All Things to All People Vol. 28

So, this time around on the Sorry State blog we’re writing about great records with terrible artwork. When I first heard this prompt I thought to myself that it would be easy, but flipping through my own record collection I’m hard-pressed to find any records where I truly hate the artwork. Maybe that’s because artwork is really important to me and I’m hesitant to buy releases that don’t have good artwork, or maybe it’s just that I’ve grown so used to the artwork on most of the records in my collection that I don’t have a strong visceral reaction to it anymore. At the very least, I would argue that time is usually kind to record artwork. What can seem garish, ill-conceived, half-baked, or otherwise inappropriate upon a record’s release can, with time, develop a certain patina. Similarly, tropes that feel obvious or overused at the time can feel less so in retrospect, especially when this artwork is lit by the gentle glow of nostalgia. Think about things like terribly-rendered illustrations on 80s metal records or lame cut-and-paste 80s punk layouts… they looked terrible at the time, but looking at them in the present day they’re kind of kitschy and cool. I’ve long said that it won’t be long before people are applying photoshop filters in order to replicate the pixelation on computer layouts from the 90s and early 00s or trading copies of the fonts that came bundled with Windows 95.

So, if bad artwork isn’t really that bad, then what is really good artwork? It turns out, answering that question is just as difficult. To me, great art (like great music) is simple and direct, and does a lot with a little. It has immediate impact, but also leaves you with something to chew on and think about. Raymond Pettibon’s illustrations for Black Flag or Glenn Danzig’s graphic design for the Misfits are probably the best examples of what I’m talking about. I’m also a big fan of the simple yet functional design of a lot of first and second-wave UK punk picture sleeves. Find yourself a cool black and white photo, overlay the band’s logo in a simple spot color and you’re done. No muss, no fuss.

So, what records don’t follow those edicts?

Void: Condensed Flesh EP

So, this one is kind of cheating because it’s an after-the-fact retrospective release, but all of the artwork (right down to their contribution to the insert for Flex Your Head) on the original Void releases is killer, so this “put an engraving of a skeleton on it” (the punk equivalent of “put a bird on it”) is highly disappointing. And then there’s the Sessions LP on Dischord, which is unattractive in an entirely different way.

Wire: 154 LP

You know, I never liked the artwork for 154. Sue me. It’s like, “hey, I see what you did there, Wire.” The artwork is a kind of literal visual representation of the music… it could maybe even serve as a kind of John Cage-type unconventional score. It’s just a little on the nose for me, and where the music couldn’t be more dynamic and interesting, the artwork just feels kind of flat, cold, and commercial. Also, this isn't Wire's fault per se, but every time I look at it I'm reminded of the wavy turquoise takeout cup.

No Bullshit Vols 1-4

They’re pictures of cows, not much more or less. Except, somehow the one that tries to be more than that is the worst one of all.

Totalitär: Sin Egan Motstandare LP

Do you think this artist has heard of Raymond Pettibon?

Formaldehyde Junkies: 2nd 7”

Again, a little too on the nose for my tastes… I mean, is that literally supposed to be a photograph of a formaldehyde junkie? What I was saying earlier about giving you something to chew on as a viewer? This is like the opposite of that.

None of these are particularly egregious, but each of them rubs me the wrong way for one reason or another. Maybe some of these even rise to the level of "hot takes" or pet peeves (I have a feeling Jeff will have some words for me about calling out Totalitär), but that's my opinion and I'm sticking to it. I'm curious what other people's pet peeves for artwork are, so feel free to reply in the comments or hit us up on social media, and look forward to the rest of the SSR's staff's opinions over the next week or so.

Midnite Snaxxx: Greedy Little Thing 7” (Goodbye Boozy) Latest 7” from this Bay Area band, and I think that at this point we can start affixing adjectives like “long-running” and “veteran” to their name. Midnite Snaxxx have a lot of records out at this point, and they are all absolutely killer… in my opinion you should own every single one of them. They don’t really sound like much else that’s around these days, crafting short and snappy garage-punk songs that recall the glory days of Rip Off Records (and indeed the singer Dulcinea was in the Loudmouths, who were connected to that scene), but really these songs could have been made at any point between the early 60s and now. Midnite Snaxxx effortlessly combines the adrenaline rush of classic rock and roll (think the Beatles doing “Twist and Shout”) with the big melodies of 60s girl groups and the explosiveness of vintage 70s punk, and the result is just perfect. I kind of doubt they’ll ever be a big hype band because they aren’t “on trend,” but if you like this kind of straightforward, poppy garage-punk you should simply buy every single record that they put out. I know I’m going to.

