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   August 12, 2010  
Ariel Pink's Haunted Graffiti (Limited LP) Animal Collective (ODDSAC DVD)
Disc 'O' Lypso (Various)
The Budos Band
Pearl Harbor
Donna Regina
Antony / Fennesz (Returnal 7")
Svarte Greiner
John Zorn & Richard Foreman DVD
Tristan Perich (Soundbox)
The National (Limited s/t LP pressing)
Cut Chemist

Dark Day (Last of Quantity)

All of this week's new arrivals.

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AUG Sun 08 Mon 09 Tues 10 Wed 11 Thurs 12 Fri 13 Sat 14
  Sun 15 Mon 16 Tues 17 Wed 18 Thurs 19 Fri 20 Sat 21

B-Music and Finders Keepers are hosting two nights at the Film Comment Summer Meltdown series, curated by the label's Andy Votel and Mahssa Taghinia, co-presented by Other Music.

THURSDAY, AUGUST 12 @ 9pm ($12 tix available at Other Music through 5PM Thursday) Ultra-rare '60s/'70s film footage from Iran, plus DJ sets from Andy Votel and Mahssa Taghinia playing Perssian psych, soul and funk.

FRIDAY, AUGUST 13 @ 8:45 pm ($12 tix at Other Music)
Screening of director Sandy Harbutt's great Australian biker flick from 1974, with DJ sets from Andy Votel and WFMU's Brian Turner.


Other Music is also selling $15 advance tickets to UbuWeb (Monday, August 16) feat: UbuWeb's Kenny G with Growing and Blues Control.

Don't miss these two after parties, on Friday, August 13th with DJ sets from Andy Votel at Duane Harriott at Rose Live in Williamsburg (no cover), and the following night for a special edition of Treehouse at Littlefield with DJ sets from Andy Votel and Mahssa Taghinia, free with RSVP to treehousebklyn@gmail.com.

AUG Sun 08 Mon 09 Tues 10 Wed 11 Thurs 12 Fri 13 Sat 14

Massive Attack and Thievery Corporation are performing two nights at New York City's Beacon Theatre, on Thursday and Friday, October 21 and 22. Tickets go on sale to the general public for this amazing double header tomorrow, Friday, August 13 at 11AM, but our Update readers can purchase tickets a day early, via a special PRE-SALE that takes place from 11AM to 10PM today. To access the pre-sale, use this promo code: "OMMATC". When purchasing on-line, there will be a pre-sale box on the TicketMaster ticketing page where you can enter OMMATC. If purchasing over the phone, just mention the code.

BEACON THEATRE: 2124 Broadway @ 74th Street NYC
Tickets will be available at TicketMaster.com & BeaconTheatre.com

AUG Sun 15 Mon 16 Tues 17 Wed 18 Thurs 19 Fri 20 Sat 21

We're very excited to welcome Ramona Gonzalez (a/k/a Nite Jewel) back to Other Music, who will be celebrating the release of her new EP, Am I Real, with an in-store performance. If you can't wait until next Monday, you can download the EP's title track off of Other Music Digital right now.

OTHER MUSIC: 15 East 4th Street NYC
Free Admission | Limited Capacity

AUG Sun 15 Mon 16 Tues 17 Wed 18 Thurs 19 Fri 20 Sat 21

Devendra Banhart's summer tour will find everyone's favorite hippie troubadour and his band the Grogs performing at Terminal 5 next Thursday, August 19, with NYC's own Adam Green opening the night. Five years ago, this pairing could have been dubbed "Freak Folk vs. Anti Folk," but both songwriters have moved well beyond those descriptors, and this will simply be a great night of music. We've got two pairs of tickets to give away! To enter, email contest@othermusic.com. We'll notify the two winners on Monday, August 16.

TERMINAL 5: 610 W. 56 Street NYC




    Many of our customers have been enjoying the ease of texting their orders with their mobile phone. To take advantage of this option with any of the items listed below, go to subports.com where you can create your free Subports account. Afterwards, just text the corresponding subcode listed underneath each item to 767825.







