Other Music New Release Update
April 4, 2001

In This Week's Update:

Bomb the Bass/Lali Puna single
Andreas Tilliander
Luther Thomas reissue
Love Life
Black Dice
The Sixth Great Lake
Robbie Basho reissue
Ubu et la Merde comp.
Alasdair Roberts
Commodore 64 comp.
Dakota Oak
Future Pilot AKA
Now Time Delegation
Tiffany Anders
Antibalas' 'Liberation Afrobeat'
Georges Antheil
Kampec Dolores
Modry Efekt/Radim Hladik

Featured New Releases:

BOMB THE BASS/LALI PUNA "Clear Cut" (Morr, Germany) CD single  $6.99
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Stop the presses and alert the masses, could it be that Seefeel
have released the best song of their career? Or has Kevin Shields
come out of hiding and released the beat-driven follow-up single
to the godlike "Glider" EP? Neither, rather it's the brilliant new
collaboration from Bomb the Bass and Lali Puna. Could this be the
same Bomb the Bass from year's past, the one who recorded the
rave anthem 'Beat Dis'? The answer is yes; Lali Puna have coerced
Tim Simenon to return to the studio and record a gem of a track
that they call 'Clear Cut', here with remixes by friends such as
Herrmann and Kleine, Opiate, Arovane, and Christian Kleine. The
original track is a stunner, with dark bubbling electronic beats
building ever so slowly, then hitting you with the dirtiest two-
step beat you will ever hear, while synths flow in and out of the
mix wildly...then in come the luscious vocals of Lali Puna's
Valerie, both sweet and evil at the same time. A remarkable track
that will be on the tips of everyone's tongues for years to come,
only to be topped with each remix featured herein. Beautiful! [JS]

ANDREAS TILLIANDER "LJUD" (Mille Plateaux, Germany) CD/LP  $15.99/$14.99
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It seems like every year there is a new minimal electronic artist
that stands out above the rest, taking what has been done before
and expanding upon it, honing skills and hinting at genius. In
1998 there was Pole with his cold minimal clicking dub, then in 1999
came SND adding a slightly warmer sound and touches of house,
in 2000 came Vladislav Delay blowing open the doors for clicks and
cuts, creating amazing atmospheres and expanding textures while
drawing a song out for an hour or so. Now in 2001, let me
introduce you to Andreas Tilliander. Some of you may already know
him as Komp on the Komplott label, or Mokira on Raster-Noton. But
these have only scratched the surface of what lies in store
on "LJUD". Tilliander takes what you previously knew about minimal
electronics and blows it up into about a million pieces and puts
it back together with references to all who tread before him,
while inflecting an overall hip-hop feel onto these ten tracks.
The beats are dirty, slowed down to the pace of production
wizards Jay Dee or Jazzy Jeff, and then he adds crackling fractured
electronics and warm electronic synths that flow by in a perfect
sine wave formation. Last but not least there's room for the
breakdowns, as tracks slow down to a halt and then snap back
with a vengeance. A release that will establish Tilliander as a
major player in the world of minimal electronic music. [JS]
CD //perl-bin/OM/CD_Add_To_Cart.cgi?sku=71875080972&refer_url=email
LP //perl-bin/OM/CD_Add_To_Cart.cgi?sku=71875080971&refer_url=email

LUTHER THOMAS HUMAN ARTS ENSEMBLE "Funky Donkey Vol.s 1 & 2" (Atavistic) CD $13.99
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Arguably the most accessible of the recent releases in the
Atavistic Unheard Music series is this unearthed gem featuring
Luther Thomas, the Human Arts Ensemble, and the Saint Louis
Missouri Creative Ensemble. The individuals comprising these
groups were made up of members of the Saint Louis collective
Black Artists Group (BAG). BAG was essentially the Saint Louis
equivalent to Chicago's AACM, with whom they shared one prominent
member--the Art Ensemble's Lester Bowie. Recorded in a church, the
title cut begins with a brief period of atmospheric abstraction
before launching into a powerful 18-minute funk vamp. Don't be put
off by the term "funk vamp" however, because "Funky Donkey" is
more aligned with the AEoCs notion of funk as typified by
their 'Theme de Yoyo' or 'Rock Out' than any kind of P-Funk notion
of slickness or George Clinton-ish slap bass wank. In fact, the
production aesthetics more closely echo that of the obscure deep
funk 45's being produced between 1968-72, though Luther Thomas
stretches the conception of funk well beyond the parameters of the
three-minute time frame. The 11-piece ensemble is propelled
forward by Marvin Horne's chicken-scratch guitar and
Charles "Bobo" Shaw's relentlessly funky backbeat. Trombonist
Joseph Bowie would later explore similar territory with his funk
rock group Defunkt, but never to greater effect than what he
achieved here. The second cut of the original LP features a Shaw
composition -- a joyous, uplifting, percussion oriented piece that
stretches out over 18 minutes. This reissue also includes an
unearthed Oliver Lake composition that was recorded at the same
time. [MK]

