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  February 15, 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.

Field Music
Rio en Medio
Julie Driscoll
Antonio Adolfo
Terry Riley
Essie Jain
Vangelis O. Papathanassiou
Chico Magnetic Band
David Gunn & Victor Gama
Taj-Mahal Travellers

Times New Viking
Rub a Dub (Studio One Compilation on Soul Jazz)
FEB/MARSun 25Mon 26Tues 27Wed 28Thurs 1Fri 2Sat 3
MARSun 4Mon 5Tues 6Wed 7Thurs 8Fri 9Sat 10

El Perror Del Mar


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 11Mon 12Tues 13Wed 14Thurs 15Fri 16Sat 17


To celebrate their forthcoming album Myth Takes (out March 5 on Warp Records), !!! will play a very small and very raucous rave gig at a secret location in Greenpoint, Brooklyn this Saturday. The tickets are completely sold out, however, we've still got two pairs to give-away! To enter, send an e-mail to tickets@othermusic.com. Make sure to leave a daytime phone number where you can be reached. The two winners will be notified on Friday morning, Feburary 16th.

SATURDAY, FEBRUARY 17 (11 P.M. to 4 A.M.)
!!! (live) w/ special guest DJ Prince Language
Secret Location T.B.A.

FEBSun 18Mon 19Tues 20Wed 21Thurs 22Fri 23Sat 24


Next Monday and Tuesday, Dub Trio will be performing at Union Pool, both shows being recorded for an upcoming live album to be released on ROIR later this year. Other Music has tickets to give away for both nights (two pairs per night)! To enter, send an e-mail to contest@othermusic.com and make sure to leave a daytime phone number where you can be reached as well as the date you'd like to be registered for. The four winners will be notified by Noon on Friday, February 16th.

UNION POOL: 484 Union Avenue Williamsburg, Brooklyn







Tones of Town
(Memphis Industries)

"Working to Work"
"Closer at Hand"

Talk about underrated. Here's a band, Field Music, that writes songs you actually need to know more than four-power chords on a beat up Stratocaster to pull off. And sure, I'm the last guy to go around waving the "virtuosity=quality" flag, but I can't help but think of technique as the ultimate in indie rock gate-keeping. Here's to quality control. I have no doubt the absolute monstrous glut of music that inevitably will invade dollar bins this year could've been spared such a shameful demise, if only it were a little more difficult to learn C to D to G on guitar. Following, in this spotty landscape, when a band is actually capable of marrying some sort of learned musicianship, with memorable hooks, a fine concept, and maybe a tune or two that could theoretically win over a dancefloor (or at least a living room), then you've got something to talk about.

Indeed, Field Music's sophomore jam, Tones of Town, is something to talk about. Continuing in the path the British trio's self-titled '05 release, Town is brimming with XTC-approved hooks (though, this time there's a big inexplicable debt to George Harrison-style guitar solos - esp. on the single, "A House Is Not a Home"), all run through the post-whatever blender -- a little sweaty, Gang of Four tempo switch up here, some Ric Ocasek keyboards there. An explosive Carl Newman-cribbing chorus, the opener "Give It, Lose It, Take It," even manages to successfully throw Terry Riley into the mix. That said, the star of the whole show comes 9 tracks in - "Closer At Hand" is all '70s piano power ballad, c86-tunefulness, and choppy angular guitar chords. It's also got some serious cowbell playing. Is there another band out there able to merge so much of the pop music canon, while still sounding entirely all there own? Maybe. But, nobody does it as consistent as Field Music. 2 for 2. [HG]






Can't Go Back

"John Brown"
"Outside Looking In"

Papercuts' Can't Go Back is the first album on Devendra Banhart and Andy Cabic's Gnomonsong imprint for Cabic's Vetiver bandmate Jason Quever. Quever has been a longtime touring member of the group, holding down the keys, but judging by this record, I doubt that this will last for too long. Can't Go Back is one of those albums that sneaks up on you, and its songs are ones that you will remember all day long. The melodies are simple and subtle, and the music is beautifully arranged with Quever's lovely and quaint vocals carrying the tracks along. There is nothing here that will instantly grab you, but upon repeated listens this record will seep under your skin and stay with you for a long time. A song like "John Brown" is as if Vetiver -- or Cass McCombs even -- recorded for Sarah records. It has an early-'80s twee influence (and that is not a bad thing) with a southern twang. "Summer Long" is a stunning ballad with its gorgeous pianos, slightly-strummed acoustic guitars, beautifully-arranged string arrangements, and Quever's slight vocal delivery -- the perfect addition to that mixtape for your loved one. "Outside Looking In" ups the southern twang and could easily be one of the best songs that Vetiver never wrote.