Gloriette brings us this nice double-LP reissue of Ariel Pink & Haunted Grafitti's FF», a collection of recordings made between late 2000 and mid 2001, previously available as a self-released CD-R. FF» sees Mr. Pink in total solo mode, playing all instruments and handling all recording himself, and aside from a few songwriting collabs with hero R. Stevie Moore, the songs are all Ariel's. There's a super-heavy new wave vibe to this record; from Gary Wilson to Gary Numan, it's a synthtastic voyage, with the usual loopy, drug-buzz nostalgia giving way to leftfield hooks and the sort of multi-tracked vocal madness you've come to expect from the guy. What more is there to say? If you're a fan, you're probably going to dig this. The vinyl's super limited -- it's doubtful that we'll get restocks on this beast -- so don't be a sloth. If you're still reelin' from the feelin' of Before Today, it's time for dessert. [IQ]

Order 2LP by Texting "omlparielff" to 767825







After some delay, the full-length DVD release of the Animal Collective/Danny Perez "visual album" is here. Though a film this weird, creepy, psychedelic and just plain odd surely is not meant for every fan Animal Collective has gained with pop pleasers like "My Girls," this is not some minor divergence for the group, and is a must-see if you are deep into what the band does. The music is more similar to earlier, more freeform recordings, with songs and jams strung together with lots of great interludes. The visuals are sometimes arresting; it's not exactly a narrative, but there are stories running through this, and plenty of truly haunting, vaguely horrific and undeniably interesting stuff on the screen. Despite flirting with mainstream success, AC will never settle into an easy groove, and continue to innovate and challenge both themselves and their fans, and that's why we love them! [JM]

Order DVD by Texting "omdvdanimaloddsac" to 767825






Disc 'O' Lypso
(Trans Air)

"Alive & Kicking" Eddie & the Movement
"Extra Carefully" Billie Cole

As we all know, disco was a worldwide clubbing phenomenon and over the past couple of years we've seen an influx of reissues highlighting homegrown tunes by artists from Turkey, Eastern Europe and Japan, all bitten by the boogie bug. But this collection, featuring Caribbean disco from Barbados, Jamaica and the Virgin Islands, is one of the first and best comps of esoteric world disco. Originally released on vinyl eight years ago, I remember trying my damnedest to turn many discerning rare groove vinyl customers at OM onto this record, and while it sold okay, I felt like it should have done better for such a vibrant record. Granted, this came out right on the cusp of the whole global groove phenomenon, predating the seminal Nigeria 70 comps on Strut and the classic Ghana Funk collections on Vampisoul, as well as the Elaste Disco volumes. That's why it's so nice to see this in print again for those who missed out, available for the first time on CD. Expect 12 cuts of heavy Afro-Caribbean funk that incorporates elements of reggae, Afro-beat, boogie and, of course, Calypso. Highlights include the spaced-out, Jamaican funk of "Freak" from reggae legend Tappa Zukie, the sensuous horn-fueled boogie of PJ Browne's "Sexy Lady," and the frenetic West African sounding jazz funk of Eddie & the Movement's "Alive & Kicking." We still have a solid month or so of hot summer nights left and if you're waistline is still fiending for some sun-baked funk, then step right up. TIP!! [DH]

Order CD by Texting "omcdvariousdiscolypso" to 767825






$9.99 MP3


Move of Ten

"nth Dafuseder.b"

Autechre deliver their best, heaviest, and outright FUNKIEST record in years (... possibly ever?) with Move of Ten, coming mere months after their previous Oversteps album. While Oversteps saw the duo in a more introspective, ambient mode, this new album finds them going back their b-boy obsessing electro roots, delivering ten tracks stuffed to the gills with their trademark flanges, blips, and squealing machine equations. The rhythms on display here are the closest thing Autechre has delivered on record to their impressive live show, where the bass hits deep in the chest and your feet, head, and ass don't stop moving. This album is as melodically and texturally rich as anything they've done in their prime, but mixed with the technical complexity they have mastered in recent years. They suck elements of acid, dubstep, and heavy electro into their vortex and spit it all back out into 48 minutes of concise, pulverizing pleasure. This one ranks up there with Tri Repeatae, Chiastic Slide, and the Anti EP. Absolutely classic and easily one of the best electronic records of the year. [IQ]

Order CD by Texting "omcdautechremove" to 767825






Outside the Box

"How Real (Feat. Freckles)"

