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ROBERT WYATT — Theatre Royal Drury Lane

ROBERT WYATT — Theatre Royal Drury Lane

              ROBERT WYATT — Theatre Royal Drury Lane
Birth name: Robert Wyatt~Ellidge
Born: 28 January 1945, Bristol, England
Genres: Canterbury sound jazz fusion progressive rock experimental rock psychedelic rock progressive pop
Occupation: Musician, composer
Instruments: Vocals, drums, percussion, piano, keyboards, guitar, bass guitar, trumpet, cornet
Location: Louth, East Lindsey district of Lincolnshire, England, UK
Album release: 10 October 2005
Recorded: 8 September 1974
Venue: Theatre Royal, Drury Lane in Covent Garden, London
Recording Location: Mixed at Gallery Studios in Kilburn, London in 2005
Genre: Progressive rock, jazz fusion
Record Label: Hannibal Records (owned by Rykodisc) Domino Recording Company (2008 reissue). Ryko / Naïve
Duration:     70:54
Tracks:
01 Introduction by John Peel     2:19
02 Dedicated to You But You Weren’t Listening     1:36
03 Memories     3:58
04 Sea Song     9:13
05 A Last Straw     4:38
06 Little Red Riding Hood Hit the Road     6:42
07 Alife     4:28
08 Alifib     6:24
09 Mind of a Child     5:26
10 Instant Pussy     4:22
11 Signed Curtain     4:42
12 Calyx     3:19
13 Little Red Robin Hood Hit the Road     6:12
14 I’m a Believer     12:41
Writers:
✹    John Peel     1 (introduction)
✹    Hugh Hopper     2, 3
✹    Julie Tippetts     9
✹    Phil Miller, Wyatt     12
✹    Neil Diamond     14
✹    Robert Wyatt     4, 5, 6, 7, 8, 10, 11, 13
Personnel:
»     Adapted from the album liner notes and Wyatt biographer Marcus O’Dair’s notes:
✹    Robert Wyatt — lead vocalist
Friends:
✹    John Peel — spoken voice (introduction)
✹    Julie Tippetts — vocals, piano (tracks 9, 10, 14)
✹    Ivor Cutler — vocals, baritone concertina (track 13)
✹    Dave Stewart — keyboards (tracks 2~8, 10~14)
✹    Laurie Allan — drums (tracks 2~8, 10~14)
✹    Hugh Hopper — bass guitar (tracks 2~8, 10~14)
✹    Fred Frith — violin, guitar, viola (tracks 2, 3, 6, 8, 14)
✹    Mongezi Feza — trumpet (tracks 6, 14)
✹    Gary Windo — tenor saxophone, bass clarinet (tracks 7, 14)
✹    Mike Oldfield — guitar, Minimoog (tracks 7, 8, 11, 13, 14)
✹    Nick Mason — drums (tracks 10, 11, 13, 14)
Others:
✹    Jamie Johnson — mixing
✹    Phil Smee — package design
✹    Soft Machine ho udělal bídníkem. Pád z okna v roce 1973 byl „dobrý kariérní krok“. Vstupte do špičkového světa rockového neochotného pana ✹Nice Guy✹ — Roberta Wyatta. ✹   Paradox všech paradoxů: dnes žije ve městě Louth společně s Leandou Cave, čtyřnásobnou světovou šampiónkou v triatlonu [také byla winnerkou v roce 2012/Ironman Triathlon a mistryní světa/Ironman 70.3, první ženou v historii sportu, která vyhrála oba tituly ve stejném roce]. Ve fantazii skalních fanoušků by koncert Roberta Wyatta bylo pravděpodobně možné umístit na stejnou pozici, jako reformaci Smiths nebo zčistajasna nové, doposud utajené album Syda Barretta — a to je již bohužel téměř nepravděpodobné. Můžeme se utěšovat tím, že nasloucháme této živé nahrávací frekvenci, která byla zaznamenána 8. září 1974. Oficiálně se objevuje poté, co bylo hodně verzí rozmístěno pod pláštíkem noci, neoficiálně. V té době již vousatý představitel Canterbury scene, byl upoután na invalidní vozík po pádu z okna 1. června 1973: Koncert (z kterého je zde vzatá esence) byl proto jeden z jeho posledních, pokud ne úplně poslední. Poznámka: Po několika minutách ticha v „I’m a Believer“, je uvnitř netitulovaná skrytá stopa — alternativní verze „Alife“ hrána pozpátku. Počítáme~li ticho a skrytou stopu, celá délka skladby 14 je 12:41.