LOVE LIFE "The Rose He Lied By" (Troubleman Unlimited) CD $10.99
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Love Life exist in the space between the sounds you imagine you
hear late at night. They play a music that is dark and somber, yet
completely harrowing. Hailing from Baltimore, much has been said
about their lauded past -- time spent in cult outfits Jaks and
Universal Order of Armageddon. By retaining the strongest elements
of these bands, the music of Love Life easily surpasses the best
work of their former incarnations. On their debut album, they
display an amazing talent for creating dark and emotionally
wrought atmospheres. With much attention given to melody and
composition, Love Life painstakingly craft haunted threnodies and
dirges. Spidery guitar weaves its way around intense female vocals
that fall somewhere between Billie Holiday and the no-wave
stylings of Azita of the Scissor Girls. Drums rattle and shudder --
as they threaten to collapse, they're held together by the deep
angular bass, augmented by horns, strings, and organ. Although
easily the record of the year for this reviewer, few things
compare with seeing Love Life on stage -- the group is
_completely_ arresting. [JZ]

BRAZZAVILLE "Sonambulista" (South China Sea) CD $11.99
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This is Brazzaville's second record, and while they've made a dent
in L.A., no one even knows they exist around here. Brazzaville are
the smoke rising from Tropicalia's blaze, they curl their music
around tropical and Latin rhythms (Cuban, samba, and dub in
particular), while gulping in sultry air like a cloudy Young
Marble Giants or an equatorial Prefab Sprout. Imagine if the
Aluminum Group had to flee the country, growing beards to hide
their identity -- they'd sound like this. Brazzaville are seven
musicians with ridiculous pedigrees (bands played with? far too
many to mention but five of them are in Beck's backing band,
including ex-Blaster Smokey Hormel), anchored by musician and
songwriter David Brown. Brown sings in Portuguese and English,
setting up with hand percussion, a bit of soaring backup vox,
old organs and record crackles, palm bar piano, even a little
turntable scratch. Their music, for me, evokes grit, fluorescent
lights, and linoleum floors of food stands and back rooms around
the world in the middle of the night (and I keep thinking of Wong
Kar Wai movies). It's weird, I listened to this CD once and
dismissed it, then realized one song had wormed its way into my
head and stayed there for two weeks straight. It grows like kudzu
and bamboo all at once and now I love the whole damn thing. [RE]

BLACK DICE "Cold Hands" (Troubleman Unlimited) CD $10.99
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At a Black Dice show, there is no quiet at the back of the room.
There is no secret nook to stand and chat peacefully to a friend
(unless of course you can read lips). You either watch the show or
you run from the room clenching your head, hoping that your ears
aren't damaged with permanent tinnitus. Having said that, it is
hard for a band that makes it a necessity to play at such high
levels to record a representative album. With their fifth release,
Black Dice have created a record that is not so much an accurate
depiction of what the band is like live, but is rather a
collection of rising and falling textures which demonstrate that
they're capable of far more than just in-your-face
destruction. 'Cold Hands' starts off almost inaudibly, but as low
electronic garbles and animal-like grumbles start to rise above a
sheet of music boxes, one might wonder if this is a discarded
score to one of Tobe Hooper's classic horror films. From there
the band moves into a more startling form with the choppier (and
noisier) 'Smile friends'. At this point listeners might also ask
themselves if the band has somehow trained a deranged monster
to generate the lead vocal, which cuts with the same sonic
abrasiveness as the tremolo-driven guitar. The highlight of the CD
sparks when the room is saturated with the warm tonal hums
of 'Birthstone'. Though the track is basically a feedback drone,
it is by no means derivative -- the first few minutes have a liquid
texture that could almost be computer-generated and the singing
pitches that follow push beyond the solitary bass like baroque
wind instruments. All the elements of noise and psychedelic music
are present--swelling cymbals, abrupt breaks in sound--and Black
Dice pull it off with vigor. Their ability to write music with
focus on texture as well as form makes them one of the most
sonically interesting (and bizarre) bands today. LP out in a few
weeks (on Catsup Plate). [DP]

