Thursday, October 08, 2015

The infamous 1985 Nirvana demos :: Fecal Matter - Illiteracy will Prevail

 
Long thought to no longer exist, the holy grail for Nirvana fans was the 1985 demo tape for a project Kurt Cobain called Fecal Matter. There were a couple of fakes that famously circulated around the internet, but this version is a legitimate recording. There are files out there that have been edited and remastered by amateur engineers, which is mostly what can be found on youtube. So, this version is intended to preserve the initial, unedited leak.

Read More ::

Friday, December 14, 2012

Univers :: La Pedregada EP


Another excellent 12/12/12 present was the release of Univers' first EP La Pedregada. It's heartwarming to see the holiday crosses international boundaries. Too bad it only happens once a century.

I covered Univers for The Bomber Jacket in a piece called Spaingaze along with two other drone findings from Spain. You can read that piece here. Univers contains a member from another Barcelona favorite, Mujeres, specifically singer Yago Alcover. The gutteral Joy Division-like vocals are split between him and Eduard Bualance and capture the mumbling monotony of the all knowing universe quite well. If you ever had one of those moments where it felt like the universe was trying to speak to you, but you weren't quite sure what it was saying, maybe it was because the universe speaks in Spanish.

The EP was released on Fàmelic Records too, which is another friend. Read my piece about them on The Bomber Jacket. It's cool to see these two come together.

univvers.bandcamp.com
facebook.com/univvers

Read More ::

Wednesday, December 12, 2012

Bent Shapes :: Panel of Experts 7" :: The Best 12/12/12 Present Ever

bentshapes.bandcamp.com

At some point in the day (if they weren't already anticipating the fauxliday already) mostly everyone stopped for just a moment to go, "Oh yeah! It's 12/12/12." The last time any of us living now will see a date made up of the same three numbers. And after the thought, instead of seeing falling frogs in the beginning of the oncoming apocalypse or nuclear missile warnings on the news as part of some intense global shift in consciousness or even just some eerie supernatural change or coincidence in your life like your apartment being moved two inches to the left, you went right back to doing whatever it was you were doing. Because, 12/12/12 wasn't really a day worth noting.

Until now.

Boston's Bent Shapes have a new release that makes the perfect 12/12/12 present that you've surely been tearing your hair out trying to find. It's their second in what will hopefully be an onslaught of 7" flexi vinyl singles and EPs. A flexi is a vinyl that's so thin, you can bend it nearly in half. The group released one earlier in May too, that you can listen to here. The image below is from that EP.


The new 7" is "Panel of Experts" between "Bites and Scratches." The latter track is also from the band's "Girlfriends" days. It appeared on a demo before they changed their name. Both of the single's songs are freshly recorded and feature some of the group's cleanest recordings yet. Although I personally think the band sounds better dirty, lo-fi, and overdriven, these recordings are well done. "Bites and Scratches" features some majestic backing vocals from bassist Supriya Gunda.

The release is exciting, because it means we're getting even closer to the band's debut LP.
Get the 7" here.

bentshapes.bandcamp.com


Read More ::

Wednesday, October 31, 2012

Haunting Simon Joyner


Read More on thebomberjacket.com

Simon Joyner’s thirteenth studio album is Ghosts (or sixteenth or so if you count the early tapes) and it’s release marks 20 years that Joyner has been making music. He funded the project with a Kickstarter campaign, in which he outlined some big ambitions for the double album that he called “experimental and sprawling, featuring some avant/psych/noise damage and songs wrestling with the ghosts of Alex Chilton, Skip Spence, and Jackson C. Frank, among other persistent influences.” The entire recording process was analog, with no digital technology used at all and it was released on Joyner’s own revived record label, Sing, Eunuchs! The result is a collection of songs that are filled with flavors, decorations, and experimentations that are unique to Joyner’s catalog, while still capturing the same old Joyner spirit.

Read More ::

Saturday, September 08, 2012

The Music Tapes’ Imaginary Voices and Circuses

Read more on thebomberjacket.com

The last time I saw Julian Koster, the main man behind The Music Tapes, we were sitting in a field in Cambridge, MA near Harvard with a circle of other people. He told us about how the animated feature film he planned to make with DreamWorks about a story he wrote called “Second Imaginary Symphony for Cloudmaking” got derailed. He also mentioned that the special and extremely personal tours that he does around the U.S. can take three different forms. The third form that he mentioned, he talked about wistfully, explaining in his slow, little boy voice that it was like a traveling carnival, complete with amusements and games. It sounded like something that could never happen. However, it seems that it is actually happening this fall in support of his new record, Mary’s Voice, and it’s called “The Traveling Imaginary.”

