Having trouble viewing this email? Go to othermusic.com/2010february10update.html

   
   February 10, 2010  
       
   
 
 
FEB Sun 14 Mon 15 Tues 16 Wed 17 Thurs 18 Fri 19 Sat 20




  REBECCA SMEYNE PHOTOGRAPHY RECEPTION
Due to the blizzard (also known as Snowmaggedon), we've changed the date of the opening reception for Rebecca Smeyne's "D.I.Y. or Die" photo installation to next Wednesday, February 17. These photographs are a visual celebration of the D.I.Y. spirit and aesthetic in contemporary music, featuring the bands Screaming Females, Dark Meat, These Are Powers, Pre, Blowfly, DMBQ, Miss Pussycat, White Mice, Spank Rock, Dan Deacon, Juiceboxxx, the Mae Shi and the Death Set. Rebecca Smeyne is an award-winning documentary photographer who contributes frequently to the Village Voice and SPIN and has also worked with Vice and Anthem.For more of her work, see rebeccasmeyne.com.

*PLEASE NOTE THE DATE CHANGE*
WEDNESDAY, FEBRUARY 17 @ 7PM to 8:30PM
OTHER MUSIC: 15 East 4th Street NYC

 
   
       
   
     
 
 
FEATURED NEW RELEASES
Pantha du Prince
Yeasayer
The Beautiful Losers
The Equatics
Madlib
Hot Chip
A Broken Consort
The McPeake Family
Gil Scott-Heron
Massive Attack
Sub:stance mixed by Scuba
Turquoise Days
Das Ding
Circuit 7
 

Public Image Limited (3CD Metal Box)
AFCGT

ALSO AVAILABLE
Brazilian Guitar Fuzz Bananas (Various)
Screaming Females
Sade

BACK IN STOCK
Memory Tapes
Redshape


All of this week's new arrivals.

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

 
         
   
   
   
   
   
       
   
 
 
FEB Sun 07 Mon 08 Tues 09 Wed 10 Thurs 11 Fri 12 Sat 13


Floating Points

  WIN TICKETS TO MISTER SATURDAY NIGHT'S VALENTINE'S & PRESIDENT'S DAY BASH
Mister Saturday night will be celebrating this double holiday weekend in fine style with residents Justin Carter and Eamon Harkin hosting the US debut of Floating Points, a 23-year-old biochemist/producer whose evocative music brilliantly bridges the gap between dubstep, house and jazz. But wait...there's more, with a live performance by Canada's Azari and III, whose "Recklesss (With Your Love)" has been blowing up on house dancefloors, and an open bar serving Presidente beer and champagne from 10 to 11PM in honor of the two holidays! Other Music has two pairs of passes up for grabs, so email tickets@othermusic.com to enter. We'll notify two winners on Friday morning.

SATURDAY, MARCH 13
MARKET HOTEL: 1142 Myrtle Avenue Brooklyn (JMZ to Myrtle) | 10PM to Late
$8 advance tickets here | $10 before midnight with RSVP to mister@mistersaturdaynight.com | $15 otherwise

 
   
   
 
 
FEB Sun 14 Mon 15 Tues 16 Wed 17 Thurs 18 Fri 19 Sat 20




  HOLLY MIRANDA IN-STORE PERFORMANCE
If you've ever been within earshot of Holly Miranda, at one of her hushed solo shows around town over the past year or so, or fronting her old band the Jealous Girlfriends, we would bet that you were stopped in your tracks by Miranda's powerful, haunting voice and indelible songwriting. Her Dave Sitek-produced debut album is set to come out on XL Recordings on Tuesday, February 23rd, but we are jumping the gun, giving you an early look and listen to an artist you are sure to be hearing a lot more from over the next year. Come by the store on Monday, February 15 at 8pm for an intimate performance with her band, and while you're at it, you can pick up the new record a week early.

MONDAY, FEBRUARY 15 @ 8PM
Free admission | Limited Capacity

 
   
   
 
 
FEB Sun 14 Mon 15 Tues 16 Wed 17 Thurs 18 Fri 19 Sat 20




  TINARIWEN TICKET GIVE-AWAY
On Thursday, February 18, Tinariwen make their return to New York City, warming the Highline Ballroom with a set of their stunning desert blues. It goes without saying that this band of Tuareg musicians is a favorite among our staff and customers, so we're thrilled to be able to give away two pairs of tickets to this truly special night. And opening the bill will be another local fave, Fool's Gold, who no doubt have some Tinariwen albums in their record collection. To enter for a pair of tix, email giveaway@othermusic.com. We'll notify two winners on Monday, February 15th.

THURSDAY, FEBRUARY 18
HIGHLINE BALLROOM: 431 W 16th Street NYC Tickets are $25 advance | $30 d.o.s.

 
   
       
   

 

 

     
    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.

"GIVEHAITI"
Subports is also gathering donations for the Hatian relief effort, with all proceeds going to Doctors Without Borders, who are providing deeply needed medical treatment for the country. Because a Subports user's credit card is already on file and will be charged (not a cell phone bill), your donation will reach the charity almost immediately.

