Other Music New Release Update
November 7, 2001

In This Week's Update:

Ulrich Schnauss
Studio One Roots comp.
Marley Marl
"Electroclash" compilation
Papa M
Human League
Joe McPhee reissue
Nikki Sudden reissues (2)
PSI Performer comps. (2)
Dismemberment Plan
Stereo Total
Silver Jews EP
Fantastic Plastic Machine
As One
Nathaniel Merriweather presents Lovage (Dan the Automator,
Jennifer Charles of Elysian Fields, more)

Just In:
"Nigeria 70" comp.
Cafe Apres-Midi Compost comp.
Deep Dish
Aphex Twin deluxe vinyl

David Axelrod domestic
Future Pilot AKA domestic

Featured New Releases:

ULRICH SCHNAUSS "Far Away Trains Passing By" (City Centre Offices, Germany) CD/LP $14.99/$12.99
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Ulrich Schnauss has released the best electronic record this year!
A pretty bold statement, to be sure, especially about an artist
who is relatively unknown, but this debut long player has
everything that I would ask for in a record today. Downtempo
beats, analog synth, delicately stroked piano keys, live
instruments sampled, and melodies, melodies, melodies! Ulrich
writes the kind of pop songs that make you feel, that tug at your
heartstrings, that soothe and relax. And does it sans vocals or
lyrics. Many perceive electronic music as cold, soulless -- well,
hand them this and tell me if their minds haven't changed in a
week. Mr. Schnauss has just upped the ante and miraculously
appeared as a major player in electronic music! This is a must for
fans of B. Fleischmann, Boards of Canada, Dettinger and Aphex
Twin. Beautiful and essential. [JS]
CD  //perl-bin/OM/CD_Add_To_Cart.cgi?sku=09999167422&refer_url=email
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[V/A] "Studio One Roots" (Soul Jazz, UK) CD/LP $18.99/$18.99
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The third in the Soul Jazz "Studio One" series, but this is much
different. A lot has been made of Rock Steady's connection to
American Soul, but here the 'roots' in question are African, as
expressed through Rastafari culture. Pure, raw reggae, with
splendid heavy drumming textures and mournful, political vocals.
Could not be a better selection. Moving (emotionally and
physically), funky; I'm floored. [RE]
CD //perl-bin/OM/CD_Add_To_Cart.cgi?sku=502632810056&refer_url=email
LP //perl-bin/OM/CD_Add_To_Cart.cgi?sku=502632800056&refer_url=email

4HERO "Creating Patterns" (Talkin' Loud, UK) CD $24.99
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For their follow-up to the epic "Two Pages", 4Hero refine their
formula for fusion. Sitting comfortably between the past and the
present, 4Hero combine the old and the new, electronic and
acoustic, embracing classical, jazz, techno, and soul in a truly
inspiring way: somewhere between Derrick May and Earth, Wind &
Fire. In 'Twothesme', piercing keyboards morph into pulsating
brass, live drumming invades the territory staked out by a drum
machine: the effortless movement from machine to man. 4Hero
recreate the Charles Stephney-produced Minnie Riperton
classic 'Les Fleur' with such dedication that you're unsure
exactly what year it is, they've captured all the beauty and
elegance of the original in a new way. "Creating Patterns" finds
4Hero at the intersection where the West London soul/broken beat
scene (they helped establish and maintain) pushes the boundaries
of rhythm beyond house and drum'n'bass and now collides with the
American new soul movement, rediscovering the introspection and
inspiration of culture. Split between freeform instrumental jams
where lush strings swell and cascade atop shuffling live and
programmed drums, bass, Moog, Rhodes, mbira, and percussion,
and vocal tracks where a slew of guest vocalists bring their flawless
productions to life. (Vocals provided by Ursula Rucker, Jill
Scott, and Bembe Segue among others, however, it's not until the
two veterans, Mark Murphy and Terry Callier, grace the mic that
the album reaches its full potential, and soars to new heights.)
Highly recommended! [DG]

