FEATURED NEW RELEASES
Eccentric Soul: The Big Mack Label
Superlongevity 4
The Walkmen
Lindstrom & Prins Thomas
Anders Dahl
Mission of Burma
Current 93
Linval Thompson
Tilly & the Wall

Booka Shade
X-Wife
The White Birch
Baby Dayliner

ALSO AVAILABLE
Earth (Reissue of the third album)

COMPLETE LIST OF THIS WEEK'S NEW ARRIVALS

"I'll Be on My Way" Bob & Fred

"Got to Have It" Soul President

Lets' go dancing!! The unstoppable Numero Group delivers the latest in the Eccentric Soul series, this time bringing us to the flipside of Hitsville USA, the Big Mack label. In the early 1960s, Ed McCoy (Big Mack to y'all) purchased an old assembly hall and put his two-track recording equipment on the stage, and he began charging $14.95 to cut a record. This went on for 20 years until Big Mack folded, without a single hit, a fact that's hard to believe upon listening to these smoking-hot thrift store soul jams. Ed McCoy himself came up short on copies that were in good enough condition to be used as masters (Big Mack headquarters was flooded and condemned apparently) so the folks at Numero had to put out the call to rare funk/soul collectors in order to bring us this, the label's highlights. Bob Thomas and Fred Brown's "I'll be On My Way" became a huge Northern soul hit; listening to the song, it's hard to imagine that these people walked in off the street, responding to an ad in the paper to cut a one-take. Same goes for the slow burnin' version of the classic, "Fever," which is so sexy you'd think it was a seasoned siren dripping honey rather than a group of unruly girls McCoy groomed into "Essence". Oddly, or perhaps fitting for such a misfit label, the sucker punch of the comp, (featuring "sike-a-delick-guitar-ah...we gon' do it hippie style y'all") has absolutely nothing to do with Big Mack production at all, but is a reissue he put out of a single released in San Francisco, hence the acid-tinged lyrics. I don't want to spoil all the surprises left to uncover so I'll just say: If you got the others in this series, don't hesitate; and if this may be your first dip into them, don't sleep! [NL]

"Morning Sir" Baby Ford & Zip

"Skamel" Kalabrese

Oh man! Does Zip and Sammy (Chairmen/Ambassadors of Perlon) offer bonus pay for Superlongevity tracks? Maybe a weekend in their summer homes? A box of Girl Scout cookies? Point is: The Superlongevity compilations always be offerin' a little extra "sumthin." Right now, I'm listening to Soulphiction's "Her" (Jms dub) and it's kickin' and hiccupin' and percolatin' in my eardrums really nice-style. No disrespect but some of the 12"s come across a bit dry and retread-y, ya know? This compilation offers about 16 remedies to that problem. Ever since Nikolai's "Bushes," Superlongevity has always been a forum for Perlon to let loose a bit of minimal Latin/tropical swing, among other things. With "Balacharde," Villalobos goes on a ketamine detox and trades his coke spoon for a Pina Colada. Oh s**t, here comes Narcotic Syntax's "Raptors' Delight," and it sounds like a straight Human League with a pop-acid bassline! Nikolai's "Wheelsucker" has a sick, deep throb reminiscent of his classic "Workout," but with a bit more sunlight. I listened to disc-one yesterday; don't make me go back and get into that one too. That s**t is poppin'! (Pantytec, Baby Ford/Zip, Luciano, Dandy Jack, etc.!) A solid, un-blended listen that flows nonetheless, and is fulla tasty bits and pieces. Will cure the minimal "blahs." [SM]

THE WALKMEN
A Hundred Miles Off
(Record Collection)

"Louisiana"

"Another One Goes By"

