Other Music New Release Update
October 24, 2001

In This Week's Update:

Aphex Twin
Charley Patton huge fancy box
Langley Schools Music Project
23 Skidoo reissues (2)
Reinhard Voigt
Markus Guentner
Derrick Carter mix
Norma Jean Bell (music by Moodymann)
"Turkish Delight" comp.
"Shaolin Soul" comp.
Fall reissues: "Grotesque", "Live at The Witch Trials"
Stars of the Lid
Trembling Blue Stars
Mr. Len
Hope Sandoval and the Warm Inventions

Just In:
"Electroclash" comp.
The Fall
Future Sounds of Jazz V.8
Dismemberment Plan
Talvin Singh's "Back to Mine" comp.
The Silver Mt. Zion
Convocation Of
Anita Lane

Featured New Releases:

APHEX TWIN "Drukqs" (Sire/Warp) 2xCD $16.99
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Aphex Twin's newest is totally unexpected--and quite provocative.
There are about four different styles to the album, combined and
recombined, choreographed into peaks and valleys that unroll over
two discs. First of all, Mr. James turns to actual instruments
this time--harpsichords, pianos, strings,  manipulated in timbre
and tempo. These pieces are tensely rhythmic, classically pensive,
and owe a big debt to Satie in mood. Into this he mixes some
pretty drum'n'bass pieces that sound as if they came off of
1996's "Richard D. James" album. (Rumors have it he recorded some
of this years ago anyway.) A few pieces of cascading dancefloor
growl electrosmash and almost pure noise are mixed in for
contrast. What's most impressive about this is the way he paces
the album--it's not just one big bell curve of energy. He reaches
for highs and lows so often, but so adeptly you feel totally
manipulated, but in the hands of a master. [RE]

CHARLEY PATTON "Screamin' and Hollerin' the Blues" (Revenant) 7xCD Box  $164.99
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One hundred and ten years after his birth and sixty-seven years
after his 110 years after his birth and 67 years after his death,
the rhythmic, propulsive, and syncopated blues of Charley Patton
(1891-1934) can now finally take their deserved place in the canon
of early popular music alongside Ellington, Armstrong, and Robert
Johnson (who has, for far too long, overshadowed Patton's legacy).
Revenant Records' stunning, massive seven-CD document is the
culmination of decades of speculation and research into the life
of the greatest Mississippi bluesman who ever lived. "Charley
Patton?" you might say, "sounds vaguely familiar?", but during the
teens and twenties he was the most widely respected, revered,
emulated, and loved musician in all of the Delta. Time has reaped
laurels on many who came after while relegating his
accomplishments to mere footnote status.
However, once you step into Patton's cosmos, you become dizzy with
the ways in which his sphere of influence spirals outward across
the landscape of 20th-century American culture. You begin to
understand why rare copies of his 78rpm records are
considered 'holy grails'. You begin to understand what drove young
men in the late '50s to get in their cars and drive through
countless counties and neighborhoods in search of anyone with
information or insight into the enigma that was Patton. And then
you begin to feel jealous that they were able to meet and talk to
people who knew Patton, had seen him play, had played with him,
had married him, had been at the barn dance where he had his
throat slit and almost died. But then you mainly feel grateful for
their efforts, all of which have been lovingly preserved herein.
This box set makes any that came before look as if it were made
with construction paper and crayons. It is simply the finest
document of its kind. It includes: Patton's entire catalog of
fifty-two issued songs, plus songs by his last wife Bertha Lee,
and dozens of songs by his friends, associates, and proteges like
Son House, Willie Brown, Bukka White. An entire CD of interviews
with people who knew him, like Howlin' Wolf and Pops Staples. An
exact, freestanding reprint of John Fahey's long out-of-print 111-
page study of Patton from 1970. 128 more pages of fascinating
anecdotes and research by noted blues scholars like Dick
Spottswood and David Evans. Not to mention a sticker set of
Paramount 78 rpm labels, copious photographs, original
advertisements all housed in a hardback 78 rpm album book and
housed in a gorgeous green linen slipcase inlaid with gold ink.
This level of quality simply hasn't existed since, well, Patton
was making records.
Outside of Blind Willie Johnson there was no singer from the
period who was as capable of sustaining such pure, raw emotion. He
honed this power on the medicine show circuit, on Southern
plantations, and all-night dances where he was in demand by both
white and black audiences. Now we can fully see the ways in which
his influence was passed on to Lightnin' Hopkins, Muddy Waters,
John Lee Hooker, and American music as we now know it. [MK]