✹    „Nemůžete pouze vymýtit ostatní lidi a beztrestně je nahradit repliky sebe sama. Je však uklidňující, aby dospělý mluvil jménem země spíše, než adolescentní retardér předškolního věku. Ale je to jen můj osobní názor. Politiku neanalyzuji. Předpokládám, že to vidím umělecky. Je to jako při pohledu na moře. Novinář se dívá na lodě na moři a přemýšlí, co se s nimi stane. Co však musí udělat umělec, je — podívat se na podzemní proudy a pohyb vody. Zatímco procházím temnotou, někdo jiný se dívá na to, jak se vrhnout na vrchol umění. Já jen sedím se svým šálkem čaje. Jazz (a pravděpodobně i mé mrtvé křesťanské dědictví) mě naučily, abych nás všechny viděl stejně drahocenné — mimo rámec zábavního průmyslu a směrem ven do celého světa.“
Review
par Vincent Arquillière
✹    Parmi les fantasmes des fans de rock, un concert de Robert Wyatt est sans doute à placer au même rang qu’une reformation des Smiths ou un nouvel album de Syd Barrett — et la chose est, hélas, à peu près aussi improbable. On peut se consoler en écoutant ce live enregistré le 8 septembre 1974, qui paraît aujourd’hui officiellement après avoir beaucoup circulé sous le manteau. A l’époque, le barbu de Canterbury était déjà cloué dans un fauteuil roulant, après être tombé d’une fenêtre le 1er juin 1973 : ce concert (dont est ici repris l’essentiel) fut donc l’un de ses derniers, si ce n’est le dernier. Comme si cela n’était pas assez émouvant, c’est le regretté John Peel, fan de la première heure, qui présente les musiciens, dans une introduction où l’on ne comprend pas tout, mais qui fait bien rire le public. Lesquels musiciens amis sont évidemment la crème de la crème, recrutés dans le riche vivier progressif/avant~gardiste/free jazz de l’époque : Nick Mason, le batteur de Pink Floyd, Fred Frith, alors membre de Henry Cow, Mike Oldfield, qui venait de cartonner avec le fameux „Tubular Bells“ et n’avait pas encore sombré dans la soupe new age, ou encore le trompettiste Mongezi Feza (décédé l’année suivante), qui mêle ses longues improvisations à l’étrange scat de Wyatt.
✹    On retrouve sur cet enregistrement des titres de Soft Machine, Matching Mole et Hatfield & The North (groupes cousins), quelques morceaux écrits par les musiciens qui l’accompagnent, ainsi qu’une reprise du „I’m a Believer“ de Neil Diamond (popularisé par les Monkees), dont la version studio fut l’un des rares tubes de Wyatt. Mais ce qui fait tout son intérêt, c’est bien sûr la présence des six chansons du mythique „Rock Bottom“, paru la même année. La première face est même jouée dans un ordre identique (la suite „Sea Song“/„Last Straw“/„Little Red Riding Hood Hit the Road“).
✹    C’est l’occasion non pas de réévaluer ce disque, qui reste l’un des incontestables chefs~d’œuvre des années 70 (lauréat du prix Charles~Cros en France !), mais peut~être de le réécouter différemment à la lumière de cette interprétation. Là où l’on entend généralement un homme au fond du désespoir (à peu près le sens de „rock bottom“) et aux portes de la folie, „une plongée dans les replis d’une voix humaine“ (François Gorin), il est peut~être plus juste de célébrer un extraordinaire hymne à la liberté à travers le rejet de tous les carcans formels — de la pop, du jazz, de la chanson à texte... C’est en tout cas ce qui ressort de ces versions live, au moins aussi intenses que les originales, „nouveaux“ témoignages du génie de l’ermite anglais.
