These are what I consider the 250 greatest albums (or recordings in some cases for such as some classical compositions) that have been created since around 1900. There are obviously many recordings I wished to put on here but could not fit, and some recordings that I recognize as historically important but did not include as they do not resonate with me. I did not include an honorable mentions list as it would have been at least another 250 albums long...
To help preserve a timeline that describes evolution of many different genres the recordings are listed by the year it was first written, released, or recorded (rather than just the year that recording was released - as this is sometimes far later than it was originally written, such as with many classical recordings which was recorded hundreds of years after it was initially composed)
PRE-1950
1888 -Gymnopédies (Erik Satie)
Satie, a French composer and pianist, referred to himself as a "phonometrograph" or "phonometrician" (meaning "someone who measures and writes down) sounds") preferring this designation to that of "musician,". These short, atmospheric pieces are regarded as the precursors to modern ambient music.
Classical - German (Post-Romantic)
Classical - Austria
(I know "Pierrot Lunaire" is the obvious Schoenberg pick and probably the most important work of his, but I prefer his earlier stuff and feel like if you're new to Schoenberg and Second Viennese School composers that this is a better place to start anyway...as that stuff takes hot minute for your ear to get accustomed to).
1904 - String Quartet in F (Maurice Ravel)
Classical - French
1905 - La Mer (Claude Debussy)
Classical - France
Classical - Austria
1911 -Symphony No. 4 (Jean Sibelius)
Classical - Finnish
1912 - Piano Works (Leos Janaceck)
Classical - Czech
1913 The Rite of Spring (Igor Stravinsky)
Classical - Russia
A ballet with music by Igor Stravinsky, choreography by Vaslav Nijinsky, and concept, set design and costumes by Nicholas Roerich. In 1973, Leonard Bernstein said of one passage, "That page is sixty years old, but it's never been topped for sophisticated handling of primitive rhythms...it's also got the best dissonances anyone ever thought up, and the best asymmetries and polytonalities and polyrhythms and whatever else you care to name."
Classical - America
this is the prelude which ends with chorus singing the Epiphany hymn Watchman ("Watchman, tell us of the night"), which is basically Ive's asking the listener "what is the meaning of life". In the three movements following this he gives three different answers: the existential, the religious, and the mystical.
1931 - Boulez Conducts Varese (Edgar Varese)
Classical - French
1937 - King of the Delta Blues Singers (Robert Johnson)
Blues - American
Classical - Russian
1939 - Bartok String Quartets Bela Bartok
Classical - Hungary
1941 - Quartet for the End of Time Oliver Messiaen
Classical - French
1943 - Concerto for Orchestra; Music for Strings Percussion, and Celesta Bela Bartok
Classical - Hungary
THE 50s
1950 - The Birth of the Cool (Miles Davis)Jazz America
Classical - Greek
1954 - Prepared Piano (John Cage)
Classical - America
1954 - A Night at Birdland (Art Blakey)
Jazz - America
1956 - Saxophone Colossus (Sonny Rollins)
Jazz - America
1956 - Elvis Presley (Elvis Presley)
Rock - America
1957 - Brilliant Corners (Thelonius Monk)
Jazz - America
1957 - Blue Train John Coltrane
Jazz - America
1957 - ‘Round About Midnight Miles Davis
Jazz - America
1958 - The Music of Harry Partch (Harry Partch)
Classical - America
1958 - Live at the Pershin (Amahd Jamal)
Jazz - America
1958 - Drums of Passion (Baba Olatunji)
World - Nigeria
1959 - Kind of Blue (Miles Davis)
Jazz - America
Linear notes: "There is a Japanese visual art in which the artist is forced to be spontaneous. He must paint on a thin stretched parchment with a special brush and black water paint in such a way that an unnatural or interrupted stroke will destroy the line or break through the parchment. Erasures or changes are impossible. These artists must practice a particular discipline, that of allowing the idea to express itself in communication with their hands in such a direct way that deliberation cannot interfere. The resulting pictures lack the complex composition and textures of ordinary painting, but it is said that those who see well find something captured that escapes explanation. This conviction that direct deed is the most meaningful reflections, I believe, has prompted the evolution of the extremely severe and unique disciplines of the jazz or improvising musician. Group improvisation is a further challenge. Aside from the weighty technical problem of collective coherent thinking, there is the very human, even social need for sympathy from all members to bend for the common result. This most difficult problem, I think, is beautifully met and solved on this recording. As the painter needs his framework of parchment, the improvising musical group needs its framework in time,. Miles Davis presents here frameworks which are exquisite in their simplicity and yet contain all that is necessary to stimulate performance with sure reference to the primary conception. Miles conceived these settings only hours before the recording dates and arrived with sketches which indicated to the group what was to be played. Therefore, you will hear something close to pure spontaneity in these performances. The group had never played these pieces prior to the recordings and I think without exception the first complete performance of each was a "take." -Bill Evans
