June 9, 2010

		FEATURED NEW RELEASES Emeralds Actress Konono No 1 Here We Go Magic Ariel Pink's Haunted Graffiti Efdemin Rene Hell Slowdive Velvet Underground (Quine Tapes LP Box) Joey Negro: Backstreet Brit Funk Dimitri from Paris: Get Down with the Philly Sound Cumbia Beat Vol. 1 (Various) Afrosound of Colombia (Various) I'm Going Where the Water Drinks Like Wine (Various) Wolfgang Voigt Michael Mayer (Immer 3)   Nick Nicely Beyond Berkeley Guitar (Various) Suckers Yo La Tengo (Here to Fall Remixes) Palenque Palenque! (Various) Let's a Go-Go! (Various) Blitzen Trapper ALSO AVAILABLE Jeff Eubanks (Now on CD) Light Pollution Ratatat BLK JKS Villagers Clicks & Cuts Vol. 5 (Various) The Cure (Disintegration - 3CD Deluxe) Deer Tick Follow us on Facebook: facebook.com/othermusicnyc Follow us on Twitter: twitter.com/othermusic

		JUN Sun 06 Mon 07 Tues 08 Wed 09 Thurs 10 Fri 11 Sat 12   WIN TICKETS TO DAM-FUNK & MASTER BLASTER This Saturday, LA's Ambassador of Boogie Funk, the one and only Dam-Funk, returns to Bowery Ballroom with his live band Master Blaster -- in other words, you don't want to miss this! Also appearing that night will be Waajeed and a live set from Chin Chin. We've got one pair of tickets up for grabs, which you can enter for by emailing tickets@othermusic.com. We'll notify the winner this Friday. SATURDAY, JUNE 12 BOWERY BALLROOM: 6 Delancey Street NYC

		JUN Sun 06 Mon 07 Tues 08 Wed 09 Thurs 10 Fri 11 Sat 12   TICKET GIVE-AWAY TO DM STITH DM Stith's Heavy Ghost was one of the most gorgeous, mystifying suites of chamber pop -- ethereal hymns if you will -- that we heard last year, and the songwriter will finally be conducting a proper tour supporting that record along with the forthcoming Heavy Ghost Appendices, a collection of covers and remixes. This Saturday, he'll be performing in NYC at 92YTribeca, along with Inlets and Silje Nes. We've got one pair of passes to this special night, which you can enter for by emailing giveaway@othermusic.com. We'll notify the winner this Friday. SATURDAY, JUNE 12 92YTRIBECA: 200 Hudson Street NYC

		JUN Sun 06 Mon 07 Tues 08 Wed 09 Thurs 10 Fri 11 Sat 12   PHENOMENAL HANDCLAP BAND TICKET GIVE-AWAY And yet another great show happening this Saturday (so many choices and not enough time!!), New York's own Phenomenal Handclap Band will be bringing the funk to the Music Hall of Williamsburg. The all-star ensemble's, psychedelic disco and soul sounds are truly great, especially when experienced live, so put on your dancing shoes. Also on the bill, These Are Powers and the Stallions! We've got two pairs to give away to this one. You know the drill...email enter@othermusic.com and we'll pick two winners on Friday. SATURDAY, JUNE 12 MUSIC HALL OF WILLIAMSBURG: 66 North Sixth Street Williamsburg, Brooklyn

		JUN Sun 13 Mon 14 Tues 15 Wed 16 Thurs 17 Fri 18 Sat 19   WIN TICKETS TO EDDY CURRENT SUPPRESSION RING Eddy Current Suppression Ring are hitting the Big Apple next weekend, playing two dates in New York supporting their new album Rush to Relax (which rules by the way)! The Aussie garage punks will be performing in the L.E.S. at the Cake Shop on Friday, June 18 with Pissed Jeans and Home Blitz, and then the following evening at Brooklyn's Death By Audio on Saturday, the 19th with Pissed Jeans, Social Cirkle and Pop. 1280. We've got one pair of tickets to give away to each show. Just email contest@othermusic.com and make sure to list the night you'd like to attend. We'll notify the two winners on Monday, June 14. FRIDAY, JUNE 18 CAKE SHOP : 152 Ludlow Street NYC SATURDAY, JUNE 19 DEATH BY AUDIO: 49 South Second Street Brooklyn

		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.

		$15.99 CD $9.99 MP3   EMERALDS Does It Look Like I'm Here? (Editions Mego) "Shade" "Now You See Me" In the last few years Cleveland's Emeralds have shot from relative obscurity to arch nerd-hero status, leaving little more than a trail of healing crystals and the acrid scent of patchouli in their wake. Their frighteningly high frequency of releases (I can barely keep up and I'm committed to these guys) is actually less astonishing than their almost effortless quality, and the trio miraculously seem to have made Klaus Schulze and Tangerine Dream credible once more. Trust them then to throw a curveball with this, their most widely available release; Does It Look Like I'm Here? drops the twenty-minute drone-scapes of their earlier albums (most notably 2008's exquisite 'Solar Bridge) in favor of leaner, more economical near-pop excursions. The sound is bright, loud and dare I say lush; synths tumble and explode in shockingly high fidelity and Mark McGuire's signature guitar licks sound crisper and cleaner than ever. The murk and muddiness that characterized recordings like Allegory of Allergies is gone, and rather than aim their sights at Popol Vuh and early Cluster, I'm hearing more Harmonia and Jean Michelle Jarre with its widescreen, straight to the point saccharine. I know this might sound like a negative for some of you -- but once I got over the initial shock, Does It Look Like I'm Here? proved to be one of those albums that rarely lies far from the stereo. The songs are memorable and almost enveloping in their gorgeousness, and while it might wear its references on its sleeve, it still sounds unmistakably like an Emeralds record. With each release the band seems to grow in confidence and skill, and if they carry on at this accelerated rate they'll be set for world domination within a scant few years. Just spin the album's centerpiece track "Genetic" and I challenge you not to be moved. They're here alright, and they've brought with them a contender for the album of the year. [JT] Order CD by Texting "omcdemeraldsdoes" to 767825