LANGLEY SCHOOLS MUSIC PROJECT "Innocence and Despair" (Bar None) CD $13.99
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In 1976, Hans Fenger was hired into the Langley School District
as a music teacher. New to the task, he was impressed by the
Schulwerk method of Austrian composer Carl Orff, which involves
making music with a variety of easy-to-learn, mostly percussive
instruments. But Orff's methods usually apply to students self-
composing, or following a quite different repertoire than the one
the Langley students found most compelling. They, with the
encouragement of Fenger, picked out their favorite songs to render
in the Orff style, (one dominated by xylophones and drums, for a
gamelan-like sound). Beach Boys (6 songs) and Wings (2) were
particular favorites, but Fleetwood Mac, David Bowie, The
Carpenters, Neil Diamond and more are also given the treatment. 60
angel voices singing pop songs with their own sense of phrasing
and tuning, set to a not-always-steady beat? The results are
devastating, ethereal and funny, but most of all, mystifying. Hits
you in the gut where you didn't even realize--their renditions can
make you tremble with amazement. [RE]

23 SKIDOO "Seven Songs" (Ronin, UK) CD $15.99
23 SKIDOO "Urban Gamelan" (Ronin, UK) CD $15.99

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It goes without saying that these epoch-defining records must be
included in any discussion of the variegated history of
experimental (electronic) music. Their welcome reissue also brings
to light their uncanny prescience. Since 1979, 23 Skidoo, working
in Sheffield (often with Cabaret Voltaire) were combining rough
analog electronics and live instrumentation in a way that
foreshadowed contemporary artists too numerous to catalogue here.
Yet they had no more than a cult following, both in the US and the
UK. The opening grooves of 'Kundalini' from "Seven Songs": live
slap bass playing and a percolating, hard electro bassline, sounds
like it could have been released last week. Fritz Haaman, Johnny
Turnbull, Alex Turnbull, Tom Heslop, and Sam Mills were but one
configuration, with the Turnbull brothers remaining steady members
throughout the groups impressive career. "Urban Gamelan" is
undoubtedly the bands most ambitious record, in which they play
Kendang, water jugs, congas, tapes, metal percussion, bamboo
xylophone, and (of course) gamelan as well as a host of
other found instruments. Though the record is a trunk full of
funk, it almost falls into the category of outsider music in
that the instrumentation is culled from the everyday. 'Language
Dub' is a stunning piece with judicious use of long delay, short
delay, space echo, reverb, flange, phase, noise gate, echo
feedback, shotgun snare, rubber bass, zipping highs, and a
cavernous bottom. Many of the tracks on "Urban Gamelan" are a
madhouse of post-punk experimentation, indicative of the role dub
has assumed as a deconstructing agent, a locus of crosscurrents
from reggae, rock, jazz and improvisation. [TH]
"7 Songs"
"Urban Gamelan"

