FEATURED NEW RELEASES
Brightblack Morning Light
Howlin Rain
Phoenix
Soylent Green
Soul Gospel 2
Dawn Landes
Shearwater
Herbert
Jamie Lidell
Boards of Canada
Rotary Connection
MV & EE with the Bummer Road
Reminder

Can (5 remastered reissues)
Michael Leviton
Charles Wright & the 103rd Street Rhythm Band

ALSO AVAILABLE
Peeping Tom
Machinefabriek
Wax Poetics (Magazine)


COMPLETE LIST OF THIS WEEK'S NEW ARRIVALS

"All We Have Broken Shines"

"Friend of Time"

This astounding and extraordinarily chill, confident debut album from Northern California duo Brightblack Morning Light saunters along like some shaman from afar, gathering influence and followers in legion while reinventing the past. It's the kind of record that stands up to countless sonic references and actually succeeds in combining them so completely that it seems simple and off-handed, like people have been making music like this for years. And, in ways, they have: early Royal Trux, Ry Cooder, Can, Opal, the Stones' quieter moments on Beggars Banquet…all of these groups have contributed to the pond of influence in which Brightblack Morning Light suggestively wades. Long-form blues drones that don't forget the bell-shaped electric piano chord clusters that make us all smile, are presented, primed to seduce with the kind of understated rhythmic constancy that was thought to be lost in a haze of smoke in Jack Nitzsche's studio setup. This is the kind of record that has been threatening to drop for years, if only someone could find the right threads and tie them together. Fortunately, that moment is now, and the effort so unbelievably complete, that to call the album any less than a benchmark for modern underground music would be to lie to yourself. Brightblack Morning Light will burn hot and slow all summer long, and well beyond. [DM]

HOWLIN RAIN
Howlin Rain
(Birdman)

"Roll on the Rusted Days"

"In Sand and Dirt"

Well, this wasn't supposed to happen. Two dudes already in well-established bands (Ethan Miller of Comets on Fire and John Moloney of Sunburned Hand of the Man) and an iron worker make what could prove to be best rock 'n' roll album of 2006. Drawing heavily from a much vilified era of American rock, circa 1969-1974, Howlin Rain reek of early Grateful Dead, Allman Bros, CCR, Crazy Horse, and Miller howls and laments his way through the album like Rod Stewart possessed. The only thing that distinguishes Howlin Rain from its early-'70s counterparts are the totally overdriven guitar solos and maybe some of the song titles ("Death Prayer in Heaven's Orchard" and "Calling Lightning With a Scythe" would've looked a little out of place on A Nod Is as Good as a Wink...). It's a joyous celebration of classic rock music, as life-affirming and unabashed as they come, with Miller as the ramblin' preacher and Moloney and Ian Gradek as the choir. They spew out a dizzying back porch brew of Southern rock, country, blues, extended Garcia jams, and Faces/Black Crowes swagger that fails to lose steam even once throughout the 51 minutes. One of the year's best (and for now, totally unfashionable...) records just arrived out of nowhere, but if this keeps up we might see Comets on Fire and Sunburned Hand reduced to side project status. [AK]

"Long Distance Call"

"Consolation Prizes"

If you've ever seen Phoenix in concert, or at very least heard last year's Live! 30 Days Ago, you already know that the band's stage performances are a lot more high-energy than the laidback, feel-good pop of their last two albums would suggest. And that's where It's Never Been Like That seems to pick up from. Forget about their Air connections or early Daft Punk-inspired electro-disco tracks like "Heat Wave," the French quartet's latest is a poppin' rock record, filled with more jangling guitars than the Strokes have been able to muster over the last few years. But don't let that assertion scare you into thinking that Phoenix are jumping on the garage bandwagon a couple of years too late, because that's not the case. Written in the studio with much of the album recorded in one-takes, singer Thomas Mars -- who is also Sofia Coppola's steady boyfriend -- is still coming up with non-ironic vocal hooks that could sound at home on your favorite MOR station, sandwiched between hits by Hall & Oates and Steely Dan. But quirkier pop charms, from Mars' cleverly oblique lyrics to the thoughtful arrangements, probably place Phoenix closer to the good company of, say, Utopia's early-'80s records, only now with a decidedly "indie" feel. (Duane was right-on when he compared It's Never Been Like That to Sloan's One Chord to Another.) Though old fans might be thrown off for a second by the lack of electronics, they'll be pulled right back in by tracks like "Long Distance Call" which has a charged chorus that's every bit as catchy as "Every Thing Is" and "If I Ever Feel Better." The same can be said for the summery strum-fest of "One Time Too Many" or the ringing-guitar-driven "Napoleon Says," while album closer "Second to None" is about as urgent as anything the band has ever done. If today's top 40 radio were at all relevant, Phoenix would be sitting at number one with a bullet right now. [GH]