		$17.99 CD $21.99 LPx2 $9.99 MP3   ACTRESS Splazsh (Honest Jon's) "Hubble" "Get Ohn (Fairlight Mix)" A new album from esteemed Werkdisc labelhead Actress (Darren Cunningham), on the equally esteemed label Honest Jon's! This pairing is, of course, no accident. While the taste/experience of Actress came through on his previous debut on Werkdisc via moody expansive post-classic Warp beatscapes that melded edgy IDM with the textures of dubstep and all in between, this new album for Honest Jon's presents an over-arching style that includes a raw house sound that comes across like dubby Chicago acid made with Zomby's Cubase setup. It's hard to describe, but the best word that comes to mind is "newsprint:" raw yet synthetic, warm but with a cold atmosphere. It is somehow still personal and lived in, but with a roughened edge. And there is a distinct absence of nostalgia despite its familiarity, which is unique for a record with house references. It's both thrown together and stylistically on-point, randomly eclectic and focused, casually doing all the right things while bringing in some unexpected textures, blown-out sounds and videogame noise, as on Cunningham's remix of Various Productions' "Lost" (included here), and the invitingly crunchy and swinging "Senorita" or "Almost Human." "Bubble Butts and Equations" is clunky while being massively throbbing with a bit of calculator-rave ambience thrown in. Also check out and enjoy the stuttering house collage of "Get Ohn," the rubbery Detroit sound of "Let's Fly," the swirling Nintendo-house-psychedelia of "Wrong Potion," the Pac-Man-synthwave of "Maze" and the almost Ariel Pink/John Maus instrumental vibe of "Purrple Spaszh!" Jeez, I just described over half the album... you won't welcome such variety from any other producer this year! But it is a cohesive variety, which like the best edits, offers simple, yet effective ideas that make these tracks versatile, unique and playable all at the same time. This is an album that can be listened to all afternoon and played later that night in the club in three or four different parts of a DJ set. I'm not saying that Splazsh is merely practical by any means. What I'm really trying to tell you all is this: I dig it. [SM] Order CD by Texting "omcdactresssplazsh" to 767825 Order LP by Texting "omlpactresssplazsh" to 767825

		$15.99 CD $9.99 MP3   KONONO NO 1 Assume Crash Position (Crammed Discs) Preview Songs on Other Music's Download Store It's hard to believe it's been six years now since the urban buzz and rumble of Congolese band Konono No. 1 first reached widespread acclaim and recognition with their Congotronics and Lubuaku albums. They've toured the world many times, and I was lucky enough to catch them at their US debut at Joe's Pub not long after the Congotronics record was released. That show was one of the best concerts I've ever attended; the band played for about two hours with no opener, and I swear, I've never danced so much in my life. Walking home from that gig in the rain, my clothes soaked through with sweat already, I swore I wouldn't see them again for a long, long time purely because I didn't want to spoil the experience. I got a terrible cold the next week and it was totally worth it. Since then, they've played on record with Bjork, released a few more live albums, and have pretty much fielded either praise or criticism (depending on your point of view) that the records all kind of sound the same -- well, yeah, they sound that way because they play a form of traditional music, but through rather unconventional amplification. This album has been eagerly anticipated, and I'm happy to say that the group manages to evolve somewhat sonically while still remaining instantly recognizable. The jury rigged junkyard sound system that gave them their signature Congo-punk sound has been scaled back a tad and cleaned up slightly, less a sellout bid than an attempt to make room in their dense sonic stew for additional instrumentation previously unexplored in their repertoire. Electric bass, a bit of keyboards, even guitar are added into the mix to embellish but never overshadow what is the Konono sound. The percussion also sounds more direct this time around, focused less on the skittering hubcap hi-hats and more on hand drums and even a bit of traps at times. The attack of hands on skins adds to the ferocity, and the round robin vocal turns amongst band members balances that with a more jubilant, even melodic strand than ever before. Most important, though, are the tunes. The skeleton is the same, but the muscle and fat build a different beast this time. If you're a fan, there will be much here to love. I wouldn't go so far as to say that it's more accessible, but it's nice to hear the group take in a bit of the influence they've obviously instilled upon many western bands, and in turn make a step forward, creating a maturation of their sound after 30-plus years of existence. That's talent right there. Without question, this is the AFRO JAM OF THE WEEK. Absolutely stunning. [IQ] Order CD by Texting "omcdkononoassume" to 767825

		$14.99 CD $15.99 LP+MP3 $9.99 MP3   HERE WE GO MAGIC Pigeons (Secretly Canadian) "Hibernation" "Land of Feeling" Honestly, I was surprised at how much I genuinely enjoyed Luke Temple's debut as Here We Go Magic last year, as the sound of paradoxically deafening "blog hype" generally gets me running like I'm a deer who just heard a shotgun fire. But there it was -- a pretty, unassuming, and relatively low-key solo affair that found the singer, songwriter, and multi-instrumentalist tracing pretty, waifishly psychedelic pop songs rife with supple folk moves, woozy loops, surprising polyrhythm, and occasional extended drone pieces. None of which was particularly new, mind you, but rather played casually and confidently enough to be somehow beguiling. Skip ahead a year, and Temple is back once more with Here We Go Magic and a new record on a new label (Secretly Canadian). The script this time out, though, is a little different -- Temple's project is no longer solo, expanded to include a handful of bandmates. Far from being just another bedroom record, Pigeons gallops forth in a comfortable mid-fi that downplays the haze of the project's debut. As shown by the endlessly circulated track "Collectors" (which has been making the rounds for a few months now), there's even a bit more muscle to Temple's songs this time out -- the percussion here seems to hit that glorious motorik mainline sideways, giving a frantic pulse to the spiraling synths and intricate guitars that drive all the way to the song's shimmering climax. There's almost an early Brian Eno vibe to some of these tracks, too, as songs like "Old World United" and "Casual" drape Temple's arched vocals across burbling synths and chiming chords that makes for some surprisingly experimental pop moves. Which is not to suggest that Here We Go Magic are attempting to go leftfield on those charmed by their debut -- as shown by tracks like "F.F.A.P.," the band still finds the time to revel in beautiful, spaced-out ballads, all while imbuing them with enough rough edges to make sure they never fade off into the background. [MC] Order CD by Texting "omcdherepigeons" to 767825 Order LP by Texting "omlpherepigeons" to 767825

		$13.99 CD $14.99 LP+MP3 $9.99 MP3   ARIEL PINK'S HAUNTED GRAFFITI Before Today (4AD) "Bright Lit Blue Skies" "Can't Hear My Eyes" I still remember the first time I heard Ariel Pink -- I was standing in a now defunct record shop in Montreal and they were playing The Doldrums. My reaction was first one of disgust, but over the time I was in the shop leafing through used LPs I began to see through the alienating fog and tape hiss and found a sense of beauty. That sense never really left me, and I bought as much of Pink's music as I could in the years that came -- his output has hardly been reliable, but it's been plentiful, and surprisingly influential. In the last few years we've seen Ariel Pink's '80s-idolizing lo-fi pop spawn a new genre; call it chillwave if you like, hypnagogic pop if you're feeling particularly anal but Ducktails, Julian Lynch and even James Ferraro (to a point) all owe a debt to Pink's cracked home-brewed jams. It almost seems planned then that now, with the genre attracting more attention than ever before, that Pink drops his new album, recorded not solo on cheap home equipment, but with his band, in a studio, and his first for a large independent label, the ever-reliable 4AD. Thankfully, with the addition of some high-end mastering and newfound recording smarts, Pink and his band (the Haunted Graffiti) have not lost any of their confusing and confounding edge. The music on Before Today is as befuddling as any in the back catalogue, but there is a sense of focus and economy missing on his previous records. You will have likely heard the previously released single and album highlight "Round and Round," and while this track might stand out as the greatest single pop song Pink has ever produced, it's a good marker of the quality of rest of the album. While the whole record doesn't quite have the lean sing-along quality of that one tune, it is powerful and memorable, with each track serving a purpose and representing a distinct facet of the band. Whether he is crafting an '80s movie-soundtrack pastiche or giving a nod to the yacht-rock subgenre, everything seems to be measured just well enough for the album to elevate itself well above a mere pastiche. This is a pop album, and while both of its feet are placed firmly in the past, somehow it feels absolutely contemporary. A massive, deep record that improves with every subsequent play, Before Today is a triumph for both artist and label, and shouldn't be missed under any circumstances. [JT] Order CD by Texting "omcdarielbefore" to 767825 Order LP by Texting "omlparielbefore" to 767825