Review par Melomaniac
✹    L’exercice live est d’une extrême rareté dans la carrière solo de l’ex~Soft Machine et Matching Mole Robert Wyatt, raison de plus pour se féliciter de la tombée du ciel de ce don divin enregistré à Londres en 1974 avec moult excellents invités.
✹    Techniquement, il faut expliquer que les enregistrements initiaux ayant été partiellement perdus, une partie du live (grosso modo la moitié) est tirée d’une bande d’une génération suivante non déterminée et sonne donc, logiquement, comme un bootleg amateur de qualité correcte.
✹    Ceci dit, la performance globale du groupe ici assemblé, plein de vieux potes de Wyatt venus le fêter en l'accompagnant mais aussi un Mike Oldfield alors très en vogue et un Nick Mason exceptionnellement échappé de chez Pink Floyd, et celle d’un Wyatt présentement exclusivement vocaliste qui „emporte le morceau“. Parce qu’il y a du lourd, amis !, de l’excellentissime avec, pour l’exemple mais aussi parce que c’est peut~être le plus beau joyau de la galette, une version épique du Sea Song de l’alors tout récent Rock Bottom qui, carrément !, terrasse son pourtant excellent équivalent studio ! Le reste, un répertoire empruntant largement du précité alors d’une encore brûlante actualité mais aussi des excellent Matching Mole, fidèle aux versions studio mais brillamment adapté, habité par des musiciens audiblement en phase, est un plaisir de tous les instants qu’on ne se sent pas de trop dévoiler... pour ne pas gâcher toutes les jolies surprises qu’on y trouve. On citera tout de même l’introduction par le regretté John Peel, celui~là même qui, DJ légendaire s’il en fut et ami de Robert, lança un appel au soutien moral du barbu après son terrible accident.
✹    Alors, oui, le son d’une partie de cette précieuse archive n’est pas très bon, mais la musique l’est tellement qu’on finit bien vite par l’oublier. Et puis, Wyatt est si rare en live, et si bon aussi, comme on l’entend ici. Recommandé.
Interview by MARK PAYTRESS: 
°•°     „Být neškodným je tak dobré, že jsem se odvážil o to usilovat. Kromě toho jsem naprosto soběstačný a hedonistický.“
°•°     ROBERT WYATT IS MAKING HIS WAY TO THE nearest mirror. „My wife goes mad if it looks crap,“ he says, teasing unruly strands of silvery hair away from his face. It doesn’t seem to make much difference. As he poses affably in his small front garden, oblivious to the bustle of the Lincolnshire market town passing by his gate, this softly~spoken god of small things still sports the unkempt 19th century Russian thinker look he’s maintained for over a decade. He’s all facial hair and kind, youthful eyes, and no 10~second makeover can alter that.
°•°     Inside, across a wooden dining table, Wyatt discusses everything that’s thrown at him with generosity and insight. Moving effortlessly from Richard Dawkins to Don Covay, from father of anarchism Peter Kropotkin to flamenco siren La Niña de la Puebla over wine, fags and omelette, Wyatt is fascinated equally by musicians and ideas. Especially those, such as Hendrix and Miles Davis as well as innumerable unnamed fighters
for economic and social justice, who push themselves a bit beyond what we know.
°•°     Wyatt, too, inhabits the realm of the unthinkable. Less than two years after the singing sticksman had been unceremoniously dumped by The Soft Machine, on June 1,1973 he fell from a fourth~floor window („I’d always been a bit reckless,“ he explains) during a party, which turned his life round for a second time. Left paralysed and wheelchair-bound, he insists he simply got on with the job. But when he leaves the room, his wife Alfie helpfully suggests that „the trick has been denial“. Ostensibly, MOJO is here to discuss the release of Theatre Royal Drury Lane. This September 1974 set chronicles his one and only solo live show, including his masterpiece, Rock Bottom, in its entirety. Since then, he's become a cherished institution, thanks to a string of inimitable and idiosyncratic, keyboard-led solo records. Unafraid to speak up for the common people, Wyatt won the respect of punk audiences, who loudly applauded his integrity. But most cherished of all is his voice, the most plaintive, deeply affecting in popular music. Refreshingly unassuming, Robert Wyatt is rock’s most reluctant legend.
