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Welcome to A&A. There are 25 reviews in this issue. Click on an artist to jump to the review, or simply scroll through the list. If you want information on any particular release, check out the Label info page. All reviews are written by Jon Worley unless otherwise noted. If you have any problems, criticisms or suggestions, drop me a line.
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A&A #272 reviews (March 2006)
Peter AdamsThe Spiral Eyes (self-released) One of those one-man recordings that sounds a whole lot more than that. Peter Adams knows how to record an album, and even if he is filling in some of the holes with synthesizers and keyboards, his brand of laconic, bright pop is the perfect match for that technique. Laconic in terms of how busy the music is, of course. Adams has plenty to say. His restrained touch on the arrangements (full, but just) lends a slightly off-kilter feel to the songs. Kinda like early Magnetic Fields, but with more feeling. Not overly earnest, however. Adams is jaded enough to know that life isn't about to deal him a full house, and his songs reflect that outlook. But far from being maudlin, these tunes tend to provoke a smile at the finish. Still, I wouldn't call this stuff wry. Amazing, isn't it, how many times I can turn a review into a semantic war. Screw all that. Peter Adams has made some fine music. That's the bottom line here, and that's all that needs to be said.
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 Anti-Social Music + The Gena Rowlands BandThe Nitrate Hymnal (Lujo) This is one of those projects that simply couldn't have happened without kind people giving money to artists and walking away. Not to get on a soapbox or anything, but anyone who thinks there shouldn't be public funding of the arts (including the "weird arts") just isn't getting out enough. On to the story. Bob Massey (of the Gena Rowlands Band) received a cache of 8mm movies documenting the life of his grandparents. He wrote an opera to accompany an edit of those films, and then he got his band and the Anti-Social Music collective to flesh out his ideas and then record the completed project. If this sounds pretentious and somewhat twisted, that's because it is. And even though opera was the popular music of the times 200 years ago, these days the form is considered by many folks to be the most unapproachable in the music pantheon. Not always true, but this is a difficult work. These people have an unusual approach to melody and song structure in general. There's more than a bit of the ol' Kurt Weill in here, and there's plenty more that really ranges far afield. For me, this is an exhilarating experience. The swoops and whorls of the melodies fit the melancholy (and occasionally melodramatic) lyrics perfectly. At its base, this is simply aggressively interesting music. The story takes it to another level. Ambitious as hell, and immensely successful as well.
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David BorgoUbuntu (Cadence Jazz) David Borgo, like most musicians, has certain passions. Beyond merely composing and performing, Borgo also likes to study the roots of music everywhere. And so comes this album comprised mostly of pieces written by South African jazz master Abdullah Ibrahim. The non-Ibrahim pieces on this set also hail from the same part of the world. Borgo's playing and arranging reminds me a lot of Branford Marsalis in the late 80s and early 90s--lots going on, and the space within the music to capture a complete picture. He rarely rushes an idea, preferring instead to take the time to fully parse the thought. The sound is warm and inviting, and this, too, reminds me of those Marsalis Trio and Quartet recordings. It might be unfair to call this jazz for the non-jazz listener (we're not talking "smooth" or "happy" jazz here, after all), but when I say something like that I mean to say that I can't imagine anyone failing to immediately warm up to these recordings. Borgo takes plenty of chances and does a stellar job of combing through Ibrahim's pieces, but he presents all this in such an accomplished and complete form that it's hard to imagine the songs being played any other way. Like I said, I can't think of anyone I know who wouldn't like this album. It's not perfect, but in its ability to connect a wide range of listeners to really great jazz, it's pretty damned good. Hard to sing louder praises.
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CarolineMurmurs (Temporary Residence) And now, the album. My review of Caroline's "Where's My Love" single last year is one of the most accessed files on my site. Apparently lots of people were taken by her deceptively fragile voice and unusual way with words and went to extreme lengths (such as reading A&A) to learn more about her. The album opens incredibly slowly. Caroline (Lufkin) has put together some really great electronic backing tracks, but those first three songs are languid to the point of somnambulism. The voice is still there, but man, it's easy to drift off. And then I get it: That's what I'm supposed to do. Not fall asleep, of course, but simply fall into a trance. So by the time we get to "Where's My Love" it's almost like the sun rising. And, indeed, after that Caroline really starts to come on. If you've managed to fall under her spell, the songs that follow slide down the throat like Galliano Jello shots. Ewww, maybe that's not the best simile. Sorry. Still, as the album kicks into overdrive (as such), it's easy to understand why the album starts so slowly. Without that early introspection, there would be no counterpoint to the "kickin'" side of things. The single was great. This album is even greater. Better than I thought possible.
