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   April 17, 2007  
It’s been months in the making but we’re finally just days away from launching Other Music’s mp3 download store! We’ll be announcing the official launch date soon, as well as sending out additional details to a new, separate email list. You can subscribe to this list by going to digital.othermusic.com. Interested labels, distributors and bands should contact labels@othermusic.com.
Blonde Redhead
Love of Diagrams
Philadelphia International (Various)
Stars of the Lid
Eddie Marcon
The Pop Group
Ed Rec Vol. 2 (Various)
Bright Eyes
Madlib & Peanut Butter Wolf
Xiu Xiu
Arctic Monkeys (CD single)
Mikkel Metal
We All Together
Rub-a-Dub Soldiers (Various)

So Young but So Cold (Various)

APR Sun 15 Mon 16 Tues 17 Wed 18 Thurs 19 Fri 20 Sat 21

One Last Wish - D.C. 1986


Other Music invites you to the opening night of a showing that we'll be hosting in the store featuring the photographs of Bert Queiroz. Many of you probably know Bert, as he's been a longtime OM staff member. Growing up in Washington D.C., he got his start in photography during the late-'70s taking pictures of fellow skateboarders, and soon after began documenting the city's burgeoning punk and hardcore scene. Bert still takes his camera everywhere, from shooting concerts to chronicling his frequent travels. Many of his photos have appeared in publications such as SPIN, NME, Melody Maker, Our Band Could Be Your Life, and Banned in D.C. We hope you can join us.

Opening Night: Wednesday, April 18
6:30 P.M. to 8:30 P.M.
Other Music: 15 East 4th Street NYC

APR Sun 16 Mon 17 Tues 18 Wed 19 Thurs 20 Fri 21 Sat 22

Richard Swift

This weekend, singer/songwriters Richard Swift and David Vandervelde will be playing two nights in New York: Saturday at Luna Lounge in Brooklyn, and Sunday at Pianos in NYC. Other Music has a pair of tickets to give away to each performance, so enter right away by emailing tickets@othermusic.com. Please leave a daytime phone number where you can be reached, plus the preferred date that you would like to see. The two winners will be notified on Thursday, April 19.

361 Metropolitan Ave. Williamsburg, Brooklyn

158 Ludlow NYC

APR Sun 22 Mon 23 Tues 24 Wed 25 Thurs 26 Fri 27 Sat 28


In celebration of the release of Charlotte Gainsbourg’s gorgeous new album, 5:55, Vice Records, The Onion, Other Music and Kronenbourg are proud to invite you to Mannahatta on April 24 pour une grand fete. Beer will be provided, and we will be giving away copies of the CD. The event will feature music from DJ Melody Nelson of "Calling All  Kids" and East Village Radio’s "La Decadanse."

316 Bowery NYC

APR Sun 22 Mon 23 Tues 24 Wed 25 Thurs 26 Fri 27 Sat 28


Next Wednesday, April 25th, Other Music is excited to present a DJ set from Dntel (a/k/a Jimmy Tamborello, who also performs as James Figurine and is a member of the Postal Service) in celebration of his upcoming new album Dumb Luck, on Sub Pop. Also joining Tamborello on the decks will be special guests Ed and Chris of Grizzly Bear and Other Music’s Gerald. It all gets underway at 10:00 P.M., in the backroom of Union Pool. We hope you can join us!

484 Union Ave. Williamsburg, Brooklyn







$10.99 LP




The first time Blonde Redhead really caught my ear was with their cover of the Serge Gainsbourg and Jane Birkin duet, "La Chanson de Slogan." Being only a casual fan up until that point, that 7-inch marked, to me at least, a creative turning point for the group. From that point on, each subsequent album would be one significant step after another away from Sonic Youth comparisons and the very no-wave influences from which the band had taken their name. It was a fact underscored by Blonde Redhead's move to 4AD a few years back, a match made in heaven. And sure enough, Misery Is a Butterfly did share much of that same mysterious elegance of an old Cocteau Twins or This Mortal Coil record from, arguably, the label's golden era.