MARK PAYTRESS: This latest archive release [Theatre Royal, Drury Lane] was your coming out a year on from the accident in 1973. Was it difficult to listen to?
°•°     No. It’s the sound of freedom compared with my previous responsibilities as a drummer. What I hear are the technical things, the purely musical things. The content I have to take for granted.I don’t listen like a listener.I would have loved to have taken that band on the road, though with Fred Frith, Mike Oldfield and Nick Mason involved, that was clearly never gonna happen. And John Peel’s intro is one of the best solos on the record. He sets up an atmosphere that a good MC would have done opening a 19th century music hall show — very light and easy.
MARK PAYTRESS: Privately, it must have been a different matter. How low did you go?
°•°     The truth is I wasn’t low after the accident. I may have had the bends coming up too fast, so I may have been a bit deranged, but I can’t call it sadness. I’d just got together with Alfie. For the first time I had people helping me do my own tunes. Being rejected by the burgeoning jazz~rock community [dismissal from The Soft Machine] was far more humiliating. That was when I was miserable, before I broke my back, before I met Alfie, before I started a new year zero in ‘74. It’s actually quite a celebratory moment for me.
MARK PAYTRESS: So, contrary to popular opinion, Rock Bottom wasn’t a direct response to your new state?
°•°     My overall view of life, not my circumstances, is that I am rather sad. I think life is wonderful, but my tendency is towards great sadness about things. I don’t know why. While that may come out, its not something I consciously put in. I operate like an animal — I just go for what feels right. People say humans have a fantastic ability for selective memory, that they erase pain because a certain amount can’t be lived with. So it may be possible I was more distressed than I remember. But when you’ve fallen down a hole, and are scrambling out, you’re not really sad.
MARK PAYTRESS: One night, you’re a wellknown party animal. The next you’re sobering up in a hospital bed and have just been told you’ve lost the use of your legs. What was your first thought?
°•°     I thought it was interesting, odd. It was a bit like being lifted up by helicopter off a street and dumped on a beach in Java. You think, Where am I? Is anybody here? I don’t know the language. The world looks the same, but you’re so different in a wheelchair that you have to re~learn how to live, the oddness of being in the same place but not being able to participate in the same way. I must emphasise that I was very unhappy in the late ‘60s, deeply uncomfortable. It’s not as if I’d lost something that was very precious to me.
MARK PAYTRESS: Did you tell yourself: I’m gonna beat this?
°•°     No, l’m too short term for that. I thought, Blimey, I think I might have enough material here for another record — that’ll be good. But I only had about three or four chords I liked. I wanted to expand the repertoire... to about six.
MARK PAYTRESS: Where did you look for inspiration?
°•°     Alfie taught me how to look at films in a more educated way, and though we had a lot of music in common — Sly Stone, Mingus — she listened to flamenco, Bulgarian folk music and so on, which had an enormous effect on me. To discover that the spirit of soul music is all over the world was a revelation.
MARK PAYTRESS: From a young age, you’d cherished outsiders through your admiration of jazz musicians and bohemian culture. Did this help?
°•°     I hadn’t thought of it like that, but the answer is yes. If you’re feeling lonely with the world because it seems to be made for somebody else but not for you, then to find other people that it’s not made for either, who are uncomfortable in their own ways, you get a certain fraternal sense of relief from that.
MARK PAYTRESS: What did music, especially your early passion for jazz, first mean to you. Escape? Intoxication? Removal from the humdrum?
°•°     You’ve nailed it!
MARK PAYTRESS: There’s a childlike sense of wonder to your work, and hints of Christmas carols and nursery rhymes in your melodies.
°•°     The first songs I sang were with my dad round the piano at Christmas — Away In A Manger and Silent Night. It’s folk music, but like a lot of folklore, it survives as children’s music and stories. It’s not a deliberate, ‘Life is complicated, I’m going back to my childhood’ thing. It’s simply that when you’re a child you experience things for the first time, and a lot of things are astonishing. And it’s that astonishment that’s the basis of the art I like. That’s what I try and release when I turn my [creative] tap on. But you can be made to feel a bit of a fool. I had an LP once, and the back cover was just a blank blue piece of shiny cardboard. And I said to the person I was with at the time, „Isn’t this beautiful?“ She said, „Not really, it’s just a bit of blue cardboard.“ °•°     That made me feel a bit sheepish about it. I don’t know if that’s right or wrong. Maybe I’m retarded.