Can't Go Back is a beautiful album that took me by surprise, and it's one that I've played way more than any of the high profile releases which have come out in the past month. If you bought any record by one of the new folk artists around for the past few years, but you are looking for something more, the Papercuts are for you. [JS]







Bride of Dynamite

"The Baghdad Merchant's Daughter"
"I See the Star"

Another new addition to the Gnomonsong label, singer/"ukulelist" Danielle Stech-Homsy (sole member of Rio en Medio) is, understandably, working the psych/freak folk aesthetic -- simply note her label and appearance in Filter magazine as one of Banhart's Top Ten of 2006 picks. Thus, on the surface her debut album, The Bride of Dynamite, seems to be the product of overarching influences; Andy Cabic, Sierra Casady (CocoRosie), David Coulter, Tim Fite, and Thom Monahan (Pernice Brothers) all contribute touches to the record. Nonetheless, while the album looks as if it's a collaborative effort, Stech-Homsy deftly manages to integrate pieces of herself within, ultimately creating an intimate endeavor that, above all, showcases her own distinct perspective and voice. A captivating collection of ethereal, layered vocals coupled with a tugging ukulele, samples, and rough, disassembled electronics, Stech-Homsy's tone is personal, her construction delightfully discursive.

Incorporating literature ranging from William Blake to a 1920s travel dialogue into the work, the New Mexico native, who currently resides in Brooklyn, is intent to take the listener on a dreamy musical adventure, and, to be honest, Stech-Homsy has the ability to pull that off. [PG]






1969 - Remastered
(Eclectic Discs)

"A New Awakening"
"Break Out"

Chronicling the split between British R&B firewoman Julie Driscoll and Brian Auger & the Trinity, her first solo album 1969 is one of those touchstone records for those needing the byzantine complexities of art-rock, looking for breaks, or just interested in getting lost inside something emotionally agitated and groundbreaking. She's backed by Keith Tippett, Blossom Toes, and members of the Soft Machine. It's all huge soaring vocal leads and off-kilter backing, just on the verge of getting loose but maintaining its stern, progressive vibe. There's an incredible amount of tension and release dynamics at stake here. People derive inner strength from some of these songs, like "Leaving It All Behind" and the closer "I Nearly Forgot - But I Went Back." If you can hang with it, you've made the conscious decision to become a "music person," and inevitably, a "record person" too. Do you make the cut? [DM]






Antonio Adolfo e a Brazuca
(Odeon / EMI Brazil)

"Transamazonica "
"Que Se Dane"

This album is guaranteed to get tagged as a "tropicalia" record, although in truth it's more of a tropicalia by-product than anything. This is the second of two albums released by the band led by the incredible pianist and composer Antonio Adolfo during his "hippie-psych" phase. At its heart a pop project, Brazuca betrayed the heavy influence of the psychedelics floating in the air during those days, as well as Adolfo's ownership of Rio's first Fender Rhodes. It's a bit of a strange one, this album, sweet pop and bossa tendencies waylaid by bizarre lashings of psych and even a little prog. It's funky in spots, rocks in others, and generally finds Adolfo and songwriting partner Tiberio Gaspar (a team similar to Burt Bacharach/Hal David or, better yet, Roger Nichols/Paul Williams) going in a somewhat freakier direction than the patented perfect-pop style of their many late-'60s hits. An eccentric and fascinating moment in Brazilian pop culture from the dawn of the '70s. [GC]






Reed Streams
(Elision Fields)

"Untitled Organ"
"Dorian Reeds"

Terry Riley's first album, Reed Streams, contains all the formative elements of the hypnotic minimalism that he would eventually become known for. The building blocks of "A Rainbow in Curved Air" and "In C" -- simple, repetitive phrases phasing in and out of one another, compositional use of tape echo, and that infinite sense of pulse -- are all here, and it's interesting to hear them so distilled, and, as it would seem, so fresh in the composer's mind. "Untitled Organ," the first track on Reed Streams, is an airless study for keyboard organ in which incessant, circular keyboard lines -- all played in real time -- shadow and overtake one another in deliberate cross-fades that allow the two phrases to momentarily overlap, creating what is, in effect, a third complex phrase. Similarly, the phrases in "Reed Streams" are prone to rapid shifts in accent and meter, the result being a hypnotic undulating melody that, for all its repetitiousness, is still full of rhythmic permutation. It's so mechanical sounding at times that it's hard to believe that Riley played this track without some kind of delay device, but it's true, and what's even more interesting is how the ideas of these early keyboard studies dovetail with Riley's later experimentation with reel to reel tape recorders. The next track, "Dorian Reeds," treads further down the same conceptual path, this time using tape echo to achieve similar time bending effects.

