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   July 18, 2007  
JUL Sun 15 Mon 16 Tues 17 Wed 18 Thurs 19 Fri 20 Sat 21


This is one party we've been waiting for and the day is finally here! We hope you can join us tonight at Studio B to celebrate the launch of our new mp3 download store with The Field (Kompakt) headlining! Other special guests include Kate Simko (Traum, Kupei, Spectral) and DJs Brian DeGraw (Gang Gang Dance) and Scott Mou (Other Music, Jane). As of press time, we've still got some tickets available at the shop. We've also got a couple of pairs of tickets to give away! We'll be picking the two winners at 2 p.m. this afternoon, so enter right now by emailing tickets@othermusic.com, and please leave a daytime phone number where you can be reached. See you tonight!!!

STUDIO B: 259 Banker Street Greenpoint, Brooklyn
$10 adv tix available at Other Music / $12 at the door

St. Vincent
Michael Garrick Trio
Professor Genius
Lee Perry
Studio One Dub Vol. 2
Kemialliset Ystavat
African Virtuoses
Una Noche en la Habana (Various)
The Magic Numbers
Now-Again Re:Sounds Vol. 1
Yesterday's New Quintet
Dave Edmunds

Dr. Delay (Mix)
La Clave
Los Campesinos!

Gogol Bordello
The Knife (Silent Shout Deluxe Edition)
Michael Hearst
JUL Sun 22 Mon 23 Tues 24 Wed 25 Thurs 26 Fri 27 Sat 28


Next Tuesday, Pelican brings their sprawling, textured instrumental rock sounds to the Bowery Ballroom stage, in support of their recently released City of Echoes, out on Hydra Head Records. Also appearing are Earth and Priestbird, so you know this is going to be a night for fans of all things heavy. Other Music has one pair of tickets to give away and you can enter by emailing contest@othermusic.com. Make sure to leave a daytime phone number where you can be reached. The winner will be notified on Friday, July 20.








$9.99 mp3


Marry Me
(Beggars Banquet)

"Marry Me"
"Human Racing"

Annie Clark is a 23-year-old from Dallas who has seen the world while slinging axe for the Polyphonic Spree and Sufjan Stevens. Yet her association with those two overachieving entities scarcely prepares one for the sheer ambition and accomplishment of Clark's Marry Me album, a gorgeous, precocious and often stunning debut released under the name St. Vincent on Beggars Banquet. The cover art bears more than a passing resemblance to Bjork's own Debut, with a pale gray background and the singer staring dead-on at the camera with eyes that dare you to look away; and this allusion runs deeper than just imagery. Like Bjork, Clark is clearly an intense, iconoclastic, fiercely independent and hugely talented artist, whose vision and drive makes her music almost unclassifiable.

At its core, Marry Me is really just an album of lush, jazz-infused ballads that are lyrically intense and emotional, or playful and wry, or often both; and her nuanced soprano draws the depth from her poetry. But the orchestrations -- from children's chorus to pulsating (yet subtle) electronics, from lush string and horn arrangements to Ms. Clark's own wriggling, swirling, harsh and beautiful guitar playing -- sets this record in a much different league than 99% of the "indie" records you will hear this year. It's probably head and shoulders above most anything you will hear this decade. It takes a lot to surprise me at this point, but St. Vincent has nearly knocked me flat. Fans of the aforementioned artists as well as Antony and the Johnsons, Cat Power, Feist, Rufus Wainright, Kate Bush or Joanna Newsom take note; this is a record that you need to hear. [JM]







"Man Have You Ever"

Released in 1964 as a privately pressed, impossibly small edition of 99 copies, the Michael Garrick Trio's Moonscape seemed almost destined for cult obscurity from the moment it was first conceptualized. Though pianist and composer Garrick would go on to acclaim in some circles for his late 1960s jazz chorale works, this early ten-inch record holds the distinction of being one of the first British examples of the New Thing, and a surprisingly beautiful (and all too brief) specimen at that. And while his stately keys and the sly rhythms supplied by sidemen Colin Barnes (drums) and Dave Green (bass) hardly hint at the sheer, mind-blowing non-idioms his later countrymen like Derek Bailey, Evan Parker, or the whole of AMM would explore, these six tracks are a crucial early pass that found these three confidently expanding upon the forms and conventions of British jazz in the early 1960s.

