November 3, 2005  




Imaginational Anthem (Various)
Jan Jelinek
Chris Brokaw
Deaf Center
Jerry Yester & Judy Henske
Matias Aguayo
Tom Vek
Kenny Dope vs. P & P Records
Thomas Mapfumo
The Black Dog
Cherrystones Mix


Sun Kil Moon
Brian McBride
Satisfaction: Stones Covers (Various)

Koushik Mix CD (Restock)
The Earlies (Domestic Pressing)
Dreamies (Restock)
Dungen (LP Restock)
Grizzly Bear (Remixes)

OCT/NOV Sun 30 Mon 31 Tues 1 Wed 2 Thurs 3 Fri 4 Sat 5

Tom Vek

Up and coming Startime International recording artists Tom Vek and Dios (Malos) will both be playing in NYC this Friday night. Other Music has one pair of tickets to give away to each of these events; enter right away by e-mailing You can only go to one, so make sure to put in the subject header which show you want to win tickets for. The two winners will be notified by 4:00 P.M., Thursday, November 3rd. Leave a daytime phone number where you can be reached.

TOM VEK w/ Mobius Band

74 Leonard Street, NYC

THE MERCURY LOUNGE: 217 East Houston Street, NYC

OCT/NOV Sun 30 Mon 31 Tues 1 Wed 2 Thurs 3 Fri 4 Sat 5


This weekend, Caribou will be playing two shows at Webster Hall with Super Furry Animals. Other Music has a pair of tickets to give away to Saturday's performance. Enter by e-mailing The winner will be notified by 2:00 P.M., Friday, November 4th. Leave a daytime phone number where you can be reached.

Saturday, November 5th
WEBSTER HALL: 125 East 11th Street, NYC

NOV Sun 6 Mon 7 Tues 8 Wed 9 Thurs 10 Fri 11 Sat 12


Next Thursday, Broadcast returns to NYC, joined by Gravenhurst and Tralala. Other Music is giving away one pair of tickets to this great night of music. To enter, e-mail The winners will be notified by 4:00 P.M., Monday, November 7th. Leave a daytime phone number where you can be reached.

Thursday, November 10th
WEBSTER HALL: 125 East 11th Street, NYC

NOV Sun 6 Mon 7 Tues 8 Wed 9 Thurs 10 Fri 11 Sat 12



CD Release Party
Monday, November 7 @ 8:00 P.M.

15 East 4th Street NYC
(212) 477.8150
Free Admission/Limited Capacity







Imaginational Anthem
(Tompkins Square)

"White Mule III" Jack Rose
"Train Z" Suni McGrath

The stature of that patron saint of the acoustic guitar, John Fahey, has steadily been rising in the years since his death, and it is only too appropriate as he crafted some of the most exquisitely moving and beautiful music ever heard, with only the barest of means and his consummate skill. There is practically a wholesale revival going on right now, as the acoustic guitar remains in a set of sympathetic hands the most illustriously diverse and versatile instrument, capable of conjuring a world of emotions and moving majesty in a listener's mind. The 16 artists, assembled here by the new Tompkins Square label, all owe a debt to Fahey in one way or another, but each has a vision in his or her own right that amply illustrate the boundaries that, even as of now, have yet to be explored in strung steel and wood. This Imaginational Anthem serves as a ready primer for immersion into the current generation of players, whether it be the elegantly paced Glenn Jones, or the virtousic grappling that Jack Rose brings to bear on his instrument; as well as shed some light on near forgotten players of yesteryear, whose albums are so sorrowfully hard to come by, like Suni McGrath, Max Ochs, Steve Mann, or Janet Smith. Nor have they failed to include such heavies as Fahey himself, and the also dearly departed Sandy Bull. I can't imagine why anyone would not want to have so much beauty and skill packed into one compact disc. This is surely one of the best compilations of the year and I can't recommend it enough. [MK]







$15.99 LP


Kosmischer Pitch

"Morphing Leadgitarre Ruckwarts"
"Im Diskodickicht"