C. Memi: Heavenly Peace 12” (Bitter Lake) Official reissue of this delightful 7” as a great-sounding 45RPM 12” courtesy of the archival label Bitter Lake Recordings. While the foundation here is what we’d now call minimal synth—which I can’t imagine was a framework that C. Memi was working with at the time this was created—there’s also a distinct element of French “chanson” music, which the label description notes was kind of a “thing” in Japan at the time. Regardless, I just love the unpretentious playfulness of the record. Judging by the label’s description as well as this piece on the BandCamp blog, this recording was essentially an experiment, and that sense of discovery shines through every moment of the EP. In other words, you’ll come for tracks like “Hitojichi” that recall the post-industrial synth-punk of Metal Urbain or SPK, but you’ll stay for the overall vibe, which is infectious and singular. I have to admit that I was a bit puzzled by this record the first time I listened to it, but it reveals itself a little more with each spin and despite the relatively minimal aesthetic I continue to find more to love each time I listen.

End Time: S/T 12” (Fullyintercoastal) Debut record from this Bay Area, California band. I probably wouldn’t have paid much attention to this record, but something about the label’s description stuck out… maybe it’s the fact that the band took two years to put together a 6-track EP, or maybe it’s the waist-deep sarcasm in said description, but something told me to check this record out and I’m glad that I did. I don’t know for sure, but I would guess that the members of End Time are a little older as their music betrays a wealth of influences… I hear the motorik propulsion of Neu!, the catchy, angular guitar lines of early Joy Division, the slightly shambolic feel of Pavement’s early records, and the way that the songs build up, calm down, and build up again even recalls Drive Like Jehu or Fugazi. That probably sounds like a big mishmash, but it comes together really well here. I also love that the recording is extremely warm and somewhat raw and analog-sounding, like it could have been painstakingly recorded on a cassette 4-track. There’s no denying that End Time have a real 90s vibe—they remind me a lot of what was called “emo” before that word came to signify emotional pop-punk—but if you regularly listen to Dischord releases past #25 or so I imagine you’ll like End Time quite a bit.

Rixe: Cassette Promo cassette (La Vida Es Un Mus) Limited 3-song cassette by Rixe… what is it promoting? Perhaps they’re finally going to make the jump to 12” vinyl? Who knows! All that I can confirm is that these three songs are the Rixe you have come to know and love with little in the way of left turns or surprises. Since they started releasing 7”s on LVEUM, Rixe’s aesthetic—sonically and visually—has been completely airtight, and all three tracks here stay very much within that framework. One would think that that framework would be constricting, but now that Rixe has a substantial number of tracks out in the world it’s kind of amazing that they’ve managed to stick to such a consistent sound without sounding like they’re just rewriting the same song over and over. Anyway, enough of the pontificating… the point I’m trying to make is that Rixe keep doing their thing and it still doesn’t feel played out or redundant, so incorporate these three burners into your playlist and get pumped for whatever it is that they’re promoting.

Mint: demo cassette (self-released) Demo cassette from this Philadelphia band. The recording is super raw and DIY, but the music is well-written and catchy. Even though I don’t think this is what they’re going for (if, indeed, they’re going for anything at all), but I’m reminded of the early, raw demo recordings by Zounds or the poppier Crisis songs. Like that stuff, there’s pop music at the core of what Mint is doing, but they wholeheartedly embrace punk’s raw, primal, and aggressive posture and also (in places at least) adopt some of the more sophisticated arrangements of post-punk. I have a feeling that fans of bands like Good Throb, Frau, and Priests’ early material will also like this quite a bit.