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 CauralRemembering Today (Mush) Fabulous cut-and-paste (electronic style, of course) combined with stellar beatwork. I know, I've said as much about Caural in the past, but this album puts a fine shine on past glories. Yes, digging an album like this does require some ability in the area of abstract thought. Goes without saying. But come on. There are so many interesting ideas meandering in and out of focus here, how can anyone get bored? Stupid question, I know. Philistines rule the world. Whatever. Those who jam to the likes of PreFuse 73 probably already know Caural well. Perhaps the rest of the world ought to get better acquainted. Just so damned...pretty, I guess. In an occasionally dissonant, sometimes in-your-face kinda way. I suppose this isn't the easiest album to like, but it's real easy to love.
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Cavalier KingThe Sun Revolutions (Rubric) By and large, Cavalier King is Chris Taylor. He uses a wide-ranging pastiche of "alternative" sounds of the past 25 years to fuel his music. It's easy to pick out bits and pieces of the Mekons, U2, Blondie, Radiohead and many more. Which is fine by me. The more important question is how well Taylor uses this conglomeration of ideas to fully express his own. Damned well, I'd say. He throws so much into each song that it would be really hard to say he's ripping anyone off in particular. All music is an expression of what has come before, and while Cavalier King may stretch that maxim slightly, the results are excellent. The key is in the arrangements. This stuff could be some sort of bizarre mess, and it's not. Rather, what's here is a collection of grandiose, slightly off-kilter anthems. not exactly warped, but not normal, either. Kinda like where I put my head most days. This is one of those albums that should sound better on the 20th listen. There's a lot here to explore.
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Lisa DeBenedictis Tigers (Magnatune) For those who don't know, Magnatune is one of those newfangled online labels. The folks have an interesting idea. Check it out. As for Lisa DeBenedictis, she's got some interesting thoughts of her own. One is that lots of synthesizers go well with a folk sensibility. Maybe she's been listening to some of the more recent Emmylou Harris albums. In any case, I'm apparently one of the few who found the slightly sterile sound of this album bracing. Kinda like a cool amalgamation of new wave and folk. As for the songs themselves, they're far-reaching beasts. There's a lot more going on here than navel-gazing. Rather, DeBenedictis tries to find some answers to important questions. I'm not convinced she does every time, but since she always shows her work, I'm happy. This one sneaks up on you slowly. Let it. And then roll with the waves. Most intriguing.
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Free DiamondsThere Should Be More Dancing (Deep Elm) Any question as to how far afield Deep Elm is ranging these days should be put to rest with this album. Free Diamonds plays tight rock and roll (in most every style) and lays some seriously cracked vocals on top. Reminds me a lot of this upstate N.Y. band called the Wallmen--in fact, I thought it was them at first. But I haven't heard from those boys in seven or eight years, and it's not like the album I reviewed sold more than a handful of copies. No, I'd say Free Diamonds came upon this lovingly twisted sound all on its own. I can see how this stuff would get grating or annoying or just plain insufferable to a lot of folks. Now, these aren't folks who have been paying a whole lot of attention to music recently, of course, but I can empathize. Life goes on. If you can't find the stomach to bite into this live wire, maybe you need a new game. More fun than it ought to be. Not pretty and certainly not smooth. Just, you know, really good. Really, really good. Lace 'em up and get on the floor.
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 GloveboxGlovebox (Baria) Deee-Lite meets Madchester meets Macy Gray meets...maybe you get the idea. Just some Aussies trying to find a little American soul and dance while they're at it. Disco rock, in other words. That's it. Nothing complicated. Snappy guitars, solid beats and sassy vocals. Catchy as hell. And so stripped down as to eliminate any chance of pretension. Keeping things this simple is the key to the entire enterprise. Glovebox never oversteps the groove. Each song stays tied to that which is most addictive. And that keeps things more than solid. Fun is not a bad word. And Glovebox provides much more fun than should be allowed by law. Awfully fine.