The bonus track on this reissue is a rocking version of what is perhaps Riley's most famous work. If you've ever wondered what it would have been like if Can or the Soft Machine took a stab at "In C," look no further. This 1970 performance of "In C," by a group led by Walter Boudreau, fuses the reedy modular phrasing of Riley's own versions with an appropriate, but decidedly rock sense of tribal polyrhythm that tips the drone masterwork from the meditative into the ecstatic. [CC]






We Made This Ourselves
(Ba Da Bing)


It's undeniable; the forte of British ex-patriot Essie Jain is her voice -- on her Ba Da Bing! Records debut, Jain manages to make her sugary vocals charming, haunting, and emotionally bare, simultaneously. A minimal effort underscored by Jain's delicate use of piano and guitar, We Made This Ourselves is a record of Jain's life experience thus far. Forgoing any elements of indulgence, Jain does much more with less; the album itself is spare and stark, allowing no obstacles between the listener and Jain's central focus: her forceful, lingering lyrics. Ironically, Jain is able to move the listener with subtlety, to stun with gentle calm. Through the occasional instrumental accompaniment along with drumming by Jim White of the Dirty Three, Jain's product is 10 tracks that turn out a thoughtful and sincere sound. It is apparent that Jain's relationship to her craft as well as her audience is a close one, and with We Made This Ourselves, Essie Jain proves that there is something to be said for understatement. [PG]






Free Your Mind
(Now Again)

"Lord Help Me"
"Free Your Mind"

Stones Throw's chief archivist Eothen "Egon" Alapatt mines the cultural creases of American black music and hits pay dirt again with this fabulous release. Amnesty were an eight-piece horn-fueled funk band from Indianapolis and they gained quite a local reputation as an explosive live group during their five-year existence during the early '70s. Unfortunately, there wasn't much recorded music released but what they did put out was phenomenal. Their first single was the epic two-part workout "Everybody Who Wants to Be Free" on the tiny Indianapolis-based Lamp label. Although not included on this release, the seven-inch has been reissued by Now Again and is well worth seeking out. Free Your Mind is a collection of tunes they recorded for their second label, 700 West, in 1973. In just two sessions, Amnesty made these stellar demos that deftly touched upon the musical richness that the best funk bands of the time all had. The elegant conscious balladry of Kool & the Gang, the sublime three-part harmonies of War, the complex horn arrangements of Tower of Power and the gritty ghetto realness of early Funkadelic are all on display here. Sadly, only two songs from this session were ever released and the band shockingly never acquired a major label deal for all of their efforts. Thankfully, the world has a chance to hear their music now and we are all the better for it. [DH]






...and His Friends
(Moondog's Corner)

"Fleur de Lis"

Originally issued in 1953 as a ten-inch, Moondog's classic ...and his Friends is still a delightful suite of rhythmic miniatures more than fifty years later. Full of buoyant, winding rhythms -- often influenced by Native American and Eastern cadences, and played on instruments of Moondog's own invention -- Moondog manages to make odd times seem elegant and lively, even when exploring the most rigorous of rhythmic complexes. This reissue collects all the material from the original ten-inch and adds interesting material by some new "friends," namely harpist, Xenia Narati, organist, Paul Jordan, and Moondog disciple, Stefan Lakatos, playing instruments of the late composers design. Recommended! [CC]







"Come On"
"Let It Happen"

I'm sure you all recognize that first name, and yes that's the Vangelis you think it is. This is his first solo album from 1973, and the only one released under his full name. Around this time in his life, Vangelis' former prog rock band, Aphrodite's Child, had been broken up for a little over a year and, subsequently, he had been collaborating with numerous artists and experimenting with different types of music, trying to figure out what he wanted to do next. This is probably the last "rock" record that he would actually make in his career. I believe that he considers this merely a transitional record marking the end of his rock phase in Paris, and the beginning of his compositional synth phase in London and beyond. It definitely sounds transitional and a bit schizophrenic, what with the weird two-minute Kraut-pop jams, spooky "Planet Carvan"-like interludes and dark tabla and rhythm box percussion breaks. But this is also one of the best ethno-prog records that I've ever heard, and it just might be better than his former band's masterpiece , 666.

