when Bejar unveiled “Kaputt,” a creamy soft~rock album on the verge of curdling. But two years later, he picked his guitar back up for “Five Spanish Songs,” an EP of Antonio Luque covers that forced him to abandon something else.
•★••     “The English language seemed spent, despicable, not easily singable,” Bejar wrote in a press release for “Five Spanish Songs,” renouncing his native tongue. “It felt over for English; good for business transactions, but that’s about it.” Like all the great Destroyer songs, this press release triggered laughter and despair.
•★••     “I love English,” Bejar says hours before a gig at Sixth & I Historic Synagogue. “Anyone who knows me well will read the one~sheet and be like, ‘Oh, that’s just Bejar being a clown.’ ”
•★••     Lyrically, the closer Bejar tap-dances toward absurdity, the more authority his music projects. But across the dinner table, he’s a purely commanding presence, dark hair corkscrewing out of his scalp like coils of wisdom. He speaks in conspiratorial tones, and he knows how to wield the delicate power of profanity in conversation as skillfully as he does in song. [4]
>>>
4:
•★••     For instance, on “European Oils,” a standout tune from his standout 2006 album “Destroyer’s Rubies,” Bejar uses an obscenity to punctuate an already~demented narrative: “When I’m at war I insist on slaughter/and getting it on with the hangman’s daughter/She needs release/She needs to feel at peace with her father, the f——~ maniac!”
>>>
•★••     And while his music makes him sound like an interrogator of the form, Bejar says he’s ultimately a student. “With songs, you’re never going to get around how old~fashioned or quaint they are,” he says. “A song doesn’t have to be that way, but there’s a part of songwriting that’s a tradition that I really love. It’s hard for me to pinpoint where I am in that tradition, but my favorite songwriters are all very conscious of the history of singing words.”
•★••     He volunteers his trinity: Van Morrison, Joni Mitchell and Bob Dylan. [5]
>>>
5:
•★••     Here’s Bejar on Van Morrison: “That’s not one I try to argue because, besides ‘Astral Weeks,’ most people don’t want to hear about that guy.” On Joni Mitchell: “She is massive but still incredibly underrated.” On Bob Dylan: “I end up thinking about his s— all the time.” On Lou Reed: “Even when it’s something harrowing, he seems very much in control.” On Bill Callahan: “He’s like a portrait of mastery. I think he’s so good, and it’s so cool to watch someone get better and better.” On David Berman: “He’s a sports freak so he’s always using sports metaphors. He [once said in an interview], ‘Music is the defense, words are the offense.’ I found that kind of emboldening. You need the music to be good, but you need the words to be great. If the music’s not good, you’re f—ed. But if the words aren’t good, you’ll only ever just be good.”
>>>
•★••     He also cites Lou Reed, Bill Callahan and David Berman of the Silver Jews. “Pretty traditional choices,” he says, as if apologizing. But Bejar’s songs don’t march in his forebears’ footsteps so much as kick and spit and pull their own hair out. There’s a lavish wordiness to his verses, a dark humor in their content, and an almost paralyzing acidity in his singing voice. [6]
>>>
6:
•★••     “It doesn’t really matter if I’m singing in a really loud abrasive way or cooing into a microphone as softly as I can — the fact is that my voice is strange,” Bejar says. “It’s like having a hump or a physical weirdness that gets in the way. Obviously, I’ve totally come to terms with it, and I think I’ve probably contorted it somehow. There’s a choppy quality or a diction~heavy quality to my singing that is the only way to sing some of those words. I don’t know if I gravitated toward that. Some part of me might have thought, ‘You could gravitate toward that style because Sinatra is not available to you.’ And Frank Sinatra is probably my favorite singer.”
>>>
•★••     “Watch notorious lightning surround you.” goes one refrain from 2004, which sounds gawky, feels overly ornate and contains a tangential joke about Metallica.
•★••     “I did like the idea of putting really awkward language in songs because I thought that it created a weird rupture,” Bejar says. “I don’t really do that anymore, though. The songs are more standard. It’s more like me talking to myself now. Before, I was a more of a pamphleteer.” Bejar released his first Destroyer album in 1996 and four years later, he joined the New Pornographers, an all~star rock band featuring Neko Case and A.C. Newman. The first masterful Destroyer album, “Streethawk: A Seduction,” came in 2001. He seemed to be outlining his career with “English Music,” a lilting, piano~driven song that starts with a pep talk — “Find something difficult to do and do it” — and ends with a dressing~down —
•★••     One thing Bejar has kept consistent since then: He scribbles his lyrics down first and assigns melody later. And he does it in aggressive, instinctive bursts.
