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  February 8, 2007 




In late-February, Other Music will step into the Digital Age with the launch of our new download store! We'll be sending out more details via e-mail; you can sign up to this list by going to digital.othermusic.com. Interested labels, distributors and bands should contact labels@othermusic.com.

Soft Circle
Loney, Dear
Christa Pfangen
Bloc Party
Catherine Howe (Numero Group)
Imagine the Shapes (Various Artists)
Philip Cohran
Gerard Manset
Hush Arbors
Carl Craig
Nine Horses
Apples in Stereo

Peter Bjorn & John (w/ bonus CD)

Kraftwerk (Ralf & Florian)


Jesse Sykes
Bonde Do Role
Pharaoh Overlord
Sun Kil Moon (reissue w/ bonus CD)
Wax Poetics (February/March Issue)

FEBSun 11Mon 12Tues 13Wed 14Thurs 15Fri 16Sat 17
FEB/MARSun 25Mon 26Tues 27Wed 28Thurs 1Fri 2Sat 3
MARSun 4Mon 5Tues 6Wed 7Thurs 8Fri 9Sat 10


El Perror Del Mar

Arbouretum will be swinging by Other Music to play a special in-store in support of their terrific new album, Rites of Uncovering.

The sweetly soulful El Perro Del Mar is one of our favorite pop exports from Sweden!

An intimate setting for Marissa Nadler's beautiful, mysterious folk songs. Surely not to be missed.

OTHER MUSIC: 15 E. 4th Street NYC
Free Admission/Limited Capacity

FEBSun 4Mon 5Tues 6Wed 7Thurs 8Fri 9Sat 10


Other Music's Duane Harriott has put together a slammin' night with special guests, Detroit legend Rick Wilhite and Jerome Derradji. This will be the debut New York performance for Wilhite, who is one of the members of Detroit supergroup 3 Chairs (along with Theo Parrish, Malik Pittman, and Moodymann), and a stop on Derradji's tour in support of the recently released compilation of his Still Music label on Slip 'n' Slide Records. We've got two pairs of tickets to give away and all you have to do to enter is send an e-mail to tickets@othermusic.com. Please leave a daytime phone number where you can be reached. The two winners will be notified by Noon on Friday, February 9th.

APT: 419 West 13th Street NYC
$8 advance tickets at Other Music / $10 day of show

FEBSun 4Mon 5Tues 6Wed 7Thurs 8Fri 9Sat 10


Other Music has one pair of tickets to give away to the Plug 2007 Independent Music Awards Show, this Saturday, February 10, at Irving Plaza! Hosted by David Cross, this year's line-up of performers is stellar, featuring live sets from Stephen Malkmus & the Jicks, Silversun Pickups, El-P, Deerhoof and Tokyo Police Club. To enter, send an e-mail to contest@othermusic.com and please leave a daytime phone number where you can be reached. The winner will be notified by Noon on Friday, February 9th.

IRVING PLAZA: 17 Irving Place NYC







Full Bloom
(Eastern Developments)


Scott Heron's Eastern Developments label brings us this full-length from a mainstay of the new New York solo noise machine scene, musician and artist Hisham Akira Bharoocha (a/k/a Soft Circle). Full Bloom is an ecstatic percussion and voice exercise. Perhaps exorcism is a better word. Over seven tracks we delve into the depths of his one man band aesthetic. In the live experience, Hisham sits behind a drum kit, along with some samplers and triggers, a guitar sitting in his lap and a microphone headset strapped around his head. This image should give you a sense of the dynamics enclosed in the Soft Circle album, as most tracks were recorded in one live take, with few overdubs. From opening title "Ascend," to tracks like "Sundazed," "Stones and Trees," "Shimmer," "Whirl" and "Earthed"...you get the picture. Yes, this is a dose of new freak-folk, but more in the Panda Bear style of emotional release, or even that of Bharoocha's former band, Black Dice. Full Bloom is filled with ethno-acoustic/electronic vibes culled from hand percussion, drone vocals, yelps and howls, sitars, bird calls, electronic washes and slight dance rhythms. References could be made to Eno/Byrne's My Life in the Bush of Ghosts and the Wild Orchid soundtrack at one moment, and in the next, like Steve Reich meeting Pandit Pran Nath in a drum circle. A surprise outing from the NY underground. [DG]






Loney, Noir
(Sub Pop)

"I Am John"
"Carrying a Stone"