REINHARD VOIGT "Im Wandel Der Zeit" (Kompakt, Germany) CD/LP $15.99/$15.99
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Mike Ink's prolific brother also has a remarkable ear for a lean,
mean groove, and he's released his first full-length record under
his own name--it's an eye-bleeding Cologne record with eight
tracks that are certain to cause electrical disturbances within a
five-mile range. Voigt has a large palette of analog styles, and
thus he often moves away from the crunchy, dry Kompakt dancefloor
style, particularly on the second half of the record. At this
point he creates more contemplative, dissonant tracks that retain
the severity of the fourth track (they're all untitled), a chest-
caving, battering ram for the hardest dancefloors, which moves
with the grace of a pebble skimming a frozen pond, yet possesses
unearthly sounds in true Voigt brothers fashion. The sheer volume
of Kompakt releases means than many get lost in the shuffle.
Anything by Reinhard Voigt, including work done under his numerous
pseudonyms is simply required if one wants to hear the most path-
breaking, exciting electronic music being made today. [TH]
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MARKUS GUENTNER "In Moll" (Kompakt, Germany) CD/LP $15.99/$16.99
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Markus Guentner's "In Moll" is not just his first album, but also
the first to incorporate the Kompakt label's new style (showcased
originally on "Pop Ambient"). It's a magnificent debut,
incorporating giant pulses of synth, extended reverberant tones,
chimes--the prettiness of Boards of Canada taken to an abstract,
nearly geometric extreme. Hands-down the best ambient record this
year, and one to teach label owner Mike Ink and his GAS project a
thing or two! Beautiful! [JS]
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DERRICK CARTER "About Now" (611) CD $15.99
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Until you hear Carter, you can't believe how elevating a DJ can
be, how the dancefloor itself exists for artists such as Carter as
clay to be sculpted. Carter sets a gorgeous, loopy house beat that
can be euphoric at one end and breathlessly melancholy on the
other. Even for having a stellar reputation, Carter's oeuvre is
hard to track down. There are a few legit mix CDs, and he has
umpteen remixes under his belt (including some indie-rock cred,
yes, folks, he's remixed Cibo Matto and Tortoise) and a few 12".
But his real talent has been exposed on his self-released mixes
from a number of years ago--particularly the amazing "Gaussian
Blur." On "About Now", Carter uses a lot of French house, bridging
it to soul and drawing out its disco core, from the hilarious euro-
almost-calypso growl of De Pompidou to a number of tracks that
sound like Daft Punk outtakes (only from total unknowns to me). I
can't say much about his source material-- only that he finds the
coolest, weirdest house mixes around to squish into contorted,
almost impossible beat patterns. This is no common song-to-song
mix, even though that's what the CD jacket reads like. Carter's
version is more commonplace in study--as if making his own
scrapbook, filling it with pasted-in pieces from all over, beats
and chunks that will surface umpteen times before the disc is laid
to bed. I think he's only rivaled by the breadth and depth of
Masters at Work. Carter gives his own technique: "mixed using the
XTS system: 118 Mac G4s, 21 Technics MK 1200s, 7 Pioneer DJM 500s
and a DAT player found in the trash." With this disc, you can hold
Body and Soul in your bathroom, if you want to. 73 sharp minutes.