Oliver Jones' sophomore release as Skream has big things in mind and, for the most part, hits the mark. Outside the Box is positioned to be his crossover album, with wider-reaching rhythmic templates that move far beyond dubstep. Unfortunately, this is also possibly one of the weaker aspects of the record. Where his self-titled debut was a fresh, clean fusion of bubbly and dubby, reggae-flavored dubstep instrumentals, here Skream stretches his sound to incorporate drum-n-bass, garage, poppy electro, and hip-hop, while adding a few vocalists in the mix as well. The winner for best guest spot comes from singer-for-hire La Roux on the track "Finally," where the two create a pastoral and emotive piece of moody electronic pop that has as much to do with Massive Attack as with anything currently on pop radio. However, some of the guest vocals are highly processed, digitally filtered and vocoder-drenched, leaving them thin and more gimmicky than effective, as on the computer chant of "CPU," or the Daft Punk/Hot Chip vibe of "Where You Should Be," featuring Sam Frank. Throughout, there's more of a Euro-dance feel than anything he's released thus far.

Skream is a skillful producer, remixer, DJ, and his shift in sound illustrates that well, yet his use of live vocalists perhaps shows his weakness. His productions are crisp, sharp, and clean -- as on the twisting synths and snapping snare of "Wibbler," or the appropriately named "Epic Last Song." Other highlights amongst the collaborations include the dBridge & Instra:mental "Reflections," and "On the Way You Love Me," where an R&B vocal is sampled and stretched out across the soulful and clunky rhythm with great results. The album is ambitious with moments where the elements all come together nicely, yet from track to track the flow is somewhat inconsistent. Like many electronic producers that attempt to create that 'classic' multi-genre album, like Roni Size, Goldie, Breakage, and others, sometimes the focus becomes too wide, diluting what could have been even greater results. [DG]

Order 2CD by Texting "omcdskreamoutside" to 767825







"Outer Spaced"
"Right On"

Without question the premier "lost band" of its kind, Stonewall's story began in New York City, around 1970. Eight songs of tough, ballsy hard rock, which sees a late '60s garage-psych outfit temper that sound with enough heaviness and proto-glam influence to point at what metal would become just a few years later -- and for a long time, the existence of their lone album was kept a mystery, even to the band. With a copyright date of 1976, it's presumed that Stonewall (the house band at a commercial studio) made this music several years before. When the facility was sold, the reels were purchased in bulk by an unknown party, and later wound up in the hands of notorious "tax scam" label Tiger Lily. It's presumed that the label, said to be tied to Morris Levy, found a way to release albums and write off the entire pressings at a promotional loss. From demo tape material, contractually obligated castoffs, live tapes of Richard Pryor, and the occasional bootlegs of little-known legitimate releases, Tiger Lily built up an untold but sizable catalogue, which was then believed to be promptly destroyed. What few copies made it out fell to the dark crevices of music retail: cut-out bins, charitable donations, and closeout vendors. Well under a dozen original copies of Stonewall have surfaced, and astronomical sums are requested for an original. The record itself has been reissued a few times, of which this Kismet edition is the latest. Stonewall is easily a Top 10 American hard rock/proto-metal record, and takes on British and German competitors alike; anyone who likes the really good ones (Sir Lord Baltimore, Dust, Budgie, Captain Beyond, Jerusalem, Hard Stuff, Alamo, Cactus) has already sussed this one out as a bona fide rager. Tough blues walnuts and the pipe wrench to bust 'em open, with a hilarious edit that snips out the length of a drum solo and brings the main melody crashing back into the song -- which actually works in the song's favor. There really is no filler on this record, which is rare for the genre, and a must-own; there's not much in their realm so consistently satisfying, over and over. Time to catch up on an all time great. [DM]

Order CD by Texting "omcdstonewallstonewall" to 767825






$9.99 MP3



Preview Songs on Other Music's Download Store

With their self-described "Afro-soul," this excellent Staten Island based 11-piece has built quite a nice international following. Like their labelmates the Dap-Kings and their Shaolin cohorts El Michels Affair, Budos make pure organic analog funk. But while the Daps are straight-up popcorn funk and the El Michels band find inspiration in the cinematic soul sounds of the '70s, Budos bring some decidedly ethnic grooves to their musical approach. The funky sounds of Mulatu Astatke seem to be the biggest influence here, but on III, Budos Band deftly add elements of Middle Eastern jazz and Turkish pop to the mix. It's a bit darker in nature than their previous releases and tracks such as "Nature's Wrath" and "Black Venom" could easily be mistaken for a vintage '70s soundtrack to a lost Persian espionage flick. The bottom heavy brass arrangements are still top notch here and the soaring solos from bari-sax co-leader Jared Tankel elevate these sessions past simple tribute type instrumental workouts. I'd love to hear these guys score a Bond movie or maybe Oceans 14. Someone get Soderberg on the horn. [DH]