SOYLENT GREEN
La Forza Del Destino
(Playhouse)

"After All"

"Not to Be Named"

Soylent Green is Roman Flugel, who is also Acid Jesus, Eight Miles High, Tracks On Delivery, Sensorama and Alter Ego. Flugel is kinda like the Reinhard Voigt of Playhouse, a producer who excels at everything from acid techno, minimal house and club rockers to the most pin-point, micro, experimental techno and/or ambient. He's notorious and well-respected by his peers and fans alike for his pristine, influential and varied production. It's hard to believe that one man is able to make tracks that can gently lull you to sleep (Sensorama) or drill into your brain with laser-precision (Tracks on Delivery/Eight Miles High), and then turn around and pummel you to death (later Alter Ego) -- all with one or three swift changes of a project moniker. The Soylent Green stuff is mainly minimal house tracks, but even under one name, Flugel manages to throw all kinds of welcome variety into the mix. Cuts like "Jet Set", "La Forza Del Destino" and "On the Balcony" have all the deep minimal house swing you would expect from early-Playhouse twelve-inch tracks. My all-time favorite, the evil, deep dub track "Low Pt.1," is included in this compilation. I'm almost bummed on that one, since I've always considered it one of my "secret weapons"…oh well, c'est la vie! What I always expect from a Soylent Green record is some sick, dark minimal house that ALWAYS has a solid, subtle surprise/curveball in it. Whether it's ultra-deep, throbbin', chunky or rockin', it's par for the course to expect Soylent Green tracks to be weird AND solid. Essential German minimal house -- could've been a double CD! [SM]

Roman Flugel has just been added to tonight's party at APT (Thursday, June 1st), spinning along with Dial Records' Lawrence and Carsten Jost. Don't miss it!!

VARIOUS ARTISTS
Soul Gospel 2
(Soul Jazz)

"When Will It End" The Sensational Cymbals

"Casanova" Loleatta Holloway

The latest release from the fine crate diggers at Soul Jazz could have been titled Gospel Breaks. Instead, the second volume of Soul Gospel continues the inspirational search for the connection between God and the groove. Great spiritual funk from the likes of the Staple Singers, Loleatta Holloway, Sweet Inspirations, Della Reese, and Clara Ward are counted among many other artists for a total of 21 tracks. Soul songs like "For What It's Worth", "Do Your Thing" and "Have a Talk with God" are given gospel workouts, while standards like "Wade in the Water" get hefty soulful renditions. Better than the first volume, which is also worth seeking out, this edition is tighter and shows more of a seamless blending of faith, devotion, hope, and the undeniable backbeat that sent many on the road to redemption. There's no shortage of handclapping, foot stomping, piano pounding, and tambourine shaking. Need a lil' faith in your funk? Play loud and raise your hands to the sky. [DG]

DAWN LANDES
Fireproof
(Self-released)

"Bodyguard"

"You Alone"

Dawn Landes' music falls in a strange place in a musical landscape defined by both sound and vision, where your package and your people have as much to do with your success as your music does. As with her surprising debut Dawn's Music from last year, the new album Fireproof is packaged as a mystery (hand-screened cardboard sleeve with no discernable label information), populated with lovely, accomplished and haunting acoustic pop that deserves a much bigger audience than this self-released enigma could ever reach. Landes' melancholy falls somewhere in the realm of Cat Power crossed with Gillian Welch, or Suzanne Vega meets Diane Cluck. She writes hooky, smart pop songs, and delivers them with laidback yet self-assured style. She has laid off the accordion on the new album, but the disc is populated with a variety of warm sounds beyond the acoustic guitar which holds them together, from banjo to bells. And Landes' playing is just as compelling as her confident and emotional vocals. Perhaps Landes is comfortable where she is, crafting pop nuggets for a small group of friends and supporters, but with her songwriting, voice, musicianship and natural beauty she is a dead ringer for the next big thing, and despite all that, she's also a dead ringer for a true artist who will continue to do things her own way. Listen up. [JM]

