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   July 16, 2008  

Boredoms are upping the ante of last year's 77BoaDrum event with a bi-coastal 88BoaDrum sequel which will take place on, you guessed it, 08/08/08. Featuring 88 drummers selected by the Boredoms and artistic director Hisham Bharoocha (Soft Circle), Eye's new 88-minute composition will be performed in Los Angeles at the La Brea Tar Pits and in Brooklyn on the Williamsburg Waterfront. The New York event will be conducted on behalf of the Boredoms by Gang Gang Dance and gets underway at 8:08PM EST. 88BoaDrum is FREE but you'll need a ticket for entry. Other Music has a very limited amount of tickets to the Williamsburg performance, which will be available starting at noon this Friday, July 18, until they're all spoken for. One ticket per person.

Jorge Ben
Karl Hector & the Malcouns
Kevin Drumm
Ragga Twins
The Hold Steady
Kazuki Tomokawa
Every Mouth Must be Fed (Various)
Black Devil Disco Club
Stop Smiling (Issue #35)




John Terrill (2-song single)

All of this week's new arrivals.

JUL Sun 13 Mon 14 Tues 15 Wed 16 Thurs 17 Fri 18 Sat 19

This Thursday, Broken Social Scene are throwing a release party for bandmember Brendan Canning's upcoming album, Something for All of Us (out Tuesday, July 22nd on Arts & Crafts). Opening the night will be Gentlemen Reg, and then the Canadian rockers will take the stage performing a special live set previewing Brendan's new record. Other Music has three pairs of tickets to give away, so enter right now by emailing contest@othermusic.com. We'll be notifying the three winners first thing Thursday morning. Good luck!

MERCURY LOUNGE: 217 East Houston Street NYC

Also, catch Broken Social Scene this Saturday at the Siren Fest.

JUL Sun 20 Mon 21 Tues 22 Wed 23 Thurs 24 Fri 25 Sat 26

The Internet buzz behind the Sunshine State's Black Kids has been deafening over the past year, and now, with their Bernard Butler-produced debut full-length Partie Traumatic in hand, the band returns to New York playing at Santos' Party House. Other Music has one pair of tickets to give away to what will surely be one of the most blogged about shows of the summer. To enter, email tickets@othermusic.com. We'll notify the winner this Friday, July 18th.

SANTOS' PARTY HOUSE: 100 Lafayette Street, Ground Fl South (btwn Walker & White Streets) NYC

JUL Sun 03 Mon 04 Tues 05 Wed 06 Thurs 07 Fri 08 Sat 09

Other Music is excited to team up with The MuseBox to offer up 3 PAIRS of FREE tickets to an appearance by the Apples in Stereo on Monday, August 4th during a live taping of The Colbert Report in New York! In addition, winners will receive a limited edition, screen-printed NY poster! Email apples@themusebox.net now! Be sure to put "Other Music - The Apples" in the subject line. Forward this email to some friends! The winners will be chosen randomly and notified by email no later than noon on Friday, August 1st. (If you haven't heard from The MuseBox by then, you haven't won the tickets.) Good luck!







Jorge Ben
(Dusty Groove)

"Pais Troical"
"Quem Foi que Roubou a Sopeira"

Finally! Let the trumpets sound! Jorge Ben's most famous yet seldom heard album is FINALLY available again for the greedy Brazilian beat/tropicalist gobbling public... and it's never sounded better! A rare album that lives up to nearly all of the praise piled upon its reputation, Jorge Ben's 1969 self-titled masterpiece is perhaps one of the best, most well balanced cornucopias of what many call tropicalia, but which in all honesty were trademarks of Ben's sound from early on in his career: heavy and sensual samba jazz rhythms (courtesy Trio Mocoto), Ben's choppy rhythm guitar, lush Technicolor horn and string arrangements (courtesy tropicalia's maestro supreme Rogerio Duprat), and soulful vocals that drip melodies like the juice of a ripe jungle fruit. One of the things that I personally love about this record as compared to many of Ben's other works -- and at this point, I've had the pleasure (while my wallet's felt the pain) of hearing just about all of them -- is the way Duprat's horns and strings drop in and out of the mix in an odd, nearly dub-style fashion as Ben's voice wafts in and out of earshot in thick reverb washes. Ben was never a tropicalist proper like Veloso, Gil and Os Mutantes, but his influence (and particularly that of this album's predecessor, the incredible O Bidu - Silencio No Brooklin, which is still mind-numbingly unavailable) has long been declared and acknowledged by the aforementioned parties; one listen to any track on this record and you'll instantly know why.