Snob: S/T 12” (La Vida Es Un Mus) After a couple of outstanding 7”s, here’s the debut 12”er from London punks Snob. It’s funny, I generally expect bands to get more complex and spread out a little when they move from small vinyl to large, but Snob seem instead to have streamlined things, making their music even more direct and concise. The lyrics remain a highlight and they’re as confrontational as ever. Lyrically, the most intriguing songs (at least in my opinion) take buzzwords like “consent” and “ally” and examine how the concepts behind them play out in an actual person’s life. In both of those cases, the enlightened political attitudes that are supposed to be part and parcel of using these buzzwords is just a fiction that allows people to continue to disrespect and dehumanize one another behind the shield of political correctness… or at least that’s how I read it. Musically, the noisiness and looseness of Snob’s 7” recordings is largely gone, replaced by a locked-in, metronome-steady rhythm that significantly changes the overall character of the band’s music. While Snob sounded animalistic and uncontained on the 7”s, here they sound disciplined, even mechanical, an impression that is accentuated by the much clearer recording. It’s a slightly different Snob, for sure, they remain just as worthy of your attention.

Absolut: Hell’s Highest Power 12” (D-Takt & Rapunk) After numerous splits and 7”s, here’s the debut full-length from Montreal’s Absolut and it RIIIIIPS! I feel like an idiot because I let a whole week go by between when this thing arrived in the store and when I listened to it, and a week without Hell’s Highest Power in my life is a week wasted! It’s fitting that one of the splits I mentioned above is with Sweden’s Paranoid, because Absolut seem, along with Paranoid, to be part of a trend of crusty punk bands rediscovering their metal influences (see Paranoid’s covers LP, where they took on metal classics by bands like Sepultura and Celtic Frost). Absolut have done more than just superficially add a guitar solo here and there, though. Hell’s Highest Power is a complex hybrid of crust, death metal, and thrash metal (with a few touches of black metal here and there, particularly on the epic closing track “Last Corpse”), all wrapped up in the magically raw production favored by death and proto-death metal bands like Hellhammer, Master, and Mantas. Indeed, at times Hell’s Highest Powerseems more like a metal record with some heavy crust influences than vice versa, and I’m fine with that because when they’re in “metal mode” Absolut are never cheesy… if they dropped the crust influences entirely I’m pretty sure they would still be the most exciting metal band I’ve heard in years. I’ll leave it there and just say that if you’re a crusty or a metalhead you need to hear this record… highly recommended.

Cadaver Dog: Dying Breed 12” (Youth Attack) After a flexi and a couple of tapes, here’s the proper debut vinyl from Denver’s Cadaver Dog. It’s funny, Youth Attack’s description does its best not only to locate Cadaver Dog’s debut in the long arc of hardcore’s history, but also to self-consciously bill it as some kind of a culmination or conclusion of hardcore’s existence. Not only do they call it “the most negative hardcore album of all time,” but they also note that this record “can be considered the end conclusion to hardcore's aim.” Honestly, I think that’s complete hogwash, and even if you agree with the author’s premise that Cadaver Dog has “out-negative’d” every other band in the entire history of hardcore, the argument that Cadaver Dog is the “end conclusion” of hardcore only really works if your conception of what hardcore is is only about an inch wide. All of that being said, my gripe is really with the record’s description, not the record itself, which I must say is excellent. Basically, it’s Negative FX filtered through the Youth Attack aesthetic. In other words, these are a bunch of short (many hover around the 30-second mark), fast, and punchy hardcore songs with the raw, nasty, black metal-influenced style of recording and slightly unhinged looseness that are perhaps the most consistent sonic aspects of Youth Attack’s brand identity. It’s a thrilling listen, and feels authentically angry and explosive in a way that many of the more mannered and composed hardcore records coming out in this day and age don’t. I’m sure that Youth Attack’s whole aesthetic will continue to be divisive within the punk scene, but if you can’t get down with a hardcore record that rages this hard I feel bad for you.

Vile Gash: Nightmare in a Damaged Brain 12” (Youth Attack) Long-awaited new record (seriously, I think they’ve been talking about / working on this thing for several years) by this flagship Youth Attack band. While it’s somewhat overshadowed by the Cadaver Dog LP released at the same time (which is just a hair meaner and more explosive than this), this is still a blistering slice of hardcore that’s well worth the wait. While Cadaver Dog is Negative FX filtered through the Youth Attack aesthetic, Vile Gash are pretty much the epitome of the Youth Attack aesthetic, perhaps even more than the bands that Mark McCoy is actually in. Like a lot of Youth Attack’s best bands, Vile Gash transcend their influences and sound like wholly their own thing. Even if you can make comparisons across elements of their sound (I’d put them at something like 50% furious Scandinavian d-beat, 30% USHC, 15% black metal and 5% sludge), it all adds up to something that doesn’t sound quite like anything you’ve ever heard before. It’s also—again, like a lot of Youth Attack bands—overwhelmingly negative and nihilistic. Whether you’re coming at this because you like to hear hardcore bands that are original, innovative, and exciting, or just because you want to find the grimiest, ugliest music possible Nightmare in a Damaged Brain will absolutely satisfy you.