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 The
MeadowsThe Meadows (self-released) Not exactly yer normal self-released project. Todd Herfindal and Kevin Houlihan have been wandering around California for quite a while, and even if few of their bands made much of a splash (Herfindal's band Single did manage to chart its first album in CMJs Top 200), they've obviously spent plenty of time figuring out how to make good music. Folding in rootsy instrumentation into a lush power-pop anthem sound, the Meadows quickly create a comfortably exciting atmosphere. These pieces sound like songs you've been singing in your head since you were ten, except that they're new. Oh, yeah, and they placed one of the songs on this album ("Younger Yesterday") in a very small movie (Little Manhattan). Just to show that, indeed, they know what they're doing. Hell, that's obvious about 20 seconds into the disc. Some might quibble with the dramatic feel to the sound, but I like it. It sure is powerful, but it's not harsh and shiny like you tend to get on a major label release. The sound here is like your grandpa's leather easy chair, strong but ever so comfy after fifty years of use. The band's web site calls this the most unanticipated album of the year. A joke, but possibly true nonetheless. My guess is that the next Meadows album will have a bit more buzz behind it. Damn, this is good.
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 MomzerGoodnight Nobody (Mean Bed) With few exceptions (the Dark Heart Procession comes to mind) piano-based rock needs to be kinetic. Motion is the key. Always move, always keep the pieces going forward. Momzer is more than happy to oblige. And even though the boys keep a steady hand on the throttle, they are more than willing to try out different sounds and ideas. This is an incredibly fertile album, with each song inhabiting a slightly different ensemble from the alt-pop wardrobe. The sound can be tinny, but where that might give some albums the sheen of cheapness, here it gives just the right edge to its sound. I do with the acoustic guitars were a bit warmer, but that's a minor quibble. It's far outweighed by the cool, icy organ sound the keyboards have. The album title is easily recognized by any parent as a line in Goodnight Moon, and the song not only acknowledges the reference but expands upon it in unexpectedly fine fashion. Kinda like the rest of the album. Momzer's understated approach sneaks up on you, but in the end you'll be hitting repeat. Contact:
 P:anoGhost Pirates Without Heads (Mint) Mint is perhaps the finest pop label in the world. Being Canadian, it is a bit easier (and probably even more necessary) to embrace a wide variety of sounds. Still, anyone that can give a band like P:ano any real level of success is a winner in my book. Minimalist pop played, by and large, with ukulele, bass clarinet, accordion and assorted percussion--a break from previous recordings which tended to incorporate every weird instrument under the sun--and sung in decidedly distracted fashion. Somehow, it's really damned pretty. But this isn't the sort of thing that is likely to attract a lot of attention. Most of my friends (even the ones who really like interesting music) kinda shake their heads when they hear P:ano. They agree that there's something cool going on, but they can't bring themselves to get excited about it. Maybe if they hear "I Felt His Presents/Doing the Can Can" on this disc (which is something of a minor masterpiece) they'll change their mind. Short, sweet and stellar. Probably not destined for mainstream acceptance. And thank God (whatever it might be) for that. Contact:
 P.O.SAudition (Rhymesayers) There are a few hip-hop labels out there that consistently impress, and Minneapolis's Rhymesayers is right up there. This second effort from P.O.S is kinda emblematic of everything that's right with hip-hip today. Not many people would start an album with cello. And not just any cello, but aggressive, dissonant cello. And then P.O.S comes on and starts spinning his ideas. The first real track is called "Half-Cocked Concepts," and the album is just jammed with insightful and often refreshingly self-deprecating observations. Yes, hip-hop can be politically and socially conscious and still sound great. P.O.S balances the need for superlative backing tracks (shifting from sly to bombastic and back again in the wink of an eye) and deft rhymes like few others I've heard. His first album was alright. This one might well become a classic. It helps that he has some talented collaborators. The depth of the music here is astounding. And it probably is one of the things that might keep P.O.S from larger fame. I mean, popular music isn't supposed to be complicated, and there are so many ideas here I can't begin to count them. I guess it's time to remove the qualification in the last paragraph. This album has all the hallmarks of a classic. All it needs is time.
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 Prefuse
73Security Screenings (Warp) Few DJs are as interested in as many different ideas as Prefuse 73. Heading even further out into the electronic realm, this mini-album (does that mean EP? I dunno) dissects Guillermo Scott Herren's experiences as he traveled to promote his last album, Surrounded by Silence. Not good experiences, either. Stirred into the sparkling instrumentals here are some spoken samples that are downright angry--or that ought to make a listener angry, anyway. Sometimes frustration and angst can drive an artist. I'd say it worked here. As this release is meant to be a bridge between Silence and the next full album, maybe Herren hasn't quite reached the edge. Or maybe he's tacking in a completely different direction. The fact remains that Prefuse 73 is not just prolific, but prolifically challenging and intriguing. This isn't an easy listen, but it's a vital one.
