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   September 3, 2009  

Last weekend, Opening Ceremony opened the doors to their first non-American retail shop in Tokyo, including a mini Other Music store-in-store, along with the good company of designers and brands such Alexander Wang, Nom de Guerre, Boy/Band of Outsiders, Chloe Sevigny for Opening Ceremony, Pendleton, Heath Ceramics and The Row. Located right in the heart of the fashionable Shibuya district, Opening Ceremony Tokyo is a beautiful, 8-level conceptual department store that features a different theme on every floor with the unique culture of New York City and Americana represented prominently throughout the space. We have curated a small selection of our favorite CD and vinyl releases from the past year or so, and also helped OC select all the music they play throughout the store. If you live in Tokyo or happen to be visiting the area, you won't want to miss this one-of-a-kind shopping experience.


Elan Tamara
Peter Broderick
Hans-Joachim Roedelius
Andy Votel (Twisted Nerve Mix)
Bob Dylan (Theme Time Radio Hour)
Grass Widow LP
David Bazan
Sylvester & the Hot Band

Tortoise (Eye & Mark Ernestus Remixes)
Shindig Magazine
Blitzen Trapper

Can't Stop It! Vol. 2

All of this week's new arrivals.

Follow us on Twitter: http://twitter.com/othermusic

SEP Sun 30 Mon 31 Tues 01 Wed 02 Thurs 03 Fri 04 Sat 05

Kick off your Labor Day Weekend with us at Stanton Public tonight, Thursday, September 3rd, where we'll be celebrating the upcoming release of the new Taken By Trees full-length, East of Eden, out on Rough Trade Records on September 8th. While Victoria Bergsman won't be able to join us again for this party, we've still got lots of great treats in store, including a full spin of the new album from 9 to 10PM, 7" give aways, and Other Music DJs Andreas, who'll be playing a 90-minute set of Swedish jams, and Gerald spinning lots of leftfield hits and misses. Complimentary Yuengling (not including bartender's tip) from 9 to 10PM, or while supllies last.

STANTON PUBLIC: 17 Stanton Street (btwn Bowery and Chrystie)
No Cover / Ages 21+ with ID
Presented by Other Music & The Swede Beat Magazine

SEP Sun 06 Mon 07 Tues 08 Wed 09 Thurs 10 Fri 11 Sat 12

Come join us next Tuesday evening, September 8th, at the D'amelio Terras Gallery where we'll be celebrating the release of Yo La Tengo's much anticipated new album Popular Songs, which comes out that same day. Not only will you be able to pick up the CD or LP from us at the Gallery, you can get your record autographed by Georgia, Ira and James and album artist Dario Robleto from 7 to 8PM. Matador Records will also be giving away a pair of tickets every hour to Yo La Tengo's upcoming show at the Roseland on September 25th. There's no charge to get in, but you'll need to RSVP by sending an email to rsvp@othermusic.com. See you next Tuesday!

7:00PM to 9:30PM
Presented by Other Music & Brooklyn Vegan

SEP Sun 06 Mon 07 Tues 08 Wed 09 Thurs 10 Fri 11 Sat 12

You've probably seen us championing the swirling, celebratory sounds of Johannesburg's BLK JKS in our Updates, and next Tuesday, September 8th, the group will be performing at S.O.B's to celebrate the release of their new album, After Robots, which comes out the same day on Secretly Canadian. We've got two pairs of tickets up for grabs, and to enter just email contest@othermusic.com. We'll notify the two winners this Friday.

S.O.B.'s: 204 Varick Street NYC

SEP Sun 06 Mon 07 Tues 08 Wed 09 Thurs 10 Fri 11 Sat 12

Keeping in the tradition of 7/7/7 and 8/8/8, next Wednesday, September 9th (9/9/9), Boredoms will be performing their Boadrum 9 drumming show at Terminal 5. Unlike the previous two years, which featured 77 and 88 drummers respectively, there will only be 9 drummers taking part this time, but coming from the Boredoms camp, it will be no less of an intense, visceral experience, and certainly not to be missed. We've got two pairs of tickets to give away to this special night. Just email tickets@othermusic.com, and we'll notify the two winners this Friday.