Donate $10: Text "givehaiti10" to 767825
Donate $20: Text "givehaiti20" to 767825
Donate $50: Text "givehaiti50" to 767825
Donate $100: Text "givehaiti100" to 767825
Donate $150: Text "givehaiti150" to 767825


 
         
   
   
   
   
   
       
   

 

 

     
 

$12.99
CD

Buy

$17.99 LPx2 w/MP3

Buy

$9.99 MP3

Buy

  PANTHA DU PRINCE
Black Noise
(Rough Trade)

"Stick It to My Side"
"Welt Am Draht"

What do a Lady Gaga fan, a Jenny Lewis fan, a fan of early-'90s club music, a fan of Now That's What I Call Music! Vol. 31, and a musically disinclined New York Jets fan all have in common? When it comes to records, not much, but when I put on the promo of Black Noise, the new effort from Pantha du Prince, all of the above stopped whatever they were up to and demanded to know what it was that I was playing. Adventurous techno/ house fans may already be familiar with Hendrick Weber's two previous albums as PdP, which we trumpeted to high heaven in these pages, but the above anecdote goes to show how those outside of those narrow fan parameters will respond to the crystalline tones and beats of Black Noise. Simply put, this is some of the most sumptuous, gorgeous music of the new decade and will resonate with anyone with open ears. And it doesn't hurt to have a new label and friends like !!!/LCD Soundsystem member Tyler Pope lending bass to one track while Panda Bear chimes in on another. Weber has crafted one of the year's finest efforts. Highest recommendation! [AB]

Order CD by Texting "omcdpanthablack" to 767825
Order LP by Texting "omlppanthablack" to 767825
 
         
   
   

 

 

     
 

$14.99
CD

Buy

$14.99 LP w/MP3

Buy

$9.99 MP3

Buy

  YEASAYER
Odd Blood
(Secretly Canadian)

"Ambling Alp"
"O.N.E."

A handful of years later and down a man from the release of their timidly gorgeous debut All Hour Cymbals, the 2010 edition of Yeasayer is as winning as its predecessor, but these couldn't be more different of records. The voices are still there, the ability to surprise is present on almost every track, and the enthusiasm is overwhelming. But imagine those elements transferred over to straight-up cocksure, electro-funk R&B production techniques. Imagine the staid geometry of their earlier works exploded into fruitful dodecahedrons of well-informed New Romantic-cyberdrama club dance party pop hakuna matatas. They've dropped their instruments in favor of programming, inventing sounds instead of dallying around with the ones handed to them. I think everyone who loves this record is going to have one favorite moment. For me, it's the too-cool chorus on "Love Me Girl," appropriating Roy Orbison's shuddering falsetto that made me take notice from across the room. Not all their old fans will be into this record (but really, when does everyone agree?), but it's worth giving Odd Blood a good few listens to see if you really miss the way this band used to be. It's every bit as grand in scope as they once were, and then some, and no doubt this album will bring Yeasayer many new fans who may end up scratching their heads when they get around to checking out the debut. [DM]

Order CD by Texting "omcdyeasayerodd" to 767825
Order LP by Texting "omlpyeasayerodd" to 767825
 
         
   
   

 

 

     
 

$14.99
CD

Buy

  THE BEAUTIFUL LOSERS
Nobody Knows the Heaven
(Lion Productions)

"Nobody Knows the Heaven"
"Yeah Yeah Yeah"

This infamous "glam-folk-rock" private press album from a group of teenagers in Paris finally sees a reissue. I remember some notorious old school rock collectors who always talked about this rare-as-hens-teeth LP in hushed tones. I've heard it described as "Marc Bolan meets the Only Ones," "folk-rock Spacemen 3" and "better than Lou Reed's Berlin." I suppose if any of those descriptions make you want to hear it, I'll say they are true, but at its heart, this album simply offers an odd and wonderful glimpse into a glam-pop universe inhabited by these glam-rock, Velvets-lovin', Lou Reed-worshippin' French troubadours.

Jay Alanski and Christophe J. were Parisian high school pals who used to play together in garage rock bands. Initially sharing a love of the Beatles and the Beach Boys, by '71 they became enamored with the sounds of Roxy Music, Marc Bolan, Jobriath, Todd Rundgren, Lou Reed, Can and the literature of Oscar Wilde, Tennessee Williams and F. Scott Fitzgerald. They embraced the decadent art-rock/glam movement completely, but they were quite an anomaly at a time when progressive rock was huge in Europe, especially in France. There was no scene to participate in and they pretty much made music simply for themselves. Alanski wrote a slew of art-rock tunes in English, and in 1975 they recorded Nobody Knows the Heaven on a four-track in a small house over the short period of five days. For lack of a budget or recording equipment, many of these songs were recorded acoustically, with a bit of lo-fi guitar and psychedelic flourishes. As a result, the tunes have a ghostly, timeless quality to them that references all of the aforementioned artists, but sounds like its own thing. The Marc Bolan influence is definitely apparent, especially in the trill vocal Bolanism's demonstrated on the opener "Oxford 1825," but a better comparison would be to Syd Barrett's solo work and Blood on the Tracks-era Dylan. The songs have a lonely, pained confessional nature to them and the theme is one of disillusionment and nostalgia for the decadence of their youth.