Profoss: S/T 7” (Adult Crash) Debut 7” from this Swedish band that features members of a bunch of other bands… I’m not really good at keeping track of that sort of thing, but I’m pretty sure Jeff said that there were members of Herätys and Fy Fan here? I could very well be wrong about that, so don’t quote me! At any rate, this record sounds to me like the guitar player from Totalitär gave a bunch of riffs to Anti-Cimex, who recorded them all with the lineup and production from Victims of a Bombraid. Whether you want to call that a catchier version of Cimex or a meaner, noisier version of Totalitär is up to you, but regardless it’s an extremely potent combination. It seems like Sweden has been spitting out records of this flavor (with relatively minor variations in sound and style) at an absolutely furious pace lately, and if you’ve been having fun picking up records by the likes of Katastrof, Exploatör, and the bands mentioned above then you’ll be stoked to pump your fist along to this one as well.

Snor: Scandinavian Heartbreaker 7” (Adult Crash) Second EP from this group out of Malmö, Sweden. As on their earlier EP, Snor seem to walk the line between noisy pogo-punk in the Gai / Swankys tradition and noisier d-beat, fusing the two styles in a really effective way and adding in some nice little touches like reverbed-to-hell vocals (that still carry a little bit of melody) and complex arrangements with a lot of starts and stops and cool little changes that gives it a slight USHC flavor as well. Like the Profoss EP released at the same time on Adult Crash, this has an absolutely perfect recording with exactly the right balance of fuzz/noise, heaviness, and clarity. I feel like this is one of those records that, when you put it on, you think it’s going to be kind of a one track pony, but when you listen closely you realize there’s actually quite a lot going on and plenty to love. Because of that complexity it’s not likely to become the flavor of the week (people tend to prefer things that are simpler and immediately graspable), but if you seek out the interesting, innovative and strange in your hardcore I highly recommend this one.

Ubik: S/T 7” (Aaarght!) Debut vinyl from this Australian band that plays a kind of catchy anarcho punk style a la Crisis or Zounds. I remember listening to their demo tape quite a lot when that came out, and this is even better than that! There are a couple of familiar tracks from that session, but the production is clearer and more powerful, and the whole thing just feels more articulate and fully realized. This is a very difficult sound to pull off because it requires the perfect balance of pop songwriting chops and the ability to generate that sense of atmosphere that is peculiar to this particular strain of anarcho, but Ubik totally nails it while also sounding like their own band and not just a tribute act. If you’re a fan of this style this one is highly recommended.