NORMA JEAN BELL "Come Into My Room" (Peacefrog, UK) CD/LP  $16.99/$17.99
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You may not know Norma Jean's name, but if you've ever been a fan
of the cheap house music of Kenny Dixon Jr. (aka Moodymann), you
have heard her work. Norma Jean's eerie soprano sax solos and
plaintive r&b vocal stylings have been Moodymann staples for many
years now. Norma Jean herself has put out self-produced 12" as
well, these a bit more traditional upbeat-vocal garage house, but
the B-sides always have a Moodymann remix of the A, a darker,
bitterer take. This album is primarily a collection of those
remixes, some of Dixon's best and rarest work to date. 10
beautiful dancefloor laments that remind one that dance music
should never be soul-less, always be a bit dangerous. If you are a
fan of Nick Holder, the Loft sessions, Moodymann and the like: I'm
here to tell ya it don't set much better than this. [DH]
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[V/A] "Turkish Delights" (Grey Past, The Netherlands) CD/LP  $16.99/$16.99
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The years between 1967 and 1971 included an increased interest in
the Western music communities (not C&W, just W) about music of the
east--the biggest focus was on India, but Turkey got folded into
that subcontinental eye, at least instrumentally. While that was
going on, the Turkish musicians had their own good view back at
the West--and did their own hybrids from the opposite perspective.
While compilations exist (most recently the "Hava Narghile" comp.--
and only one or two tracks on that overlap with this--include one
of the best tracks, 'Trip' by Baris Manco), they're still rare and
this is welcome (and probably ephemeral, so grab it while you
can). As usual, the Beatles are the biggest influence, but with
Turkish scales being different, they related strongly to the
darker, minor-key work of the Shadows and the Animals, too. Along
with 'bigger' names like Erkin Koray, Mogollar, and Mavi Isiklar,
the standouts here are from Istanbul Erkek Lisesi (high
schoolers!), the insane Bunalimlar (notorious, drug-addled),
Beybonlar (including an 11-year-old drummer, whose song centers
around crying-baby noises), and Selcuk Alagoz, a pop singer from
the older generation who did some great rocking numbers with
hiccuping rhythms. One thing I find particularly funny is how a
bunch of these groups wear Nehru jackets (!) in their publicity
photos. Good liner notes for something so obscure. And 26 tracks.
I liked this better than Hava Narghile, maybe because the high
points are a lot weirder. [RE]
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PLAYGROUP "s/t" (Source, France) CD/LP $21.99/$24.99
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When Trevor Jackson's Playgroup released their first single, 'Make
It Happen' a year ago, I thought, how does this guy find the time
to run the Output label (original home of Fridge and Four Tet),
design all the imprint's prize-winning artwork, do dozens of
remixes in his Underdog guise, and spin every week? I still don't
know, but Playgroup's jaw-dropping debut album is another
contender for album of the year. Recorded with a great deal of
live instrumentation, including guitar played by Scottish pop
legend Edwyn Collins (Orange Juice) and Aztec Camera-man Roddy
Frame, the record also features Dennis Bovell, Kathleen Hanna, and
more 'luminaries'. But, crucially, this isn't a mere hipster jam
session. Jackson's production, programming, and arrangement and
his lack of self-publicity make it a record that is immensely
pleasurable. Jackson worships the records released on NY disco
labels West End, Salsoul, and Prelude in the early 1980s. The
recent French disco-house wave also looked to that period, but
lacked the soul found in Tom Moulton's mastermixes. Jackson
captures it perfectly but creates something anew while retaining
the spirit. The opening 'Number One' is a disco leviathan that
would make Bernard Edwards and Nile Rodgers blush, and possibly
Michael Jackson call his lawyers. And who would follow that with a
roots reggae tempo song sung by Kathleen Hanna, sampling generous
portions of Paul Haig's 'Mad Horses' and 'UK Boatlaw' by The
Slits? He has the ear of Phil Spector and an ability to make
eclectic elements cohere so that one never feels that this
eclecticism is just for its own sake. There are a couple of covers
here, Scritti Politti's 'Too Much' and the perfectly-executed
digital dancehall rendering of '50 Ways to Leave Your Lover',
the '70s Paul Simon radio hit. The latter features vocals by
Shinehead and turntable bites by Davy DMX. You're going to want
to buy this record eventually, may as well get it now. [TH]
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[V/A] "Shaolin Soul Episode 2" (Hostile, France) CD/LP $13.99/$16.99
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The 2nd release in a series dedicated to documenting the original
tracks sampled by The RZA is full of dark and moody soul, pulled
from 1969-79. Listen for the haunting echoes of the "Ghost Dog"
score, ODB's raunchiness, and, classic moments from the Wu-Tang
Clan. Includes lots of Willie Mitchell productions from the Stax and
Hi labels, with vocalists Al Green, Syl Johnson, & Ann Peebles as
well as tracks produced by Isaac Hayes, David Porter, Curtis
Mayfield, and Gamble & Huff. More than a collection of breaks,
these songs work together to showcase the influence of
crate-digging on hip-hop's aesthetics. [DG]
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THE FALL "Live At The Witch Trials" (Cog Sinister, UK) CD $14.99
THE FALL "Grotesque" (Cog Sinister, UK) CD $14.99

