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   November 5, 2008  
       
   
 
 
  OTHER MUSIC SHIPPING RATE CHANGES
After reevaluating our shipping costs, we have decided to make the transition to USPS for our domestic customers. As for our international customers, we will still be shipping via USPS. The changes in shopping cart system on the website are forthcoming. For the time being, please note that the shipping charges notated in the shopping cart are invalid for both domestic and international customers. Instead, you will be charged a new and, in most cases, lower, shipping price solely based on the weight of your package. For example, 1 CD, which weighs approximately, 4 ounces, will now cost $2.00 to ship domestically and approximately $4.10 internationally. A general reference guide to package weight is available here. You can estimate your shipping cost by using the USPS Postage Calculator. For our domestic customers, in the majority of cases, USPS will be just as quick as UPS on top of being noticeably cheaper. If you prefer UPS, simply email orders@othermusic.com and we will accommodate you.

 
   
       
   
         
 
FEATURED NEW RELEASES
Deadbeat
Shop Assistants
Titan: It's All Pop! (Numero Comp.)
Eccentric Soul: Young Disciples (Various) Cosmic Balearic Beats (Various)
Les Stances a Sophie DVD
The Matthew Herbert Big Band
The Lines
Fight On, Your Time Ain't Long (LP)
DJ Rusty Lazer (Mix CD)
23 Skidoo
Lou Reed
 
Jose Gonzalez
Johann Johannsson
The Cyrkle (CD available)
The Millennium
Sagittarius
Little Joy

ALSO AVAILABLE
Danielson (Bonus patch w/ first 5 purchases)
Manual
Yeti Magazine (Issue #6)

All of this week's new arrivals.

 
         
   
   
   
   
   
       
   
 
 
NOV Sun 09 Mon 10 Tues 11 Wed 12 Thurs 13 Fri 14 Sat 15



  WIN CONOR OBERST & THE MYSTIC VALLEY BAND TICKETS
This Friday we will be posting our amazing new in-store film featuring Conor Oberst and the Mystic Valley Band on Other Music Digital, and this weekend the group rolls into town for a couple of nights at Terminal 5. We can tell you first hand that this band is simply amazing on stage, taking their recent Merge album and a handful of new songs to unexpected heights in the live show. We have two pairs of tickets available for Sunday night’s performance! To enter, email tickets@othermusic.com. We'll be notifying winners this Friday morning.

SUNDAY, NOVEMBER 9
TERMINAL 5: 610 West 56 Street NYC

 
   
   
 
 
NOV Sun 09 Mon 10 Tues 11 Wed 12 Thurs 13 Fri 14 Sat 15

Hauschka

  WIN WORDLESS MUSIC SERIES TICKETS FEATURING HAUSCHKA, TOM BROSSEAU & MISCHA SIMONYAN
The ongoing Wordless Music Series has become one of the most intriguing and truly groundbreaking live music events of recent memory, with inspired collaborations from some of the most exciting artists, performing special sets that will likely never be repeated. We are happy to offer two pairs of tickets to our readers for the next installment, Friday the 14th at Le Poisson Rouge, featuring Hauschka, Tom Brosseau and Mischa Simonyan. We’ll be notifying winners on Monday, so enter right now by emailing giveaway@othermusic.com.

FRIDAY, NOVEMBER 14
LE POISSON ROUGE: 158 Bleeker Street NYC

 
   
   
 
 
NOV Sun 09 Mon 10 Tues 11 Wed 12 Thurs 13 Fri 14 Sat 15

The Death Set

  TICKET GIVE AWAY FOR THE DEATH SET w/GIRL TALK & CX KiDTRONiK
The Death Set are one of the more exciting bands on Ninja Tune's newish Counter Records imprint, and their live show is a powerhouse -- in fact, we'd say they were impossible to follow, if they were not being followed here by Girl Talk! Both groups will be rolling into Terminal 5 this weekend and we have two pairs of tickets for this frenetic (and sold out) show on Saturday, November 15. To enter, send an email to contest@othermusic.com. We'll pick the winners on Monday.