Of course this is on Sub Pop. I can't think of another record that so perfectly captures the winsome vaguely-twee, sugary, acousti-pop energy of Seattle's finest label, so much as Loney, Dear's Loney, Noir. One memorable hook after another, even the Shins' last record doesn't quite "out-pop" Loney's hailstorm of glockenspiels and vintage keyboards and saxophones, and blissfully unapologetic nasal vocals.  In fact, this little unassuming album so damned perfectly captures the whole "indie" zeitgeist I'm surprised it doesn't come with a deluxe edition pre-packaged with a cardigan sweater and horn-rimmed glasses.
So who is Loney, Dear? It's not the finest name I've ever heard, but the gorgeous one part My Bloody Valentine one part Belle and Sebastian 30 second opening of "Sinister in a State of Hope" had me all but forgetting this band was dubbed after a made-up English word too closely resembling "lonely." Loney, Dear is really just the tag that Swedish multi-instrumentalist/songwriter extraordinaire, Emil Svanangen, records under. Apparently, the guy's self-released three previous Loney efforts on his own, and if they are anywhere near as close to capturing the joyous panoramic pop of this Sub Pop debut, I'm sure they are well worth tracking down. Much like Svanangen's aforementioned Billboard-topping lablemates, the Shins, Loney's hooks are disarmingly resilient -- they are at once immediately satisfying, and yet they don't seem to go stale. Maybe it's because Svanangen is such a talented instrumentalist injecting his songs with everything from tubas, to handclaps, to optigan, or maybe it's just cause he's from Sweden. Either way, Lonely, Noir is one hell of an addition to Sub Pop's new breed.  [HG]







"Spring Hall Convert"
"Strange Lights"

This debut LP from Athens, GA's Deerhunter begins with the sound of pastoral, aquatic trickling that's interspersed with guitar feedback and low bass notes that could easily find a home on a Southern Lord release. But soon after, the ambient Eno-esque psych of the title track gives way to a solid beat and heavy pop melodics. It sounds like these kids were weaned on Pink Floyd the same way that Secret Machines were, with a love of full-throttle chords and thick, driving other-worldly tones -- "White Ink" is drenched in jangly drones for almost five minutes, and ends in ethereal tremolo. It makes sense that Deerhunter captured the interest of the Yeah Yeah Yeahs and the Liars, as they've toured with both. And the influence of the aforementioned two groups' noisy, head-nodding punk aesthetics does find its way on this release, merging a familiar discordant resonance with a refreshingly naive wonder. Deerhunter's sylvan electronic ways, along with some heavily effected voices, layers of guitar and a galloping bass, also evokes a slight Animal Collective vibe on "Octet." The mellow and sonorous vocals round out Cryptograms, and float above bells, chimes, distortion and rubric rhythms. Deerhunter has really churned out a remarkable release, pulling together the best elements of pop, punk, experimental and psychedelic rock without being derivative. Watch out for this band; they're onto something good. [LG]






Watch Me Getting Back the End
(Die Schachtel)

"I'm Leaving"

It's hard to classify just what Christa Pfangen is doing -- as equal parts free improvisation and avant-folk with the occasional electro-acoustic interjection, they sometimes sound like the acoustic alternate reality of Ian Williams and Kevin Shea's Storm and Stress. By now, you've probably already figured out that Christa Pfangen is not one person. Actually she's two, namely Italians Mattia Coletti and Andrea Belfi, on "guitars, drums, voices, objects, and electro-acoustic devices" as the liner notes have it. They may have taken the name, Christa Pfangen, as a tribute to Nico (it was her given name) but their music couldn't have less in common with the late icon. Watch Me Getting Back the End is a nice enigma; while it manages the organic feel of free improvisation, it is hard to imagine the rich complex of sounds on these tracks being done by just two people without serious overdubs, but at the same time, the sounds and synchronicities rise and fall so naturally and spontaneously here that its equally hard to imagine the parts being too premeditated. The drumming is really exceptional, equally capable of conjuring a trap kit falling down a flight of stairs, chime and cymbal atmospherics, or turning rock solid pulse on a dime, while the guitars weave not quite interlocking patterns and acoustic washes amongst a din of overloading circuits, feedback squeals, and other electrical sounds. Subtle vocals, often two voices in unison, provide a bit of warmth -- an essential human element in the sometimes chaotic mix of sounds. What is perhaps most impressive is Coletti and Belfi's collective ability to balance it all into a rich and engaging whole. [CC]