Pulled directly from an original copy of the ten-inch care of Brit crate-digger/leftfield cultural preservationist extraordinaire Johnny Trunk, this reissue of Moonscape flits by in barely a heartbeat. Garrick and co. set the stage for launch with the opening title track, a pensive, brooding little number that sounds spare, oft-atonal chords against cascading rhythms that resist every temptation to lock into place. From there, the trio work through limber post-bop workouts ("Music for Shattering Supermarkets") and low-key balladry ("Sketches of Israel") before truly beginning their ascent on the album's second half. There, "A Face in the Crowd" demonstrates a taut interplay between Garrick's intricate lines and Barnes' seemingly entropic percussive swipes. Closing out on a similar note with the sublime "Take-Off," Moonscape slowly fades as a consistently impressive, and heretofore unheard, slice of the ghost of jazz past, as eminently listenable as it is historically important. [MC]






Professor Genius
(Tropical Computer System)

"Notti Bianche"

We are so cool. That's right, I said it. All these people have been running into the shop looking for the promo-only (so far) neo-Italo compilation After Dark that Glass Candy brought out on their recent tour. There are rumors of an official release but who knows when that is going to happen. Meanwhile, all this time we've had the Professor Genius CD-R right under our noses (in a strictly limited edition of 300 to promote forthcoming vinyl releases), self-released on the fledgling Tropical Computer System label. Sure enough, it contains "Hot Dice," one of the killer tracks featured on After Dark, plus eight other jams. We've been trying to tell y'all about it in the shop, now we're giving it an Internet shout-out!

Like the killer Italo DeRuggiero comps, Professor Genius is not making fly-by-night, ironic, trend-hopper, Italo-poseur stuff. There are plenty of producers that just borrow the kitsch of synth-disco and do NOTHING with it. Professor Genius' tracks, on the other hand, are filled with the spirit of Italo/synth-disco and he actually DOES SOMETHING with these influences. Songs like the aforementioned "Hot Dice" have the drive of Black Devil Disco (but from Detroit) with the Blade Runner dystopian sprawl of Vangelis. "Orange Coco" sounds like a warmer, slightly more tropical I-F style vocoder disco -- which is a perfect improvement when you think about it, isn't it? What's also worth mentioning is that all the elements seem inspired from original cats: The cosmic, roller-boogie funk reminds me of Peter Brown; the catchy synth-y stuff reminds me of Alexander Robotnick; and the expansive stuff reminds me of Vangelis.

Any producer can quote from an extensive record collection, yet the thing that sets these songs apart in the end is an obvious love for the sound that inspires them. These tracks are super well-written and arranged in a way that pays tribute to the past while it uses hindsight to push and recombine the genre elements into something that sounds fresh NOW. It doesn't just remind you of something good, IT IS GOOD! So, I was kinda half-joking when I announced that we are "so cool." Actually, the point of this was to let you know that Professor Genius' tracks are so cool. Play these songs at your next party and everyone will probably think you're so cool too!! [SM]






$14.99 mp3



If one were to take a copy of every record that master reggae producer Lee "Scratch" Perry has ever recorded, and line them all up side-by-side, you'd most likely end up covering an area as large as the island of Manhattan. As a result, the man's discography is a bit unwieldy and difficult to navigate because, let's face it, much of the reggae music business has had its fair share of wheeling, dealing, and outright theft, with many releases by even the biggest names coming out under questionable circumstances. Thankfully, Trojan Records brings together three of Scratch's strongest and most consistent albums from his most fertile creative period, all recorded at Perry's legendary Black Ark studio during the mid '70s. In fact, Ape-ology is one of Perry's most solid, well-rounded, and wallet-friendly collections, serving as an essential companion to Island's 3CD Arkology set.

