Other Music New Release Update
April 18, 2002

In This Weeks Update:


Gary Wilson
A Certain Ratio
Ursula 1000
Pan American
Jon Spencer Blues Explosion
Freescha
Herrmann and Kleine
David Holmes
Meditations
Thomas Brinkmann
Pedro the Lion
Swayzak
Ludus
Marshmallow Coast
J-Live
Sandoz
Wechsel Garland
Crispy Ambulance


Featured New Releases:

GARY WILSON "You Think You Really Know Me" (Motel) CD/LP $14.99/$14.99
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Gary Wilson's "You Think You Really Know Me" is no doubt 2002's
biggest anticipated reissue for most of the Other Music staff.
Here's what some of our Gary-lovers had to say:
DAN:  This record is far from being completely unheard of, yet it
has never received the more widespread acknowledgement it
deserves. I urge you to get to know Gary, for better or for worse,
as he is truly a soul artist.
NICOLE: The first time I heard "You Think You Really Know Me," I
felt an odd mixture of fear and sympathy for Gary Wilson. I think
it was the repetitive cry out to God on "6.4 Equals Makeout" that
left me upset but also intrigued and wanting to both hear and
learn more about the origins of such an auteur. I love playing the
record to folks who have never heard it and watching their
expressions change as Gary revealingly wails out paeans of
obsession in between joyous shouts of "whooo!" all over those
outrageous faux funk keyboards. Some call it novelty. I call it a
peek inside an American dream seen through a haunted house/fun
house mirror.
CHRIS: Every time I hear this album, I hear something I didn't
notice before. You can really keep going deeper and deeper with
Gary.
SCOTT: Ultra-sincere, so for-real. Outsider art masterpiece!
DUANE: This is probably one of the most honest recordings I've
ever heard in my life. The artists I would probably compare
Wilson's best work to would be Prince, Beck, Talking Heads and
Bjork. Wilson doesn't sound like any of these artists at all really.
But aesthetically he is their equal for his ability to take the intensely
personal and downright embarrassing feelings of insecurity we all suffer
from sometimes, and interpret themthrough song.  Like the
aforementioned artists, if you connect with Wilson's music, you
REALLY connect. [DHo/NL/CO/SM/DH]
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A CERTAIN RATIO "Early" (Soul Jazz) CD/LP $16.99/$18.99
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Powerhouse British label Soul Jazz Records unleashes yet another
absolutely essential archival recording with "Early," a
compilation of A Certain Ratios groundbreaking recordings from
1978 to 1985. The deadpan industrial funk of ACRs "Shack Up" kick-
started the labels previous and equally essential compilation "In
the Beginning There was Rhythm," a collection which contextualized
this unique blend of politicized British industrial sound and
dance/funk styles gleaned from Northern Soul, Reggae and American
Urban music. The scope and scale of "Early" cashes in on the sonic
promises of this same infectious groove and unsettling atmospheric
sound, revealing a startlingly original collection of classic post-
punk masterpieces. ACR was one of Factory Record's first artists,
weaving the legendary label's signature of hard-edged industrial
sounds and melancholy, infused with the high-speed urban energy of
dance music. They shared their rehearsal space with Joy Division,
cultivated the budding musical output of NYC's ESG, played out
with the Human League, and generally rode the creative tidal wave
of post-punk Manchester alongside fellow innovators like the Pop
Group, Throbbing Gristle and 23 Skidoo. This combination is
breathtaking and sounds as fresh today as it must have almost
twenty-four years ago. Disc one's tracks, pulled from the group's
first two albums (both produced by Factory engineer/guru Martin
Hannett), take full advantage of the alarmingly disjointed
collision of industrial and dance. (And later, Latin and disco)
Utilizing these disparate sensibilities, ACR created driving,
atmospheric and infectious songs that would become underground
classics and whose influence would spawn the sounds of many of
Manchesters future heroes, from New Order to the Happy Mondays.