MARK PAYTRESS: Your parents both knew the writer Robert Graves, were well travelled and seemed to provide you with an aestheticised world view.
°•°     Yes. The only thing that doesn’t ring true is that it’s always described as if there was something luxurious about my upbringing. But my parents were fairly poor and we lived a fairly scruffy life, as most people did after the war. It wasn’t as grand or precious as the word ‘aesthetic’ makes it sound. As far as my dad was concerned, the world revolved around wine, women and song. If that’s aesthetics, then I’m an aesthete!
MARK PAYTRESS: I sense you had a smell under your nose when beat music arrived in 1963.
°•°     Beat music was a bit too boy~next~door to get romantic about. But it was encouraging to think that there was something I could do. I’d been interested in Eric Dolphy and Dada and Picasso, and I didn’t want to work in an idiom that closed that off.
MARK PAYTRESS: In fact, you have a quite jaundiced view of the entire ‘60s decade.
°•°     There’s this surrealist map of the world where they made some places very big, like Africa. My surrealist calendar of the 20th century would go straight from 1959 to 1971. People say that life was so boring in the ‘50s, and thank goodness for the ‘60s. My life wasn’t boring in the ‘50s. As a young teenager, the whole business of beats and beatniks, and the music, these incomprehensible French films, the berets and the wines and the strange back alleys of Soho and Paris that went with it, was so exotic and romantic. I didn’t need the breakthrough the ‘60s provided for others.
MARK PAYTRESS: You were a significant part of The Soft Machine, an adventurous pop group doing something unprecedented. Thrilling, surely?
°•°     We were just trying to harness the various things that came into our heads and make something of it. That’s all remember. Only recently when some labels started digging up old concerts from the late ‘60s and early ‘70s, I’d listen to them and think, Blimey, we weren’t half going at it. It’s a relief that it’s not always as embarrassing as I thought it might be, though some of it is. There’s an awful one that should be burned, destroyed, but you know how perverse people are, they’ll go and buy it! It’s like having a tattoo on your arm that you can’t get rid of.
MARK PAYTRESS: You were with The Soft Machine musicians in various guises for the best part of a decade. You must have believed in what you were doing.
°•°     It was important for me to be with musicians that might not normally play together, rather like putting garlic on cornflakes. The people I played with wouldn’t try to play like somebody else. I liked the idea that what they played came out of themselves, and was not prompted by wanting to make, say, a jazz~rock record. I remember thinking it was better to be original and get it wrong than be derivative and get it right. It was an adventure to the point of recklessness.
MARK PAYTRESS: You’re very open in interviews yet always profess near total amnesia when discussing Soft Machine. Can the collapse of relationships in a pop group really have been of more significance to you than the accident?
°•°     I once asked Nick Mason why the Pink Floyd keep going. He said, „‘We haven’t finished with each other yet.“ But we had, obviously. Well, they’d finished with me. It’s silly to talk about a group. It’s not a living thing, just a word to put on a concert bill or a record cover. I’d rather work the way they do in cinema, where you get a bunch of people together for a particular project. But I’m grateful for the discipline and the training that being in a young group gave me.
MARK PAYTRESS: Your gorgeous, side~long solo epic, Moon In June, on [Soft Machine’s] Third must have suggested a possible way out.
°•°     The only way to play that was for me to do it virtually myself. The dominant thing in my head was to take responsibility. I was doing more and more things that were quite incompatible with the band I was with, that weren’t really rock band things at all. Moon In June was the second of two things I’d done myself. The first was taking these fragments of tunes that Hugh Hopper had written which I stitched together on the second Soft Machine record. The next was my stitching my own bits and pieces into a sustained sequence which became Moon In June.
MARK PAYTRESS: By calling your next band Matching Mole, which roughly translates as „Soft Machine“ in French, was that a case of not letting go?