Beginning with Perry's dub masterpiece Super Ape, which brings new meanings to the word "heavy," the mood lightens up a bit with the classic Roast Fish Collie Weed & Cornbread album, in which Scratch grabs the mic and waxes lyrical about urban blight ("we need some light on the ghetto sidewalk"), the woes of dating a woman with a bigot for a father, and, on "Favorite Dish" and "Roast Fish," even offers up cooking & wellness tips like a rasta Martha Stewart while babies cry in the background and mad cows moo from beyond. The set finishes off with Return of the Super Ape, which falls somewhere in between the previous two albums in terms of mood and atmosphere, with some more great vocal turns by Perry. Also included as a bonus are six extra dubs and single mixes of cuts from Roast Fish and Return.

Description doesn't do justice to the sonic landscapes that Perry created in the Black Ark. Thick, humid aural swamps of reverb, percolating layers of rhythm, and above all else, memorable tunes keep this music timeless. These records have gone on to influence such a wide web of musicians and producers -- from Aphex to Eno to Laswell to Timbaland and beyond -- that it's remarkable these productions still sound like no one else. As they say, "often imitated, never duplicated," you can preview music samples on our digital site and get lost in Scratch's sound. This stuff is beyond recommendation; it's simply the best of the best. [IQ]






Studio One Dub Vol. 2
(Soul Jazz)

"Peace Version" Brentford Disco Set
"Feel Like Jumping Pt. 2" Marcia Griffiths

Another nice slice of shimmering dub from Soul Jazz. The joke about the label raiding the vaults at Studio One isn't funny anymore, and their series has certainly outlived all the punch lines. Just pure dub rhythms from the masters with Sound Dimension and Dub Specialist being the featured bands this round. Studio One Dub Vol. 2 is exactly what you would expect: some old favorites (Marcia Griffiths' "Feel like Jumping") and some new discoveries (Brentford Disco Set). All in all, another quality strut down Dub Street, with great liner notes by ethno-musicologist and author Michael Veal. [DG]






$11.99 mp3


Kemialliset Ystavat

"Nakymattoman hipaisuja"
"Kokki, leipuri, kylvettaja ja taikuri"

Led by multi-instrumental mastermind (and only real permanent member) Jan Anderzén, Kemialliset Ystavat (which in English means "Chemical Friends") has all but defined the ramshackle sound of modern Finnish psychedelia. Pulling in strands of loosely jammed folk, grimy noise, free associative percussion, and a whole toy chest full of other waifish accoutrement, Anderzén (along with the help of friends like Lau Nau's Laura Naukkarinen) has created a singular catalogue of constantly mutating sounds. Once again piecing together tape loops, acoustic guitars, and whatever else is within reach into endlessly enticing, wholly original slices of glorious otherworldly din, Anderzén has finally returned with an all-new, self-titled album for the always enjoyable Fonal imprint.

Though little has changed in the ultimate creation of the Kemialliset Ystavat sound since Anderzén's last installment, there's a newfound sense of clarity here that grants the album's twelve tracks a more spacious sense of serenity and a welcome new fidelity. That's not to suggest, however, that these tunes are any less mysteriously beguiling than the rest of the KY oeuvre, as the opening salvos of "He tulivat taivaan ääristä" waste no time in renewing Anderzén's descent into the farthest reaches of his own distinct sound world, wedging plaintive strums in between cracked voices and burbling keys. Tracks like "Superhimmeli" and the stately procession of "Kokki, leipuri, kylvettäjä ja taikuri (Enna 132 eaa.)" almost come across like a more winsome Faust re-envisioning the soundtrack to Jodorowksy's The Holy Mountain for a crew of forest-dwelling separatists, matching the chiming percussion and urgent acoustics with veritable symphonies of space age synths. Far from being just another entry into the dense library that Jan Anderzén has created over the past few years, this new album ranks head and shoulders above the rest, finally matching Kemialliset Ystavat's unkempt imagination with a fully realized pocket orchestra that takes these musings to brilliant new heights. [MC]







The Classic Guinean Guitar Group
(Stern's Music)

"Dembati Gallant"

For many African music connoisseurs, Guinea has long been a virtual goldmine. And within Guinea it really doesn't get much better than the Diabate family. Heralded as the first family of African guitarists, the Diabates were instrumental in developing a unique single-note style based on using a plectrum rather than the thumb and index finger technique common throughout the continent. It was this style that helped to push the tide of popularity from the brass-based bands that were gaining momentum at the time, back to the stringed instruments in African dance bands.

