The Other Music Update

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	August 22, 2007


	FEATURED NEW RELEASES Studio Caribou The New Pornographers M.I.A. Jay Dee Dinosaur L Bobby Matos Sun Ra Architecture in Helsinki Kompakt Total 8 Talib Kweli Aaron Martin & Machinefabriek		ALSO AVAILABLE Animal Collective Kinski Stereo Total Roam the Hello Clouds Rilo Kiley Terre Thaemlitz Minus the Bear

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		TROJAN HAPPY HOUR AT OTHER MUSIC It's hard to speak of summer in present tense when the high temperature in NYC today is an unseasonable 67 degrees. But the Weather Channel assures us that the dog days of August will be returning by the end of the week, and we're happy to bring it back to cool again with a Trojan Records Happy Hour that we're throwing in the shop this Friday from 6 to 8 p.m. Other Music's Duane Harriott will be spinning a great assortment of reggae and dub from label's classic catalog, and we'll be serving up complimentary Red Stripe beer, not to mention plenty of Trojan giveaways! Then on Saturday, hop on the free ferry and head out to Governor's Island for the final In the Pocket party of the summer. The finale will feature a special bhangra vs. reggae "soundclash," with DJ Rekha and James F!@#$%^ Friedman battling for the audience's love by spinning the most crowd-pleasing tunes! FREE ADMISSION. FRIDAY, AUGUST 24 - 6 to 8 P.M. TROJAN HAPPY HOUR Other Music: 15 East 4th Street NYC SATURDAY, AUGUST 25 - 1 P.M. IN THE POCKET Colonels Row on Governor's Island Don't miss Other Music's next Happy Hour, on Friday, September 7, celebrating the release of Beat Konducta in India (Vo. 3-4) featuring Egon (Stones Throw) and Mahssa (B-Music), plus free Indian food and beer.

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		WIN TICKETS TO SEE YO LA TENGO On Friday, October 19, Yo La Tengo will be making a special concert appearance at the Landmark on Main Street in Port Washington, Long Island. It's not too often that you can catch the band playing an intimate venue in these parts, and all proceeds will be going to a great cause, The SASS Foundation for Medical Research. Other Music has one pair of tickets to give away to the show. To enter, send an email to tickets@othermusic.com, and please leave a daytime phone number where you can be reached. The winner will be notified on Monday, August 27. FRIDAY, OCTOBER 19 Landmark on Main Street: 232 Main Street, Port Washington Long Island $35 Tickets Available at Other Music and on-line at TicketWeb.com


	$15.99 CD $18.99 LPx2		STUDIO West Coast (Information) "Out There" "Self Service" Scandinavia really has become ground zero for neo space-disco, with Lindstrom, Prins Thomas and Todd Terje being three Norwegians synonymous with the revival. Meanwhile, not too far away in neighboring Sweden, a duo named Studio has joined the ranks. Originally released last year as a super-limited LP, West Coast quickly became a DJ favorite, even finding Thomas and Terje remixing the album's "Life's a Beach." On paper, however, Studio sticks closer to the cosmic blueprint of Italian DJ Daniel Baldelli's legendary sets, with their slo-mo tempos and an assimilation of diverse and often disparate styles. The 16-minute instrumental album opener "Out There" rides a slightly dubby, Teutonic groove for its first eight minutes before morphing into a more laidback, funky (future) Caribbean vibe, with stereo-panned guitars and synthesizers --- imagine Manuel Gottsching and Giorgio Moroder vacationing together in a Blade Runner-era Kingston, Jamaica. The three vocal songs might take a couple of listens to get used to, but they are definite growers -- the singer's voice being one part Robert Smith, one part Simon LeBon. (The title track actually makes me think of what Duran Duran could have sounded like had they spent more time listening to Can records and less time with Japan.) There's a druggy, holiday-on-a-beach feel throughout West Coast that definitely gives credence to the Balearic tag that Studio has been receiving from the press, but theirs is a much more visceral mix than the generic Ibiza chill-out and downtempo sounds which have come to define the term. All in all, a fantastic debut which fans of space-disco, as well as Kraut-inspired pop artists like Colder and Fujiya and Miyagi, should definitely check out. [GH]


