Record Store Day top 28
From Steve Reich to Run the Jewels: CL music scribes call out their top picks for 2015
BRIAN ENO, My Squelchy Life: Billed as Brian Eno’s lost album, My Squelchy Life is a missing link in the experimental musician and producer’s celebrated career. Featuring 11 tracks that have been bootlegged many times over, this double-LP foreshadows and rehashes some of the British pioneer’s highs and lows from before and after its eventual shelving in 1991. “The Harness” and “Some Words” resemble the airy art-pop of Wrong Way Up, Eno’s collaboration with John Cale. “Tutti Forgetti” revisits the rhythmic sampling of his work on My Life in the Bush of Ghosts with David Byrne. The title track fits right in with the humorous pastiche of modern hypnagogic producers such as James Ferraro or a quieter Oneohtrix Point Never. With the inclusion of the previously unreleased “Rapid Eye,” it’s the final piece that completes Eno’s sonic jigsaw puzzle. — Bobby Power | |
RUN THE JEWELS, “Bust No Moves”: Thanks in part to a couple of exceptional self-titled releases (Run the Jewels, Run the Jewels 2) ATL’s own Killer Mike and Brooklyn MC/producer El-P have cemented themselves as hip-hop’s new favorite dynamic duo. This four-track, 12-inch features “Pew, Pew, Pew,” recorded post-RTJ, the unreleased “Bust No Moves,” featuring longtime Killer Mike cohort SL Jones, as well as RTJ 2 standout “Love Again” featuring Gangsta Boo, and iTunes bonus cut “Blockbuster Night Part 2,” with assists from Despot and Wiki. — Gavin Godfrey | |
J DILLA, “Fuck The Police”: Legendary late hip-hop producer J Dilla was critically adored, but the cops in his hometown of Detroit treated him like a common criminal. His mother, “Ma Dukes,” advised him to channel his frustration: “Go downstairs and make a song about it.” The confrontational classic “Fuck the Police” features Dilla at his rawest, with lines such as, “In the streets with the 5-0 it’s a game of survival duke / Now tell me who protects me from you?” Dilla’s recently revived Pay Jay reissued the out-of-print single as a badge-shaped 7-inch featuring vocal and instrumental cuts mixed by Jay Dee himself. — Paul DeMerritt | |
SWANS, Swans: As far back as 1982, Michael Gira had a clear aesthetic in mind when he released Swans’ self-titled debut EP. Song titles such as “Laugh,” “Speak,” “Take Advantage,” and “Sensitive Skin” take on exceptionally disturbing meanings in the context of this group’s monstrous musical plod. The lo-fi recording qualities, the unnaturally fast pace, and the pure contempt projected in these four songs plant the seeds for a sound that was often mistaken for industrial rock. Time, however, has proven Swans to be a much more brutal and powerful force of nature. The band’s first 12-inch is bursting with the nascent sound of an ecstatic mind hell-bent on confronting the inner demons of a young man, and it’s an essential early chapter in Swans history. — Chad Radford | |
FATHER JOHN MISTY, I Loved You, Honeybee: The arrangements on Father John Misty’s latest LP, I Love You, Honeybear may be exquisite, but landing the lyrical one-liners is all in J. Tillman’s delivery. I Loved You, Honeybee places all the emphasis on his clear vocals, with an acoustic alternate take on the album’s title track alongside the frank and previously unreleased “Never Been a Woman.” Pressed onto a red, heart-shaped 7-inch — a nod to the sticky-sweet construct of love Tillman so often mocks — this release is limited to 5,700 copies worldwide. Maybe Tillman’s next lyrical side-eye will be at the inevitable RSD scuffles as we FJM devotees rush the racks. — Dacey Orr | |
DEAD MILKMEN, Beelzebubba: When most folks hear mention of the Dead Milkmen, they’re immediately reminded of “Bitchin’ Camaro” or “Punk Rock Girl.” The latter college radio staple arrived as Beelzebubba’s standout number. But as any true fan knows, there is more than one selling point on this fine album, including surreal single “Smokin’ Banana Peels,” longtime show closer “Life Is Shit,” and “Stuart,” the gold standard of Rodney Anonymous rants. — Bobby Moore | |