SATURDAY, NOVEMBER 15
TERMINAL 5: 610 West 56 Street NYC

 
   
   
   
   
   
       
   

 

 

     
 

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  DEADBEAT
Roots and Wire
(Wagon Repair)

"Rise Again"
"Sun People"

The recent slew of dubstep could pretty easily be summed up by a simple mantra -- innovate or stagnate. Many of the initial genre staple artists have gone off the boil, re-treading bland and unambitious productions bringing little new to the table, but this has made room for the genuine innovation of 2562, Martyn, Headhunter and many more. Scott Monteith would probably never call himself a dubstep producer, but he's been dipping his toe into bass weight in some way or another for five years now, skating around the sound like a mischievous child on thin ice. This latest record is probably the closest he's come to "dubstep" per se, but then there's just as much a nod to the Henke-patented rolling Berlin techno and just as much respect for the work of genre pioneers Mark Ernestus and Moritz von Oswald under their various guises. It's hardly surprising that Monteith has made the move from Mutek-stronghold Montreal to Berlin -- the city's staples are all present and correct. From the warehouse hedonism of Berghain to the presence of Berlin dub-tech legend Tikiman, somehow this has been condensed into Monteith's finest and most consistent work to date. His run of albums for the Berlin-based Scape (see the irony yet?) label was commendable, no doubt, but now he has taken the sound to a place it was always hinting at but never quite hitting. Roots and Wire is almost the perfect title, blending the impossibly technical Hardwax sound with a low-end pressure usually reserved for the soundsystems. It is at once dub and techno but never falls into that exact category as Monteith weaves together a sound with the crunchy pan-emotional aggression of Vladislav Delay's Multila and the Studio One science of Lee Perry. It's still electronic music, and for many of us it's still techno -- but WHAT techno. Fans of Andy Stott, T++, Martyn, et al. should check this without delay (geddit?). Huge recommendation. [JT]
 
         
   
   

 

 

     
 

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  SHOP ASSISTANTS
Will Anything Happen
(Cherry Red)

"I Don't Want to Be Friends with You"
"Seems to Be"

Scottish C86 poppers the Shop Assistants are back in the racks with this reissue of Will Anything Happen, the definitive collection of the group's sole LP appended with a few other odds and ends. Fitting nicely somewhere between the melodic shamble of the Pastels (who shared members with the earliest incarnation of Shop Assistants) and the reverberating haze of the Jesus & Mary Chain, with girlsh dreampop vocal stylings akin to Lush and Talulah Gosh, Shop Assistants were one of the crown jewels of the UK C86 compilation and the subsequent "movement" which followed in its wake. Songs like the driving "I Don't Want to Be Friends With You," "All That Ever Mattered," "Caledonia Rd," and "Seems to Be" paved the way for the likes of current NYC faves the Vivian Girls, fusing post-Mo Tucker drum styles with jangly, buzzing guitars and an infectious exhilaration that will either win you over or turn you away upon first listen. It's a thrill to finally see this CD back in print after languishing in obscurity for a while, and it's necessary listening for anyone interested in the history of the type of psychedelic indie pop currently receiving a renaissance here in NYC. This should also be a prerequisite purchase for anyone who has bought records by the likes of Pastels, Crystal Stilts, Vivian Girls, and the Mary Chain. There's really not much else to say -- records this good simply speak for themselves, so take a listen to the soundclips and decide whether you're in or out. [IQ]
 
         
   
   

 

 

     
 

$27.99
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  VARIOUS ARTISTS
Titan: It's All Pop!
(Numero Group)

"Shark" Gary Charlson
"I Hope" Scott McCarl

First off, Titan Records founder Tom Sorrells gambled and mortgaged his house to bring you these records. And lost. Before we become totally overwhelmed by guilt and regret here, most of us were too young, or not even born, when these 45s originally came out, but it's never too late to make up for lost time! Numero Group's 2-CD, plus amazing booklet, set collects 42 tracks (18 unreleased) of glorious, chiming power-pop. As with most everything good, Titan's existence was short but their output was undoubtedly sweet; incredibly infectious Nebraska glam poppers, the Boys (Warning! May induce uncontrollable air guitar urge: www.youtube.com/watch?v=3Qk2_y_Ap5c), Kim Fowley cohort Bobby Sky, Arlis! (who's got the Raspberries thing down pat), and Byrds fan #1, Gary Charlson, are all top of the heap. And if the booklet doesn't leave you with a severe case of flare and feathered hair envy, you must look to Criss Angel or the dude from The Pick-up Artist for fashion advice. If you like your music Byrds and Beatles-informed, with a sprinkle of glammy swagger and US AM radio sheen, this will be your reissue of the year. Hey Numero, where's the vinyl?? [AK]
 
         
   
   
   
   
   