	$12.99 CD $9.99 mp3		CARIBOU Andorra (Merge) "Melody Day" "Sundialing" Manitoba mastermind Dan Snaith returns with his second new album -- and first for Merge -- under the Caribou moniker. His road, fans will be happy to note, is still paved with the tokens of human kindness. Whether sounding completely downcast or ready to roll out an all-night otherworldly blast of cranial fireworks, Snaith takes pains to sound -- yes, sound -- picturesque at all moments. His scenery is a gift; listeners need it to be pretty to place themselves within its boundaries. "Desiree" grabs snippets of Elliott Smith's quietest verses; touches of Sea & Cake's oceanic, steady hypnotics; and Panda Bear's space-ghost contemplations over a spiked punch of harp patterns and classic Britpop rhythms -- it's as if you expect Jason Spaceman to crop up and direct the next cast of choral voices like it's 1997 again. Even more retro than that, Donovan's ribald spirit is felt on opener "Melody Day," chockablock with cerebral psych, flutes, sleigh-bell sounds, and harrowing blasts of yesteryear riffs and keys. The spotlight really shines, though, on "She's the One," a love song for anti-romantics sewn up by Junior Boys' Jeremy Greenspan, who glides over silken percussion and staccato samples with a quivery downcast croon. Just as you've been lulled into a happy cycle of blasting noise and gloriously forlorn balladry, "Niobe" heralds an ending Manitoba fans will recognize well, with a nearly nine-minute long tangential blast of everything in his arsenal, including a pounding vortex of noise that leads you to the end of the road: a softly spoken hue of gently uttered croons and strobe-bright blips that beg for Snaith's trademark stage visuals. Everything new isn't always old again, but Snaith makes it feel happily vintage all the same. [KO]


	$11.99 On Sale CD $13.99 On Sale LP $9.99 mp3		NEW PORNOGRAPHERS Challengers (Matador) "My Rights Versus Yours" "Go Places" Sadly, in rock and roll it's too seldom true that maturity is really a good thing, but for the New Pornographers -- who are coasting down the road of middle age with their fourth full-length and entering their tenth year -- the unhurried ease that comes only with time is a treat. The group was never about the teenage adrenaline that informs so may rock bands. But as they've always been positioned as the freewheeling side-project of several talented indie songwriters, rather than some sort of heady "art," they've always had a carefree sense of fun in their music. And by no means is that joyful noise lost on Challengers. Yet as the main personalities -- Carl Newman, Neko Case, Destroyer's Dan Bejar, and secret weapon John Collins -- who form the backbone of the band have each grown individually as artists, the sheer quality of the songs, the depth of the harmonies (I swear I'm getting Fleetwood Mac at points), and even the lazy pacing of the album comes together to craft the group's most satisfying and coherent work yet. Maybe it's just the excellent, diverse batch of songs and the singers' distinct styles that gives this album so much depth: Newman's workmanlike '60s pop nuggets ("All the Old Showstoppers," "All the Things That Go to Make Heaven and Earth"); Case's oh-so-sweet-and-melancholy drawl ("Challengers"); and Bejar's gnarled glam theatrics ("Myriad Harbour"). Maybe it's the way the group seems to be playing with each other and playing off each other with newfound comfort, with subtle instrumental flourishes and soaring harmonies that are positively infectious; surely this is the New Pornographers best sounding album yet. It's hard to put your finger on what makes a great band better, but on Challengers the New Pornographers have gone and done it, aging not just gracefully, but joyously. [JM]


	$9.99 CD		MIA Kala (Interscope) "Bamboo Banga" "Boyz" One of the most anticipated releases of the year, M.I.A.'s sophomore effort is well worth the wait, buzz and backlash. All right, let's just say that if Bjork is the Universal Earth Mother, then M.I.A. is her rebellious, confrontational daughter who's roaming the world like it's her backyard. From the opener "Bamboo Banger," M.I.A. rhymes the word Hummer with Angola, Burma, tennis players, and macarena. Her vocal delivery is varied throughout, sometimes growing deeper and moodier. Over the minimal yet throbbing, building mix of bass thumps, live and programmed drums, odd keyboards and tons of weird world culture samples (soundtracks, field recordings, in-studio chatter), she's in a league of her own. It sounds like nothing else, honestly. From there we move on to the much blogged about "Bird Flu," and again we encounter more strange samples, lots of tribal drumming and low end bass -- it's much harder, and even she admits that "my beats are too evil." But eight minutes into the album, what's really a surprise is how sparse it all seems. Even though there are a ton of things going on, everything feels like it has its own place in her sonic world. While her longtime collaborator and ex-boyfriend Diplo pops up on a song or two, not to mention the much talked about collab with Timbaland (another connection between Kala and Bjork's Volta), it seems that M.I.A.'s temporarily suspended US visa gave her more of a reason to seek out other regional influences, including Jamaica, India, Africa, the Middle East and beyond. Working with a group of imaginative producers like Switch, Blaqstarr and Morganics, and even a group of child rappers from Sydney, Australia, Kala feels more like a global album thanks to the influences in its beats, rhymes and the tribal pulse that is at times reminiscent of Konono No. 1. The textures and overall mixes shift from polished PlayStation sheen and big arrangements to grittier lo-fi techniques, all enhancing the shifting climates and cultures -- just play "Jimmy" next to "Mango Pickle Down River" to really understand this point. It's a melting pot of a lot of things that really has nothing to do with America, yet it's definitely a pop record that is a product of, and a response to, American consumer culture and its all-encompassing presence. [DG]