The artist behind Loop-Finding-Jazz-Records has released an album of loop finding in a different vein: a humanized loop treatment rather than a dehumanized one. The mossy green overgrowth on the cover is a clue as to what direction this album is going in. Kosmischer Pitch (Cosmic Pitch, duh) is an album of gradual, Teutonic exploration that comes across like Cluster on Mille Plateaux. There are healthy portions of the sophisticated edge of pre-millennium micro/clicks and cuts-era music but with an organic, quietly majestic Krautrock flavor. The mood, sounds and earthy atmosphere of Popol Vuh, Cluster, and Harmonia are married to the static, mid-tempos of Voigt's Pentax or All, Flugel and Wuttke's Sensorama, and the comparatively more 'retro' sounding Schlammpeitziger. Explored here are the concepts of time sense alteration through repetition without being too clinical or cynical; the ride is gentle, beautiful and moving. This album is a slow burner: One that will grow on you as it opens with multiple listens. Fans of Jelinek's many high-quality albums will be very pleasantly surprised and, ultimately, won over. Fans of any of the aforementioned high-quality references will be thoroughly charmed (I'm sure). Excellent album. [SM]








Incredible Love

"Blues for the Moon"

Chris Brokaw has a long and storied musical past, having (among many other credits) founded and drummed in both Codeine and the New Year, founded and played guitar with seminal Matador rockers Come, Chicago instrumental post-folk ensemble Pullman, and more recently has been seen playing lead behind Evan Dando. But anyone who has seen his live solo shows in the past couple of years, or heard the excellent EP that he released last year, know that Brokaw is perched on the precipice of a new phase of his career as a frontman and singer-songwriter. Released on Matador Records head-honcho Gerard Cosloy's other label, 12XU, the new Incredible Love album is one of the least affected and most affecting new albums I've heard in awhile.

Brokaw is first and foremost a fluid and emotional guitar player on both the acoustic and electric, and the guitars on this album, simple acoustic finger-picking or layered electric squall, are always beautiful and often thrilling. Brokaw the multi-instrumentalist fills in much of the rest of the tracks here himself, sometimes joined by a rotating cast of friends, and the band can rock or relax with equal conviction. But beyond all the great playing and subtle orchestration lie a batch of great, straightforward rock songs, sung in a world-weary yet tirelessly optimistic voice by an artist who seems to be just hitting his stride. Just listen. [JM]







Pale Ravine

"Fog Animal"
"White Lake"

Type Records continues its winning streak with this new album from Norwegian duo Deaf Center. The new-ish label has produced some very memorable releases over the past year, including albums from Ryan Teague, Sanso-Xtro and Julien Neto, not to mention Deaf Center's Neon City EP. Aesthetically speaking, Pale Ravine, Deaf Center's first proper full-length, perfectly complements the aforementioned records, but it's not exactly cut from the same modern classical-meets-electronica cloth. Dark and dramatic, these 12 pieces mirror the ambience of a film noir soundtrack with slow-building washes of strings and bell tones, and sound collages made from indecipherable samples of machines and wooden creaks, that grow dense and then slowly dissipate into a musical fog. The chilly minor-key piano melodies keep the brooding ambience from becoming too abstract or intangible, and songs like "The Clearing" or "White Lake"--the latter which creeps along slow descending notes of a stand-up bass--could have been in a Harold Budd score to an old black and white spy movie, or perhaps Eraserhead. One of Type's best releases to date, fans of Johann Johannsson or William Basinski's Disintegration Loops will also want to give this album many close listens. [GH]







Farewell Aldebaran


Never readily available on CD before now, then husband and wife duo Judy Henske and Jerry Yester's 1969 folk-psych-rock-cabaret masterpiece Farewell Aldebaran has become a near mythical totem-like object over the years. Profiled in Richie Unterberger's seminal Unknown Legends of Rock 'n' Roll, included in Mojo's list of positively essential and undeservedly obscure albums, and a major touchstone to folks like the No Neck Blues Band, who roped Yester into producing their classic Revenant release Sticks and Stones largely on the basis of this album.