All New Arrivals

Snob: S/T 12" (La Vida Es Un Mus)
Rixe: 3 Titres Promo cassette (La Vida Es Un Mus)
The Child Molesters: I'm the Hillside Strangler 7" (Meat House Productions)
C. Memi: Heavenly Peace 12" (Bitter Lake Recordings)
Monster Magnet: Mindfuck 12" (Napalm Records)
Jeff Rosenstock: POST 12" (Polyvinyl Records)
Grateful Dead: Best of the Grateful Dead Live 1969-1977 12" (Rhino)
Preoccupations: New Material 12" (Jagjaguwar Records)
Cyberplasm: What Is Flesh cassette (Fuckers Will Pay)
Crimex: Demo cassette (Fuckers Will Pay)
Crash Course in Science: Signals from Pier Thirteen 12" (Dark Entries Records)
Dark Blue: Fight to Love 7" (12XU)
Felt: Crumbling the Antiseptic Beauty 12" (Cherry Red)
Felt: Ignite the Seven Cannons 12" (Cherry Red)
Felt: The Seventeenth Century 12" (Cherry Red)
Felt: The Splendour of Fear 12" (Cherry Red)
Felt: The Strange Idols Pattern 12" (Cherry Red)
Leftover Crack: Fuck World Trade 12" (Fat Wreck Chords)
Los Lichis & Pakito: Savage Lichis Religion 12" (Feeding Tube Records)
Mournful Congregation: The Incubus of Karma 12" (Osmose Productions)
T2: It'll All Work Out in the End 12" (Decca Records)
Simply Saucer: Cyborgs Revisited 12" (In the Red Records)
Spacemen 3: Dreamweapon 12" (Superior Viaduct)
End Time: S/T 12" (Fullyintercoastal Records)
Jack White: Boarding House Reach 12" (Third Man)
Cruz Somers: Sit & Stare 7" (Goodbye Boozy Records)
Muzzy: S/T 7" (Goodbye Boozy Records)
Midnite Snaxxx: Greedy Little Thing 7" (Goodbye Boozy Records)
New Berlin: Quarantine 7" (Goodbye Boozy Records)
Skull Cult: Skeleton Mind 7" (Goodbye Boozy Records)
Mint: Demo cassette (Slugsalt)
Cutie: S/T cassette (self-released)
Neil Young + Promise of the Real: Paradox 12" (Reprise)
Autopsy: Critical Madness: The Demo Years 12" (Peaceville)
Black Moth Super Rainbow: Baby's in the Void 7" (Rad Cult)
Neu: S/T 12" (Gronland)
Neu: Neu 2 12" (Gronland)
Fried Egg: Beat Session Vol 4 cassette (Shout Recordings)
Kikagaku Moyo/幾何学模様: S/T 12" (Guru Guru Brain)
Kikagaku Moyo/幾何学模様: House in the Tall Grass 12" (Guru Guru Brain)
Minami Deutsch: S/T 12" (Guru Guru Brain)
Gunter Schickert: Samtvogel 12" (Wah Wah Records)
Richard Pinhas: Rhizosphere 12" (Bureau B)
Heldon: Allez-Teia 12" (Bureau B)
AMM: AMMusic 12" (Black Truffle Records)
Dadawah: Peace & Love 12" (Dug Out)
Pharoah Sanders: Izipho Zam (My Gifts) 12" (Everland Jazz)
George Grunblatt: K-Priss 12" (Gonzaï Records)
Masahiko Sato: Belladonna of Sadness 12" (Finders Keepers)
Nebula: To the Center 12" (Heavy Psych Sounds)
Orang-Utan: S/T 12" (Sommor)
The Bridge: Overdrive Rock/Jazz Party 12" (Sommor)
The Runaways: Live at the Agora Ballroom, Cleveland 12" (Vinyl Lovers)
Chet Baker: Sings 12" (Wax Love)
Bathory: The Return 12" (Black Mark)
Master: S/T 12" (Hammerheart)
Savage: Loose 'N Lethal 12" (Hammerheart)
Crude: Drug Culture 12" (Farewell Records)
Supercrush: I've Been Around 7" (Debt Offensive Records)
Wild Rose: Fanatic Heart cassette (Rougemont Records)
Absolut: Hell's Highest Power 12" (D-Takt & Råpunk Records)
Exploatör: S/T 12" (D-Takt & Råpunk Records)
Profoss: S/T 7" (Adult Crash)
SNOR: Scandinavian Heartbreakers 7" (Adult Crash)
Hank Wood & the Hammerheads: 3rd LP 12" (Toxic State)
Vile Gash: Nightmare in a Damaged Brain 12" (Iron Lung)
Suburbanite: S/T 12" (Iron Lung)
Cadaver Dog: Dying Breed 12" (Iron Lung)
Hot Snakes: Jericho Sirens 12" (Sub Pop)
King Gizzard & the Lizard Wizard: Polygonwanaland 12" (Blood Music)
Yo La Tengo: There's a Riot Going On 12" (Matador)
Green Druid: Ashen Blood 12" (Earache)
Lakes: Silver Thorns 12" (Paradise Daily Records)
Sex Tourists: S/T 12" (Paradise Daily Records)
Nerve Beats: S/T 12" (Fine Concepts Records)
The Trashies: The Octagon 12" (Fine Concepts Records)
Miss Destiny: Ice Queen 7" (Shipping Steel)
Alien Nose Job: Panel Beat 7" (Not on Label)
Rabid Dogs: S/T 7" (Aarght Records)
Ubik: S/T 7" (Aarght Records)
Ebenezer & the Bludgeons: Peer Pressure 7" (Windian Records)
Exorcist: Voices from the Graves 12" (Nuclear War Now!)
Abhorer: Oblation II: Abyssic Demonolatries 12" (Nuclear War Now!)
Rites of Thy Degringolade: The Blade Philosophical 12" (Nuclear War Now!)
Lurker of Chalice: S/T 12" (Nuclear War Now!)
Broken Cross: Militant Misanthrope 12" (Apocalyptic Visions)
Anxiety: Trash Baby 7" (Fun with Smack Records)
REM: Automatic for the People 12" (Craft Recordings)
Brian Eno: Another Green World 12" (Astralwerks Records)
Black Moth Super Rainbow: Mr. No One 7" (Rad Cult Records)
Malady: Toinen Toista 12" (Svart)
Harms Way: Posthuman 12" (Metal Blade)
Night Prowler: Crucible of Power cassette (Kram Records)