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Where do you start on the Fall? Well if you're a fan, you are 99%
likely to know both of these records by heart already, and, if
not, (& you've been daunted by the massive Hawkwind-esque
discography with piles & piles of CDs confronting you at the shop)
start with "Grotesque (After the Gramme)", and then buy
either "Live at the Witch Trials," "Dragnet," the "Palace of
Swords Reversed" comp., or "Hex Enduction Hour". Then buy
whichever ones you didn't get. "Live at the Witch Trials" (it
should be noted isn't 'live') was the first Fall full-length,
issued originally on Step-Forward (home of the Transmitters & the
Cortinas) in 1979. It's a sprawling affair that hints at an almost-
straight punkness--just before everything become chaotic and the
ever-present spouting of Mark E. Smith became instantly
recognizable. "Live at the Witch Trials" was reissued a few years
back in a completely unlistenable edition, and now luckily, this
ready for actual enjoyment. Recorded in my all time favorite
recording studio (Street Level [home of Deleted & Fuck Off
Records]) by Grant Showbiz (who worked with Mark Perry & the
Smiths) & Mayo Thompson, "Grotesque," the band's first album for
Rough Trade, was their third studio album, originally issued in
1980. It is here the Fall take on their classic sound, and brings
forth two ultra-extended rants 'C&C's Mithering' and 'The
N.W.R.A', which somehow manage to not get completely derailed
despite Mark E. Smith's ambitious efforts to do so. And of
course, "Grotesque" cannot be discussed without mention of 'New
Face in Hell,' a song which 'inspired' Pavement so much
(particularly on their 'Conduit for Sale' and 'Forklift Beam')
that even one of my parents asked me, when listening to it, "Isn't
this the 'i'm trying' song?" (!) I just can't imagine the vapidity
of any life still untouched by this album. [MG]
"Live at the"  //perl-bin/OM/CD_Add_To_Cart.cgi?sku=60438841072&refer_url=email
"Grotesque"  //perl-bin/OM/CD_Add_To_Cart.cgi?sku=60438842582&refer_url=email

STARS OF THE LID "The Tired Sounds Of Stars Of The Lid" (Kranky) 2xCD/3xLP $15.99/$16.99
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Stars of the Lid press their best here, a record of such scope it
does what the entire Harmonic Choir can do, only they're just two
guys with some nice technique. Brian McBride and Adam Wiltzie fill
their CD with mock-ponderous titles, only they actually live up to
what they suggest. 'Requiem for Dying Mothers'? If you listen to
this deep, brooding, elevated piece of guitar and string and
samples with that title in mind, you too would be unintentionally
weeping by the end (it's about 20 minutes long, too; that's a lot
of liquid lost). Even so, they don't do this just to one-
dimensionally pull your heartstrings, there's much more tangled
faintly in the mix of a quizzical, mysterious nature--gentle
laughter from a telephone, piano that sounds as if it's
communicating from decades away, recordings of voices, wind. I
think they took Glenn Gould's atmospheric documentaries as
inspiration--and then just kept the atmosphere itself as content-
through-implication. Their album from 1998, "Per Aspera Ad Astra"
was a 'duet', if you will, with the painter (and OM regular) Jon
McCafferty, who often uses their music to paint by. (They did one
in between, "Avec Laudanum".) If you, too, have any need for two
hours of slow, solid meditative music that isn't cliche, for any
activity, here are your disc(s). Now what would they do with the
entire Harmonic Choir? [RE]
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DE FACTO "How Do You Dub? You Fight For Dub. You Plug Dub In." (Restart) CD $9.99
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De Facto's second release within the span of a few months was
actually recorded in 1999. These indie-rockers from At the Drive
In have a deft touch for the dub--this is no wannabe project. This
trio play live, very lo-fi dub--no samples--and their version has
a rock undertone in the peculiar jaggedness of production, beats
that can fall into familiar hardcore patterns and wriggle out of
them just as fast. This is one of the roughest dub albums I've
ever heard, and I don't mean that in a bad way--the whole thing's
like dub sandpaper, of an ultra coarse grit. For instance, the
melodica used doesn't play little melodies--instead it squeaks and
stutters along. Spacy sounds and keyboard that sounds like a
particularly menacing bug; a few vocals in Spanish, just like the
last album ("Megaton Shotblast"). An improvement on that one, too.
Damn! [RE]

