I’m embarrassed to admit that I haven’t made much progress since the last Payday Albums post: I keep buying records, but the days don’t get any longer. What’s up with that? The number of LPs in my collection that have gone unplayed is growing dangerously large; soon enough, my collection will be made mostly of unplayed LPs. Meanwhile, I’m just plain running out of shelf space. What’s a guy to do? Buy a massive hard drive and convert to computer audio?

Hmm . . . I’ll cross that bridge when I get there.

For now: Today’s payday. These are the albums I bought.

Jonathan Scull: How long has VTL been in business, Luke?

Luke Manley: My dad, David Manley, and I co-founded VTL in June of 1986. We started small on the East Coast, and soon after we moved to California.

Scull: Is it because you're really a West Coast kind of guy?

Manley: [laughs] You bet! There's a lot of supporting industries out there; a big base of electronics manufacturers, for example.

Scull: What, in the San Francisco area?

In April of 2011, after watching one of the many iterations of The Due Diligence perform at Silent Barn, the soundman made an announcement: “We have a bunch of old music gear for sale in the venue’s basement.” I jumped from my seat.

Dusty guitar amps, dirt-speckled stage light fixtures, and busted drivers piled atop each other on a series of shelves. I inspected each piece of gear carefully. Atop the highest shelf, I found them. Though covered in scratch marks and gum, the logo was clear: Polk Audio. The “i" was dotted with a little heart. I fell in love.

I first became acquainted with Lindsay Dobbin’s work in 2010, when she released, under the name Broken Deer, a limited-edition cassette on Al Bjornaa’s Scotch Tapes label. The music sounded like it came from some other, remote time and place&#151hushed, fragile, inspired by dreams and memories.

Julianna Barwick’s third full-length album, Nepenthe, is scheduled for release on August 20th, by Dead Oceans. Unlike Barwick’s previous work, largely self-produced in her Brooklyn bedroom, Nepenthe was produced and engineered in Reykjavík, Iceland, by Alex Somers. And while Barwick’s earlier work is made mostly of her own voice, Nepenthe features contributions from Icelandic band Amiina, guitarist Róbert Sturla Reynisson of múm, and a female choir.

Julia Holter’s new album, Loud City Song, is scheduled to be released on August 20th, by Domino. This is Holter’s third album in as many years: Her limited-release debut, Tragedy (recently given proper and deserving reissue treatment by Domino), was met by almost universal critical acclaim, while her follow-up, Ekstasis, expanded her sound, solidified her standing as one of today’s most exciting young artists, and was one of my favorite records of 2012.