These rare recordings made between 1970 and 1983 showcase this illustrious family in various incarnations. Entirely instrumental, the band is filled in with wonderful but understated percussion, conga, bass and kora players; but make no mistake, it's all about the sublime guitar work here. Primarily electric, the Diabates play guitar with such sensitivity and nuance that the tones tend to wash over you like a blanket of warm sound. The liner notes accurately compare this to some of the lush guitar work from Spain, Latin America or even the cosmopolitan sound of Django Reinhardt, but upon closer inspection you realize that the style is all their own. For those of you who picked up the recent Authenticite compilation or any of the Bembeya Jazz National works, you're sure to have an idea of what to expect. For those of you who haven't, this is truly a treat. [GA]






Cuba: Una Noche en la Habana

"Tiene Sabor" Sensacion

The same label who recently brought us the fantastic Rail Band collection, Syllart kicks off their Cuban Pearls series (a counterpart to their African Pearls compilations) with this excellent first installment which focuses on the country's golden age of dance music. There's way too much history to cover in these pages about this one time Spanish colony, but the music produced in, and influenced by Cuba during the '40s and '50s is some of the most soulful and rhythmic of the past century. Titled Una Noche en la Habana (A Night in Havana), this 2-CD collection documents the deep connection between African and Cuban music, as well a myriad of other influences and, leading up to the revolution, its wildfire spread into the United States. From mambo to charangas to cha-cha, these 51 tracks are performed by the stars of the day and are truly celebratory in spirit. Thanks to compilations such as this one, a whole new generation are able to dance to the vibrant sounds that came from Cuba's dancehalls and social clubs. Highly recommended. [GH] (Released 2007)






Those the Brokes

"Take a Chance"
"Keep It in the Pocket"

In 2005, the Magic Numbers became stars in their native UK and an underground sensation the world over for a pretty unlikely reason: infectious, ebullient psychedelic pop songs delivered without flash or pretense. The group is a famously roly-poly foursome, two sets of brothers and sisters whose hooks and soft-spoken hits transcended their awkwardness and disinterest in the trends of the moment on an undeniably enjoyable self-titled debut. Now with the eyes of the world on them, Romeo Stodart and sister Michele have gone and done just what you might have expected; they've penned an album even more understated than their debut. The songs on Those the Brokes sneak up on you like the daybreak, percolating all around you until suddenly you realize that you're bathed in light. Less hooky than the debut, the group makes up for this with nuanced production, spine-tingling harmonies and a relaxed summer-morning pacing that is positively embracing. Sprinkle in a few creeping hits like the bouncy "Take a Chance" or Michele Stodart's lazy barn-burner star-turn on "Undecided," and you have another treat of an album. [JM]






Now-Again Re:Sounds Vol. 1

"Cold Beats" Koushik featuring Percee P
"Free Your Mind" Sound in Light

For those in the know, Now-Again is one of the finest reissue labels in the land. Headed up by noted archivist/DJ/Stones Throw diplomat Eothen "Egon" Alapatt, this imprint was responsible for the fine funk reissues from Kashmere Stage Band, Amnesty, L.A. Carnival, etc. What many people do not know is that each release had a companion, promo-only 12" of exclusive bonus material. Many of those were stellar remixes from the likes of Kenny Dope, Cut Chemist, Koushik and Todd Terry(!). If you were one of those who missed out on the '12', fear not; Egon has generously compiled a bunch of them on CD with the additions of previously unreleased remixes from Edan and Guilty Simpson. There really isn't much else to say except highly recommended! [DH]