The second disc of "Early" contains 11 songs culled from such
fertile ephemera as Peel sessions, alternate takes and cassette-
only releases, plus a 1980 recorded video of the group's first
appearance in New York. From the 1979 Peel session version of
ACR's first song, "All Night Party" -- ass-kickingly hard yet
simultaneously danceable anthem -- to the disco-fied organ and
percussion jam, "Si Fermir O Grido," the band's relentless energy
and breathtaking explorations are only further exposed.  With a
feature film based on the late-seventies Factory/Manchester scene
set to debut in theaters this year as well as the "one-two-punch"
of post-punk/dance sensibilities reemerging in todays most
compelling bands, once again Soul Jazz is right on time with their
presentation of these truly absolute classic masterpieces. Not to
be missed! [MH]
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URSULA 1000 "Kinda Kinky" (ESL) CD $14.99
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"Kinda Kinky" is a great leap forward in the career of Brooklyn-
based DJ/producer Alex Gimeno and his Ursula 1000 project. While
continuing to develop the style he introduced on his debut LP "The
Now Sounds of Ursula 1000", Gimeno ups the skill level
considerably here, leaving no doubt that this is his most
accomplished record to date. Drawing from a much larger pool of
source material this time -- Bollywood and Blaxploitation
soundtracks, 70s funk, 80s electro-boogaloo, Brazilian samba and
classic exotica, just to name a few -- Gimeno seamlessly weaves 14
original tracks aimed squarely at your head -- and your booty.
Featured cuts include the pre-release single "Beatbox Cha Cha"
which updates a classic sound by adding a big-beat backdrop. The
throbbing, upright bass of "Smokebomb" snakes around an out-jazz
flute line while a proto-jungle drum pattern snaps
underneath. "Continental Break Fest" blows up into a breakbeat
tour de force that pays tribute to early 80s, old skool hip-hop.
But perhaps the album's most surprising track is "The Girl from
N.O.W.H.E.R.E.", a psychedelic, vaguely Beatles-esque electronic
excursion not unlike tracks laid down by the French band Mellow.
Overall "Kinda Kinky" is an incredibly rich trip back into music
history that succeeds by updating the past while not wallowing in
kitsch. This is quite an achievement. [TC]
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PAN AMERICAN "River Made No Sound" (Kranky) CD/LP $13.99/$14.99
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Labradford's Mark Nelson has released the third album under his
Pan American moniker and this time out he incorporates more
influences into his dub excursions. On "River Made No Sound,"
Nelson allows the tracks to build little by little around ambience
and electronics, giving each song space to breathe. Obviously
weaning himself from the trademark dub that has made himself and
his peers so popular, he throws in dark atmospherics, floating
ambient passages, and beats which at times tread into tech-house
territory. With "River Made No Sound," Nelson has created an album
that has more in common with artists like Vladislav Delay and the
Mille Plateaux record label than his indie rock roots. [JS]
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JON SPENCER BLUES EXPLOSION "Plastic Fang" (Matador) CD/LP/LTD-CD $13.99/$17.99/$14.99
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The music climate has certainly changed in the four years since
Jon Spencer and his Blues Explosion released their hip hop
infused "Acme." Enlisting Keith Richards' collaborator Steve
Jordan to twist the production knobs, "Plastic Fang" forgoes most
of the electronic-charged noodles and loops from the previous
album and features JSBX at their swampiest. Spencer's
trademarked call-outs and devil-possessed Elvis impersonations
are still present, but underneath it all is probably the band's most
straightforward collection of songs yet. The guitars still tug and
chug, but now with refined riffs which lend some credence to the
band's use of the "blues" descriptor. And while song names like
"Midnight Creep", "Killer Wolf" and even the album title more than
suggest B-movie cheekiness, Spencer has never sung more soulfully.