SHEARWATER
Palo Santo
(Misra)

"Red Sea, Black Sea"

"Palo Santo"

Where did all the Harry Nilsson's go? I heard Morrissey say it in an interview once, and it's sadly so damn true -- "nobody cares about voices anymore." Nobody sings. Sure there are a lot of idiosyncratic vocalists out there -- all tribal yelps, whines, and shoats and moans. But really, few of these cats could move a lint flake off of Nina Simone's wrap dress. Well, before you can say "Hartley, let me go get you a copy of Antony's last record," Shearwater are here to prove the Morrisseys of the world wrong. This last sentence should come as a shock to anyone even slightly familiar with Shearwater's back-catalogue. Once upon a time, Shearwater's music was like the 36th record you picked up, after you had dug way deep into the rickety-alt-folk-country rock canon. After you had played out every Smog record, had your heart broken by Wilco, and owned every Will Oldham side-project twice, then there was Shearwater. The band's mix of slow-burning back porch balladry was nothing if not dependable, however, it always seemed an afterthought compared to Shearwater co-founder, Will Sheff's, other band, Okkervil River.

Afterthought, no more. Palo Santo is the first Shearwater record where Sheff steps back and lets his partner in crime, Jonathan Meiburg, take chief vocal and songwriting duties. It was a smart move. On Palo, Shearwater, for the first time, sounds like an actual band with something to prove. There are stakes here. It turns out Meiburg has Jeff Buckley worthy pipes, and here he sings his heart out like his next meal depends on it. It's star-turn worthy. And there's not even a trace of that old alt-country formula too, too many bands are barely doing well these days. Instead, Palo Santo is brimming with intoxicating stretches of gothic piano notes and woozy Steve Reich-ian synth lines. When it's at its best, the record plays like a Y-chromosome companion to the work John Cale did for Nico, and at its worst it sounds like Radiohead's "Sail To the Moon." Which is still fine and all. Plus, "Red Sea, Black Sea" manages to be one of the most rousing songs I've heard all year, despite its use of that "post-punk, hi-hat on the up-beat drum rhythm." Could it be the best song the National never wrote? The L Train kids are gonna love this one. It's exciting to hear -- this band has found their voice. [HG]

HERBERT
Scale
(Accidental)

"Harmonise"

"The Movers and the Shakers"

Anyone who has followed the career of Matthew Herbert is well aware of his innovative use of sampling. Over the years, he has sculpted beats out of pillows, ballpoint pens, car mufflers and Slinkys, as well as thousands of other non-musical instruments in an effort to create sounds that don't resemble anyone else's. On Scale it's more of the same, and just more in general. The liner notes state that a grand total of 723 objects were used in the album's creation. Traditional musical instruments like grand pianos, French horns, guitars, saxophones, violins, cellos, and drums are combined with the sound of birds chirping, coffins, bottled water, car doors, screw drivers, cardboard rolls, rocks…all fused together with slick laptop electronics. Herbert has experimented with big bands and large ensembles for awhile, most noticeably on 2003's Goodbye Swingtime album; Scale builds on his past work but he also expands his palette with a heavy influence of sunny Broadway show tunes and soundtrack scores, and of course, the vocal contributions of longtime collaborator Dani Siciliano are utilized to maximum effect. Poppier song arrangements reminiscent of Bodily Functions are a welcome return, and definitely a departure from last year's largely instrumental Plat du Jour. As always, there is a sociopolitical undercurrent with criticism of Tony Blair, George Bush and the occupation of Iraq appearing from time to time. Scale is not only Herbert's most accessible work in several years but it is quite possibly his most detailed, with repeated listens leading you to more discoveries of texture and sound. [GA]

JAMIE LIDELL
Multiply Additions
(Warp)