They actually managed to press up 400 copies of this record and aside from a semi-positive review in the NME, the album pretty much sank without a trace, but not without garnering cult status in France amongst the burgeoning punk rock scene. [DH]

Order CD by Texting "ombeautifulnobody" to 767825
 
         
   
   
   
   
   
   

 

 

     
 

$14.99
CD

Buy


  THE EQUATICS
Doin It!!!!
(Now Again / Stones Throw)

"What They Doin?"
"Santana Part 1"

One of the finest high school stage band records to ever grace cold, hard wax is an album of hard, cold soul, and we're talking 1972 Virginia soul. When a group of teenagers with fledgling know-how yet passionate determination set out to dominate -- in this case, to dominate Pepsi's "New Sounds of 1972" contest -- and they win it all, we know they've got something special. Nonetheless, as with many storied youth triumphs, not many outside of the kids' families and friends (and a few obsessive record collectors) ever had the chance, or the inclination, to enjoy the fruits of their labor. That is until this much-needed reissue of their sole private-press LP.

The Equatics embody the spirit and enthusiasm of an urban high school music program from the early seventies, where funk and psychedelic music edged its way into the curriculum of so many fantastic high school band LPs. They blow up classics like Bill Withers' "Ain't No Sunshine" with tenacious grit. These kids were dominating talent shows with their covers of "Frankenstein" and "Family Affair," so when they put their minds and chops to original soul ballads their influences bubble through. The Equatics were clearly listening to as much Sly and JB's as Isaac Hayes and Bill Withers, and that is a great thing! Records like this capture a fleeting stage when primitive musicianship is superseded, or maybe even transcended, by an overwhelming love for playing music. Lester Bangs said, "Grossness was the truest criterion for rock 'n' roll, the cruder the clang and grind the more fun and longer listened-to the album'd be." The Equatics were seven teenagers who could not keep themselves from making music. It did not matter how long they had been playing or singing, they had a chance to make a record and they took it without reservations. From furious funk to hard won soul, nearly forty years later the Equatics are still Doin It!!!!. [BCa]

Order CD by Texting "omcdequaticsdoin" to 767825
 
         
   
   

 

 

     
 

$15.99
CD

Buy

$9.99 MP3

Buy

  MADLIB
Medicine Show #1: Before the Verdict
(MMS)

"Kill 'Em (OJ Simpson Remix)"
"Further"

Madlib's output during 2009 was probably a bit slim in comparison to his previous few years, but 2010 is set to remind the underground that he is still full of surprises, ideas, and above all more tracks than most producers release in their entire careers. Over the next ten months, he is scheduled to release an album a month, each with a different theme and focus, under the umbrella of Madlib's Medicine Show; even numbers are original productions, odd numbers are DJ mixes. (Original productions will come in CD and LP formats, while the mixes are CD-only and all will feature full liner notes and artwork.) First out of the gate is Before the Verdict, based around his production work for rapper Guilty Simpson, serving as both a prelude to their official full-length collaboration and a remix of some previous material. This is true-school Madlib, a hazy blend of movie dialogue, raw rap lyrics, cut-up soul, and ghetto-psych vibes. Guilty Simpson does a good job as the heavyhearted tough guy, with probably the roughest tales he's mustered thus far. A nice album, and a harbinger for a pretty nice year to come for the original Beat Konductor and his loyal fans. [DG]


Order CD by Texting "omcdmadlibmedicine" to 767825
 
         
   
   

 

 

     
 

$15.99
CD

Buy

$22.99 CD w/DVD

Buy

  HOT CHIP
One Life Stand
(Astralwerks)

"Thieves in the Night"
"Alley Cats"

Outside of the beardos making homemade CD-Rs in editions of ten, few acts have been as insanely prolific over the last half-decade as Hot Chip. Since getting blessed by the DFA crew, the quintet became fan favorites (due to their ecstatic live shows) and record collector nightmares. Each and every single seemed to sport slews of remixes and alternate versions. And let's not get started on the seven inches or the myriad side projects (Booji Boy High anyone?). But between 2008's Made in the Dark and their latest, the boys have been relatively mum. Spinning One Life Stand, it's easy to see where all their energies went. There's the epochal single of the title track, instantly putting it among classics like "One Pure Thought" and "Boy From School." And there are acid house-electro pop hybrids that Hot Chip alone seem to have really mastered. But below the surface are curious numbers unlike anything that this band has attempted before. Perhaps that Robert Wyatt collaboration (or maybe some late-'70s Nilsson records) have bled through? Anyway, Hot Chip has made another knock-out. [AB]