Cold, spacious, and beautiful instrumental ruminations with a pronounced ECM Records feel to them. This is that Circle, never you fear, and certainly a departure from where they've gone in recent times. Tense, minimal tracks that stretch out to their deaths, carrying with them tremendous, sustained emotional weight. They may not have to lift much of a finger to come across on Miljard, but Circle just about masters the art of soundtracky rumination here, and the results are stunning. [DM]






$16.99 LP


A Weekend in the City

"The Prayer"
"Hunting for Witches"

So last week I heard the term blipster: black kids that listen to and dress like rock musicians, but feel alienated from the homogenous rock scene. A week later, I get to review the new album by Bloc Party, the British band fronted by lead singer/guitarist Kele Okereke. He may well be the perfect poster boy for the term and that's not a dis. Okereke is definitely the best thing about the band, taking chances by putting himself so upfront, singing lines like "London is a vampire that sucks the soul right out of me" or "I will charm, I will slice, I will dazzle them with my wit." And while he certainly reflects the sentiment of many of his generation ("There was a sense of disappointment as he left the mall / all the young people looked the same / wearing masks of cool and indifference / commerce dressed up as rebellion"), he also brings to the table the thoughts of a young black gay man ("In every headline we are reminded that this is not home for us"). The blending of the political and the personal is all at once earnest, emotional and ambitious, but also accessible and accomplished.

Okay, so forgive me for getting this far into the review without a single reference to their 2005 debut, Silent Alarm. To be honest, I never actually heard it all the way through. This one, however, I've listened to quite a few times and think is very good, with plenty of great ideas and reference points -- Queen, U2, the Cure, Suede/McAlmont & Butler, Sonic Youth, Radiohead and Gang of Four all come to mind. I also hear TV on the Radio, especially in the first single, "The Prayer," where Okereke is backed by handclaps and bass, until the guitars finally take over giving the song that TVOTR "hum." Actually, in many ways, you could consider Bloc Party their younger British cousin, as they tap into similar emotions and energy. And while they may lack the dynamic range of the Brooklyn band, when Bloc Party hits their stride, it's truly great.

I can't quite put my finger on it, but I'm surprised at how much I keep playing this record. Perhaps it's because of the overall feeling that I get rather than what I actually hear musically. I'm sure, however, that this is more than partially indebted to the reflective, social and political tone of the lyrics. It might also have something to do with that blipster term though...somehow they're connected. [DG]







What a Beautiful Place
(Numero Group)

"Up North"
"What a Beautiful Place"

The Numero Group label wowed listeners throughout 2006 with an eclectic collection of stunning and obscure reissues. Soul, power-pop, psychedelia, whatever the genre they have quickly become known as preeminent crate-diggers, unearthing and lovingly reissuing lost gems. They start 2007 with a (mellow) bang by way of this excellent 1971 debut from British singer-songwriter Catherine Howe. The sound straddles the divide between the UK pop-folk of the era (Nick Drake's orchestral work is a touchstone), and West Coast lite-rock and folk-psych. Howe was a singular talent with formal training on stage and on television. She was blessed with unusual poise and restraint for a 20-year-old country girl, and a passion for songwriting inspired by Burt Bacharach. Her debut was produced and arranged by jazz pianist and songwriter Bobby Scott, and the result is lush and often heartbreaking. Howe's songs are sharp and deeply personal and affecting, and her vocals display both her formal training as well as her deep well of raw emotion. Although What a Beautiful Place did garner some BBC airplay, the album quickly sunk when its label, Reflection Records, folded soon after its release. A few years later, Howe was able to achieve some success on RCA, nonetheless, this lost classic may well be her finest hour. Numero Group has piqued our interest for the year to come by, once again, looking back. [JM]






Imagine the Shapes
(What's Your Rupture)

"Baby Don't Do It" caUSE co-MOTION!
"Giddy Stratospheres" Long Blondes

Compilation of the first four vinyl singles released on NYC's What's Your Rupture imprint, home of Love is All and caUSE co-MOTION! and vocal supporters of the Long Blondes and Comet Gain. All four bands' material from these releases are included here. Comet Gain's "Beautiful Despair" 12" was hands down the best single of 2006, an angry ode to the Television Personalities' Dan Treacy, that cribs his song "King and Country" to tell a story of teenage frustration, stark and profound. The Long Blonde's most striking moment, "Giddy Stratospheres" is here too, as well as LiA's "Make Out, Fall Out, Make Up" and caUSE co-MOTION's "Fades Away." Do you have any idea of how great these songs are? For a low price, you can learn to love the label responsible for some outstanding and danceable indie pop music that puts the "twee" back in "twee insult comedy." Tell me about it! [DM]