	$16.99 CDx2		JAY DEE 95-98 The Delicious Vinyl Years: Originals Remixes & Rarities (Delicious Vinyl) "Runnin" Pharcyde "She Said (Remix Instrumental)" Wow. How much more is gonna come from the Dilla vaults before they are finally drained? The newest release of not so widely available tracks with J Dilla's masterful touch is another absolutely essential collection. 95-98 The Delicious Vinyl Years: Originals Remixes & Rarities features a few of the producer's remixes for Brand New Heavies and BNH's N'Dea Davenport, and places an even larger focus on his work with Pharcyde. I'm lovin' this, because over the past few weeks I've been hunting down all the Pharcyde that I can find, so these tracks come as a nice surprise, especially the two remixes. We also get five original cuts off their classic Labcabincalifornia. The second disc features Dilla's raw instrumentals for each song, which are a great listen by themselves and further highlight his brilliant skills as well as the commitment that he put into everything he worked on. All profits from the album will go to Dilla's mother Maureen Yancy. Highly recommended. [LR]


	$15.99 CD		DINOSAUR L 24→24 Music (Sleeping Bag) "#1 (You're Gonna Be Clean On Your Bean)" "#5 (Go Bang!)" At last! Along with World of Echo, this is quite possibly THE Arthur Russell jam most talked about, coveted and, thanks to Sleeping Bag & Traffic Records, it's finally reissued. Those only familiar with the infamous "Go Bang!" 12" mixed by Francois Kevorkian are in for quite a surprise here -- the album is funky as hell, but much more loose and freewheeling, if you can believe it. Originally pressed in quantities in the hundreds, with fantastic silkscreened covers (reproduced in a toned-down version here), Arthur's concept for this record was actually more in line with downtown/avant composition than simple disco jams -- every piece here revolves around the concept of initiating subtle changes in the music every 24 bars (hence the title). As such, he treats the album as one large composition in several movements. Rather than a collection of grooves, each track is numbered (though, in typical Russell fashion, they aren't chronological), with certain movements given subtitled names -- "#5 (Go Bang!)," for example. The record kicks off with "#1 (You're Gonna Be Clean on Your Bean)" and the sounds of Peter Gordon's tenor sax and some demented female French vocals. It's all uphill from there, with the Ingram family providing rock-solid loose-booty grooves for the rest of the extended downtown Dino family to wax eccentric. "#5 (Go Bang!)" features a surf/highlife guitar part and vocals by Jill Kroesen -- which both were completely unused on the 12" mix -- with everyone playing so loose by the end that the track nearly unravels. As usual with an Arthur production, everyone involved is in top form -- from Julius Eastman's slippery haunted house organ grooves and wailing baritone to Peter Zummo's superb trombone licks. One of the real delights on the LP though, aside from the gleefully twisted vocal work from all the contributors, is the unhinged guitar playing on nearly every song by Ed Tomney of the Necessaries, a great Modern Lovers/Talking Heads-esque rock band which included Arthur as a member and who recorded a wonderful record for Sire called Event Horizon. During "#6 (Get Set)," Tomney freaks out on some improv surf guitar with piles of reverb while the Ingram rhythm section puts a little more oomph into the beat and Arthur goes nuts with the razorblade, editing the track like a piece of musique concrete. Also included are the famous cuts from Francois K's remixed 12", and Larry Levan's mix of "In the Cornbelt," originally included on the Sleeping Bag's Greatest Mixers Vol 2 LP. My only complaint is the lack of new bonuses from the vaults, but I've a feeling that's due to someone other than Audika handling this reissue. There's a teaser of a live performance of the 24 ->24 material included on the LP in the form of "#7" which begs for expanded reissue. This record is one of the reasons that phrases like "off the hook" were coined. Hyperbole time! One of the best reissues of the year, and certainly one of the most essential downtown/disco (not disco)/punkin & funkin New York records ever recorded, and one of my favorite albums, ever. Anyone interested in anything that's been remotely hip or hyped in the NYC dance & rock scene for the past decade owes it to themselves to hear this if they haven't already, and if you're new to Arthur's music, I can't think of a more fun place to start. [IQ]