This album also features some of Ben's most beloved and well-known mid-period songs, most notably "Pais Tropical" and the supreme monster "Take It Easy My Brother Charlie." Other highlights (on an album of nothing but) include "Cadê Tereza" and "Barbarella," where Ben balances a breezy bossa swoon with swinging cymbal-led beats as hypnotic and catchy choruses are chanted by the man and his troupe of backup singers, the desert-mirage strings 'n' samba of "Descobri Que Sou Um Anjo," and one of my all time Ben faves, the call-and-response samba blues of "Bebete Vãobora." I really cannot say anything bad about this record; if you care anything at all about Brazilian music, you pretty much need to own this album -- it's as essential as Joao Gilberto's first three (and still impossibly out-of-print) LPs as well as the infamous Getz/Gilberto world-changer. I'll finish up by saying, in all honesty, that as much as I love Veloso, Gil, the Mutantes family, and much more which sprang from the tropicalist well, I'd take one album of Jorge Ben's music over an entire discography of any of those people. There's a reason that the album's closer, "Charles, Anjo 45," ends with the sound of a gigantic fanfare -- Ben created a masterpiece, and all of Brazil knows it. [IQ]






$14.99 LP


The In Hour

"Some Other Life"
"Lynch the Swan Bar"

Brooklyn's Meneguar have been bubbling under the surface for years, touring relentlessly and eschewing the city's more legit clubs in favor of rough performance spaces and DIY venues. They're more or less a raging success story of how to exist in a band on your own terms, with members having done time in Wooden Wand and the Vanishing Voice as well as lo-fi side project Woods, raising their own profile and that of member Jeremy Earl's Woodsist label (home to releases by Blues Control, Vivian Girls and Crystal Stilts) in the process. The tension and driving melodies of their first two albums are present on The In Hour, but all the high-gloss production has been shuffled out, in favor of a home recording in their living space. Regardless of the rough edges, this is easily their finest moment to date, members switching up instruments and growing beyond the sturdy '90s indie rock template they've followed to now. Chiming Paisley Underground psych-pop rubs up against folk forms, progressive shifts, and three-part vocal harmonies, keeping their music firmly in the camp of excitement and energy. Fans of Polvo, Unwound, Harriet the Spy, Lync, and like-minded explorers of indie sounds gone by, take note: Meneguar is the worthy follow-up to where these bands all abruptly left off, and takes the strands they left behind into their own hands to continue the story. [DM]






Sahara Swing
(Now Again)

"Sahara Swing"

James Brown, Fela Kuti, Sun Ra, and Mulatu Astatke walk into a German bar; while that would be one mean poker game, I've only introduced the theoretical as a feeble attempt to describe the cluster-funk of sounds presented on Sahara Swing, the new record by Karl Hector and the Malcouns. A group formed by members of the Poets of Rhythm, the Funk Pilots, and various other crack studio musicians, the Malcouns have compiled 45 minutes of harsh funk with omnipresent jazz sensibilities. The grooves on this record, rooted in animalistic horn swells and pounding drumbeats, drive and swerve with cold heat that'll make your face contort. Somehow, these German multi-instrumentalists have woven a xylophone into these authentic Afro-beat rhythms and free-jazz interludes without loosing a step, and they've also incorporated the metallophon and ballaphon on top of various tribal chants for good measure. Not surprisingly the release is handled by Now Again records, the Stones Throw subsidiary that is reportedly a reissue imprint but seemingly got lazy and has been consistently creating instant classics ever since. Their last release was Out There by the Heliocentrics, which was one of the best pysch-funk releases of 2007, and now they've found a group of white funk musicians who are just as well versed in Ethiopian soul as they are in Krautrock. If you are a fan of the funk, have hip-hop sensibilities, or are looking for a more international addition to your collection of Daptone records, be sure to pick up a copy of this incomparable debut album. [MG]