		$15.99 CD $19.99 LPx2   EFDEMIN Chicago (Dial) "Shoeshine" "Wonderland (The Race for Space)" Phillip Sollman's first album as Efdemin was one of my fave house albums of 2007 for its lean, mean, sophisticated and distinct take on contemporary house music. On Chicago (most expectations-building title of the year), Sollman completely shakes off the sophomore slump by keeping his unique sensibilities sharp and intact while creating a dramatic change in his palette that is as exceptional as it is unexpected. The first thing that needs to be addressed is the SOUND of the tracks. The second thing is that this is indeed a HOUSE record with a subtle but firm foundation in R&B. I emphasize the sound/production quality and the fact that this is indeed a house record because the distro/press releases for this album almost made it sound like we were in store for some kind of kitschy, sampladelic big band train wreck. That is simply not the case here, let me assure you! The uniquely acoustic quality captured on Chicago does not come across in a dusty, sampled crate-digger way (there is no sense of collage or pastiche!), nor does it sound like some slick instrumental Euro-jazzbo creation. The vision is uncluttered and focused on tight, full sound production and sequencing. The drum hits aren't "phat," they're spacious and for lack of a better word, "round." The bass lines aren't borrowed and careless. They're both elastic and ethereal, in a way that both swings and adheres to the groove very closely. The hi-hats are crisp and reverberate naturally. My first three listens to this album were completely caught up in the enjoyment of the unique sound of this record. I was also pleasantly reminded of classic Losoul ("Shoeshine" vaguely evokes the Losoul classics "Open Door" and "Synchro"). Add to that a teeny bit of classic Herbert (but not cheeky, micro, or sample-y) and a teeny bit of Isolee (but not overly psychedelic or disco). It's apparent that Efdemin is not trying to make abstract house as much he's trying to get to the essence of house. In my opinion, he succeeds and in a surprising way; he manages to do it without overdressing it or making cheap references to the past!! That is, after all, the best reason to name a record Chicago. Excellent album. Will be in my top 10 for 2010. [SM] Order CD by Texting "omcdefdeminchicago" to 767825 Order LP by Texting "omlpefdeminchicago" to 767825

		$15.99 CD $9.99 MP3   RENE HELL Porcelain Opera (Type) "Razor P+" "IV 18:54" Type Records continues its recent winning streak with this new album by Rene Hell, a new alias for American noise artist Jeff Witscher. He's developed a reputation in the noise community for his many releases under countless pseudonyms, often jumping from style to style with each record; on Porcelain Opera, he focuses his efforts with laser-focused precision on the sounds of cosmic Kraut-influenced synth suites, propulsive yet calming, often recalling the early efforts of pioneers like Conrad Schnitzler or the works of Schnitzler's former partners in Cluster, but with a solid understanding of early Chicago and Detroit dance mavericks like Juan Atkins, Larry Heard (a/k/a Mr. Fingers), and Derrick May, not to mention the sonic discipline of Throbbing Gristle. This isn't a dance or industrial record, though -- its tension and aggression are created and released without the use of pummeling beats, with the throb of the sequencers and the warped, back-masked vocal samples building up like a disorienting cold sweat. It's wholly psychedelic and referential without being outright pastiche, and it never outstays its welcome. Anyone with a solid love of any of the artists I've mentioned, not to mention the work of other contemporary synth wizards like Oneohtrix Point Never, Emeralds, or even Carlos Giffoni's recent No Fun Acid releases should check this immediately -- it outdoes its peers and honestly matches its (seeming) influences sound for lush sound. Absolutely wicked! [IQ] Order CD by Texting "omcdreneporcelain" to 767825

		$18.99 CDx2   SLOWDIVE The Shining Breeze (Cherry Red) It's one of the more gratifying results of collective hindsight that Slowdive now occupy their rightful place toward the top of the pile of early-'90s shoegaze bands, as they really didn't get the respect they deserved during their existence. The Shining Breeze collects many of the high points of the Reading U.K. group's three-album (and several EP) discography. Organized chronologically, the two-CD set is a perfect introduction for newcomers, as it gives a sense of the progression the band made within just five years. By including many EP tracks, this compilation proves that it's not enough to simply track down the albums; songs like "Shine" and "Morningrise" were some of the band's best work, and thus their inclusion here makes more sense than tacking them on as bonus cuts on an album reissue -- these are much more than b-sides. Every phase of the band's career is well represented here, from the guitar-heavy echo bath of "Slowdive" and "Avalyn," to the brief flirtation with electronic beats on "In Mind," to the experimental deconstruction of the Pygmalion album. Neil Halstead and Rachel Goswell's songwriting was so strong from the start that working with Brian Eno on the classic Souvlaki LP really only enhanced what they were already up to on their own. The pacing and selection of this set is a nice improvement over the previous Catch the Breeze anthology. Hearing the epic dub of "Souvlaki Space Station" at the start of CD2 feels just right, a perfect mid-point. Closing the set with "All of Us" is another good choice, as it gives a sense of closure, just like it did at the end of their final LP. It also works as a reiteration of earthly intent after "Blue Skied An' Clear" has lifted all within earshot straight into aural heaven. Even if you already have most of this stuff, this set is still worthwhile as a perfect Slowdive mixtape, and for a complete picture of the band; listened to straight through, The Shining Breeze makes more of a major statement than the relative brevity of any one of the LPs. [MM] Order CD by Texting "omcdslowdiveshining" to 767825