   

 

 

     
 

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  VARIOUS ARTISTS
Eccentric Soul: Young Disciples
(Numero Group)

"Tears" Debonettes
"People" Ames Harris Desert Water Bag Company

The latest installment from Numero Group's Eccentric Soul series of mostly forgotten independent funk & soul takes us to late-'60s East St. Louis, Illinois, focusing on the extraordinary work of music teacher turned producer Allan Merry and his Young Disciples, an after school collective that was formed out of the South End Community Center. Merry had already been around for the early part of both Ike Turner and Ray Charles' careers and had established three small labels of his own. With more than eighty musically inclined youth at his command, the producer began forming male and female solo acts, duos, groups, bands, a brass section, and an African dance troupe, resulting in some rich, positive, and accomplished R&B. Much like Numero's Home Schooled comp of children performers, the music of the Young Disciples (named after a local gang) is highly enjoyable, fresh and vibrant, however, the selection here is a more mature and varied listen. Silky love songs, uplifting soulful jams, funky psychedelic instrumentals, early boogie rhythms, quiet storm seduction, anti-drug drama, and social commentary can all be found in this mix. As always, great liner notes and photos give a great glimpse into these unique talents and their songs, as well as the empowering spirit of East St. Louis. [DG]
 
         
   
   

 

 

     
 

$17.99
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  VARIOUS ARTISTS
Cosmic Balearic Beats Volume 1
(Eskimo)

"80s Boy" Phoreski
"Bu" Massimiliano Pagliara

The Eskimo imprint has become one of the most trusted names of leftfield disco over the past few years. From the excellent Serie Noire compilations to stellar releases from Prins Thomas & Lindstrom, Optimo and Daniele Baldelli, this Belgian label has put out some of the most tasteful dance music collections that I've ever heard. Now comes the premiere volume of Cosmic Balearic Beats, which documents the small, fertile and international neo-Balearic scene, giving exposure to singles that were released exclusively on vinyl. As opposed to the sleazy, homegrown and arty sound of Glass Candy, Free Blood and the like, the music of the artists represented here (Cosmo, Stratus, In Flagranti) is decidedly more expansive, clean and instrumental. Songs by Phoreski, Coyote and Homerun are perhaps closer to the sprawling, above-the-cloud bounce of Morgan Geist, but with more of a Krautrock and shoegaze influence. Lovelock's "Don't Turn Away (From My Love)" is a successful blend of '70s MOR melodrama and Balearic bump, and it just might be the best tune on here. The track is all seamlessly blended with the second half of the mix, providing a gritty tension to the proceedings courtesy of the shifty arpeggiations from In Flagranti's "Personal Angst" and Lullabies in the Dark's "Estrella." On the whole, this is a pretty sexy, blissful listen and has got me fully amped to hear more of what these artists have to offer. Impressive stuff. [DH]
 
         
   
   

 

 

     
 

$25.99
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  ART ENSEMBLE OF CHICAGO
Les Stances a Sophie
(Soul Jazz)

Wow -- here's one I NEVER thought would see release, and which I'm overjoyed to be able to tell you about! Soul Jazz does it again with their issue on DVD of Moshé Mizrahi's impossibly rare 1970 post-nouvelle vague film Les Stances à Sophie. It's often regarded as the first true piece of feminist filmmaking and most known for its masterpiece score (also reissued by Soul Jazz) by the Art Ensemble of Chicago. The film, based upon Christiane Rochefort's 1963 novel of the same name, Les Stances à Sophie suffered from bankruptcy of its financiers and the receivership of its negatives even before completion, and saw a very limited release in its homeland before languishing in obscurity for nearly 40 years until Soul Jazz got hold of the one remaining (but damaged) print of the film when it first reissued the AEOC's soundtrack back in the early 2000s. They've spent the past eight years untangling the various legal troubles and carefully restoring the print, and the rewards are aplenty.

The breathtaking Bernadette Lafont (one of my all-time crushes of the Nouvelle Vague era) stars as Céline, a free-spirited woman very much of the post-1968 revolutionary times the film embodies -- here displayed in somewhat hyperbolic fashion by hippie free-love parties and jam sessions complete with spliffs the size of small animals. She meets -- or rather, gets hit by -- Philippe, an average, strait-laced Michel Duchaussoy forever content to languish in middle-class middle-management; they have an affair, they get married, and Céline spends most of the rest of the film lashing out, trying to escape (and later, adapt to) the trap she feels she has let herself fall into. As the film progresses, we witness Céline, once a painter, creatively wither away as the necrophilia of married life begins to set in; she reaches a turning point later on, and spends the rest of the film reasserting her strength via a series of evolving creative pursuits, culminating in the creation of a treatise on the reevaluation of sexual education and its need to address the needs of female pleasure, long ignored by dominant, ignorant alpha-male society.