Blonde Redhead's new album, 23, is a natural progression from Misery, but the production here seems more focused and better suited for their fragile, minor-keyed melodies. It's not that the Pace brothers and Kazu Makino are shrugging off any of the lush studio sheen from the previous outing; they even brought Alan Moulder in to handle the mix. But here, there's also an openness in the writing that's more reminiscent of 2000's Melody of Certain Damaged Lemons, still, it's far from retread. Case in point, the title track in which Makino's voice is enshrouded in warped Loveless-styled guitar glides. We also find the trio continuing to dabble with bits of electronica ("Publisher"), breezy '80s pop ("Silently") and even coming up with a song ("The Dress") that could have been the product of an impossible pairing between Radiohead and Jean-Claude Vannier, Gainsbourg's most celebrated arranger.

Perhaps it's more than a simple coincidence that Blonde Redhead's cover of "La Chanson de Slogan" marked the beginning of a highly creative period and one that, nine years later, is still going strong for the band. Like Gainsbourg, Blonde Redhead also have a dramatic flair for reinvention, pulling musical inspiration from a variety of sources of past and present, but never regurgitating. What results is almost always cinematic, and nothing less than wholly original. [GH]






$13.99 LP



"Form and Function"
"What Was I Supposed to Do?"

Make room for this Australian post-punk trio, who play darkly wound-up, incredibly tight rock with icy veins and cold hearts. The band's precise, architectural approach is steeped in early '90s noise pop (think Bailter Space or Arcwelder), a stern Factory vibe, and the chilly, glamorous allure of Siouxsie Sioux or Bauhaus. A lot of people have been waiting for a band this good in the genre, one that stayed truest to its roots but was able to offer up a modern-day version that could stand on its own. Crazy catchy hooks, propulsive bass and drums, and jagged guitars almost push this thing in the direction of Mission of Burma or Unwound at times, but the band retains a cool distance from any modern signifiers. Quite a surprise, and a stunning debut all in all. [DM]






Philadelphia International - 12-inch Singles
(Edsel Import)

"I'm Just Thinking About Cooling Out" Jerry Butler
"Put Our Heads Together" O'Jays

The Philadelphia International label was spearheaded by the genius songwriting/production team of Kenny Gamble and Leon Huff, whose elegant soul music was filled with positive lyrics of empowerment and fused with elements of classical, jazz and blues. The world listened and danced like they'd never danced before...disco was born. The tunes Gamble & Huff produced for Teddy Pendergrass, O'Jays, Jones Girls, Billy Paul, and many others, define all that is timeless about this genre. This double-disc is a much overdue collection of the elusive extended 12" mixes that the duo's label released during its heyday. This volume contains a lot of familiar names but it concentrates on Gamble & Huff's deeper cuts as well as excellent club tunes from a lot of lesser-known artists. Familiar (McFadden & Whitehead) mixes with the unfamiliar (Frantique, Bobby Rush) to create a pretty solid overview of one of the best American record labels ever. File this under: Essential. [DH]






And Their Refinement of the Decline

"The Evil That Never Arrived"
"December Hunting for Vegetarian Fuckface"

It's been six long years since Brian McBride and Adam Wiltzie last graced listeners with a new Stars of the Lid record. And though the two have kept busy with solo projects since 2001's high-water mark The Tired Sounds of, their absence as a duo has left some huge shoes relatively unfilled in the landscape of pure droned-out ambient bliss. Thankfully they've returned with And Their Refinement of the Decline, another starkly brilliant two CD work that seamlessly continues their evolution. Now based in California and Belgium, Wiltzie and McBride's intercontinental efforts here have given way to a sweeping and majestic work of slyly detailed colors and shapes, at once studied and careful but never labored or overbearing. While they had formerly been standard bearers of 90s post-rock, here Stars of the Lid have transcended that simplistic tag, creating an album that places them more in line with William Basinski's Disintegration Loops, Andrew Chalk's Faraway Press albums, or any of Johann Johannson's recent compositional feats.