°•°     It was me saying I was still in that band in my head. I could have called it Soft Machine. I can now announce to the public that in fact we were never allowed to register the name. Anyone can call themselves Soft Machine if they want a quick shufti to the top of the bill!
MARK PAYTRESS: How did you cope now you were the boss?
°•°     To my dismay, just as I wasn’t very good at being told what do to, neither could I tell other people what to do. I now think that everything was leading to me making my own records. But the musicians I worked with were terrific. Phil [Miller] wrote the tune for God Song. O Caroline was basically a duet with David Sinclair. But we didn’t have any money or resources. The others took all that. It was very hard.
MARK PAYTRESS: The title and cover of Matching Mole’s Little Red Record clearly suggests you’d become politicised by the early ‘70s.
°•°     The cover was actually chosen by someone at CBS who’d heard the lyrics, found this poster of the imaginary liberation of Taiwan, and put our faces on it. However, the world drifting to the right took me by surprise. I thought the era of moustached racist colonels in their mock Tudor houses in Whitstable was becoming a thing of the past, but to see whole new generations picking up on those ideologies, that imperial nostalgia, made my skin prickle. I thought my parents’ generation sorted all this. It was quite clear. Are we on the side of the rich, trying to stay exclusive, engineering this endless character assassination against less lucky people? When the guns are firing, there is no middle ground. My tendency is always to err on the side of the exploited.
MARK PAYTRESS: Did the accident make you more militant?
°•°     Not directly. I’ve disappointed some disabled people by not using my work as a platform to fight for our rights of access. But if it hasn’t caught your imagination, you can’t pretend it has. Yet having to yield control of the situation you’re in, a dilemma most severely disabled people know well, I can recognise in a lot of the battles going on in the world.
MARK PAYTRESS: Do you need to be a good man?
°•°     I want to be harmless. That’s as good as I dare aspire to. Beyond that, I’m totally self~indulgent and hedonistic.
MARK PAYTRESS: You’re famous for your postcards, written on the back of cereal packets, sent to friends and admirers. My sister still has one from the early '80s where you complain about your nice guy image and sign off as „Bolshie Bertie“. Are you uncomfortable with the Mr Nice reputation?
°•°     Sometimes I have to work at a compassionate view towards what other people have done. I can get very impatient and angry as an initial reaction. But ideally the goal would be, to understand all is to forgive all. It’s a magical phrase.
MARK PAYTRESS: But when a population votes in a government hellbent on destroying their livelihoods, as in the case of Thatcher, you must despair.
°•°     Well, I’m quite happy to sing a song like Shipbuilding by Costello, who felt exactly that, a rage that had to be exorcised in some way. That kind of rage can give you energy. But it’s different from the cool mantle of wisdom that judges assume, which is almost inevitably bullshit. It seems to me that a nice person wouldn’t have such a battle with all this stuff.
MARK PAYTRESS: Earlier on, you mentioned hedonism. Is intoxication important to you?
°•°     I do have an intense greediness for stimuli. I get bored quickly. But I’m really scared of breaking the law. Pathetic, isn’t it? Some musicians blast themselves with stimuli in order to blast their own rockets off to go into outer space. I wouldn’t be alive if I were on my own. Alfie’s kept me alive. My ideal state is to do absolutely nothing in a complete stupor listening to Charlie Mingus records very loud in a candle~lit room ~ with Alfie.
MARK PAYTRESS: So your fall in 1973 saved you?
°•°     Yes, that’s the way it looks to me. It was a good career move.
MARK PAYTRESS: Keith Moon apparently taught you how to drink heavily. What is it with drummers?
°•°     I learnt how to get very drunk very quickly with him in New York. Drummers are hopeless; we don’t get our things together. Maybe because it is extremely physical, it’s possible you get into a certain state, that some chemical thing happens.
MARK PAYTRESS: It’s obvious that Alfie is your inspiration, your sounding~board, your collaborator. And, as she says, also „your guarder“. Do you ever yearn to nip out and have a few sneaky beers?
°•°     I do. The trouble is it’s hurtful for Alfie. If I’m left to my own devices, I do seem to be amazingly irresponsible, so I have to be grateful for someone who points these dangers out in advance. I’m not quite sure how to function safely in the world. I would be much better for her if I looked after myself better.