Both had been heavily ensconced in the West Coast folk rock scene; Yester as a member of the Lovin' Spoonful and producer for L.A. songwriters like Tim Buckley, and Henske as a solo performer and recording artist, who was championed by the likes of Jack Nitzsche. Their first collaborative release, Farewell Aldebaran, was hugely ambitious and varied, with Yester providing the towering arrangements to Henske's breathtaking vocalese and intensely lyrical writing. They kick the album off with a Jefferson Airplane-style rocker and then proceed to try their hand at Nina Simone-like pathos, desperation-ridden country rock, and oblique protest balladry. The song "Rapture" is an absolute tour de force of massed vocal melodies ascending skyward as Henske sings, "She will betray you/as she sings/her voice in the hot sun/is calling/in rapture you die/flying and falling." There honestly isn't another record even remotely like it, and it's to their credit that they were able to make an album so diverse hang together so well. [MK]







Are You Really Lost

"De Papel"
"So in Love"

Matias Aguayo is apparently not just the 'voice' behind Closer Musik. His full-length solo outing, after soft and sinister remixes for Mayer and others, entitled Are You Really Lost is SICK. My first reaction was an immediate appreciation for its refreshing sense of unforced funkiness, delivered with a combined edge and playfulness. Once you listen a little closer, you'll get sucked into the little killer sounds lobbed in at all the right moments. ("RadioTaxi" has this recurring duck fart sound, sorry but it can't really be described any other way, and a four note acid bass line that rules.) After a third listen, you'll want to play half the album out in one night. It's full of tracks that are bare and efficient, and fat and kicking, all at once. (The title track has a minimal dancehall kick to it that will inspire the headhunter in all of us, and then later a synth line mimicking the B-52's "Planet Claire comes in!")

This album is not just a follow-up to After Love. Are You Really shares the skeletal, flat, relatively un-lifting funk of Closer Musik without necessarily being dank and musty. While I loved the "sex with strangers on a pitch black dancefloor" vibe of After Love, this album comes across as effectively more propulsive (without being obvious), with many delicious nods to ACID--via sick acid stabs and throbbing bouncy bass line clusters. Don't be concerned that this one isn't deep though, because Aguayo still knows how to lay out a groove that'll keep you going steady after 6 A.M. He adds killer vocals and vocalization in various positions in the mix, adding context and texture--a vocal 'bum-bum' to the bass kick or a 'boop!' on "Drums and Feathers," beautifully floating wistful vocals/melodies to "Well" or smoked-out, Quasimoto/Newcleus-kid mumbling on "So in Love" (siiiiick, warm and gloomy neo-Chicago). These tracks are varied, compelling and ready to kill a discerning dancefloor. Describing it doesn't do this one justice, but the sound files will help you make your decision. One of my favorite overall albums of the year. [SM]







We Have Sound
(Startime International)

"I Ain't Saying My Goodbyes"
"Nothing but Green Lights"

My DJ friend has been playing Tom Vek's "I Ain't Saying My Goodbyes" for the better part of the summer, and let me tell you, there hasn't been a more popular song filling his dancefloor. Just as propulsive as the Rapture's "House of Jealous Lovers" (and there's not even a cowbell), with a heavy-handed hi-hat cutting through the low-end of the funky bass, here was the proof that "dance punk" could still get people shaking as long as it was good. I kind of expected the rest of the album to follow a similar aesthetic, but I was definitely wrong, and at the same time pleasantly surprised. The London-born Vek came of age listening to and playing '90s alt-rock, but by his early-'20s found himself exploring electronica. His first full-length, We Have Sound, mirrors these two aesthetics, often at the same time, deftly mixing rock with electronics, much in the way artists like LCD Soundsystem do. Though his album shows a range of influences, from the slap-bass driven "If You Want," which to these ears connects the dots between Talking Heads and Zongamin, to the Beck-playing-with-a-garage-band sound of "The Lower the Sun," but unlike LCD's James Murphy, Vek doesn't geek out on Kraftwerk, Eno and Can references. Instead, the multi-instrumentalist gets down to business in his parent's house, recording with an old reel-to-reel, which gives We Have Sound a live indie rock feel, even during "That Can Be Arranged," when the light bedroom electronics supersede the guitars and bass. [GH]







Kenny Dope Vs. P & P Records
(Traffic Entertainment)