For a pair that has made an approach to subtlety their calling card as the years have passed, it should come as no surprise that And Their Refinement of the Decline continues that trend. But as opposed to their last double-disc opus, Refinement tightens the reigns even more -- guitars whisper faintly in the distance, ebbing and flowing in serenely distended waves that use natural silence as an instrumental counterpoint as powerful as any piece of equipment these two have in their arsenal. Horns and strings effortlessly permeate tracks like "Even If You're Awake (Deuxieme)," providing simple and effective melodic counterpoints to the grand swells and crests that McBride and Wiltzie drape luxuriously throughout their pieces. Out of the two hours of music contained herein, however, it's the closing (and most hilariously titled) "December Hunting for Vegetarian Fuckface" that packs that most transcendent punch -- all languid tones and stately strings that spend a grand seventeen minutes negotiating a spacious launch into the ether. More than just a welcome return, And Their Refinement of the Decline captures Stars of the Lid at their warmest and most hauntingly evocative moments, a peak that few of their modern contemporaries could ever touch. [MC]






Shining on Graveposts


Eddie Marcon is a project conceived by former LSD March bandmates Eddie Corman and Marcon. More subdued than their early psych freakouts, Shining on Graveposts filters the best of Nagisa Ni Te through Linda Perhacs' looking glass. Minimal acoustic guitar melodies wind around swirls of cymbals and brushed percussion, and are topped with Eddie's layered, gossamer voice. In true acid-folk style, incidental sounds float in and out, either vocalized or aided by the drones and sighs of Chaki's clarinet -- or, as in the case with "Radio," a mysterious mechanized whirr. Tones shift slightly with each song, along with each instrument: a piano waltzes into "Blues," grounding the otherworldly layers while letting the vocals swing; "Mukau" drifts over pop territory with its bells, treading bass and lilting "la's;" and the clarinet doubles as a lonely harmonica sound on the aforementioned "Radio." This music is perfect for sitting inside on a rainy day and imagining wispy clouds against a shockingly blue sky. Lovely minimal art on fold-out paper packaging. Fans of freak-folk should definitely add this to their collection. [LG]






$14.99 LP


The Adventures of Ghosthorse and Stillborn
(Touch and Go)

"Rainbow Warriors"
"Black Poppies"

In a relatively short time, CocoRosie have made their mark around the world with their brand of folk-hop. Their music possesses a mysterious and quaint charm that is queer, dreamy and slightly campy, yet all at once engaging and unique. Needless to say, The Adventures of Ghosthorse and Stillborn finds the Casady sisters at their most accomplished and strangest. There's a clarity in their approach that floats throughout the record, as CocoRosie shift perspectives and musical styles as if they've fully immersed themselves on the other side of the looking glass. The main sonic difference here, however, is a polished sound, thanks to the help of producer Valgeir Sigurdsson (featured on the last two Bjork albums) and the beatboxing of French vocalist Spleen.

Their adventures this time around are a series of journeys that use stronger hip-hop beats, melodies and sounds -- think Clouddead for gay girls. As with their earlier albums, influences from folk, trip-hop, classical and Billie Holiday are all fused together, and at first things sound terribly wrong. But this clash of genres ends up being one of their strong points and upon repeated listens, the distinctive approach feels less foreign and strange. The Casady sisters' music is like deciphering the most cryptic of fairy tales.

CocoRosie grow with each album, and The Adventures of Ghosthorse... is definitely their best, in part due to the separation of their talents -- they switch songs and perspectives throughout, taking turns on the lead. When Bianca is on the mic, she presents more of a hip-hop slant, offering a voice for Brooklyn lesbians who embrace both urban and indie/punk subcultures -- think the new school heiress who's following the footsteps of Le Tigre's JD. Sierra, on the other hand, continues in the dark, worn, and beautifully tragic legacy of black women blues singers, a definite ode to the past while being fully aware of current issues, styles and techniques. If you've been swept up in CocoRosie's simple, yet elaborate web, you will no doubt find yourself once again at their mercy. If their name is new to you, then this is a solid place to start. [DG]






(Rhino UK)

"She Is Beyond Good and Evil"
"Don't Call Me Pain"

Finally. Previously only available on CD via a very expensive Japanese pressing, Rhino UK presents us with a re-mastered edition of influential (yet underrated) UK band The Pop Group's debut album. Words really don't do this album justice -- the music and lyrics speak their case in thunderous voices so certain of themselves that critical descriptions often come out sounding like drooling babble. People either love or hate this record; I can't say I've honestly ever heard anyone with an indifferent or lukewarm reaction to this album. My advice is to listen to the samples provided and decide which camp you fall into (though the record's difficulties, like any relationship worth having, evolve over time into charming idiosyncrasies) -- give this record the time it deserves, though, and it will reward you... It did, after all, take 28 years for a proper reissue!