The Haunted House

"Message from Heaven"
"Track 3"

Holy s**t. I don't even know where to begin with this one. Let's start with this record's now-mythic backstory: Pyha is a one-man black metal/nihilistic noise project from Korea, and this, his first album, was recorded back in 2001 when the artist was in 8th grade, just 14-years-old. The story goes that Andee of tUMULt Records in California (who have so graciously reissued this mind-blower) was given a copy of The Haunted House upon its original release by a metal head bud who was staying in Korea at the time, and was so blown away that the wealth had to be shared. Andee stood on a (black) mountaintop and decreed that he SHALL release this (and Pyha's three other records, hopefully) to the blackest devourers and they SHALL be as blown away as he. In fact, Andee was so blown away that he sent a home-burned copy of the record, sans any art or extraneous info, to UK metal bible Terrorizer and they gave the CD-R a perfect 10 of 10 review. You follow where this is going, folks?

Now, whether or not any of this folklore is true, it definitely adds to the mystique in a way that makes an "outsider" like Jandek look like Andy Griffith, and even without the hype, the record is a true destroyer. I honestly don't think I've ever heard a more concentrated and true document of tortured (teenage?) angst and disgust with the toilet of humanity than this record. All levels peak into baboon's ass red, and the tempos are kept to a punishingly slow crawl. One of the most intriguing elements of the arrangements (and yes, amidst the sludge, grit, and brimstone there are actual layers of arrangement here) are the alien bog-like fogs of ambience created by the sounds of countless shredded throats left wailing in a limbo I hope I'll never have to visit because let's face it, I'm nowhere near as hardcore a soul as I'd like to believe.

Fans of Burzum, Abruptum, Keiji Haino, and the whole No Fun orbit of macho testosto-noise will love this. It's unequivocally one of the most unique, completely out & despondent documents of a state of mind few should really ever have to be in more than once that I've ever heard. This record will separate the wheat from the weak in terms of true metalocity. Furthermore, anyone trying to use the whole "I was into blah blah blah before someone else when I was only this age" argumentative line of BS can now officially shut the hell up forever because, let's face it, you sure weren't going this far into the depths at age 14 and you probably never will until you die. You have been warned. Enjoy! [IQ]






Imperial Distortion

"We All Get It in the End"

Two CDs worth of desolate beauty that doesn't quite crush the listener into submission as instantly as Kevin Drumm's previous albums, Sheer Hellish Miasma on Mego (early black metal chic points, see also the Deicide bedroom tapestry in the inside photo) and the Hanson-released Land of Lurches. In fact with the title as it is, until the record is experienced as a whole for its extreme sense of isolation and slow suffocation, it almost seems...uh...tranquil? The sound at first comes off as a post-apocalyptic William Basinski with its focus not on the heavens, but instead solidly anchored to this mortal coil with all its disease and otherworldly, final concerns. (Track one is named after GBS syndrome where symptoms of tingling sensations on the face and limbs lead to difficulty walking, then breathing, then death.) Further listening at greater volume allows the album's dimension to fully come forward.