"Feel the Spirit/Get Down Baby"
"Dance, Dance, Dance" Marta Acuna

Now we're talkin' music! Harlem-based label P & P was the brainchild of Patrick Adams and Peter Brown. The label specialized in after-after-hours sleazy space disco and early hip-hop that touched upon all popular strains of soul music expressions of that time: jazz, gospel, funk, and Afro-beat. What set this imprint apart from many other local NYC soul labels of the time was Patrick and Peter's quirky, left-of-center production. The songs were almost always played with hard, funky live drums and accentuated with Patrick's swooping space synth. Sometimes the singing was slightly off-key and the raps weren't always in time, but the groove was always in time, in some weird way. The s**t is just crazy. Imagine if Lee "Scratch" Perry produced hip-hop and disco and you'll get an idea. The original records have been collectibles for some time, with some titles fetching three digits on eBay. This is basically a best-of mix done by the great Kenny Dope, and the second disc is him doing some exclusive reedits of his favorite titles from the label. Any fan of old disco, or even new NY hybrid house stuff like DFA, Metro Area, Chicken Lips, and the like, will find a lot to love about this one here. Pretty effin' great I must say. [DH]







Spirits to Bite Our Ears

"Tombi Wachina"

Thomas Mapfumo, the Lion of Africa, a singer for the politically disenfranchised and a standard bearer for those who would carry on and reinvent the traditional musics of his people. Mapfumo came of age as an artist during the acrimonious civil war that would ultimately turn Rhodesia into Zimbabwe, and which pitted its white minority rulers against its largely oppressed black majority. Born in the countryside in the late-'40s, Mapfumo as a young man was both keenly interested in the traditional Shona music with which he grew up, as well as the American rock and roll and soul, and cosmopolitan African jazz that he was able to tune into on his radio. As racial tension continued to swell throughout the '60s, Mapfumo worked his way through a series of different bands that would ultimately artistically coalesce into two subsequently important groups, Thomas Mapfumo and the Acid Band, and Thomas Mapfumo and the Blacks.

Mapfumo had hit upon the idea of transposing the complex sound patterns produced by the traditional Shona instrument mbira (a hand held thumb piano), into pointillistic electric guitar notes played in complex tandem by two or more players. It was a genius idea, and when first heard you're immediately struck at how original and completely unlike any other electric guitar playing you've ever listened to it is, with an utterly hypnotic quality that's propelled by an ever present shuffle beat. At this point in the mid-'70s, the atmosphere was getting increasingly dire and any association with traditional Shona ways immediately provoked the hostility of Rhodesia's white rulers. Mapufumo defiantly called his new music Chimurenga, the Shona word for struggle, and began releasing a series of 12-inch singles that were adopted whole-heartedly by the guerilla movement, and which frequently contained coded messages for the fighters. Harassment was quickly forthcoming from the authorities and Mapfumo was subsequently imprisoned and used as a pawn in Rhodesia's machinations to retain control of the country.

In 1980, the guerilla forces prevailed and as independence for Zimbabwe was declared, opposition head Robert Mugabe was ushered in as the de facto leader. Mapfumo himself was hailed as a revolutionary hero all over the continent, perhaps second only to Bob Marley, and he began to garner more and more international acclaim throughout the '80s. However, the optimism after independence in his home country was short-lived as Robert Mugabe has turned out to be an iron-fisted dictator who has held a stranglehold around his country's neck for the last 25 years. Naturally, none of this has sat well with Mapfumo's fine sense of justice and he has repeatedly called out Mugabe for his abuses in song after song, leading to the situation we have today where Mapfumo and his family has been forced into exile in Oregon. The only good thing about which is that we now have more opportunities to see him in America, which I urge you to do as he is absolutely incredible to this day.

