NEW ARRIVALS

Originally released on September 30, 1991, Orbital's eponymous debut album became known as "The Green Album" to distinguish it from their second album (known as "The Brown Album") The Green Album includes the seminal 'Belfast' and a live version of 'Chime', the landmark dance track that launched their career in 1990

The popular ambient project by Wolfgang Voigt, presided over by the prestigious , GAS released the early masterpiece "Königsforst" in 1998 from the prestigious on CD! It's a tremendous depth. It's like William Basinski meets DUB TECHNO ... A masterpiece with a mysterious dopeness that makes you feel like something you don't even know is writhing in the darkness of your heart, and it's about to crawl up. Dub / Ambient. It is a masterpiece that has reached a terrifying and solitary view of the universe!

The early masterpiece of 1997 released by GAS, a popular ambient project by Wolfgang Voigt, who presides over the prestigious , is reissued on CD! This is terrifying, like William Basinski meets DUB TECHNO ... A masterpiece dub / ambient with a miasma-like dopeness that blows up from the depths and envelops the sound field. It is a masterpiece that shows off a solitary view of the universe!

Jim O'Rourke's Burt Bacharach covers album "All Kinds of People ~love Burt Bacharach" (2010) Reissued in limited edition in double-jacket LP format. It features 11 vocalists including Haruomi Hosono, Tadashi Kosaka, Thurston Moore, Donna Taylor, Kahimikari, and Etsuko Yakushimaru, and is composed of unique Bacharach numbers. Together with "Eureka" and others, this is one of Jim O'Rourke's best-known works.

I stayed at memu earth lab, based in Memu (mem, Taiki Town), located in the southern part of Tokachi, eastern Hokkaido, for a total of five weeks during the winter and spring of 2021 and 2022, and recorded the sounds I encountered at various locations around the area.
Loading the recording equipment into the car, I would drive on the vast land while thinking, “Where should I go today?”
There are forests and rivers all around, and lakes and marshes dotting the coast. Away from the town centre, one rarely sees passing cars or people. On the other hand, wild foxes, red-crowned cranes, and squirrels can be seen from time to time, and the snow reveals a smattering of animal tracks.
I’d park the car at a suitable spot, carry our bags of equipment, and keep walking until I found a point that looked interesting or contained the atmosphere of something I could record. The various sounds that I encountered in this way are recorded in this work. In addition, we talked to the people who live in the area because I was interested in how and what kind of sounds they heard in their daily lives.
When I stepped out of the bungalow where we were staying on a snowy morning, 
I shivered with such silence that I thought my ears were clogged. Even in places where it seemed like one can only hear the sounds of “nature” with their own ears, the microphones captured a variety of sounds associated with human activity. For example, there are the sounds of large trucks driving on national highways, hunters shooting their prey in the mountains, airplanes passing overhead, the sound of the outdoor units of neighbouring residences, and of course, the sounds I myself make subconsciously. Still, a place where there is little background noise and small sounds can be heard clearly is worthwhile in itself. This is just such a place.
Considering both the ambient sounds I encountered in Memu, and the voices of people, without distinguishing them, I try to perceive the two things as the voice of this land. By attentively listening to the voice of the land, recording it, and listening deeply to the recorded sounds, what kind of world will emerge? The word ‘Memu’ (mem, in Ainu sound) apparently means ‘a place where springs wells up and fish gathers’ in the Ainu language. It is my hope that these sounds will intertwine with the memories and physical experiences of each listener and nurture their imagination towards the world like spring water.
 

mint.conception.recordings: "This record contains four tracks taken from a live performance which took place on December 3rd 2021 at the vinyl harvest record store in Esch-sur-Alzette Luxembourg. The concert was curated by non-profit organisation I am esch twenty too and the label mint.conception.recordings. I am esch twenty too was founded in 2020 as an alternative suggestion to the city of Esch-sur-Alzette being European Capital of Culture 2022 and its role and program. The budget for this concert was generated by the entrance fee to the concert only. Jan Jelinek has for more than 20 years been one of the most essential voices in contemporary electronic music. Arthur Clees is a young percussionist from Luxembourg and a bright talent intent on finding his own way into jazz, improv and electronic music. Both performers had never met each other before."