Order CD by Texting "omcdbudos3" to 767825






Puro Instinct EP

This Cali duo follow up on the narcotic dream-pop promises made on their great Mexican Summer 12" EP from last year. Released under their old Pearl Harbor moniker (they recently changed their name to Puro Instinct, the title of this EP), these four songs effectively combine the chic Euro detachment of Les Disques Du Crepuscule's chanteuses like Anna Domino and Isabelle Antena with a bit of shoegazing and early-4AD dream weaving, some of the same sunburned girl-group sentimentality of contemporaries like Best Coast, and a heavy dose of hazy, half-remembered AM-Gold pop collusion mastered by their bud Ariel Pink (with whom this band has recently shared concert bills). I've heard people throw Beach House's name around in comparison to these gals, too, and that's valid, but there's a deeper Euro vibe than the more rustic sweep of Teen Dream. It's that Crepuscule vibe that sticks with me the most; I'd swear that this band could easily fit onto the tracklist of The Fruit of the Original Sin or any other record with those lovely Hennebert sleeves. The closest contemporary comparison I could make would be to their labelmates Nite Jewel; as well as having a few of Nite Jewel's members performing on the record, both groups share an affinity for incense-saturated atmospheres, sensual grooves, arty pop fragmentation, and even a bit of R&B throwback -- check the clever wink to Taylor Dayne's "Tell It to My Heart" melody on the intro to "Slivers of You." This is another promising slice of song craft from a duo to keep an eye on, and comes most highly recommended. Vinyl only, kids -- go buy a turntable and get to dreamin'! [IQ]

Order LP by Texting "omlppearlpuro" to 767825






(Smalltown Supersound)

"Mehu Moments"
"Aibal Dub"

Hailing from nearby Finland, the Norwegians at Smalltown Supersound grace us with one of the tastiest chunks of dark disco we've heard in quite some time. Having visited that Scandinavian country a while back, while we knew about that country's biggest exports: Vladislav Delay, Pansonic, and the entire Fonal roster, this debut album is nevertheless a startling surprise, direct, twisted, yet highly danceable. So go figure that the big ears of Optimo have already tuned into this trio's sound, remixing the driving "18 Hours (of Love)" so that it begins to work its tantric magic on the dancefloor. "Elephant Man" is spongy and weird while the Krautrock whoosh of "Pockets" features lots of reverb and echo effects. Let's hope there's more where this came from. [AB]

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$9.99 MP3


The Decline of Female Happiness
(Karaoke Kalk)

Preview Songs on Other Music's Download Store

Truth be told, I'm a latecomer to this Cologne-based husband and wife team of Günther and Regina Janssen, and upon first listen of their new album, The Decline of Female Happiness, I couldn't believe that this band had slipped under my radar. I needed more of their gorgeously subtle, electronic-tinged art pop and thankfully my new musical obsession has a great discography that goes back to the '90s, including their stunning Northern Classic, from 2002. The first thing that grabbed me about this duo was Regina Janssen's beautiful, wistful vocal delivery; sounding something like a German Astrud Gilberto or Claudine Longet (or a less drugged-out Nico circa Chelsea Girl), her voice floats over The Decline... and draws you into all of its intricacies. Janssen's lyrics deal with themes of loneliness, isolation and sadness in a mature and elegant fashion; in fact, I would use those two words to describe the entire record, as Günther Janssen utilizes dreamy electronic textures, twangy guitars, and beautiful piano and synth lines to create a subtle, melancholic sound that is uniquely Donna Regina. Sounds drift in and out on The Decline... -- nothing overpowers the album, the Janssen's simply use their keen pop sensibilities to really let these songs inhabit their own space and shine. Donna Regina are definitely doing their own thing, but if you're a fan of Broadcast, Beach House, Stereolab, Yo La Tengo, or well-crafted, nuanced pop music in general, you're really going to flip for this. I really can't recommend this album enough. [CPa]

Order CD by Texting "omcddonnadecline" to 767825






(Editions Mego)