Read More ::

Wednesday, September 05, 2012

Rejected Concept for Mature Themes Music Video by Ariel Pink's Haunted Graffiti



FADE IN:

INT. ARIEL PINK’S APARTMENT - NIGHT
Ariel Pink sits at a round, wooden kitchen table, beneath a colored stained glass chandelier. He wears big, pink-tinted sunglasses and a shirt that has large, random sections replaced with black lace. He looks too much like Kurt Cobain. He's playing Battle Ship against a typical thin, hip music video model with a new-wave hairdo, by the name of ROSE (20s). She is his girlfriend and she looks annoyed. We know Ariel has just said something stupid.

ROSE
You're so immature.
ARIEL
But, I really want to talk about mature things.
ROSE
Ariel, we need to talk.
ARIEL
No, look. There’s double agents in Athens. Polymonogamasturbators
running for president. Driftwood in the oil wells and shemales on meth.
There’s a lot of problems with the world right now.

Read More ::

Tuesday, September 04, 2012

"There is No Nature" Part III, Mount Eerie Sinking into the Ocean Roar


The car sped down the highway with an intensity of some impending unknown cataclysm
until it wasn’t clear if there was still a road underneath the wheels or just falling into the vast
roaring ocean. The foam was blue and iridescent carrying the colors from the dusk into my windshield
or the rain from falling clouds and it was a marimba or a glockenspiel or an organ or something, I
don’t know. On the dock there were pale lights glowing from across the water from houses or
people or lanterns. I heard a voice and called, “Who is there?” but the small yelp on the wind
grew louder until I realized that it was the voice of the water, being carried by waves into a mass
of static fuzz. There was clapping in the clouds turning into the sound of a stream running that
turned into a passing car or an oxygen ventilator. Rain fell into the slapping waves so that water was
everywhere, in the air, the earth, the vessel for the ocean, in me, in the car, in the light trying to shoot
its way through the drops of sound. It washed over noise of children laughing and playing with a
piano and a lovely girl humming. There was a constant beating that made my shoulders tense,
yet at the same time sounds so lulling that they blew the billowy sky over the distance
between me and the island and the mountain. I was there, or I was in the car, or I was off
somewhere making love or dying. There was barely even any rhythm to it. In dreams the ground
drifted off beneath our feet and all the water that was contained underneath seeped up through the
grass. It spoke of ancient questions, sometimes in German. We were sure that the water kept on
going and that swaming it, the distance between the waves and the molecules of the night sun
split before the pixelating mountain. OBFUSCATION. The fog was rolling in from that rocky pile
out west to get tossed in the waves. In the middle of it all, far out enough that the land shrinks
into a tiny dot, it becomes an alien planet orbiting some distant sun that has a name that no human
tongue can pronounce, because it was so heavy and churned like some great wooden mechanism were
below it. A giant wheel turning and keeping everything moving. So vast and empty that it becomes a
desert. The place that is the absence of water is the same as the place that is the absence of land.
Sinking; light doesn’t sink it water. It tries to reach into the deep, but turns into a mess of
rippling expanse. The storm had stopped. My shirt was wet and my pants were dry. I walked
the road back to the town with beads of water sweating off of strands of my hair. The town was
empty. Everyone didn’t even have time to pack up their things before abandoning the place. The world
had stopped moving. I wasn’t even there. Someone was snapping. A final breath of the storm wafted
around in the street before being swallowed by a storm drain. I saw Phil walk out of the studio,
the keys in his hands. He dropped them. He’s standing there dropping them over and over
again, a skipping image of burning film. Over that wild westward expanse there was so much
nothing, but in nothing there was some kind of peace. An easier type of piece. I was trying to reach
for something to hold, but it was something that I couldn’t hold; something dissolving my hands in the
wind. I lay down in bed, with a night cap on that drifted past my waist and had a poofy ball on the
end. I pulled the covers up to my chin and I could still hear the ocean. In this place where he
lived, there was a constant roaring, constant noise all the time. From my bed, I heard it swell and
lengthen. A wailing solo, saying something, but nothing. Roar like an animal. Hungry and adoring. 
***
***