THE SIXTH GREAT LAKE "Up the Country" (Kindercore) CD $12.99
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The Essex Green's debut "Everything Is Green" was a sugar-coated
collection of flowery psychedelic pop. This Brooklyn-based group
returns, now under the moniker The Sixth Great Lake (as they're
joined by one auxiliary member, Zachary Ward) with a softer,
simpler collection of lazy folk songs. In the spirit of a front
porch recording, the Sixth Great Lake take a casual approach to
their pop songwriting, collecting 15 songs that are perfect for
the long humid summer days. Without a fuzz guitar in sight, this
nearly all-acoustic affair gives The Sixth Great Lake an
opportunity to let their songwriting talents stand alone. [PW]

ROBBIE BASHO "Voice of the Eagle" (Vanguard/Comet, Italy) CD/LP  $16.99/$21.99
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Basho, who forged a singularly idiosyncratic vision on six- and
twelve-string guitar composition after meeting John Fahey in the
early sixties (for whom he recorded several albums on Fahey's
independent Takoma Records label) has been unfairly over-
shadowed by Fahey himself, and Fahey's other solo guitar protege,
Leo Kottke. But in many ways Basho's artistry is as complex and
possibly even more inclusive than Fahey's. Fahey dealt with the
mythic structure of North America through the use of skeletal
blues infused with avant-classical dissonance and north Indian
raga scales. Basho essentially dropped the blues, kept the
dissonance and raga scales and then went on to add everything from
medieval music, japanese koto, to the vast expanse of Native
American mythology. "Voice of the Eagle" was recorded in 1972
after a string of brilliant LPs for Takoma and Blue Thumb. The
record has been a tad maligned by Basho fans due to the fact that
all but one track features singing. I think its time to reevaluate
that position. Basho possesses a fairly operatic voice, he has a
tendency to stretch out vowels for a quasi-yodel effect. His
singing really isn't too difficult to to get into if you can
appreciate Scott Walker, early Morricone tunes such as 'A gringo
like me', Antony and the Johnsons, or even Yma Sumac (whom he
dedicates the record to, along with various Sioux and Nez Perce
indian chiefs and John Neihardt, the author of the seminal
work "Bury My Heart at Wounded Knee") The guitar work is stunning,
and Basho can create trills that seem to defy the limits of human
capability. A couple of songs employ a south Indian log drum for a
galloping accompaniment. It's too bad Basho's discography is so
neglected--a compilation on Takoma and now this reissue account
for 18 of his records. "Voice of the Eagle" is a small step to
deciphering the work of an original American outsider artist who
possessed a multitude of dimensions. [MK]
CD //perl-bin/OM/CD_Add_To_Cart.cgi?sku=802657532152&refer_url=email
LP //perl-bin/OM/CD_Add_To_Cart.cgi?sku=09999150191&refer_url=email

[V/A] "Ubu et la Merde" (In Poly Sons, France) CD $18.99
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Alfred Jarry's "Ubu Roi" is arguably one of the first really
modern (or even post-modern!) plays. Only (egad, from what I
remember) there are songs in it, which made it sort of a musical.
And nothing on the stage from its initial performance in 1896
could quite touch its universal visceral impact (until, perhaps,
Peter Brook's "Marat/Sade" over sixty years later)--Jarry's piece
has been the inspiration for most truly cutting political satire
and _any_ theater of absurdity for the entire past century. And
was for this, too, a collection of songs drawn from/inspired by
the play, performed by an intersection of DIY artpunks and
experimental improv musicians in 1989. Family Fodder, Soixante
Etages, Pierre Bastien, Tom Cora & Hans Reichel (on daxophone,
natch), and, of course the Ubu reincarnate, France's "breaking the
fourth, fifth and sixth walls" Costes. The whole CD fits more with
the aesthetic environment of 10 years previous--or even 80. The
whole thing that has an out-of-time quality, like it was recorded
by imps turning wax cylinders while the Residents, the band Pere
Ubu and the character Pere Ubu danced little jigs nearby. It's
amazing how much good art has come from the original ideas and
work of Jarry. Reissued a little while ago, but we finally got
enough in to offer you. [RE]

