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It's another good mixed selection of artists in this week's Other Music eBay auction, with rarities from Thomas Koner, Gas, Sunburned Hand of the Man, Modest Mouse, Joe Turner, Andrew Deutsch, Current 93, Elliott Smith and more. Click here to view the full listing and place your bids

FEATURED NEW RELEASES
Architecture in Helsinki (Just In!)
My My
A Cloud Mireya
Heron
Selda
Mustafa Ozkent
Malajube
Les Georges Leningrad
Masayuki "JoJo" Takayanagi
Henrik Schwarz
DJ Jazz Jeff (Hip-Hop Forever III)
Brast Burn
Karuna Khyal
Andwella's Dream
The Tree People
Bow Wow Wow
Tappa Zukie

Laurent Garnier & Carl Craig (Kings of Techno)
The Knife
Animal Collective
Blueprints (12K compilation)
Brasilia
Upsetters
Jack Nitzsche
Nobody
Doug Sahm
Niobe

ALSO AVAILABLE
Albert Hammond Jr.

COMPLETE LIST OF THIS WEEK'S NEW ARRIVALS

ARCHITECTURE IN HELSINKI
We Died, They Remixed
(Bar None/Tailem Bend)

"In Case We Die" Dy Mehdi Remix

"Neverevereverdid" Cave Rave Remix by Yacht

Just in, a limited tour only Architecture in Helsinki remix album!!! For their latest tour abroad, AIH roped in friends and fans Safety Scissors, Isan, Mockey, Hot Chip, Dat Politics, and others to completely rework all fourteen songs of their excellent In Case We Die album. While supplies last.

MY MY
Songs for the Gentle
(Playhouse)

"Pelourinho"

"Got It"

A CLOUD MIREYA
Singular
(Eastern Developments)

"Those Nights"

"These Flowers"

A Cloud Mireya is the long-coming debut release from Guillermo Scott "Prefuse 73" Herren and Claudia "On!Air!Library!" Deheza, and fans of their separate projects should find a lot to like here. Under the Prefuse 73 and various other aliases, Herren has long staked a claim on the cutting edge of indie production, crafting lazy instrumental hip-hop, glitchy electronica and even ambient international folk sounds on his plethora of meticulous releases. Singular fuses several of his interests, with tripped-out grooves and free-flowing live instrumentation spooning in sweet harmony as the record slowly unfolds. Less insistent and more open-ended than Prefuse, more "modern" than Savath & Savalas, Herren's production throughout is understated and warm. The perfect palette for Ms. Deheza's dreamy pop songwriting and hazy vocals, her poetry slowly emerges from the mist, but the singer is clearly more concerned with the mood than the fine details, and she delivers throughout. Besides the strong pull of their other projects, this album stands on the shoulders of artists like Stereolab, Mazzy Star, Tortoise, and the even more old-fashioned shoegaze phenomena, but Herren's subtlety complex production and Deheza's sexy and shimmering vox make for quiet innovation and a great listen. [JM]

HERON
Upon Reflection: The Dawn Anthology
(Castle)

"Rosalind"

"Love 13"

Upon Reflection includes the complete recordings of Heron, a folk group that was formed in the suburbs of London in 1967. At the beginning of the '70s, they released two albums and a handful of singles on Dawn, a subsidiary of Pye that put out great records by Comus, Trader Horne, and Mike Cooper, who played slide guitar on some of Heron's songs. The group claimed the Incredible String Band as a major inspiration, but with the exception of a few old-timey numbers like a two-part cover of Woody Guthrie's "Sally Goodin," their songs sounded quite a bit more contemporary than the ISB's. Heron's three lead singers each wrote devastatingly great stripped-down acoustic pop songs. Because they felt uncomfortable in a studio setting, they made both of their albums outdoors using mobile recording equipment. You can literally hear birds chirping and wind blowing in the gaps between the songs, and the performances are incomparably relaxed and mellow. This two-disc anthology reveals Heron to've been one of the best and inexplicably least-known British folk bands of the early 1970s. It's definitely one of the year's most essential reissues. [RH]

SELDA
Selda
(Finders Keepers)

"Ince Ince"

"Niye Cattin Kaslarini"

MUSTAFA OZKENT
Genclik ile Elele
(Finders Keepers)

"Burcak"

"Zeytinyagli"

The b-boy Turkish invasion has officially begun. Oh you didn't hear about it? B-boy breaks from Turkey? Yep! Who woulda thunk it? But apparently a lot of the Turkish pop music from the '70s and '80s was seriously funky and chock full of wide open drum breaks that definitely would've been rocked in the South Bronx had Afrika Bambaataa or Kool Herc gotten hold of these gems. In any case, DJs and producers like Cut Chemist, DJ Shadow, Egon and Andy Votel have been obsessed with digging for these records for a few years, and now B-Music has opened the floodgates with these two stellar reissues of incredible albums by a couple of very interesting artists.