MASTODON, Atlanta: Originally released online as part of the Adult Swim singles series, this gonzo collaboration between the city’s finest shredders and the Butthole Surfers’ Gibby Haynes is an alloy of Southern sludge, Austin psych-punk, and Chicago industrial speed metal. Like a glorious Ministry B-side cast on a full-color 12-inch picture disc, featuring a demon mask designed by none other than guitarist Brent Hinds, it encapsulates all the amphetamine seizures of a night spent in the Masquerade with none of the PVC chafing. — Tony Ware |
OFF!, Live From the BBC: Keith Morris rules. Deal with it. Live From the BBC packs 10 live takes of songs you already know and love onto a 10-inch record with a Raymond Pettibon illustration on the cover that’s worth the price alone. Recorded during a live session for BBC Radio One’s Rock Show, the group doesn’t throw any surprise punches here, but it does channel the ferocious energy of its live show onto a short, sharp piece of vinyl. “Void You Out,” “Black Thoughts,” “King Kong Brigade” — all the hits are here. Your friends will make fun of you. You’re going to buy it anyway. — CR | |
SLY AND THE FAMILY STONE, Live at the Fillmore East: Carefully curated by the Roots’ guitarist “Captain” Kirk Douglas and presented on two LPs of colored wax, Live at the Fillmore East captures highlights from Sly and the Family Stone’s two-night residency at the famed hall in October 1968. Featuring previously unreleased audio, these four sides show the seminal funk and R&B outfit at the high point of its golden era, after A Whole New Thing and Dance to the Music but before There’s a Riot Goin’ On and Fresh. It’s a solid reminder of the band’s kinetically arresting and groovy presence, which was direct inspiration for everyone from George Clinton and Prince to Arrested Development and the Roots. — BP | |
BLACKBERRY SMOKE, Wood, Wire and Roses 10-inch: On the heels of releasing country and rock charting album Holding All the Roses, Atlanta’s fastest rising stars present five cuts from its latest album as bare-bones acoustic numbers. The outlaw country styling of “Too High” is just as moving unplugged, and it all comes to a close with a cover of Tom Waits’ “Old Shoes (& Picture Postcards),” an influence on the band’s sound that’s somewhat less obvious than Lynyrd Skynyrd and ZZ Top. — BM | |
ARTO LINDSAY, Encyclopedia of Arto: Available for the first time on vinyl via Northern Spy Records, this double LP is a best-of collection spanning Arto Lindsay’s mid-’90s-and-beyond output. The first LP dives headlong into Lindsay’s Brazilian samba and forró guitar pop creations. It’s lovely. The second LP reinvents the material as herky-jerky blasts of guitar noise channeled through a Danelectro. Taking in these polarizing extremes of his work side-by-side is a truly fascinating and compelling character study of a seminal figure in the history of the American underground. If you loved Lindsay’s pioneering no wave excursions with DNA but never knew where to start with his voluminous solo career, look no further. — CR | |
JURASSIC 5, Quality Control: Despite the fact it was the home of Eminem, chances are indie die-hards weren’t too happy when these West coast alt-rap ambassadors signed to Interscope Records. However, the group’s second studio album and major label debut, 2000’s Quality Control, is a musical testament to how artists — in the words of Akil the MC — can remain true to the “power of nouns and verbs” despite the trappings of fame and selling oneself for the sake of commercial success. — GG | |
THE MASTER MUSICIANS OF JOUJOUKA, Into the Ahl Srif: The Master Musicians of Joujouka are musical royalty. Traditionally the Sufi trance musicians of Joujouka, Morocco were given a pass by their rulers to forgo common labor to focus on their craft. Over the past century, Western artists from beatnik hero William S. Burroughs to Sonic Youth guitarist Lee Ranaldo have sought out the group for inspiration. Ergot Records releases the first new vinyl from the revered collective since 1978. Into the Ahl Srif is a rare live recording from a 2012 performance in the group’s hometown, and a must for those seeking a glimpse into an ancient tradition defined by hypnotic drone, indecipherable rhythms, and wild improvisation. — PD | |
METALLICA, No Life Till Leather: Metallica’s 1982 demo tape, No Life Till Leather, finally gets an official release as a remastered, limited-run cassette. Demos include all but four tracks from Kill ‘Em All, recorded by a pre-Cliff Burton lineup which included Dave Mustaine on lead guitar and backing vocals. Aside from historical relevance, and the novelty of a cassette release in 2015 by one of the most famous bands on earth, this is a powerful listen. It hardly packs the punch of the seminal albums that followed, but there’s a youthful energy on display with “Jump in the Fire,” sung in a surprisingly high-pitched voice by a 19-year-old James Hetfield. — BM |