Imagine a desolate soundtrack to the end of the world after the last man on earth has turned to dust, with the camera slowly probing through empty streets, occasionally peeking around corners only to see more, absolutely still, slowly decaying cityscapes. No life. Previous recordings by Drumm were the sound of warfare/destruction in action; this is the unseen aftermath. Album opener, the aforementioned Guillain-Barre Syndrome cut, sounds like a deep doom-drone track made by a Gamelan orchestra (23 Skidoo's The Culling Is Coming comes to mind, though this is more foreboding and without "world music" vibes). The second piece, "More Blood and Guts" has the atmosphere of a carcass-strewn battlefield but not in a glorified Hollywood way, more from the perspective of the flies feasting within it. Ten minutes in, the track unexpectedly ascends into a gently undulating drone that develops and rises for the remaining nine minutes. Tracks three and four, titled "Snow,"' are cabin fever inducing moments of aural solitary confinement. Listening at higher volume is necessary to experience the aforementioned "slow suffocation" as the bass creeps in and smothers. Drumm has learned to slowly infect his listeners rather than use full frontal attacks. By album's end, "We All Get It in the End" does deliver some of the crushing distortion that we've come to expect from Drumm. This last track, along with the rest of the album, makes it safe to say that he doesn't foresee "walking toward a bright, white light" when its time for him to go. Recommended. [SM]






$25.99 LPx2


Ragga Twins Step Out
(Soul Jazz)

"Love Talk"

Soul Jazz continues to dig into the rich and vibrant history of modern music with this two-disc compilation. During the early part of the '90s, the UK duo Ragga Twins, along with producers Shut Up and Dance, helped shape the sound and aesthetic of reggae-influenced breakbeat culture. Through the cross-cultural migration of Jamaican residents settling into the yards, gardens, and pubs of England, a connection began to grow from the Clash that runs all the way forward to the black and white faces of the various producers of today's dubstep. Ragga Twins embody the spirit of the rude boys/bad boys of dancehall, with a bit of gangsta lean taken from hardcore hip-hop and the lively energy of jungle. Imagine the days before Goldie and Grooverider, when rave culture began merging with Jamaican sound system techniques and technology, all for the love of sped-up breakbeats. Primal, like the early work of Afrika Bambaataa or Mantronix, these simplistic yet fierce tracks helped pave the way for the shape of things to come on the other side of the ocean. At the time, their lyrics spoke about the state England of the then new decade, a social commentary on inner city struggles, conflicts, and overall state of mind. Ragga Twins Step Out is a great document of a crucial time in the development of some truly British music, and is still interesting now as a blueprint for the making of 21st century music in general. Of course if you've enjoyed the Rumble in the Jungle or the An England Story comps, make this one your next selection for a journey down breakbeat memory lane. [DG]






Stay Positive

"Navy Sheets"
"Joke About Jamaica"

Album #4 for the Hold Steady shows this divisive NYC band doing what they always have: rewriting Springsteen, Bryan Adams, and other anthemic, booming bar rock from the '70s and '80s for a generation that grew up on it. It's their most accomplished effort to date as well, boasting huge production value, gigantic arrangements, and as always, the dark, nasal platitudes of frontman Craig Finn, one of the foremost statesman of rock lyricism of our times. Calling out hardcore bands, small-town criminals in townie garb, a cheeky take on Led Zeppelin ("Joke on Jamaica"), and one of their most memorable songs since the demise of this band's predecessor Lifter Puller in album closer "Slapped Actress," Stay Positive won't likely win the group any new fans, but maybe that's the point. They've touched on a formula that works, and with Stay Positive they claim full ownership of their sound, grand and desperate all at once. [DM]






$9.99 MP3


Love To Make Music To
(Ninja Tune)

"Twist the Kids" (Featuring N'fa)
"Assembly Lines"