Faitiche welcomes Andrew Black aka blackbody_radiation. His debut album Ultra-Materials gathers six ghostly drones, created with the help of sound masking. Andrew Black, who hails from one of the UK's post industrial North West Milltowns has a sensitive feeling for space and its acoustics. Having trained as a designer and operated within the realms of architecture and public space, it was only natural to extend his interest to manipulating field recordings.

The six pieces collected on Ultra-Materials provide an insight into Black's highly sensitive minimalism: they stand for a subtly meandering mediation on room acoustics and place, which are manipulated with the help of sound masking, among other things - that is, the addition and superimposition of artificially generated frequencies to mask unwanted sounds. 

Sometimes the pieces are reminiscent of warm engine noise, sometimes one thinks of carefully captured natural phenomena. Their strength lies in their elusiveness: free of concrete attributions or musical location, they can unfold their hypnotic pull without revealing anything about their origins. Harmonics at times shimmer, at times warble and at times coexist. It is an attempt to get in touch with our listening abilities.

Marking its first decade of activity, Blume returns with the composer Ben Vida’s “Vocal Trio”. An intoxicatingly beautiful, groundbreaking work of compositional conceptualism - combining the ideas of systems based synthesis with real-time vocal collaboration - the album represents a striking step forward for one of the most ambitious and outstanding sonic artists working in the United States today. Mastered by Stephan Mathieu.
** 200 copies. Color Vinyl. 140gr Audiophile pressing. Including printed inner sleeve housing a Nagaoka anti-static record sleeve, plus an original insert that functions as Obi. Comes with a leporello insert offering the piece visual score. ** Since its founding back in 2014, Blume has carved a unique place in cultural landscape, issuing free-standing works, spanning the historical and contemporary, that represent singular gestures of creativity within the field of experimental sound. Joining their broad efforts in building networks of context and understanding that already includes the works by Werner Durand, Sarah Hennies, Bruce Nauman, John Butcher, Jocy de Oliveira, Mary Jane Leach, Valentina Magaletti, Alvin Curran, Julius Eastman, Alvin Lucier, and shortly after returning with the first ever vinyl release to attend to James Tenney’s legendary “Postal Pieces”, the label is now offering a brand new, ambitious work by the American composer Ben Vida, entitled “Vocal Trio”, conceived, performed, and recorded in Bremen, Germany, during the Spring of 2022. A truly stunning work of compositional conceptualism, combining the ideas of systems based synthesis with real-time vocal collaboration - issued in a highly limited vinyl edition of 200 copies mastered by Stephan Mathieu, featuring specially commissioned liner notes by Bradford Bailey and a leporello insert offering the piece visual score - it’s a landmark in contemporary experimental practice and arguably the most forward-thinking and exciting piece by one of the most exciting American artists working today.

Ben Vida first emerged during the mid 1990s within a loose constellation of experimental musicians, centred around a performance series of improvised workshops at the Myopic Bookstore in Chicago, alongside Jim O'Rourke, Kevin Drumm, Chad Taylor, and the other future members of Town and Country - Jim Dorling, Joshua Abrams, and Liz Payne - the band within which he would gain widespread recognition over the following years. Like many other members of that scene, Vida remains a restless product of a fleeting context - Chicago during the 1990s and early 2000s - continuously undermining concrete notions of idiom and signifier within a practice that witnessed him rendering bristling abstractions within Pillow, glacial melodies with Town and Country, the art-rock mayhem of Bird Show Band, and the angular, driving indie rock of Joan of Arc, before becoming immersed in a practice of systems based synthesis, beginning in the 2010s, that guided much of his first decade of output as a solo performer and composer.