Read More ::

Friday, August 31, 2012

Berghain Shrines and Purity Rings


The following is a prose poetry narrative inspired by both Purity Ring‘s debut album, Shrines, and a trip I took to Berlin’s infamous electronic music nightclub, Berghain.
It seemed apt for Berlin that Berghain was more or less in the middle of the city, yet in the middle of nowhere. The labyrinth of residential streets and parking lots were occasionally splattered with graffiti, as if indicating the way. Spotted by the likes of the silently laughing Mein Lieber Prost face or a number from Mr. Six or the serendipitously appropriate Escape white rabbit outlined in thick bubbled red; art that would glow for the right eyes, reaffirming that, no, I was not lost. The buildings and paved streets faded away so that grass and dirt and puddles and trees could sprout into a junkyard wasteland. Stumpy and towering forms of either garbage or art sprung out of the ground, not asking the passerby to decide which was which.

Read More ::

Friday, August 24, 2012

Cloud Nothings: Original and Never Getting Old, or Memory vs. Slightly Older Memory

Read the whole post on thebomberjacket.com


Throwbacks to styles of music from previous decades and generations have been toyed with a lot in the past decade within this thing we’re going to call “indie” music. Whereas it can be fun to relive (or live for the first time) something from another time period, emulating a retro style just for the sake of fun or nostalgia usually has its way of captivating me.
There are only a few cases where it has been brilliantly employed to thematically enhance an album, such as last year’s Kaputt from Destroyer. There, a defeated artist used ‘80s style jazz and synth to create something almost like a porno soundtrack to highlight what a lot of hard working musicians are eventually reduced to. In doing so, it makes a personal statement into a more widespread cultural one, especially because so many bands are hopping on the ‘80s synth fun train these days.
I first heard about Cloud Nothings because they were playing a lot of shows around Boston with local bands that I liked. Back around 2009, they were touring with songs from their first release, Turning On. What was appealing about the band wasn’t just that they played catchy nerd-pop songs about being losers that were just stupid and fun, but the fact that it captured what it felt like for me to live in Boston and go to house shows. The band was the exact kind of band that would’ve thought that they would have time to drive off before their set to get tacos, but end up arriving really late to a living room full of people who didn’t even notice that they were gone, because they were having fun chilling and talking and drinking. Or the type of band that plays too loud in the basement and after their set, everyone has to whisper as the cops drive by with their lights on. I liked the music not because of the associations I had, but because it captured what it was like to be someone my age in the current age.This year’s Attack on Memory by Cloud Nothings is another album that borrows some styles and has generated a massive amount of buzz and already landed at number one on some preemptive mid-year lists. However, in contrast to the Cloud Nothings’ previous releases, the album is drastically different and almost sucks out everything that I loved about the band to start with.

Read More ::

Saturday, July 14, 2012

"There Is No Nature," Mount Eerie Under the Clear Moon, Part II:: The Interview



Published on thebomberjacket.com


Below is the transcript of my conversations with Phil Elverum that inspired "There Is No Nature," Part I, found here.



I had brought a tape recorder with me just in case and switched it on before ever time I went out, so luckily I was able to capture our discussions. Read them below.

MANGO NEBULA: Do you think there’s a difference between Phil in the music and in real life?
Phil Elverum: When I make records, they’re not about me. They kind of are by default just because I write in the first person and there aren’t very many other people in my songs. They’re not songs about interpersonal relationships or anything. At least, usually not. Not lately. Not for the last ten years or something. Yeah, in my mind it’s not about “Phil” necessarily, but I think culturally, outside of the albums themselves, just as part of the mechanisms of making records and being a public figure and playing shows, this character of who I am, “Phil Elverum,” like playing shows, Mount Eerie guy that person is different from who I am when I’m at home living my life. Which I think, you know, everyone has multiple versions of themselves. I’m giving a really complicated answer, but it’s a really complicated question.

Read More ::

Saturday, July 14, 2012

"There Is No Nature," Mount Eerie under the Clear Moon




Read the transcript from the interview with Phil Elverum in Part II: here.

