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   February 24, 2010  

Other Music is interviewing for a freelance Network Administrator to begin training on March 1st. This Network Administrator will be responsible for a smooth running office network and our Point of Sale (POS) system. Go to othermusic.com/tech-job.html for the full job description and email contact.

Jack Rose
Joanna Newsom
Ouaga Affair (Various Artists)
Holly Miranda
Bossy (LP Only)
Martyn (Fabric 50 mix)
White Hills
These Are Powers (12" EP)
Moon Duo (Killing Time EP now on CD)

Dancehall 2 (Soul Jazz compilation)
Brian Jonestown Massacre
Rare Mod Volume 2 (Various)

All of this week's new arrivals.

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


We are very excited to announce the line-up for our third annual SXSW Lawn Party, which we'll be presenting with our friends, Dig for Fire and Babelgum. Once again, we're hosting two free days of music at the French Legation Museum, a beautiful outdoor space off the beaten path of 6th Street, its rolling lawns the perfect respite from the sensory overload of the main drag. As you can see below, this year's line-up is extraordinary, so if you are in Austin for SXSW, please do join us on the Thursday and Friday afternoon of the music festival. And whether you can stop by or not, Dig For Fire will be filming the performances and you'll be able to see all the highlights on OtherMusic.com and Babelgum.com.

HILL STAGE: Califone (1PM), The Antlers (2PM), Real Estate (3PM), YellowFever (4PM), Dum Dum Girls (5PM), The xx (6PM)
VALLEY STAGE: Dylan LeBlanc (1:30PM), Zola Jesus (2:30PM), Sharon Van Etten (3:30PM), Julianna Barwick (4:30PM), Holly Miranda (5:30PM)
IN THE GRASS: Black Prairie (6:30PM)

HILL STAGE: Memory Tapes (1PM), Dengue Fever (2PM), Mayer Hawthorne & the County (3PM), Dam-Funk (4PM), Pierced Arrows (5PM), Thurston Moore (6PM)
VALLEY STAGE: First Aid Kit (1:30PM), Anni Rossi (2:30PM), Toro Y Moi (3:30PM), Woods (4:30PM), Talk Normal (5:30PM)

FRENCH LEGATION MUSEUM: 802 San Marcos Street Austin, TX
1PM to 7PM both days
Sponsored by Magic Hat | IZZE

FEB Sun 21 Mon 22 Tues 23 Wed 24 Thurs 25 Fri 26 Sat 27

We hope to see you this Friday at the American Folk Art Museum where we'll be celebrating the release of the new Gil Scott-Heron album, I'm New Here (out now on XL Recordings), the legendary poet and soul-jazz provocateur's first new album in 16 years. You'll be able to enjoy complimentary refreshments while listening to the record, as well as taking in a Gil Scott-Heron documentary and a music video screening, and the museum will be giving guided tours of their Black History Month exhibition, highlighting artworks created by African American artists. You'll also have a chance to win a pair of tickets to Gil Scott-Heron's March 2 and 3 show at the Blue Note and purchase his new CD at a discount price. Admission is free, just RSVP by emailing rsvp@folkartmuseum.org

FRIDAY FEBRUARY 26 | 5:30PM to 7:30PM

Other Music is giving away a Gil Scott-Heron 7" to three lucky people. To enter, email giveaway@othermusic.com. We'll notify the winners via email.

FEB Sun 21 Mon 22 Tues 23 Wed 24 Thurs 25 Fri 26 Sat 27
MAR Sun 28 Mon 01 Tues 02 Wed 03 Thurs 04 Fri 05 Sat 06

Mister Saturday Night's Eamon Harkin and Justin Carter are playing alongside two great guests over the next two weekends. This Saturday, February 27, the duo posts up next to Chicago legend Larry Heard a/k/a Mister Fingers at the 12-Turn-13 loft, and the following Saturday, March 6, they're playing with Kompakt's Chilean/German singer/producer/DJ Matias Aguayo at the rough and tumble Market Hotel. We've got two pairs of tickets for each party. To enter to win them, email tickets@othermusic.com, and list which night you're hoping to score guest spots to in the subject header.