		$109.99 LPx6   VELVET UNDERGROUND The Quine Tapes - 6LP Box Set (Sundazed) For the first time on vinyl, Sundazed releases the Velvet Underground's legendary Quine Tapes as a lavish, remastered six-LP box set. The whole thing is pretty drool-worthy, with three gorgeous gatefold jackets (with new and much improved artwork), poster and handbill inserts, rare photos, and liner notes by David Fricke. Here's what we said about The Quine Tapes when it was issued on CD back in 2001: It would be difficult to over-document the live sound of a band as powerful as the Velvet Underground was in the late '60s. The Quine Tapes consists of three concerts recorded in 1969, with a near classic lineup (Reed, Morrison, Tucker and Yule) and even with the far-from-perfect sound quality, it captures the raw energy and primal emotion of VU's live sound. At times the Velvets plow through some rocking, feedback-drenched renditions of their finest ("White Light / White Heat"), but they also include some renditions of quieter material: gorgeous and startlingly primitive. Listening to the Velvets stretch out the songs is the most revealing aspect of the recordings, as they open up into flurries of white noise and shambling rock, they transform gorgeous moments of pop music into angst-driven noise. More than just a worthy audio document, consider these completely essential recordings. [PW] Order LP by Texting "omlpvelvetquine" to 767825

		$17.99 CDx2   VARIOUS ARTISTS Backstreet Brit Funk Compiled by Joey Negro (Z Records) "Destination" The Warriors "No Secret Affair" Style X The history of American music within the last few decades has been documented and chronicled to great extent, '60s jazz and blues, '70s disco, '80s post-punk -- the story's been told. And during those varied years, music from the US was exported the world over, enthusiastically soaked in, danced to, vibed on, and respectfully recreated around the globe, perhaps nowhere more so than in the United Kingdom. Backstreet Brit Funk is a new two-CD compilation from Z Records, compiled by DJ/Producer Joey Negro, showcasing some underground classics of the UK's jazz dance era. Towards the late '70s as disco splintered into boogie, rap, and modern funk, jazz was also a genre to absorb the groovy and epic nature of the extended disco beat. American jazz artist like Roy Ayers, Donald Byrd, and Quincy Jones, along with R&B producers like Nile Rodgers, Brian Jackson, and Leon Ware, all had great influence on the UK scene. And as the Brits started to create parties that reflected a new blend of soul, jazz, and funk, they formed their own bands and a new fusion alternative was born (thus the birth of the "soul boy" tag). Many know the post-punk side of this story, bands like A Certain Ratio, 23 Skidoo, Haircut 100, Scritti Politti, even David Bowie, all punk-alternative artists that also embraced jazz elements and disco-funk. This compilation reflects the urban, black British side of the story, with bands like Freeez, Mirage, Incognito and 52nd Street (who were signed to Factory), being the few more recognizable names here. This is a unique look into a lesser-known moment in music, featuring great musicianship, arrangements, and up-tempo grooves, full of racing basslines, sax solos, and swaying rhythms, electric piano melodies, psych-funk breakdowns and heartfelt vocals -- jazz music for dancefloors, soulful, driving, and uplifting. If you've enjoyed Soul Jazz's British Hustle or In the Beginning There Was Rhythm comps, or Dimitri from Paris' new Get Down to the Philly Sound collection (reviewed below), you will surely groove on these choice selections. [DG] Order CD by Texting "omcdjoeybackstreet" to 767825

		$22.99 CDx2   VARIOUS ARTISTS Get Down with the Philly Sound: Presented by Dimitri from Paris (BBE) "Living Together" The Jacksons "Tell the World How I Feel About 'Cha Baby" Harold Melvin "The Philadelphia sound... amazing records. It's kinda of funny even to think that we resented disco back then, compared with where music in general has gone these days... I mean Harold Melvin & the Blue Notes, the Spinners, the Trammps... those were some good f**king records. There's a lot more craft involved (with those records) than any music being made right now... or back then even." - Glenn Frey ('98) We've waxed poetic many times in these pages about the genius of the Gamble and Huff songwriting/production team originating out of Philly in the late '60s and '70s, and their amazing Philadelphia International Records label that gave us Teddy Pendergrass, the O'Jays, Harold Melvin, Billy Paul and the Jones Girls. I've constantly referenced their amazing, uplifting and up-tempo soul tunes that incorporated classical string and brass sections, the soaring gospel-like vocal performances that they were able to pull out of the aforementioned artists and the amazing instrumentals of the label house band MFSB (Mother, Father, Sister, Brother) -- that was THE blueprint for the sound of disco. While we've reviewed many comps that focus on Gamble and Huff and various Philly soul artists, this collection tells the story of the unsung players, engineers, producers, string arrangers and moneymen who were just as responsible for this sound, and it is lovingly curated by noted disco historian, DJ and producer Dimitri from Paris. The excellent liner notes tell the tales of one Joe Tarsia, a nerdy, white engineer who sensed something big was gonna happen in Philly in 1968 and invested every last dime he had into Sigma Sounds Studio, where all of this music was created and where Tarsia lovingly engineered every track, as well as the story of MFSB, a loose conglomerate of some 30 studio musicians, racially mixed and ranging in age from 21 to 65, who played on nearly every single song that came out of that studio. Many of these guys had been playing together for ten years prior to the formation of this group and many of those thumping, simmering grooves from these classic records came out of the synergy of a seasoned band. It tells the story of Earl Young, the session drummer whose heavy foot on the bass drum and open hi-hat on the two created the "skip beat" we call disco. The two-disc set of music tells a sweeping, elegant story of self-empowerment and unity through song. Highlights include: "Born This Way," an impassioned, hands-in-the-air plea for gay rights, performed by Carl Bean, an openly gay gospel singer and minister, and "Living Together," a little-know Jacksons song, found on their first post-Motown Gamble and Huff-produced album. Dimitri also delivers a disc of re-edits of some of his fave Philly tunes. As one who has personally attempted many times to do this (and only succeeded once), I can tell you these songs ain't easy to break down and improve on, but when one gets access to the OG 24-track masters (like Dimitri did), well, it only seems appropriate to turn Harold Melvin and the Blue Notes "The Love I Lost" into an 11-minute, three-movement opus, all the more time to marvel at Teddy Pendergrass' monstrous, sanctified vocal performance and thank the maker for the healing, sanctified power of this music. [DH] Order CD by Texting "omcddimitriget" to 767825