Mount Eerie loomed in white with curtains of mist surrounding it that were too low to be clouds and too high to be just fog. Water hung in the air, constantly threatening to condense into rain, but it hadn’t yet. The mountain appeared to be ever-changing and darkening, continually obscuring the peak. I had come to the mountain following a bright Clear Moon, or what I thought was the moon. That shield of grey made it hard to tell when day ended and night began without a watch.
I was looking to commune with nature. I had packed granola and trail mix with chocolate candies in it. I was looking for a story I had heard. Stories that had been floating around the country for more than a decade about a man living in the woods of Anacortes, Washington. Some said he was the spirit who guarded the mountain. Some said that he was just a guy who liked camping.

Read More ::

Thursday, May 17, 2012

Descending the Circles of Bright Eyes Hell: The Early Albums

Published on thebomberjacket.com

"Who looks outside, dreams; who looks inside, awakes.”
—Carl Jung
There are videos on youtube of Conor Oberst, frontman of Bright Eyes and various other projects, from when he was in his tween years. One in particular comes to mind of a scrawny boy with a high crackling voice and round John Lennon glasses in a record store in Omaha, Nebraska, over-excitedly ranting about a record store he loved. There was this image of Conor Oberst with that trademark messy done-at-home haircut, moping in the basement of his parent’s house, surrounded by books and records, writing music and wailing through tear-stained and clenched eyelids. It’s a scene like a the lyric from Letting Off the Happiness’ “The City Has Sex,” which goes, “There’s a kid in the basement with a four track machine / and he’s been strumming and screaming all night down there / The tape hiss will cover the words that he sings / They say it’s better to bury your sadness.” It’s a charming image, but it’s one that Oberst has never really been able to shake, despite all his new sounds, solo or side projects and haircuts.
Even to this day, it seems like Bright Eyes is quickly disregarded by many as being sad emo music made by a little boy, when there’s really much more to it than that. Now, looking back at those early albums twelve and then some years later, hopefully a more accurate perspective on Bright Eyes can emerge. The real relevance of the band is much more than just well penned sorrow. The lyrics are loaded with poetry that is severely self-conscious, self-deprecating, self-absorbed and just about any other hyphenated "self" term one could imagine. Every album is an introspective adventure, an psychological journey into deeply understanding oneself and one’s emotions. It's something like Carl Jung's methods or Sigmund Freud’s psychoanalysis or Joseph Campbell’s “The Hero With A Thousand Faces,“ which relates mythological odysseys to psychology and is the basis for the Hollywood movie formula. Or it could even be like Dante’s excursion into hell in “The Inferno.” The adventure is most evident on Fevers & Mirrors, as the album's main focus is self-examination, but it’s also present on each recordThe lyrics may be seem solipsistic, but that’s what makes it universal, as everyone has to face the reality of themselves in the mirror at one time or another. It makes the music into something helpful to listen to for anyone going through an emotional, existential or identity crisis…or maybe enabling those emotions is the worst possible choice. It’s always hard to decide. Yet, that’s another constant theme to Bright Eyes songs, the flexibility and confusion of truth.
May 1, 2012 saw the last round of reissues of Bright Eyes’ early releases; albums and EPs that were only previously available on vinyl compiled into a boxed set. The records represent some of Bright Eyes’ most inaccessible material and as such, this group of reissues is probably a bad starting point to dive into as a first exposure to the band. As the records get progressively easier to listen to, even going backwards through a discography mimics that inward adventure, with each one becoming another descent into a deeper circle of self-inflicted hell. So, it’s probably better to start with a more recent release and work backward. The easiest way for the likes of casual listeners to get sucked in might be from the upright pop and conscious attempt at positivity of the most recent The People’s Key or the messy full member collaboration of Conor Oberst and The Mystic Valley Band’s Outer South or maybe when his warbling voice is blended with Jim James and M. Ward on Monsters of FolkWhatever the starting point, it’s better to let curiosity slowly tug you backwards, and downward, after that.

Read More ::

Monday, May 14, 2012

Lotus Plaza and the Liberation of Yellow Balloons


You stand out in the open of a plaza that’s shaped like a lotus, looking at your shoes as you let go of a handfull of yellow balloons. It’s a gray day. So much of a gray day that the sky actually seems to be green. As the bunch of rubber, helium and ribbon transcends the first layer of the earth’s atmosphere, it quickly becomes a small yellow dot in the dusty troposphere. Whenever you see this you can’t help but wonder, what does a balloon feel like when it’s let go into the sky? You can stare at it for as long as it’s visible, but you never see it pop. No matter how many times you see it, the image still sticks with you eerily, just like Spooky Action at a Distance.