In short: Bristol teens addicted to funk and hardcore politico action hook up with British reggae heavyweight producer Dennis Bovell (fresh off of the magic he worked with Ladbroke Grove's Slits on their debut Cut) and create what is not only one of the most truly revolutionary albums of the entire "post-punk" breakfast cereal taste craze but also of the entire 1970s; true to its innovatory power, bands across the globe are still attempting to improve upon the call to arms given here and perhaps only This Heat's Deceit ever rose to the challenge successfully.

Not an easy listen by any means (**ironic band name alert**), this record is rabidly emotional, at times as flailingly tempestuous as free jazz or Beefheart but simultaneously as deeply funky as a Chic record; it's also deeply moving in its sincere call for change. One listen to the album's centerpiece "We Are Time" should sufficiently explain the dichotomy at work here -- heavy bass grooves, barbed-wire guitars, and smears of piano anchor Mark Stewart's seething rants as he and drummer Bruce Smith attempt to kick and claw their way out of one of the most disorienting dub productions ever laid to tape. This is, without doubt, one of Bovell's greatest productions; the overall sound design is matched by few rock records before or since. As a bonus, the album is bookended by the band's first single and perhaps most accessible moment, "She Is Beyond Good and Evil," as well as its flipside "3:38" -- the group's wildest, most terrifying dub workout. Without question, this is essential listening for anyone with even a passing interest in music that pushes boundaries. [IQ]






Ed Rec Volume 2
(Vice / Ed Banger)

"Phantom" Justice
"Golden Skans" Klaxons

With all the talk of a resurgence in rave culture, one of the leading names behind the new school is the French label Ed Banger. Featuring a roster of talent and associations that include Klaxons, Justice, Mr. Oizo, DJ Mehdi, Sebastian, and Uffie, they've made their mark on dance floors and runways around the world. Much like Daft Punk did in the '90s, Ed Banger and crew have crafted a distinct style and captured the energy of this early millennium, with intense micro-editing of beats, synths and guitars that bring to mind sounds that are usually associated with techno, trance, dubstep and drum-n-bass.

Beginning with "Dismissed," a sweet Lilly Allen meets foul-mouthed Lady Sovereign type of party jam from the youthful Uffie, and then followed up by Justice's crunchy, hands-in-the-air-inducing "Phantom," things continue to get wild, freaky and hyper. Across the 15 tracks, a lot of genres are brought into their process -- acid house, electro, house, dance-rock, '80s Latin hip-hop, and of course disco -- all augmented with digital smears, arpeggiating synths, vocoders, and thousands of effects, crafting something undeniably new. If Daft Punk rocked your world back in the day but LCD Soundsystem doesn't do it for you now, then you may want to check out the talents associated with Ed Banger. Think the Klaxons did things all by themselves? Think again. Welcome to sound of 2007. [DG]







"Get It On"
"Honey Bee"

To a lot of us, Nick Cave seemed comfortable. While he wasn't what anyone might have called a rut, it seemed as if he could continue to make records with the Bad Seeds that would follow a trajectory that was predictable even as it surprised. Add that to the fact that there hasn't been a better time for so-called "comeback" artists to flourish, and you have Grinderman, Cave's new outfit where he sings and, for the first time, plays guitar (he's learning) and organ, rounded out by the Dirty Three's Warren Ellis, the Triffids' Martyn Casey, and former Sonic Youth/Vanity Set drummer Jim Sclavunos. The mood here is aggressive and 101% male, turning itself inside out with jokes, stomping simple punk/noise/goth rock bangers, and the sort of sultry, come-hither stare that most of us have given (or gotten) at a bar one night right after last call. Grinderman finds Cave at his most vital since Henry's Dream and his most fun since Junkyard. They're the first grebo band to surface since Thee Hypnotics, all thoroughbred rhythms and ballsy swagger. A strong contender for any respectable Top 10 list this year. [DM]






(Saddle Creek)

"Four Winds"
"I Must Belong Somewhere"

Lauded as the iconic "in-touch with his emotions" indie rocker, Nebraskan Conor Oberst signals on Bright Eyes' seventh proper full-length, Cassadaga, that he may finally be ready to grow up.