Order CD by Texting "omcdhotone" to 767825
Order CD with DVD by Texting "omcddvdhotone" to 767825
 
         
   
   

 

 

     
 

$13.99
CD

Buy

$9.99 MP3

Buy

  A BROKEN CONSORT
Crow Autumn
(Tompkins Square)

Preview Songs on Other Music's Download Store

A mass-market album composed of reworked material from two CD-Rs originally released as private editions by Richard Skelton on his exquisitely packaged Sustain-Release label, Crow Autumn finds the composer continuing his study of the textures created by the interplay between layers of resonating strings and piano. The album doesn't outstay its welcome at 45 minutes and draws the listener into a world that feels personal, yet inviting and warm. Sweeping and undulating tones played on creaking stringed instruments weave in and out of the mix, coming across as almost painterly. Those who have been following the consistently rewarding output of labels such as Type (on which Skelton often releases work under his own name), Miasmah and Digitalis should not overlook this work because of its inclusion in the catalog of a label usually associated with old-timey and folk-related artists. Skelton's music feels current, yet ancient in the way a dream can seem real but is instantly rendered distant upon waking.

Melancholic but not sad, the minor-key feel of Crow Autumn lends itself well to establishing mood and atmosphere, rather than telling a particular story. The timbre of these pieces is well matched to the imagery on display in Skelton's photographs, featured in the booklet. The organic quality found in the music is also in abundance in the rustic images of objects such as feathers, leaves and ancient keys. Skelton's musical work has been a response to personal tragedy, since the untimely passing of his wife in 2004, and his continued reflection on loss somehow proves an uplifting endeavor. I can imagine him finding solace in the creation of beautiful, yet somber, music. There may not be a tangible resolution in Skelton's compositions, but the human emotion on display as he searches for inner peace is as heartening as the music is gorgeous. [MM]

Order CD by Texting "omcdbrokencrow" to 767825
 
         
   
   

 

 

     
 

$14.99
CD

Buy

$5.99 MP3

Buy

  THE MCPEAKE FAMILY
Wild Mountain Thyme
(Topic)

"Slieve Gallon Brae"
"The Derry Hornpipe"

Achingly beautiful collection of folk songs from the Northern Belfast-based McPeake Family, whose membership at the time of these recordings spanned three generations, the youngest being a pre-teen and the oldest in his eighties. This is probably quite different from most Irish folk music you've heard, as the founder of the group, Francis McPeake, had come up with an interesting accompaniment of harp coupled with the droney tones of the uilleann pipes to match the family's gorgeously loose harmony singing. It's rare to hear something this ancient sounding, yet still totally vital and unique. Everyone from the Byrds and Rod Stewart to Bob Dylan have been struck by this music and subsequently covered McPeake Family songs at one point or another, and I'm not employing the least bit of hyperbole when I say this is amongst the most affecting and magical folk music I've every been privy to. [MK]

Order CD by Texting "omcdmcpeakewild" to 767825

In case you missed it, we featured Topic Records in Monday evening's Download of the Week email, which included a $3.99, 12-song sampler curated by Other Music, and also over a dozen of our favorite Topic albums, all sale priced at $5.99 along with any other of the labels releases issued digitally before 2009 -- good through February 22, 2010.
 
         
   
   

 

 

     
 

$13.99
CD

Buy

$9.99 MP3

Buy

  GIL SCOTT-HERON
I'm New Here
(XL)

"I'm New Here"
"Me and the Devil"

Such seemingly disparate music as that of Labelle, Sade, Public Enemy, Jamiroquai, and Mos Def (perhaps even once-ubiquitous early '90s hit "Gypsy Woman" by Crystal Waters) all owes a patent debt to the oeuvre of poet-bluesologist Gil Scott-Heron. And yet, even as he is faintly damned with "Godfather of Rap" laurels, the New York City -- via Jackson, Tennessee, and Chi-Town -- artist remains underrated. Some of this has to do with the perceptions of '60s survivor black revolutionaries who never dug it when Brother Gil began to sing, even if they loved his 1974 hit "The Bottle" for its "relevance;" but a good deal more concerns his approximate 25-year social and creative freefall, just how much the horrors he precociously sang of so eloquently on "Home Is Where the Hatred Is" have laid him low. For those of us who have always counted him a great culture hero because he articulated the Blues of the People and continued to support his sometimes compromised live appearances, our stressful devotion is now rewarded by the great man's wryly-titled new release, I'm New Here.

If 1994's fine Spirits completely bypassed you, I'm New Here serves as the first masterful Scott-Heron statement since the early 1980s of "Gun," "B-Movie," and his contribution to Little Steven's Sun City protest. It certainly rewards keeping the faith and provides tangible proof of genius for the whole generation of youngbloods who have come up in Hip-Hop Nation entirely devoid of his voice, but the disc may well come as a surprise (if not shock) to longtime listeners accustomed to his backdrop of pan-African polyrhythm, trading witty licks with brothers in the studio/on the block, and the lamented lost warm sound-shapes of Brother Brian Jackson. Essential album of the year is how I'm New Here would be proclaimed if it were coming from the likes of Tom Waits or Leonard Cohen whose sonic territory Brother Gil seems to be invading herein, although he's revisiting the core of the blues of his youth in the South and on the South Side -- and Senegambian-derived griot sounds of his misty forefathers; see: "Me and the Devil," "The Crutch," and the stunning title track.