As early as 2013, he began to incorporate acoustic sound sources - specifically the human voice - into his work. It was this shift, evolving and refining itself over the last decade, that underscores radically the leap in his practice represented by “Vocal Trio”, a work that encounters Vida composing for the human voice with the ideas that allow for synthesis - transferring the underlying concepts and structures of both subtractive and additive synthesis to the acoustic realm - without using a synthesiser.

During the Spring of 2022 Vida was in Bremen, Germany, collaborating on a dance piece with the choreographer Fay Driscoll, when the production fell into delays. Finding himself with time on his hands, a space at his disposal, and the company of two dancers - Amy Gernux and Lotte Rudhart - who were also singers, the idea for the piece - to utilising the larynx as audio paths (multi-harmonic or harmonically pure) while conceptualising each person’s mouth as a filter to sculpt the timbre and resonance of a given tone - began to take shape in his mind. Considering how typographical scores might be developed into a non-linguistic social framework, Vida drafted a single page of text - what became the score for “Vocal Trio” - accompanied by a set of harmonic suggestion and loose parameters, seeking a core meaning from each word's phonic make-up by each of the three singers (Vida, Gernux and Rudhart) singing as slowly as possible.

At the core of the pulsing vocal drones - intoxicating, harmonically rich long-tones - that make up the duration abstraction of “Vocal Trio”, is Vida’s regard for music as a social space. It is an experiment that seeks liberation through the act of collective music making, by challenging the terms through which the act of composing is perceived and then relinquishing control. The piece’s rehearsals were simply the three performers hanging out, allowing their knowing each other and natural dynamics to contribute to its form as the score, before recording during a single afternoon at the end of a number of days sharing company and space.

Creatively visionary and groundbreaking on numerous terms, as well as being intoxicatingly beautiful and remarkably listenable, Ben Vida’s “Vocal Trio” represents a striking step forward for one of the most ambitious and outstanding sonic artists working in the United States today. Issued by Blume in a highly limited vinyl edition of 200 copies mastered by Stephan Mathieu, featuring specially commissioned liner notes by Bradford Bailey and a leporello insert offering the piece visual score, this is hands down one of the most important contemporary records we’re likely to encounter in 2024.

This is a reissue of a now out-of-print album from live trio date by the legendary LA-based pianist, composer and multi-bandleader, Horace Tapscott. Pianist Horace Tapscott is always at his best when he is leading a trio. “Sketches of Drunken Mary” features some sparkling piano revolving around a most lyrical bass part that is absolutely touching. The piece ends with a long, monstrous drum solo has to be heard to be believed. I recall hearing/seeing the mighty Sonship with John McLaughlin’s One Truth band live at Central Park way back in 1979 and being knocked out by his drumming. “Raisha’s New Hip Dance” is a lovely piece that starts with some amazingly powerful and somewhat dark solo piano, with some strong two handed playing going in different directions and then winding down to somber conclusion, then building back up once again. The final piece is called “Dark Tree” which is a great work that features a colossal, McCoy-like repeating line that is most hypnotic. The trio explodes in waves together, an immensely propulsive circular current at the center of the storm. Roberto Miranda takes an astonishing, fleet-fingered contrabass solo and then Sonship again provides a cosmic gong, cymbals and drum solo. This is a momentous offering from start to finish. It doesn’t get any better than this.

Linda Hill recorded this LP for Nimbus West in 1981 with fellow Arkestra members, including flautist Adele Sebastian. And it’s Sebastian’s vocal duet with Hill on the spiritual jazz epic “Leland’s Song” that opens this stunning LP. Hill’s ensemble also included the serious horn player Sabir Matteen, as well as bassist Roberto Miranda and drummer Everett Brown Jr., who would all go on to record LPs for Nimbus. The Arkestra first started rehearsing at pianist Linda Hill’s house in the early ‘60s. “In a few months, we’d built up from seven or eight to about 18 cats, musicians started living there,” Tapscott wrote in his autobiography. “People got involved with the Arkestra like it was their life’s work.” Hill took the role seriously, earning her the name of “the Ark’s matriarch” by Tapscott.