TERMINAL 5: 610 West 56th Street NYC







Gold Fishes EP

"Oh Pa Pa"

It's always exciting when we get blindsided by a consignment piece around these parts, and over the years we have discovered many of our favorite new artists when they walked through our front door and handed us a homemade CD-R. This one comes courtesy of 19-year-old London-based visual artist, multi-instrumentalist, singer/songwriter and ethnomusicology student Elan Tamara. Her four-song EP, produced by another talented young UK artist, Kwes, is a beautiful, mellow and surefooted debut that reminds one of the quirky singular vision of contemporaries like Annie Clark of St. Vincent and Bat for Lashes' Natasha Khan.

All four tracks are built on the sort of kitchen sink, minimalist pop aesthetic often employed by the aforementioned artists, but the similarities stop there. For one, Elan's music is decidedly more "worldly," for lack of a better word. Traces of Balinese gamelan scales, bossa nova, '60s Bacharach pop and vocal jazz can be heard in the piano-based compositions and vocal style. But it's all about her voice folks, a strong, lovely instrument that dips high and low and is pitch perfect. "Oranges" (which has already been championed by Gilles Peterson) and "Oh Papa" are beautiful, expansive tunes that boast some impressive arrangements, incorporating multi tracked harmonies, gamelan and glockenspiel. "Outside" is a sunny, experimental bossa number that sounds just about perfect right now. On the whole it's a pretty intoxicating listen, which at an economical 18 minutes leaves you hitting the repeat button again and again.

This is one of the better debuts I've heard in a while and it all comes in a limited edition handcrafted package and poster designed by Elan Tamara herself. Recommended! [DH]






Red Rainbows
(No Fun)

"St. Powers"

Over the last couple of years, Brooklyn sound artist and filmmaker Sarah Lipstate has kept busy. While functioning as the full-time guitarist for electronic noise-pop band Parts & Labor, Lipstate has performed in Glenn Branca's 100-guitar ensemble, and was the only woman in Rhys Chatham's Guitar Army. She has (very) recently joined the ranks of experimental pop outfit Cold Cave, an OM favorite and new Matador Records artist. And as Noveller, Lipstate released her debut LP, Paint on the Shadows, and now, her debut CD, Red Rainbows, on electronic artist Carlos Giffoni's label, No Fun Productions.

Scaling down her ever-changing arsenal of instruments to a double-necked guitar and two pedals on this new one, Lipstate creates meditative, beautifully-textured tonal drones and looped rhythms. "Rainbows" kicks the album off in full-on psychedelic swirl, as distorted melody pierces black metal bass drone in an epic bliss-out. The steady plucking and bowing of strings in the haunting, minimal composition "St. Powers" evokes Eno, Growing's Color Wheel, and the soft insistence of Grouper. The fifth and final track, "Bends," is a slowly unfolding, three-part collaboration with Giffoni, anxiously No-Wavey as shimmering guitar loops are disrupted repeatedly by rumbling and bleeding electronics. The whole album has the unique appeal of feeling distinctly present, as though it were a live recording with impeccable studio production -- perhaps because Noveller's compositions always originate in improvisation and are sometimes recorded in a single take, resulting in a suspenseful, exhilarating drone-based record.