Yet despite this fact it is essential -- and not merely for its unflinching (occasionally sheepish) address of his emotional landscape, addiction, and ego trippin' out -- many might not perceive that I'm New Here ain't no cunning venture downtown to rip off postmodern bells-and-whistles, but it's a fascinating, profound reconstruction of the uptown aesthetics that made Scott-Heron's 1970 debut, Small Talk at 125th and Lenox, so fresh and arresting, without being a retread of same. No Beat conga accompaniment surfaces to tether these tracks to a specific time-space, but check the soul claps on "New York Is Killing Me." The disc is as high postmodernist as anything from the Gnarls Barkley brain trust, somehow completely different from most of Scott-Heron's oeuvre (save the long fade to black of "B-Movie") while vitally retaining the meaningful and moving hallmarks of it all. The critics and audience who so assiduously devote themselves to the notion that solely Dylan and his wordsmithy has endless meaning in the sunset years of his career ought to see how we roll on the black hand side. Just as Brother Gil, (that odd Jackson Browne fan), served the equivalent spot for my parents' militant cohort and my generation of soul babies that CSN did for hippies and boomers scrambling to make sense of the '70s aftermath of '60s turbulence, it appears he has mentally and creatively returned to form just in time to suit up in shining verbal armor against the laughable "post-racial" climate of Obamamerica. Hope that his ass follows. [KCH]

Order CD by Texting "omcdgilim" to 767825
 
         
   
   

 

 

     
 

$17.99
CD

Buy

  MASSIVE ATTACK
Heliogoland
(Virgin)

"Pray for Rain"
"Para Di Se Circus"

Massive Attack's fifth studio full-length, Heligoland, finds these trip-hop purveyors touching on the template that they established on 1998's Mezzanine. Once a trio of DJs/producers/friends, Massive Attack grew out of the sound system era of '90s Bristol. Yet with their rise in popularity, the band eventually splintered, leaving the project in the hands of just one member from the original group, musician/vocalist/artist Robert "3D" del Naja, who brought in producer Neil Davidge for the last album, 2003's 100th Window -- a record which found the once sample-filled and soul-fuelled Massive Attack moving into the whitewashed glitchy soul territory of Radiohead, whom Davidge also produced. Heliogland continues that partnership, but marks the return of founding member Grant "Daddy G" Marshall, who had taken a break to raise a family, as well as assistant producer Tim Goldsworthy (DFA/Unkle). The Massive sound also always features an array of guest vocalists and this time, along with the leads from Del Naja and Marshall, we get Hope Sandoval, Martina Topley-Bird, Guy Garvey (Elbow), Tunde Adebimpe (TV on the Radio), Damon Albarn, and of course, Horace Andy.

Heligoland sounds like MA wants to be a "real band;" the production has a live feel and the songs seem to be crafted with an arena in mind -- maybe not anthems, yet big in scope and feel. From the TVOTR-influenced handclaps on "Paradise Circus" to the Velvet Underground-inspired drug tale of "Rush Minute," new elements are incorporated with varied results. It can be odd to hear the influence of folk and rock come into their sphere, but the band does a nice job of toning down the electronics and bringing a varied palette to these tracks, as on "Flat of the Blade" with Guy Garvey, one of the best of the record, or on the Martina-voiced "Psyche." These two songs were also featured on their Splitting the Atom EP in remix form, and I must confess that this renders the originals a little less impressive. As the years roll on, many of Massive Attack's better moments seem to be when they are remixed and/or when they pick a vocalist who can bring out their mournful and cinematic edge, like Tunde's turn on "Pray for Rain." Heligoland is not the best record from these onetime ground-breakers, but upon repeated listens it has a poetry and a logic that work, and their shifting sounds and lyrical claustrophobia starts to make sense. It's Massive Attack's most soulful record since 1994's Protection, however, and like that release it will be given a complete remix treatment; word on the street is that Burial is set to take on the entire album, which may prove to be the one missing ingredient needed for this soulful stew. [DG]

Order CD by Texting "omcdmassiveheligoland" to 767825
 
         
   
   

 

 

     
 

$15.99
CD

Buy

$9.99 MP3

Buy

  VARIOUS ARTISTS
Sub:stance - Mixed by Scuba
(Ostgut Ton)