MARLEY MARL "Re-Entry" (BBE, UK) CD/LP $14.99/$16.99
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What would the face of hip-hop look like were it not for Marley
Marl? His influence cannot be overestimated. In 1985, after
setting up a studio in his sister's bedroom in the Queensbridge
Housing Projects, Marley was recording with MC Shan and
accidentally got a drum machine snare caught in his sampler. This
accident, which he then used repeatedly, created an entire genre
of hip-hop. As an elder statesman of QB (Queensbridge), Marley is
one of the stellar panoply of hip-hop producers to have emerged
from those projects, revered by each successive generation. His
long overdue return to recording is on the godlike Barely Breaking
Even label, an imprint simply unable to release a bad record.
Following the "Will I Am" album, "Re-Entry" sees Marley back
behind the boards and glowing screen, concocting low-slung,
downtempo beats, some instrumental, but most accompanied by an
MC. Marley reunites with one of his '80s colleagues, Big Daddy
Kane, on 'Three's Company (Menage A Trois)' and really rips it
up on 'What U Hold Down', which features the brilliant QB lyricist
Capone. The final track is 'Hummin'', with guest appearances by
Edwin Birdsong and Roy Ayers. To think that Marley would work
with the latter is ironic if one considers the number of times he's
sampled bits and pieces from Ayer's corpus of work. If you're
interested in hip-hop history and how the categories 'past'
and 'present' are often meaningless in this genre, you should
certainly acquire "Re-Entry". [TH]
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[V/A] "Electroclash" (Mogul Electro) CD $11.99
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The new wave of the new wave! Fresh off the Electroclash festival
a few weeks ago comes this compilation. Exclusive tracks from lots
of until-now undocumented new artists, including a wacked live
Khan track. Other artists you may have heard of: Mono Trona (arty
electro), A.R.E. Weapons (rock electro), Soviet (pop electro). The
first/best document of the new NY electro scene so far. Compiled
by impresario Larry Tee (who also coproduced at least three tracks
here), who runs the Berliniamsburg night and has (a long time ago)
collaborated with RuPaul. [RE]

PAPA M "Whatever, Mortal" (Drag City) CD/LP $13.99/$13.99
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When I was high school, I read a short story by Sam Shepard in
which a guy who, after wrecking his car on the highway, puts all
of his possessions and clothes in a pile, sets them on fire, and
walks off into the desert alone. Years later, listening to Papa
M's "Whatever, Mortal," I feel like I'm hearing that man's voice.
On his fourth full-length recording (and the first to feature his
singing), Dave Pajo conveys a sense of total aloneness in the
world, a sense of willful isolation. Where much of last
year's "Papa M Sings EP" consisted of covers, this release is all
Pajo's own songs. Pajo tips his hat to various forbears (Dylan,
Young, and especially Leonard Cohen) but does not allow himself
to be consumed by their spirits. The sound is spare and minor key
as Pajo recalls family and past lovers. In places, his voice sounds
remarkably similar to his Drag City brethren Bill Callahan and
Dave Berman; Pajo's outlook, however, is much more hopeful and
less ironic than those two. Here, he's beautifully supported by a
cast of fellow Louisville sluggers: Will Oldham (Palace), Tara
Jane O'Neil (Retsin), and Britt Walford (Slint). Oldham's keening
backing vocals and O'Neil's haunting banjo in particular
contribute to the album's low, lonesome feel. [DHi]
CD  //perl-bin/OM/CD_Add_To_Cart.cgi?sku=78148401942&refer_url=email
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JOE MCPHEE "Underground Railroad + Live at Holy Cross" (Unheard Music Series/Atavistic) 2xCD $18.99
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Sometimes, it seems that we're so busy mourning the loss of great
musicians long dead that we overlook the work of mind-shattering
artists who are alive. Joe McPhee is one of these: a visionary
multi-instrumentalist who has flown under the radar of collective
consciousness for far too long.  After Coltrane's death and a
recording date with Clifford Thornton's New Art Ensemble (soon to
be reissued), a young McPhee left NYC and headed north to develop
his craft alone in the wilderness of Upstate New York. As
opportunities were sparse, McPhee rarely played concerts in the
U.S., opting instead to play with a group of steady friends
(mostly French and Swiss) in Europe, where his vision was
appreciated.  Collaboration across artistic disciplines has always
been a central practice for McPhee, so it was only natural that he
would release his first recordings as a leader on painter Craig
Johnson's CJR label. For a long time, documents on this label were
delicacies to free jazz record collectors -- much talked about, but
rarely heard. Only now through Atavistic's Unheard Music Series
has this stuff seen the light of day. "Underground Railroad" was
CJR's first release and McPhee's first as leader. In addition, the
included concert recording from Holy Cross Monastery marked
McPhee's first public appearance playing tenor sax. The sound here
is raw and impassioned--with horn lines darting through dense
layers of percussion like rays of light penetrating clouds. A true
product of its time, a strong concern for civil and human rights
is in evidence, from the title cut to the gorgeous, mournful 'Harriet'
to 'Birmingham Sunday' (which opens with McPhee reading one
of his poems): the whole record is dedicated to "the black
experience on the planet earth." The churning, rhythm and
blues feel of 'Windy City Head Stompin' Blues' will be familiar to
anyone who's heard McPhee's already reissued "Nation Time"
record. Joe McPhee's a musical chameleon, a player who can
go from covering Billie Holliday and Coltrane to jamming with
Pauline Oliveros or the Nihilist Spasm Band, and he deserves
our attention. [DHi]