The Malcolm X Memorial - A Tribute in Music

"Malcolm X"
"El Hajj Malik El Shabazz"

Five or six years ago, we were devastated by an obscure Chicago jazz record that was rescued from obscurity. Entitled On the Beach, it was credited to Philip Cohran and the Artistic Heritage Ensemble, and featured a young guitarist named Pete Cosey, who would go on to scorch psyches as member of Miles Davis' 70s group. The record echoed the space chants of another Chicagoan, Sun Ra, though it was rooted in the rhythmic kalimba playing of Cohran. Thanks to the diligent work of Cohran's sons, who you can espy jamming in the subway as Hypnotic Business, his musical message is being kept alive. Now we have another choice recording from Cohran's group. This disc documents a performance for Malcolm X, its four sections split according to his various names, be it Malcolm Little, Detroit Red, or Malcolm X. By turns bluesy, syncopated, free or soulful, Cohran's mutli-faceted talents as an arranger and player are on display. Wide-open, this is a must for fans of Mr. Ra and other likeminded sonic explorers. [AB]







"Animal on est mal"
"Mon Amour"

For those familiar with Manset's 1970 rock symphony La Mort d'Orion -- reissued last year on EMI France and greatly loved by many of the OM staff and customers -- please be warned that 1968 carries little similarity to that recording. Featuring work from Manset's first two albums, Animal on est mal and the self-titled Gerard Manset, 1968 is more of a reflection of the Parisian pop music scene. Animal on est mal was originally released at the beginning of the student revolution in '68, and as a result, received very little attention. Only selling a few hundred copies, the record was dropped and Manset went on to record his eponymous album a few months later. It was here that he began writing darker compositions, many of these songs containing a similar depth to the Vannier/Gainsbourg collaborations, with heavy piano, minimal percussion and a driving string section adding urgency to even the simplest pop melody. There's much here in this collection for French music fans to enjoy, as Manset's music is filled with the charm and catchiness of Jacques Dutronc as well as the mysteriousness of Michel Polnareff. 1968 will surely convert anyone fond of langue Francaise and is an excellent gateway into the career of Gerard Manset. [AC]






Under Bent Limb Trees

"Where the Black Bear Hides in the Sky"
"Song for Morning to Sing"

When one considers the lonely drones, reverb-drenched vocals, vaguely country blues guitar and banjo picking, and forest at daybreak imagery at work here, it's hard to imagine a more fitting moniker for Keith Wood's solo project than Hush Arbors. This expanded re-release of Under Bent Tree Limbs (Wood's first record for Tulsa-based label/online zine, Foxy Digitalis) features the re-mastered original full-length as well as a second disc of bonus material that, in some ways, takes the cake. While the album is a lovely suite of nocturnal, folk-meloncholia, the second disc finds Wood stretching out in strange and welcome ways, creating pleasantly shifting ambient soundscapes out of analog synths, bowed dulcimer, acoustic guitar and appropriately arborial field recordings. As a whole, the records flow nicely together, moving from more atmospheric settings to nicely orchestrated folk laments and back with Wood's strong sense of songwriting and ghostly, wandering man falsetto tying it all together. For fans of Wooden Wand, Ben Chasny, and Sunburned Hand of Man, all of whom Wood already counts as kin. [CC]







"The Platform"

Jesper Dahlback has been crankin' out the tracks, but my favorite cuts from him would have to be the ones he produces under the name of Hug. First heard on the early Kompakt series K2, Hug's music has a hint of Speicher clubbiness, but with more of an acid-y pop and an old-school Kompakt edge. Imagine Rosa-era Brinkmann producing tracks on Speicher: deep, but pumping enough to be clubby (but not too straight...) with leftfield transitions and breakdowns that keep it interesting. [SM]






The Album Formerly Known As...