•★••     “It’s weird,” he says. “The animal part is supposed to be the music part. While the constructed, crafted part is supposed to be the lyric sheet you slave over. I think that’s generally the way it works? I’m the exact opposite. If I can’t just whip it off, I wouldn’t even consider it something I should remember. . . . It’s just blasts. It’s just a joke that I can’t, at this point, sit down and craft something. Whenever I do, it feels like such a hoax.”
•★••     But in order for those gusts of language to crack open, there need to be irritations.
•★••     “My reaction to my limitations is generally to bombard it with my own laziness,” Bejar says. “[Preparing for this tour], sitting down and strumming the guitar and trying to remember how old songs go was such a daunting and unpleasant idea to me, I actually wrote songs to avoid doing that! I’ll even do something as horrible as write a new song instead of practicing an old one.”
•★••     All of this psychic chafing results in music that’s entirely unique — a songbook populated with freak descendants of the tradition Bejar has studied so industriously. And while uniqueness is something every artist is presumably striving for in this world, few anticipate the consequences of actually achieving it.
•★••     “I’ve had people inside the industry — in publishing, for instance — tell me that my music is unsyncable” for films or advertisements. “It’s all so confusing now because everything is supposed to be discussed as the same thing,” Bejar says. “Pitchfork is going to review [avant rock group] Sun City Girls. And Pitchfork is gonna review Katy Perry. And it could be the same writer doing it! This embrace of the gift that postmodernism gave us, which is to revel in the difference and not f—ing hate the difference. . . . ‘It’s all the same s—!’ But it’s not the same s—. It doesn’t have the same use.”
>>>>>>
The voyeur in the mirror
Will Oldham
•★••     Where is he today? Not in a recording studio with Johnny Cash. Not in a music video with R. Kelly. Not on the set of “Junebug” or “Jackass 3D.” Not crooning about sex and death inside a microbrewery. Not launching his own line of perfume. Will Oldham has already done those things. This week, he’s visiting the campus of Georgetown University, where he’s been invited to give a lecture as himself and a performance as Bonnie “Prince” Billy, the prolific alter~ego he uses to sing Appalachian~tinted folk songs that squirm in infinite directions.
•★••     Just as Oldham’s career has been dotted with odd Hollywood cameos and bizarre creative partnerships, Bonnie “Prince” Billy’s music maintains its steady commitment to the unexpected. “It’s all about joy and surreality and collaboration,” Oldham says of his work. But he’s also quick to point out his “unique and perverse way of looking at the world and that my musical tastes are not shared by anybody.” [7]
>>>
7:
•★••     Oldham believes that as we get older, and as our tastes become more refined, we become more isolated and the embrace of one’s uniqueness becomes a greater responsibility. “What’s always mystified and disappointed me about a lot of artists — big artists like Elton John or Bruce Springsteen — is the way they continue to write for a shared space,” Oldham says. “Their music is less concentrated and feels less valuable as they get older. They have this unique position to address their specifics of experience, and they don’t. If we sat together with a six pack and some Adderall, we could probably write a Bruce Springsteen song now. And that’s a shame. We shouldn’t be able to do that.”
>>>
•★••     His latest stunt — which isn’t really a stunt at all — has been to release the new self~titled Bonnie “Prince” Billy album by hand. It can’t be purchased anywhere in the digital space ... [8]
>>>
8:
•★••     “Nobody wants to hate modernity,” Oldham says. “But at a certain point, modernity will leave us all behind. You have to update your software just to keep up with your community? That doesn’t make any sense. So it’s a record in its writing and its recording and its distribution that’s meant to reflect something that is not necessarily shared by everybody. It’s trying to say that it’s okay not to be a part of the bigger group. Not only is it okay, it’s inevitable.”
>>>
•★••     ...   and he’s peddling vinyl copies to brick~and~mortar record stores personally. “Part of it is trying to put into perspective what ‘hard to find’ means,” Oldham says. “More than three~to~four minutes on the Internet means ‘hard to find.’ It’s really gross.”
•★••     The man wants to like his audience. So every step the music takes between his lungs and the listener’s ear is an opportunity to forge intimacy, even if it seems like bizarro hucksterism. He calls his 2007 cameo in R. Kelly’s “Trapped in the Closet” music video saga “one of the greatest achievements of my life” — his equivalent of earning a college diploma. He says coaching Johnny Cash through a cover of his 1999 doom ballad “I See A Darkness” was his PhD.
•★••     “You know I have a drive to live, I won’t let go,” goes the song’s first verse. “But can you see its opposition?”
•★••     Throughout Oldham’s sprawling catalogue, which includes at least 15 Bonnie “Prince” Billy albums and various recordings under other monikers, the singer, now 44, has been consistently drawn toward the weird and the eternal — which means he excels at singing about mortality and sex. “The Way,” a love song from 2003, features one of the most forlorn come~ons ever recorded: “Let your unloved parts get loved.”