1959 - Mingus Ah Um (Charles Mingus)
Jazz - America
Jazz - America
1959 - Time Out (Dave Brubeck)
Jazz - America
THE 60s
1960 - Threnody for the Victims of Hiroshima (Krzysztof Penderecki)Classical - Poland
...seriously one of the most (if not the single most) terrifying piece of music I have ever heard in my entire life
(Penderecki's notation)
1960 - Giant Steps (John Coltrane)
Jazz - America
1960 The Incredible Guitar of Wes Mont Gomery (Wes Mont Gomery)
Jazz - America
1961 Sunday at the Village Vanguard (Bill Evans)
Jazz - America
Jazz - America
1963 - Getz/Gilberto (Stan Getz)
Bossa-Nova - America/Brazil
1963 - Live at Carnegie Hall (Pete Seeger)
Folk - America
1963 The Freewheelin (Bob Dylan)
Folk - America
1963 The Black Saint & the Sinner Lady (Charles Mingus)
Jazz - America
1963 Live at the Apollo (James Brown)
R&B - America
1963 - Live at the Harlem Square Club (Sam Cooke)
R&B - America
1964 In C (Terry Riley)
Classical - America
All performers play from the same page of 53 melodic patterns played in sequence.
Any number of any kind of instruments can play. A group of about 35 is desired if
possible but smaller or larger groups will work. If vocalist(s) join in they can use any
vowel and consonant sounds they like.
Patterns are to be played consecutively with each performer having the freedom to
determine how many times he or she will repeat each pattern before moving on to
the next. There is no fixed rule as to the number of repetitions a pattern may have,
however, since performances normally average between 45 minutes and an hour and
a half, it can be assumed that one would repeat each pattern from somewhere
between 45 seconds and a minute and a half or longer.
It is very important that performers listen very carefully to one another and this
means occasionally to drop out and listen. As an ensemble, it is very desirable to
play very softly as well as very loudly and to try to diminuendo and crescendo
together.
Each pattern can be played in unison or canonically in any alignment with itself or
with its neighboring patterns. One of the joys of IN C is the interaction of the
players in polyrhythmic combinations that spontaneously arise between patterns.
Some quite fantastic shapes will arise and disintegrate as the group moves through
the piece when it is properly played.
It is important not to hurry from pattern to pattern but to stay on a pattern long
enough to interlock with other patterns being played. As the performance
progresses, performers should stay within 2 or 3 patterns of each other. It is
important not to race too far ahead or to lag too far behind.
The ensemble can be aided by the means of an eighth note pulse played on the high
c’s of the piano or on a mallet instrument. It is also possible to use improvised
percussion in strict rhythm (drum set, cymbals, bells, etc.), if it is carefully done and
doesn’t overpower the ensemble. All performers must play strictly in rhythm and it
is essential that everyone play each pattern carefully. It is advised to rehearse
patterns in unison before attempting to play the piece, to determine that everyone is
playing correctly.
The tempo is left to the discretion of the performers, obviously not too slow, but
not faster than performers can comfortably play.
It is important to think of patterns periodically so that when you are resting you are
conscious of the larger periodic composite accents that are sounding, and when you
re-enter you are aware of what effect your entrance will have on the music’s flow.
The group should aim to merge into a unison at least once or twice during the
performance. At the same time, if the players seem to be consistently too much in
the same alignment of a pattern, they should try shifting their alignment by an
eighth note or quarter note with what’s going on in the rest of the ensemble.
It is OK to transpose patterns by an octave, especially to transpose up. Transposing
down by octaves works best on the patterns containing notes of long durations.
Augmentation of rhythmic values can also be effective.
If for some reason a pattern can’t be played, the performer should omit it and go
on.
Instruments can be amplified if desired. Electronic keyboards are welcome also.
IN C is ended in this way: when each performer arrives at figure #53, he or she
stays on it until the entire ensemble has arrived there. The group then makes a large
crescendo and diminuendo a few times and each player drops out as he or she
wishes.