12-TURN-13: 172 Classon Avenue Clinton Hill, Brooklyn
Tickets Available Here

MARKET HOTEL: 1142 Myrtle Avenue Brooklyn
Tickets Available Here

FEB Sun 28 Mon 01 Tues 02 Wed 03 Thurs 04 Fri 05 Sat 06

Florida's Surfer Blood will be stopping by Other Music this Sunday to perform songs off of their debut full-length, Astro Coast (out now on Kanine Records), one of the catchiest indie rock albums that you'll hear all year.

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




    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.

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
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$15.99 LP +MP3


$9.99 MP3


Luck in the Valley
(Thrill Jockey)

"Everybody Ought to Pray Sometime"
"Tree in the Valley"

Man, it's really hard to write this review. If you shop at Other Music, chances are you own or at least have heard one of Jack Roses' albums; he was a friend of the store and would always drop by when he was in town to make sure we had stock on his harder to find releases. He was an artist who I can emphatically say we all respected tremendously, and it was with a great, great sense of sadness that we learned of his passing at the all-too-young age of 38 late last year. How lucky we are though to have been left with memories of the man's incredibly powerful and virtuosic live performances, along with a recorded legacy that will surely last the years, to which we can now add Luck in the Valley, the final recorded statement from Jack Rose. Every time I saw Rose he was better than the time before, and the same has held true for each of his albums, with the latest being no different. His guitar playing here is as fleet as it ever was, with the compositions being mostly on the shorter and concise side, melodically complex and yet lacking none of the punch of his longer formed work. He's joined by a small ensemble on some of these tracks (including the Black Twig Pickers and players from his Dr. Ragtime and His Pals LP), and there's a breezy, lackadaisical nonchalant-ness that's as charming as it is bittersweet. This is just a gorgeous and stunning album really, amongst the most accessible he ever recorded, and a treasure to have in our lives. [MK]

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$27.99 LPx3


Have One on Me
(Drag City)

"Good Intentions Paving Co."

Joanna Newsom's 2004 debut, The Milk-Eyed Mender, created a template for the young California folksinger that must have been awfully difficult to grow into. Based around her virtuosic classical harp playing, her relentlessly quirky singing that walked a thin line between stunning and grating, and a batch of wonderfully idiosyncratic songs that seemed to blend Appalachian traditions with Victorian fantasy and a touch of something utterly California indie to boot, that album was a huge underground hit and placed Newsom at the center of the burgeoning "freak-folk" scene, a descriptively-titled genre from which all the key players were adamantly determined to disassociate themselves. Newsom never concerned herself with such labels and let her music speak for itself when she upped the ante on Ys, her 2006 follow-up, produced by Jim O'Rourke with arrangements by Van Dyke Parks, crafting a sprawling, epic suite of songs that were lushly orchestrated, deeply ambitious and utterly transformative.

And so we arrive at Newsom's latest opus, Have One on Me, which builds on her first two albums by gracefully stepping on their heads, delivering a truly game-changing two-hours of music that is her best and boldest statement yet. I know what you're thinking: two hours, three CDs, 18 tracks, most clocking in at well-over six minutes, who has the stamina? Yet the most amazing thing about this wonderful new album is that despite its grand ambitions, the vast scale is overshadowed by its minute moments, as Newsom has created a complex quilt of an album that is meant to be taken in one panel at a time, and each panel to be savored stitch by stitch. Once fans get past the cover, which eschews Newsom's patented Victorian finery for a far more streamlined, almost flapper-styled deco look, the first thing her followers will notice is that voice -- what happened? Without losing any of her strong personality, the young singer seems to have found her true voice, a rich, nuanced and soaring soprano that embodies the raw emotion of her former style while leaving it sounding almost contrived. This is a voice of depth and beauty. And the songs, while often sprawling, sometimes meandering, always manage to find their way, with their own internal logic and reason, their own pacing that seems to say, "Relax, take your time, relish this moment." In fact, as this music could have easily fit on two discs, Newsom seems to be imploring us to just take our time with her new album, to enjoy it in small portions, and let any grander statements seep in over time.