In addition to her vast array of musical projects, Lipstate is also an acclaimed filmmaker, and Red Rainbows is an enhanced CD which includes her newest short film, Interior Variations, a collage of hand-painted 16mm film, which debuted at No Fun's "Infinite Sound & Image" event at the New Museum in May. [KS]






$9.99 MP3


4 Track Songs

"Get Well Soon"
"Piano & Rain"

On 4 Track Songs, violinist and composer Peter Broderick takes a couple pages out of Robert Pollard's marble composition book and culls 25 recordings from all the material he poured out of his head leading up to the recording of last year's transcendental Float album -- lo-fi, incomplete, off the cuff and totally inspiring stuff. Broderick's musicianship (and engineering skill) is massive; on most of the songs that feature piano and violin, you have to listen hard for the hiss that gives away the whole four-track experience. These graceful motifs dip and dive like a dancer's arm, and hint at the fragile beauty that would become Broderick's later, more lush recordings. With every "chunk" of the stop button, we are afforded a look through the keyhole in Broderick's bedroom door as the songwriter's seasons pass. There are forays into pop songwriting, there are drum set crackles and flourishes, electric guitar interludes, and 15-second vocal swoons in G-major. Church bells ring underneath chords, birds chortle over them, people speak to Broderick on the street about apartments and Jesus while kids play basketball and talk about dinner. What we love about four-track recordings is how revealing they are about the magical voodoo process of making music. Do we dare press stop on a moment (or a motif) that could easily last forever? Broderick is one of the best modern composers we have, and this intimate collection of flotsam and jetsam washes up to us from the distant, gentle shores of his creative mind, as mysterious in origin and journey as the Japanese glass floats that arrive soundlessly on the Oregon coast, all mystic and intriguing. [MS]






Durch Die Wuste
(Bureau B)

"Mr. Livingstone I Suppose"
"Am Rockzipfel"

It's a reissue world we live in, and if we're patient, it seems, we may get all the long out-of-print kosmische records we crave. Thankfully, even those not already part of the established (and Julian Cope-influenced) canon. Bureau B might be the label that gives us many of them; their most recent foray into the German Sky imprint's catalog -- aside from Brain, the label responsible for the most classic so-called "Krautrock" albums -- Durch Die Wüste is the first solo album by Cluster and Harmonia's Hans-Joachim Roedelius. If last year's reissue of 1979's Jardins Aú Foú focused on Roedelius' proclivity for wistful, garden reveries (not to mention his occasional, less successful lapses into whimsical circus terrain), Durch Die Wüste, recorded over a two-year period from 1976-1978 at Conny Plank's studio, may be the most inclusive album in the Roedelius canon -- an album that covers nearly the entire vast stylistic expanse of his oeuvre.

Certainly, one can find here the sort of hypnotic, introverted, quasi-baroque stylings Roedelius is known for (the album's middle tracks -- "Johanneslust" and "Glaubersalz" -- come to mind), but much of Durch Die Wüste prefers to indulge in more unsettling abstraction. "Am Rockzipfel" even approaches rock territory, if we're to refer to the disjointed powder-funk of Bowie's Low as rock -- indeed, both albums were recorded in the same span of time and if Eno and Bowie were undeniably under Roedelius and Plank's influence, the inspiration clearly swung both ways -- before shattering and finally being blown away by a hot gust of synth wind. As ever, Plank's contributions far exceed that of a typical producer. His guitar playing on "Am Rockzipfel" shares such an uncanny Neu!- and Harmonia-like fuzz tone, you expect to see Michael Rother's name on the credits. When you don't, you wonder how much Plank actually had to do with that singular sound. The nearly 14-minute title track (the title translates to "Through the Desert") is the album's Cosmic Void moment; with no rhythmic anchor in sight, synth tones drift and disappear, cut-up in a way that occasionally approximates musique concréte and trafficking in certain uncertainty. Klaus Shulze made a career out of what Roedelius pursues more interestingly in this one piece. If anything comes close to the tranquil musical idylls Roedelius is known for, it would be "Mr. Livingstone," an impressionistic, somewhat Eastern-influenced dub abstraction that would fit snugly onto Cluster & Eno or Cluster's Sowiesoso. Those familiar with the D*I*R*T*Y crew's Dirty Space Disco collection will recognize the rain dance that is "Regenmacher," the album's closer and a testament to Roedelius' ceaseless pursuit of experimentation.