Yesterday's Universe
(Stones Throw)

"Street Talkin'" Kamala Walker and the Soul
"Sunny C" Ahmad Miller

So Madlib (a/k/a Otis Jackson Jr.) "kills off" his most complicated alias, Yesterday's New Quintet, with his, errrr...their best release to date. What has always been a multi-split-personality scenario now finds him collaborating with Mamao of legendary jazz-fusion band Azymuth, and Karriem Riggins, the man who "finished" J-Dilla's The Shining. Yesterday's Universe is the most expansive, psychedelic, inspired and live collection of instrumentals so far and features a whole new slew of fronts: Young Jazz Rebels, Jackson Conti, Last Electro, and Jazzistics. We also find Madlib moving further from his hip-hop roots and jumping into the spiritually funky fusion of jazz, circa mid- to late-'70s. The sound is full and the rhythms are strong, and though he's pretty limber with the sticks, his drumming is tighter overall. The whole thing holds together in a true musical sense, like one of those jazz comps released by Impulse as opposed to the style merely being appropriated. It all seems less like a novelty this time, and has more to do with Pharaoh Sanders than with Pharaoh Monch. If you've been a fan since the Stevie Wonders covers album, Yesterday's Universe reaches further into the outer realms. [DG]






Rockpile w/ Bonus Tracks

"Outlaw Blues"
"I Hear You Knockin'"

Not to be confused with Rockpile's Seconds of Pleasure LP from 1980, featuring Dave Edmunds alongside Nick Lowe, this is actually Dave Edmunds' debut album, following sporadic successes as a solo artist and with his former group, Love Sculpture. Released in 1972 off the back of a surprise #1 UK single "I Hear You Knocking," Rockpile shared glam's love for '50s rock and roll, but sticks much closer to a literal pile of rock, rolling in distinct roots and country blues influences and coming pretty damn close to the originals at spots (two faithful Chuck Berry covers solidify this notion). What's interesting about this record is that no matter how far Edmunds decides to push the formula (hear the future of Fleetwood Mac in his cover of Neil Young's "Dance, Dance, Dance," for instance), the record stays cohesive and firmly in love with days gone by. A varied yet consistently excellent set, and the necessary thorny barb in the notion of pub rock that was about to come and go in British pop. The three appended singles provide yet another view to Edmunds' formula, with two wily B-sides and some true moments of "T. Rexellence." Close, clean, and brash. [DM]






Nightly Things

"Nightly Things"
"Stroll with Mine"

Fronted by Dan Smith, Begushkin's eight-song EP almost never made it to the pressing factory. Last fall, the Brooklyn songwriter woke to a bedroom filled with black smoke and fled his flaming apartment with nothing but a duffle bag stuffed with clothes. Smith lost pretty much everything, including his unpublished novel, a treasured instrument collection and the master tapes of this record. Luckily, he had made a CD copy for his friend, the sole reason Nightly Things is able to see the light of day. Given the 3 a.m. melancholy running through the 22 minutes of this EP, it wouldn't have been surprising if these songs had been penned after the fire. Amidst layers of circular, minor-key guitar passages and a full band which includes instruments like violin, accordion and singing saw, Smith colors his stark songs with rich imagery that's just surreal enough to keep things from being too dirge-y. His throaty waiver and lyrical abstractions are actually reminiscent of Destroyer's Dan Bejar, only Smith seems to be reaching for many of the same trad-folk songbooks that Will Oldham goes to, as opposed to Bejar's well-worn copy of Hunky Dory. Unlike either of the two, however, Begushkin's songs twist through more exotic locales, be it tip-toed flirtations with Gypsy music during "Stroll with Me" or the Middle Eastern-inspired guitar snaking through "Hearth Light of Our Home." [GH]






$9.99 mp3


Beautiful Targets
(Tee Pee)

"All Angels Road"