MARK PAYTRESS: You survived punk. Did you feel a genuine affinity with it?
°•°     Yeah, the working methods, the attitude and the tunings. It was a very witty movement, an autonomous one that wasn’t invented by fashion stylists. I thought they were very moral young people. A lot of people were thinking hard about the rise of the National Front, and the relationship between young rastas and punks was very ahead of its time. Some cracking records too.
MARK PAYTRESS: In the ‘80s you spent quite a bit of time in Spain and Italy. Then you moved from west London to Lincolnshire. Is this indicative of a make~the~world~go~away philosophy?
°•°     We had a busy life abroad, recording, doing television and attending ANC meetings. I didn’t need to be part of the rock world back here. But sometimes a certain distance is required. If you create a comfortable distance between yourself and the world you have to deal with, you can keep control of your own bit of it. But if I’m asked my ethnic group, I always say „Soho“. In my heart I’m still hanging round Ronnie Scott’s foyer. I could spend the rest of my life there, and I do in my head, just by choosing the right records.
MARK PAYTRESS: Over the past 20 years, you’ve released a record roughly once every five years. The curse of perfectionism, perhaps?
°•°     I’d love to be a perfectionist. I always think I am until I hear the results, then I realise I’m not.
MARK PAYTRESS: Cuckooland, the title of your last album is such a Wyatt word, vaguely archaic, full of echoes.
°•°     I’m really amused by words that have some sort of folk memory, and I love half making up words, because that’s how they came to be in the first place. Cuckooland is ambiguous. Either the world is really as mad as it looks to me, or because that’s how my brain is, it’s me that’s in Cuckooland.
MARK PAYTRESS: John Peel was a long~time friend. How did his death affect you?
°•°     Terrible. A death in the family. I was asked at the time to respond in the media and I couldn’t. Me and Alfie, John and Sheila, and John and Helen Walters became friends over the years quite apart from the professional connection that brought us together. Sheila is putting together a CD for the anniversary of his death. I was asked yesterday if they can have Shipbuilding for it, and as far as I’m concerned, Sheila can have anything of mine she likes. The world seems to be filling up with so many friendly ghosts. As long as you have people in your head, that’s the nearest thing I understand to immortality. People live on through the people who loved or remember them.
MARK PAYTRESS: So death is not something you worry about.
°•°     Not at all. It is difficult for the people that are left. The people who are dead are at peace.
Notes: Mark Paytress is a journalist, author and broadcaster. A regular contributor to MOJO magazine, his work has also appeared in numerous publications including The Guardian, Radio Times, Q, Rolling Stone, Crawdaddy, Maxim, La Repubblica and Record Collector.
Notes:
John O’Rourke — Sculpture
✹    Robert Wyatt Sculpture: After a very extended break, while creating ‘Sentius Tectonicus’, I have recommenced working on an oak piece entitled ‘A Robert Wyatt Construction Kit’. An initial working drawing for the sculpture is featured in Marcus O’Dair’s excellent biography of Robert Wyatt. It’s called „Different Every Time“. I’m really pleased to have the time to be working on it again.
✹    „There are three buildings inside of his cranium and Robert has placed something within one of them. I’ve no idea what it is, nor will it ever be revealed. The beard is currently in progress and then I have his hair to add. All of the holes will be plugged with cross grained oak, to fully match the components. Following that there will be further forms to create below his head, mainly architectural but with Romanesque influences: I love the Lewis Chessmen and without mimicking them in any way, there will be an indirect allusion to their form.