Read More ::

Thursday, April 19, 2012

In the Belly of the Woodrow Wilsons




Jamaica Plain, a part of Greater Boston, is home to many talented musicians that are constantly creating unique and/or bizarre events and contributing greatly to the personality of the city’s DIY music. One such band from the area that has been playing for a few years without laying down a record is The Woodrow Wilsons. It’s made up of some of the nicest and most genuine people you could ever meet. And just like a conversation with one of its members, the music radiates this ineffably positive feeling of warmth and empathy, subconsciously comforting and convincing you that everything is going to be alright. They all play a wide array of instruments, one of the main components being ukuleles that vocalist and multi-instrumentalist Chris McCarthy built himself out of a cigar box. In addition to bass, guitar and drums, the arrangement also includes glockenspiel, horns and a singing saw. The vocals are shared and harmonized between McCarthy and Laura Smith and the collaboration emphasizes the band’s open minds and open arms.

The Woodrow Wilsons recently released its first proper full length, Devil Jonah. The name references the biblical story of Jonah and the whale and has strong motifs of the East Coast and the ocean. As the group explains, the Atlantic seems to have strange powers over them (or at least over Smith). They associate the endless vastness with death and loneliness, but at the same time it’s something irresistible that calls them to get lost in it. It’s this sort of conflict or juxtaposition that is threaded throughout the album. Although one might think Jonah was doomed to be digested in the whale, it was actually the whale that saved Jonah from drowning. Likewise the music is a pleasant balance between somber and joyous. It has ballads and relaxing tunes, but it also has its share upbeat and irresistibly catchy songs like “Anthropomorphism” and “It Always Never Boils (The Kettle Song).”

Read More ::

Wednesday, April 04, 2012

Cymbals Have a Merciless and Insatiable Blood-lust for Guitars

Photo by Josh Goleman

Brooklyn born Cymbals Eat Guitars take their name from something Lou Reed once said about The Velvet Underground. Yet, it wasn’t an overly whimsical metaphor like “my band sounds like cymbals eating guitars,” but instead something more musically technical. Reed was asked why the drummer, Moe Trucker, didn’t crash down on the cymbals a lot on their records. Reed responded that it was because the noise of cymbals eats, or drowns out, the guitar and he was apparently concerned about a purer tone from the instrument.

When explained like this, it sort of drains all the magic out of what a listener imagines when the phrase is plucked out of context. Like a swarm of floating cymbals, roving around a trashed underground nightclub savannah in search of it's prey. A centrifugal hum reverberates around the metal of the crash cymbal pack leaders as the muted high-hats let out a few taunting chatters. A guitar is spotted through the reeds of the tall amplifiers and a vicious, bloody onslaught ensues on the concealed pack of instruments. The cymbals mercilessly shred through fret boards and splinter hollow bodies easily. The stage becomes an out of focus mess of flying scraps of wood and metal. As the violence reaches its end, pick-ups are tossed into the air and swallowed whole into invisible stomachs and guitar strings are used to floss the remaining flecks of flesh from their teeth. Lou Reed might not have used the phrase to describe his band, but as for Cymbals Eat Guitars, the image represents their music pretty well.

There are more concrete ways to describe the band’s sound. Some bands wait until the end of one of their songs on a record to play with guitar effects and feedback to produce a random musical experiment for about thirty seconds. Maybe it’s at the very end of a show when they’re smashing their guitars on stage and they just go nuts, shouting and playing whatever. Well, for Cymbals Eat Guitars, those moments are present all throughout their music and are joined together by catchy hooks, sleazy keyboards and straightforward rock.

