Now spinning on iOS · Android · WebFree forever
Vinyl, CDs, tapes, streaming — one shelf. A snarky Clerk who hands you a record every night.
You own 1,247 records and three nights a week you stand in front of them, paralyzed, queueing up the same Beatles record like an animal. We made an app for that.
The Clerk picks one. One. Based on the weather, what you played last Tuesday, the fact that it's a Dan the Automator anniversary nobody else remembers, and the small, undeniable fact that you have not touched Demon Days in 114 days. He's not surfacing content he's handing you a record.
He also reads liner notes, knows the pressing plant, remembers the deadwax, and will roast your three Ween LPs without Chocolate and Cheese if you give him the chance.
I see you've got three Ween albums but no Chocolate and Cheese? That's like building a house and forgetting the roof. "Voodoo Lady" alone justifies the purchase. Get on that.
Weather. Anniversaries. Last Tuesday's spin history. The forgotten LP at the back of your B-section. He weighs all of it before he hands you a sleeve. Not random. Not an algorithm trained on the entire internet. Trained on your shelf, every day.
If you don't like today's, hit "I'm Feeling Lucky." He'll cough and pick again.
New vinyl from artists you own — sorted by release week, not by what some label paid to surface. Price drops on your wantlist. Tour dates from anyone you've got more than two records by.
Walk into any store, scan the barcode in your hand: Already on your shelf? The Clerk will tell you. In one second. Without judgment, mostly.
Scan the barcode. Shazam the song crackling overhead. Pull up the pressing, the deadwax, the personnel, the year of the actual cut you're holding — not the canonical "release."
No signal. No problem. Your whole shelf, every catalog number you own, every wantlist entry, lives in your pocket. The basement bin is now playable.
One-click Discogs import (built for the 4,000-record monsters). File upload (.xls, .doc, the spreadsheet your friend made you in 2009). Last.fm scrobbling, free. One-click Apple Music + Tidal sync — MOSH only.
Your physical shelf and your digital library, side by side, organized the way your brain already organizes them. Two-way sync — Gatefold and Discogs stay in lockstep, automatically.
Most "AI assistants" give you the consensus answer. The Clerk gives you an opinion — the same way the guy behind the counter at the record store would.
He reads your collection, your liner notes, your pressing data — and then he tells you what he actually thinks. He's a smart-ass about it. That's a feature, not a bug.
› tell me about this pressing of demon days
Oh, 2005 Parlophone UK first press — VG 8000. Mastered by Frank Arkwright at Abbey Road. Two LPs, 180g virgin vinyl. The bass on "Feel Good Inc" hits completely different than the 2014 repress because Arkwright used the original analog masters, not the digital bounce they used later. You can literally hear the tape saturation on "November Has Come." This pressing goes for about $120–150 now.
› what else should I know
Dan the Automator mixed at Kong Studios — same board Bowie used for Heathen. De La Soul recorded their verse for "Feel Good Inc" in one take, sent the file over, Damon built the bassline around it. Danger Mouse produced half this album from a closet in the back of the studio because the budget was already gone. That closet energy is why the lo-fi tracks hit so hard. You're welcome.
› build me a sunday playlist from my shelf. nothing after 1975
"Sunday, Slow" — 47 min, all yours: Nick Drake Northern Sky · Bill Withers Grandma's Hands · Terry Callier Dancing Girl · Labi Siffre I Got The… · Gil Scott-Heron Lady Day and John Coltrane · Shuggie Otis Strawberry Letter 23 · Minnie Riperton Les Fleurs. All pulled from your shelf. Want a Saturday-night version?
You've built what I'm calling the Mike Patton Cinematic Universe — Faith No More, Mr. Bungle, Fantômas, Tomahawk, all accounted for. But your Soundgarden situation is criminal. Two albums when Cornell put out six with that band alone. Fix that.
I'm not a Silicon Valley suit trying to monetize your listening habits. I'm a music nerd who got tired of soulless, clinical apps that quietly sell your data to brokers and call it a feature.
I built Gatefold for us. The lights stay on two ways: Mosh Pit subscribers, or albums you discover and buy through the app. That's the whole business model. Print it on the back of a flier.
No tracking pixels. No "strategic partnerships" with data companies. No 47-tab onboarding. You fund the code, I keep building the ultimate crate-digger's companion. Deal?
Want a feature built? Don't email us. Don't fill out a Notion form. Don't tag us on Threads. Come to /r/gatefoldfm and ask for it. If it's good, I'll build it. If it's not, someone in the comments will explain why. That's the whole product roadmap.
No minimum collection size. Ten records is enough. The Clerk needs about that much before he can start finding patterns and saying mean things about your gaps.
Free works forever. The Mosh Pit unlocks FREE PLAY — unlimited Quarters, premium model, every roast he can think of.
Everything you actually need to enjoy a collection: import, sync, search, scan, the daily spin pick, and a Clerk on a weekly Quarters allowance who will still make fun of you for free.
FREE PLAY. Smarter Clerk, unlimited everything, and the deep tools — a pressings discover card (OG / reissue / audiophile, side by side), custom notes on every album, multi-account Discogs, one-click two-way sync to Apple Music or Tidal. The flag drops, the machine never asks for another quarter.
Import your collection in a minute or two. The Clerk's already got your first pick lined up. Free forever. Works with 10 records or 10,000.