LIARS "They Threw Us All In A Trench..." (Gern Blandsten) CD  $11.99
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Liars have their fingers on the pulse of America. The newest
addition to the NYC scene, their post-punk approach allies them
with GoGoGo Airheart, The Contortions, Gang Of Four, The Vivian
Girls, The Rapture, The Fall, Radio 4, Public Image Ltd., and The
Pop Group. Theirs is a propulsive course of chaos that careens off
the rail finding form in the bass beats. They know that you are
going to want to shake your ass. These recordings give you an idea
what they are like live; buy this and see 'em when they come to
town. Currently they are on an extensive U.S. tour. Personally I
can't wait till they get back home. [AG]
CD //perl-bin/OM/CD_Add_To_Cart.cgi?sku=60006400592&refer_url=email

HUMAN LEAGUE "Secrets" (Papillon, UK) CD $21.99
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Unlike most synthpop groups from the early '80s, the Human League
never quit; they just slowed way, way down, releasing only three
albums in the past 11 years -- this one is their first in seven
years. And if you kept with them (which most didn't--that synth
sound falling so out of fashion for the entire '90s), you found
that they still had it in them to write amazing, upbeat electronic
pop songs, they were just fewer and farther between. But "Secrets"
is even better than 1994's "Octopus" (which I liked quite a bit,
especially the single 'Tell Me When'--a song way out of its time).
They still can write music that does what the best house music
does (hits huge peaks and melancholy lows) only still doing so
with a lot more pop to it, and wonderful 2-3-part vocal
arrangements (not harmonies, but a complex kind of back and forth
style, lead switching, etc.). The only thing that keeps this from
sounding exactly like their own work circa-1982 classics is that
they're as much influenced now by disco and techno as the form of
synthpop they pioneered. This is a group that still has the power
to awe and uses that power once again here. Now that synthpop has
returned to fashion, they have a new audience to wow, and if you
were a fan 20 years ago, you should really catch up with them
again. [RE]

NIKKI SUDDEN "Waiting on Egypt / The Bible Belt" (Secretly Canadian) 2xCD $14.99
NIKKI SUDDEN " Texas / Dead Men Tell No Tales " (Secretly Canadian) 2xCD $14.99