"What's the Use" Mocky Remix

"A Little Bit More" Luke Vibert Mix

The surprise international soul man of 2005, Jamie Lidell is back with a collection of remixes culled from last year's Multiply, with a couple of live tracks tacked on as well. Notables like Luke Vibert, Four Tet, Freeform, Mocky and Herbert all put their signature on Lidell tunes, but Mara Carlyle, however, delivers the standout with her Ukulady mix of "Games for Fools," where she re-sings the original and strips the instrumentation down to pretty much voice and ukulele. Also of note is Gonzales' solo piano rendition of "Multiply." Ten tracks in all, and as you'd expect, some are more dance floor friendly, but the more interesting ones are when the re-mixers strip away the electronics for acoustic interpretations. [DG]

BOARDS OF CANADA
Trans Canada Highway
(Warp)

"Skyliner"

While each and every Boards of Canada full-length is an event, the duo arguably does their strongest work on their EPs. Their critical acclaims were founded on the strength of early Skam slabs like Twoism and Hi Scores, while In a Beautiful Place Out in the Country is one of the finest examples of pastoral electronica. Though it could be perceived as mere stopgap between last year's Campfire Headphase and whatever comes next, Trans Canada Highway is as pleasing as its album-length predecessor. It also contains the strongest track on the album, "Dayvan Cowboy," in both its original form and in an extended remix by Anticon's Odd Nosdam. Clocking in at nearly a half-hour, there's plenty of field to roam here. [AB]

ROTARY CONNECTION
Black Gold: The Very Best of
(Umvd Import)

"I Am the Black Gold of the Sun"

"Love Me Now"

Over the years, Rotary Connection have been unfairly regarded as a footnote in the history of soul music, only known as the band that introduced the world to the five-octave angelic soul voice of Minnie Riperton. In reality, this seven-piece was a smart, inventive group that created a psychedelic soul-pop hybrid music which was years ahead of its time. Over the course of six albums, the multiracial band from Chicago reinvented themselves with each record, effortlessly blending blues, Middle Eastern music, orchestral pop, concrete electronics, country rock and choral music together to create a new kind of soul music that hasn't been heard since. This is a long-overdue collection of musical highlights from all of their records.

Rotary Connection was basically the brainchild of Marshall Chess, son of Leonard, as a way to bring a more contemporary face to the Chess label in those heady, tie-dyed times. He recruited a roving unit of Chess session players and a young opera-trained, gospel singing Minnie Riperton. Although Riperton is fantastic in these recordings, the real superstar was producer and arranger Charles Stephney. (Stephney was a Chess session producer, best known for his work on soul jazz records for Marlena Shaw and Ramsey Lewis.) With Rotary, he saw an opportunity to branch out and experiment; he radically re-imagined '60s rock standards as Gregorian chants and Christmas carols as swirling psychedelic string workouts. Each record was a conceptual suite, and explored ideas that bands like the Who and Pink Floyd wouldn't explore until three to five years later.

After six albums, the band would call it quits, with Minnie Riperton launching a legendary solo career, and Stephney going on to produce seminal albums by Earth, Wind & Fire. Ironically, it wasn't until years later when leftfield hip-hop artists like De La Soul, A Tribe Called Quest, Slum Village and Mike Ladd built careers on sampling their material and, afterwards, claiming this group as a source of continued musical inspiration, that critics began giving the band's recorded output a second look. This resulted in the limited reissue of their albums, and many now consider these recordings to be some of the best examples of progressive psych soul, second only to the innovative Norman Whitfield productions of the Temptations. This collection is a fine introduction to Rotary Connection's sick output, and anybody who considers themselves fans of psych-pop, I present to you a collection of songs from a band that was one of the best. Highest recommendations!! [DH]

MV & EE WITH THE BUMMER ROAD
Mother of Thousands
(Time-Lag)

"Sunshine Girl"

"Meditations on Payday"

If you aren't one of the lucky few to come across the miniscule homemade pressings of albums proffered up by ex-Tower Recordings Matt Valentine and riding partner Erika Elder, you've been missing out on a whimsical, magical, and misty take on the oft-maligned freak-folk scene. Generally done in editions under a 100 with hand drawn covers and stamped cards, these delicate documents meld string drones, Appalachian ditties, finger-picked old blues, coyote-yelps and creaks, expansive improv, and relaxed choogle, all of it dowsed in mountains of reverb and delay.