If some of this sounds a bit heavy-handed, it should be stated that the film mostly does a fine job in handling subject matter so easy to ridicule in incapable hands; thankfully, Mizrahi and Rochefort's script juggles sharp wit and emotional heft with ease, relishing the contradictory statements and behaviors of its protagonist and ably displaying the treacherous waters she throws herself toward with almost wreckless devotion. The Art Ensemble's score is also used magnificently here, adding emotional weight, humor, and gravity to every scene it accompanies. My one complaint is Soul Jazz's somewhat dubious selling point regarding the AEOC's real involvement in the the film itself -- while they are featured on the cover rather than the stars of the film, it should be noted that the group only appears for about one and a half minutes in a performance scene; AEOC member Joseph Jarman is also featured in a brief scene in which he interacts with a few of the main characters. With that being said, this DVD is a rare treat and is recommended viewing for fans of French nouvelle vague filmmakers like Truffaut, late-'60s Godard (think Pierrot Le Fou and Weekend), and Chabrol. The film is subtitled, and also included on the disc is a 30-minute interview with Joseph Jarman in which he speaks about the history of the AEOC, and their involvement in the film. Francophiles rejoice!! Highest recommendation!! (DVD is all-region, capable of playing in nearly any DVD player or on any computer.) [IQ]
 
         
   
   

 

 

     
 

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  THE MATTHEW HERBERT BIG BAND
There's Me and There's You
(Accidental)

"The Story"
"Regina"

It's probably fitting that I'm writing this the day after what is quite possibly America's most historic election. Matthew Herbert returns with a new set of songs by his Big Band setup, as political as ever and balancing some of his most accessible arrangements with some of his most experimental sampling experiments yet. The record's lyrical focus is heavy on the corrupt and improper abuses of political, religious, military, and financial powers across the globe. He also returns with a new vocal muse -- gone are the sultry sounds of longtime partner Dani Siciliano, here replaced by Eska Mtungwazi in a robust, soulful voice that suits the tunes nicely.

As usual with a Herbert production, the process is as important as the product, and here he features sonics recorded in the House of Parliament and the British Museum -- hundreds of people shouting the word "Yes!!" and by a number of major British political figures. While there aren't many beats in a dance variety to speak of, he returns to the heavy, almost industrial tone qualities of his Wishmountain and Radioboy productions in the rhythms, albeit with a lumbering swing rather than a springy house bounce. The brass and orchestral arrangements seem less stapled-on and more fleshed-out compared to the first Big Band album, 2003's Goodbye Swingtime, and while that record's guest appearances by the likes of Jamie Lidell and Arto Lindsay added extra spark to a more scattershot (yet still satisfying) final product, the results here prove much more unified in concept and make for a greater success as an album proper. Fans won't be disappointed -- and as a longtime fan, even I was beginning to feel that Herbert was losing his way -- and those new to his sounds who enjoy the likes of Final Fantasy, Lidell, and more of the traditional big band jazz school of thought will find much to enjoy. Now let's just hope he makes a dance record next! [IQ]
 
         
   
   

 

 

     
 

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$9.99 MP3

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  THE LINES
Flood Bank
(Acute)

"Stripe"
"Flood Bank"

When we last saw British post-punk band the Lines, the Acute label had generously repackaged all of the singles they carved out between 1978 and 1981 for the first installment in their authoritative reissue series. Looking to present this oft-overlooked quartet's tracks to a much wider audience, that disc captured the Lines at their most jagged and melodic, channeling the spirit and sound of bands like Wire and Mission of Burma. Bringing together the contents of both of the band's LPs, Acute's follow-up Flood Bank completes the story of the Lines, showcasing how far they went from a nervy, twitchy, and overtly melodic crew in 1977 to a much darker, nuanced, and more rhythm-centric four-piece at the end of their run in 1983. Featuring tracks from 1981's Therapy, and the band's 1983 swan song Ultramarine, Flood Bank highlights the Lines as they began to shift towards darker textures, bringing elements of dub and repetitive Krautrock rhythms to the fore. On tracks like "Stripe," muscular bass takes the lead overtop a driving, melancholic rhythm that truly sets the tone for much of what to come -- grim and grinding for sure, but utterly detailed all the same. Other songs, like "Have a Heart," amp up the pace here and there, imbuing the Lines more morbid fascinations with a pulse-quickening angst. A great collection from a somewhat forgotten band that never should have been, Flood Bank deserves a place in the collection of every post-punk aficionado. [MC]
 