Phil Ranelin’s first record as a leader is worlds away from his later 1976 offering, Vibes From the Tribe. The Time Is Now is a vanguard jazz record, full of the spirit, determination, and innovation inspired by John Coltrane, Eric Dolphy, Cecil Taylor, Pharoah Sanders, and Archie Shepp. Recorded in 1973 and 1974 and released at the end of 1974, the set shows Ranelin to be an imposing composer and frightfully good trombonist. The original album contained six compositions that are a deep musical brew of avant-garde improvisation, hard bop jazz esthetics, and soulful melodic ideas that were superimposed as a jump off point for both harmonic and rhythmic (read: Latin) invention. The stamp of Detroit is all over this thing. Tracks like the title and “Black Destiny” reflect the anger and vision of the era, while moving it all in a positive musical direction. Soloists on the set include the rest of the Tribe collective — Marcus Belgrave and Wendell Harrison — as well as local players who deserved far more than they received in terms of national recognitions: bassist Reggie “Shoo-Be Doo” Fields, trumpeter Charles Moore, pianist Keith Vreeland, drummer Bill Turner, and others including Ranelin himself. The arrangements on The Time Is Now were ahead of their time, clustering a rhythm section as part of the horn’s front line (“13th and Senate” and the title track) and a stylistic angularity that reflected both musical history and futurism in jazz and R&B (“Time Is Running Out” and “Times Gone By”). The Time Is Now is a must for any vanguard jazz aficionado or anyone interested in the strange, rhythm-oriented evolution of Detroit music.

Kato Hideki’s Statement: “ The Walk is the first collaboration between me and my brother from another mother, Kramer. We started working together in the late summer in 2023, discussing the thematics and the sonic palette of the album. We shared strong connections with the writings by Robert Walser and Basho - both of them walked, dreamed, lived and died on the road. Ambient music was our natural plane for us to transduce the power of their literature into our music as signifiers. Neither of us imagined just to make “another ambient record”, nor a direct translation of their writings. My instinct was to use various modal colors with modulation - slow yet structured music that sounds deceivingly similar to ambient music. Kramer’s genius was apparent to me: his ability to elaborate the music as a composer / musician with his keen ears; to frame the album conceptually, sonically and musically as a producer. What you hear in this album is a true collaboration between two artists who trusted each other to let the music transcend. Here you have it, enjoy YOUR walk - dream, live and die well! ”Kato Hideki - Brooklyn, NY on April 3rd, 2024 Kramer’s Statement: “Sometime in the latter 20th Century, I became aware of the art of The Brothers Quay, two American animators living in London and making the most beautiful works of art I’d ever experienced in cinema.I noted that some of their work was inspired by… “the writings of Robert Walser”. Fast forward to 2024 and I have now read every word there was to read (translated into English) by this unique Swiss-German writer. I’d waited decades to find the right ‘environment’ in which to create music in dedication to this great prose writer and poet, and in 2023, I found that it was not ‘the right environment’ that I’d been waiting for, but rather, the right collaborator. Kato Hideki and his extraordinary work as composer for film, dance and just about every other creative discipline you can imagine, was equally as inspiring to me for this project as the words and worlds of Walser and Basho. Our journey in collaborative composition began all over the global map, but arrived at the same physical endpoint, and at the very same point in time. I’m not sure that I would even be interested in music at all, unless there were other artists to partner with as I worked. Working alone means Nothing to me. This months-long act of co-creation i have shared with Kato for “THE WALK” has made me as happy to be alive as Walser and Basho were so happy to be alive while on their walks, as evidenced by their extraordinary descriptive powers, knowing that the world around them - so simple yet so very complex - made life so wondrous, and so well worth the sometimes seemingly insurmountable struggles of finding a way to survive Today, so that we might try again Tomorrow.”-Kramer, April 9, 2024 (Asheville, NC)

