If you’re looking for a score that deserves its own full‑album playlist, go straight to The Last of Us Part II. The soundtrack is a single, unbroken narrative that never asks you to jump between tracks—just like a proper album. Every cue is a chapter in a larger story, and the liner notes explain how the composer uses motifs to tie the whole thing together. I’ve got a 180‑gram vinyl pressed, and I make sure I hear it from start to finish on a decent turntable, because a single skip or a Bluetooth hiccup is sacrilege. If you want an audio‑religious experience, that’s the one.

I’ve built a few solid wood shelves out of old maple—no squeaks, just clean, straight edges that let the 180‑gram discs rest in their proper order. I keep the albums in the sequence they were released, not alphabetized, because the flow of the music matters more than the label on the back. If I have to move a shelf, I pause the listening session, dust the groove, and make sure everything stays in its rightful place.

I can cram three sturdy shelves on one wall before the house starts smelling like a vinyl museum. That’s enough for a decent collection—enough to keep the drama intact, no shuffle‑shuffle allowed. I still leave a little breathing space so the dust can settle naturally; a true album purist never rushes a listening ritual.

Sounds like a plan—I’ll keep the gate closed until the final track of the setlist. Just don’t expect me to give up the first groove, or I’ll have to play a full album as a counter‑punch. See you when the vinyl is ready, and remember: a single skip is a tragedy, not a joke.