"Sunset Yellow" Pangea
"Hyph Mngo" Joy Orbison

Paul Rose a/k/a Scuba's 2008 debut full-length, A Mutual Antipathy, was a sleeper hit around the shop, and here he switches gears from producer to DJ with this hearty and more immediate mix CD. Named after the party which Rose co-founded and curates at Berlin's legendary Berghain club, by all reports this set does indeed nicely encapsulate a late night at Sub:stance, as Scuba rides the line between dubstep, techno, glitchy beats and sub-bass minimalism. Over the course of 24 tracks, selections from the likes of Shackleton, Surgeon, Joker, Joy Orbison, several from Sigha, and a few of Scuba's own help connect the dots between the aforementioned genres, resulting in a steady stream of micro-beats, digital poly-rhythms and synthetic soul. Perfect for a discerning dance floor or a romp around the living room. [DG]

Order CD by Texting "omcdscubasub" to 767825
 
         
   
   

 

 

     
 

$21.99
LP

Buy

  TURQUOISE DAYS
Alternative Strategies
(Minimal Wave)

"Scattering Seeds"
"Blurred"

Minimal Wave's Veronica Vasicka has been on a roll lately; it seems like each record she reissues or rescues from unfortunate obscurity is stronger than the one that came before it. The label will forever hold a place in my heart for reissuing in full the music of Moderne, and I'll admit that I was hard-pressed to think she'd be able to reach similar heights of quality with what would follow that stellar reissue. With this most recent batch of releases, she did not disappoint. Hailing from the Channel Islands in Jersey off the Normandy coast, Turquoise Days made rather straightforward but deeply emotive and powerful synth-pop; the tracks on Alternative Strategies are tuneful, highly rhythmic in a post-Krautrock/motorik sensibility, and are overflowing with a deep melancholic undercurrent that made so much of the best new wave/synth music of the '80s so valid upon return -- it's not about the tools, it's about the spark that makes those tools operate. Those of you who have checked out the recent Minimal Wave Tapes compilation on Stones Throw will be familiar with "Blurred," a total jam and one of the most aggressive tunes on the record. The whole album really kills me softly; there's a heavy blend of artiness and classiness that reminds me of much of my favorite artists on the Les Disques Du Crepuscule label, who share a similar sensibility for gorgeous, melancholic, futuristically classicist art pop. The record is pressed on tasty white vinyl, and includes a rad poster of the logo presented on the sleeve's front. While all of these new Minimal Wave LPs come highly recommended, this one's heavy dose of heart and soul gets my googolplex thumbs up. Stunning. [IQ]

Order LP by Texting "omlpturquoisealternative" to 767825
 
         
   
   

 

 

     
 

$21.99
LP

Buy

  DAS DING
H.S.T.A.
(Minimal Wave)

"H.S.T.A."
"Take Me Away"

Oh man, turn on your jam alert, because we've got a four alarm fire going on right here! The last of Minimal Wave's new crop of archival releases may be the funkiest thing the label has yet released; this LP by Dutch electro scientist Danny Bosten, a/k/a Das Ding, throbs with percolating energy and laser-pointed grooves. This record could best be described as art-school electro -- of all of the new MW records, this one is without a doubt the most floor-rocking and dance-ready slab of wax. Things start off in fine style with opener "Reassurance Ritual" (also featured on Stones Throw's recent Minimal Wave Tapes compilation), pulsating with thick proto-Detroit techno beats, pointillistic synths, and coolly delivered vocals. From there, things take a number of left, right, and even u-turns, with the tracks mutating into grooves that would be further developed in numerous dance music scenes; you get a bit of the aforementioned Chicago and Detroit house throb, some Sheffield acid squelch that would manifest fully into the early Warp Records scene, and even a bit of proto-industrial crunchiness. Everything retains a certain off-kilter balance to the arrangements that, while lean and efficient, are no less effective in their odd delivery. Deep, dark, and danceable, let Das Ding slap you around for a bit while you hold on and try to dance the pain away. Most highly recommended! [IQ]

Order LP by Texting "omlpdashsta" to 767825
 
         
   
   

 

 

     
 

$21.99
LP

Buy

  CIRCUIT 7
Video Boys
(Minimal Wave)

"Modern Story"
"Russian Roulette"

And here's one more Minimal Wave LP, an outstanding issue of archival recordings by UK new wave/synth band Circuit 7, who in 1984 released a duo of killer singles that pretty much vanished without proper recognition. Both of those singles, "Video Boys"/"The Force" and "Modern Story"/"Eastern Dream," are included here, along with a handful of previously unreleased jams for a sweetly sour full-length of frostbitten keyboards, jagged guitar riffs, some of that excellent '80s post-punk saxophone work that upped the ante on so many records of the era, and some of the most passionate vocals I've yet heard on a Minimal Wave reissue. The stunning packaging should also be noted; the record is presented in a heavy card sleeve in grey and neon green, with the album itself pressed on gorgeous neon/lime green vinyl. This definitely stands as one of my favorite releases in the label's catalogue thus far, and anyone with an interest in the post-punk era sounds of Cab Voltaire's Rough Trade singles and OMD's Dazzle Ships, but with the tempos kicked up a few notches, should check this out post haste. It's a bit more straightforward than the usual MW fare, but is honestly all the better for it. Minimal Wave strikes again!! [IQ]