For someone known for cinematic keyboard atmospheres, this shares more in common with the appropriated African rhythms of Eno's Another Green World. To paraprhase Can, this may be something of an "Ethnological Forgery," and it's entirely compelling at that. It resembles the Disco Not Disco Plank would pursue on both the overlooked Phew album and Moebius-Plank's Rastakraut Pasta. All said and done, Durch Die Wüste is a quintessential Roedelius work that stands up with the best, most explorative Harmonia and Cluster material. If Durch Die Wüste is, on first approach, a thorny listen, it's more lasting impression is that of a mysterious, beguiling and ultimately compelling world. [AG]






Rinse 09

"Carpark" Silkie & Kutz
"iTunes" Benja

London's Rinse FM is perhaps the most infamous and influential (pirate) radio station in the world, surely the most important in the ever-expanding world of grime and dubstep, and the latest mix in their DJ series is one of the most solid and tough comps yet. Rinse FM DJ N-Type chooses some of the sleekest, streamlined yet rough-edged tracks for this journey into the dubstep universe. Lots of familiar names like Benga, Skream, Joker, Distance, Headhunter, and LD show up in the track listing, yet he pulls out more than a few dubplate versions to keep you guessing who's who. Having already established himself as a quality DJ for the dance floor with his Dubstep All-Stars mix, as well as for the radio, N-Type adds just enough of the ragga edge to keep the wobbling bass and sharp snares intact. Basslines and vocals from reggae and dancehall are peppered throughout giving this mix a slightly old-school feel, yet the toughness of the tracks keeps pushing things forward. Not a super hyper, blow-your-speakers kind of mix, this one is taut and tight, and a solid journey from beginning to end. [DG]






Twisted Nerve 10th Anniversary Mix
(Twisted Nerve)

"I Rooster 2" Toolshed
"Animals in Town" Mum&Dad

Although many Other Music customers may be more familiar with the Finders Keepers/Delay 68 reissue divisions of the Manchester based B-Music label group, Twisted Nerve was the first imprint from these eclectic tastemakers, and this collection celebrates their first 10 years of leftfield psych-folk/pop releases. Resident beat alchemist and Twisted Nerve co-founder Andy Votel puts together a nice slice-n-dice mix highlighting some fave titles from their back catalog. The Twisted Nerve imprint is a kinder, gentler division of the labels, strictly focusing on new bands and artists, many of whom reside in Manchester as well, but each release still retains the spirit of those exotic worldbeat psychedelic records B-Music is known for. The other founder of Twisted Nerve was none other than Badly Drawn Boy's Damon Gough, who released his earliest BDB recordings on the label, so expect plenty of earnest, childlike kitchen sink pop throughout this mix, but healthy doses of psychedelia, mostly from Voices of the Seven Woods and Graham Massey's Homelife, keep this set from floating above the clouds. Fans of Morr music take note. [DH]






Theme Time Radio Hour: The Best of the Second Series
(Chrome Dreams)

"Blue Monday" Smiley Lewis
"Cigareets, Whiskey and Wild Wild Women" Red Ingle

Those of you who have ponied up for Sirius XM satellite radio hoping to explore the adventurous music programming that the subscriber-supported multi-channel format promised may well have been largely disappointed -- I know I was. While their sports, news and talk formats all offer a few welcome properties in a diversity-challenged modern radio world, I think most of our readers would find the vast majority of the music programming somewhat tame, delivering vanilla versions of standard radio formats, albeit many of the more popular ones. DJ Bob Dylan's show breaks that mold.

For no apparent reason other than the joy of it all, Dylan has been hosting his own old-time radio show on the network for a few years now, and his freewheeling shows are a beacon of oddball originality, mixing classic and obscure country, bluegrass, blues, R&B, and early rock and roll -- that is, the music that inspired Mr. Dylan, and clearly continues to do so -- with a growling, truly bizarre host's delivery that is a must-hear for fans of the American legend.