[V/A] "Skampler" (Skam, UK) CD $16.99
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The first eight releases on the Skam label, alongside early Aphex
Twin and Autechre, form the canon of what has come to be
called 'IDM', a term that even some of its adherents aren't really
too happy with. But if you possess a copy of Skam 001, Lego Feet's
EP, you might as well have a signed first edition of Moby Dick as
far as electronic music fanatics are concerned. The "Skampler" was
first released by the now-defunct San Francisco label/distributor,
Silent, around the same time as Skam released their still-in-
print "0161" compilation. It's very difficult to listen to this
collection nearly five years after it was released, because so
much has taken place in electronic music, so one cannot really
hear these tracks anew. Their influence is on a global scale, and
the sheer invention found here (and there is an abundance of it)
is obscured by what has followed. But Bola's
heartbreaking 'Cobalt' and 'Forcasa 3' retain their power after
all these years (wait, that's only about three!). Highly
recommended. [TH]

TREMBLING BLUE STARS "Alive to Every Smile" (Sub Pop) CD $13.99
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Listening to the opening chords of 'Under Lock and Key', you could
be forgiven for thinking that these gentle, acoustic popsters are
becoming a rock band. This album and its predecessor, "Broken by
Whispers", are like chalk and cheese. The production on "Alive..."
is strongly reminiscent of New Order, circa "Low Life". But you
wont find any complaints about that from their very loyal fans.
In fact, 'With Every Story' sounds like a track from an unreleased
session by that latter band, with Keith Howard's bass keeping the
melody going, and rising and falling choir sweeps getting stuck
like thorns in linen. The band's history began with various
members in the peerless Field Mice on the equally flawless Sarah
label. Many critics of the Sarah (now Shinkansen) label felt the
music was fey and self-pitying, but they missed completely the
irony and the despair. Those attributes are certainly found on
this record, in which each song tells of broken hearts, words
never uttered, regret, and unrequited love. To mistake these
themes as adolescent would be unfortunate, particularly on the
nuanced and lyrically complex 'Ammunition', in which the vocalist
admits he's caused someone suffering but cant find a way to
repair the damage done. 'Little Gunshots', another New Order-ish
threnody, completes the album, with some unexpected, cheerful pop
vocal stylings. This record is not only full of great songs, but
it refuses to conform to the doxa of contemporary pop. [TH]

MR. LEN "Pity the Fool?" (Matador) CD/LP $13.99/$9.99
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Mr. Len (of Company Flow) gives over his super production skills
into something that works like a comp., with him at the 'tables
but also acting as curator of his fave MCs, the predominant, and
most striking contributor being one Miss Jean Grae aka What? What?
aka Tsidi Ibrahim (progeny of Abdullah! Someone give this woman a
record contract. Now.), who, among other things, does the female
version of Eminem-style gruesome storytelling exceedingly well.
Len's beats sink purposefully, repeatedly, into metal riffs,
jerked piano, drumming like nails pounded down. Len circles his
environment like the cawing vulture/blackbird he starts the album
with--seeing everything with a winking eye, possibly waiting to
devour scraps. A bit sprawling, he packs 16 tracks onto a 13-track
album (that's the CD player/liner notes discrepancy) the leftovers
being mysterious beat tracks behind miking conversations of friend
and/or strangers (even if they can wax clever, also giggly). Other
guests include Chubb Rock, Steady Roc, Q-Unique of the Arsonists,
more. [RE]
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HOPE SANDOVAL & THE WARM INVENTIONS "Bavarian Fruit Bread" (Rough Trade, UK) CD $16.99
RealAudio: /ramgen/othermusic/hopesan2.rm
RealAudio: /ramgen/othermusic/hopesan3.rm
A record written around Ms. Sandoval, her of the voice so intimate
you're almost embarrassed to be in its presence. And that voice is
central to the album, she's a sonambulistic Stevie Nicks singing
the blues without actually writing anything in blues chord
progressions. Sandoval's voice is recorded like aging actress
divas used to be photographed--as if through a layer of
cheesecloth or vaseline--but in this case the distance is
necessary, she's overwhelmingly powerful up close. The
arrangements fade into nothing at the contrast: all you can
remember from this record is her voice. When the record's over,
it's as if it was a cappella. The music, btw, is a nice simple
British-folk style setting of (pick one, usually) guitar, slooow
drum, one cello, piano rolls or the occasional harmonica wheeze
(arr. by Colm O'Ciosoig, ex-My Bloody Valentine). You can't do
harmonica in this singer/songwriter context without evoking Dylan,
and her melodies have a similar slow meander. (Two songs overlap
with her last EP.) The cover of Leonard Cohen is forgettable, but
nothing else here is. [RE]