This new single by Oneohtrix Point Never is a curious one. We're offered two takes on the title cut to this year's Returnal, but with a twist -- the A-side strips the song to an acoustic piano rendition by OPN's Daniel Lopatin with vocals by Antony, he of the infamous Johnsons. Together, they mutate the original version's Fever Ray pastiche into a haunting, funereal ballad of Nina Simone levels of bleak lament that showcases both Lopatin's piano training and Antony's distinct croon. On the flipside, they take that recording and give it to Fennesz for a bit of coloration, where he wraps the track in his trademark digital gauze for another lovely take on the tune, aesthetically similar to his collabs with David Sylvian. I'll admit that I was honestly not a huge fan of the Returnal album, but this 7" made me rethink my opinion of Lopatin and what he's up to; it's a great little slice of experimentation in the way that always well-services the single format. Highly recommended to anyone who has enjoyed any of the parties mentioned above. [IQ]

Order 45 by Texting "om45antonyreturnal" to 767825






Penpals Forever (and Ever)


Penpals Forever (and Ever) originally saw life in 2008 as a cassette-only release for Svarte Greiner, the ash-tempered solo project of Deaf Center's Erik Skovdin. Now remastered (and featuring a clutch of bonus tracks), this album gets a second chance at life for those who may have missed out the first time. Slotting in nicely as the middle point in the trajectory he began mapping out with his first solo record Knive and continued with grim precision through last year's Kappe, Penpals Forever (and Ever) continues the focus on blocking out all natural light with an emphasis on blizzard winds as drones. Sourcing from a mix of field recordings and mutilated acoustic instruments, Skovdin's tracks from the initial release take their time to evolve, rising from genteel string plucks and scrapes through distorted piano chords that gradually fade off into the distance, leaving only a howling void in their place. And far from an afterthought, the three bonus tracks here are equally great, favoring more obviously acoustic instruments (and few bird sounds for good measure) in pursuit of similar long form drones and textures that are every bit as effective in filling you with an unmistakable sense of dread. [MC]

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Astronome DVD

Astronome was first conceived in 2004 at a chance meeting on the street in Manhattan between two MacArthur geniuses, John Zorn and Richard Foreman. Elder playwright Foreman encouraged Zorn to compose an opera in vocalize (no actual words) that he would then adapt at one of his annual Ontological-Hysteric Theatre productions at St. Marks. The music was written for Zorn's Moonchild drum-bass-vocal trio consisting of Joey Baron, Trevor Dunn, and Mike Patton, and is absolutely pummeling in the style of two of Zorn's other creations: Painkiller and Naked City. Foreman staged the opera a few years later, putting the actions of seven characters in the same emotional world as Zorn's mostly aggressive and jarring music. To call this a collaboration or choreography in the traditional senses of those words would be off the mark. What Foreman and Zorn have succeeded in doing is marrying two modes of expression (visual and auditory) in a superbly mysterious manner, such that ideas and symbols, sometimes fleeting, dart, float, appear, disappear, reappear, dance, and hop on the stage in a most captivating manner -- a most welcome experience in an age when art and its relatives generally tell us exactly what to think/feel. Since there is no conventional narrative in Astronome, the meat of the opera can best be described from words from Foreman's Ontological.com as, "a work dominated by ecstatic groans, grunts and babbling, and explores the initiation of a group of people into a world where ambiguous behavior alone leads to freedom -- perhaps under the tutelage of the necessary 'false messiah.'"

For DVD, the opera was filmed live in H-DV by Henry Hills using footage from multiple cameras over the course of seven nights. In so doing, Hills and Foreman had many perspectives from which to edit and draw the viewers attention to important action/objects on the stage, such as the hanging upside-down Medusa, the grotesque green-faced demonoid dude, the other six "players" adorned in a variety of combinations (harem-garb, black nose-pieces, and butcher aprons) that would make Duchamp proud, the curious Hebrew writing covering much of the set, and the massive nose and mouth, into and out of which papers, people and other things made their ways. Of course, this is not your old man's opera, but rather a mood or atmosphere to occupy for about an hour. The actions on the stage and the many symbols adorning the hectic set are not so much to be analyzed Jungian-style or otherwise, but rather to be surrounded by and considered. Perhaps the viewer receives clues as to the artists' "intent" in the handful of the narrator's creepy-voiced sometimes-recurring uttered maxims: "Stage Fright", "I don't see it, you don't see it, nobody sees it except the man stumbling upon it quite by accident", "There is nothing important in carefully laid plans", and "It's very easy to choose the negative path to avoid things that are painful." Anxiety with a touch of mania and humor seems to be the perfume that Foreman and Zorn are emitting in Astronome, and like the "smell" of New York City living, it isn't repugnant, but rather, it's a challenge one must face if one is to last in this environment: one can't live here for six months and have it all figured out or conquered. Likewise, subsequent viewings have enhanced my appreciation for Astronome. Both are well worth the effort, methinks. [KC]