Read More ::

Wednesday, March 21, 2012

Sharing a Beer Bong with The Men


wearethemen.blogspot.com 
published on theBomberJacket.com

Music could be heard as we walked from our car that we parked on the side of the road. A ton of people were already at the party, so the driveway was full of cars and we had to make the hike from down the street. They had given the house a name as people like to do, and it was called Open Your Heart. It always seemed like a weird name to me. Then again, the people that lived there were called “The Men.” Even the girls that lived there were still referred to as “The Men.” I had heard about the party from a friend and realized that I had been to another thing The Men had thrown a year earlier in a different place. That one used to be called The Leave Home House. Those parties were a bit stranger and darker and from what I had heard, this new place seemed a bit more lively and fun.

Read More ::

Tuesday, March 06, 2012

An Evening with Mr. M and The Great Lambchopsby

www.lambchop.net

published on thebomberjacket.com

The strings swelled as he sat at the piano with his back to an audience that was chatting quietly around candle lit tables. He readjusted his top hat, stroked his moustache, and then rested his fingers on the keys. I was expecting Sinatra when he started playing, but he lazily exuded, “Don’t know what the fuck they talk about…” It seemed as if his voice were foamier that the overly frothy beer that was leaving circles on the top of the old wooden piano. Still, there was something sweet about the gentle vulgarity. His soothing nonsensical words spoke about his coughing grandfather and coffee makers and whether or not he should talk about seagulls. Then he then cued an imaginary flute section that only he grooved along to, because only he could hear it.

Read More ::

Tuesday, February 21, 2012

Spitzer Space Telescope Invents His Own Video Language

DONATE HERE: Spitzer Space Telescope Kickstarter Fund Campaign
Spitzer Space Telescope on Facebook


Album Review of Spitzer Space Telescope's Debut


published on thebomberjacket.com


Dan MacDonald masquerades around as Spitzer Space Telescope and has come up with a creative (one might even say revolutionary) new way to present his music. The Telescope’s first full length album was released in 2009 and painted the personage of a lone folk minstrel, stomping his foot as he sang antiquated stories and wove fantastical mythologies. McDonald said his new project “is going to take a slight step away from spinning wild tales and images and instead be modeled more closely to historical folk music,” but that’s not the inventive part. What makes this new idea so interesting is that it is going to be completely digital interactive ten track video only album. MacDonald has set up a kickstarter the help raise funds for his surgical transplantation of a few traditional styles into one of the most modern forms possible.

Read More ::

Wednesday, December 28, 2011

Radar 2011



01-18
Smith Westerns: Dye It Blonde [Fat Possum]
Hands and Knees: Wholesome [Self Released]

01-25
Destroyer: Kaputt [Merge]
Iron & Wine: Kiss Each Other Clean [Warner Bros./4AD]
John Vanderslice: White Wilderness [Dead Oceans]

01-31
Nicolas Jaar: Space is Only Noise [Circus Company]

02-08
Akron/Family: S/T II: The Cosmic Birth and Journey of Shinju TNT [Dead Oceans]
The Babies: The Babies [Shrimper]
Cut Copy: Zonoscope [Modular]
James Blake: James Blake [Atlas/A&M]

02-15
Bright Eyes: The People's Key [Saddle Creek]
PJ Harvey: Let England Shake [Vagrant]
Yuck: Yuck [Fat Possum]
Radiohead: The King of Limbs [Self-Released]
Tim Hecker: Ravedeath, 1972 [Kranky]

02-22
Beach Fossils: What a Pleasure EP [Captured Tracks]
Toro Y Moi: Underneath the Pine [Carpark]

03-01
Dum Dum Girls: He Gets Me High EP [Sub Pop]

03-05
Gracious Calamity: Carefree Since '83 [Whitehaus Family Record]

03-08
Dodos: No Color [Frenchkiss]
Kurt Vile: Smoke Ring for My Halo [Matador]
Wye Oak: Civilian [Merge]

03-29
The Mountain Goats: All Eternal's Deck [Merge]
The Pains of Being Pure at Heart: Belong [Slumberland]
Dirty Beaches: Badlands [Zoo]

04-01
Girlfriends: Cave Kids 7" [Black Bell]

04-12
Cass McCombs: Wit's End [Domino]
Panda Bear: Tomboy [Paw Tracks]
Vivian Girls: Share the Joy [Polyvinyl]

04-19
tUnE-yArDs: w h o k i l l [4AD]

04-26
Explosions in the Sky: Take Care, Take Care, Take Care [Temporary Residence]

05-03
Fleet Foxes: Helplessness Blues [Sub Pop]