Order LP by Texting "omlpcircuitvideo" to 767825
 
         
   
   

 

 

     
 

$27.99
CDx3

Buy

  PUBLIC IMAGE LIMITED
Metal Box - Limited / Remastered
(Virgin)

Although it has been reissued before, this is the first CD edition of Public Image Limited's landmark second album that presents the tracks on three separate discs in a metal can, replicating the original vinyl version from 1979. The importance of this set cannot be overstated. Metal Box, in its subversive incorporation of reggae's rhythms as well as a variety of other subtle colorings into the blunt instrument that was punk, opened the door for post-punk and much more. The genius of PiL's approach is that, rather than giving us their version of reggae, as many of their UK contemporaries did, instead combined a dub/reggae sensibility with post-punk textures and abstraction and came up with one of the most utterly unique and successful records of all time. The combination of Jah Wobble's dub basslines and Keith Levene's angular guitar playing brings out the best in both and creates a heavy tension. Textural experiments are used subtly throughout the album, such as the metallic effect that makes the hi-hats intermittently sizzle on "Memories," the pitched-down vocals on "Albatross" and synth stabs that seem like they're beaming down from the sky during "Swan Lake."

Metal Box exists in a unique place in PiL's discography. It's not anything like First Edition, which was a more straight-ahead rock follow-up to Never Mind the Bollocks, and still showed quite a lot of angst. It's also miles away from the subsequent record, The Flowers of Romance, a strange album in an entirely different way. Instead, many of the tracks on Metal Box consist of Lydon free-associating over loose vamping by the band. Lydon is one of few vocalists who can deliver social commentary in such a dry fashion as heard on "The Suit," a throbber which centers Lydon's vocal over a bassline so deep, you can't even hear it on inferior stereo equipment. Having a few different drummers during this transitional period was an advantage for the trio, and allowed certain tracks to be rhythmically anchored, such as "Graveyard" and "Careering," while other tracks deliver a shambling pileup of rhythmic gesturing.

"Poptones" sounds as if Wobble is attempting to steer his repetitive bassline straight down the middle of a sea of swishy crash cymbal and snare interplay (allegedly played by Keith Levene), giving the whole thing an unsettling quality that matches its lyrical content. It's shocking that the band performed this tune, which cryptically references a violent sexual encounter in the woods, on Dick Clark's American Bandstand. I subscribe fully to the theory that although punk was an important social movement, much more interesting musical ground was broken during the years immediately following its quick demise. Along with Wire's Chairs Missing, Joy Division's Closer and Siouxsie and the Banshees' Kaleidoscope, Metal Box represents the very finest hour of fierce individuality in the immediate wake of punk's ultimate failure. [MM]

Order CD by Texting "omcdpublicmetal" to 767825
 
         
   
   

 

 

     
 

$21.99
LP

Buy

  AFCGT
AFCGT
(Sub Pop)

With the release of Black Forest a few years back, the A-Frames were the kings of the new noise rock revival, but they chose to abdicate that throne almost immediately, leaving the crown behind at a house party after SXSW, or so the story goes. The Climax Golden Twins have been making a racket of various sorts for something like 17 years now, and while I certainly can't say I expected the two groups to form an alt-universe supergroup, I can say it isn't all that shocking. Through the years, both bands have proven themselves more than willing to plug in, turn up and see where the sounds can take them, and at the same time they've both been blessed with the good sense wade through it all first and just give us the jams.

The record touches on a lot of familiar ground from all parties, like the pounding noise rock of "Black Mark" or the hypnotic "Nacht," with its otherworldly camel walk feel. But the best moments are when they manage to fully ingratiate both bands' styles into a new whole, the way they do on the epic "Two Legged Dog," which is equal parts heads-down rocker and wide-eyed celestial jamming for ten great minutes. On two of the best tracks, "New Punk 27" and "New Punk," all three guitarists try to out-shred and out-scree each other, with the ghosts of Bruce Anderson, Gregg Ginn and Sonny Sharrock hovering about and the rhythm section looking to take out some walls. A lot of fun. [DMa]

Order LP by Texting "omlpafcgtafcgt" to 767825
 
         
   
       
   

 

 

     
 

$16.99
CD

Buy

  VARIOUS ARTISTS
Brazilian Guitar Fuzz Bananas: Tropicalista Psychedelic Masterpieces
(World Psychedelic)

"Era Uma Nota De" Loyce E Os Gnomes
"God Save the Queen" 14 Bis

It takes a man as passionate and knowledgeable at Joel Stones, the owner of NYC's own Tropicalia in Furs record shop, to put together a comp this good. The subject is Stones' specialty, Brazilian psychedelia, from 1967-1976. The 16 tracks included here are a bit more fuzzed-out than freaked-out, more garage rock than Tropicalia weirdness, but these obscurities defy easy categorization, and they are all top-notch. Full review next week.