In the world of Greek Mythology, the character Daedalus is synonymous with shrewd craftsmanship. In the world of intellectual dance music, recording artist Daedelus, not unlike his namesake, is known for pioneering new sounds and even a musical instrument (Google the Monome Box). On his new record, Love To Make Music To, Daedelus reinvigorates his unique orchestral synth-scapes by focusing specifically on early-'90s British rave. The subject is fitting, as this release marks his first full-length since signing with Ninja Tune, and the collaboration has resulted in a masterpiece of melodramatic booty bass. With guests ranging from Taz and Om'mas of the Sa-Ra Creative Partnership to exhumed old-school southern rapper Paperboy to his chanteuse wife Laura Darling, Daedelus' most recent project sounds alternatively like boogie-hop, new jack swing, and the soundtrack to Tom and Jerry without ever neglecting his pop-techno focus. Interestingly enough, all of this exploration is matched by introspection on tracks like "Hrs:Mins:Secs" where you'll swear you're hearing Dilla dissecting an apocalyptic dance beat. At other moments, Daedelus reworks spoken word samples in the vein of Steinski and Kid Koala to great effect. Always maintaining balance, the minimal moments of this record maintain handclaps and finger snaps, just as the deep Miami bass moments possess his signature subtle ethereal tones. Consistently in your face and from his heart, Daedelus is on to something here. [MG]

Free Song Download of "Fair Weather Friends" from Daedelus'
Love To Make Music To available on Other Music Digital until Friday.






Blue Water, Red Water

"Once I Stared Afar"
"Tale of the Sea"

Coming up on four decades of churning out acid-tinged folk records, Japanese poet and philosopher Kazuki Tomokawa takes a slight turn towards drama and tension on Blue Water, Red Water. The eight songs here clock in at just under half an hour, but there's no sense of brevity or truncation, as the music is in a state of constant lurking, always on the edge of attack or submission. Tomokawa conducts an almost burlesque cast of instruments with his theatrical, sung/shouted voice, barking or shuddering giving way to a choking croon, shadowed by either Tom Waitsy out-of-focus accordion stomps or moody violin-heavy dirges. Though the album is light on mind-bending sonic experimentalism, it's no less of a head trip than a heavier psych counterpart might be. What could pass by as a mellow affair upon a cursory listen goes to places dark, maudlin and violent with closer investigation. [FT]






$21.99 LP


$9.99 MP3


Micron Music Presents: Every Mouth Must be Fed 1973-1976
(Pressure Sounds)

"Conference at Waterhouse" Jah Stitch
"Ska Baby" Bobby Ellis

This roots collection from reggae stalwarts Pressure Sounds shines a light on the Micron label, a seminal yet under-appreciated Jamaican imprint from the mid-'70s that specialized in upbeat riddims and dub versions. Unlike many retrospective compilations that alienate the uninitiated and don't satiate die-hards, Every Mouth Must be Fed features accessible tracks like Junior Byles' reworking of the Motown classic "Ain't Too Proud to Beg" as well as deep rarities ("Our Rights" by the Defenders and Tommy McCook's "Tribute to Muhammed Ali") that will satisfy the most entrenched dub-heads. Active from 1973 to '76, Micron Music released records by King Tubby, I-Roy, U-Roy, and Joe Higgs (who's cited as a key influence to Bob Marley's aesthetic) with production from electronic pioneers Lee 'Scratch' Perry, Bunny Lee, and label co-owner Pete Weston. These artists and some of their lesser-known brethren are present on this distinctively cohesive compilation that juxtaposes more lyrical mixes with their more exploratory dub sides. The relaxed yet uptempo mood is maintained throughout and will provide you with a crucial soundtrack to counteract the sweltering sun. [MG]






$29.99 LPx2




After a great album from Pan Sonic (with Ilpo Vaisanen) and all the other Ohm reissues on Sahko, Mika Vainio releases another new record of absolutely distinctive humming, granular, analogue ambience to be immersed in. This one is, however, is not as retro-analogue ambient as his previous post-millennium solo release on Sahko, and Oleva has more of the icy cold highs/immensely warm bass dynamics that we know and love from Vainio. Again, analogue ambience is the focus, even with a cover of Pink Floyd's "Set the Controls to the Heart of the Sun." Other tracks, like "S-Bahn," exist in that strange space between parallel dimension hip-hop and slow techno that Pan Sonic/Mika Vainio does so well. Piercing, high-definition highs, solid analogue chirps, buzzes and sub-bass crawl and chop their way through space with a more few degrees of warmth than his collaborations with Ilpo. They are both warmer and less monolithic. This release is sure to be limited, so don't sleep! [SM]