ALASDAIR ROBERTS "The Crook of My Arm" (Secretly Canadian) CD/LP  $12.99/$9.99
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Alasdair Roberts is best known for his work as the songwriter of
Glasgow, Scotland's Appendix Out. "The Crook of My Arm" is
Roberts' first solo outing, and it consists of the barest
arrangement. Roberts' voice rings earnestly throughout this
recording, hovering just above the softly-plucked acoustic guitar.
Singing traditional songs from Scotland, England and Ireland, "The
Crook of My Arm" is a stunningly understated recording of gorgeous
folk melodies. A lovely tribute to Roberts' heritage, the spirit
of classic English and Scottish folk music is channeled onto this
stunning album. [PW]
CD //perl-bin/OM/CD_Add_To_Cart.cgi?sku=65660500482&refer_url=email
LP //perl-bin/OM/CD_Add_To_Cart.cgi?sku=09999152621&refer_url=email

[V/A] "Commodore C64 Sid Musique" (Erkrank Durch Musique, Germany) CD/LP  $13.99/$13.99
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About a year ago I reviewed a CD compilation mostly of German
artists doing their versions of '80s electropop (it was
called "2080", and damn I wish I had bought it)?this does
something similar, only more specialized. The artists here use the
sounds of the so-spritely Commodore C-64 computer to make music
with chunky depth and catchy width. The only names I recognize
here are Hans Platzgumer and G.D. Luxxe (aka Gerhard Potuznik,
the guy who makes a big slice of the music for feminine scenesters
Chicks on Speed), the rest are obscure C-64 heads from Germany,
though a few speck the English-speaking world. And I'm happy to be
introduced to Steril, whose 'shift clr/home' is the most delicate
and melodic track here, and Bassdroid, who zaps the sounds into a
doppler-effect structure. The whole CD sounds like a black-and-
white line drawing to techno and house music's color photography,
only the line drawings here are by no means stark, they, too, are
lushly detailed and even wiggly. (btw, there is a collection
of 'vintage' c-64 compositions coming out on CD in a few weeks.)
CD //perl-bin/OM/CD_Add_To_Cart.cgi?sku=09999149652&refer_url=email
LP //perl-bin/OM/CD_Add_To_Cart.cgi?sku=09999149641&refer_url=email

DAVE TYACK'S DAKOTA OAK "Am Deister" (Twisted Nerve, UK) CD/LP  $22.99/$21.99
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23-year-old Dave Tyack re-teams with his old schooldays chums (not
old-school chums) for a record of thoughtful brilliance and
immense instrumental charm. Inspired by John Steinbeck and Tyack's
own childhood in rural Germany, the music, all 26 tracks of it, is
solemn, sweet, and fertile, of chamber ensembles wearing
transparent pop masks. An 'umm' here or an 'ahhh' there barely
break the flow, the music matching the sonic ghosts spawned by
Terry Riley (repetition repetition repetition) and the warmth of
the forest history: of wood turned into pianos, strings, drums.
Or, more specifically, cellos, slide guitar, mandolin, bells,
whispers of electronics. It's intangible but by no means ethereal
music, the product of someone who's all too down-to-earth and
together (not a shred of angst here) but the CD has such a lovely
creativity of arrangement so it's not all mush. Tyack's sort of
the soft grey shining shadow of his labelmate Badly Drawn Boy.
CD //perl-bin/OM/CD_Add_To_Cart.cgi?sku=09999151462&refer_url=email
LP //perl-bin/OM/CD_Add_To_Cart.cgi?sku=09999151481&refer_url=email

KNIFEHANDCHOP "Fighting Pig Learns Judo Tricks" (Irritant, UK) CD  $14.99
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Little Canadian Billy Pollard scores with his first album as
Knifehandchop (you never know what other pseudonyms
these 'lectronic musicians will spawn). Recorded in mono on his PC
for that 'in-front-of-the-TV feel', he wrangles hip-hop, gabber,
dumb electro and slappy, sloppy electronics that place him
somewhere between early LSR or Kid 606 and V/VM. One track
mangles and minces dance hits of 1992 -- which would have made
him 10(?) when he made it -- or heard the originals. Like a ton of
irritating videogames piled on each other at one point, at others
is gangly and spitty. He punches and kicks his way to glory, or
something! You'll find a few really great extra tracks on Irritant's
web site, too (irritant.com). Recorded in 1999, sounds like two
months from now. [RE]