Order CD by Texting "omcdvariousbrazilian" to 767825
 
         
   
   

 

 

     
 

$7.99
CD

Buy

  SCREAMING FEMALES
Singles
(Don Giovanni)

The six tracks saved from overpriced eBay obscurity here show Jersey's Screaming Females at their schizophrenic best. These songs all share the elements that have made the band's albums (and historic live shows) so thrilling: titanic guitar riffage, wailing vocal vibrato, and a twisted sound that combines punk, metal, and crashing rock and roll in a psychotic stew. Perhaps less cohesive than last year's Power Move, but well worth the price even just for the sick version of "Cortez the Killer."

Order CD by Texting "omcdscreamingsingles" to 767825
 
         
   
   

 

 

     
 

$15.99
CD

Buy

  SADE
Soldier of Love
(Epic)

Sade seems to be the rare pop star who actually has enough sense to wait until she has something worth hearing before she drops a new album. She has money, she has time, and now she has another pretty solid record in her catalog. In her downtime, she should teach a course in the school or rock, something like Respecting Your Fans 101.

Order CD by Texting "omcdsadesoldier" to 767825
 
         
   
       
   

 

 

     
 

$14.99
CD

Buy

  MEMORY TAPES
Seek Magic
(Something in Construction)

"Plain Material"
"Bicycle"

Memory Tapes, a/k/a Dayve Hawk, has been blowing up the blogs for a little while now, and the anticipation for Seek Magic has been building to a heated fervor. While the prolific Hawk has put out a variety of ultra-limited releases under a couple of similar monikers (Memory Cassette, Weird Tapes, etc.), it is as Memory Tapes that his vision is fully realized. Seek Magic contains eight near-perfect and meticulously crafted bedroom pop anthems. Hawk wears his influences on his sleeve which is definitely not a bad thing -- think vintage synth pop like New Order, Visage, and OMD mixed with new contemporaries like LCD Soundsystem, Cut Copy, and the best Kompakt Pop releases. "Swimming Field" is a 2009 dream pop anthem that holds up to anything by new emerging artists in the genre, a la Washed Out, Toro Y Moi, or Nite Jewel. A perfect gem of a song, slow and dreamy, it reminds me of something off of Slowdive's Souvlaki. Yeah, it's that good! The stunning "Bicycle" ups the BPMs a bit and features a melody that could have come from Bernard Sumner himself; add to that a hypnotic bass line and a thrilling guitar hook, I could see this packing a dancefloor in a matter of seconds. Another standout, "Plain Material" is centered around a jangly guitar line, and is proof that a good pop song is a good pop song -- whether backed by a band or a MacBook, all it takes is a little innovation and an ear for a melody. Yeah well, that and a load of talent which our man Dayve Hawk and his Memory Tapes has in spades. Highly Recommended! [JS]

Order CD by Texting "omcdmemoryseek" to 767825

 
         
   
   

 

 

     
 

$17.99
CD

Buy

$24.99
LPx2

Buy

  REDSHAPE
Dance Paradox
(Delsin)

"Man Out of Time"
"Globe"

Alongside his Underground Resistance-esque hidden identity, Redshape harkens back to classic Detroit with tracks that get at one of the true essences of techno: all sounds speak to an imagined world of the future, but in the end, remain human. This much-anticipated debut full-length from Redshape, Dance Paradox succeeds for the simple fact that all beats, pulses, chords and even breakbeats(!) are hand-sculpted and arranged to form exquisitely musical tracks that are still staunchly and proudly techno. His generally slower pace (for contemporary techno) and musicality make for a great album-length listen. A track like "Man Out of Time" manages to sound like a b-boy call-to-arms, so epic, dramatic and funky, but still with a grave tone reminding us of the range of emotion techno can display, and the album just takes off from there. An excellent record, I would have added this to my top ten for '09 if it came out a bit sooner -- looks like we're off to a good start on my ten for '10... recommended! [SM]

Order CD by texting "omcdredshapedance" to 767825
Order LP by texting "omlpredshapedance" to 767825
 
         
   
      
   
         
  All of this week's new arrivals.

Previous Other Music Updates.

Visit www.othermusic.com.

PHONE ORDERS

Phone orders are accepted at
(212) 477-8150 (ext. #2, mailorder) Mon-Fri, Noon - 7pm EST

EMAIL
For general inquiries or other information please email sales@othermusic.com. Do not reply to this message.

REMOVE
This is an automated list. If you would like to be removed for any reason, please visit: digital.othermusic.com/subscribe.php
 

THIS WEEK'S CONTRIBUTORS

[AB] Adrian Burkholder
[BCa] Brian Cassidy
[DG] Daniel Givens
[DH] Duane Harriott
[KCH] Kandia Crazy Horse
[IQ] Mikey IQ Jones
[MK] Michael Klausman
[DMa] Dave Martin
[MM] Marc Moeller
[DM] Doug Mosurock
[SM] Scott Mou
[JS] Jeremy Sponder






THANKS FOR READING
- all of us at Other Music

 
         
   
    Copyright 2010 Other Music
Newsletter Design Big Code