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Why Nikki Sudden? Why now? The almost moribund fascination
with '80s musical culture is a reminder that that wasn't all about
vocoders and skinny noowave ties. The aftermath of UK punk and the
arrival of the demonic Margaret Thatcher turned Britain into a
gray land of unemployment and social misery. Aside from Joy
Division, it was the Swell Maps, Roland S. Howard, The Jacobites,
and Sudden who made the darkness audible. The foppish attitude and
ambiguous sexuality of Sudden and his cohorts never sat well with
Swell Maps fans. But Nikki Sudden's delicate, angry 'post-punk'
pop songwriting is so perfectly flawed, it's almost painful to
hear, and yet he has crafted dozens of songs between 1982 and the
present, working with his brother Epic Soundtracks and many
others. On the snotty, choppy 'I'd Rather Be With The Boys' from
1982's "Waiting on Egypt" he concludes "just like you", hinting
that his lover might also be seeking the company of men. The long,
messy hair, paisley scarves, and Oscar Wilde-ish dandyisms from
the Creation years (1986 on) is what made Sudden stand out from
his peers. The lyrics to gorgeous threnodies such as 'Jangle Town'
from "Texas", which presaged more British pop bands than you've
had hot dinners, are alive with a loneliness that is nearly
palpable. In his hands, the guitar was an instrument that could be
a circular saw one moment and a prayer wheel the next. 'Death Is
Hanging Over Me', which appears on both "Texas" and "Dead Men Tell
No Tales" resembles Ry Cooder or Townes Van Zandt as much as The
Chameleons. Sudden's music was precocious in that it was made for
a time that was yet to come. His lyrics suggest struggles with a
sexuality so fraught and painful that it is hard to understand how
he was able to retain his composure long enough to record the
songs. Secretly Canadian plan to re-issue all of Sudden's
material, so hold onto your wallets. [TH]
"Texas/Dead Men"

PSI PERFORMER "Art is a Division of Pain Remixed Vol. I" (K2O, Germany) CD $15.99
PSI PERFORMER "Art is a Division of Pain Remixed Vol. II" (K2O, Germany) CD $15.99

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Many of you are possibly familiar with PSI Performer's somnolent,
funereal record "Art is a Division of Pain", released to critical
acclaim in 2000. PSI Performer is yet another pseudonym used by
Anthony Rother, who's been making electronic music for nigh-on 20
years. Of late, Rother's been making hard electro for his Psi49Net
label (including the recent Little Computer People disc). This
particular ambitious undertaking brings together 30 artists to
rework tracks from the aforementioned album. Under most
circumstances, this would result in an unnecessary "superstar"
remix package. But Rother has found (and been approached by)
some of the most interesting artists in experimental music. The
range is impressive, from Jake Mandell and John Tejada to Stars
of the Lid and 310. A roll call of remixers seems superfluous here,
but some of the highlights should not be ignored. Sender's 'Berlin'
version of '1999' on the first CD is a sleek, but dirty Cologne
style 'knarz' track, while Alexander Kowalski's 'Pain Division'
mix of '1948' explores the troubled landscapes of the original
record. It is on the second disc that the real standouts are to be
found. Pan American's Fragile, long echo rendering of '1977' is
one of Mark Nelson's finest moments. The Birmingham school
gives three outstanding performances: Karl O'Connor's gray,
swampy 'Sericulture' mix of '1968' is followed by Scorn's
nightmarish 'Closed Season' version of '1948'. Subsequently
Anthony Child (Surgeon) turns in a profoundly disturbing take
on '1961'. Over these two CDs, the original album becomes, at
times, unrecognizable, but these are certainly worth acquiring
nevertheless. [TH]
"Volume 1"
"Volume 2"