Lucky us that they finally decided to make a double set of something far more tangible this go-round on the Time-Lag imprint (itself known for micro-editions, as well as last year's fantastic Satwa disc). These two discs touch upon Charley Patton, Canned Heat, and the Dead (their version of the Gary Davis meditation "Death Shall Have No Mercy" even out-sprawls Jerry and co's cover) and all sorts of un-taggable sonic wiggles in-between. Fellow travelers like Tim Barnes (Silver Jews, Jim O'Rourke, etc.) and Samara Lubelski also pitch in on the farming chores, helping to take the music to the furthest reaches of the pine forest ether. Call it American kosmische music, spacey yet learned, and rendered with a deft back porch ease. [AB]

REMINDER
Continuum
(Eastern Development)

"Leave What You Came With"

"On Rooftops"

The latest release from Scott Herren's Eastern Development label, Reminder is the solo outing of Chicago scene staple Josh Abrams, whose bass playing has held the groove for many artists over the past 10 years. A departure from the avant and jazz roots of his Town & County and Sticks & Stones projects, with Reminder, Abrams takes a cue from his residency as a member of Prefuse 73's backing band -- if you've seen Prefuse live and felt your body vibrate, it was more than likely thanks to Josh's bass. Here, he ventures into beat constructions and sample-based compositions, yet his tracks possess a rich vocabulary that could only come from a schooled musician. Combining his upright and electric bass playing with MPC drums, synths, shakers, bells, chimes, mbira and xylophone, Abrams creates an organic palette to color his loose grooves. You'll find subtle influences from J-Dilla or DJ Premier, while the inspiration of Sun Ra and Steve Reich loom in the distance. Because of a warm musical flow, his tracks feel classic in structure at times, with nice changes throughout and though mainly an instrumental record, there are a few vocals (including an appearance from Ty Braxton and Akin), as well as some nice flute work from Nicole Mitchell. Continuum definitely fits in line with some of the other releases from the label (e.g. Exposures, Dabrye, Daedelus, Eliott Lipp), but this is most the soulful of the bunch. It's interesting to hear a jazz musician's take on hip-hop instead of the other way around. Maybe that's what makes this a bit different, and more accomplished. [DG]

CAN
Flow Motion
(Mute/Spoon)

"Flow Motion"

CAN
Saw Delight
(Mute/Spoon)

"Animal Waves"

CAN
Can
(Mute/Spoon)

"Aspectacle"

CAN
Delay...1968
(Mute/Spoon)

"Butterfly"

CAN
Rite Time
(Mute/Spoon)

"On the Beautiful Side of a Romance"

The last five Can re-masters are in. Like Future Days, it's probably all the later Can albums that benefit most from the re-mastering process. I'd like to think that there is no way to improve the "caveman in a spaceship" masterpiece known as Delay…1968; the vocals are farther out front than the original, that much I can say, otherwise, the primal genius remains intact. Remember when it was cool to back-handedly refer to records like Flow Motion and the self-titled record as Can's "disco albums"? Good riddance to those dark days! The flowing effervescence in tracks like "All Gates Open" (Can) and "Flow Motion" (Flow Motion) sound great on these reissues. The 1986 reunion album Rite Time almost could be an adult contemporary Monster Movie turned inside out to varying effect.

So, I guess since the times are consistently 20 years or more behind Can, we're finally ready to reassess these albums. Who knows, eventually Rite Time may prove to be highly influential to a future crop of indie-fusion bands! [SM]

MICHAEL LEVITON
My Favorite Place to Drown
(Ace Fu)

"The Beach Gets Cold"

"Ships Passing in the Night"

It's a good time to be a ukulele. What is it about that so little four-stringed instrument that seems to beg self-deprecating fellows with dour singing voices, to coo their lovely laments on you? Call Stephin Merritt a rockist, a racist -- w'ever -- but after listening to guys like Beirut, or (my personal fave) Jens Lekman, or now Michael Leviton, it's hard not to call him a visionary at the very least. Merritt even realized that if you're gonna sing songs on a uke, you surely also have to don a straw hat while doing so. (He did wear one at some point right?) And now, of course, Lekman, and Leviton have made the straw hat the must have accessory for lonely boys in 2006.