Selda Bagcan made her reputation as a politically outspoken folk singer in the late-'60s and early-'70s. She established a loyal underground following in Turkey but because of the controversial nature of her lyrics, no label would sign her. In 1975, she finally got the opportunity to record this debut album. Legendary Turkish prog rockers Mogollar and Arif Sag are her backing band here, and together they create one of the most singular sounding psych-folk records ever. Electronically treated guitars and keyboards, filtered acoustic guitars, head-cracking drums, it's all in here. And when you throw in Selda's soaring soprano singing with a rapid-fire delivery that sounds like Joan Baez covering a Sizzla tune …whoa!

Even more mind-blowing is the instrumental break bonanza that is Mustafa Ozkent's Genclik ile Elele. Ozkent was an inventor, musician and respected engineer who was asked to record an instrumental dance novelty band, not unlike Incredible Bongo Band conceptually and musically. Imagine the "Apache" break re-imagined as a crazy, b-boy belly dancing track and you may get somewhat of an idea of what we're dealing with. The beat digger who first discovered this album must've had a heart attack when his needle hit this record for the first time.

In any case, thanks must go out to Votel and company for letting the rest of the world hear this magnificent music. This is crazy, fun s**t! [DH]

MALAJUBE
Trompe l'Oeil
(Dare to Care)

"Montreal - 40c"

"Etienne D'aout"

Malajube are the latest indie rock sensation who claim Montreal as home. As if their Canadian roots couldn't make them any more unstoppable, Malajube also has a "gimmick" -- they only sing in French. I told you…unstoppable. Their brand new sophomore record, Trompe l'Oeil, is bursting at the seams with nervous, pseudo-intellectual, indie rocker boy energy that translates to a blissful cacophony of sweaty pop exuberance that doesn't let a little thing like a language barrier get in the way of kicking your ass. Does anyone even listen to lyrics anymore anyway? At least, these guys actually name their songs with actual titles, and not just numbers like all the kids seem to be doing these days. You'd be hard-pressed to find a four-piece kicking out the jams with more passion than Malajube. The fact that the word "Trompe" appears in these guys' album title and the Pixies is not lost on me. Just when I thought Sweden was taking over indie rock, Canada births another winner. Tres bien. [HG]

LES GEORGES LENINGRAD
Sangue Puro
(Tomlab)

"Skulls in the Closet"

"Scissorhands"

Grafting the impatient howl of Teenage Jesus and the Jerks to a dour, Goth-tinged electro soundtrack (which sort of gives you a more rhythmically active Siouxsie and the Banshees … in front of a strobe light), Montreal's Les Georges Leningrad has finally superseded the stagey nature of past releases with the steady mobbin' of Sangue Puro. Ten new songs march along with evil in their eyes, or sputter artistically into the open air. Fits in a niche somewhere between Glass Candy and Mika Miko. [DM]

MASAYUKI "JOJO" TAKAYANAGI
Action Direct
(Tiliqua)

"Loop Road"

"Reaction"

Three pieces from a live '85 concert by Japanese guitar improv legend Takayanagi, known well for his scorching free noise/improv works with his group New Direction, here performing solo in a controlled, prepared-guitar setup. Employing heavy effects processing and non-standard guitar playing materials -- like knives -- Takayanagi kicks up a sinister, roiling, mesh of sonic textural landscape … but wait, is that a snippet of a Hitler speech? What's going on here? Is that a hacksaw or a violin bow on the strings? Did the bowels of Hell just open? Touching on everything from Metal Machine Music to early Swans, Action Direct presents a new side to Takayanagi's work, a truly uncompromising, totalitarian, fear-stoking facet that will appeal to all fans of extreme music. [DM]

HENRIK SCHWARZ
DJ Kicks
(K7)

"Black Sea" / "Giya Kasiamore"

"You Can Be a Star" / "Get Around to It"