The Walkmen might have been late starts to the NYC Class of '01, but they've proved to be one of the more prolific and musically memorable of the bunch. Students of hype once before, as three of its members endured the impossible standards set on their last band, Jonathan Fire*Eater, the Walkmen seem to know, innately, what they need to do to sustain a career in the cutthroat business of show: keep their heads down, keep working, focus their energies away from the spotlights and on being a great band, play from the heart, don't disappoint, and exercise the lessons learned from how they were presented in the past. These efforts have paid off in spades on A Hundred Miles Off, by far their most cohesive album yet. What they kept this time are the elements that made their sound memorable from the start: ricocheting, reverberating guitars; sultry rhythmic pound; a sense of arrangement and vocal techniques that know when to push forward and when to recede--rock with passion in place of attitude, shattering its container of Southern Gothic "tonk" with a howling embrace. Songs like "Lost in Boston" and "Don't Get Me Down (Come On Over Here)" exemplify everything great about the band, white-knuckle anthems of such explosive energy and angst with more hooks than an elementary school cloak room, and a steely-eyed imperative that make Hamilton Leithauser's every lyric menace with forewarned danger, like edges of an sepia-tone photograph sharp enough to draw blood. While the group as a whole has made a slight balance adjustment from U2 to The Basement Tapes in terms of tone, their sound retains a soaring, swooping quality not properly harnessed since Neutral Milk Hotel. Barely able to contain itself, the joy in listening to A Hundred Miles Off ought to make a big dent in your summer listening. [DM]

LINDSTROM & PRINS THOMAS
Lindstrom & Prins Thomas
(Eskimo)

"Sykkelsesong"

"Run"

Thanks to some expansive remixes for DFA artists (their Juan Maclean reworking last year was a proggy epic) as well as prominent mention in Pitchfork's "space disco" feature a few months back, some much-needed light is now shining on the Norwegian duo of Hans-Peter Lindstrom and Thomas Moen Hermansen. While easy to lump them in with foreign country duos like Air or Daft Punk, the two take deep draws from the dope and spacey sounds of jazz-fusion, Italo-disco, and Krautrock. Swirls, analog clouds, rubbery basslines, and electronic tocks abound on their full-length, expanding at will. References to Ashra, Reich, Patrick Adams, heck, even Jean-Michel Jarre abound. They are so smooth in how they melt it all together (even the song entitled "Boney M Down" instead references Cerrone's "Supernature") that there are instances when you'll swear you are listening to smooth jazz instead, but disco thumps and abstract ambience keeps things right on edge, making for fine home-listening. [AB]

ANDERS DAHL
Hundloka, Flockblomstriga 1
(Hapna)

"Hundloka"

Renowned Swedish sound artist Anders Dahl's body of work includes field recordings from India, experimental electronic compositions, and improvisations on crotales and snares. His debut release on Hapna contains three long-ish pieces that incorporate many elements of his previous works, yet exist wholly in its own dreamlike realm. Although Hundloka (that's "cow parsley" for the Swedish impaired) is centered around guitar and bouzouki, it incorporates a variety of additional instruments such as violin, clarinet, recorder, percussion, and prepared speakers. Clocking in at 40 minutes, Hundloka slowly grows, with its subtle shifts and hypnotic drones, and infests one's headspace, similar to the evolution of the weed the album was named after. Another winner from Hapna, who haven't steered us wrong in a while now. [AK]

MISSION OF BURMA
The Obliterati
(Matador)

"2wice"

"Man in Decline"

More so than perhaps any of the much-heralded reunions that all our favorite bands of the '70s and '80s have been staging of late, Mission of Burma's second career flourishes with remarkable integrity. At best, most reconstituted groups are simply looking to relive their salad days with a few lucrative tours and maybe a live CD of their hits. At worst, they start writing new material and subject their loyal fans to the watered-down sound of a bunch of old guys playing hooky from their day jobs and families. Burma has defied the odds and returned to touring, writing and recording with a vengeance and a level of focus that their dense, intense vision of punk rock demands. The Obliterati, the second full-length released since the band reunited, succeeds on all levels and may well be the best album of their career. Ragged, raw, dark and beautiful, from the first track (Clint Conley's triumphant "2wice"), there is little doubt that Mission of Burma has barely missed a beat in the past 25-plus years. I want one of whatever these guys are having! Limited first pressing comes with a DVD of four unreleased live performances. [JM]

CURRENT 93
Black Ships Ate the Sky
(Durtro)

"Black Ships in the Sky"

"Idumea"

David Tibet and friends are back with Black Ships Ate the Sky. Sinister, medieval renaissance atmospheres prevail throughout this new album (and disintegrate by track 14), as well as Tibet's ever-improving use of lyrical imagery. See the title-track for the way that it comes across a bit like Simon Finn on tainted acid doing lead vocal for the Incredible String Band. Fans will enjoy its slowly rising intensity reminiscent of a folk version of "Beausoleil" from Swastikas for Noddy. Then there are the "guest stars" to deal with. In order of appearance: Marc Almond, Will Oldham, Baby Dee, Antony, Clodagh Simonds, Cosey Fanni Tutti, Pantaleimon and Shirley Collins all lend their lungs to this album, most to deliver their own version of "Idumea."

