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+ Donato Wharton - Body Isolations
+ Svalastog - Woodwork
+ Tim Hecker - Harmony In Ultraviolet
+ Rosy Parlane - Jessamine
+ Jarvis Cocker - The Jarvis Cocker Record
+ Múm - Peel Session
+ Deloris - Ten Lives
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+ The Places - Songs For Creeps
+ Camille - Le Fil
+ Wolf Eyes - Human Animal
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+ The Decemberists - The Crane Wife
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+ Bob Dylan - Modern Times
+ Excepter - Alternation
+ Chris Thile - How To Grow A Woman From The Ground
+ Brad Mehldau - Live in Japan
+ M Ward - Post-War
+ Various Artists - Touch 25
+ The Mountain Goats - Get Lonely
+ The White Birch - Come Up For Air
+ Camera Obscura - Let's Get Out of This Country
+ Coachwhips - Double Death
+ Various Artists - Tibetan And Bhutanese Instrumental And Folk Music, Volume 2
+ Giuseppe Ielasi - Giuseppe Ielasi
+ Cex - Actual Fucking
+ Sufjan Stevens - The Avalanche
+ Leafcutter John - The Forest And The Sea
+ Carla Bozulich - Evangelista
+ Barbara Morgenstern - The Grass Is Always Greener
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+ Peaches - Impeach My Bush
+ Oakley Hall - Second Guessing
+ Klee - Honeysuckle
+ The Court & Spark - Hearts
+ TV On The Radio - Return To Cookie Mountain
+ Awesome Color - Awesome Color
+ Jenny Wilson - Love And Youth
+ Asobi Seksu - Citrus
+ Marsen Jules - Les Fleurs
+ The Moore Brothers - Murdered By The Moore Brothers
+ Regina Spektor - Begin To Hope
+ The 1900s - Plume Delivery EP
+ Alejandro Escovedo - The Boxing Mirror
+ Function - The Secret Miracle Fountain
+ Sonic Youth - Rather Ripped
+ Loscil - Plume
+ Boris - Pink
+ Deadboy And The Elephantmen - We Are Night Sky
+ Glissandro 70 - Glissandro 70
+ Calexico - Garden Ruin (Review #2)
+ Calexico - Garden Ruin (Review #1)
+ The Flaming Lips - At War With The Mystics
+ The Glass Family - Sleep Inside This Wheel
+ Various Artists - Songs For Sixty Five Roses
+ The Fiery Furnaces - Bitter Tea
+ Motorpsycho - Black Hole/Blank Canvas
+ The Red Krayola - Introduction
+ Metal Hearts - Socialize
+ American Princes - Less And Less
+ Sondre Lerche And The Faces Down Quartet - Duper Sessions
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Amy Blaschke
Amy Blaschke
Luckyhorse Industries

I'm coming to a point in my life where I can — with more clarity than ever before — see what's come to pass. I can see the places I've been, but I don't feel them anymore; I've let it go. The worry and the angst and the uncertainty have begun to subside, replaced by a sense of acceptance and ease. And it's making me feel old, like — gasp — a real grown-up.

Today, I respect the experiences I was forced to endure and value them for the lessons they taught me, which is disgustingly adult-like, am I wrong? I've begun to accept my place in the world and I'm quite content with it; no longer do I fight it. Again — terribly mature. Ho-hum though, might as well get used to it now.

I nod at my younger friends' frustration with understanding. Now, I say, "I know how you feel," not "I know! I feel the same way," like I once did. I smile and know they'll get through it. I listen to Amy Blaschke and smile; I know she'll get through it.

Had I had this beautiful, acoustic nine-song record to listen to all those dark, lonely nights at my tiny studio apartment where I could never fall asleep, hardly keep from crying and never, ever understand why I felt so bad, Blaschke's voice would've been coupled with mine. Singing along to her soft Karen Carpenter-esque coos could have been my therapy. Cradled in her songs' minimal, moody ambience, the record could have unraveled the knot in my stomach and whispered every so often, "you are not alone."

"I know it's wrong but I want it," she concedes on the downtrodden, sluggish "You Insist." "I know this place and I haunt it." I remember what that feels like — you want to kill the feeling but you can't. You want to force it away, but that only makes you feel worse. One day, you'll stop for a moment and look at yourself and notice they're gone; somewhere along the way, you learned to stop analyzing them to death and managed to set them free.

Backed by Erin Tate (Minus the Bear, Kill Sadie) on drums and James Bertram (Red Stars Theory, 764-Hero, Lync) on bass, Blaschke's songs are sparse yet warm, glum yet inviting, making her second album (released by Bertram's indie Luckyhorse Industries label) the perfect Sunday record.

"I don't have the stomach for disadvantage," she sings, her voice drained and dragging on the melancholy closer "Avalanche." "I've got a hunch/ I don't understand."

Just wait — you will, you definitely will.

by Jenny Tatone

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