		$22.99 CDx2   VARIOUS ARTISTS Cumbia Beat Vol. 1 (Vampi Soul) "Passion Oriental" Los Destellos "Cumbia Pop" Los Beltons The Vampi Soul label offers up a kickin' delicious double-disc collection of psychedelic Peruvian cumbia jams from 1966-76, and wow, it's a doozy. Vintage cumbia has seen an increase in interest amongst beat junkies in the past few years, with collections like the Roots of Chicha and the Juaneco Y Su Combo retrospectives instigating diggers to start seeking out these hypnotic sounds with more fury. Vampi-Soul does a fantastic job upping the ante with this well-compiled, thoroughly notated collection that effectively displays cumbia's importance as a cultural force during that time period; much like the countless post-Beatles freakbeat/psychpop/Nuggets-styled comps documenting the overflowing geyser of bands that poured forth across the globe during guitar-pop's explosion in the Anglo world (and beyond), this set's notes detail the importance of the electric guitar and the numerous talents who used it to transform and evolve one of Latin America's most popular township sounds and effectively blow it up to a wider audience. The playing here is stunning; the rhythmic gallop of the cumbia beat is consistently whipped forward by the guitar's electric cat-o-nine tails, retaining the sound's signatures while ushering in warped psych-rock aesthetics, beat-group bounce, surfy reverberations, and pop tunefulness. Look no further than Los Beltons' "Cumbia Pop" for a white-hot example of what I'm talking about; the guitar roars and froths like a rabid lion who just ate Santana for dinner and wants Hendrix for dessert while the rhythm section provides the grounding anchor to the lead's excesses. There are other fine examples of the sound's evolution via collusion in "Un Silbido Amoroso" by Los Wembler's De Iquitos, where the song's hook is intoned by eerie Morricone spaghetti western whistles and whooping chorus vocals, or Los Destellos's "Guajira Sicodélica," which starts off like a mariachi "Don't Fear the Reaper" and ascends into chilling whammy-bar scales and enough reverb to make the Ventures wet their shorts. Simply put, this comp is stellar, and listening to it I can hear similarities, traces, and/or precedents of/to so many different artists, and influences -- from Perez Prado and Esquivel to the Animals, the Cramps, and some of the aforementioned artists -- while still feeling floored by the amount of ingenuity and pure melodic and rhythmic brilliance at work. The booklet (bilingual, in both English AND Spanish!) goes into much detail describing the ascension of the sound and the importance of many particular players and tracks, and the music sounds simultaneously of and ahead of its time. It's incredible to hear what contemporary technology can positively do to folkloric music when placed in the right hands, and this compilation is proof of that. Absolutely highest recommendation. [IQ] Order CD by Texting "omcdvariouscumbia" to 767825

		$22.99 CDx2   VARIOUS ARTISTS The Afrosound of Colombia (Vampi Soul) "Salsa Boogaloo" Sexteto Miramar "La Negra Celina" Los Golden Boys Nice compilation of '70s sides from Colombian label Discos Fuentes. The Afrosound of Colombia is a slightly misleading title, as the band Afrosound, a studio ensemble arranged by master producer Fruko El Bueno, is not the exclusive subject of this comp. Instead, we are treated to an assortment of experimental Colombian pop music with influences from the searing guitars of Peruvian chicha, the smooth rides of Antillaise konpa, American funk, Central American salsa, and the sustained, loping horns of Nigerian Afrobeat. Along with songs from Wganda Kenya (another Fruko studio project), Fruko & Sus Tesos, Los Corraleros and other assorted stalwarts of the Fuentes roster, the sound is a cohesive snap of musical cross-pollination resulting from Colombia's long history of mercantile and cultural exchange. Fruko's fraternization with Cuban music is on display heavily here, as the pianos and rubbery basslines sparkle in percussive counterpoints to the relentless rhythms of hand drums. Colombia's main musical export has always been cumbia, and the straight cumbias on this comp (Rodolfo Y Su Tipica's "Tobacco and Rum" in particular) burn hotter than normal. And, if traditional music from faraway lands with primitive synthesizer gurping is your thing, you'll find that here too. [SG] Order CD by Texting "omcdvariousafrosound" to 767825

		$15.99 CD   VARIOUS ARTISTS I'm Going Where the Water Drinks Like Wine (Sub Rosa) "Labor Blues" Tom Dickson "Rowdy Blues" Kid Bailey What is it that draws dedicated music fans towards any record with the word "rarities" on it? I think it's probably that same adventuring spirit that sent Hudson up the Hudson and Lewis and Clarke to the Pacific coast -- people want to see (or hear) something new, something untouched and unspoiled. They want to charge into the undiscovered country and stake a claim, and also tell all their latecomer friends, "Oh man, I've been listening to Richard "Rabbit" Brown for years now." Now, you could spend time (lots) and money (everything you got and more) trying to assemble all the 78s represented on Sub Rosa's I'm Going Where the Water Drinks Like Wine. Or, you could just pick up a copy at Other Music, spare yourself a lifetime of struggle, and use the time you save to write a thank you note to Guy Marc Hinant, the man who complied this set. He deserves one. This compilation takes you from Sylvester Weaver's "Guitar Blues" (one of the earliest known country blues recordings) right through the great Noah Lewis' (author of Grateful Dead staples "Viola Lee Blues," "New, New Minglewood Blues," and "Big Railroad Blues") jaunty and bizarrely haunting "Devil in the Woodpile." Often rarities collections are heavy with filler, but sometimes they live up to our hopes by providing material that's new to us and as good or better than any that we've heard so far. This compilation falls squarely into the latter category. If you like country blues -- the music of Blind Willie McTell, Rev. Gary Davis, Sleepy John Estes, and Charlie Patton et al. -- then this is the compilation for you. If you're unfamiliar with this style of music that came out of the rural south in the early 20th century, then this is a great place to start before working your way towards some of the better-known acts. In "James Alley Blues," Richard "Rabbit" Brown sings, "Times ain't now not nothin' like they used to be," and that's a sentiment that's both true and false. It's true in that the recordings featured on this compilation were all made over eighty years ago, and you can hear these voices coming to you across the void of time from a world that's gone, to one that has gone through changes those bluesmen couldn't have possibly imagined. But no matter how different the times are we can still find parallels in our own lives for these men's great lamentations and celebrations; if you've ever felt down and out, busted and lookin' for work, with no one at home to greet you at night and in the morning -- this is a record for you. [AS] Order CD by Texting "omcdvariousim" to 767825

		$18.99 CD $12.99 MP3   WOLFGANG VOIGT Freiland Klaviermusik (Profan) "Alleingang" "Feld" When I heard that Wolfgang Voigt (Mike Ink, Gas etc.) was re-launching the Profan label, I got so excited, and anxiously expected some classic German acid house reissues to come popping out of the woodwork. In true expectations-defying form, we are instead treated to brand new material from Voigt himself, making new experimental techno tracks using piano as the primary sound source. (First in a couple of vinyl EPs, now, here, in a complete album.) The music falls somewhere between the mania of Conlon Nancarrow (some tracks share the humanly-impossible-to-play quality of Nancarrow's delightful player piano compositions and almost all similarly end in an abrupt/humorous fashion), the angular piano melodies of Gastr Del Sol, the relentless loop techno of the obscure Freiland series, and at times, the soundtrack music of either Jaws(!) or the shower scene of Psycho(!!). Tracks like "Gedulde," "Brucke," "Verwandlung" and "Kammer" would have a similar effect in a DJ set as dropping Villalobos' Fizheuer Zieheuer, with their plain kick drums and wildly unexpected non-synth sounds -- I imagine the club erupting as these massive piano tracks come marching in. As you already know, this is not your typical summer road trip album, folks. This is for those that are in tune with the original Profan/Kompakt vibe, one that melded experimentation with the sounds of the dancefloor to come up with something new. [SM] Order CD by Texting "omcdwolfgangfrieland" to 767825