This austere song-cycle is a collection of tunes addressing youth, sexuality and human morays in an utterly unique fashion. Barely released in its day (1970), Corky's remains one of the pinnacles of excellence in the career of Mayo and his Red Krayola. ==== "I first heard the sudden unbelievable wave-rolling sound of this strange, acoustic, old time cartoon band singin 'I'm a student of human nature' in '94 in good ol' Memphis, TN. Played to me by a giant man with an exploding pillow of blond curls wearing overalls. Wot the fuck was this? I was 22 and getting a fast-paced indie rock education after dropping out of college mid-semester a few months earlier. Was I wasting my parents money when I called from the Blues City Cafe and told them I had moved across the country? Ah, yes it's true, I surely was. But here on the turntable was a suitable replacement for the out-of-state tuition throw to the breeze - a corduroy-professorial-erotic-swinger vibe pouring off a re-issued LP!? Who is this massively turned on man singing about Shakespeare? The picture of the man on the back said it all. I could not have imagined this existed at all. But wot does it sound like? To me, his record has sonic values of the 60's but sounds distinctively weirder than anything I've heard from that decade. And wot an incredible bit of luck there, on the decade's cusp." - Mike Donovan

Guitarist Lee Underwood’s syncretic blend of jazz, folk, and blues was a tremendous force behind Tim Buckley’s genre-stretching late 60s/early 70s music – but his 1988 acoustic guitar opus California Sigh has remained a unsung footnote to his story. Until now! This first time vinyl-edition reveals Lee’s free-floating acoustic moods, with synths and co-production from ambient avatar Steve Roach, as a soulful work of tranquility and transcendence.

Unearthed from the neolithic tar that eventually swathes all history, Aerial M’s early-98 Peel Session is once again among us. Compared to the studio takes, played strictly and singly by Aerial/Papa M-astermind David Pajo, these versions swing from the necks of road-burned players, breathing more bestially than their canonical cousins, glinting ‘pon the dark metallic roots that fed all of Pajo’s best guitar lines, winding thru time immemorial.

Following their collaboration on 2021’s Oscar winning Drive My Car, Eiko Ishibashi & filmmaker Ryusuke Hamaguchi up the ante with a deeply inspired synergistic exchange: music for images, visuals for sounds. Eiko’s score initiated the project that has become his celebrated new film (Best Picture – BFI London Film Fest, Asian Film Awards, Silver Lion – Venice Film Fest, Best Score – Asia Film Awards). Every nuance mixed & mastered by Jim O’Rourke.

Dirty Three Ahoy! Appropriately disheveled, the Three emerge from the unending waves of time to pick up their guitar drum and viola/violin/piano/synthesizer/loops/percussion for their first album in a decade. Their playing encompasses ALL – from the original fury of their unlikely power trio to an impressionist cinema later on; mercurial, tumultuous to ambient to adagio, mood and emotion drawn up to dazzling heights from the humble human scale.

"Drag City presents the first official reissue of Dorothy Carter's 1976 album debut, her folk-music exegesis, Troubadour. In her lifetime, Dorothy, a self-made traveling musician and folklorist, brought forth masterful evocations on hammered dulcimer and psaltery from a myriad of times and places. Her music was played, produced and sold outside of that era's mainstream music distribution. Troubadour reissue producer Eric Demby can look back to a childhood spent off the grid: the early '70s in rural Maine, and later on, in Boston -- wherever his freewheeling father brought the family, at one point or another, there too was Dorothy, as she lived and breathed, playing her hammered dulcimer. The early '70s found everyone living up on the farm up in rural Maine; it was here that Rutman, Constance, Dorothy and some others formed Central Maine Power Company, a troupe of almost feral improvisers playing on a combination of self-made and found instruments, with live video feedback to boot. In 1976, Dorothy had been playing music for decades, but had yet to record any of it. That year, she went to Cambridge's Studio B with Rutman and friend Steve Baer at the console. Constance and Sally Hilmer accompanied her. The performances captured there were released later that year as Troubadour. In addition to hammered dulcimer and psaltery, Dorothy played the flute and sang. She chose songs from all over: Appalachian folk tunes, old and ancient psalms and hymns, Scottish, Irish, French and Israeli melodies, with a few of her own songs for good measure. They all flow together effortlessly under Dorothy and friends' hands in a syncretic space that we can identify today as a garden of world musics -- a highly energized, alternately meditative and proselytic recital whose vitality has only burgeoned in the decades since it appeared. As it should be: the music of Dorothy Carter is akin to a portal, linking her with the eternal. This edition of Troubadour reproduces the original album package, adding an insert adorned with additional photos of Dorothy and her collection of instruments, as well as notes from Eric Demby exploring the era -- his childhood -- from a vantage point of some 50 years. This reissue is a long-held family dream come true, and it is dedicated in loving memory to Bob Rutman, Constance Demby, David Demby and Dorothy Carter."