Here, Bright Eyes no longer feels like frontman Oberst's angst-y pet project that pals Mike Mogis and Nate Walcott just happen to participate in. Arguably, for the first time, the group sounds like an actual, collaborative band of songwriters, forgoing the melodramatic persona of Oberst's warbling powerful, masochistic intimacies for a cohesive feel of vocals merging with guitar, bass, drums, and the intermittent piano. Although Oberst can still be charmingly self-indulgent -- the first track, "Clairaudients (Kill or Be Killed)" is just excerpts of psychic jabber conversation and there's no sign Oberst is giving up his biting political critiques -- the fourth song, "Hot Knives," acknowledges Oberst's new path: "Oh, I've made love, yeah, I've been f***ed, so what?" And it's change, whether it is change of setting or change of self, that becomes the central theme of the album as Oberst embeds the notion of the itinerant-traveler throughout this work, so named after a spiritualist camp in Florida that he knows first hand.

With appearances by Ben Kweller, M. Ward, Rachael Yamagata, among others, Cassadaga offers the richest/slickest production from Bright Eyes to date, a country-folk/rock feel, honest verses, tunes, and hooks along with some well-turned phrases. In sum: growing up doesn't mean you're past your prime. [PG]






Ulual YYY

"Pete P"

Merja Kokkonen, one of our favorite Finnish folk females, who records under the name Islaja (that is, when she's not doing projects with other luminaries on the scene) returns with Ulual YYY. And she's been busy since her last studio album, Palaa Aurinkoon, touring the US as well as Russia, with a stop off for All Tomorrow's Parties. While we anxiously await a live album slated for release on Ecstatic Peace!, Kokkonen returns to both cove and cave here, utilizing a slew of electric and acoustic instruments to concoct her mesmeric take on folk music. Subtle and strangely enchanting. Recommended for fans of Bjork and the freak-folk scene in general. [AB]






The Other Side: Los Angeles
(Deaf Dumb and Blind)

"Clear" Cybertron
"Sly" "Mark Murphy

Ten years in existence, Stones Throw is no longer an underground label. But while they may have crossed over to the masses via associations with 555 Soul, Adult Swim, Urb Magazine, Guitar Center, and now Time Out, that doesn't mean that they are any less independent. The latest installment in The Other Side series includes a DJ mix from the label's main producer, Madlib, whose set feels like an edited version of his Mind Fusion series, featuring cuts from Dabrye, Sun Ra, Freestyle Fellowship, and, of course, a handful of Madlib projects (Jaylib, Quasimoto, and Beat Konducta). The DVD portion includes lots of goodies for Stones Throw fans, including music videos from their roster and an in-depth interview with Peanut Butter Wolf. We also get to spend a day with the label head and Egon, where they give us a tour of their favorite LA street spots, shopping for sneakers, t-shirts, records, toys, furniture, skateboards, and food. All in all, a nice where-to-go video guide for Los Angeles and certainly a deeper glimpse into the world of Stones Throw. [DG]






Remixed and Covered

"Clowne Towne" Marissa Nadler
"Fabulous Muscles" Kid 606

Remixed and Covered, the latest offering from experimental indie trio Xiu Xiu, bridges the gap between die-hard fans and those who just never got what the group was about. On the covers disc, we hear 44 minutes of the best and most esoteric Xiu Xiu tunes mutate into a charming folk ditty (Marissa Nadler), a conceptual blend of hip-hop and indie rock (Why?), an archetypal indie pop song (Her Space Holiday), a grandiose indie rock jam (Sunset Rubdown), and a noise-ish avant-garde endeavor (Oxbow), amongst others; all the featured artists alter the Xiu Xiu tracks to meet their own standards and needs. And the second disc of remixes follows that same suit, albeit with more elaborate drum arrangements, more prominent synth and a punch-y air; at times, it's drone-y/noisy (Cherry Point), glitchy (Kid 606), ambient (Grouper), and dance-floor friendly (Gold Chains). Whether it's re-interpretation or mis-interpretation isn't really the question. There's something Xiu Xiu for everyone here. [PG]








The best band with the worst name is back with a brand new single from their forthcoming album. "Brianstorm" is airtight, caffeinated, chug-a lug, agit pop that references everything from Jesus Lizard to the Who. Simian's James Ford co-produced it, but this ain't nu-rave! This is rock and effin'roll! Also includes three additional tracks, one featuring Dizzee Rascal.