	$15.99 CD		BOBBY MATOS Best of (Ubiquity/Cubop) "Kimbisia" "Guiro Elegua" Jim Croce, Fred Neil and Miriam Makeba are all artists that percussionist Bobby Matos has either toured or recorded with, but most Latin jazz aficionados revere him for his highly sought after '60s-era solo LP, My Latin Soul. The title cut has been a dancefloor staple at rare groove parties for more than two decades, thereby assuring this album an amazing longevity. The tune has been remixed, re-edited and covered for so many years, that it was only apropos for Cubop to approach Matos in the mid '90s for some new material, and to this day, he still records and produces for the label. This collection contains highlights from his five Cubop LPs, including a fleshed-out re-recording of "My Latin Soul" (titled "Mi Alama Latina" here), and Latin re-workings of jazz classics from Pharoah Sanders, John Coltrane and Miles Davis. The productions are not as raw as the '60s recording but they're still stellar! [DH]


	$15.99 CD		SUN RA The Night of the Purple Moon (Atavistic) "Narrative" "Dance of the Living" Out of all the records in Sun Ra's lengthy and expansive catalog, this little gem called The Night of the Purple Moon is one of my favorites. Along with his Intergalactic Infinity Arkestra, Ra not only flexes some serious skills behind the pen as a composer, but also behind the release's featured instrument, the Roksichord keyboard, along with two Mini Moogs. This set finds him in a bright and upbeat mood, with no end of the world assertions or tidal waves of joyful noise, just some nice bluesy instrumentals including the classic "Love in Outer Space." Of course, main sidemen John Gilmore and Marshall Allen are in place, yet their presence is subtle, and the main focus throughout seems to be the drums, percussion, and the keyboards. A wonderful listen, transfers were taken from an unplayed LP, so the occasional crackle (but never a pop) of the vinyl gives the songs a warm and worn feel. But the creme de la creme of this reissue is the inclusion of three previously unheard Wurlitzer solos, where Ra produces amazing celestial tones and what sounds to be a small African ensemble of whistles, bells, chimes, xylophones, and woodblocks -- incredible that it's just one man and his synth. Great music and a wonderfully pleasing listening experience, this is Ra displaying his softer, gentler side, with a bit of bluesy funk thrown in. One of the godfathers of the funky avant-garde, The Night of the Purple Moon shows the connection to current music makers such as Madlib and his Yesterday's New Quintet projects. I can only hope that Sun Ra, J Dilla, and Max Roach, are jamming somewhere beyond the horizon, trading secrets and playing to the heavens. [DG]


	$12.99 CD $13.99 LP		ARCHITECTURE IN HELSINKI Places Like This (Polyvinyl) "Heart It Races" "Nothing's Wrong" This isn't the Architecture in Helsinki that I remember. Not that the Australian indie pop ensemble hadn't already established themselves as constantly evolving and experimenting, by way of the charming, shambolic pop of their debut Fingers Crossed, to the equally charming, focused sprawl of its follow-up, In Case We Die. Their newest full-length Places Like This, however, isn't just another document of a band growing, but rather an extreme makeover. Maybe principal songwriter Cameron Bird, who now resides in Brooklyn, has been hanging out at Studio B, as much of the record seems to be aimed at indie dance fans. Of course, by Architecture in Helsinki standards, it's not all straightforward four-on-the-floor beats and cowbells; songs like "Heart It Races" bounces along a dancehall rhythm with playful layers of vocals and cascading keyboards with Steel Drum pre-sets, while "Lazy (Lazy)" flirts with African highlife in between its noisy choruses. The hit to miss ratio here, however, tilts more towards the latter, with Bird still honing in on his more direct, and definitely shriller, vocal approach. Still, a few instantly catchy songs -- like the Talking Heads meets the Cure's "In Between Days" vibe of "Like It or Not" -- shows that Architecture in Helsinki are on the right track, but it's probably going to take another album to get there. [GH]