         
   
   

 

 

     
 

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  VARIOUS ARTISTS
Fight On, Your Time Ain't Long
(Mississippi)

Pretty much anything emerging from Portland's killer Mississippi label is worth buying, and this latest vinyl offering is no exception. You should know what to expect now; Fight On... is another collection of rarely heard tracks from some unknown vault, this time focused on early 20th century blues and gospel. It's stunning material and has a heartfelt honesty we're missing in these troubled times. This was a time when I get the feeling that the musicians never expected anything, they were simply singing because they enjoyed it, because they had something to sing about. There is a melancholy and solitude here that a hundred Morrissey records would struggle to achieve, and the raw sound of Shellac-transferred guitar and vocals is as ineffably alluring as ever. Haunting, emotional music from another world --- and bound to be gone before you know it! [JT]
 
         
   
   

 

 

     
 

$4.99
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  RUSTY LAZER
Autumn in NY Bounce Mix
(No Label)

All of your fave mainstream Southern rappers came out of the regional New Orleans "Bounce" scene. Lil Wayne, Juvenile, Ying Yang Twins and even Beyonce all have strong ties to this music and its insistent, booty-rumbling rhythms have been borrowed for many hits over the years. "Get Me Bodied," "Back That Azz Up," and "Get Low" are just a few examples, but there are plenty more. The most interesting thing about this music is, like Brazilian funk carioca, much of it is never pressed on vinyl or even "released." Instead it's passed hand-to-hand through cassettes and CD-Rs, so most of the best music rarely leaves the region. What's also amazing about the music is the strong gay presence; "Sissy" MCs like Big Freedia and Sissy Nobby are some of the biggest names in the genre -- an anomaly in any hip-hop oriented scene. An Other Music exclusive, New Orleans DJ Rusty Lazer's Autumn in New York is a sweaty, 30-minute, mega-mix crash course in the hard and nasty sound of the 'Nolia. This one ain't for the prudes, but it's some of the most infectious dance music you'll ever hear if you're not familiar. Any fan of B'more breaks, Brazilian booty bass...or hell, bass in general should get on this with the quickness! [DH]
 
         
   
   

 

 

     
 

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  23 SKIDOO
Just Like Everybody
(LTM)

"Last Words"
"What Y'all Gon' Do"

Hell yes!! 23 Skidoo are one of my favorite unsung heroes of the UK post-punk revolution. A group of London beat practitioners who fused the improvisational, never-ending grooves of groups like Can, Parliament-Funkadelic, and This Heat to the punk-jazz aesthetics of the Pop Group and James Blood Ulmer with an enthusiasm for devouring globetrotting influences like eastern gamelan, African field recordings, Latin boogaloo, NYC electro, and even British industrial music, this band has produced an astonishing body of work that appeals across genre lines and in turn inspired groups to carry the torch for years afterward. LTM Records comes through yet again in issuing this, a 2CD monster of singles, album tracks, and extended mixes on Disc 1, with Disc 2 providing a reissue of early-'90s recordings by a reformed version of the band. The group's constant search for new inspiration led them to sound truly like no other contemporary of the time, and while elements of aforementioned artists certainly come through, they synthesized these sounds in ways no other band was willing or capable of achieving. Fans of Can, Pop Group, and particularly Brian Eno & David Byrne's My Life in the Bush of Ghosts album (perhaps one of the few records of the time which truly shared Skidoo's vision) will find much to love here. Disc 2's sounds lean more towards the hip-hop influenced sampledelica of producers like Prince Paul, the Dust Brothers, and the Bomb Squad, and while they end up sounding more dated in retrospect as a result, they still satisfy. Probably the perfect place to start if you're new to Skidoo, and from here, any of their recently reissued albums will further whet your whistle. Do the right thing, people!! [IQ]
 
         
   
   

 

 

     
 

$13.99
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  LOU REED
Berlin Live at St. Ann's Warehouse
(Matador)

"The Kids"
"Candy Says"