1964 - Out to Lunch (Eric Dolphy)
Jazz - America
1965 - Bringing it All Back Home (Bob Dylan)
Folk - America
The first half shows the birth of Dylan's electric period which he continued to develop on "Highway 61 Revisited" and "Blonde on Blonde". The later half is the most perfect side of a record he ever recorded.
1965 Speak No Evil (Wayne Shorter)
Jazz - America
Jazz - America
1965 - Inner Urge (Joe Henderson)
Jazz America
1965 - Otis Blue: Otis Redding Sings Soul (Otis Redding)
R&B - America
1966 - Aux Aeterna (György Ligeti)
Classical - Hungary
1966 - Revolver (The Beatles)
Rock - English
1966 - Pet Sounds (The Beach Boys)
Rock - America
1966 - Music for the Morning of the World (Various Artists)
World - Indonesia
1967 - Early Works (Steve Reich)
Classical - America
1967 - Miles Smiles (Miles Davis)
Jazz - America
Rock - America
1967 - The Doors (The Doors)
Rock - America
1967 - Velvet Underground and Nico (Velvet Underground)
Rock - America
Rock - America
1967 - Sargent Peppers Lonely Hearts Club Band (The Beatles)
Rock - English
1967 - Piper at the Gates of Dawn (Pink Floyd)
Rock - English
The only Pink Floyd record made under Syd Barrett's leadership, and my personal favorite Pink Floyd album. It was recorded in an extremely short period of time and consists of both lengthy improvisations and shorter pop songs that Barrett wrote. Barrett's use of LSD escalated during these sessions and he was pretty much an acid casualty afterwards, but still continued to make some amazing recordings (such as his debut solo album, "The Madcap Laughs")
1968 - Stimming (Karlheinz Stockhausen)
Classical - Germany
1968 - Song Cycle (Van Dyke Parks)
Experimental - America
1968 - Astral Weeks (Van Morrison)
Folk - Irish
Jazz - America
1968 - Os Mutantes (Os Mutantes)
Rock - Brazil
Classical - Italian
1969 - Hot Rats (Frank Zappa)
Fusion - America
1969 - In a Silent Way (Miles Davis)
Fusion - America
1969 - A Love Supreme (John Coltrane)
Jazz - America
"DEAR LISTENER: ALL PRAISE BE TO GOD TO WHOM ALL PRAISE IS DUE. Let us pursue Him in the righteous path. Yes it is true; "seek and ye shall find." Only through Him can we know the most wondrous bequeathal.
During the year 1957, I experienced, by the grace of God, a spiritual awakening which was to lead me to a richer, fuller, more productive life. At that time, in gratitude, I humbly asked to be given the means and privilege to make others happy through music. I feel this has been granted through His grace. ALL PRAISE TO GOD.
As time and events moved on, a period of irresolution did prevail. I entered into a phase which was contradictory to the pledge and away from the esteemed path; but thankfully, now and again through the unerring and merciful hand of God, I do perceive and have been duly re-informed of His OMNIPOTENCE, and of our need for, and dependence on Him. At this time I would like to tell you that NO MATTER WHAT ... IT IS WITH GOD. HE IS GRACIOUS AND MERCIFUL. HIS WAY IS IN LOVE, THROUGH WHICH WE ALL ARE. IT IS TRULY – A LOVE SUPREME – .
This album is a humble offering to Him. An attempt to say "THANK YOU GOD" through our work, even as we do in our hearts and with our tongues. May He help and strengthen all men in every good endeavor.
The music herein is presented in four parts. The first is entitled "ACKNOWLEDGEMENT", the second, "RESOLUTION", the third, "PURSUANCE", and the fourth and last part is a musical narration of the theme, "A LOVE SUPREME" which is written in the context; it is entitled "PSALM".
In closing, I would like to thank the musicians who have contributed their much appreciated talents to the making of this album and all previous engagements.
To Elvin, James and McCoy, I would like to thank you for that which you give each time you perform on your instruments. Also, to Archie Shepp (tenor saxist) and to Art Davis (bassist) who both recorded on a track that regrettably will not be released at this time; my deepest appreciation for your work in music past and present. In the near future,
I hope that we will be able to further the work that was started here.
Thanks to producer Bob Thiele; to recording engineer, Rudy Van Gelder; and the staff of ABC-Paramount records. Our appreciation and thanks to all people of good will and good works the world over, for in the bank of life is not good that investment which surely pays the highest and most cherished dividends.