There is a natural fit between Current 93 and voices like Antony, Baby Dee and even Marc Almond, and Will Oldham's surprise appearance manages to work out just fine. Clodagh Simond's version of "Idumea" probably deserves the cake though. Besides Current 93 regulars, there are also instrumental contributions from Ben Chasny, William Basinski, Amy Phillips and William Breeze. The results are simpler, fuller, more atmospheric production and the hypnotic, simple, looping strings of Chasny lend an authenticity to the stories embedded in Tibet's vocals. It's no news that Current 93 isn't for everyone, but for those that it is for, this will deliver. [SM]

LINVAL THOMPSON
Early Sessions 1974-82
(Hypnotize)

"Browns Kin Girl"

"Kung Fu Man"

Better known in underground roots reggae circles for his production than for his own tracks, the CD/DVD collection The Early Sessions 1974-82 collects 16 of Linval Thompson (the performer's) scarcest vocal and dub sides for the first time, mining material from his days in Jamaica, England, and Brooklyn (where he recorded in the mid-'70s for the Clocktower label). With a clear, expressive voice and a knack with a melody, Thompson's singing style is comparable to the incomparable--Bob Marley springs to mind--but with a more subtle approach that kept him bracketed to more regional success, leading the pack of "youthman" vocalists. Featuring productions by Scientist, Bunny Lee, and Dennis Brown, and performances by Earl "Chinna" Smith, Roots Radics, Sly & Robbie, and many others, the selections here showcase Thompson's breadth as a performer, as opposed to the roughness of his dubs (actually, the dub selections here run powerful and deep, forsaking the whole "kick the reverb tank across the room" vibe for one more soulful and melodic), finding the performer covering all the bases of roots reggae, lovers rock, and rocksteady as fine as any of his peers. The accompanying DVD includes a well-made and in-depth documentary of Thompson, reminiscing about his discography, production career, and singing on his Stony Hill, Jamaica property, as well as four tracks from a hot live set at the Sierra Nevada World Music Festival. Simply a beautiful package of soul-stirring Jamaican music all around. [DM]

TILLY & THE WALL
Bottoms of Barrels
(Team Love)

"Bad Education"

"Lost Girls"

I could see why a lot of people might not be into Tilly and the Wall. The whole tap-dancing instead of drum kit thing reeks of fey novelty--it's surely a gimmick of Matisyahuvian proportions. And it's a gimmick that totally overshadowed the fact that their 2004 debut, Wild Like Children, was overflowing with catchy indie-pop nuggets. Tilly's brand new follow-up, marvelously titled Bottoms of Barrels, is almost exactly like their first record only even better. At the very least, great pop music should always be about inclusion. Hand claps, sing-along harmonies, shout-out-loud chorus', hooks, shakers, all the bells and whistles--literally. If the bridge section builds tension but is also catchy too, even better. On Bottoms, the guys and gals in Tilly and the Wall have mastered this sense of inclusion. After all, Tilly's a collective. Word has it, the band even cooked these new jams up democratically in a classroom as part of an "artist in residence program." It doesn't really get more inclusive than that. The opening track, "Rainbows in the Dark," starts with a count-off, so even though it's already layered with just about every instrument off your high school band room floor, thanks to AJ Mogis' trademark Phil Spector by way of Elliott Smith production, the listener could play along if he or she cared to. And he or she will care to. The fifth track on the record is titled, "Love Song," but really, the whole album is packed with love songs. And even though the lyrics may be the type of stuff your girlfriend may have been caught jotting down in her trapper-keeper back in 7th grade, it only makes these songs all the easier to sing along to. Hell, while Jenny Lewis and Conor Oberst are off doing their Emmylou Harris thing, somebody had to make a record someone could dance to this summer. All this, and I didn't even have to mention "Omaha" once. [HG]

BOOKA SHADE
Movements
(Get Physical)

"Mandarine Girl"

"Body Language"