		$15.99 CD $12.99 MP3   MICHAEL MAYER Immer 3 (Kompakt) "Hello Gorgeous (Terranova Remix)" Popnoname "Falling Stars" Smith N Hack  The third entry in Michael Mayer's Immer mix series has its work cut out for itself. The first volume established the minimal house genre as the sound to beat in the 21st century while Immer 2 cemented Kompakt's status as the premiere dance music label in the world. So where might this latest mix take Mayer? Not nearly as far out into cloudy bliss as it takes his listeners. Immer 3 builds from the yearning vocals of Courtney Tidwell's "Don't Let Stars Keep Us Tangled Up" and deftly moves into the pleasure zone of glimmering house. If anything, 3 emphasizes the female voice, with appearances of Hope Sandoval (via Gui Boratto's remix of Massive Attack's "Paradise Circus" -- not included on the download version) and Charlotte Gainsbourg (a Superpitcher remix of "The Operation") at crucial junctures of the mix giving the proceedings a decidedly sumptuous edge. [AB] Order CD by Texting "omcdmichaelimmer3" to 767825

		$18.99 CD $9.99 MP3   NICK NICELY Psychotropia (Grapefruit/Cherry Red) "Hilly Fields" "A Hundred Years Later" There's a classic quote in a 1982 issue of the NME where the reviewer describes Nick Nicely's "Hilly Fields" single as "the best psychedelic record made since the '60s." As bold of a statement as that is, it's 100% true. Part DIY weirdo, part psychedelic wizard, Nicely set out on his own electronic Magical Mystery Tour in the late '70s/early '80s and created some truly unique and out of time music. All four sides of the two 45s he released (yup, that's it) are featured here, including the incredible "Hilly Fields" which invents drum machine psych, and "49 Cigars," an amazing '80s synth-inspired take on Syd Barrett. It's easy to see why he was such a huge influence on Andy Partridge's Dukes of Stratosphear and Robyn Hitchcock. Fortunately for us, there was a huge wealth of unreleased material in Nicely's archives, which is on par with the two singles. It ranges from orchestrated Beach Boys-worshipping synth pop (see the beautiful, swirling "A Hundred Years Later") to more experimental collage-type works with samples, which create a one-of-a-kind mood that's something like Philip K. Dick meets the Summer of Love. Despite the wide array of retro influences, it's shocking how modern a lot of it sounds (the only contemporary example I can think of, that sounds even remotely like Nick Nicely, are the more accessible '80s works of Legendary Pink Dots)...and I'm not sure if Ariel Pink is a fan but judging by especially his early stuff, I'd guess he is. Unmissable. [AK] Order CD by Texting "omcdnickpsychotropia" to 767825

		$13.99 CD $9.99 MP3   VARIOUS ARTISTS Beyond Berkeley Guitar (Tompkins Square) "Studies of the Oak as Pertaining to Druidic Rites of Passage" Lucas Boilon "Wrapped in Water" Trevor Healy The follow-up to Tompkins Square's excellent Berkeley Guitar from 2006, Beyond Berkeley Guitar is a bit of an expansion both stylistically and regionally, as this collection highlights seven players from around the Bay Area, with album curator Sean Smith being the only returning musician from the first installment. As the former home to John Fahey's Takoma Records, Berkeley is the spiritual home to the "modern" acoustic blues, and just like Fahey, Robbie Basho, et al., these guitarists are directly inspired by the steel string finger picking of originals like Barbecue Bob and Blind Blake. Produced by Smith at Fantasy Studios in Berkeley, the seven solo recordings range from straightforward ragtime and twelve-string struts to more introspective, open-tuned wanderings. Each guitarist goes "beyond" in their own way, as Smith's work grows more psychedelic, Aaron Sheppard's playing is cerebral and succinct, and Ava Mendoza unveils an airy electric guitar rag. Fans of the genre take heed. This is the future, and it is as glorious as the past. [BCa] Order CD by Texting "omcdvariousbeyond" to 767825

		$11.99 CD $9.99 MP3   SUCKERS Wild Smile (Frenchkiss) "Save Your Love for Me" "Roman Candles" Ever since this Brooklyn band's first self-titled EP (produced by Anand Wilder of Yeasayer) burst like a Roman candle last year, I haven't been able to get Suckers out of my life. At work, at home, when I get bossy with the iPod at parties, when people ask me what I've been listening to lately, on tapes for friends ("Easy Chairs" on Side A, "It Gets Your Body Moving" on Side B), my answer is always the same: Suckers! They were a brilliant standout at this year's SXSW, even playing to a dozen hung-over early birds like myself at a one o'clock Mess with Texas showcase. It was something about their blend of new wave cool and Bowie-like production meticulousness, and the intoxicating effect that their songs have on myself and most everybody I've played them for -- helpless to their charm, you find yourself afloat on an urgent sea of chiming guitars, burbling synthesizers, frenetic polyrhythm, and falsettos that would make Freddy Mercury blush. And now with the release of their debut album upon us, it's time to see if all this fandom on my end can hold up to eleven songs, almost entirely new, of tightly wound Suckers energy and verve. The slow burn of opener "Save Your Love for Me" sounds like a sentimental David Byrne song mashed together with Bowie's "Heroes," flaring into one of the most melodramatic rock builds ever, culminating in layer upon layer of "Whoa-oh-ohs!" and a renegade horn section and holy shit it just keeps getting bigger, and here's lead singer Quinn Walker with his best Clare Torry impression like he's in the booth remaking "The Great Gig in the Sky!" And when that's over, there are ten more songs just as exuberant, glammed-up, and sonically rewarding around the bend. "Roman Candles" is a quintessential Suckers song: it's whip-smart enough to keep the hooks and changes unpredictable, driving enough to keep your momentum and interest piqued, and Walkers' slurred delivery makes the line "Roman candles and empty liquor handles" that much more poignant and vivid. It's impossible to point out all the album highlights because the whole damn record is filled with them. Wild Smile is filled with punch-drunk love songs that swagger brazenly, swoon seductively, and announce a band that is ferociously fully-realized, paying homage to Eno and Bowie, but without name-checking them explicitly. Obviously, I was already a fan, but this album won me over. [MS] Order CD by Texting "omcdsuckerswild" to 767825