First off, let's be honest and say that there is little doubt that Hopewell loves Mercury Rev. Jason Russo, the group's founder and main singer/songwriter, was actually a touring member of that band for some time, and Hopewell's continued friendship and frequent collaborations with many members of their camp (Beautiful Targets was produced by Bill Racine and Max Avery Lichtenstein, both of whom have worked with Mercury Rev over the years) makes the association unavoidable. That, plus Hopewell's passion for off-kilter psychedelic pop, soaring orchestrations, and even Russo's thin, quavering vocal delivery are all somewhat Rev-ian. But Hopewell's sound on their charming new full-length has a much more freewheeling, rock and roll approach than that other band has ever managed to deliver, like on the piano-driven wallop of "All Angels Road" or the sprawling classic rock epic of "Afterglow." Hopewell is a group with grand aspirations for rock music, and for the most part Beautiful Targets realizes all of them and more, with quiet homespun emotion, thrilling bombast, and everything in between, tied together by a playfulness and sense of fun that are entirely genuine. Clearly this is Hopewell's best album to date, and clearly too, the group can stand tall on its own without any comparison. [JM]






Rajaz Meter - Mix
(Funk Weapons)

"Dance of Maria" Elias Rahbani
"Cemalim" Erkin Koray

The latest from psych head extraordinaire Dr. Delay (look up his earlier mixes), which brings together tracks connected geographically by the Sahara, and spiritually by a sound of struggle, leveraged by traditional music's immersion into the late '60s. Anyone who's been following the script over the last decade has felt the heat off those Ethiopiques compilations, and in more recent times the crucial Turkish funk doled out by B-Music, Shadoks, and other reissue imprints. Rajaz Meter mixes sounds from Egypt, Algeria, Iran, Mali, and points in between and around for a gripping and unique sounding mix, eased along by Delay's smooth transitions and scratch DJ skills. In the mix you'll find Selda, Bunalim, Mulatu Estatke, Tinariwen, Baris Manco, Erkin Koray, 3-Hur El, and plenty more. Nonstop funk, soul, hustle and fuzz breaks, stacked up so high they ain't comin' down for nobody. [DM]






La Clave
(Dusty Groove)

"Angels of Mercy"
"Sally Go Round the Roses"

La Clave was a mysterious band that came out of the vibrant Bay Area Chicano funk community of the late '60s and early '70s. Around that time, there was a massive scene built around the mainstream crossover of War, Tower of Power and, of course, Santana. All of these bands built their success around Afro-Cuban rhythms and the NYC barrio sound of Ray Barretto, and fused it with rock and soul. The lone album from the San Francisco-based La Clave definitely had the Afro-Cuban rhythms, but with less of Santana's rock feel, replaced by more of a latent funk vibe, and with a horn section playing straight salsa passages throughout. I hear a breeziness to their music that the bands above didn't quite have, and they even sound a bit like Earth Wind & Fire on a couple of the mellower tunes. The album also boasts arrangement and keyboard work from the legendary Lalo Schifrin as well. Killer takes on "The Ghetto," "Sally Go Round the Roses" and "Soul Sauce" are all highlights, but these guys had some original burners that are definitely in the same league as the aforementioned. 'Tis a shame that this is the only thing they were able to release, because they definitely had the chops to make it. Good s**t my friends. [DH]






Two Sevens Clash / 30th Anniversary Edition

"See Them a Come"
"Get Ready to Ride the Lion to Zion"