FUTURE PILOT AKA "Tiny Waves, Mighty Sea" (Geographic, Scotland) CD/LP $16.99/$17.99
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Future Pilot AKA, aka Sushil K. Dade, put out a record last year
of collaborations: with everyone from Scanner to Cornershop to the
Pastels (and well beyond). As it was mostly electronic, so "Tiny
Waves, Mighty Sea" is a bit of a surprise -- a soft, mellow
collection of collaborations, but this time the singers are his
own relatives, a number of Belle and Sebastians, Teenage Fanclubs,
Pastels--about 40 musicians total. So the breadth is the same, the
sound completely different. (Ever wanted to hear Stuart Murdoch
sing 'Om Namah Shivaya'? Here's your chance!) Well-produced and
subtle, Dade collects the influences of his heritage (Indian and
Scottish) with the pop music of today. About six traditional
Indian songs, grandma sings 'beautiful dreamer' as if emerging
from the sky itself to comfort sleeping children, odd Pastels
outtakes, gentle melodies surfacing as if skittered just beneath
the surface of the ocean for a very long way, finally arriving to
rest in your ears. [RE]
CD //perl-bin/OM/CD_Add_To_Cart.cgi?sku=505501990062&refer_url=email
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NOW TIME DELEGATION "Watch for Today" (In the Red) CD $12.99
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A supergroup greater than the sum of their parts. Lisa Kekaula's
(BellRays) vocals roll over a gritty Stax-soul backup pickup band
made of folks who've played with Ronnie Dawson, Lord High Fixers,
Gospel Swingers, etc. etc. at the intersection of punk and
rockabilly. But this is all raw bluesy soul, thwapping the Rolling
Stones over their heads and running away with the kitty. Pounding
organ, roadhouse blues rhythm section, speedy crashes and solid
heart. You hear bands trying to replicate that late '60s rough
soul all the time -- this is one that really gets the sound right
(think also the most smashed-up Ike and Tina period), and sure
it's a reproduction of something that already exists, but it's a
damn good one. Probably SMOKES live, too. [RE]

TIFFANY ANDERS "Funny Cry Happy Gift" (Up) CD $11.99
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Anders really knows how to surround herself with talent (and one
could say talent attracts talent) -- her backing musicians on "FCHG"
are no less than PJ Harvey and J. Mascis (Dinosaur Jr., on drums
only, though, no guitar) and PJ Harvey, who also produced this
album. Anders' songs are close to country (with edges of an old-
West sound and Ms. Harvey's bluesy guts) -- I can imagine
someone like Mary Chapin-Carpenter slicking one up into a hit --
but in this form stick nearer to the coffeehouse of the singer-
songwriter. Her high, clear alto cuts so hard above the music
that you could easily make this album a cappella and lose none
of the songs' ringing strength, weight, intent. Fans of Neko Case
or Ms. Harvey herself will not be disappointed. [RE]


ANTIBALAS "Liberation Afrobeat Vol. 1" (Ninja Tune, Canada) CD  $13.99
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Pretty much the third (or fourth?) version of "Liberation
Afrobeat" Antibalas have loosed upon the world, this one's the
final: more songs than the others, and more cleanly mixed. Their
name literally meaning 'anti-bullets', the Antibalas Afrobeat
Orchestra came together with members from the Daktaris, Soul
Providers, and a few other bands. This Brooklyn-based 11- to 13-
piece have, so far in their short career, dedicated themselves to
not only to the profound and perfectly fierce Afro-funk birthed by
Fela Kuti, but a similarly strong and outspoken political stance
as well. Antibalas start with the soul instead of the style,
thereby gliding over any problems in appropriation -- they're
generative, not imitative. On this six-track, forty-minute CD,
they do four originals and two long, live versions of 'Netsanet'
(nostalgia) by Ethiopian Mulatu Astatqe. Tight horns and guitar
meet loose percussion, and bring the funk in with the bass. This
occasionally nets Latin rhythms and unison chanting in its
expansive spread, their large grooves more centered, shorter and
pop-like than Fela (and blasphemer I, I find their songs more
memorable!), but of an uncompromisingly high quality. The only
Afro-funk band worth listening to today, and phenomenal live. [RE]

