Released in 2008 on End Sounds Format: LPx2, 180g 2014 repress on orange vinyl Limited to 1000
Released in 2004 on Constellation Records Format: LPx2
Originally released in 1999 on Chemikal Underground 2014 Deluxe Pressing Format: LPx4 box set, includes poster
Released in 2003 on Asthmatic Kitty Records Format: LPx2
Released in 1998 on Drag City Format: LP
Released in 1967 on Columbia Records Format: LP
Released in 2006 on Warp Records 2012 Pressing Format: LPx2, 180g, 45rpm
The third album from the Melbourne (Au) violin/guitar/drum trio consists of loose, drifting instrumentals that conjure images of vast, open plains. Though the music here is often melancholic and lethargic, it is occasionally swept up with bursts of passionate energy and possessed by cathartic longing (especially the pleading and utterly beautiful violin solo on “Warren’s Lament”). All three instrumentalists have very individual styles that complement and dialogue with each other in refreshingly unique ways.
Released in October, 2001 on Constellation Records. Recorded at the mighty Hotel2Tango Format: 10″x2
Released in 2002 on Holy Mountain Format: LP This lo-fi psych-folk classic has a near-perfect tracklist of songs, eerie ambient … More
Originally released in 1974 2018 Earth Records Pressing Digitally Remastered Format: LP
Released in 1974 on Virgin Records Original U.S. Pressing, Promo Copy
Originally released in 2002 on Secretly Canadian 2014 deluxe reissue Format: LPx2 (full album on first LP and demos on … More
Information: Originally released in 1971 This deluxe pressing was released in 2013 on Klimt Records Format: LPx2 (second LP contains … More
Makes me feel like I’m sitting alone at a party, gazing across a dark, smoky room; an outsider looking in. Chill beats, hushed atmospheres, melancholy melodies.
Album Information: Released in 1997 on Constellation Records Format: LP, includes inserts, a flyer, and a penny smashed by a … More
Acoustic-shredder/singer-songwriter ventures out of the jazz-inflected folk-rock territory explored by his last few albums to create something that feels fully himself. Deafman Glance is full of angular left turns, complex structures, airy flutes, jazz detours, and psychedelic atmospheres. A balance of great songwriting, jazz musicianship, and experimental/art-rock tendencies. Recommended to fans of Tortoise’s Standards, Tim Buckley’s Starsailor, and King Crimson’s Red. (Click for full review).
Album Information: Released in 1996 on Matador Records
Album Information: Released on Palace Records in 1999
Blue Afternoon continues the flowing jazz-folk of Tim’s previous release (Happy Sad) while starting to detour into the avant-garde atmospheres that would manifest more fully on his next two albums, Lorca and Starsailor. The songs and lyrics refuse to be boxed into one category as “joyful” or “lonely” or “sad” and instead reflect the intangible multi-dimensionality of feeling.
“Sometimes it’s hard doing anything”. Somehow Jason Molina knows how to perfectly express what depression feels like without ever succumbing to hopelessness. His music has been a friend and a voice of encouragement when I need it most, reminding me to persist and not beat myself up when I feel unproductive or lazy or unmotivated. “The real truth about it is no one gets it right. The real truth about it is we’re all supposed to try”
A dense fog you can sink into and never want to leave…Glacial, enveloping waves of sound meticulously sculpted from processed organs, piano, and distorted guitar feedback.
Album Information: Released in 1969 by Island Records Recorded between June 1968 and June 1969 at Sound Techniques in London, … More
Somber ambient-folk with layers of delicate, circular fingerpicking and sparse arrangements of droning harmonium, piano, guitar feedback and the occasional chirping crickets. The soft reverb dampens everything like a light drizzle over the American prairie
A sparse, weary solo album from a songwriter that’s meant a lot to me the last couple years. Unlike his work with Songs: Ohia or Magnolia Electric Co, this record is void of guest musicians or overdubs, leaving his words truly alone, with nothing but a damp bed of reverbed guitar or mournful, sustained piano chords supporting them.