DISMEMBERMENT PLAN "Change" (DeSoto) CD $13.99
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"Change" is DC-based quartet Dismemberment Plan's fourth album.
After jumping to a major label for a stint, they're back on
DeSoto, still drawing on influences such as The Talking Heads and
early prog/funk, Genesis style. Of course, parallels to
contemporaries such as Les Savy Fav's angular spazz and Enon's
sample-soaked indie rock continue to adhere, but "Change" differs
from their previous album, "Emergency & I". Through the keyboard
washes and psychedelic underpinnings some early Police seeps in.
Some of the new-wave synths hover, like on 'Secret Curse,' with
Travis Morrison's Craig Wedren-meets-Nick Drake-if-he-was-in-a-
rock band smoothing out the retro/classic disparity. Other
standouts include 'Automatic,' the token folk number, replete with
acoustic guitar and subtle reverberating loops, and the impeccably
timed breakbeat behind the overdriven guitars of 'The Other Side'.
The best way to describe this band over all: emo with a bit of
funk, sense of humor and diversity. How many bands can pull that
off successfully? [LG]

STEREO TOTAL "Musique Automatique" (Bobsled) CD $13.99
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Nick Currie of Momus calls them the best band in the world. You're
free to disagree, of course. But what's harder to refute is that
the French/German duo of Francoise Cactus and Bretzel Goering
represent, in microcosm, an emerging paradigm for what constitutes
interesting pop music in the year 2001: multi-lingual, multi-
cultural, multi-dimensional and very, very clever. Drawing their
inspiration from a variety of misfit musical genres from the past
60 years (French cabaret and chanson, German new wave and
schlager, '60s ye-ye, '80s electro, etc.), Stereo Total craft lo-
fi electronic ditties virtually free of attitude but extremely
high on entertainment. On this, their fifth LP, Stereo Total
proclaim the joys of menage a trois on 'Love to the 3 of Us', a
tender ballad which sounds a bit like Nena fronting the
Avalanches. They capitalize on the vocoder craze with the dreamy,
Air-inspired 'Ypsilon' then switch gears completely on 'Hep Onal
Ti'Da,' a deliberately clumsy rocker that sounds vaguely eastern
European. On the album's 13 other tracks they turn the cheese-
factor on their Casios up to "11", but keep the guitars, for the
most part, in check. Yet another strong effort in an unusual but
distinguished pop career. [TC]

SURGEON "Counterbalance Collection" (Counterbalance, UK) CD $13.99
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Finally, Anthony Child, the Birmingham circuit-abuser, has
released his own mix CD, bringing to a non-vinyl buying public the
hyper-accelerated, thunderous techno he plays to crowds all over
the globe. Surgeon's been making eye-opening techno for nearly ten
years, and yet his following in the US remains relatively small.
Maybe that's because he doesn't believe in the 'played' bassline
and those who dance to his music don't either. There are only a
handful of producers who can use a frighteningly loud 909 kick-
drum running in 4/4 time without a bassline, and make highly
original music in the process. Surgeon is one of them. There are
no hooks here, only drums and percussion running at an average
speed of 150 beats-per-minute. Jump right to 'Midnight Club Tracks
II' and you'll see how rusty hi-hats, handclaps like snapping
turtles, and hair-stripping toms are spot-welded to the kick and
forced to perform feats they were never designed for. You'll often
hear people refer to Surgeon's music as "tribal". Well, it's about
as "tribal" as my grandmother. If that's what you're looking for,
try some early Armand Van Helden or DJ Sneak records. This is
strictly for the hardheads. This music is made to be played at
illegal volumes because that is how it sounds best. Damn the
neighbors, full speed ahead. [TH]