The Bags: All Bagged Up 12" (Artifix)
Descendents: Cool to Be You 12" (Fat Wreck Chords)
Devo: Hardcore Devo Vol 1 12" (Superior Viaduct)
Devo: Hardcore Devo Vol 2 12" (Superior Viaduct)
DOA: Hardcore '81 12" (Sudden Death Records)
Eyehategod: Take As Needed for Pain 12" (Century Media)
Guided by Voices: Bee Thousand 12" (Scat Records)
Jawbreaker: 24 Hour Revenge Therapy 12" (Blackball)
King Gizzard & the Lizard Wizard: Flying Microtonal Banana 12" (Flightless)
King Gizzard & the Lizard Wizard: I'm in Your Mind Fuzz 12" (Castleface)
King Gizzard & the Lizard Wizard: Murder of the Universe 12" (ATO)
King Gizzard & the Lizard Wizard: Nonagon Infinity 12" (ATO)
Marked Men: On the Outside 12" (Dirtnap)
Thee Oh Sees: Mutilator Defeated at Last 12" (Castleface)
Iggy Pop: The Idiot 12" (4 Men with Beards)
Rubella Ballet: Ballet Bag 12" (Dark Entries Records)
Sleep: Volume One 12" (Tulepo)
Solid Space: Space Museum 12" (Dark Entries Records)
Sonic Youth: Sister 12" (Goofin)
The Sound: From the Lion's Mouth 12" (1972)
Spiritualized: Ladies and Gentlemen We Are Floating in Space 12" (Plain Recordings)
Stiff Little Fingers: Inflammable Material 12" (4 Men with Beards)
The Fall: Grotesque 12" (Superior Viaduct)
The Fall: Slates 12" (Superior Viaduct)
The Fall: This Nation's Saving Grace 12" (Superior Viaduct)
C.H.E.W. / Rash: Split 7" (Slugsalt)
Notorious B.I.G.: Life After Death 12" (Bad Boy)
The War on Drugs: Lost in the Dream 12" (Secretly Canadian Records)
Polvo: Exploded Drawing 12" (Touch & Go Records)
The Jesus and Mary Chain: Psychocandy 12" (Rhino)
The Pixies: Trompe La Monde 12" (4AD)
Hot Snakes: Automatic Midnight 12" (Sub Pop)
Bad Religion: Stranger than Fiction 12" (Epitaph)
Rancid: And Out Come the Wolves 12" (Epitaph)
Mission of Burma: Vs. 12" (Matador)
Superchunk: What a Time to Be Alive 12" (Merge)
Dinosaur Jr: You're Living All Over Me 12" (Jagjaguwar Records)
Joy Division: Substance 12" (Rhino)
Joy Division: Unknown Pleasures 12" (Rhino)
Radiohead: OK Computer 12" (XL Recordings)
Zero Boys: Vicious Circle 12" (Secretly Canadian Records)
Fleetwood Mac: Rumours 12" (Reprise)
Sunny Day Real Estate: Diary 12" (Sub Pop)
The Cure: Disintegration 12" (Rhino)
Childish Gambino: Awaken My Love 12" (Glassnote)
Childish Gambino: Camp 12" (Glassnote)
Pink Floyd: Dark Side of the Moon 12" (Sony)
The Clash: London Calling 12" (Columbia)
Beyonce: Lemonade 12" (Sony)
Weezer: The Blue Album 12" (Geffen)
The Velvet Underground: White Light, White Heat 12" (Verve)
Nirvana: Incesticide 12" (DGC)
Kendrick Lamar: Good Kid M.A.A.D. City 12" (Interscope)
Dead Kennedys: Fresh Fruit for Rotting Vegetables 12" (Manifesto)
Dead Kennedys: Plastic Surgery Disasters 12" (Manifesto)
Bob Marley: Legend 12" (Island)
Tool: Opiate 12" (BMG)
Tool: Undertow 12" (Volcano)
Wu-Tang Clan: Enter the Wu-Tang (36 Chambers) 12" (RCA)