Arranged by Newsom's touring bandleader Ryan Francesconi, the new album is less densely orchestrated than her last one, but there is a wonderful variety that keeps the sound fresh throughout. Newsom holds the songs together on her harp or piano, but there are subtle flourishes of everything from electric guitar to horns and strings to African and Balkan instrumentation, and while her classic bag of influences are all at play here, with her more mature and confident voice and the relaxed, natural sound of the playing and recording, Have One on Me owes as much to the '70s AM radio sounds of Joni Mitchell or the Laurel Canyon scene as it does to Celtic ballads, classic waltzes and rural folk forms. And influences be dammed, in the end this may be Newsom's most original and personal record, and it is a classic in its own right. [JM]

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$14.99 LP + MP3


$9.99 MP3


Magic Chairs

"The Soft Beating"

Efterlkang's Magic Chairs is the first release for this Danish orchestral-pop band on the high-profile 4AD label (supposedly signed after their heart-stopping show at Other Music's SXSW Lawn Party last year). The soundscapes of the group's excellent Tripper (2004) and Parades (2007) albums on Leaf could reflect the eerie somberness of Sigur Ros, the glitchy electronic pop of Mum, and the quieter, yet tense and dramatic sides of Explosions in the Sky, yet always with an honesty and personality that was Efterklang's alone. Magic Chairs features an elegant, refined version of their sound, poppy and melodic, with more conventional arrangements than on past releases. This album is engaging -- natural yet abstract. The songs have sweet, dreamy male and female vocals interwoven with lush sweeping strings, drums, and piano, with a subtle push and pull of tension. It's the feeling of winter almost ending and spring about to begin, and marks a new season in the evolution of this wonderful band. [LT]

Order CD by Texting "omcdefterklangmagic" to 767825
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SPECIAL NOTE: Other Music's Download Store is offering Efterklang's entire back catalog on the Leaf Label at special reduced prices through March 22!






Ouaga Affair: Hard Won Sound of the Upper Volta 1974-1978

"Mama Soukous" Volta Jazz
"Sind N’Bassa" Mamo Lagbema

This wonderful collection on Savannaphone of music from the Upper Volta, now known as Burkina Faso, is a welcome addition to our African music section; the Upper Volta is much less anthologized when compared to regions like Mali, Nigeria, and Guinea, yet its music is just as vividly sunny, swinging and gorgeous as its other West African neighbors. This collection focuses on tunes from 1974-78, and is overflowing with mildly psychedelic, buzzing guitar grooves and slightly jazzy, horn-drenched rhythms. With even fewer financial resources at its disposal to commit to tape the newly emerging music of its dance bands, the Upper Volta had pretty much just one label, CVD, documenting this "hard-won sound." As a result of these limited resources, the label's pressing and mastering sources gave the records a sound more akin to the "lo-fi" DIY aesthetic of modern, Western indie rock & pop bands than to similar records of its type; as a result, many of these tunes have a rough, fuzzed-out quality that actually at times adds to the tunes' appeal rather than detract from it. The treble-heavy lopsidedness of this music makes you feel like you've been stuck out in the sun too long with not enough to drink (or, on the other hand, perhaps too much to drink!). Of course, all of this would be irrelevant if the tunes were of middling quality, but of course, the set's chock full of jams, with the Super Volta band emerging as the most documented and hard-repping group on the disc. The booklet's filled with great liners and photos, and there's plenty of info to get you saving your milk money and starting some new eBbay searches. African Lo-Fi? Yes, please! You know what comes next, people -- Afro Jam of the Week!! [IQ]

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$16.99 LPx2


$9.99 MP3


The Magician's Private Library

"No One Just Is"
"High Tide"

The Jealous Girlfriends were one of Brooklyn's best-kept secrets during their existence in the middle part of the recently expired decade. Holly Miranda's arresting voice was one of that band's great strengths, and on her first post-Jealous Girlfriends LP that voice shines, as Miranda relies less on traditional rock instrumentation, collaborating with producer Dave Sitek (TV on the Radio, Yeah Yeah Yeah's, etc.), to stunning effect. Sitek's imprint is all over this -- swirling synth washes, pumping organ, skeletal electronic rhythmic patterns and warm electronic flourishes, the Antibalas horns popping up here and there -- and with Miranda's mesmerizing voice and strong, yet somewhat obscure songwriting, you have a winning combination. Even though her lyrics are sometimes hard to decipher, her voice conveys such tremendous feeling, the need for a narrative is not an issue. The emphasis on keyboards, rather than guitars, allows her vocals some extra sonic space, and gives the album a moody ambience that serves the songs well. She's clearly influenced by soul music, while not trying to imitate any particular vocalist. Instead, she channels the feeling often found in soul to suit her own personal dark pop. The tracks feel delicate, while still retaining depth, and while a its core The Magician's Private Library is an album of atmospheric pop, the record holds more than a few surprises -- "No One Just Is" with its dark strings and drum machine, would not sound out of place on a late period Siouxsie & the Banshees LP. While the fire of the Jealous Girlfriends will be missed, Miranda's solo debut finds the young singer blossoming with the varied textures and studio experimentation that Sitek brings to the table, and will surely bring her music out of the shadows. [MM]