VARIOUS ARTISTS, When I Reach That Heavenly Shore: Unearthly Black Gospel (1926-1936): The history of gospel music is thick with unsung talent. Countless gospel choirs from the early 20th century were never recorded, or what records existed are long lost. Through the Tompkins Square label, Grammy-winning producer Christopher King exhumes a wealth of pre-war spoken word, folk, and gospel recordings for a compilation that narrows in on the divine with three LPs that evoke intense grief and delirious joy. — PD | |
101ERS, Elgin Avenue Breakdown (Revisited): Before discovering the Sex Pistols and pretending to forget everything he’d learned about music before punk’s year zero, Joe Strummer fronted a pub rock outfit called the 101ers. The gaggle of squatters from 101 Walterton Road existed 1974-1976 and released just one single. But in 1981, due to the Clash’s surging popularity, a 12-song compilation of unreleased tracks, demos, and live cuts called Elgin Avenue Breakdown was released. The same comp was later expanded to a 20-track CD with extensive liner notes. Now it’s being re-pressed as a double LP. — BM | |
STEVE REICH, Music for 18 Musicians: Originally released in 1978 by ECM, Steve Reich’s Music for 18 Musicians highlights the power of minimalism in the modern classical movement. Focusing on a hyper-repetitive cycle of chords that hearken back to Reich’s early experimentation with tape loops, the piece’s ten sections and pulsing bookends revel in wave after wave of phased harmony. Instrumentation-wise, Reich employs the eponymous number of players, utilizing female voice, violin, cello, piano, maracas, marimba, bass clarinet, clarinet, and metallophone (an unplugged vibraphone). Nonesuch gives the entire package a deluxe reissue, spreading the original recording across four sides of 180-gram vinyl. — BP | |
ESG: The Moody EP: It’s a family affair. Based in the South Bronx and heavily rooted in the art-funk and post-punk movements, ESG was a band of sisters who were anything but novel. Consisting of the Scroggins sisters — Renee (vocals), Valerie (drums), Deborah (bass), and Marie (congas, vocals), with friend Tito Libran (congas, vocals) — ESG created utilitarian funk music for the urban underground. Presented here on tri-color splatter vinyl, the Moody EP updates ESG’s earliest groove experiments as a supremely DJ-friendly format. It’s a blast from the past and a red-hot reminder of how these sisters influenced everyone from LCD Soundsystem and Liars to Wu-Tang Clan, Jay Dee, and the Beastie Boys. — BP | |
FLAG OF DEMOCRACY, Love Songs: This six-song, 7-inch slab of lightning-quick Philadelphia hardcore from 1984, defined by singer Jim McMongale’s wobbly voice, is restored to its original track list and artwork. Though the group shared stages with the likes of Minor Threat and Agnostic Front, F.O.D. failed to gain the same notoriety as many of its peers. But based on brash yet catchy Love Songs cuts “Guidance Counselor” and “Powerload,” the band is an unsung contributor to the American punk sound.—BM | |
VARIOUS ARTISTS, Continuum: Minimalist electronic music is often cinematic, providing enough moody texture and space for listeners to construct their own visions. Experimental filmmaker Sofia Mattioli capitalizes on this for the soundtrack to her short film Continuum, a two-minute silent movie shot on her iPhone. Here, Spanish deep house producer John Talabot, and British electronic innovators Jamie xx, Four Tet, and Koreless create their own soundtracks, artfully reducing electronic music to its most crucial elements. — PD | |
THE RESIDENTS, Intermission: Extraneous Music from the Residents’ Mole Show: The five songs featured on this fan-favorite EP were originally played as the house music when the group went on, well, intermission, while touring behind the 1981 LP, Mark of the Mole. The unfinished trilogy is a metaphorical take on the group’s ascension through the underground to let its freak flag fly with grit, grime, and a twisted approach to new wave. Clocking in at 25 minutes long, Intermission exists outside the Mole trilogy as songs such as “Lights Out,” “Shorty’s Lament,” and “Would We Be Alive” swell with cinematic ambiance and take on a life of their own. — CR |