Eight oh Eight

"Is Sorrow"
"Never for No Dollars"

Time wasn't kind to Bernard Fevre's absence from nearly three decades of dance music between the Black Devil releases -- 1978's Disco Club was indeed worthy of its lost masterpiece hype, but 28 After sounded stale and played out upon first listen, even with worthwhile dub remixes spicing things up. It's a pleasure to report, then, that Eight oh Eight, rumored to be the final chapter in the Black Devil story, is a rightful return to form. Certainly one of the weirdest dance records to roll down the pike in some time, the six tracks here fulfill the original Black Devil legacy, successfully blending the unstable, even shocking mix of bizarre vocalisms and treatments, vintage synths, and modern technology shuttling recklessly through lucid techno-pop leads and jarring arrangements, with a progressive bent that owes more than a small debt to groups like Magma. Fearless explorations into an alternate electro-future where the robots outnumber the living. Essential, uptempo disco-tech weaponry for this year and beyond. [DM]




MG w/7"


Issue #35
(Stop Smiling)

Issue number 35 of Stop Smiling focuses on various aspects of gambling. With three separate covers featuring Oliver Stone, Snoop Dogg, and Elliott Gould, the Chicago-based editorial staff seems to be covering all the bases. As with every issue, the first 500 copies of the magazine come with a 7" single and this month we get an unreleased Plush song, "Bright Penny." Also inside: features with Plush's Liam Hayes, Jennifer Tilly, music reviews, and even a gambler's quiz.






A Matter of Scale
(Soul Jazz)

"Burns Me Up"

After a string of hot singles and remixes of Tom Tom Club and Richie Hawtin, Soul Jazz presents the debut album by Serbian/Italian producer Secondo (a/k/a Radovan Scasascia, head of Dreck Records). A Matter of Scale combines the minimal techno and micro-house of Kompakt with New York disco, and is peppered with samples, to create a record that is meticulously crafted yet very human and funky. One foot in the past and one in the future, and one recommended album.






Dear Painter, Paint Me

"Future's Past"

Stunning collection of tracks by Heartthrob on Dear Painter, Paint Me. Two years in the making, which took Jesse Siminski from New York, via Paris, to Berlin, the album is less experimental than most of the Minus releases but all the better for it. It's humorous, absurd, melodic, inventive, abstract minimal techno that messes around with time signatures and tweaks synth chords, and subtly flirts with disco and house. A much needed injection into the oft-stagnant minimal scene.






$24.99 MP3


Nah Und Fern


Of his many projects, Kompakt co-originator Wolfgang Voigt has described Gas as his most personal, having been inspired by “mind walks” in the forest. He imagined a “gaseous and nebulous sound of an exhilarating streaming music which literally flows over, which has no beginning or end, no hard edges, only softness.” In an interview, Voigt once described Gas as “the sound of an old man wandering through the forest on acid.” It is exactly the type of project that is much easier to experience than describe.

For those of us who aren’t old men tripping in the woods, I offer the following description: Gas is essentially an amorphous, moving, multi-layered cloud of sound set at varying emotional temperatures, often softly anchored with a muffled, heartbeat like pulse. The palette and placement of sounds are what really set Gas apart from other techno or ambient projects. What at first seems imbalanced and without any focus transforms into a vividly real, beautiful and vast space.

As a kid or otherwise, who hasn’t been mesmerized during a night drive down the highway, looking out a dew-covered windshield with the lights in the distance, the rhythmic, almost subliminal drone of the tires on the wet pavement and the gently random rhythm of the rain hitting the glass, all miraculously synchronized with the dull, monotonous, heartbeat-like thud of the windshield wipers? (BTW: That’s one of my main realizations upon revisiting these classic albums -- how the bass drum has such a similar texture to the comforting, dull, muffled thud of a windshield wiper!) Now imagine that with Cocteau Twins and your favorite ambient drone record playing simultaneously on the stereo loudly but with a wet towel over the speakers. That’s Gas.