SILVER JEWS "Tennessee" (Drag City) CD EP/12" $8.99/$7.99
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It's been three years since we last heard from the Silver Jews but
David "D.C." Berman is back with a four-song precursor to their
forthcoming full-length, "Bright Flight." The EP's title cut, also
a duet with Papa M's Cassie Marret, is classic Berman, as he mixes
mispronunciations and stretched syllables over a honky-tonk chorus
to transform the word "Tennessee" to, "You're the only Ten I See."
As always, the singer/poet's lyrical-stylings are a grand swirl of
surreal Americana characters and references--from Stephen Foster
to club soda and the death of punk rock. The title song, which
will be included on the new full-length, is joined by three very
worthy non-LP tracks. Although Stephen Malkmus and Bob
Nastanovich are absent for this round, the slightly out-of-tune
guitar strums of 'Long Long Gone' could have easily been a
never-heard gem from "Slanted & Enchanted"-era Pavement.
For the latest version of the Silver Jews, Berman is reunited with
Tim Barnes and Mike Fellows, both who played on the "America
Water" sessions, along with several Nashville musicians to create
another "lonely-sounding-make-you-cry record". [GH]
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FANTASTIC PLASTIC MACHINE "Contact" (Cutting Edge/Avex, Japan) CD  $27.99
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You wouldn't be wrong to call "Contact" a remix record of FPM's
latest full-length "Beautiful", but it's that and a lot more.
First off, it contains two brand new songs ('City Lights'
and 'Subete o Yurashite') never included on "Beautiful". The
latter track is notable for the appearance of Kahimi Karie on
vocals singing in what may be her breathiest soprano ever.
Secondly, many of the so-called remixes are actually complete re-
workings of the original tracks -- in many cases performed by
other artists entirely, making "Contact" almost as much a covers
record as a remix album. On 'Black Dada (Edo-mae Mix)', for
instance, RIP SLYME adds equal parts electro, hip-hop and Vince
Clarke-era Depeche Mode synths making for a bouncy, new wave
scratch-fest. Excellent remixes are turned in by Bob Sinclar (who
layers authentic disco-era strings and horns beneath a wacky Isaac
Hayes impersonator) and Sunaga 't Experience who
transforms 'Whistle Song' ("Beautiful'"'s best track) into a
brilliant downtempo Brazilian jazz excursion. In some ways even
more satisfying than the original. [TC]

LOCUST "Wrong" (Touch, UK) 2xCD $22.99
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Mark Van Hoen with vocalist Holli Ashton, all electric analog
synths. Possibly the poppiest record yet on Touch, but then again
it wouldn't be Touch records without a high concept bit in there,
and this pop record is augmented by a CD of drones and mechanical
murmurs to be played simultaneously. The effect resembles Bjork in
the pop quirkiness, though Ashton's voice is nothing like hers.
Van Hoen's music on the dominant disc chugs with big '80s piston
beats and fake tambourine, Ashton on lead vocals makes the work a
little like Eurythmics and/or Kate Bush made more experimental. I
only kind of wish he had just mixed the two CDs together onto one,
because I like the combination and can only get it at home with a
boombox set up between my stereo speakers, not in my portable
stereo or with the computer's one CD drive. Note: the RA tracks
above are only CD1. [RE]

AS ONE "21st Century Soul" (Ubiquity) CD $15.99
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Kirk DiGiorgio's group, in which he reprises the sounds of the
earlier work under the same moniker. As One material was always
marked by the percussion--live drum sounds, mixed high, tough and
meaty, then re-edited into different patterns. The same happens
here, only now he throws in some other flavors (of this year, and
previous years), too. "21st Century Soul" is a little like career
rehash--about 1/3 of it is Black Dog-inspired techno, add to that
the aforementioned drum programming. The rest is some new soul,
male vocals in a re-edited jazz style, there's some downtempo hip-
hop here, too, and the current vogue, urban R&B-ish two-step.