I thought I'd never wanna hear Moondog's "Bird's Lament" after all the car commercials happened, but Henrik Schwarz' DJ Kicks mix uses it as a launch pad into Double's "Woman of the World" so nicely that it just sets a tone that prepares the listener for whatever happens next. The inclusion of D'Angelo, James Brown ("Since You've Been Gone," not "Sex Machine"!), Cymande, Drexciya, Robert Hood, Pharoah Sanders, Arthur Russell, and Marvin Gaye had us expecting either the best or the worst. Thankfully the best is what we get. This is like a well-programmed, digital soul version of a Gilles Peterson mix for the dancefloor, whose theme revolves around "interesting electronic/digital soul production" that isn't as futuristic as it is now. It's a fun rollercoaster ride that keeps on giving, grooving, lifting, and falling throughout its 23 tracks. This is one of those sets that would have gotten the whole club smiling and dancing -- dashiki-wearing Afro-philes elbow to elbow with marine-shaped techno jocks. It's a small world after all, and we sure as hell can all get along!!! Amen! [SM]

DJ JAZZY JEFF
Hip-Hop Forever III
(BBE)

"Ijustwannachill"

"The Choice Is Yours" / "Looking at the Front Door"

While Jazzy Jeff's old partner in crime is off shooting major Hollywood remakes outside our storefront, he continues to prove why he's one of the greatest hip-hop DJs of all time with Hip Hop Forever III. Never mind the irony in throwing around the word "forever" in titling a mix made up mostly of joints that came out over a decade ago, this s**t bumps. Forever plays like a perfect primer of early to mid-'90s rap or stuff that sounds exactly like early-to-mid-'90s rap. All the hits are there: Tribe's "Award Tour," Pharcyde's "Passing Me By," Black Moon's "Who Got the Props," hell…even Mobb Deep's "Quiet Storm" and, yep, "The Choice Is Yours" too. However, if any shots can be fired in Jeff's direction, it's that maybe his selection is all a bit too obvious. In other words, he loves this stuff too much -- you can never go wrong spinning Gang Starr, but do we really need three (!) Gang Starr joints back to back ("The ? Remains," "Mass Appeal," and "Full Clip"). Dude could've included some Hieroglyphics jams from the period, Diamond D, Organized Konfusion, De La and on and on…However, that's a very minor discrepancy on a mix that puts Masta Ace's obscure cult classic, "Top Ten List," alongside Large Professor's "Ijustwannachill." So tasteful. Makes me wish it was '94 again. Hip-Hop forever? [HG]

BRAST BURN
Debon
(Paradigm)

"Debon Pt. 1"

"Debon Pt. 2"

KARUNA KHYAL
Alomoni 1985
(Paradigm)

Side A

Side B

What to tell you about Brast Burn and Karuna Khyal? Well, here goes: Brast Burn has a dark, purple swirl of paint with some hideous, three-breasted zombie woman pencil drawing on the back. There's a sepia-tinged picture of a housewife twice the size of the Manhattan skyline trapped in a clear bubble on the cover of Karuna Khyal's Alomoni 1985, and a portrait of a midget couple on the back. Both albums are comprised of two side-long tracks way past the 20 minute mark. And…that's about all the information there is to glean about the two groups. Ridiculously obscure underground releases on the clandestine Voice Records back in Japan in the mid-70s (the veritable Dark Ages, it would seem), this is thankfully back in print again, as more brains need to get scrambled to this. The groups, while maybe not quite the same entity, do share members, we think. Some sonic touchstones remain: Faust, Can, Guru Guru, Beefheart. It's post-blues skronk, but the rhythms are all handheld: bells, tambourines, bongos, and shakers. Brast Burn, while on another planet entirely, is somewhat more grounded than KK. Starting with a deranged blues stomp that harkens to early Jethro Tull and Captain Beefheart's Mirror Man, from there, all bets are off as Karuna Khyal veers into some truly alien territory, with lots of tape f**kery and whatnot. Imagine Endless Boogie morphing into No-Neck Blues Band at their most primal, before melting down into Can's Ege Bamyasi, and you're about five minutes into its mesmerizing, choogling mess. Both are masterpieces of WTF? [AB]

ANDWELLA'S DREAM
Love & Poetry
(Lightning Tree)

"Man Without a Name"

"Cocaine"