In tracks like "She Said," he howls with the intensity of a possessed
southern preacher. Dr. John and Parliament/Funkadelic's Bernie
Worrell make notable appearances on two tracks. (Worrell's low-end
keyboard warbles in 'Over and Over' are just as fresh as they were on
"Funkentelechy vs. the Placebo Syndrome" some twenty-five years
ago.) Though never really out of style, rock and roll is certainly back
in fashion with bands like White Stripes bringing garage rock to
the forefront. Meanwhile, Jon, Judah and Russell have finally released
the record they've always hinted at delivering. [GH]
[PLEASE NOTE: Limited Edition Package CD available for $14.99]
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FREESCHA "Slower Than Church Music" (Shingle Street) CD $15.99
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"It sounds like Boards of Canada" often serves the lazy record
store employee in a pinch -- a shorthand encapsulation of the
general sonic provenance of any number of artists operating within
the ever-expanding universe of pastoral electronica. Freescha's
newest release, "Slower Than Church Music," gracefully and
discreetly rebels against this ultra-simplistic and essentially
misleading label. This San Francisco duo play all of their
elegant, dense and, as the title implies,  slow spiritual sounds
live, without the often overused, and at times, obfuscating aid of
sequencing software. What results is genuinely compelling. "Slower
Than Church Music" is structured essentially as a set of themes
and variations, featuring pianos as well as what sounds like
prepared pipe organs, and set against the thumping and sliding
cadences of free-falling asteroids. A stripped-down song structure
extending from one track to the next at times evokes the aura of a
gothic fugue, and at others, a weathered lullaby. The warm,
folding warblings of analogue synthesizers develop into ominous
patterns and blanket abstracted percussion vignettes. Meanwhile,
snippets of spoken, sung and chanted vocals gently emerge through
the fuzzed sonic textures eluding exact interpretation. Sprinkled
throughout are small moments of devastating beauty, such as a
tinklingly slight interlude bracketed by the sounds of wind and a
horse's resigned sigh. The purposeful and lethargic grace, conjured
by Freescha's simultaneously lush and effervescent constructions,
results in a concept album whose subject is the pensive beauty of
its own enfolding sonic construction. Highly Recommended. [MC]
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HERRMANN AND KLEINE "Our Noise" (Morr Music) CD/LP $14.99/$12.99
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It's been a long time coming but Herrmann and Kleine have finally
released their debut album on the fabulous Morr Music label. Up
until now, the duo may have teased us with numerous
appearances on compilations as well as their two EP's, but they
have proven it to be well worth the wait. On "Our Noise," H&K take
a sharp left-turn from what you would expect by incorporating many
new elements to their playful, electronic melodies. Tracks flow
from downtempo pastoral techno, to melodic electro, to blissed out
electronic pop. One of the album's highlights is a wonderful cover
of Slapp Happy's mindblowing "Blue Flower" (later made famous by
Mazzy Star). Its sheer walls of beautiful feedback, electronic
breakbeats, and the whispered vocals of Ariane Hensel would make
My Bloody Valentine proud. Once again hats off to Mr. Thomas Morr,
for releasing this beautiful late night listen! [JS]
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DAVID HOLMES "Come Get It, I Got It" (13 Amp) CD/LP $16.99/$28.99
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"Come Get It, I Got It" is a conceptual DJ mix, and as far as I
can tell, the Free Association doesn't exist even if they're
credited throughout this release. (This should come as no surprise
considering the fact that Holmes' first two albums were basically
soundtracks to non-existent movies.) Regardless, "Come Get It, I
Got It" is an amazing mix of old psychedelic soul/rock. Some of my
most favorite songs in the whole world, like Sixto
Rodriguez's "Sugarman," a mellow Latin inflected ode to a drug
dealer, or Ray Bryant's spy-jazz workout, "Up Above the Rock," are
on this compilation. The whole mix has a dark and gritty feel to
it but if you are a fan of David Axelrod or Isaac Hayes, then
you'll probably get into this. There aren't enough compilations
that document the great psychedelic soul from the sixties, so
props go out to Holmes for exposing some of this to the masses.
[DH]
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MEDITATIONS I Love Jah (Wackies) CD $13.99
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"I Love Jah" is the latest in a series of Wackies label reissues
put together by the Basic Channel people to pay homage (I assume)
to the vintage Jamaican music so influential on their new brand of
techno. With that background, I was surprised that this excellent
LP from 1982 is less of a pure dub album, and more vocal driven.
The Meditations deliver classic, vocal-trio harmonies on
spiritual, message-driven songs but with a deep, percussive,
rootsy treatment. Not unlike the amazing sessions Lee Perry
produced for Bob Marley (for whom they occasionally did back-up
work), or Peter Tosh's early solo stuff, or the Congos. Melodic,
deep and uplifting. [JM]
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THOMAS BRINKMANN "Soul Center Vol. 3" (NovaMute) CD/LP $15.99/$17.99
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Thomas Brinkmann's latest installment in the highly acclaimed Soul
Center series explores several electronic territories. At times
dubby and tribal, others jumpy and pop-oriented, Volume 3
showcases his love for early house music and his Detroit
influences. (Lots of keys and synth stabs.) Brinkmann develops his
tracks from minimal funk, jazz and soul elements (samples), that
continuously build in rhythm and instrument, into complete
thoughts; the album becomes more dance-oriented as it progresses.