MARK KOZELEK, What’s Next to the Moon: In the dying days of Red House Painters, before Mark Kozelek ventured out as Sun Kil Moon, he performed under his given name with a duo crafting curious and charming acoustic EPs. Rather than stress over penning new tunes while figuring out his newfound situation as a solo artist, Kozelek looked back to his earliest musical inspiration: Bon Scott-era AC/DC. Retooling classics from the Australian hard rockers’ early catalog, including “Up to My Neck in You,” “If You Want Blood,” and “Love at First Feel,” Kozelek reframes arena rock anthems as intimate ballads. — BP | |
LEATHERFACE, Razor Blades and Aspirin: 1990-1993: One of the seminal U.K. bands of the early ’90s, formed at the intersection of the prior decade’s heavier sounds and nascent melodic punk, is finally having its first three albums reissued as a box set. In addition to debut LP Fill Your Boots, career-defining masterpiece Mush, and the group’s unsung follow-up, Minx, the download code includes rare tracks from the group’s early years. The packaging features extensive liner notes and an interview by Jack Rabid (The Big Takeover) with lead singer Frankie Stubbs. — BM | |
MCLUSKY, Mcluskyism: “That’s it, then. No farewell tour ... no premature deaths (at time of writing), no live DVDs ....” In 2006 these words appeared in the original liner notes for Mcluskyism, the posthumous singles compilation from short-lived post-hardcore noise rockers, Mclusky. Mcluskyism memorializes adolescent bitterness, discomfort, and hate through tongue-in-cheek lyrics and screeching dissonance approximating a combination of the Pixies, Fugazi, and the Dead Kennedys. The original A-sides, tracks 1-12 from the 2006 release, are reissued here for the first time on vinyl. — Anastasia Zimitravich | |
HEDWIG AND THE ANGRY INCH, Original Broadway Cast Recording: This midnight movie/musical of a botched sex change, a glam-rock genesis, and the libido and petulance of angry gods has long ties to the city, having opened the Atlanta Film & Video Festival upon its release in 2001. On this pink vinyl edition, Neil Patrick Harris takes on the role of the glitter-caked muse with a sideways grimace on an eyeless face. It’s fully cocked rock with plenty of cunt in its strut — the kind of ballsy, unsubtle sing-a-long perfect for lashing back at a castrating day. — TW | |
VARIOUS ARTISTS, Thai Pop Spectacular (1960s-1980s): Bangkok isn’t the first locale associated with surf rock, disco, and funk, but Sublime Frequencies offers a fascinating look into the collision of Western pop and Thai traditions. The players on this comp may seem like outsiders to the genres, but many of these tracks perfect the precise rhythms, mellow organs, and funky guitars of greats such as Sly and the Family Stone. This collection includes some comedy cuts and rare movie soundtracks as well. — PD | |
THE STOOGES, Have Some Fun: Live at Ungano’s: Originally released on CD by Handmade in 2010, Have Some Fun finally appears on vinyl. Recorded Aug. 17, 1970, in NYC, the set finds the proto-punk outfit at the pinnacle of its golden trio of albums: The Stooges, Fun House, and Raw Power. The songs are loose but focused, sweaty and agile, as the setlist rummages through an (un)intentional haze of substances, with “Down on the Street” and “Loose” swapping places and “L.A. Blues” replaced by a scorching, 10-minute medley of “Have Some Fun” and “My Dream Is Dead.” — BP | |
AIR, Playground Love: It’s no secret that Sofia Coppola’s films rely heavily on the soundtrack, using sonic cues to create dreamlike states around listless and charming visuals. The Virgin Suicides, Coppola’s 1999 directorial debut, plays like a late-’70s mixtape of forlorn lovers’ rock, reimagined by French downtempo all-stars Air. Aside from classic charmers by Todd Rundgren, Steely Dan, Heart, Carole King, and others, Air fills the aural mise-en-scène with melancholy, building on the haunting “Playground Love” theme. While the A-side features the seductive, pseudo schmaltz of ’70s AM pop, sung by Gordon Trucks (aka Thomas Mars of Phoenix), the B-side retreats into more opiate-like instrumental territory. — BP |