The Other Music Update

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	May 12, 2010

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THE NATIONAL| HIGH VIOLET| ANNEX
With the release of the National's stellar new album, the doors to the High Violet Annex opened last night with Blonde Redhead connecting the dots between Betty Davis and Neu! during their fabulous DJ set, and the celebrating continued this evening with a slew of performances from the likes of Zachary Cale, Helado Negro, Julianna Barwick, Talk Normal and Martha Wainwright, to name a few. There are still three evenings to go with lots more surprises, not to mention ticket give-aways each night to the National's performance at BAM this Saturday. Speaking of...we'll offer up two pairs right here, and to enter, just email contest@othermusic.com. We'll notify the two lucky winners via email tomorrow (Thursday) afternoon.

HIGH VIOLET ANNEX HOURS
THURSDAY, MAY 13 - ? (7PM-9PM)
FRIDAY, MAY 14 - ? (8PM-10PM)
SATURDAY, MAY 15 - ? (6PM SHARP!!)

13 East 4th Street (next to Other Music) NYC

WIN A $50 STORE CREDIT WITH PURCHASE
Starting on May 11, there will be 1 copy of the National's new album High Violet that has been randomly inserted with a Violet Ticket at our store. If you're the lucky one who picks up that 1 copy, you get $50 store credit. Come and get it!!! (Both mail order and in-store customers are eligible.)


	FEATURED NEW RELEASES The National Kenny Graham & His Satellites Effi Briest Phosphorescent The Dead Weather Indignant Senility Plays Wagner Dial 2010 (Various) Sweet Talks Omar Souleyman Thee Oh Sees Family Band Roska Junior Murvin The Fall		Milt Matthews Inc. Little Brother ALSO AVAILABLE CocoRosie UNKLE Gayngs Fela Kuti Holy Fuck Document (Spectral Sounds comp.) Rusko BACK IN PRINT Bobby Konders Follow us on Twitter: http://twitter.com/othermusic

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WIN TICKETS TO THE BUNKER
The next two installments of the Bunker are not to be missed for electronic music fans and Other Music has a pair of tickets to give away to each night. This Friday, May 14, Raster Noton's Byetone and Aoki Takamsa will both be performing live sets in the back room, along with live performances from Carlos Giffoni (No Fun, Hospital, Important), David Last (Konque, The Agriculture), Alexander Kaline (Konque, alka_rex) plus an opening DJ set from Spinoza (The Bunker, Beyond) and live video from Joshue Ott (Anticipate, Superdraw, Thicket). The following Friday, May 21st, the party will be launching their Berghain and Panorama Bar residency at the Bunker, a quarterly which will be bringing over residents from these two legendary Berlin clubs. The series will be kicking off that night with a live set from Tobias (Ostgut Ton, Wagon Repair, nsi.) in the back room and Prosumer (Ostgut Ton, Panorama Bar, Playhouse, Hardwax) in the front room, along with residents Derek Plaslaiko, Spinoza, and Eric Cloutier. To enter for a pair of tickets, email giveaway@othermusic.com and list the date of the night you'd like to attend. We'll notify a winner this Friday and next.

FRIDAY, MAY 14 & FRIDAY, MAY 21
PUBLIC ASSEMBLY: 70 N. 6th Street Williamsburg, BKLN

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WIN TICKETS: ANTHOLOGY FILM ARCHIVES HONORS KENNETH ANGER
Special Live Event: "Return to the Pleasure Dome," a benefit concert event for Anthology Film Archives with a Life Achievement Honor for Kenneth Anger. Featuring a super rare performance from Technicolor Skull (Kenneth Anger and Brian Butler) plus Lou Reed, Sonic Youth, the Virgins, a special guest DJ set from Moby, and more. Other Music has one pair of passes to give away to this very special night!!! Enter by emailing tickets@othermusic.com and we'll notify the winner on Monday, May 17.

WEDNESDAY, MAY 19
HIRO BALLROOM: 371 West 16 Street NYC

Mezzanine Tickets are $99, available at ticketweb.com.
Tables start at $500 per person and include table service and membership to Anthology Film Archives, email 40years@anthologyfilmarchives.org

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IMOGEN HEAP TICKET GIVE AWAY
On Tuesday, May 25, Imogen Heap will be performing in New York City at the Hammerstein Ballroom in support of her third solo full-length, Ellipse. Other Music has one pair of tickets to see this ethereal, electro-pop songstress (and former member of Frou Frou), whose live shows are always captivating. To enter, email enter@othermusic.com and we'll notify the winner on Monday, May 17.

TUESDAY, MAY 25
HAMMERSTEIN BALLROOM: 311 West 34th Street NYC
Advance Tickets Available Here


			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.