		$7.99 CD-EP $3.99 MP3   YO LA TENGO Here to Fall Remixes EP (Matador) Preview Songs on Other Music's Download Store On "Here to Fall," the first track off Yo La Tengo's most recent (and thoroughly amazing) outing for Matador, Ira Kaplan sings, "But if you're ready, I'm here to fall with you/ What else is there for us to do?" Like many of Yo La Tengo's lyrics, this one straddles the line between hopefulness and cynical defeatism; Kaplan's words are dry, matter-of-fact, but they also contain an oft-disarming naivety. It isn't so often that a band pushing 25 years manages to approach songwriting with both youthful simplicity and the sort of knack for lyrical sharpness that comes with two-plus decades of experience. But Yo La Tengo are, and always will be, standouts, die-hard rockers who have a penchant for seamlessly mixing the old with the new, for sounding fresh despite chronological age. Here to Fall Remixes is testament to that perpetual freshness; the four track EP features, of course, the kick-ass, string-laden title song, plus three surprising -- and surprisingly good -- remixes courtesy of De La Soul, RJD2, and Pete Rock. The song in its original form is stellar, a driving slow-builder replete with fuzz-heavy bass and swirling, psyched-out guitar solos. This begs the question: Is remixing an already great song gratuitous? Pointless? Gilding the lily? In this case: essentially, no, and in fact it's downright enlightening to hear such profoundly influential artists reinterpret the work of equally respected mainstays like Yo La Tengo; each remix effectively showcases the timelessness and versatility of YLT's music. In the hands of De La Soul, "Here to Fall" becomes slowed-down and groovy; the legendary rap group supplements the track with an old-school beat and drawn-out chords, rendering it nonchalant. RJD2 offers a melodic revamp, significantly altering the string flourishes and providing a brand-new, bass-anchored chord progression (not to mention one of his signature, spacey beats). Finally, Pete Rock supplies what is perhaps the EP's most drastic retooling; he does away with most of the song's original instrumental hooks, and then he lays down a smattering of supremely bad-ass verses over the result. A must-have for Yo La Tengo faithfuls, fans of the featured producers, and for all those who enjoy a good remix or three. [JK] Order CD by Texting "omcdyohere" to 767825

		$15.99 CD   VARIOUS ARTISTS Palenque Palenque! (Soundway) "Burumburumbum" Casimbas Negras "La Negra Kulende" Aberlado Carbano Never doubt the power of the Afro-Jam. The always-reliable Soundway label's newest release, a collection of Colombian Afro-Creole dance tunes in the "Champeta" style entitled Palenque Palenque!, has been knocking me out, bobbing my head, and moving my ass all week. The liners to this stellar set of tunes details how, in the '70s and '80s, coastal DJs in Colombian sound systems became heavily into contemporary African soukous, highlife, and Afrobeat records which they used to rock block parties and influence countless musicians across the nation. (Sound familiar? Seems like the USA's playing a heavy bit of catch-up here!) These musicians and bandleaders took those Afro-jams and infused their ingredients with the sounds of their native dance music, creating fiery hybrids that quite simply KICK. The light float of the soukous guitar sound, the skittering percussion, and the funk bounce of Afro-influence all mingle with the ritual chorus chants, tumbling congas, and the folkloric fanfare of the horns from Colombia; these tracks are so stunning, though, because beyond the pleasing collusion of styles, they are infused with modernist production techniques and a HEAVY dancefloor bounce. Some of these tracks could easily match wits with the likes of Arthur Russell or Lee "Scratch" Perry in a battle of dubby, throbbing, jazzy dance weirdos, with dub accents everywhere, and tweaked and freaked vocals chanting and strutting across the tunes with assured attitude and a total lack of self-consciousness. There are some straight-up WEIRD sounds bubbling up from the base of these tunes, from crying babies and some dude quacking like Donald Duck (Abelardo Carbona's "La Negra Kulende") to chopped and screwed choruses (La Tromba's "Calaba Calabao," which sounds like a great lost Yello track); it's totally surprising and utterly amazing, and they only add to the quality of the already strong tunes on this set. This tops my list of the best releases Soundway has issued thus far alongside their exemplary Tumbele! collection from last year, and anyone who needs more than the average jam these days will find MUCH to love here. This one will doubtless be topping my best of the year list -- it's entirely unique, entirely funky, and entirely recommended. Hot damn! [IQ] Order CD by Texting "omcdvariouspalenque" to 767825

		$9.99 CD   VARIOUS ARTISTS Let's a Go-Go! Singapore & Southeast Asian Pop Scene 1964-69 (Silver Tortoise) "Lonely Heart" Rita Chao "Sudi Sudi Kah Dikau" Ismail Haron & the Guys Another week, another compilation of Southeast Asian bands jamming your favorite British and American musical tropes. This comp is ostensibly focused on Singapore, but features groups from Indonesia and Malaysia as well -- countries globally embracing enough to be infected by the British invasion and its imported records. Many of the tracks here are in a very Cliff Richard / Shadows style (not dissimilar to the Shadow Music of Thailand collection released by Sublime Frequencies), and there are also lots of cute mod/go-go type tracks for your next wig-themed party. You'll find more than one Nancy Sinatra cover here, as well as a truly kitschy instrumental version of "Wooly Bully" by Charlie and his Go-Go Boys, not to mention a tense-confused "Then I Kiss Her" by Lotus Liew. The more successful tracks on the comp lean into slightly more Asian territory (if you can imagine anything "slightly more Asian" than a band called Charlie and his Go-Go Boys), such as "The Second Spring" by Hai Fei, a groovy cut accented by pentatonic lick trading on a flute and heavy tremolo guitar. Some of the songs could even pass for lost British mod sides; "Just Because" by the Dee-Tees in particular is just a sublime slice of scorned-love garage pop. M. Ishak Dengan Five-55''s "Oh! Salina" may be the highlight of the record, with its otherworldly Theremin-ized organ, clippy rock guitar and crooning vocals streaming in from the back seat. There are at least two separate records on this comp -- one is a great playlist for your Palm Springs vintage hat and furniture emporium, and the other is soundtrack fodder your film student period piece about rainy nights in Asian motels with rice whiskey and reflected neon. It's not high art, but it is a lot of fun. [SG] Order CD by Texting "omcdvariouslets" to 767825