May we never forget that in the sunshine of our lives, through the storm and after the rain – it is all with God – in all ways and forever.
ALL PRAISE TO GOD.
With love to all, I thank you,"
--John Coltrane
1969 - In the Court of the Crimson King (King Crimson)
Progressive Rock - English
The first progressive rock album, and quite possibly the best.
1969- Trout Mask Replica (Captain Beefheart)
Experimental - Captain Beefheart
1969 - Stand (Sly & the Family Stone)
R&B - America
1969 - At the Woodstock Festival (Ravi Shankar)
World - India
THE 70s:
1970 - Paranoid (Black Sabbath)Metal - English
On Friday the 13th of Februray Black Sabbath gave birth to Metal with their debut album. In September of the same year they perfected it with Parinoid.
1970 - Fun House (The Stooges)
Punk - America
1970 - Band of Gypsies (Jimi Hendrix)
Rock America
1970 - After the Gold Rush (Neil Young)
Folk - Canada
1970 - Bitch’s Brew (Miles Davis)
Fussion - America
1971 - Live Evil (Miles Davis)
Fusion - America
1971 - Inner Mounting Flame (The Mahavishnu Orchestra)
Fusion - America
1971 - Tago Mago (Can)
Krautrock - Germany
1971 - There's a Riot Goin On (Sly & the Family Stone)
R&B - America
Sly's response to Marvin Gaye's "What's Goin' On".
1971 - Magot Brain (Funkadelic)
R&B - America
Rock - English
1972 - Pink Moon (Nick Drake)
Folk - English
Jam Band - America
Krautrock - Germany
1972 - Faust So Far (Faust)
Krautrock - Germany
1972 - Close to the Edge (Yes)
Progressive Rock - English
1972 - Exille on Main St. (Rolling Stones)
Rock - English
1972 - Rise & Fall of Ziggy Stardust & the Spiders from Mars (David Bowie)
Rock - English
Krautrock Germany
1973 - The Payback (James Brown)
R&B - America
R&B - America
1973 - Dark Side of the Moon (Pink Floyd)
Rock - English
1974 - Music in 12 Parts (Phillip Glass)
Classical - America
Probably the most hypnotic music I've ever heard. Over 3 hours and 6 discs long - when taken listened to in one sitting, it's quite an unique and indescribable experience.
1974 - Symphony #1 (Alfred Schniqute)
Classical - Russian
Fusion - America
1974 - You (Gong)
Progressive Rock - France
1974 - Natty Dread (Bob Marley)
Reggae - Jamaica
1974 - On the Beach (Neil Young)
Rock - Canada
Folk - America
1975 - Mothership Connection (Parliament)
Funk - America
1975 - Stolen Moments (Oliver Nelson)
Jazz - America
1976 - Einstein on the Beach (Phillip Glass)
Classical - America
By far the coolest opera written in the 20th century that I've heard. Surrealist, absurdist, minimalist, psychedelic and hypnotic.
1976 - Super Ape (Lee Scratch Perry & the Upsetters)
Dub - Jamaica
The greatest dub album ever.
1976 - Black Market (Weather Report)
Fusion - America
1976 - Bright Size Life (Pat Metheny)
Jazz - America
Punk - America
1977 - Trans-Europe Express (Kraftwerk)
Krautrock - Germany
1977 - Marque Moon (Television)
Punk - America
1977 - Exodus (Bob Marley)
Reggae Jamaica
1978 - Ambient 1: Music for Airports (Brian Eno)
Ambient - English
1978 - Music for 18 Musicians (Steve Reich)
Classical - America
Info about different recordings of this piece
1978 - Pat Metheny Group (Pat Metheny Group)
Fusion - America
1978 - Laniquity (Sun Ra)
Fusion - America
1979 - London Calling (The Clash)
Punk English
1979 - Unknown Pleasures Joy Division
Post-Punk English
THE 80s
1980 - Ambient 3 (Brian Eno)Ambient - English
Classical - America
1980 - Lesson No. 1 (Glen Branca)
Experimental - America
1980 - Fresh Fruit for Rotting Vegetables (The Dead Kennedys)
Hardcore Punk - America
1980 - Remain in Light (Talking Heads)
Post-Punk - American
Classical - America
1982 - Big Science (Laurie Anderson)
Experimental - America
Metal - English
1982 - Thriller (Michael Jackson)
R&B - America
1982 - 1999 (Prince)
Rock - America
1983 - Murmer (R.E.M.)