Sadly, Dylan's introductions and announcements are not included on these comps, and the theme-based selection process of the original radio shows is a bit blurred with the all-encompassing compilation format. I'm not clear that Dylan or his employers have anything to do with these releases, but regardless, what you do get is a whole mess of great music that Dylan selected from his personal collection: The Carter Family, Tex Williams, Red Ingle ("Cigareets, Whuskey and Wild, Wild Women" -- a gem!), Muddy Waters, Mose Allison, Bob Wills, Wanda Jackson, the Honey Bears, Sonny Boy Williamson, the Ravens, Fats Waller, Lord Lebby (with "Dr. Kinsey Report" -- YEAH!), Blue Lu Barker, Elvis, Jerry Lee, the Stanley Brothers -- more than 50 blazing tracks spread across two discs.

This is an inspired collection full of hits and shoulda-beens, which will appeal to roots music fans and enlighten Dylan fanatics who always crave a little insight into their reclusive hero's psyche. With interesting liner notes from renowned Dylan scholar (that really is a career choice) Derek Barker, editor of the Dylan journal Isis Magazine. [JM]






Grass Widow EP
(Captured Tracks)

There's been a lot of talk about San Francisco's Grass Widow lately; they seem to own their hometown, and their debut LP was out of print long before I even knew it was out. With this excellent new EP I'd expect there to be even more attention thrown their way. The most obvious reference point would be the early Rough Trade scene, as every song is built upon jittery guitar, rubbery bass lines, insistent drums and three overlapping vocalists. While I wouldn't call their songs instantly memorable, their overall sound is so infectious that you gladly come back for repeated listens and before you know it you're on a first name basis with all the tracks. They also cover the Urinals' "Black Hole" here, and while I hold that seminal band in such high regard that cover versions inevitably disappoint me, these ladies do a bang-up job and come up with an excellent version. I'd say that Grass Widow are one US tour away from owning the rest of the country as well. [DMa]






$9.99 MP3


Curse Your Branches

Preview Songs on Other Music's Download Store

These later years show Nor'wester David Bazan as a fevered alchemist, attempting to pour his Pedro the Lion, Headphones, and David Bazan personas into a cohesive concoction of power, ache, and melodrama. But is the result a pot of gold? Ever since the Whole EP back in 1997, Bazan's work has been characterized by gunshot percussion, a hangdog sense of guilt, and the thirst for redemption. His pleading voice questions everyday notions of security, serenity, faith, and honesty. With a quick twist of the tongue and an emphasis on a word or a chord, Bazan can turn any romantic idyll into a serpentine bramble of unspoken mistrust and loathing.

As the engine behind Pedro the Lion, Bazan was at the top of the angst dog pile. With the dissolution of the Lion and the birth of Headphones, Bazan successfully superimposed his murder ballads onto an electronic framework that grooved as well as we all thought it wouldn't. But the seismic shift towards lush, orchestral works that also functioned as pop songs (Andrew Bird, Sufjan Stevens, Arcade Fire, Grizzly Bear, St. Vincent, and Dirty Projectors are all to blame) drove electric guitar-driven songwriters like Bazan underground again. Suddenly it wasn't enough to be in command of four traditional rock instruments running on four parallel tracks toward the same dramatic notion. Violins and symphony dropouts were back in vogue.

Luckily, David Bazan is an expert at pushing round pegs into square holes and defying expectations (hell, most of his songs are about the very same idea). Curse Your Branches isn't as heavy as Pedro the Lion's 2002 masterpiece Control (the loudest record I've ever heard, literally and metaphysically), but the trademark driving percussion work does all the steering, laying into your skin with every punchy tom-tom workout. The first sounds out of the gate on opener "Hard to Be" are not from an overdriven amplifier, but from three sophisticated keyboard parts that build magnificently up to the opening Bazan bellow. He takes the wrenching punch lines of the recent American Flags EP b-side, "Please, Baby, Please," and softens the lyrical blows with lighthearted electronic drums and jangly tambourines. Electronics lurk around every strum of a guitar, and the autobiographical never strays too far from the front.