"Science Fiction"

...Landcruising. Yes, this is a reworking of the aforementioned album from 1995, complete with ambient reinterpretations and remixes of original tracks. And for those who missed the chance to hear the original album, here is an opportunity to check out this classic without having to reprogram your head to take into account dated elements. It's all been made current to accommodate our faster paced tastes. This is intelligent dance music (IDM) before it lost an element of its namesake…namely the D. The Album Formerly Known As... is true to its acronym, on all three fronts.  During "Science Fiction," layers of floaty synth washes are quickly buried by graceful, yet forceful blasts of gas pressure which is released in skittered patterns. All the clean, futuristic effects that are stabbed into the song help to create a methodical wobbliness about it; and the urgency of rat-a-tatting drums rushes the song forward. Much of the album seems to march. Or climb. Or soar. It's uplifting in a literal sense. Though some of the record is a bit trancey ("One Day Soon"), tracks like "A Wonderful Life and "Home Entertainment" wouldn't be out of place on Kompakt's Pop Ambient series, while cuts like "Sparkle" sound like nouveau Chicago/New York jack. But at its essence it is Detroit techno, through and though; all the elements are there: the sounds, the drums, the synths, the futuristic-ness...Fans of Derrick May, Richie Hawtin, Jeff Mills, Underground Resistance, Kompaktm Traum, et al., take note. [GA]






In Autumn
(Dirter Promotions)

It's bittersweet to have a 3CD/1DVD box set of Germany's Faust arrive soon after news comes that their former producer/svengali Uwe Nettelbeck passed away. Who else could've gotten such a whacked-out commune goofballs signed to Virgin, allowing them to release classics like 1st, So Far, Tapes, and IV? Speaking of, this set, capturing the 2005 edition of the band, presents the very first performances of songs like "It's a Bit of a Pain," "Sad Skinhead" and "It's A Rainy Day," along with heaps of other peals, rants, stomps and insanity. [AB]






Money for All

"Get the Hell Out (Burnt Friedman Remix)"
"Birds Sing for Their Lives"

The latest project led by David Sylvian, Nine Horses follow up their political yet soothing debut album with this equally engaging EP. Money for All features eight tracks, including four remixes by Burnt Friedman. However, this isn't a collection of dance-oriented reconstructions, but more of a soft and tastefully jazzy re-imagining. Friedman's light and subtle touch -- he's credited with drum programming, instrument treatments, keyboards and dub effects -- is transparent, perfectly melding with the originals, some of which are included here as well. Being that Nine Horses is a band as opposed to solo Sylvian, there is a wealth of instruments including double bass, cello, timpani, clarinet, Fender Rhodes and electric guitar sitting comfortably alongside the electronic production, not to mentioned shared vocal duties between Sylvian and Stina Nordenstam (who also appeared on the full-length). The treatment does feel lil' dated -- think '80s soft jazz or R&B meets well, I guess Japan, but it's in a good way, for real. Sounds like classic Sylvian to me… just older, gentler and even (dare I say) a little hipper. [DG]






Boca da Noite
(Som Livre)

"Na Cancela"
"Vinicius De Moraes"

This is the third solo LP by Antonio Pecci Filho, a/k/a Toquinho, released in between hugely successful albums as half of a duo with poet-writer-lyricist-diplomat-mythical elder statesman Vinicius De Moraes during the last decade of the latter's life. Toquinho is a master acoustic guitarist and highly-esteemed bossa-style songwriter, and this 1974 album finds him spotlighting his more laidback, almost neo-classical-guitar style. Other albums of his may be somewhat more upbeat, but this one is ideal for fans and students of folk fingerpicking and the aforementioned classical-influenced style. The folk aspect is especially prominent on tracks like his Josh White tribute, "Lembrando Josh White" ("Remembering Josh White"). Ideal material for late night or Sunday afternoon acoustic guitar practice sessions. [GC]






New Magnetic Wonder
(Yep Roc)

"Can You Feel It?"

Who knew that 2007 would turn out to be the biggest year for the Elephant 6 camp yet? First Of Montreal and now, after a five year hiatus, the Apples in Stereo are back! Sure, I went into New Magnetic Wonder with the lowest expectations possible -- the Apples were essentially one of my favorite bands growing up, and being the consummate skeptic I feared all Schneider and Co. could do now was tarnish a spotless legacy for making at least two of the best indie-pop records ever recorded. Happily, I was dead wrong. Wonder isn't nearly as lo-fi as some of the Apples' best material, but that doesn't stop it from succeeding on sheer hooky exuberance. It's kind of mind-blowing to think that a band that's 10-plus years into its career is making music this fresh. Sure to be one of the pop treasures of '07. [HG]






Writer's Block
(Almost Gold)