Campo Amaro is the fourth album by Rosso Polare, the Milan-based duo of Cesare Lopopolo and Anna Vezzosi. These compositions were inspired by observing the waterways that surround the fields of various Italian regions, the so-called ditches (*fossi*), bodies of water that are often polluted, but may also be full of flora and wildlife, lined with bitter and edible herbs. Throughout this land, small and distant chants emerge, twisted traditional songs of resistance or made-up tunes of revolution. There are small local legends that survive thanks to anonymous monuments placed in indiscreet contexts, rescued here through the vivid storytelling of Lopopolo and Vezzosi.

1982 by Yui Onodera In Wishlist view x Share Tweet Share on Tumblr Embed this albumsmall medium large Email supported by NxT Village Records thumbnail teeth dreams thumbnail Bruce Christensen thumbnail Jonathan Herweg thumbnail Simon Burdett thumbnail diane~marie thumbnail wiley soule thumbnail davdawid thumbnail KottonKrown thumbnail Jeramboquai thumbnail Fetafunk thumbnail williegarvin99 thumbnail Haunted Hymns thumbnail Timothée Comte thumbnail Adam Aronson thumbnail Samuel Reggio thumbnail Kyohei Kudo thumbnail Scott Moore thumbnail mgpeters thumbnail CH thumbnail leksand thumbnail Petr Studeny thumbnail coserju thumbnail John Battema thumbnail kanekofumiko thumbnail Ryan thumbnail Franetta McMillian thumbnail Dan Stark thumbnail leethu thumbnail Dan Shoebridge thumbnail Jeffrey Capshew thumbnail lawrence english thumbnail criticalpath thumbnail caigera thumbnail Joseph Gelfand thumbnail richardautry thumbnail Kseif thumbnail iit thumbnail legal_bizzle thumbnail kalmykov0615 thumbnail kastauyra thumbnail dan ichinose thumbnail 1982 III 00:00 / 01:42 Compact Disc (CD) + Digital Album package image Matte laminate, monochrome printed and embossed sleeve with insert card. Includes digital pre-order of 1982. You get 2 tracks now (streaming via the free Bandcamp app and also available as a high-quality download in MP3, FLAC and more), plus the complete album the moment it’s released. shipping out on or around August 23, 2024 $12 USD or more Streaming + Download Pre-order of 1982. You get 2 tracks now (streaming via the free Bandcamp app and also available as a high-quality download in MP3, FLAC and more), plus the complete album the moment it’s released. releases August 23, 2024 $9 USD or more 1. 1982 I 2. 1982 II 3. 1982 III 01:42 4. 1982 IV 5. 1982 V 6. 1982 VI 7. 1982 VII 04:09 8. 1982 VIII 9. 1982 IX 10. 1982 X about A note from Yui I stayed in Iwate, where I was born, for a few days and created some sound materials using limited materials and old media. Over ten years ago, Iwate was devastated by the Great East Japan earthquake. Many old things that remained in my memory became rubble, dismantled, and new scenery was there. I bounced every song from “1982” straight onto an old tape recorder. This album that comes out of my interest in sonic "degradation and rebuilding". I treated the guitar and synthesiser in a lot of new ways, so using a lot of tape recorders and/or pedal effects. I wanted the guitar to be an extension of the ambient textures rather than technology and imperfection. The raw and the processed. We benefited greatly from the evolution and democratization of computer and audio technology in the early '00s. I was fascinated by sounds that could not be created by humans, such as real-time audio synthesis and granular synthesis. Now, 20-odd years later, I am fascinated by sounds that cannot be created with a computer. It was a unique acoustic texture created by deterioration and wear, including accidental wear, due to old technology that is disappearing. It's like a memory of my old days in Iwate.　