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The Best of Bossy
(Wild World)

The other morning at the shop, we were discussing what makes Cassie Ramone (Vivian Girls, the Babies) such a great punk singer, and the one reason that tops them all for us is how she sings her aching heart out, even if she's totally off key. For this reason and many more, we are thrilled to see this comprehensive collection of tracks emerge from Bossy, one of Cassie's former bands that also featured the late Jamie Ewing of beloved Brooklyn punk group Bent Outta Shape. Thanks to the Viv's own label, Wild World, we've been bouncing on our beds to the impossibly catchy pop-punk songs from Bossy's brief year-and-a-half existence.

Bossy is lyrically and melodically so simple, which is exactly why the A-side of The Best of Bossy has been stuck in my head all week, a perfect trifecta of quick, eager pop songs. "Who Loves You More" kicks off with Cassie's trademark clanging guitar and in-your-face wail, exploding with energetic drumming and charming appeals that would've melted your high school heart ("Who loves you more than your TV set, who loves you more than your cigarette?"). Next up is the crowd-surf-worthy "California," a bitter and cathartic anthem for any self-respecting East Coast punker with its amazing sing-along chorus of "California...big deal!" On "Walk Around," with its hilarious "Leader of the Pack"-style introduction, Cassie tells her bandmate, "He's just the dreamiest boy I've ever known! I wish I could be his girl," and the restlessness is palpable as Cassie sings, "We walk around for hours and hours...and get nowhere." Even Bossy's cover of "Hey Hey My My" fits right in, with its lackadaisically sung, "Rock and roll can never die." Closing out the album is a bittersweet acoustic version of "Who Loves You More," this time with raw, Daniel Johnston-esque vocals by Ewing, to whose memory the album is dedicated. Fans of the Vivian Girls and any morose twee pop will be quick to snatch up this obscure find, and this small vinyl pressing ensures that Bossy's infectious, angsty pop will be treasured by future generations. [KS]

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In the Red
(Prime Number)

"Can We Pretend?"
"In the Red"

The 2007 debut, Working Nights, from Manchester's David Wolstencroft (a/k/a Trus'me) established him as one of the best up-and-coming deep house producers of the day. Taking cues from the cut-n-paste disco/techno blueprint established by seminal Detroit producer Kenny Dixon Jr. (a/k/a Moodymann), that record was an impressive collection of disco/house edits, soulful techno and funk that hung together seamlessly. For his follow-up Wolstencroft forgoes the sampling aesthetic he employed on his debut, producing a collaborative record free of samples that fuses live instrumentation with Trus'me's patented organic thump. There's an impressive array of guests this time around as well. Dam-Funk shows up to lend some vocodered starshine to Trus'me's great re-imagining of Was (Not Was)'s leftfield disco classic "Wheel Me Out" (here as "Bail Me Out") and underground Detroit soul legend Amp Fiddler sings lead on a great cover of Bill Withers' "Can We Pretend." But for those waiting to hear a bit of that melancholy, deep-soul techiness he perfected on Working Nights, look no further than "Need A Job," a chunky, re-interpolation of the Peter Brown-produced, NYC underground disco classic "Out of Work" by Jesse Gould. Album closer "Sweet Mother" is another lovely, chunky, cavernous tune that combines that Detroit texture with floating male vocal refrains that recalls the previous heights of "W.A.R." [DH]