"Young Folks"

No need to take up space re-printing the review we ran last year where we raved about Peter Bjorn & John's Writers Block, which was then only available as an import (you can read it on-line at othermusic.com/2006october19update.html). If you live in New York City, you might have experienced the Swedish indie pop answer to Beatlemania last week, when PB&J made their American debut. It was hard to miss, what, with all the music press and bloggers wagging their tongues, three sold out shows, an appearance on Conan O'Brien...hell, even Drew Barrymore (who was spotted at their Mercury Lounge show) was sporting one of their t-shirts during Saturday Night Live's closing credits last weekend. Needless to say, if you didn't pick up the album when it was available as an import, what are you waiting for?! The domestic release includes a bonus disc of rarities and remixes and it's a heck of a lot cheaper too. [GH]






Tone FLoat
(Crown Italy)

"Milk Rock"
"Vor Dem Blauen Bock"

A reissue of the first pre-Kraftwerk outfit. Before Ralf and Florian set the cone on the front sleeve of the next two Kraftwerk records, the pair, along with Basil Hammoudi, Fred Monics and Butch Hauf named themselves Organisation. In this incarnation, traces of the electro masterpieces these Krautrockers are known for are virtually absent. Tone Float, the only album recorded with this lineup, hovers over fusion instrumentation and bongo rhythms that fly and bump organically into all sorts of sounds ranging from almost ambient to Eastern. At times, these improvisational jams have the darkly mysterious elements of a Morricone soundtrack, at others the acerbic eeriness of fellow prog-rockers Can. Anyone who wants to hear a document of one of the most influential bands spreading its wings before clamping down on a signature sound should have this. [LG]






Ralf & Florian
(Crown Italy)


Kraftwerk's completely fascinating but bizarre path from Tone Float to Autobahn is connected here. Following the drug-fueled basement noise scuzz of Kraftwerk 2, Ralf & Florian abandoned the guitars and grit which had so interested them in 1971 in favor of the more recognizable, melodic, repetitious electronic beats. Recorded two years after 2, the flame hinted in "Klingklang" is expanded upon with the lush orchestration and near-Yma Sumac/Esquivelish vocal additions on "Tanzmusik" and a sound recognizable as Kraftwerk, not the wreckers of electronic equipment and pre-Throbbing Gristle charters of post-industrial destruction, but the voice of the ever-smiling mass-produced robots, the fashion walk, the dance club etc. [MG]






Like, Love, Lust & the Open Halls of the Soul

"You Might Walk Away"

One of the finest female troubadours of the right now, Jesse Sykes' Like, Love, Lust is a little bit country, a little bit folk, a little bit Haight Ashbury, and maybe a tiny bit of Cat Power. The vibe is pretty desolate, especially the deep melancholia in Sykes' voice, but that is negated by the warmth of the tunes.






(Mad Decent)


The first signing to Diplo's Mad Decent label, Brazil's Bonde Do Role deliver exactly what you'd expect: foul-mouthed (ask your Portuguese-speaking friends) baile funk party bangers that will sound like a major revelation at 3 A.M. Think CSS's filthier and more aggressive sibling. For complete dancefloor hysteria, this single comes with a bunch of remixes, including one by Diplo himself.








NWOFHM -- New wave of Finnish heavy metal. You've seen the abbreviation grace both Circle and Pharaoh Overlord albums and t-shirts for quite some time now but neither band has taken the plunge quite like this before. PO's fourth is all pummeling '80's riffage and lyrics about demons and dragons and riding free in the wind. You have been warned: No false metal here. Every song sounds pretty much same so you'll either really love it or get bored rather quickly.






Ghosts of the Great Highway
(Caldo Verde)

"Glenn Tipton"

Mark Kozelek's first album as Sun Kil Moon from 2003 gets the deluxe reissue treatment. It's gorgeous and melancholic singer/songwriter epics of the highest order. The Nick Drake of his generation, some say, and while we'll leave that open to discussion, he definitely wrote the book for Iron & Wine and the likes. Comes with a bonus disc with six unreleased tracks.






February/March 2007

Brand new issue of Wax Poetics with a James Brown memorial as the centerpiece, and lengthy features on producer slash genius Charles Stepney, Marshall Chess, Banbarra ("Shack Up"!), Pazant Brothers, Minnie Riperton, and an article about the birth of "Planet Rock" and electro. Plus the usual record nerd discourse. Essential, as always.
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