Okay, it's a 30-year anniversary live performance of Lou Reed's reevaluated "classic" Berlin -- you probably know what it's going to sound like. Far more shocking is that Reed is looking seriously ripped on the cover. In fact, we had to double-take to make sure it wasn't Lou Ferrigno and that some designer had mixed up his JPGs with his GIFs. Some of the staff here even call Photoshoppery, but I have faith in good old Lou and I have a feeling that while Zeitkratzer were fiddling about with irons and pumps re-working Metal Machine Music, Reed was pumping some iron of his own. Clearly our man has traded in his smack for Weight-Gain 3000 and he's looking better than he ever has for it; I'm pretty sure he could beat Sting and Mick Jagger in a fight, actually. Back to the album itself though -- Berlin was derided as a disaster on its 1973 release but since then it has matured with age and prompted many critics to go back on what they said initially. For my money, it's still something of a pompous excess, especially when compared with the sheer force of the Velvets recordings, but here he has been allowed to revisit and flesh out his vision, adding some modern flourish where he can. Most significantly, the omnipresent Antony Hegarty pops up to duet on non-Berlin moment "Candy Says" and this alone will likely lasso rock trainspotters into a purchase. The rest is solid and listenable but sinks into that place most live albums do -- they are not, and never will be the original recording. I'm in it for the cover, though. [JT]
 
         
   
   

 

 

     
 

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  JOSE GONZALEZ
Live at Park Avenue
(Mute)

"Hints"
"Down the Line"

Jose Gonzalez's down tempo, melancholic songs were going to be the soundtrack to my suicide attempt if McCain won last night. Thankfully, I didn't have to resort to slitting my wrists. With the flowers smelling a little sweeter and the air a little cleaner this morning, I tried finding the hope in Gonzalez's lyrics but I discovered instead that many could be interpreted as anti-Bush missives. Little banter takes place on this live album, but he does preface "The Nest" by explaining the song as an allegory for humanity's paranoia and a condemnation of our pathetic need to construct walls, or "fortresses," to keep people out (see Germany, Mexico border). With lyrics like "Walls grew dense and blocked out the sun/caving in everyone/Darkness fell wiped out a once joyous tone/then famished, like possessed end up eating their own," this song is very apropos to my feeling last night before the results started coming in. Or take "How Low," with "How low/are you willing to go/before you reach all/your selfish goals//Absorbed/in your ill hustling/you're feeding a monster/just feeding a monster//Invasion/after invasion/this means war/this means war." Okay, maybe thinly veiled missives. Thankfully, these words will only ring true for a few more months.

This live album, recorded earlier this year at Orlando's Park Avenue CDs, is a sweet, yet somber mix of tracks from his 2003 debut Veneer and 2007's In Our Nature that sound exactly like they do on their original albums. Now, I know some people like the variety that a live show brings, but I am not one of those people. I like stability. But it's also nice to hear his voice break...he's so dreamy. Anyway. My only complaint would be a lack of covers. I read on his wiki page that he has been know to perform Joy Division's "Love Will Tear Us Apart," which would have been the perfect ending to a perfect intimate concert, and the perfect evening. [TL]
 
         
   
   

 

 

     
 

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  JOHANN JOHANNSSON
Fordlandia
(4AD)

"Fordlandia"
"How We Left Fordlandia"

The second in Icelandic composer/producer Johann Johannsson's proposed trilogy of releases dedicated to archetypal American brand names, Fordlandia is based on a small utopian city envisioned by Henry Ford in the 1920s. Like the IBM supercomputer on which Johannsson based his last full-length, Fordlandia was a doomed proposition but stands as one of those moments of innovative capitalist success ripe for artistic picking. And pick Johannsson does, taking disparate themes and weaving them together in possibly his most crowd-pleasing collection to date. The well-tempered orchestrals which hung over his previous efforts are still the key elements here, but the electronics are hammered further into the background, lending the end product something of a progressive rock feel at times. Maybe it's an Icelandic thing, certainly Sigur Ros are responsible for similar flourishes, but there is an almost manipulative sense of tear-jerking cinematic flavor on show here, something which Johannsson has often kept to a minimum. From the opening sweeping orchestrals of the album's title track, it is obvious where we're being taken -- into a land of glaciers, geysers and failed banking organizations, and all this is suitably accompanied by music ready to wrangle emotion out of you at any given time. Fordlandia is a concept album and as such plays fittingly well as a soundtrack of sorts but to my mind Johannsson's music works best when he pares things down and allows his effortless, achingly beautiful compositions to speak for themselves without embellishing them too much. His ability to write a musical narrative and run it through the course of an album is impressive, and his music never less than arresting, but a crescendo is most effective when preceded by subtlety. [JT]
 