Order DVD by Texting "omcdjohnastronome" to 767825






1-Bit Symphony Soundbox

A follow-up to Perich's 1-Bit Music from a few years back, this is simply not to be missed. The tech-wiz and avant composer builds tiny circuits into a clear jewel case, with a headphone jack and on/off switch inviting the listener to enjoy the truly fascinating 1-bit symphony, in five movements, the circuitry plays live for you. It's tough to know how to approach this thing, other than with a huge smile.

Order CD by Texting "omsoundboxtristan1" to 767825






  MV & EE
Liberty Rose
(Arbitrary Signs)

Matt and Erika's latest dispatch from the deep woods of Vermont is less dense and swampy than previous work, more open and light-filled. First, a hazy blues drone, then an acoustic exploration; the duo always surprises, and this is one of their best.

Order LP by Texting "omcdmvliberty" to 767825






The National

Limited LP reissue of the National's 2001 debut. The band found their sound right from the get-go -- lush, melancholy and slow moving, but a bit more country, and a touch less orchestrated than on the group's more recent work.

Order LP/MP3 by Texting "omlpnationalnational" to 767825






Litmus Test
(No Label)

"Lesson 6"

On this 2004 mix, Cut Chemist attacked his own back catalogue, dissecting his productions with J5 and others as only the Chemist can. Limited reissue -- get it!

Order CD by Texting "omcdcutlitmus" to 767825






$9.99 MP3


Church with No Magic

Preview Songs on Other Music's Download Store

On the sophomore album from this Australian electronic rock band formerly known as Pivot, they've pushed Richard Pike up front and turned up his vocals, skewing their hybrid a bit more towards the pop side, while maintaining the polyrhythmic frenzy.

Order CD by Texting "omcdpvtchurch" to 767825






(Dark Entries)

Only a year after its inception, San Francisco's Dark Entries is quickly becoming one of the most exciting reissue labels of obscure synth records. The imprint takes a big step forward with the re-mastered, vinyl-only reissue of this highly coveted piece of wax: Dark Day's Window, hands-down one of the best US minimal synth LPs of the early 80s.

Dark Day was the project of Robin Crutchfield, a New York City-based performance artist and co-founder of the pioneering no wave band DNA, appearing on their first 7" and the No New York compilation. Crutchfield's solo effort differed from the art-damaged cacophony of his contemporaries, though, by focusing on the ghostly, outsider-pop potentialities of the analog synthesizer. No stranger to the downtown scene (Dark Day had a rotating cast of musicians and artists including members of Mars, Ut and, at one time, filmmaker Jim Jarmusch), Crutchfield used the scene's DIY ethos to construct an eerie, claustrophobic world that was utterly his own a number of years before synthesizers would come to dominate the new wave era.

Employing cheap synths and toy electronics, Window could almost be the soundtrack to a deranged children's program (perhaps on the same network that would also broadcast Videodrome later in the evening) -- though to call the album childlike or simplistic would be a misnomer. Instead, this is minimal synth at its absolute finest; basic, metronomic drum patterns move under discordant synth lines while Crutchfield's deadpan monotone floats over the cold landscape like an ominous specter. One listen to the album's standout track, "The Metal Benders," and Crutchfield's vision becomes clear: this is music about a feeling or an experience in a world that is something like our own but is different in subtle, disturbing ways. An absolute must-have LP for fans of this genre. Highly recommended! [CPa]

Order LP by Texting "omlpdarkwindow" to 767825
  All of this week's new arrivals.

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[AB] Adrian Burkholder
[KC] Kevin Coultas
[MC] Michael Crumsho
[DG] Daniel Givens
[DH] Duane Harriott
[IQ] Mikey IQ Jones
[JM] Josh Madell
[DM] Doug Mosurock
[CPa] Chris Pappas

- all of us at Other Music

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