✹    I will post more photos as the work progresses.  °•°  
Website: http://www.disco-robertwyatt.com/

ROBERT WYATT — Theatre Royal Drury Lane

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)
Half Moon Run — A Blemish in the Great Light (Nov. 1, 2019)
Cheerleader — Almost Forever (Feb. 7, 2020)
Queer Jane — Amen Dolores (March 27, 2020)
BECCA STEVENS — WONDERBLOOM (March 20th 20, 2020)
Mogwai — „As the Love Continues“ [Deluxe Edition] (19/02/2021)
Juraj Griglák — From the Bottom (Sept. 16, 2019)
Einstürzende Neubauten — Alles In Allem (May 29th, 2020)
Torres — Three Futures (29th Sept. 2017)
Kaitlyn Aurelia Smith — The Kid (October 6, 2017)
Bison Bone — Find Your Way Out (Sept. 25, 2020)
Oh Wonder — No One Else Can Wear Your Crown [Deluxe Edition]
These New Puritans — The Cut (2016~2019) (14 Feb. 2020)
Vennart — „In The Dead, Dead Wood“ (6th Nov., 2020)
Laetitia Shériff — Stillness (Nov. 6, 2020)
Gillian Frame — „Pendulum“
Thin Lear — Wooden Cave (24th July, 2020)
Torres — Silver Tongue (Jan. 31, 2020)
Kings of Leon — „When You See Yourself“ (March 5, 2021)
King Khan — The Infinite Ones (Oct. 30, 2020)
Anoushka Shankar — Love Letters (7 Feb., 2020)
Free To Grow — Imperfection (Aug. 7, 2020)
Dan Croll — Grand Plan (21 Aug., 2020)
Andrej Šeban — „Zep Tepi“ (May 21, 2021)
Lilien Rosarian ~ A Day in Bel Bruit (June 9, 2019)
Form and Chaos — „Gateways“ (March 16, 2021)
Jim Noir — A.M Jazz (Dec. 20, 2019)
Brad Mehldau & Orpheus Chamber Orchestra — „Variations on a Mela
Shemekia Copeland — Uncivil War (October 23rd, 2020)
I Like to Sleep — Daymare (April 17, 2020)
Psychedelic Porn Crumpets — SHYGA! The Sunlight Mound (5th Feb.,
Kaki King — Modern Yesterdays (Oct. 23, 2020)
Bill MacKay and Katinka Kleijn — STIR (Oct. 17, 2019)
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)
Peter Bruntnell — „Journey to the Sun“ (June 11, 2021)
Paris Jackson — Wilted (Nov. 13, 2020)
No~Man — Love You To Bits (Nov. 22, 2019)
Death Cab for Cutie — The Georgia EP (Dec. 4th, 2020)
Blackbird & Crow — Ailm (17 Jan 2020)
Liz Longley — Liz Longley (March 17, 2015)
Van der Graaf Generator — Recorded Live in Concert
Bruce Springsteen — Letter to You (Oct. 23, 2020)
Amy LaVere — Painting Blue (27 Mar 2020)
The Chills — „Scatterbrain“ (May 14, 2021)
100 Gecs — 1000 gecs (May 31, 2019)
Devendra Banhart — Vast Ovoid (July 24, 2020)
Cold Chisel — Blood Moon (6 Dec., 2019)
Cold War Kids — New Age Norms 1 (Nov. 1, 2019)
Blackbird & Crow © 2020 Author: Megan Doherty
WaqWaq Kingdom — Essaka Hoisa (Nov. 15, 2019)
The Mountain Goats — Songs for Pierre Chuvin (April 10, 2020)
Hawktail — Formations (Jan. 10, 2020)
Morrissey — I Am Not a Dog On a Chain (March 20th, 2020)
Jack Peñate — After You (29th Nov. 2019)
Villagers — Darling Arithmetic [Deluxe Version] (April 10, 2015)
Ashley Paul — Window Flower (May 13, 2020)
Daniel Bachman — The Morning Star (July 27, 2018)
Roger Eno | Brian Eno — Mixing Colours (20 March, 2020)
Darnielle, Jon Wurster, Matt Douglas, Pete Hughes. ©Josh Sanseri
Joe Bonamassa & The Sleep Eazys — Easy To Buy, Hard To Sell
Axel Flóvent — You Stay by the Sea (15 Jan., 2021)
Preston Lovinggood — Consequences (June 10, 2018)
Martin Barre — Away With Words
Ezra Bell — This Way to Oblivion (3rd April, 2020)
All Them Witches — Nothing as the Ideal (Sept. 4, 2020)
Shafiq Husayn — The Loop (March 29, 2019)
Sinikka Langeland — „Wolf Rune“ (April 9, 2021)
Queer Jane — Home (Dec. 1, 2016)
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)