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 Radiant
DarlingCryptomnesia (Tense Forms) Further proof that Chicago is the center of the musical universe, Radiant Darling blazes forth with an album that's one part gothic Americana (y'know, Trailer Bride), one part gypsy jazz (they even do a Django Reinhardt piece), one part art rock and, well, lots of other things thrown in. It all makes for an invigorating blend that is impossible to turn off. These songs spin spells that can't be broken. Radiant Darling has created an alternate universe that is exceedingly enticing. I might, indeed, want to live here all the time, if I wasn't scared out of my mind at the prospect of doing so. The minimalist production really helps here, leaving plenty of space between the mostly acoustic instruments and raucous percussion. I could be wrong, but it sounds like much of the music was recorded in one take. I hear a little bleedover between some of the instruments. If that's merely a studio trick (or unintended result) I'm just that much more impressed. It's old. It's new. It's indescribably delicious. And I just can't say enough.
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Matthew ShawConvenience EP (Burning Building) Not exactly laptop pop, but somewhere in the vicinity. Matthew Shaw sings pop songs, but he really geeks out the electronics in his music. The two styles don't always mesh, and it's that fissionable feeling that really drives this disc. Tension is always a good thing in art. A landscape isn't a good landscape unless there's something there that shouldn't be. Same goes for music. Pretty music is fine, but there's got to be something else (within or without) to provide a sense of unease. Otherwise nothing happens. A lot happens here. Shaw writes simple melodies and sings them in a nice, wavering emo style. Then he cracks out the computer (or whatever) and assembles some really crackling music. Lots of pops, snaps, screeches and trickles. Yeah, it's all in the same key, but the sounds often grate against each other. And that is what makes this one hell of an EP.
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SlowrideC/S (Deep Elm) More goodness from Slowride. Tunes that veer from the ominous to angry to flat out purty purty. And then back again via different routes. Enough bash to be properly punk (if that's what you want) and enough texture to impress silly critics like me. Mostly, though, I'm impressed by the loudness of it all. This album sounds fine at the normal decibels, but when you roll the knobs higher and higher, the thing starts to take on an inspired aura. The glow that surrounds the sound at high volumes is a wonder to behold. Works well on headphones--maybe that's the point. But even when the waves travel through a spot of air the power is untrammeled. And we are talking about power here, not some shiny, happy nonsense. Slowride takes no prisoners. If you lose the battle, you won't survive. What a terrible metaphor. Oh well. Maybe I'm due for a stomping as well. And if an album is gonna kick my ass, it might as well be one as raucous and energizing as this one. Geez, how could anyone resist?
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 Small Arms DealerA Single Unifying Theory (Deep Elm) Somewhat conventional pop hardcore--my way of describing this particular emo variant--Small Arms Dealer keeps up the interest simply by never letting up off the throttle. Pedal to the floor is a good way to disguise mediocre songwriting. And, to be fair, the songs here are good. But the band's energetic reading of these songs is what raises this album above the teeming masses. The craft is excellent, but craft doesn't always serve punk well. Indeed, there ought to be a level of uncertainly, something unstable at the core. The instability here is simply some ragged playing and singing--and that's enough. Cuts a few jagged edges and bloodies up a few noses. Solid, with enough spirit to overcome any shortcomings. Not necessarily an inspired album, but one that is immediately approachable and exciting.
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 Max
StallingSell Out (Blind Nello) Funny thing about some of this "new-fangled" country music is that it sounds like the old stuff. Max Stalling's voice ilies somewhere between George Strait and Randy Travis, though his songwriting is something of a cross between Rodney Crowell and (lyrically, anyway) Carolyn Mark. Which is to say he seems to come from that "new traditionalist" movement of the late 70s and early 80s, but with his own little quirks. I don't know what his studio albums sound like. It's possible to take songs like this and really trash them with glossy production and overblown arrangements. I'm guessing he didn't make that mistake, as the sound on this live album is strong and assured without any sense of bombast. The tinny sound on the acoustic guitars is annoying (I'll always complain about that when I hear it, I guess), but otherwise the sound is clear and full. Stalling comports himself like a good ol' boy who's been there and who assumes his audience listens to more than country ("6x9 Speakers" references AC/DC, April Wine, Cheap Trick and more). Oh yeah, he's 35...I knew there was a reason his stuff speaks so much to me. Mostly, though, it's the quality of the songs. Stalling does 13 here, and all of them are at least excellent. I don't know why I haven't heard him before, but I know I'll make sure to hear a lot more from now on. One of those albums that brings clear vision to the blind.