Kanye West: My Beautiful Dark Twisted Fantasy 12" (Roc-A-Fella Records)
Mumford & Sons: Sigh No More 12" (Island)
Misfits: Earth AD 12" (Caroline)
The Louvin Brothers: Satan Is Real 12" (Capitol)
Roky Erickson: The Evil One 12" (Light in the Attic Records)
High Rise: II 12" (Black Editions)
Faust: S/T 12" (Lilith Records)
Baroness: Yellow and Green 12" (Relapse)
Burzum: Burzum / Aske 12" (Back On Black)
Burzum: Det Som Engang Var 12" (Back On Black)
Jason Isbell: Something More than Free 12" (Southeastern)
Mayhem: Deathcrush 12" (Back On Black)
Sect: No Cure for Death 12" (Southern Lord)
Windhand / Satan's Satyrs: Split 12" (Relapse)
Touche Amore: Is Survived By 12" (Death Wish)
Deafheaven: Roads to Judah 12" (Death Wish)
Converge: Jane Doe 12" (Death Wish)
Converge: The Dusk In Us 12" (Death Wish)
Converge: Axe to Fall 12" (Death Wish)
Converge: All We Love We Leave Behind 12" (Death Wish)
Turnstile: Nonstop Feeling 12" (Roadrunner)
Cement Shoes: Demo cassette (Loki)
Van Morrison: Astral Weeks 12" (Warner)
Green Day: Insomniac 12" (Reprise)
Green Day: Nimrod 12" (Reprise)
Metallica: Black Album 12" (Blackened)
Motorhead: Another Perfect Day 12" (Sanctuary)
Motorhead: Ace of Spades 12" (Sanctuary)
Entombed: Left Hand Path 12" (Earache)
The Pixies: Doolittle 12" (4AD)
David Bowie: Space Oddity 12" (Parlophone)
David Bowie: Ziggy Stardust 12" (Parlophone)
Celtic Frost: Morbid Tales 12" (Noise)
Joy Division: Closer 12" (Rhino)
Rik & the Pigs: A Child's Gator 12" (Total Punk)
Perverts Again: Friday Night Light 12" (Total Punk)
Parsnip: S/T 7" (Anti-Fade)
Padkarosda: Tetova Lelkek 12" (Static Age Musik)
Lebenden Toten: Mind Parasites 12" (Overthrow)
LSD: 1983 to 1986 12" (Schizophrenic Records)
Haram: When You Have Won, You Have Lost 12" (Toxic State)
L.O.T.I.O.N.: Digital Control and Man's Obsolescence 12" (Toxic State)
Aus Rotten: The System Works for Them 12" (Profane Existence)
Violent End: S/T 7" (Rock 'N' Roll Disgrace)
Tarantula: Weird Tales of Radiation and Hate 7" (Deranged)
Offspring: S/T 12" (Craft Recordings)
Weezer: The Blue Album 12" (Geffen)
King Crimson: Red 12" (Inner Knot)
Miles Davis: Kind of Blue 12" (Columbia Legacy)
Dead Kennedys: Give Me Convenience 12" (Manifesto Records)
Tool: Lateralus 12" (Volcano)
Kanye West: College Dropout 12" (Roc-A-Fella Records)
Childish Gambino: Camp 12" (Glassnote Records)
J Dilla: Donuts 12" (Stones Throw)
Bjork: Homogenic 12" (One Little Indian)
Candlemass: Epicus Doomicus Metallicus 12" (Peaceville)
Death: Scream Bloody Gore 12" (Relapse)
Death: Spiritual Healing 12" (Relapse)
Geto Boys: We Can't Be Stopped 12" (Rap A Lot Records)
Motley Crue: Too Fast for Love 12" (Motley)
Soccer Mommy: Clean 12" (Fat Possum Records)
Sunn O))): Domkirke 12" (Southern Lord)
Tiny Moving Parts: Swell 12" (Triple Crown Records)

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