If you own the first two Soul Center volumes, you already know the
deal. If not, this is a great introduction to the world of Brinkmann.
[JD]
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PEDRO THE LION "Control" (Jade Tree) CD/LP $12.99/$9.99
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I can't ever get through a Pedro the Lion record without wanting
to give Mr. Pedro, aka David Bazan, a big hug. Very often, the
singer/songwriter's odes trudge forward with a sad yearning very
similar to Sebadoh's finest moments, only substitute Lou Barlow's
stoner references with a flourish of religious imagery. Like his
previous records, Bazan's narrative tone is up close and personal
as the Seattle singer struggles to find comfort for modern day
insecurities from his deep convictions. Hopeful and earnest, this
collection of Pedro songs doesn't offer many answers either, more
like resigned acceptance. "Options" starts the album with Bazan
singing: "I could never divorce you, without a good reason, and
though I may never have to, it's good to have options." (Marriage-
gone-wrong is an underlying theme throughout much of this
record.) "Control" certainly has its share of somber songs but
also features some of Pedro's biggest rock moments. "Rapture"
and "Rehearsal" both kick-off with a fractured guitar and proceed
to churn over drum-heavy beats. Bazan, who doesn't always enlist
additional musicians for his recordings, shares instrumental
duties this time around with Casey Foubert. Together, the two have
created Pedro the Lion's most mature album to date. [GH]
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SWAYZAK "Groove Technology/Volume 13" (K7) CD/LP $18.99/$18.99
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Swayzak have come up with one of the best tech-house mix
compilations I have probably ever heard. The fine folks at
Groovetech enlisted the duo for the third volume in their series
of DJ mix CD's. Not being a fan of Swayzak's previous recorded
output, I must tell you that at first I wasn't too impressed. But
the DJ Mix on these two CD's is flawless with tracks ranging from
the classic Basic Channel cut, "Q1.1(1A)," and Studio 1's "Lila,"
to the new breed such as Akufen and his brilliant "Architexture"
or Ellen Allien's "Funkenflug Der Traume." The list doesn't even
stop there, featuring tracks by Closer Musik, Herbert, Luomo,
Monolake, Michael Mayer, and many, many more. This is a mix for
the dancefloor. Twenty-four banging tracks that will get you up
and dancing in no time, and if not, then you must be dead!
Consider me now a fan! [JS]
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LUDUS "Damage" (LTM) CD $14.99
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Ludus was Linder Sterling and Ian Devine... together they created
some of the most uncompromising art damaged post-punk, that still
to this day defies the stasis of one category. One of their
biggest fans is fellow Manchester resident, Morrissey. In 1981 he
wrote: "Ludus perch uneasily on the fringes of all things bright
and avant-garde. Being the only sensible recipe for the culturally
damaged, theirs is a name destined to be in everyone's mouth,
should justice prevail. Knowing that it very rarely does, Ludus
are out to at least stretch their patience with the world to the
very elastic limit. And it is never denied that their music is
unlike almost anyone else's." Erratic, subversive, angular,
feminist, inspired -- this is a much-needed retrospective complete
with extensive liner notes. Ludus is certain to find a special
place in the hearts of Family Fodder, Liliput, Malaria,
Crainium/Centuries, and Erase Errata fans. A must for any and all
that are fond of art-punk. [AG]
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MARSHMALLOW COAST "Ride the Lightning" (Misra) CD $12.99
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Marshmallow Coast's latest album, "Ride the Lightning," stands as
one of the most enjoyable and creative releases to come from the
Elephant Six collective in quite some time. Like the Big Bang
Theory, Marshmallow Coast was birthed from a chaotic universe
parallel to Music Tapes'. In the few short years which have
followed, principal songwriter Andy Gonzalez has pushed his
brainchild into pop territories quite his own. Assisted by Derek
Almstead, and some guest appearances by members of Olivia Tremor
Control and his satellite band, Of Montreal, Gonzalez crafts a
catchy melody and then steers the arrangement through some
unexpected twist and turns. Like one of those lollipops that you
have to lick a few times to get to that tootsie center, there are