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Stoley P.T.Lesson #1 (In Music We Trust) Clunky, bouncy pop songs. The hooks shimmer without really going overboard. Nothing pretentious at all. And sometimes that's the thing that really attracts my ear. Because Stoley P.T. isn't doing anything particularly revolutionary. The songs are good--and sometimes better--but the sense of whimsy in the verses contrasted with the white heat of the choruses do elevate things. Nice bit of work there, really. Otherwise, we're talking about a less-refined version of mid-career Flaming Lips. Which is a plus in my book--and these folks aren't ripping off anyone--but I'd like to hear more. And this album gives me that. I'd be interested in hearing where Stoley P.T. goes from here. This is a fine statement, but progress would be good. I think there's every chance we'll hear that.
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 Tortoise & Bonnie 'Prince' BillyThe Brave and the Bold (Overcoat) I've heard two reviews of this album and read three more. Rest assured, anything I say will disappear into the ether just as soon as I post it. But what the hell... As you may know, this album contains rather odd recordings of (generally) well-known songs (Springsteen's "Thunder Road," Richard Thompson's "Calvary Cross," Elton John and Bernie Taupin's "Daniel," etc.). Decidedly louder than the average Tortoise or Bonnie 'Prince' Billy (Wil Oldham) album, it is safe to say that no one checked their artistic arrogance at the door. And arrogance is what's needed to even contemplate a project like this. Why simply record a bunch of songs the way they originally appeared? My all-time favorite cover is the one Palace (again, Wil Oldham) did of AC/DC's "Big Balls" for a Skin Graft 7". There are some renditions here that nearly reach the same level of mutant genius perfection. It's possible to listen to this album and simply compare what's here with the originals you know by heart. And it's also possible to simply listen and appreciate the tunes as they sound here. And, of course, it's possible to do both over and over again. That would be my choice.
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 Untied StatesRetail Detail (self-released) Quirkiness does not equal genius, but Untied States's excessive use of eccentricity just might. The songs themselves are relatively straightforward, but the instrumentation and arrangements get about as far out as is imaginable. Sometimes the kitchen sink is thrown into the kitchen sink, an Escherian conundrum that simply elevates the songs into the stratosphere. I really like what these folks do, but then, I'm a big dirty pop fan. Anything you can do to a pop song that doesn't destroy its innate purity is a plus in my book. And while these folks do have their deconstructive moments, at the heart of each song is a solid hook. Often demented, of course, but a hook nonetheless. And while things keep flying at the ears with dazzling fury, the sound itself is somewhat restrained. To wit, you can distinctly hear each of these aural missiles as they threaten not only your ears but your sanity. That level of detail is something to behold. Thus a gawd-awful mess really isn't. I was anticipating greatness from the moment I opened the package containing this disc, but this album surpassed that. I remain blown away.