Post-Punk - America
1984 - Frates/Tabula Rasa (Arvo Part)
Classical - Estonian
Rock - America
1985 - Psychocandy (The Jesus & Mary Chain)
Post-Punk - Scottish
1985 - Raindogs (Tom Waits)
Rock - America
Hip-Hop - America
best. music. video. ever.
Thrash Metal - America
1986 - Reign in Blood (Slayer)
Thrash Metal - America
1986 - The Queen is Dead (The Smiths)
Post-Punk - English
Hip-Hop - America
1987 - Sister (Sonic Youth)
Post-Punk - America
1987 - The Joshua Tree (U2)
Rock - Irish
1988 - It Takes a Nation of Millions to Hold Us Back (Public Enemy)
Hip-Hop - America
1988 - Critical Beatdown (Ultramagnetic MCs)
Hip-Hop - America
1988 - Daydream Nation (Sonic Youth)
Post-Punk - America
Classical - America
1989 - Deep Listening (Pauline Oliveros)
Classical America
1989 - 3 Feet High & Rising (De La Soul)
Hip-Hop - America
1989 - Paul's Boutique (Beastie Boys)
Hip-Hop - America
1989 - Doolittle (The Pixies)
Post-Punk - America
1989 Disintigration The Cure
Post-Punk English
THE 90S:
1990 - Naked City (John Zorn)Experimental - America
Electronic - English
Grunge - America
1991 - Low End Theory (A Tribe Called Quest)
Hip-Hop - America
1991 - Goat (The Jesus Lizard)
Noise-Rock - America
1991 - Spiderland (Slint)
Post-Rock - America
1991 - Laughing Stock (Talk Talk)
Post-Rock - English
Shoe-gaze - Irish
Electronic - English
Hip-Hop - America
Rock -America
1993 - Untitled II (Orbital)
Electronic - English
1993 - Siamese Dream (Smashing Pumpkins)
Grunge - America
Hip-Hop - America
Hip-Hop - America
It took me a little bit to get past how ghetto the Wu are since most of what I listen to is pretty far from...but both this and GZA's solo debut "Liquid Swords" both are strong competitors for the greatest hip-hop album of all time. It's kind of traditional in some ways - evolving from rap-battle stuff, where the violence is metaphorical for the MC's lyrical abilities and rooted in mathematics (similar to older guys like Rakim). But then it's more out there in other ways, such as the beats with samples ranging from jazz to kung-fu flicks and horror soundtracks.
1993 - The Tau of Mad Phat Young (Steve Coleman & the Five Elements)
Jazz - America
1994 - Illmatic (Nas)
Hip-Hop - America
Trip-Hop - English
Electronic - English
1995 - Iaora Tahiti (Mouse on Mars)
Electronic - Germany
1995 - Liquid Swords (GZA)
Hip-Hop - America
1995 - A Live One (Phish)
Jam-Band - America
1995 - Red Medicine (Fugazi)
Post-Hardcore - America
Alternative - America
1996 - Soundtrack for the Blind Swans
Experimental America
Hip-Hop - America
1996 - Emperor Tomato Katchup (Stereolab)
Post-Rock - French
1997 - OK Computer (Radiohead)
Alternative - English
1997 - Asyla (Thomas Ades)
Classical - English
1997 - Richard D James Album (Aphex Twin)
Electronic - English
Electronic - Iceland
1997 - Perfect from Now On (Built to Spill)
Indie Rock - America
1997 - I Can Hear the Heart Beating as One (Yo La Tengo)
Indie Rock - America
1997 - TNT (Tortoise)
Post-Rock - America
1997 - F#A# ∞ (Godspeed You! Black Emperor)
Post-Rock - Canada
1998 - Music Has Rotten One Note (Squarepusher)
Electronic - America
1998 - LP 5 (Autechre)
Electronic - English
1998 - Music has the Right to Children (Boards of Canada)
Electronic - Scottish
1998 - In the Aeroplane Over the Sea (Neutral Milk Hotel)
Indie Rock - America
1998 - A Go Go (John Scofield)
Jazz - America
1999 - I See a Darkness (Bonnie Prince Billy)
Folk - America
1999 - The Soft Bulletin (The Flaming Lips)
Indie Rock - America
1999 - The Fragile (Nine Inch Nails)
Industrial Rock - America
A more difficult and bleaker record than it's predecessor "The Downward Spiral", but in my opinoin - this album is Trent Reznor's best.