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Fabric 50

"Rass Out" Altered Natives
"Seventy Four (Redshape Mix)" Martyn

The Fabric DJ series, an offshoot of the London super-club of the same name, reaches release number 50 with a fresh mix from Martyn. Across the 26 tracks, the Dutch producer delivers a steady stream of synth-heavy vibes, often quite tribal and oddly tropical, full of little percussion sounds and tiny flourishes creating the atmosphere along with thick bass throbs and shifting tempos. From the bossa nova-turned-2-step shuffle of Nubian Mindz to the smeared and warping sonics of Jan Driver, we are treated to lots of fresh names and sounds. Martyn's subtle touch blends house, dubstep, techno, and UK funky with an ease that barely recognizes distinctions, creating a constantly-shifting kaleidoscope of sounds. Every track is a tightly woven texture full of pushing bass, gyrating percussion and at times screeching synths, but with such a varied artist lineup, you wouldn't expect the mix to be so streamlined. Yet Martyn connects Zomby, Kode9, and Cooly G with Actress, Joy Orbison, and Dorian Concept, including several exclusive mixes from Ben Klock, Redshape, and of course Marytn. A mature, sophisticated and fresh-feeling mix throughout, much like his debut album, Great Lengths, this is a varied approach to contemporary electronica that firmly builds a bridge from the bedroom to the dance floor. [DG]

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$18.99 LP + MP3


$9.99 MP3


White Hills
(Thrill Jockey)

"Counting Sevens"
"Three Quarters"

Brooklyn's White Hills have spent the past couple of years exploring the varied fringes of stoner metal, psychedelia and space-rock; their self-released Heads on Fire CD-R (which Thrill Jockey reissued on vinyl) scorched the earth, while their Dead 12" took a step back, spaced out, and drilled holes through the ozone layer, and throughout several more-elusive releases over the past couple of years, they have explored many directions in haze, sludge and grind. All of their many hats are worn here, to the effect of a massively successful full-length. Sabbath riffage, Hawkwind grind, Stooges groove and a number of more obscure influences combine for a new and utterly worthwhile album in an often overtired and seemingly exhausted genre. White Hills manage to balance all of their tearing rampages within and around refined bluesy expanses of space, which keeps their music grounded and emotionally charged. Worth every minute. [BCa]

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$17.99 LP +MP3


$9.99 MP3


The Golden Archipelago

"Runners of the Sun"

Though I'm sure that both bands are tired of being analyzed in relation to each other, Okkervil River and Shearwater are hopelessly and forever intertwined. Will Sheff and Jonathan Meiburg formed Shearwater together in 2001 at almost the same moment that Meiburg joined Okkervil River, but when Meiburg left Okkervil to pursue Shearwater's moody, somber sounds full-time after Okkervil's 2005 masterpiece Black Sheep Boy, he essentially tore Okkervil River in two and sent these brother bands on divergent paths. Sheff and company's subsequent releases veered toward pop and folk-tinged southern rock and away from the melodrama and gothic turbulence of Black Sheep Boy, which Shearwater embraced.

Meiburg does not shy away from grandeur, and The Golden Archipelago sounds bigger than God himself. Working this time around with producer John Congleton (whose credits include Modest Mouse and Explosions in the Sky), Meiburg and company have created a meticulously orchestrated and gorgeous album of dramatic wonders. Opener "Meridian" begins with the haunted, is-it-even-there echo of a shambling choir, then zooms into the beginning of a hushed journey "down to the seawall," where cymbals and sprightly pianos swell like the waves. Throughout, you can feel the sea and the sky churn more ferociously, a prelude to "Black Eyes," where Meiburg commands, "Come down from the lion's back!" before the thunder crashes and lightning starts piercing the drums. The closest and most ferociously loud band that could hold a candle to Shearwater might be Retribution Gospel Choir, but even they've never turned in something like the sprinting, exhilarating "Corridors." The intensity doesn't even subside with the acoustic guitar driven "God Made Me," thanks to a heavenly string arrangement and a melancholy cello. Words used to describe Shearwater, like epic, enormous, bombastic, grandiose, are not big enough -- The Golden Archipelago is the reason there are mountains. [MS]