	$17.99 CD $14.99 mp3		VARIOUS ARTISTS Total 8 (Kompakt) "We Love" Jurgen Paape "Polyform 1" Jorg Burger On your first listen to Total 8 it feels like Kompakt is making a statement: Our artists are moving past a strict minimal framework. This is certainly the truth. The 2007 installment of the Cologne label's annual series -- which highlights their past year with new and favorite tracks and artists -- is a fun ride across the broad landscape of what falls under "minimal techno." Several of the producers on this two-disc set may have been taking notes from Gui Boratto, as many of the songs tend towards a similar not-quite-trance-but-not-quite-pop aesthetic that permeated Boratto's Chromophobia. Also of note is the liberating use of the low end here. So much of Kompakt's past output has been focused on the clicks and pops, and the handclaps and the hi-hats, whereas this collection fully embraces the beauty of bass (although, not necessarily in the bass line), without overdoing it in the way that makes most commercial techno so difficult to listen to. Steadycam's cleverly titled "In the Moog for Love" is a prime example of this, not only for its great, deep Moog pulses, but also because of the layers of strange, unidentifiable sounds which give the track so much depth -- you'd think you were listening to it underwater. It should also be noted that some of the producers on Total 8 seem to have made a real effort to include some "challenging" aesthetics, however, the songs are far from difficult to listen to. DJ Koze's "Mariposa" may be the one exception, as it sounds at times like a piece of paper stuck in a fan, along with a high-pitched whine of a car engine repeatedly failing to turn over. Other cuts, like Burger/Voigt's album opener "Man Lebt Nur Zweimal," are totally successful in the experimentation vein, this track in particular having a strange yet fun spaghetti western techno feel (you'll understand once you hear it). It should really come as no surprise that Total 8 documents a year of evolution for one of techno music's most forward-thinking labels. Nonetheless, the artists and tracks on this comp are undeniably "Kompakt," the selection being one of the strongest in the series while still offering a broader spectrum of sounds and styles than heard on previous Totals. Recommended. [LR]


	$12.99 CD		TALIB KWELI Eardrum (Warner Brothers) "NY Weather Report" "Electrify" For his seventh full-length in just about as many years, Talib Kweli has developed his everyday man meets black scholar style, going from backpackers' champion to gaining the respect of more mainstream producers and rappers. Over the course of his career, one that has found Kweli on various record labels, we've watched him try to balance indie and mainstream. As a result Eardrum is a bit of an odd album, juggling between both worlds within every song. Starting with Madlib's production credit, we find Kweli collaborating with a dozen or so more personalities: Just Blaze, Kanye West, Hi-Tek, Will.I.Am, DJ Khalil, Justin Timberlake, Pete Rock, Norah Jones, Roy Ayers, UGK, Sizzla, KRS-One, Musiq Soulchild, and Jean Grae. Needless to say, things get a bit bumpy, not in a bad way, just in a mix tape sort of way, with the slightly different vibes connected together. As an MC, Kweli is in his uplift-the-race, enlighten-the-masses stance, which works on some of the tracks, but at other times it feels a little like a stretch, which seems to be his main struggle over the last few years. Eardrum is more solid than his last few records, but it doesn't reach the masterpiece status of Liberation (his exclusive collaboration with Madlib), and, of course, his early work with Mos Def and Hi-Tek. Maybe Kweli is just trying to cover too many bases. It's not a bad record by any means, just a bit uneven. [DG]


	$14.99 CD		AARON MARTIN & MACHINEFABRIEK Cello Recycling / Cello Drowning (Type) "Cello Recycling" "Cello Drowning" Another slab of epic drone from the hands of Rutger Zuydervelt, with the help of Kansas sound sculptor Aaron Martin. In this mail collaboration, Martin is actually providing the source material (cello drones and water) and Zuydervelt handles the manipulation. While these sounds would provide for interesting listening on their own, it's the processing that takes this CD to the next level. The two pieces on this disc are remarkably brief, clocking in at 11:41 and 10:11, and rather than wearing out their welcome in that short of a time span, these are tracks which demand repeated listens to be fully heard and understood. [LR]