Just In:

[V/A] "Electroclash" (Mogul Electro) CD $11.99
The new wave of the new wave! Fresh off the Electroclash festival
two weeks ago comes this compilation. Exclusive tracks from lots
of until-now undocumented new artists, but also one from Khan.
Other artists you may have heard of: Mono Trona, A.R.E. Weapons,
Soviet. The first/best document of the new NY electro scene so

PINBACK "Blue Screen Life" (Ace-Fu) CD $13.99
The second from Rob Crow (Heavy Vegetable, Thingy, Optigonally
Yours) and Armistead Smith (3 Mile Pilot). A bit of maudlin mettle
from these two, with one track included off of their last EP.

PULP "We Love Life" (Island, UK) CD/LP $24.99/$31.99
New album! Import only, and supposedly not slated for domestic
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THE FALL "Are You Are Missing Winner" (Cog Sinister, UK) CD $18.99
Oh yes, a brand new one from Mark E. Smith & Co.

TO ROCOCO ROT "Kolner Brett" (Staubgold, Germany) CD/LP $15.99/$14.99
Aural interpretation of a new building, the "Kolner Brett" in
Germany. Each musical unit (12 of them) corresponds with a living
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[V/A] "Future Sounds of Jazz V.8" (Compost, Germany) CD $15.99
New volume of the series, includes Attica Blues, Kaos, Dan Curtin,
more. Five exclusive tracks, many more never before on CD.

DISMEMBERMENT PLAN "Change" (DeSoto) CD $13.99

BIRDIE "Triple Echo" (IT, UK) CD/LP $22.99/$22.99

TALVIN SINGH "Back to Mine comp." CD/LP $23.99/$31.99
An international selection by Mr. Singh, from the classic Massive
Attack remix of Nusrat's "Mustt Mustt" to obscurities such as
Swati Natekar. From America to Africa to Pakistan to England and
back again.
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THE SILVER MT. ZION "Memorial Orchestra & Tra-La-La Band" (Constellation, Canada) CD/LP $13.99/$15.99
Godspeed YBE! side-project expands to a six-piece for their second
album. Less goofy than GYBE, also less sweeping, mostly lo-fi
ambient instrumental pieces.
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CONVOCATION OF "Pyramid Technology" (Tigerstyle) CD $13.99

ANITA LANE "Sex O'Clock" (Mute) CD $15.99
Originally the release date for this was Sept. 10--ooof. Out now,
with Mick Harvey.

MOGWAI "My Father the King" (Matador) CD single $5.99
One 20-minute song meant as a companion to their recent
album, "Rock Action". A metallic epic?

LOCUST "Wrong" (Touch, UK) CD $22.99
Mark Van Hoen with four vocalists, all electric analog synths for
a '70s electronic feel. More next week.

This week's contributors: Robin Edgerton [RE], Daniel Givens [DG],
Michael Goodstein [MG], Duane Harriott [DH], Tim Haslett [TH],
Michael Klausman [MK], Jeremy Sponder [JS].

The Big Picture:

To see a complete list of Other Music new releases for the
week ending October 23, 2001, use this link as a shortcut:

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the links following each review or visit our Web site at

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Thanks for reading.
-all of us at Other Music

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