         
   
   

 

 

     
 

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  CYRKLE
Neon
(Sundazed)

This well-regarded East coast psych folk-pop band is generally remembered for their two AM pop staples, the Paul Simon-penned "Red Rubber Ball" and "Turn Down Day," and these two tunes are some of the best examples of the genre. Discovered by Beatles' manager Brian Epstein, and their band name chosen by John Lennon, this quartet's tunes were rich with the intricate three-part harmonies that were all the rage in 1966. It makes sense that Simon penned a tune for them, because the Cyrkle definitely tapped into the sensitive, collegiate folk-rock image that Simon and Garfunkel represented during that time. While their debut album was a solid effort, their second LP, Neon, was arguably even more accomplished than the first. Released in 1967, all 11 songs here deftly combine the jangly pop sentiments of the Byrds with mellow pysch production flourishes and amazing vocal arrangements provided by famed producer John Simon. Combining a nice selection of pensive, sensitive pop tunes written by band members Tom Dawes and Marty Fried, solid contributions from Bacharach and Paul Simon, and even a killer cover of an early Beatles tune, Neon was a nice suite of songs that gently dealt with the underlying emotional angst of being a young twenty-something male of the time period. "Two Rooms," "The Visit" and "Our Love Affairs in Question" deal directly with loneliness, while album closer "I'm Not Sure What I Wanna Do" is simple and poignant in its honesty of expressing young adult indecision in an increasingly turbulent world. Epstein's untimely death in '67 derailed the Cyrkle's momentum and the band broke up less than two years later. Dawes eventually found amazing success as a commercial jingle writer less than two years later, penning the "Plop, Plop, Fizz, Fizz" jingle for Alka-Seltzer, but this record has held up over the years as one of the unsung pop gems of that era. It's even lived on as a beat-digger's classic, with J- Dilla sampling "The Visit" for one of his early productions for Tribe called Quest, and "It Doesn't Matter Anymore" ended up being sampled for a major tech-house hit last year. [DH]
 
         
   
   

 

 

     
 

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  THE MILLENNIUM
Begin with Bonus Tracks
(Sundazed)

"5 A.M."
"Karmic Dream Sequence #1"

One of the unsung musical heroes of the '60s has to be Curt Boettcher. Boettcher turned pop music on its ear with his lush, soft-psych productions for the Association in 1966 and his three studio groups that were formed soon after. The man practically invented 60's AM radio pop, and the Millennium's sole album from '68 is a cornerstone of the genre. Whatever it is that you loved about Pet Sounds, the Bee Gees first album and Sgt. Pepper is here in spades; Begin is a conceptual masterpiece of three-part harmony-drenched orch-pop psychedelia. Actually, the Millennium's sound is a bit sweeter -- if you can believe that -- but it's offset by the heaviness of the drums and the inventiveness of Boettcher's arrangements and vocal engineering. Everyone from Brian Wilson, Edan and Madlib has spoken of this album reverentially. It's nice to see Begin available again at a cheap price. 15 outta 10. [DH]
 
         
   
   

 

 

     
 

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  SAGITTARIUS
The Blue Marble with Bonus Tracks
(Sundazed)

"Gladys"
"Navajo Girl"

Another piece of the Curt Boettcher puzzle is available yet again. Sagittarius was a studio project of Boettcher and Beach Boys producer Gary Usher. They had a minor hit in 1967 with their first album, Present Tense, a stunning piece of sunshine-psychedelia. This follow up from '69, however, is a lesser known recording, but it still retains the rich, baroque-like arrangements and lovely harmonies of the previous record, though the instrumentation's a bit Moogier and there are elements of country and folk thrown into the mix as well. Highlights include the heartbreaking cover of the Beach Boys' "In My Room" and the Laurel Canyon-esque, country rock drive of "Navajo Girl." Overall, The Blue Marble is more "soft" than "psych," but it's still a wonderful listen. Now let's see the Eternity's Children and Ballroom records get reissued! [DH]
 
         
   
   

 

 

     
 

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  LITTLE JOY
Little Joy
(Rough Trade)