The collection at hand spans the couple of years leading up to independence through 1986, and there is much here that is both optimistic and sorrowful. My sole complaint is that the liner notes are a little skimpy on context, but there's a good primer for Mapfumo's fascinating life story on the website.[MK]






(Dust Science)

"Trojan Horus (Part 1)"
"Gummi Void"

With two of the three original members of Black Dog gone on to form the excellent Plaid, it was up to the sole remaining member, Ken Downie, to carry the torch. And after a hiatus of two or three years, Silenced is a welcome return to form. Still holding on to his vintage techno roots, Downie has expanded his vocabulary beyond the Motor City to fluidly incorporate hip-hop breaks, paranoid beatless soundtrack-scapes, and the occasional Middle Eastern string swell. On "Alt/Return/Dash/Kill," shimmering Kraftwerkian keyboards resonate over a thick electro breakbeat, as mild meltdown squelches threaten to overtake but never quite do. "Gummi Void" sees a departure from the otherwise mid-to-down tempo range with a hypnotic, circular keyboard line, as a steady clapping rhythm charges forward. Think Stacey Pullen, Carl Craig, Gemini etc. Overall, the tone is pretty cryptic and spooky with a tendency to keep the production crystal clear and digitally sparkled, but there is a definite organic undertone that helps ground the music. For longtime fans of Black Dog, as well as Plaid, this shouldn't disappoint. [GA]





$11.99 CD


Cherrystones: Entertaining the Unobvious


London-based renegade vinyl-culturalist, Cherrystones, has unleashed his latest DJ mix, Entertaining the Unobvious--a firebranded riot-rouser CD brew that has been floating around the UK and Europe for a short minute, and now made available in the States exclusively through Other Music. An experienced alterna-ethnologist and masterly DJ, Cherrystones fuses his creative clever-cool twists and bents into his records, as well as his compilations and mixes (the two much-talked-of and highly acclaimed collections Cherrystones Rocks and Hidden Charms.) Channeling vintage delights with a handful of perfectly picked newbies-but-goodies, Entertaining is a freak-beat-glam-jam-rebel-pop s**t-smart excursion to bend your mind and make you shake. A brill mix if you're into any of Ursula 1000's jams or Andy Votel's Songs In the Key of Death--or are just looking for some insanely great tunes. [MT]







Tiny Cities
(Caldo Verde)

"Neverending Math Equation"

Mark Kozelek is an accomplished songwriter, but as an artist he has never been shy of a great cover song, and his distinctly warm and wonderful voice and lilting guitar playing, plus a knack for subtle arranging, makes him a world-class interpreter. The second Sun Kil Moon record holds nary an original composition, but the featured artist may be even more surprising to Kozelek's fans than his AC/DC record was: Modest Mouse. Isaac Brock's songs are essentially deconstructed over the course of 11 tracks, as Sun Kil Moon do straight folk-pop versions of Modest Mouse's angular bombast, and what comes through is Brock's lyrical, inventive and deeply poetic songwriting, and Kozelek's emotional and passionate delivery. More surprising than the decision to follow Sun Kil Moon's acclaimed debut with an album of Modest Mouse covers is just how good this record really is…it's a must for fans of Kozelek and Modest Mouse alike. [JM]







When the Detail Lost Its Freedom

"A Gathering to Lead Me When You're Gone"
"The Guilt of Uncomplicated Thoughts"

As one half of drifting drone ensemble Stars of the Lid, Brian McBride made some of the most expansive and beautiful night time music of the '90s. A divorce record according to the press release, When the Detail Lost Its Freedom, McBride's solo debut, explores similar territory. The album was primarily recorded on a keyboard sampler, using a host of instruments, including guitar, piano, harmonica, trumpet, and strings, which have been prepared and processed into warm ambient tones. In a departure from the SotL formula, a couple of tracks have vocals from the ex-wife and McBride himself; it works particularly well on "Our Last Moment in Song," which wouldn't sound out of place on a Slowdive record.