The recurrent lyrical theme of falling from grace and being cursed is at the heart of every song -- Catholic priests molesting young nuns and altar boys; a chuckle at the thought that your daughter can't smell the liquor on your breath like your wife can; a leaf feeling slighted that the branches might have a say in where it falls. Deft compositional touches and an engaging blend of rock instruments and synthesizers make this the most easily digestible David Bazan record to date. There's even a semi-straight blues number, which should alert Bazan scholars to the fact that this guy is running looser and goosier than he ever has before. "God bless the man who stumbles, God bless the man who falls, God bless the man who yields to temptation," Bazan sings. We can expect this to be the first in a series of increasingly satisfying records that don't require the grace of symphonic instruments, but actually rejoices in the movement away from grace. [MS]






The Blue Thumb Collection
(Hip-O Select)

"Southern Man"
"Play Something Sweet"

"San Francisco doesn't need me. They've got Sylvester."
- David Bowie (1973)

The legendary gay cultural icon who called himself Sylvester was a force of nature. A former member of the influential San Francisco performance troupe the Cockettes, the six-foot-tall singer was a deeply religious, openly gay cross-dressing man who possessed a powerful gospel falsetto that could shake the walls and send the boys into a frenzy. During the early '70s, Sylvester and his Hot Band were indeed the hottest act in SF; the funk rock group's revolving door membership included such luminaries as former Family Stone drummer Gregg Errico, Journey co-founder Neil Schon and the Pointer Sisters. Add to this, Sylvester and the Hot Band played and sang on the first Betty Davis record and their first demo was financed by Rolling Stone founder Jann Wenner.

After a small bidding war, the Hot Band signed to Blue Thumb and this disc collects all of their recordings for the label. The sound is all rollicking gospel-blues funkiness, consisting mainly of re-workings of popular rock songs of the time. Neil Young's "Southern Man" is transformed into a heavy funk jam, Leonard Cohen's "That's No Way to Say Goodbye" becomes a gospel blues ballad, and "My Country 'tis of Thee" is reworked into a nasty, frenetic funk workout. You get the idea; American blues, old-timey jazz, Tin Pan Alley, gospel, soul and funk are all mixed, matched and grandly delivered by a cross-dressing black man and his band of long-haired straight white dudes with loud guitars. There have been doctoral theses written about the cultural subversive significance of this music, but no need to do that here. I'll just tell you that this is some amazing party music, guaranteed to put a li'l glide in your stride and swagger in your step.

Even though the Hot Band never crossed over into the mainstream, Sylvester was just getting started. For his third act, he transformed himself into a disco icon, along with co-conspirators Two Tons O' Fun and Patrick Cowley. By 1977 Sylvester had embraced the disco sound whole-heartedly and changed the game with releases like "You Make Me Feel Mighty Real," "Do You Wanna Funk" and "Over & Over." Before he tragically died from AIDS in 1988, Sylvester had become a full-fledged legend whose falsetto had changed the world forever. [DH]




LPx2 w/CD


One Foot Ahead of the Other

"One Foot Ahead of the Other"

Much-buzzed UK producer and OM favorite Zomby returns with a new EP containing nine tracks of rolling, spliffed-out jams made predominantly with the use of an old Atari synthesizer. The vibe is much less frenetic than on his last album, trading the spastic hardcore rave vibes of Where Were U In '92 for an R&B/2-step/garage influenced sound. One Foot Ahead of the Other showcases intricate layers of small overlapping melodic sequences which curl and unfurl around deep bass lines and 2-step beats. These tracks are cut from a cloth more similar to his recent 12"s for Hyperdub and Ramp -- if you dug any of those, you'd be wise to scope this one out. Recommended! (Full review next week.)






Beacons of Ancestorship Remixes - Eye / Mark Ernestus
(Thrill Jockey)

This hearkens back to the old days of Tortoise 12"s, when you simply NEEDED to have these limited-edition vinyl treats, featuring your underground heroes of all stripes deconstructing the group's pulsing rhythms and soaring melodies. This one has Boredoms' Eye reworking "High Class Slim Came Floatin' In," and on the flip, Basic Channel/Rhythm and Sound's Mark Ernestus does a version of "Gigantes." It doesn't really get any better than that, does it?