1999 Agentis Banjurus Sigur Ros
Post-Rock Iceland
THE 2000s
2000 - Kid A (Radiohead)Alternative - English
2000 - Since I left You (The Avalanches)
Electronic - Australia
2000 - Supreme Clientele (Ghostface Killah)
Hip-Hop - America
2000 - The Moon & Antarctica (Modest Mouse)
Indie Rock - America
2000 - Alasnoaxis (Jim Black)
Jazz - America
2000 - Lift Your Skinny Fists Like Antennas to Heaven (Godspeed You! Black Emperor)
Post-Rock Canada
2000 - Voodoo (D'Angelo)
R&B - America
R&B - America
2001 - Endless Summer (Fennesz)
Electronic - Austria
2001 - Go Plastic (Squarepusher)
Electronic - English
Jazz - America
2001 - Bill Frissell with Dave Holland and Elvin Jones (Bill Frissell)
Jazz - America
2001 - Standards (Tortoise
Post-Rock America
2001 - Lateralus (Tool)
Rock - America
2002 - The Light that Fills this World (John Luther Adams)
Classical - America
2002 - The Disintegration Loops (William Basinski)
Experimental - America
The first one is really the only one you need to hear. But if you dig that one definitely worth digging into the other loops as well.
2002 - Madvillany (Madvillan)
Hip-Hop - America
2002 - Yankee Hotel Foxtrot (Wilco)
Indie-Rock - America
Indie-Rock - Canada
2002 - Largo (Brad Mehldau)
Jazz - America
2002 - & Yet & Yet (Do Make Say Think)
Post-Rock - Canada
2003 - The Lemon of Pink (The Books)
Folk-tronica - America
2003 - These are the Vistas (The Bad Plus)
Jazz - America
2003 - Extended Plays Live at Birdland (The Dave Holland Quintet)
Jazz - English
2003 - Mystic Chords & Sacred Spaces (Steve Roach)
New-Age - America
2004 - Funeral (Arcade Fire)
Indie-Rock - Canada
2004 - I, Claudia (The Claudia Quintet)
Jazz - America
2005 - The Ghetty Adress - Dirty Projectors
Indie-Rock - America
2005 - Frances the Mute (The Mars Volta)
Progressive-Rock - America
A crazy mind-fuck of a concept album. Very much a revival of the 70s progressive rock era, doused in psychedelia, and psychological drama. Lyrically the album tells a story that is allegorical, multi-layered, and contains quite a twist in the title track which doesn't apear on the album (which is considered the decoder track - reavealing the twist, adding a whole new layer to the story)
2006 - Ys (Joanna Newsom)
Folk - America
Hip-Hop - America
2006 - Yellow House (Grizzly Bear)
Indie-Rock - America
2007 - Untrue Web (Burial)
Dubstep - English
2007 - Boxer (The National)
Indie-Rock - America
2007 - Follow the Red Line (Chris Potter)
Jazz - America
2007 - Mirrored (Battles)
Math-Rock - America
2008 - Mothertounge (Nico Muhly)
Classical - America
2008 - Los Angeles (Flying Lotus)
Electronic - America
2009 - Merriweather Post Pavilion (Animal Collective)
Electronic - America
2009 Kamal the Abstract Q-Tip
Hip-Hop America
2010-2013
2010 - 2X5 (Steve Reich)Classical - America
Folk - America
2010 - One Armed Bandit (Jaga Jazzist)
Jazz - Norwegian
2010 - I Speak Fula (Bassekou Kouyaté & Ngoni Ba)
World - Mali
2011 - New History Warfare Vol. 2: Judges (Colin Stetson)
Classical - America
2011 - Black Up (Shabazz Palaces)
Hip-Hop - America
2012 - Good Kid Mad City (Kendrick Lamar)
Hip-Hop - America
2012 - The Money Store (Death Grips)
Hip-Hop - America
2012 - Accelerando (Vijay Iyer)
Jazz - America
2012 - Numerology (David Gilmore)
Jazz -America
2012 - Nik Bartsch Ronin Live (Nik Bartsch Ronin)
Jazz - Swiss
2013 - Without a Net (Wayne Shorter Quartet)
Jazz - America
2013 - Virgins (Tim Heckler)
Experimental - America
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