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Dan WallaceNeon and Gold (Torito Bravo) Wallace takes the "everything is more" approach to roots rock. There are minimalist ballads, dense acoustic prog pieces, pretty bits enlivened by electronic paintings and, well, more. Each song is built around the vocal melody with guitar of some sort (generally both acoustic and electric), but past that all bets are off. Wallace also incorporates a good amount of piano and keyboard, and he likes to cram a lot of notes into small spaces--kinda like Frank Zappa writing a prairie opera. Or a more acoustic version of the Dixie Dregs. Or (much) less bombastic Kansas. The funny thing is that Wallace has just as much grand ambition as all the folks I mentioned, but he's more willing to restrain himself in service of the song. Which makes his work that much more listenable. He's still one idiosyncratic puppy, to be sure. Wallace will always take the road less taken, though he's careful to line it with rose petals. That consideration for the listener is what makes this album such a simple pleasure to hear. Contact:
Cindy WoolfSimple and Few (MayApple) Having spent the last seven years in North Carolina, I've heard a lot of bluegrass and "newgrass." Folks in the New South are pretty parochial about their music, and they have a right to be. Merlefest happens every year in the N.C. foothills, and an awful lot of bluegrass legends are tar heels. And yet... Cindy Woolf grew up in Arkansas and spent a lot of time in Springfield, Mo., which many folks in the northern part of Missouri (where I lived off and on for nine years) generally consider to be part of Arkansas--and not necessarily in a good way. All that aside, this music brings me back to North Carolina, even if it is trying to take me to the Ozarks. While there are some regional touches, I suppose, I'd guess most of the anomalies (couldn't think of a better word) are actually the result of Woolf's own inspiration. And that's cool. Most of these songs are contemplative, finger-picked folk, with the occasional foray into bluegrass excitement. If you've heard Dolly Parton's most recent albums, you might have an idea of what I'm talking about, though Woolf's album is produced in a much simpler fashion, and Woolf's voice is much stronger that Parton's (Woolf is much more in the range of the buffed steel voice of Nanci Griffith). Woolf assembled a band of orchestral proportions, but each song has a very intimate feel. I like that. If you'd played this for me without any info, I would have guessed it was from western North Carolina or eastern Tennessee. There are midwestern touches (Woolf's accent, for starters, though that's not the tell it used to be), but hey, isn't there a reason some folks call this stuff Americana? Woolf now lives in Portland (the big one in Oregon), and I bet people there like her just as much as the folks did back in Springfield or North Little Rock. Or, you know, everywhere else. Contact:
Mike YoungerEvery Stone You Throw (self-released) Every time I re-alphabetize my CD stacks (yeah, I do have a touch of the ol' OCD), I come across Mike Younger's first album and wonder "When the hell is he going to record another album?" Well, more than five years later, he finally did. And if I'm getting it a year after he released it, well, I'm just happy to hear the music. He still traffics in the soulful rock of the Band, the Faces and other early 70s soulmates, and he does it well. He has a deft and subtle touch which serves his writing well. "Everyday War" could have been a cudgel, a bludgeoning polemic. Younger writes it as a wistful lament. There's plenty of anger, but he channels it into his playing, making a solid song that much more powerful. People don't make music like this much anymore, which is probably why Younger is toiling on his own rather than getting the support of a major label. Thirty-odd year ago, this sound was everywhere. And while Younger has put his own spin on it (he tosses in a bit more country and folk, I suppose), he makes no bones about where his music comes from. I just want to know that he will keep it going. This is the second great album he's recorded, and I hope more people out there take notice. Younger's albums are intended to make a difference, and I think they do. Big ideas wrapped in gorgeous music are some tasty snacks, indeed. Contact:
Also recommended:
The Accident that Led Me to the World The Accident that Led Me to the
World (Nobody's Favorite Records)
Airport Cathedral Jetlag (Infiltrate/Burning Building)
Anomaly The Long Road (SGE)
Barbarellatones Beyond the Valley of the Barbarellatones
(self-released)
Burns Out Bright Save Yourself a Lifetime (Deep Elm)
The Capstan Shafts The Night Shrine of Well-Groomed Lawns EP
(self-released)
John Carey Undefined Psycho-Chromatic G.R.I.D. (Planet Bass)
Dan Clucas/Immediately Exile (pfMENTUM)
East West Blast Test Popular Music for Unpopular People
(Ipecac)
1888 Abble Goose Dam CD5 (Planting Seeds)
Jack Endino Permanent Fatal Error (Wondertaker)
Mind Controls Mind Controls (Dirtnap)
Model One Model One EP (self-released)
MONO You Are There (Temporary Residence)
The Notes and Scratches uh-oh (Tense Forms)
Phillomac Phillomac (Shut Eye)
Ponies in the Surf Ponies on Fire (Asaurus)
Reverberations from Spring Past Reverberations from Spring Past
(Pax)
Tempest The Double-Cross (Magna Carta)
Test Icicles For Screening Purposes Only (Domino)
Things Falling Apart As Above-So Below (self-released)
13ghosts Cicada (Skybucket)
Tony Travalini Silence & Obscurity (self-released)
Various Artists Sleeper Cell TV soundtrack (Rhythmbank)
Various Artists To: Elliot From: Portland (Expunged)
Watermelon Slim & the Workers Watermelon Slim & the Workers
(NorthernBlues)
Young and Sexy Panic When You Find It (Mint) | |
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