		$13.99 CD $19.99 LP+MP3   BLITZEN TRAPPER Destroyer of the Void (Sub Pop) "Destroyer of the Void" "Dragon's Song" The opening title track of Blitzen Trapper's new record, Destroyer of the Void, would not sound out of place on the Jesus Christ Superstar soundtrack. (If you think this is a bad thing, then you are clearly not aware of just how awesome that soundtrack is -- theatrical and larger than life, no doubt, but those were great songs performed by classic rock's greatest session musicians.) I mention the JCS soundtrack because despite Blitzen Trapper's alt-country roots, with the release of Furr it was clear that the Portland, Oregon group was edging away from their more delicate, dusty beginnings. In a word, BT did the same thing their alt-country cousins Wilco did -- they got sophisticated, sort of. What for Wilco was a move towards Jim O'Rourke and Nels Cline guitar freak-outs, for Blitzen Trapper was a move towards a kind of backwoods theatricality, a melodrama that called for big choruses with big lyrics about "redemption," "salvation" and "ruin." Just check out "Heaven and Earth," a piano and strings ballad carried by singer Erik Earley's croaky croon, or "Laughing Lover" with its turn-on-a-dime changes in structure and vibe that sound like different pieces of a patchwork medley. The BT boys do get country every now and again, as on the sweet fingerpicked love song "The Tree," while "Lover Leave Me Drowning" sounds like an outtake from the White Album. What's best about Destroyer of the Void is that while the band is unwilling to confine themselves to one style, how fantastically and organically each song seems to bloom into something else. [MS] Order CD by Texting "omcdblitzendestroyer" to 767825 Order LP by Texting "omlpblitzendestroyer" to 767825

		$17.99 CD $6.99 MP3   JEFF EUBANK A Street Called Straight (Riverman / Yoga) "Feels Like Me" "Kamikaze Pilot" Finally available on CD! A Street Called Straight is the true definition of a "lost album." The sole output of Kansas City native Jeff Eubank, this platter of light-rock AM gold was recorded for the most part in the early '80s after Eubank spent a disheartening stint as an L.A. session guitarist. He managed to take some of the hazy west coast sunshine vibes back home with him, but before the record could see proper release, an unexpected pregnancy and resultant health complications for his wife put a 25-year hold on any rock and roll dreams. Pretty dark back story, but strangely fitting to the naive pop sounds made right before things got kinda bleak. The songs here are leaning less toward isolated basement genius vibes and much more like the smalltown kid too good-natured to actually make it, though he's every bit as talented as anything out there. Glorious saccharine harmonies and lush acoustic arrangements, always one toke under the line for stoner folk but one level of production short of radio schmaltz. An intensely satisfying and intimate listen, swooping from one territory to the next abruptly. The album starts in some Fred Neil via Al Stewart space and by the end is dabbling with melancholic subtly synthy psych-folk that could serve as some weird missing link between David Crosby's solo work and the Bobb Trimble records. [FT] Order CD by Texting "omcdjeffstreet" to 767825

		$13.99 CD $9.99 MP3   LIGHT POLLUTION Apparitions (Carpark) "Oh Ivory!" "All Night Outside" A solid album debut from Chicago's Light Pollution, tracks like "Oh Ivory" inevitably evoke the Beach Boys, and not filtered through Animal Collective either. "Good Feelings" could be the Doves without the big budget recording, and there are shoegaze and trippier psych explorations too. But Apparitions holds together -- lo-fi, baroque, hook-filled and heartfelt. Order CD by Texting "omcdlightapparition" to 767825

		$13.99 CD $14.99 LP+MP3 $9.99 MP3   RATATAT LP4 (XL) "We Can't Be Stopped" "Sunblocks" Give the fact that Ratatat's latest offering was recorded during the same sessions that produced 2008's LP3, LP4 isn't more of the same. No, the duo hasn't abandoned their multi-tracked guitar leads, Baroque synths and signature rhythms, but they fleshed it all out with lots of new sounds and some surprising twists; here we find Japanese strings, harpsichord, mandolin and unexpected global influences popping up in the beats and melodies. Order CD by Texting "omcdratatatlp4" to 767825 Order LP by Texting "omlpratatatlp4" to 767825

		$8.99 CD $4.99 MP3   BLK JKS Zol! (Secretly Canadian) Preview Songs on Other Music's Download Store Just in time for their June 10th performance at the World Cup kick-off celebration in Soweto (not only sharing the stage with Tinariwen and Amadou & Mariam, but also Alicia Keys, Shakira and Black Eyed Peas -- you know who we'll be rooting for), South Africa's BLK JKS release this great EP filled with their swirling psychedelic rock, as well as the celebratory title track, a soccer chant of their very own. Order CD by Texting "omcdblkzol" to 767825

		$13.99 CD $9.99 MP3   VILLAGERS Becoming a Jackal (Domino) "Becoming a Jackal" "Twenty-Seven Strangers" Already a hit in his native Ireland, the debut album from one-man village Conor J. O'Brien is a meticulous and dramatic set of orchestrated pop, full of dark allegories, love and loss, and it is truly a remarkable record. Deeply evocative songwriting, great playing and arrangements, and much more. Order CD by Texting "omcdvillagersbecoming" to 767825

		$17.99 CD   VARIOUS ARTISTS Clicks & Cuts Volume 5 (Mille Plateaux) "Repeatedly (Video Edit)" Ametsub "Sweaty Palms" Klive The Mille Plateaux imprint was once the clear innovator in glitchy electronic weirdness, but the label folded years ago when their distributor went under, and needless to say, times have changed. Still, it's nice to see the imprint return (with a new owner), and a new volume in this incredibly influential series is always welcome. This one focuses on newer artists, and thus there are lots of unfamiliar names. It's also one of the more melodic collections the brand has offered, but most of the established signposts are still here, and overall it is a solid return. Order CD by Texting "omcdvariousclicks5" to 767825

		$33.99 CDx3   THE CURE Disintegraion - Deluxe Edition (Atlantic) Finally, this much-delayed 3CD deluxe reissue of the Cure's 1989 classic. Disc one is a nicely remastered version of the album. Disc two features 20 home and studio demos from '88 and '89, plus b-sides and three previously unreleased songs. Disc three is an expanded version of the Entreat live album recorded at Wembley Arena in '89, remixed and with a ton of bonus material, including every song from Disintegration, in sequence. Order CD by Texting "omcdcuredisintegration" to 767825

		$12.99 CD $13.99 LP 180 Gram   DEER TICK Black Dirt Sessions (Partisan) "Mange" "Hand in My Hand" Depending on your mood, Deer Tick's mellow take on alt-country twang is either comforting, heartfelt and homey, or perhaps a bit stale. The young band's third full-length focuses more on piano-driven roots numbers, with a spare, open sound that shies away from their raucous live presentation. And while it breaks no new ground, there are more than a few memorable moments, and should please the fans. Order CD by Texting "omcddeerblack" to 767825 Order LP by Texting "omlpdeerblack" to 767825

		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 [MC] Michael Crumsho [SG] Simon Gabriel [DG] Daniel Givens [DH] Duane Harriott [IQ] Mikey IQ Jones [JK] Jacob Kaplan [AK] Andreas Knutsen [MM] Marc Moeller [SM] Scott Mou [AS] Andrew Siskind [MS] Michael Stasiak [FT] Fred Thomas [JT] John Twells [PW] Phil Waldorf THANKS FOR READING - all of us at Other Music

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