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Candyman EP

A new 12" single on RVNG from Brooklyn trio These Are Powers, these three new songs and three remixes find TAP diving head first into some hyper BK funk. Vocalist Anna Barie rides the jagged, broken, tumbling and thumping beats with ease -- well, more like a fevered frenzy really. Heavy influence from world beat bangers like South Rakkas Crew, Hollertronix, Buraka Som Sistema, and M.I.A. comes bubbling up from underneath both the originals and the remixes from Teenage Fantasy and Cosmetics. All in all, a great departure and revision of what These Are Powers is capable of. Third World dance party music from two dudes and a girl from Brooklyn. Who knew? Guess it is time for a new Yeah Yeah Yeahs. With this single, they may just be on the way. [DG]

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$11.99 12"


$3.99 MP3


Killing Time EP
(Sacred Bones)

"Killing Time"
"Dead West"

On the heels of Moon Duo's latest record, Escape (out on Woodsist), Sacred Bones now offers the group's Killing Time EP from last year on CD. Wooden Shjips' Ripley Johnson and Sanae Yamada create a sorta Kraut-inspired (the motorik Neu!-beats especially) psych record that blows hundreds of stoner bands out of the water and back into their parents' basements. Recurring-era Spacemen 3 and Suicide (especially on "Speed," the second track) loom rather large here, with cascades of reverb fuzz and cavernous echo and organ (also known as "Jon McCafferty-rock"), this stuff is more concise and less drifting than a lot of the Wooden Shjips songs -- beautiful, hypnotic, nocturnal music. [AK]

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Dancehall 2
(Soul Jazz)

"Barnabas Collins" Lone Ranger
"Collie Man" Triston Palma

Soul Jazz drops the second volume of their Dancehall series, and it's another stellar two-disc set tracing dancehall's origins including both rare and classic cuts from greats like Buju Banton, Half Pint, Lone Ranger, Johnny Osbourne, Shabba Ranks, Trinity, Yellowman, and lots more. Compiled by Blood & Fire Records founder Steve Barrow.

Order CD by Texting "omcdvariousdancehall" to 767825






$9.99 MP3


Eyelid Movies

"Mouthful of Diamonds"
"Futuristic Casket"

Barsuk Records throws a nice little curve ball from their roster of mostly guitar-based indie rock bands with this new album from Phantogram, a Saratoga Springs duo whose barn-recorded music blends bedroom electronics and hip-hop production with dream pop atmosphere. Had they released this record in 2003, the band might have been tagged with the same indie-tronica descriptor that was used on groups like Postal Service, but Phantogram are far more heady and street smart, guitarist Josh Carter and keyboardist Sarah Barthel trading vocals over the light funky beats, bleeps and minor-key washes of synths.

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$37.99 LPx2
180 Gram


Who Killed Sgt. Pepper?
(A Recordings)

"Tempo 116.7"
"Our Time"

Brian Jonestown Massacre has always been one of those love 'em or hate 'em kind of bands and, album title aside, main man Anton Newcombe's substance-fueled antics through the years may be the sole reason for many not to be able to forget what they know about BJM and approach Who Killed Sgt. Pepper? with open minds. But those of you who are able to hit reset (again) will find Newcombe and his rotating cast of bandmates -- which this week includes returning founding member Matt Hollywood and Spacemen 3 bassist Will Carruthers -- reaching new creative heights, incorporating trance-inducing electronic grooves and dark and exotic globe-trotting ambience, not to mention a near-brilliant re-imagining of Joy Division's "She's Lost Control."

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Rare Mod Volume 2
(Acid Jazz)

"She's Got the Time" The Gass Company
"Night Owl" The Nocturnes

Another fantastic set of swinging London gems compiled by mod aficionados Paul Anderson and Damian Jones, volume 2 of this series features a slew of great obscurities including British soul nuggets from the Donnie Elbert Band and Mac Kissoon, early psych tunes from the Amboy Dukes and the Nocturnes, and mod classics from the Fleur de Lys and the Richard Kent Style, and lots more, with detailed liner notes.

Order CD by Texting "omcdvariousrare" to 767825
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[BCa] Brian Cassidy
[DG] Daniel Givens
[DH] Duane Harriott
[IQ] Mikey IQ Jones
[MK] Michael Klausman
[AK] Andreas Knutsen
[JM] Josh Madell
[MM] Marc Moeller
[KS] Karen Soskin
[MS] Michael Stasiak
[LT] Liane Tongoy

- all of us at Other Music

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