"Brand New Start"
"Keep Me in Mind"

Formed by Los Hermanos members Rodrigo Amarante and Binki Shapiro along with Strokes drummer Fabrizio Moretti, Little Joy are not as twee as their whimsical name might suggest. Sure they count Devendra Banhart among their friends (and the bearded one even appears here on backing vocals), but the name actually comes from a small bar in Echo Park where the band recorded the album. So while it might bring to mind kittens and blue-bells, it's probably more likely describing the feeling you get after a couple of dirty martinis and a tequila slammer. Fitting then that the album falls somewhere in-between the garage rock of the Strokes and the sun-flecked tropicalia of Caetano Veloso, music perfect for a gin-rich tumbler in a dingy basement. Sure there's a Californian sense of sun, sea and sand but Little Joy are far from the ensemble folk excess I had expected before I pressed the play button. "Play the Part" is a melancholy sunrise of a song with tape-dubbed acoustic guitar accompanying Amarante and Shapiro's gorgeous duet -- simple music but with all the beauty you'd hope from such a track. There's little posturing here, and even when the Little Joy stumbles into the more upbeat numbers ("No One's Better Sake," "Keep Me in Mind"), there's a distinct feeling that the band are working outside of people's expectations. The group might not be offering much innovation to the table, but in its place is charm and, dare I say it, joy. [JT]
 
         
   
   
   
       
   

 

 

     
 

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  DANIELSON
Trying Hartz
(Secretly Canadian)

"Jersey Loverboy"

A career spanning Danielson retrospective, featuring 10 years (1994-2004) of their gospel-folk-fusionist experimentation. Trying Hartz delves into the stylistic evolutions and the growth of the widely respected Danielson Famile ensemble, and specifically its creator Brother Daniel (Smith), in the years before his breakout album Ships. Other Music has been watching this band almost from their inception as a college project of Smith's that brought together a passel of his young brothers and sisters performing psychedelic songs of faith. They played their first ever NYC show at the store (and were driven here by their parents), and it was hard not to be taken in by this startling ensemble. They came off like a folk-art version of the Pixies crossed with Captain Beefheart, and as their music and elaborate performance aesthetic has taken many twists and turns throughout the years, they have remained true iconoclasts and innovators, with a wonderfully varied catalog that is well-served by this collection. A great introduction to the band and a cool mix-tape for longtime fans that includes a trove of rare and unreleased recordings as well as well-known album tracks. FIRST FIVE PURCHASES ONLINE AND IN THE SHOP GET A COOL LIMITED EDITON DANIELSON PATCH!
 
         
   
   

 

 

     
 

$13.99
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$9.99 MP3

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  MANUAL
Confluence
(Darla)

"Cirrus"

Confluence is another ambient release from producer Jonas Munk's Manual project, to be distinguished from the artist's more shoegaze-electronica releases. In many ways, there IS a continuity in the various sounds of Manual, a nod to warmth and melody that runs through all of Munk's music, but while the hooks remain, Confluence has been scrubbed clean of beats and more traditional pop forms.
 
         
   
   

 

 

     
 

$11.95
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  YETI
Issue # 6
(Yeti Publishing)

Best issue of Yeti to date! Features long, in-depth interviews with Vivian Girls, the Clean, and Sun City Girls, David Fair's beautiful paper-cut art, Luc Sante photography, a Mingering Mike tribute, mugshots from 1920s Australia by Peter Doyle, a disco article by Love Saves the Day author Tim Lawrence, and to top it all of, Sic Alps and Eat Skull interview each other. And there's more, of course. The CD this time is a real winner, with covers of the Clean by Times New Viking and JB from Crystal Stilts, and rare and unreleased tracks by Sun City Girls, caUSE co-MOTION!, Eat Skull, Blank Dogs, Dixon Brothers, Ilyas Ahmed, Grass Widow, Frankie Rose (Crystal Stilts), and an extended tribute to Pink Floyd by Thom Bullock (one half of beard disco pioneers, Rub 'n' Tug).
 
         
   
   
   
   
 
   
       
   
         
  All of this week's new arrivals.

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THIS WEEK'S CONTRIBUTORS


[MC] Michael Crumsho
[DG] Daniel Givens
[DH] Duane Harriott
[IQ] Mikey IQ Jones
[AK] Andreas Knutsen
[TL] Tanya Leet
[JT] John Twells









THANKS FOR READING
- all of us at Other Music

 
         
   
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