Bird Brains

"Jumping Jack"

4AD does a wider release of this haunting and enlightening lo-fi folk album from Merrill Garbus a/k/a/ tUnE-yArDs, which appeared on the tiny Marriage imprint earlier this year. Mostly ukulele and vocals, with found sounds and random percussion thrown in here and there, it's nice to see this record getting a chance at a larger audience, and Garbus (presumably) getting a shot at a real studio, or at least Pro-Tools, for her future endeavors.






No. 12 - Sept-Oct. 2009
(Shindig Magazine)

These days, with psych-o-delia and '60s/'70s rock once again blowing the minds of our nation's youth, a new Shindig is a must-have for our customers. This one has a great cover feature on Julie Driscoll and Brian Auger, and pieces on LA rock legends Spirit, über-producer Kim Fowley, OM faves Wimple Witch, newbies Circulus, and a ton more! Comes with a CD compilation featuring the Beep Seals, the She-Creatures, the Sound Carriors, Blood Ceremony, the Jim Jones Revue, the Higher State, and more.






Black River Killer
(Sub Pop)

"Silver Moon"

The title track is perhaps the best song from Blitzen Trapper's altogether excellent Furr album, backed by six rarities from BT's tour-only CD-R series, filling out this fine EP. A must for the big fans who missed out on the tour releases.






$13.99 LP


Reading All the Right Signals
(No Quarter)

"Stop at Red"
"Right Signal (Alt. Mix / Edit)"

Released earlier this year only on vinyl, Justin Broadrick's latest dark-ambient masterpiece gets digitized, and adds an entire albums-worth of remixes to boot. This is one of Final's most enthralling works, and that says a lot; it combines Broadrick's harsher instincts with his lush, ambient productions in a totally engaging, often breathtaking album, and the bonus material is excellent.






$9.99 MP3


Can't Stop It Vol. 2
(Chapter Music)

"The Crush" by Asphixiation
"Do the Job" by Use No Hooks

The first Can't Stop It compilation was universally loved here in the shop. It was chock full of quality, arty-farty, Gang of Four/Wire-influenced Australian post-punk-funk, with a bit of "something else" that set it apart nicely from its influences. I actually think this volume might just be a tad BETTER. The second installment has more of a rich, varied and underground post-punk gem vibe, peppered with tasteful bits of synth. It's influenced by British DIY, but it also breaks from the influence with a liberated, self-assured exploratory spirit. I can't even get into my typical blow-by-blow description; there's just too much going on. Of course you get songs that resemble DIY Birthday Party-pop with post-punk vocals, but these are still quality moments. You'll want to check out Wild Dog Rodeo, or how about a 19-year-old Lisa Gerrard (later of Dead Can Dance fame) fronting a very capable art-shamble DIY band called Microfilm?! (It's actually good!!) Then there's an early Severed Heads track featuring female vocals and a drum machine, which sounds like a minimal-synth Essential Logic! Have you heard of The Goat That Went "OM" or Use No Hooks…some great boppy DIY pop. There are lots of lo-fi Desperate Bicycles cum 53rd and 3rd pop sensibility meets Ludus/Family Fodder art girl stuff (BRRR Cold, Use No Hooks, Belle Du Soir). The Swell Guys sound like a cross between Faust and the Nightingales! This compilation just keeps on giving. It especially shines when it confounds expectations by slowly falling off the edge into the blissfully fun quirky/weird zone. BTW: The booklet is super informative with each of the 20 tracks getting a small chapter! Who knew Sydney and Melbourne had such fertile scenes? Excellent all the way through and completely recommended!!! [SM]
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[AG] Alexis Georgopoulos
[DG] Daniel Givens
[DH] Duane Harriott
[JM] Josh Madell
[DMa] Dave Martin
[SM] Scott Mou
[KS] Karen Soskin
[MS] Michael Stasiak

- all of us at Other Music

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