	$12.99 CD (Deluxe Edition) $18.99 LPx2 +MP3 $9.99 MP3		THE NATIONAL High Violet (4AD) "Sorrow" "Bloodbuzz Ohio" If there is a secret to the National's wide appeal, it is all in the fine details of their meticulously crafted songs. Ten years into their career, the band has released their best, and what is sure to be their biggest album yet -- despite long odds they continue to grow in popularity, critical acclaim and raw achievement. On paper, the music of this Brooklyn quintet is sure to under whelm; over the course of five albums, the group has become known for a slow moving, almost dreary sort of melancholy built around vaguely Americana-infused orchestrated pop. An unassuming band making soft-spoken music about everyday folks and everyday problems, who nonetheless have risen head and shoulders above the rest and clearly have struck a chord in popular culture. Are pretty songs and nice suits really enough? If you deliver them with this much style and restraint, the answer is unequivocally yes. Many years of relentless touring, in bigger and bigger rooms, have surely helped the National hone their songcraft to a razor-sharp edge. Matt Berninger's woozy baritone will always be at the center of this band's songs, and his lyrics and delivery are at their dark and beautiful best on High Violet, an uncoiling ball of confusion and regrets, rich with imagery of everyman loves and losses viewed through a foggy gray lens. But it is the instrumental sound here that delivers such a powerful wallop. The National have made their most restrained, and yet also their most lush production. From flutes to French horns to full string orchestration, these songs are surely embellished, but the band delivers with such restraint; it is as if the tracks were built piece by piece by a small army of lovelorn drones. You never hear a ride cymbal or a drum fill, but instead the songs are driven by the pure power of a kick drum and snare played with devastating precision. You never hear a strummed guitar or a swirling solo, but instead these songs are elevated by simple single note leads dropped in and then removed with military-like accuracy. The National took a page or two from U2's playbook, creating massive music from the most simple elements, delivering drama and emotion from what is left out as much as what is included. High Violet is the ultimate distillation of the sound this band has been working towards for the last decade, and as such it's hard to imagine where they can go next. But nobody is worrying about that now, as we ride the purple power and prose of High Violet. [JM] Order CD by Texting "omcdnationalhigh" to 767825 Order LP by Texting "omlpnationalhigh" to 767825


	$15.99 CD $9.99 MP3		KENNY GRAHAM AND HIS SATELLITES Moondog and His Suncat Suites (Trunk) "Chant" "Tropical Sun" Trunk Records issues what is, in my opinion, one of their best releases yet with this set of 1957 recordings by Kenny Graham. Moondog and Suncat Suites sees the UK jazzman arranging and performing ten of infamous NYC composer Moondog's works with a crack team of British musicians, among them Phil Seamen, Danny Moss, and Stan Tracey, among others. And as if that weren't enough, the record was engineered by none other than the mighty Joe Meek! Graham takes Moondog's music and manages to emphasize the otherworldly harmonies and slow-breathing, pulsating rhythms via ethereal vocal arrangements, spacey vibraphone, flutes, and loads of reverberating percussion, with the results coming off sounding similar to what Sun Ra was doing on records like Angels & Demons at Play, The Nubians of Plutonia, or Cosmic Tones for Mental Therapy, not to mention the work of space-age exotica pioneers like Les Baxter, Esquivel, and Martin Denny. Meek's touch is all over this record, and it's fantastic to hear all of these masters of sonic alchemy coming together on such a rock solid, gorgeous album. The record ends with an additional six pieces written by Graham, called the "Suncat Suite;" these pieces move more into an overt jazz sound, but with none of the spacious, rhythmic otherworldliness removed. This is, without question, one of the most stunning reissues of the year in any genre, and Trunk deserve top marks for exposing this music to the wider audience it originally deserved. Moondog, Joe Meek, and the heavyweights of UK jazz!? Records like this really aren't supposed to exist in the mortal world, so don't sleep. Order CD by Texting "omcdkennymoondog" to 767825


	$11.99 CD $14.99 LP $9.99 MP3		EFFI BRIEST Rhizomes (Sacred Bones) Preview Songs on Other Music's Download Store Sacred Bones brings us Effi Briest's anticipated debut full-length, Rhizomes. This six-woman Brooklyn band explores the similar Middle Eastern post-punk, Afro-psychedelic sound that we hear in contemporaries like Gang Gang Dance, Celebration and Zola Jesus, but they make it their own, adding the mesmerizing qualities of Opal, the tribal looseness of the Slits, and even some Kaleidoscope-era Sixousie. Thankfully, however, they don't solely embody the spirit of post-punk girl-groups; Effi Briest also touch upon the glistening art-dub of Bauhaus and Tones on Tail ("Cousins") and the more mysterious moments of mid-period Fall ("Mirror Rim"). This is a band that can be ghostly and ethereal one moment and then shift into a tribal gallop the next while consistently keeping the sound down to earth. David Tolomei's production of the album should be noted, especially considering their earlier 7"s lack of -- whether climbing through a serpentine haze or riding some dark, dubby rhythms, every song's sonic layers are perfectly framed in space and color. Though D.I.Y. in aesthetic, the band's strengths are well defined this go-round, making Rhizomes one of the best releases from Sacred Bones yet. Available in limited vinyl and CD, both featuring cover art by Tauba Auerbach. Recommended! [JMi] Order CD by Texting "omcdeffirhizomes" to 767825 Order LP by Texting "omlpeffirhizomes" to 767825