•★••     To write these songs, Oldham says he sinks into the Bonnie “Prince” Billy character and then watches over the creative moment like a voyeur.
•★••     “I like feeling as if writing a song is a performance and I’m the only audience member at that moment,” he says. It allows for the “dissolving of an accepted reality around you and getting the head to feel comfortable and free in an alternate reality.”
•★••     Once Oldham gets comfy in that alternate brain space, he’s able to tap his abilities unthinkingly. “I can study song structures and intervals and approaches to lyric imagery, but ideally, it becomes reflex, like a soldier learning to kill,” he says. “If they hear a noise, they don’t think: ‘Noise~potential~enemy~where’s~my~loaded~weapon?’ They just do it. Stick a shiv up somebody’s throat.”
•★••     Catastrophe and despair can seep into Oldham’s lullabies quietly and completely, but he’s capable of wiping the slate clean, too. On “Royal Quiet Deluxe,” the final track of the new Bonnie “Prince” Billy album, Oldham sings, “Life is worth nothing/All my love is in a hole and is dead.” But a few moments later, the tempo picks up and the sun comes out: “This is the last song of its kind. . . .“Ain’t it the best?”
•★••     Oldham loves this kind of table~turning. Spend enough time with his music, and his eccentricity feels more like uncorrupted sincerity, a committed pursuit of the weirdest truth and an invitation to follow him there.
•★••     “Some things resemble barriers, but once you get close up to them, you realize they’re semipermeable and very welcoming,” Oldham says. “You look at some terrible lettering and say, ‘Oh, that’s a Keep Away sign.’ But you walk up to it and it says, ‘Free Candy!’ You were looking at the harsh, goth lettering and the razor wire on top of it. ‘Oh, the razor wire was on the house when I bought it and it was too expensive to get rid of it, so I just leave the gate open, you can come by anytime, there’s a pool in the back, it’s heated, I hope you don’t mind.’ It’s that kind of thing. It looks forbidding or it looks threatening, but the closer you get, you realize that the intention is to welcome.”
>>>>>>
Reacting to fire and noise
Cass McCombs
•★••     Snowflakes bigger than bottle caps are falling on Baltimore, and Cass McCombs is onstage at the Ottobar with his band, totally ripping. During “Big Wheel,” the title track of his astonishing new album, the 36~year~old lets go of his guitar, puffs up his chest and asks a question about blue~collar existentialism: “What does it mean to be a man?” His arms chop the air like a preacher’s. His hair hangs in his eyes like a choir boy’s.
•★••     McCombs says he grew up singing in Northern California churches, but he’s happy to keep that story vague and brief. (“I was raised around many diverse systems of consciousness but the prevailing one was atheism,” he clarifies later in an e~mail. “Also: biography has nothing to do with craft.”)
•★••     Roughly 10 years ago, McCombs lived here in Baltimore, but he won’t talk much about that either. He’s spent the past decade wandering the country, packing the cosmos into brutally efficient folk songs, refusing to claim a permanent address. “It’s more of an avoidance of materialism,” he says before the Ottobar show, sipping tea at a nearby bar where he used to hang out. “The philosophy of keeping it light, keeping your step light, is more liberating to me. We belong to the earth; the earth doesn’t belong to us. Property is theft.” That nomadic freedom — geographical, mental, musical — is essential to McCombs’s songs, which use the vocabulary of 20th century folk, rock and blues to draft a spiritual retort to 21st century capitalism. But McCombs isn’t writing manifestos. He says his songs materialize through the simple act of incessant guitar noodling.
>>>
9:
•★••     McCombs elaborates: “I don’t believe in the existence of thought. Or I don’t believe that thought exists on a personal level. What we call thought is really just a kind of neurotic hesitation. So if we eliminate the chances for hesitation and become totally primal, focusing on the techniques of your instrument, expanding muscle memory, then poof, a song just kind of makes itself. You don’t think songs. You can’t think a song.”
>>>
•★••     It’s resulted in songs that feel both balmy and perilous, a duality that came into sharper focus on his fourth album, 2009’s “Catacombs,” which included “Don’t Vote,” a breezy ballad about American disenfranchisement and disengagement.
•★••     “You had a lot of friends but no peers/Could you imagine this could drag on four more years?” McCombs sings. “If one day you had more peers than friends/It’s because your means had caught up with your ends.”
•★••     Since then, McCombs’s albums have only grown more evocative, but he resents his work being defined by how it’s packaged and sold.