05-10
The Antlers: Burst Apart [Frenchkiss]
Karl Blau: Max 12" EP [K]
Man Man: Life Fantastic [Anti-]
Mountains: Air Museum [Thrill Jockey]
Okkervil River: I Am Very Far [Jagjaguwar]
EMA: Past Life Martyred Saints [Souterrain Transmissions]

05-24
David Bazan: Strange Negotiations [Barsuk]

05-31
Death Cab for Cutie: Codes and Keys [Atlantic]

06-07
Sondre Lerche: Sondre Lerche [Mona]
Cults [Columbia]

06-14
Woods: Sun & Shade [Woodsist]
The Music Tapes: Purim's Shadows [Merge]
WU LYF: Go Tell Fire to the Mountain [LYF]

06-21
Bon Iver [Jugwajar]
The Caretaker: An Empty Bliss Beyond this World [Haft]

07-04
Bright Eyes: Live Recordings EP [HMV]

07-05
Brian Eno: Drums Between the Bells [Warp]
Pipes You See, Pipes You Don't: Lost in the Pancakes [Cloud]

07-12
Washed Out: Within or Without [Sub Pop]

07-28
John Maus: We Must Become the Pitiless Censors of Ourselves [Ribbon]
Handsome Furs: Sound Kapitol [Sub Pop]

08-02
Archers of Loaf: Icky Mettle Reissue [Merge]

08-23
Stephen Malkmus and the Jicks: Mirror Traffic [Matador]

08-30
Beirut: The Rip Tide [Pompeii Recordings]
Male Bonding: Endless Now [Sub Pop]
Glen Campbell: Ghost on the Canvas [Surfdog]

09-02
The Drums: Portamento [Island]

09-13
Neon Indian: Era Extraña [Static Tongues]
Laura Marling: A Creature I Don't Know [Ribbon]
Memoryhouse: The Years EP [Sub Pop]
St. Vincent: Strange Mercy [4AD]

09-20
Clap Your Hands Say Yeah!: Hysterical [Self-Released]

09-27
Youth Lagoon: The Year of Hibernation [Fat Possum]
Dum Dum Girls: Only in Dreams [Sub Pop]
Twin Sister: In Heaven [Domino]

10-04
Cymbals Eat Guitars: Lenses Alien [Barsuk]
Emperor X: Western Teleport [Bar None]
Prince Rama: Trust Now [Paw Tracks]
Bonnie 'Prince' Billy: Wolfroy Goes to Town [Drag City]
Feist: Metals [Cherrytree/Interscope]
MGMT: Late Night Tales [LateNightTales
S.C.U.M.: Again Into Eyes [Mute]

10-11
Girls: Record 3: Father, Son, Holy Ghost [True Panther]
Crooked Fingers: Breaks in the Armor [Merge]
Bjork: Biophilia [Nonesuch/One Little Indian]
James Blake: Enough Thunder [Atlas]

10-18
M83: Hurry Up, We're Dreaming [Mute]

10-24
She & Him: A Very She & Him Christmas [Merge]

10-25
Justice: Audio, Video, Disco [Ed Banger/Because/Elektra]
Tom Waits: Bad as Me [Anti-]

11-01
The Beach Boys: SMiLE [Capitol/EMI]
Kurt Vile: So Outta Reach EP [Matador]
Charlotte Gainsbourg: Stage Whisper [Because Music / Elektra]

11-08
Atlas Sound: Parallax [4AD]
Quilt: Quilt [Mexican Summer]
Cass McCombs: Humor Risk [Domino]
Florence and the Machine: Ceremonials [Island/Universal Republic]
David Lynch: Crazy Clown Time [Sunday Best Recordings/PIAS America]
Owen: Ghost Town [Polyvinyl]
Oneohtrix Point Never: Replica [Mexican Summer]

11-15
Los Campesinos!: Hello Sadness [Arts and Crafts]
Olivia Tremor Control: Music From the Unrealized Film Script: Dusk at Cubist Castle and Black Foliage: Animation Music Vol 1. Reissues [Chunklet Industries]

11-18
Brian Eno: Panic of Looking [Warp]

11-22
Neutral Milk Hotel: Discography Box Set [Self Released]

12-06
The Black Keys: El Camino [Nonesuch]

12-11
James Blake :: Love What Happened Here [R&S]

Read More ::