Straw hat or no straw hat, there is no denying the brilliance of Michael Leviton's perfectly titled debut, My Favorite Place to Drown. The cover sticker says that Michael "sings the loneliest songs," but don't let that put you off. Of course, it's a cliché -- but as sure as G7 chords sound good resolving into D chords, Leviton's snarky uke-inspired lullabies will make you laugh from crying. Or something like that. Plus, like any modern uke balladeer must have, Leviton's got a knack for amazing song titles -- one after the other -- "Summer's the Worst," "I'm in Love with the Tip of Your Icebergs," "If Sense Were Really Common." However, as modern as his wit gets, at his heart Leviton's a classicist. Just like Merritt's tunes, half these songs could be by Rogers and Hart. And the production from Rainer Maria's Kyle Fischer only helps to make that point -- it's all old timey strings, and brass, upright bass, and soft percussion. There are even some ladies who stop by to duet with our man. One gets the impression that Michael won't be so lonely after some more ladies hear these tunes. Which is too bad, cause I'll be damned if this isn't one of the most pleasant surprises of the year so far. A summer record, with a broken heart, and a glass of lemonade -- a little too sweet, but hey, at least it's cold. [HG]

CHARLES WRIGHT & THE 103rd STREET RHYTHM BAND
You're So Beautiful
(Water)

"Let's Make Love Not War"

"What Can You Bring Me?"

Originally released in 1971, the fifth album by Charles Wright and the 103rd Street Rhythm Band followed the group's greatest success -- the hit single "Express Yourself" -- with a conglomeration of loose studio jams that told the world otherwise; that the group was collapsing, the pressure too great to top their earlier successes. As it happened, the Band would part ways with Wright in another year or so, becoming Bill Withers' backing musicians. That You're So Beautiful has been so unfairly maligned as a band at the end of the line clearly shows that most people were listening for the wrong reasons. The joys of this record and its seven songs come from the nebulous, molten center of the funk/soul crossroads, with outstanding improvisational musicianship, and emotions replacing JB-standard machine-tight precision. You get that precision here anyway, especially on the much-sampled "What Can You Bring Me?," but you also get the passion and the frustration of a world immersed in war, and the knowledge that love will be the factor that will bring peace. Released during the burning tail-end of the Vietnam War, this album-length protest is every bit as intriguing as vital as There's a Riot Goin' On, only it's been out of print for decades. Until now. Grab it and go change the world. [DM]

PEEPING TOM
Peeping Tom
(Ipecac)

"Kill the DJ"

"Sucker"

This is a new production project from Mike Patton that's definitely more Faith No More than Mr. Bungle, although with a more decided thump in the trunk than either bands. I'm sure such collaborators such as Dan the Automator, Kid Koala and Massive Attack helped to provide much of that. Other special guest all-stars include Kool Keith, Dub Trio, and even an unexpected appearance from Norah Jones.

MACHINEFABRIEK
Marijn
(Lampse)

"J’espere Ca"

After a handful of lauded three-inch CDs, here's the long-awaited debut from Machinefabriek (aka Rutger Zuydervelt). With its treated piano, high lonesome guitar reverberations, and uneartly squall of feedback, Marijn draws inspiration from a varied yet cohesive group of artists as there are traces of William Basinski's subtle minimalism, the dark ambience of Sunn0))), and the desert sounds of the recent Earth recordings. A truly masterful slow burn.

WAX POETICS
June/July 2006
(Issue 17)

Featuring two different covers, one with vintage Public Enemy and the other being a tribute to the late J-Dilla, the latest issue of Wax Poetics is dedicated to the rich history of hip-hop. Inside you'll find articles on P.E., Kool Herc, Bay Area hip-hop, Gordon Parks, Four Tet, Hank Shocklee, flyer art, b-boy classics and lots more. Another great issue filled with enthusiastic and insightful writing from crate diggers around the world, a must read for anyone interested in all things soulful, jazzy and funky.

THIS WEEK'S CONTRIBUTORS

[GA] Geoff Albores
[AB] Adrian Burkholder
[DG] Daniel Givens
[HG] Hartley Goldstein
[GH] Gerald Hammill
[DH] Duane Harriott
[AK] Andreas Knutsen
[JM] Josh Madell
[DM] Doug Mosurock
[SM] Scott Mou


THANKS FOR READING
- all of us at Other Music