Apparently this album was inspired by Vangelis' obsession with ancient pre-Christian Dorian music of his native country Greece, and his wish to create a modern equivalent of it. He enlisted the help of his former Aphrodite's Child cohorts and you can definitely detect the lush prog-pop atmospherics of his former group in the stunning opener, "Come On," and "My Face in the Rain." But it's on tracks like "Sunny Earth" and "Ritual" that you hear Vangelis starting to find his own voice, with hints of the soundtrack work he'd be known for. Through it all, there's still a strong pop sensibility that pervades -- one he would trade in for the synthesizer which would be his signature instrument less than two years later. Traces of Can, Ash Ra Tempel, Black Sabbath, 10cc, Air, and the Verve can be heard in this record and any fans of these artists should get this...NOW!! [DH]






Chico Magnetic Band

"We All Come and Go"
"To Where I Belong"

Mentalist heavy rock freakouts from a Parisian outfit circa 1970. Looks and smells like drugs, and could possibly get you arrested if NYC cops happen to search your person or bag. The kind of mad record with internal logic dictating all sorts of crude vocal sputum and intensely monged delivery, like it being chill to play an entire track backwards, one which fuses an understanding of wild, untempered psych and proto-metal in a way that bridges Funkadelic with Amon Duul II, or the Jimi Hendrix Experience as fronted by Themroc, by way of the Edgar Broughton Band. It's the sound of student revolt, full penetration, and hive minds. Thoroughly unrestrained, yet highly conceptual and pretty together, accomplishing more in one 30-minute album than most can in a whole career. The front cover, depicting that huge Afro and those nasty-ass feet, should tell you all you'd need to know. Buy a copy and throw rocks at a tank today. [DM]






Folk Songs for the Five Points
(Lower East Side Tenement Museum)

"Ice Cream"

This is a collaboration between David Gunn and Victor Gama that began in 2005 as an experiment in trying to document the identities formed by immigrants living in Manhattan's Lower East Side. Long a port of entry into the U.S. from all corners of the globe, the LES has remained a culturally diverse neighborhood (albeit gentrifying more everyday). Folk Songs for the Five Points was commissioned by the Lower East Side Tenement Museum as a means of exploring contemporary cultural identities though the use of sound clips, ambience and music. In addition, longtime downtown fixtures, bassist William Parker and drummer Guillermo E. Brown, add texture to the sonic canvas. There is also a link to a website where you are encouraged to remix some of the sound samples yourself. The audio itself buzzes with the energy of the neighborhood that inspired this project, featuring clips of cars driving by, kids playing, street corner soundsystems, aspiring emcees, and discussions of Puerto Rican nationality. It's a document of the fabric of this time and that place. [GA]






Live Stockholm July, 1971

"Improvisation Part 1"
"Improvisation Part 2"

Early trio recording by perhaps the most highly revered Japanese psychedelic outfit ever, essentially one two-hour-long improvisation spread over two CDs. Prepared strings, vocal chants, electronics and overtones galore hover through and beyond souls living and past in as fine an example of cosmic exploration as could possibly be imagined. Step aboard, you might never come back! [JG]






Paisley Reich

"Teenage Lust!"

More awesome and totally crooked pop music from this Columbus band. I've read some Pavement comparisons, which might not be totally off the mark, but I hear more of a chaotic Flying Nun art pop/early-Fall combination. It's loud and shambling and completely exuberant. Oh yeah, and they just signed to Matador. Between that album and the upcoming Love of Diagrams full-length, we hereby declare that indie rock is back!






Studio One Rub a Dub
(Soul Jazz)

"How Could You Leave"

Sweet set of 70s recordings from the Studio One vaults. This comp leans more towards laidback, slow-moving dancehall tracks, featuring hallmark names of the era (Willie Williams, Lone Ranger, Horace Andy, Alton Ellis) and others still waiting to be discovered by most (Barry Brown, Len Allen, Jennifer Lara). Nice!
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[GA] Geoff Albores
[CC] Che Chen
[GC] Greg Caz
[PG] Pamela Garavano-Coolbaugh
[JG] Jeff Gibson
[HG] Hartley Goldstein
[DH] Duane Harriott
[DM] Doug Mosurock
[JS] Jeremy Sponder

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