Brone and Wait

"Stand Guard"

Mikkel Metal's third full-length finds the producer distancing himself further and further from the hard, breakbeat IDM that he was primarily known for. Brone and Wait features dirty, minimal techno, and slow, murky dub excursions, similar to Delay, Pole, and Rhythm & Sound.








The fifth album from Laub is more mature and less abrasive than their previous output, the Berlin-based duo gathering inspiration from the honest simplicity of classic American blues. Stripped down but still challenging.







"Soy Timido"

This beloved early-'70s Peruvian group specialized in harmony-drenched baroque pop music that draws comparisons to Badfinger, Raspberries and the Beatles. This release collects their exquisite singles and they are amazing. Any serious fan of classic guitar pop needs this.






(Ecstatic Peace!)


John Moloney and the Sunburned crew return with a sprawling new album on Thurston Moore's Ecstatic Peace label. Metaphysically themed, the five tracks (all with various combinations of infinity symbols in the titles) meander and undulate, sometimes achieving a Kraut/commune-style trance and at others draw on gloomy, Black Metal-esque ambience. And don't fret, there's a fair amount of freeform spazz out too. Plenty to invade one's headspace here, and those with open ears will be duly rewarded.






Rub-a-Dub Soldiers: Rare Heavyweight Rub-a-Dub Deejay Tracks

"Eyes of the Tiger" Captain Sinbad

Awesome collection of rare Channel 1 rub-a-dub. Killer riddims from Linval Thompson featuring the Roots Radics and killer mic toasters from Yellowman, U Brown, Ranking Joe and more. Scientist at the mixing board. Need we say more???






So Young but So Cold: Underground French Music 1977-1983

"Mae" Artefact
"Disco Rough" Mathematiques Modernes

Considering the term new wave was first associated with the French film movement, it's ironic that France's contribution to early-'80s electronic music was overshadowed by the works of German and UK artists. Marc Collin and Ivan Smagghe, a/k/a Volga Select, are setting the record straight selecting the tracks for Tigersushi's new compilation. Perfectly titled, So Young But So Cold borrows its name from a track by electro-goths Kas Product, and explores a fertile yet mostly unheard six-year period of French underground music.

While the frozen sound of a drum machine and the robotic synthesizers are an obvious common theme, the collection features a diverse selection of styles. So Young But So Cold starts off with the icy, drum-less lullaby "Suis-Je Normale" by cult artist Nini Raviolette, and then transitions into the darker, Suicide sounding territory of "Euroman" from the Stranglers' French bassist J. J. Burnel. Produced by Thierry Muller (a/k/a Illitch), Ruth's "Roman Photo" is full of dark, new romantic detachment, (or what French journalist Yves Adrien coined as Novo), then followed by a Smagghe edit of Mathematiques Modernes' 1980 classic, "Disco Rough."

Other standouts include The (Hypothetical) Prophets' "Wallenberg" which is downright eerie and apocalyptic, but contrasted by the catchy electro-pop of Moderne's "Switch on Bach," the cyber-dance-punk of Artefact's "Mae," the Metal Boys' "Carnival" as well as "The Force," a cheeky electronic disco homage to Star Wars from the Droids. There are also plenty of luminaries featured including Tim Blake, who recorded the spacey "Lighthouse" after leaving Gong and before joining Hawkwind, and "Welcome (To Deathrow)" by the revered Bernard Szajner. Sixteen tracks total, this is the New Wave of New Wave! [GH]

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[AB] Adrian Burkholder
[MC] Michael Crumsho
[PG] Pamela Garavano-Coolbaugh
[LG] Lisa Garrett
[DG] Daniel Givens
[GH] Gerald Hammill
[DH] Duane Harriott
[IQ] Mikey IQ Jones
[DM] Doug Mosurock

- all of us at Other Music
    Copyright 2007 Other Music
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