layers of sounds that you probably won't catch until later
listens. Magically, "Ride the Lighting" still remains spacious and
whimsical -- from the baroque pop of "So-and-So's with Emeralds in
the Sky" to the tropicalia flavored "Deet Et Moi." And unlike many
of Gonzalez's contemporaries, Marshmallow Coast is able to genre
hop -- from Thelonius Monk passages to mid-seventies circa Steely
Dan -- without falling under its own weight. "Ride the Lighting"
is a rare collection of songs that transcends from the often cliched
genre of indie pop to a much higher place on the modern music
shelf. [GH]
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J-LIVE "All of the Above" (Coup Detat) CD $15.99
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J-Live should have been a star by now. While still in college, he
self-released a 12" single called "Braggin' Writes" which many now
regard as a classic. J was quickly picked up by a major label,
recorded an amazing album that never came out, got dropped... You
know the drill. So after years of major label nightmares, we
finally have a proper full-length from this emcee and it's quite
good. Boasting production from underground luminaries like DJ
Spinna and Jazzy Jeff's A Touch of Jazz production team, "All of
The Above" is an honest, funky revisit to the "true school" hip
hop aesthetic championed by artists like Tribe Called Quest, Souls
of Mischief and so on. J Live's rhymes are hyper-intelligent and a
bit socially charged, but he's able to temper it with self-
effacing humor so he never comes off as preachy. I really like
this album and if you are a fan of any of the aforementioned
artists, you check this out. [DH]
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SANDOZ "Sandoz in Dub: Chant to Jah" (Soul Jazz) CD $18.99
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Cabaret Voltaire's Richard H. Kirk has been reinventing himself
for over 20 years, each time lending new influences to the
electronic world. His latest release, under the moniker Sandoz, is
a dubbed-out, dancehall-inspired, minimal experiment. "Sandoz in
Dub: Chant to Jah" is comprised of dirty, slow developing,
crawling loops that each take on different personalities and
direction. The bare elements of these tracks are exposed and
subtracted to create an overall organic experience. Ambience is
turned into body moving jams with simple additions of stripped
down dancehall rhythms. This album grew on me like a 5 o'clock
shadow, that is to say, quickly.  A definite mood setter and
indicator.  [JD]
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WECHSEL GARLAND "Liberation Von History" (Karaoke Kalk) CD $13.99
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Jorg Follert returns to the Karaoke Kalk label with his third full-
length. (His second under the Wechsel Garland moniker.) Where
Follert's previous album was a dark ambient record with minimal
changes, "Liberation Von History" harkens back to the debut that
he recorded as Wunder. Full of lush synthetic strings, deep bass,
twinkling pianos, muted horns, electronic beats, and the
occasional vocal, this album seems like an entirely lighter
affair -- both airy and cinematic. Follert has this knack for
creating extremely emotional music while still keeping it fun.
(I could just picture Bjork crooning along to his soundtrack-like
passages). A truly beautiful record. [JS]
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CRISPY AMBULANCE "Scissorgun" (Darla) CD $13.99
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After making their mark in post-punk history on the Factory label,
and without a need to prove their prescience and vitality to
anyone, Crispy Ambulance returns from hibernation to release an
album in 2002. Here, Crispy Ambulance show that they still have a
knack for rhythmic, quirky, spontaneous art-pop. 'Step Up!' opens
the album with the chanting and ambiguous chorus: "Slip and
slide!" -- vaguely reminiscent of 'Are You Ready' from
the "Plateau Phase" LP. Songs range from awkward dirge-pop, to
almost shoe-gazer guitar rock, to their trademark descents into
dark, cavernous soundscapes.  [SM]
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This week's contributors: Tom Capodanno [TC], Matt Connors [MC],
J Dennis [JD], Andy Giles [AG], Gerald Hammill [GH], Duane Harriott [DH],
Dan Houghland [DHo], Nicole Lang [NL], Josh Madell [JM], Scott Mou [SM],
Chris O'Rourke [CO] and Jeremy Sponder [JS].


The Big Picture:

To see a complete list of Other Music new releases for the
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