Chalk up another victory for heartbreak, as this is essential for Kranky and Stars of the Lid devotees, but there's also something here for fans of Basinski, Eno's ambient works, and the ethereal shoegaze sounds of yesteryear. [AK]








Satisfaction: Covers & Cookies of the Stones

"Satisfaction" Assemblage
"Play with Fire" Ruth Copeland

No other white pop band, besides the Beatles, was covered as much by soul and jazz artists in the '60s as the Glimmer Twins and company. In a way, it makes perfect sense. The Stones made no bones about their rhythm and blues allegiances and, perhaps more than any other band, consistently tried to create their own original take on the early-American black music that they love so much. This collection highlights some of the more obscure soul-funk covers of Stones songs recorded in the '60s and '70s. Personal highlights include the gospel blues take on "Gimme Shelter" by Merry Clayton. (Quick aside: if you're a fan of soul covers, acquire Clayton's fierce take on Neil Young's "Southern Man.") Rotary Connection turns in a bizarre psychedelic take on "Ruby Tuesday," in which they transform the original into a psych-rock Gregorian chant! Ruth Copeland, with Funkadelic backing her up, does an amazing version of "Play with Fire." As an added bonus, 4-Hero's Marc Mac does a mega-mix for your personal undercover (of the night) dance party in your living room. Satisfaction! OK, no more bad puns... [DH]








In the Middle of the Night


Fresh off his U.S. tour with Four Tet, Koushik recently visited us at the store to drop off his own hot mix CD, which he was selling at the shows. Even though we've got a few more back in stock, these are still extremely limited and will be gone faster than you can say "Stones Throw," so don't hesitate.







These Were the Earlies
(Secretly Canadian)

"Slow Man's Dream"
"Wayward Son"

If you missed out on the Earlies' import last year, their first full-length finally sees domestic release on these shores. With all of these labels plundering the vaults of lost psychedelic pop classics, there are few new bands that retain the spirit of yore and meld it with the technologies available today. The Flaming Lips are one, Simian is another. Mercury Rev do it too. Now add the Earlies to that list. After releasing a myriad of limited edition 7-inch and 10-inch singles, this foursome (two from England and two from Texas) bless us with an astonishing debut that combines elements from the aforementioned artists, with the bedroom electronics of some of Morr Music's finest, and a blatant love of the Beach Boys and the Beatles.

These Were the Earlies is a magnificent piece of work that opens with a noisy, 26-second interlude and then goes directly into the amazing "One of Us Is Dead." With its lush downtempo electronics, beautifully whispered vocals, and backward tape loop effects that give way to muted horns, distorted melodica, and anything else that can be thrown into the mix, it sounds like a mess but trust me it works! Then the band breaks into "Wayward Song," which is easily as good as anything Mercury Rev has ever done.

Let the Earlies take you on a journey through the 11-tracks on their album debut--I can assure you that you will not be disappointed. (Domestic version includes bonus CD with b-sides, rarities and a video for "Bring It Back Again.") [JS]







Dreamies - Deluxe Edition
(Wilmington Studios)

"Part One"

An all-time favorite amongst our staff and customers, Dreamies sees repressing with this deluxe edition. Originally created by Bill Holt in 1974, the sound is better than ever and the CD includes a six-page insert and never before seen photos. From the liner notes: "Dreamies are music, speech and sounds from life combined to create a surrealistic mental experience. The musical portions are unique in as much as the only natural instrument is the acoustic guitar. All other musical sounds are electronically synthesized tone colors..." If you can't get enough of the Beatles' "Revolution 9" or Brainticket's Cottonwood Hill, then you need Dreamies.





Ta Det Lugnt


Tyst Minut
12" EP


Ta Det Lugnt
(Subliminal Sounds)

"Ta det Lugnt"

This limited vinyl version with a gatefold sleeve of Dungen's breakthrough Ta Det Lugnt is back in stock at a more affordable price. Also available, the vinyl version of Tyst Minut, which features b-sides recorded during the making of Ta Det Lugnt. (Tyst Minut is also included as a bonus disc on Kemado's CD pressing of Ta Det Lugnt.)








Horn of Plenty - Remixes
(Kanine Records)

This vinyl pressing features four songs from Grizzly Bear's Horn of Plenty which are remixed by Dntel ("Merge"), Soft Pink Truth ("A Good Place"), Simon Bookish ("Eavesdropping" )and Phiiliip ("Showcase"). Side two includes five original versions from the album.




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[GA] Geoff Albores
[GH] Gerald Hammill
[DH] Duane Harriott
[MK] Michael Klausman
[AK] Andreas Knutsen
[JM] Josh Madell
[SM] Scott Mou
[MT] Mahssa Taghinia

- all of us at Other Music

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