Caligula is the third studio album by American musician Lingua Ignota, released July 19, 2019 through Profound Lore Records.[1] Recorded after the signing with the record label in 2018, the album features collaborations with several other musicians, a departure from the recording process of her previous album All Bitches Die (2017), which was done alone in a shed in the woods, and features more acoustic instrumentation than the aforementioned record. It thematically explores themes of abuse, misogyny, hate, vengeance and violence in its lyrics, inspired by Hayter's own experiences in Providence, and features influences from both classical and extreme music. The album received universal acclaim from music critics, and made appearances on several year-end lists.

Also known for its collaboration with The Body. Lingua Ignota has reigned supreme over the last few years as the pinnacle of jet-black, anomalous extreme music, and here we stock their unforgettable 17-year debut album, which marks the beginning of a legend! The album is a neo-folk - gospel - modern classical work that passes through post-industrial, and is truly eternal as one of the best albums spawned in the late 2010s.

Bad vibes, habits, and breath collide on this ten-song pile up on the freeway to nowhere. Melting neo-grunge, swamprock, and noise punk in a cauldron of drug-addled psychosis, 1985's You Get What You Deserve continues Australia's prison-as-country tradition of unhinged lunacy in the face of cultural isolation. Nuke nostalgia, femme fatale sharpshooters, demolition derbies, and a vacation at Hell Beach await.

When Dinosaur Jr. reunited, more than 20 years after their formation and legendary dissolution, the worry was that these guys were just flogging the back catalog, taking the old show on the road as a marketing gimmick. But the 2007 release of Beyond gave a hearty Marshall-driven "F**K YOU!" answer to those inquiring ears. Restoring the sound established by the unassailable hat-trick gambit of their first three albums -- Dinosaur, You're Living All Over Me, and Bug -- Beyond continued the band's march into rock greatness by making old ears smile and new ears bleed afresh. And then came Farm, the 9th full length record by the original line-up: J Mascis, Lou Barlow, and Murph. If Beyond was Dinosaur Jr.'s return to form, Farm is proof that Dinosaur Jr. could (and still do, to this day!) deliver timeless, exhilarating rock music. Farm encompasses Dinosaur Jr.'s signature palette: soaring and distorted guitar, unshakable hooks, honey-rich melodies. At times wholly 70's guitar-epic, at times perfect for sitting by a babbling brook with Joni and Neil, these songs get into your head and stay there, bouncing happily around. The ear-catching "Plans" is nearly seven minutes of classic whipped-topping rock dessert, while "I Don't Wanna Go There" is a meat-and-potatoes main dish, mixing unapologetic lead guitar with straight-ahead delivery a la James Gang or Humble Pie. This expanded deluxe edition of Farm features four songs never pressed to vinyl and never given worldwide release: “Houses”, “Whenever You’re Ready” (The Zombies Cover), “Creepies” (Instrumental), and “Show”. “Whenever You’re Ready”, a cover of classic pop-rockers The Zombies, is impossibly good for a hidden gem; Murph stomps in with a sledgehammer to the kit, J and Lou layer low-end and fuzz like two halves of one brain, and right when things feel biggest, airy and colossal, there’s J with a lightning bolt of a guitar solo. Pure electricity and melody like only he can make. Recorded in J Mascis' Bisquiteen studio in Amherst, Massachusetts, Farm was produced by Mascis himself, and delivers the singular, unique energy of one of America's greatest living rock bands.