	$8.99 10" $9.99 12" $3.99 mp3		ANIMAL COLLECTIVE Peacebone EP (Domino) "Peacebone" Solo offerings aside, the forthcoming Animal Collective album, Strawberry Jam (out on September 11), is probably their most concise release yet, as demonstrated by this awesome single. Avid fans are sure to recognize "Peacebone," as it's been a live staple in the band's sets for the past year or so. The 10" version of the single features "Peacebone" on the a-side, and the non-album track "Safer" on the flip. The 12" includes the album version of "Peacebone" plus remixes of the song from Black Dice and Pantha Du Prince. The mp3 version features the single and all of the bonus material, and it's at a pretty nice price. (The release of the CD version of this single has been pushed back to September.)


	$12.99 CD		KINSKI Down Below It's Chaos (Sub Pop) "Punching Goodbye Out Front" Walls of fuzzy Sabbath-riffs and washes of colorwheel psychedelia dominate Kinski's Down Below It's Chaos. What in less capable hands would've turned into a sludgy, somnambulant mess is instead propelled into outer space. There is a melodic beauty to the swirling feedback and dissonance not found on many other records of the genre, and the addition of subtle vocals on three tracks adds yet another layer to the already thick sound. Recommended.


	$13.99 CD		STEREO TOTAL Paris-Berlin (Kill Rock Stars) "Miss Rebellion" Stereo Total return to their lo-fi roots on Paris-Berlin, which sounds like it was mostly recorded on a beat-up four-track. Fortunately, none of the irresistible catchiness is lost, in fact, Paris-Berlin's mix of chansons, punk rock and disco sounds might even benefit from the roughness around the edges. And when Francoise Cactus is at her very best, doing the Brigitte Bardot as new wave diva thing, there's nothing much to do but surrender.


	$15.99 CD		ROAM THE HELLO CLOUD Near Misses (~scape) "Geoff as the Hulk" Laptop jazz? Australian trio Roam the Hello Clouds' Near Misses combines trumpet and drums with a little laptop wizardry to create a playful, as well as masterful, technologically-infused jazz album. These group improv sessions range from experimental to funky swagger, and more often than not it's percussionist Laurence Pike (who's played with Burnt Friedman as well as Prefuse 73) that steals the show. Max Roach would approve.


	$12.99 CD		RILO KILEY Under the Blacklight (Warner Brothers) "Breakin' Up" After her raging success as a solo artist, you'd figure Jenny Lewis would leave the dudes in Rilo Kiley behind. Instead, Rilo Kiley transform themselves and deliver a record with soul horns, songs about porn, and a great sounding (perhaps accidental?) Fleetwood Mac tribute. It's far removed from the band's run of the mill indie rock beginnings, and quite an impressive progression.


	$15.99 CD		TERRE THAEMLITZ You Again (Mule) "Banji (Demo Dub)" G.R.R.L. Perhaps mostly known as a multi-media artist and experimental/ambient composer, You? Again? proves that Terre Thaemlitz is just as capable of making music that belongs on a dancefloor. The album compiles some of his deep house output for Mule Electronic; there are lots of Larry Heard and Mr. Fingers moments here, but with Terre adding his own personal off-kilter touches. Great collection for the open-minded dancefloor enthusiast, as well as the home listener.


	$13.99 CD		MINUS THE BEAR Planet of Ice (Suicide Squeeze) "Knights" A crafty slice of post-emo pop by Seattle's Minus the Bear. Precise and to the point, all harmonies and melody, and the occasional stretched out jam, this is the soundtrack to making out under the bleachers. And if you're too old, that's your problem.


	PHONE ORDERS Phone orders are accepted at (212) 477-8150 (ext. #2, mailorder) Mon-Fri, Noon - 7pm EST EMAIL For general inquiries or other information please email sales@othermusic.com. Do not reply to this message. REMOVE This is an automated list. If you would like to be removed from it for any reason, please send an email from the address you wish to delete to list@othermusic.com and make sure the word "Remove" is included in the subject line.		THIS WEEK'S CONTRIBUTORS [DG] Daniel Givens [GH] Gerald Hammill [DH] Duane Harriot [IQ] Mikey IQ Jones [JM] Josh Madell [KO] Kristy Ojala [LR] Linden Renz THANKS FOR READING - all of us at Other Music

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