The 1969 debut album by Andwella's Dream, an Irish band that came out of the same scene as Thin Lizzy and Them, is one of the most sought-after psychedelic rock rarities of all time. It even inspired the title of the Love, Peace & Poetry series of compilations on Shadoks. Much of the album is more or less in the vein of bands like Tomorrow and the Pretty Things, and a few songs have more of a Yardbirds-inspired blues rock vibe. There are even a couple of psych-folk songs and orchestrated pop flourishes on the record, and the most memorable tracks, like "Take My Road" and "Man Without A Name," hint at the type of stuff they would perfect a few years later after they shortened their name to Andwella. Their terrific third and final album People's People sounds like the UK's answer to The Band. That record might be more consistent than their debut, but Love & Poetry is so energetic and eclectic that it's easy to look past the one or two tracks that don't completely work. [RH]

THE TREE PEOPLE
The Tree People
(Tiliqua)

"Stranger"

"Morning Song"

Thought this might've been unreleased songs by Doug Martsch's old band, but this is a reissue of a legendary late '70s private-press folk album out of Oregon, led by guitarist and songwriter Stephen Cohen. Within lie nine thoroughly stunning examples of outsider folk, informed by the heat of Delta blues and the darker direction of serious, post-Woodstock singer-songwriter a la Joni Mitchell or Van Morrison, all the while serving within and without the traditions of American folk. The arrangements here are cunning yet gentle; the playing assured in stature but evocative and searching in execution. Rests aside the Gary Higgins and Virgin Insanity reissues as a pinnacle of beatific, pristinely executed 20th century folk. Cohen's musicianship is something you could get lost in for hours on end. [DM]

BOW WOW WOW
I Want Candy Anthology
(Castle)

"C30, C60 C90, Go"

"See Jungle! (Jungle Boy)"

Bow Wow Wow is my second favorite band of all time. It's true. When my OM colleagues found this out, I was met with perplexing looks and comments of "Really?" or "Why?" Most people know the band for their catchy '80s cover of "I Want Candy," but don't know much else about them other than that they were formed by Malcolm McLaren and that a teenaged mohawked girl sang lead. All of this is true. Bow Wow Wow was the brainchild of McLaren who had this concept of creating a teenybopper band that played "Burundi influenced drum-based post-punk." He originally wanted to realize this concept with Adam & the Ants, who he was managing at the time, but when Adam split from McLaren, he recruited 14-year-old Annabella Lwin, who had been discovered by his assistant who heard her singing a Stevie Wonder song in a launderette.

The perplexing thing about this band is that they were actually able to pull this high-minded concept off! If post-punk was really about throwing off the shackles of rock-n-roll's blues-based tradition to find influences elsewhere, then this band is as much a shining example of that idea as Gang of Four. They still sound like nobody else. Dave Barbe's intense circular, tribal drumming sounded more like Olatunji than Keith Moon. Maf Ashman's brilliant guitar leads were a unique blending of disparate styles: African highlife, Shadows-styled surf guitar and classic, scratchy agit-post-punk. But you can't talk about Bow Wow Wow without mentioning Lwin's voice. Her raw, pitch-perfect sing-songy vocal leads perfectly captured the unbridled sexual energy and excitement of a teenager becoming an adult. You can still hear her vocal influence on singers like Kathleen Hanna and Karen O.

Some 25 years on, this music still sounds fresh, vibrant, and immediate. Any fans of the Yeah Yeah Yeahs, Pretty Girls Make Graves, Bikini Kill, or any girl-fronted band that kicks major booty should grab a hold of this collection and familiarize yourself with a group whose influence is more far-reaching than you think. [DH]

TAPPA ZUKIE
Escape from Hell
(Trojan)

"Massacra Dub"

"Double Struggle"

This new collection of work by vocalist turned producer Tappa Zukie on Trojan is a wildly bouncing set of deep dub cuts. The bulk of these songs were originally released on the album Escape from Hell on Zukie's own Stars imprint in 1977. Recorded at Channel One and mixed by Prince Jammy, Zukie is backed by the Sly and Robbie-led Revolutionaries (who were at their peak), and the musicians provide a tight and magnetic rhythmic foundation. (By the way, the re-mastering sounds fantastic). If you've been digging into some of the other great reggae reissues we've had throughout the year, some of these rhythms may be familiar, yet the inclusion of 10 bonus tracks should lure you in -- over an hour of terrific dub from one of the genres finest, with liner notes and an interview with Zukie by David Katz. [DG]