As the production team behind the bulk of the Get Physical catalog, studio masterminds Walter Merziger and Arno Kammermeier (doing business here as Booka Shade) waste no time in bringing the energy sorely missing from most leftfield techno of late, without any sacrifices to the gods of retro. Movements, the duo's second full-length, rides high with an elasticity missing from most techno this inventive, and a warmth usually dumped into tracks in place of substance. Think that Balearic means brainless? Not the case here, as ballsy electrofunk clashes with sound experiments like vocal cutups and glitches that coagulate into punchy synth stabs, and darker, more minimal elements of their sound are matched with a discofied swing and a peerless bounce that make these tracks appropriate for both the dancefloor and the house party--including the one that takes place through headphones. Movements is a loaded title; you'll likely find it impossible to sit still for its duration. Fantastic bumper-to-bumper jams for when the party is peaking. [DM]

X-WIFE
Side Effects
(Norte Sul)

"When the Lights Turn Off"

"Lost Lines"

Remember the last X-Wife album which kinda broadsided us with its catchy connectedness? Straight Outta Porto doesn't have the same ring to it, but even though these guys are from Portugal, they're still doing catchy rock tailored for the dance floor better than most of the high-rent paying bands from NYC. It reminds me of the whole Glasgow/Manchester phenomenon, with the Wake coming across like a better follow-up to Joy Division than New Order themselves. Though it's usually the other way around, sometimes those a bit farther from the source have a better take on the source than those standing right next to it. The dance-rock Clinic feel is still there as well as the rockin' ska swing of Franz Ferdinand, perhaps even Medium Medium; but these guys are really doing it; they're writing good sings and playing them with authority. Before listening, I had heard that X-Wife toned down the drum machine and the synth a bit so I braced myself for a weaker album, but I was wrong. The drive and danceability are all intact, as well as the sing-along-able chant vocals that DON'T come across like vapid punk cheerleading, unlike most of the pop-rock bands that try to sound like this. Pogo-pop? Some New York label with money better get these guys to play a buncha NYC shows already. An opening slot for Yeah Yeah Yeahs? [SM]

THE WHITE BIRCH
Come Up for Air
(Rune Grammofon)

"We Are Not the Ones"

"Your Spain"

More of a traditional rock record from Norway's finest experimental label this time around, as the White Birch draw from the melancholic sounds of Sigur Ros and Talk Talk. Produced by Helge Sten (aka Deathprod and member of Supersilent), Come Up for Air is a beautiful collection of dreamy piano and guitar-based songs, with Ola Flottum's somewhat odd singing voice (sometimes reminiscent of fellow Norwegian and King of Convenience, Erlend Oye's mild croon) floating on top. Some of the songs are enriched by subdued washes of strings, bells, and horns, creating a similar atmosphere to that of Jason Pierce's more valium-induced works with Spiritualized. It might take a few listens before it hits, but once Come Up for Air finally settles, it's guaranteed to stay with you for a long time. Soothing yet strangely haunting nighttime music. [AK]

BABY DAYLINER
Critics Pass Away
(Brassland)

"At Least"

"Critics Pass Away"

From the label that brought you the National and Clogs comes this unlikely album of smart, slick and catchy electro-pop. Baby Dayliner is a man, essentially a one-man band, producing and crooning like Barry Manilow meets Bertrand Burgalat, and the results are remarkably enjoyable. Fun, silly, heartfelt and sincere songs of love and lust and loss, with clean '80s production and Baby Dayliner's smooth and assured vocal delivery, embracing many of the trappings of cheese with none of the irony…this man is singing from the heart, and the results are a joy. [JM]

EARTH
Phase 3: Thrones and Dominions
(Sub Pop)

"Lullaby (Take Two: How Dry I Am)"

"Thrones and Dominions"

Long out of print Earth classic recorded in 1993/94 and finally reissued by Sub Pop. Not as heavy as their earliest works, Phase 3 contains some of the trademark thick as molasses wall of guitar but also sees Dylan Carlson letting a little light in, experimenting with quieter, more spacious passages and the occasional keyboard. Essential listening, not just for Sunn0))) fans.

THIS WEEK'S CONTRIBUTORS

[AB] Adrian Burkholder
[HG] Hartley Goldstein
[AK] Andreas Knutsen
[NL] Nicole Lang
[JM] Josh Madell
[DM] Doug Mosurock
[SM] Scott Mou


THANKS FOR READING
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