•★••     “If I could destroy all my records, I would,” he says. “For an eternity, anyone who wants to have a relationship with my music is beholden to an object. An object is coming in between us as people. That’s why the live [performance] thing is just chemical. You have your body with its own orbit, and I have my body, and we’re engaging each other on a physical level. With this object, this recording, it’s a piece of data. It doesn’t represent how you live. It doesn’t represent how anyone lives.”
•★••     He also calls the idea of writing lyrics on paper “ridiculous,” hesitating before describing his approach to lyricism. “I’m not going to give up all my secrets,” he says, “but in a heightened state of emotion, maybe a car crash, no matter who you are, even if you’re the coolest m—~f—~ in the world, you’re reacting to fire and noise. What you’re gonna say is going to be very specific. You’re not gonna monkey around. You’re going to use your language to try to help people, or warn people. I think making lyrics is like that. You only need to say what’s essential for you to say.”
•★••     McCombs’s gift is his ability to smuggle all of that urgency and violence ... [10]
>>>
10:
•★••     “I think life, for all of us, it’s essentially troubling,” McCombs says. “So I’ll never run out of things to write about. For me, positivity and complacency are all tied to materialism and conservative politics.”
>>>
•★••     ...   into such handsome, even~keeled balladry. “County Line,” from his 2011 album “Wit’s End,” patiently recounts a homecoming permeated with dread.
•★••     “On my way to you, old county/Hoping nothing’s changed,” he sings. “That your pain is never~ending/That is, it’s still the same. County line.”
•★••     During the chorus, his voice lifts into a wounded falsetto: “You never even tried to love me.” And in the final verse he extracts abstract terror from a pun: “County line, I can smell the columbine.”
•★••     But to McCombs, explaining how he decided on those words would be pointless. Explaining anything might be pointless.
•★••     “It’s not helpful,” he says. “It’s probably detrimental. That’s why I don’t really like doing interviews. I think it’s actually the destroyer of music. The destroyer of anonymity. The destroyer of the freedom of the listener to think on their own.”
•★••     Doesn’t he have the desire to be understood?
•★••     “Probably. But I’ve never felt understood in my whole life.”
•★••     In any aspect?
•★••     “In all aspects.”
•★••     Does he understand himself?
•★••     “No.”
•★••     Fotky od Michaela S. Williamsona
•★••     http://www.washingtonpost.com/ /// http://cassmccombs.com/
•★•••★•••★•••★•••★•••★•••★•••★•••★•••★•••★•••★•••★•••★••

BILL CALLAHAN DAN BEJAR WILL OLDHAM CASS McCOMBS

ALBUM COVERS XI.

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)
ANDREW BIRD — CAPITAL CRIMES (April 1st, 2020)
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)
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)
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)
Anna Calvi — „ANNA CALVI“ (10TH ANNIVERSARY EDITION) (2021)
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)
Lydia Ainsworth — Phantom Forest (May 10, 2019)
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)
THE LEAGUE OF ASSHOLES — UNPLUGGED (1st May 2020)
Whyte Horses — Hard Times (17th of Jan., 2020)
FRÀNÇOIS & THE ATLAS MOUNTAINS — BANANE BLEUE (26th Feb., 2021)
Bacchae — Pleasure Vision (March 6, 2020)
PVRIS — Use Me (March 3, 2020)
CLT DRP — Without The Eyes (Aug. 28th, 2020)
Morgan1
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)
MARTIN GORE ‘THE THIRD CHIMPANZEE E.P.’ 12”
A.O. Gerber — Another Place to Need (May 22, 2020)
Deerhoof — Future Teenage Cave Artists (May 29, 2020)
MATT SWEENEY AND BONNIE ‘PRINCE’ BILLY — „SUPERWOLVES“ (18TH JUN
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)
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)
OWEN PALLETT — ISLAND
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)
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)
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)
ELEANOR FRIEDBERGER — NEW VIEW (January 22, 2016)
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.,
DAGMAR VOŇKOVÁ — ARCHA (2020)
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)
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
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
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)
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)
JACKSON VANHORN: “AFTER THE REHEARSAL”
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)
FRÀNÇOIS & THE ATLAS MOUNTAINS — BANANE BLEUE (26th Feb., 2021)
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)
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)
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)
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
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)
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)
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)
VARIOUS ARTISTS: IN THE MOOD FOR LOVE (Import)
The Mountain Goats — Getting Into Knives (Oct. 23, 2020)
Ben Sidran — Blue Camus (Oct. 2014)
Varga Marián — Solo in Concert (1. feb. 2018)
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)
RADEK BABORÁK a jeho ORQUESTRINA na PIAZZOLLOVSKÉ ALBUM.
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)
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)
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)
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)
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)