Some of the greatest records are those that have gone on to spark a movement, and Culture's Two Sevens Clash is a perfect example of the cross-cultural power of reggae. Originally released on 7/7/77, in celebration of the 30th anniversary (7/7/07) of their call to arms for empowerment and liberation, Shanachie has re-mastered the original album. The label has also added four extended versions/dubs and includes great photos by Kate Simon and extensive liner notes from Lenny Kaye, Roger Steffans and Randall Grass that outline the story before, during and after the recordings. Produced by Joe Gibbs and Errol Thompson, Two Sevens Clash was the debut release from the vocal trio of Joseph Hill, Albert Walker and Kenneth Dayes. The production, playing, lyrics and delivery are spot on. A solid mix of Bob Marley and Burning Spear, righteous Rastafarian theology is sung over steady, subtle, bouncing and grooving rhythms. I first learned about this record on a personal recommendation from Primal Scream's Bobby Gillespie, and tracked it down so I hear for myself this connection between punk rock and reggae. Sure enough, you'll spot the influence of Two Sevens Clash in everything from Gang of Four, the Clash and the Specials, right on up to the Libertines, Babyshambles, and The Good, The Band & The Queen. (Gillespie also recommended albums from Dennis Bovell, Lee Perry and Keith Hudson...get the picture?) If you ever wondered what those phunky British kids were blown away by back in the day, Two Sevens Clash is one of the best. Glad to see it back out and getting some needed attention. Listen up! [DG]






$6.99 10-inch


$5.99 mp3


Sticking Fingers into Sockets
(Arts & Crafts)

"You! Me! Dancing!"

If not for my Spanish-speaking wife, I might have guessed the English translation of Los Campesinos! to mean "The Fun Camp!" rather than "The Farmers!"; because this six song EP from this young Wales sextet is about as joyful as indie pop gets. It's the exact antithesis of the new Interpol record, what with boy-girl sing-a-longs, hand-claps and lo-fi guitars chugging underneath violin and glockenspiels, not to mention song titles like "We Throw Parties, You Throw Knives" or "Don't Tell Me to Do the Math[s]." The guy singer's wordy refrains remind me a little of Conor Oberst's frantic warble, only the crises of Los Campesinos! are far less existential, the band playfully musing about boy band fashion, not being able to dance, and "trying to find the perfect match between pretentious and pop." (They do indeed find that match: a cover of Pavement's "Frontwards" played at what feels to be twice the speed as the original!) Licensed from Wichita, Arts & Crafts is handling the North American label work. It's definitely an unexpected but nice divergence for the Canadian imprint, with the only Broken Social Scene affiliation being BSS member David Newfeld's production credit on most of the songs. [GH]






Super Taranta
(Side One Dummy)

"Wonder Lust King"
"Super Taranta"

Gogol Bordello's frenetic front man Eugene Hutz has been credited (by himself, actually) with piquing the interest of the world in all things Eastern European, and his claim is hard to refute. The multinational band of gypsies that he leads delivers their fifth full-length here, and it is an adrenaline-packed tour de force, melding traditional Russian and Ukrainian folk forms with drunk-punk, dub, and a veritable fruit basket of protest music and more importantly PARTY music from every corner of the globe. Their stated goal is to demolish boredom and homogeny, and on Super Taranta they succeed in spades.




CDx2 w/DVD


Silent Shout Deluxe Edition

"We Share Our Mother's Health"
"One Hit"

The deluxe version of the Knife's much-acclaimed Silent Shout from last year contains the original album on one CD, as well as an additional CD featuring a live performance of the album. Also included is a DVD documenting the audiovisual spectacle of the same concert, plus all 12 of the Knife's music videos. Consider this the Criterion version of Silent Shout.






Songs for Ice Cream Trucks

"Ice Cream"

Let's face it, the Mister Softee truck can add a bit of frustration to your relaxing day in the park, when the driver parks within earshot of your picnic blanket and proceeds to blare "Pop Goes the Weasel" for the next 30 minutes or so, until he drives off certain to annoy some other park lovers down the way. Surprisingly, this collection of imagined ice cream truck music from Michael Hearst doesn't overstay its welcome. The One Ring Zero leader's simple whimsical tunes, crafted from instruments like the glockenspiel, Theremin, claviola, Casiotone and chord organ, would be a much welcomed relief from that aforementioned endless loop of "Pop Goes the Weasel." Any Mister Softee truck drivers reading?
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[GA] Geoff Albores
[MC] Michael Crumsho
[DG] Daniel Givens
[GH] Gerald Hammill
[DH] Duane Harriott
[IQ] Mikey IQ Jones
[JM] Josh Madell
[DM] Doug Mosurock
[SM] Scott Mou

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