NATHANIEL MERRIWEATHER PRESENTS LOVAGE "Music To Make Love To Your Old Lady By" (75 Ark) CD $15.99
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The 'sequel' to Dan the Automator and Prince Paul's Handsome Boy
Modeling School record, "Music To Make Love...." answers the
question: Once you lure the ladies, what do you do with them?
Intended as a 'seduction' record, Lovage is also a tribute to
French provocateur/sensualist Serge Gainsbourg, right down to the
table-with-roses-and-gun cover photo. Jennifer Charles of Elysian
Fields takes over the Birkin/Bardot role, her sighing voice
driving the record with the Automator's much more mellow-than-
usual beats putting her voice in silhouette. There are plenty more
guests, from Mike Patton to Kid Koala, plus Chest Rockwell (Prince
Paul), Afrika Bambaataa, Damon Albarn, Maseo (De La Soul). To
seduce anyone? I don't know.  Because once you get all relaxed
from one of the melty songs, they'll throw in a (admittedly laid-
back) skit as the next track. Does this make Nathaniel
Merriweather more Smoove B then Barry White? [RE]

Just In:

CORNELIUS "Point" (Trattoria, Japan) CD $31.99
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The four-year wait for a new Cornelius album is over -- but only
if you act now! Otherwise, it'll be at least two or three more
weeks before we're restocked enough on "Point", the fourth LP from
Keigo Oyamada as Cornelius, to offer it here again. Our large
initial shipment of this CD has nearly sold out in just days, so
order now if you'd like a copy. "Point" is definitely not
"Fantasma Part 2", but is just as unbelievable a listening
experience. No domestic release until late January 2002. [TC]

[V/A] "Nigeria 70" (Strut, UK) 2xCD $19.99
The best! All kinds of rare afro-funk from Fela and everything in
his orbit. Full review next week but don't wait until then.

[V/A] "Compost for Cafe Apres-Midi" (Sony, Japan) CD $27.99
A 'best of' Compost Records with a decidedly Brazilian slant.

DEEP DISH "Global Underground Moscow" (Global Underground) 2xCD  $19.99
The new one from DJ/Producers Ali 'Dubfire' Shirazinia and Sharam
Tayebi -- this time a little darker, but still exquisite.

APHEX TWIN "Drukqs" (Warp) 4xLP $32.99
Ridiculously elaborate packaging in a box that measures
approximately 12"x18".


DAVID AXELROD "David Axelrod" (Mo' Wax) CD $15.99
RealAudio: /ramgen/othermusic/axelrod6.rm
RealAudio: /ramgen/othermusic/axelrod5.rm
This record may even surpass some of Axelrod's early work. Asked
to record something for Mo'Wax, Axelrod headed back into the
studio, rounding up even some of the players and singers he worked
with 30 years previously. This has inimitable arrangements --
complex, exquisite, fitting together but from obvious parallel
lines -- where barely any instrument is playing even the same
rhythm or melody to another. Engulfing and orchestral, this
record goes over the top with the addition of Ras Kass on vocals
(delivering a solemn, rhythmic rap), or Lou Rawls delivering such
a classic soulful jazz take that it's 1968 again. Giant-size orchestral
jazz in a psychedelic frame. [RE]

FUTURE PILOT AKA "Tiny Waves, Mighty Sea" (Domino) CD/LP  $13.99/$13.99
RealAudio: /ramgen/othermusic/futurep1.rm
RealAudio: /ramgen/othermusic/futurep2.rm
"Tiny Waves, Mighty Sea" is a soft, mellow collection of
collaborations, with the singers Sushil Dade's own relatives, a
number of Belle and Sebastians, Teenage Fanclubs, Pastels--about
40 musicians total. (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, and grandma sings 'Beautiful Dreamer' as if
emerging from the sky itself to comfort sleeping children. [RE]
CD //perl-bin/OM/CD_Add_To_Cart.cgi?sku=80139000042&refer_url=email
LP //perl-bin/OM/CD_Add_To_Cart.cgi?sku=505501990061&refer_url=email

This week's contributors: Geoff Albores [GA], Tom Capodanno [TC],
Robin Edgerton [RE], Lisa Garrett [LG], Andrew Giles [AG], Daniel
Givens [DG], Gerald Hammill [GH], Tim Haslett [TH], Dan Hirsch
[DHi], Jeremy Sponder [JS].

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