GEORGE ANTHEIL "Ballet Mechanique and Other Works" (EMF) CD $13.99
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An elaborate Futurist (in the first meaning of the word) fantasia
of carefully constructed noise -- the predecessor to everything,
notably Harry Partch, Raymond Scott, Carl Stalling, Terry Riley,
and god knows everyone else. George Antheil's original 1924
version (composed when he was 23) of the "Ballet Mechanique"
even challenged Wagner on the execution of the concept 'over
the top'. Cartoony, precise, noisy as hell, and when the sirens
and undulating, frantic pianos charge through, bizarre and gleefully
demented. Captures the Futurist's and Dadaist's aesthetic schism
in sound, the precise moment from when modern music became its
own entity. The first six pieces included on this CD -- small
ensembles for percussionists, two Richard Grayson pieces for
player pianos and electronics, an interesting arrangement of
Mendelssohn for 16 player pianos, and John Cage and Lou
Harrison's 'Double Music' -- are mostly sparse and light. But as
for the half-hour long Antheil -- you may as well throw out any
versions from the '50s and '60s you picked up in dollar bins.
Antheil himself watered it down in 1953, eliminating the siren and
most of the propellers, bells, and xylophones that put pure punk
energy into a mechanistic marvel of a factory of sound. [RE]

KAMPEC DOLORES "A Bivaly Hatan (Sitting on the Buffalo)" (Bahai/ReR, UK) CD $16.99
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Kampec Dolores started in 1984 with an odd, new wave/ethnic
Hungarian sound, moving further out and into frenetic rock music
mixed with some improvisation a la the Ex. (In fact, their first
few records sound like the Ex and Liliput combined with Iva
Bittova.) Singer Gabi Kenderesi gives them a mournful, centuries-
old sound, even more on this, their newest and 5th album, which
veers away from the rock blasts and edgier noises to produce a
record at the intersection of Hungarian, Middle-Eastern, and
Klezmer-sounding melodies (which are not that far apart to begin
with). Kenderesi's vocals are a boon for this group. While the
group makes improvisatory motions on folk instruments, Kenderesi
springs off of that platform, going from song to gibberish,
summoning vocal techniques I haven't heard since the throaty
Amazonian growls of Godmama in the Boredoms. Their multi-ethnic
approach is mirrored in the metaphors of their name -- 'Kampec
Dolores' is not Hungarian, it's a combination of Yiddish and Latin
that means 'the end of pains'. For all the angles in their music,
there is a soulful core that trusts in rhythm and warbling. [RE]

MODRY EFEKT / RADIM HLADIK "s/t" (Supraphon/Bonton, Czech Republic) CD $19.99
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This Legendary Czech group's finest hour (well, 48 minutes) was
captured in 1973, and offers a concise history of monster guitar
riffage, in all forms: progressive, jazz-fusion and psychedelic.
Less Velvets/Mothers-esque than their countrymen Plastic People,
Modry Efekt ("Blue Effect") specialized in long instrumental
passages within grandiose tracks, not unlike German contempories
like Grobschnitt, Thirsty Moon, or Guru Guru. What set them apart,
however, was superior musicianship. Radim Hladik, one of the most
versatile guitarists of his era, pulls out all the stops on this
one, driving each selection to ever-dizzying heights. Imagine a
player with the proficiency of Sonny Sharrock fronting a Krautrock
outfit -- plus there's inspired alto sax assistance from improv
legend Jiri Stivin. Kind of ridiculous in its own way and almost
too much musical information to handle in one sitting. Highest
recommendation! [JG]

This week's newsletter: Robin Edgerton [RE], Jeff Gibson [JG],
Michael Klausman [MK], David Portner [DP], Jeremy Sponder [JS],
Philip Waldorf [PW], Joshua Zucker [JZ].

The Big Picture:

To see a complete list of Other Music new releases for the
week ending April 2, 2001, use this link as a shortcut:

To see a list of new releases from previous weeks:

To see new release updates from previous weeks:

To order any of the items you see on these pages simply click
the links following each review or visit our website at

Phone orders are accepted at (212) 477-8150 (ext. #2, mailorder).

For general inquiries or other information, please email
"sales@othermusic.com". Do not reply to this message.

Thanks for reading.
-all of us at Other Music

Other Music NYC
15 E. 4th Street
New York, NY 10003

Other Music Harvard Square
90 Winthrop Street
Cambridge, MA 02138