Or go back to the first time you heard My Bloody Valentine's “To Here Knows When.” Remember how at first it sounded like there was a serious mistake made somewhere between the recording process and the manufacturing plant, where either all of the levels were yanked out of place before recording or someone spilled a milkshake on the plates the moment before the pressing occurred? Admit it, you were like “WTF?" But also remember that despite your initial confused reaction, once you got comfortable with it you realized you just discovered a new type of a beautiful thing? That's Gas too!

This four-disc deluxe reissue set is housed in a nice box with some printed cards showing Voigt's colored forest images. The main difference that Voigt and Jorg Burger’s (Modernist) re-mastering has made is the higher strength/definition of the bass kick. It ever-so-slightly lessened the mystery of these recordings but the beauty and uniqueness remains intact. (Voigt himself mentioned that he didn't want to tamper with the recording much since raising the levels tended to reveal its flaws more than its qualities.)

Just so you know, on each release, the atmosphere subtly shifted and tended to correspond to the color of the cover, particularly on the last three albums. For instance, Zauberberg was red and had an ominous twilight to nightfall sound. Konigsforst was golden and had a sun-drenched morning to afternoon sound. Pop’s artwork was more or less a full-color, pine-needle-through-a-kaleidoscope cover, the music within containing the light scent and sound of a moist, sun-dappled pine forest. If in doubt where to begin listening, start with either Konigsforst, the one that most directly integrated beauty and the beat and is also my favorite, or Pop, which achieved the strongest visual quality. (Right away the latter kicks off with the sound of a forest teeming with life; dew dripping from the ripest leaves and animals slithering through the underbrush coincide with the mandibles of insect swarms.)

So anyway, the whole shebang comes more than recommended. Much has been said already about these, until now, criminally out-of-print albums. I hope this review does them justice. [SM]






(Finders Keepers)

"Gunese Don Cicigim"
"Cakmagi Cak"

A little-known genre of Turkey's indigenous rock music, the so-called Anadolu Pop scene has recently arrived stateside courtesy of Finders Keepers with this comp of '70s-era tunes from Ersen. A Turkish folk singer with a taste for the experimental, Ersen Dinleten made a full transformation from old-school Anatolian balladeer to psychedelic rock maestro in a period of a decade, and it's a shame that his hooky sound is only now beginning to stir up the West. Though Dinleten's delicate, mournful voice isn't that unusual for traditional Middle Eastern music, these are songs with an unquestionable funk swagger and rock-and-roll heart. Armed with a vast array of electric instruments (both western and eastern) and backed by an unbelievably fierce rhythm section, Ersen charges through head-nodders recalling everyone from Led Zeppelin to Sly & The Family Stone, executing unmistakably Turkish music with prog and psychedelic flair. And as a strong endorsement from Stones Throw beatmaker Oh No would suggest, Ersen's infectious and aggressive rhythms will have hip-hoppers drooling. What's perhaps most pleasing about this record is the fact that it comes to us straight out of its context. Usually the words "rock with middle eastern flavor" are cause to brace oneself for territory already well-trampled. But Ersen isn't trying to market its exotica directly to its audience; it's such a part of their sound that it doesn't matter any longer. Ersen Dinleten is legit. [DS]






Faces of My Past - Other Music Free Single
(Family Vineyard)

FREE DOWNLOAD! Two-song single from John Terrill, in conjunction with the release of the album Frowny Frown also available on Other Music Digital as an advance release. The A-side, "Faces of My Past," is a short, catchy burst of '60s-inspired Kinks-esque pop, while "Mad Monk" is an EXCLUSIVE non-album track that Terrill recorded last year -- great bedroom psychedelia which twists and turns around stereo-panned harmonies, tremolo guitars and a little studio trickery. (Preview songs on Other Music Digital.)
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[DG] Daniel Givens
[MG] Max Gray
[IQ] Mikey IQ Jones
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