	$13.99 CD $15.99 LP+MP3 $9.99 MP3		PHOSPHORESCENT Here's to Taking It Easy (Dead Oceans) "It's Hard to Be Humble (When You're from Alabama)" "Tell Me Baby" If you've been paying attention to Matthew Houck and his Phosphorescent releases over the past few years, enjoying the hazy, lazy Pride, essentially a solo album from 2007 that won Houck praise and comparisons to folk-Americana artists of all eras and stripes, or the much-heralded 2009 album of outlaw-period Willie Nelson covers that Houck recorded with his touring band in tow, you probably have been aware of the temperature rising and expectations flying around the release of the group's new record. Sometimes there is just a feeling in the air that an artist's time is coming, and Here's to Taking It Easy, despite the title, marks the arrival of a musician who has been knocking around for closing in on a decade, but is clearly launching a new, and much higher-profile, stage of his career. Debut single and album-opener "It's Hard to Be Humble (When You're from Alabama)" warms up with the gentle atmospherics of a pedal-steel and electric piano reminiscent of the musings of Houck's albums past, but within moments a crashing hi-hat count brings in the punch of a tight honky-tonk horn section, and it's clear this Phosphorescent is something new. Houck's shaky, haunting whiskey-and-cigarettes voice is the same, but his songs have deepened and swelled with newfound emotion and pathos. He carries it with a confident strut and swagger that is nonetheless utterly embracing, and his band delivers a thrilling country/R&B swing that -- no exaggeration -- can hold its own with classic cuts from Jim Ford, the Stones and Neil Young. Many tracks rock and many have a lazy lope not too far removed from Phosphorescent's older sound, but with warmly layered piano, steel guitar, acoustic and whatever else fits over the gentle sway of the rhythm section, there is a lush and timeless sound here that is irresistible. Houck's subject matter is fairly standard pop fare -- love, lust and failed relationships are the norm, when 'Bama pride is on the backburner, but his imagery is as moving as is his raw voice and powerful band. Forever stuck in my head is the broken marriage of "Mermaid Parade," as Houck tries to forget his failures in the annual bacchanalia on Coney Island. His simple story is as richly-layered as is his band's production -- in a few words he conveys the passion of love and commitment, and then two years of marriage simply slipping away, taking responsibility and not, reveling in the beautiful painted women in the parade, and wanting his ex there with him to see it all too. It is a complicated and convincing portrait of life that is too rare in pop. "I know all about your new man, your new older, old man, and I heard that he's married. Oh, you be careful Amanda. // Yeah, I found a new friend too, and yeah she's pretty and small, goddamnit Amanda, oh god damn all. // I wound up walking, by the ocean today, there were naked women dancing, in the Mermaid Parade. Oh Amanda, did you see me today, watching those women dance, in the Mermaid Parade. And oh, Amanda, were you with me today, watching those women waltz by, in the Mermaid Parade." [JM] Order CD by Texting "omcdphosphorescentheres" to 767825 Order LP by Texting "omlpphosphorescentheres" to 767825


	$17.99 CD		THE DEAD WEATHER Sea of Cowards (Warner Bros) "Blue Blood Blues" "The Difference Between Us" I could be bitter and grouse about how no one cared when Royal Trux made this album 15 years ago, or I could turn the page and be thankful that at least we're blessed with one of the highest-profile enablers in modern rock memory, willing to hoist the blues on his back like Atlas for the greater benefit of the species. Say what you may about Jack White, but people in his position of power have used it for far worse evils than spreading the devil's music and its myriad spawn over the globe. As much as things have changed in the decade since the first White Stripes album appeared, many elements of White's trademark sound remain firmly in place. The man's made no secret of his ongoing infatuation with classic rock, and every new iteration of the White sound seems to shine a light on some new crevice of his record collection. Never one to shy away from a sleazy riff, the Dead Weather has proven to be an exceptional vehicle for showcasing the boogie side of life, taking the psych-blues bump of Muddy Waters' "Electric Mud" and revving-it up for the muscle-car circuit. The newfound foil of Alison Mossheart does even more this time around to conjure the ghost of Sweet Sixteen-era Royal Trux. The story goes that the Trux were attempting to create a deconstructed tribute to '70s rock with their second (and last) record for a major label. One assumes that what A&R had in mind upon hearing this pitch was something far closer to Sea of Cowards than, uh, the most un-commercial major label record of the '90s. Far from sounding like a concession to popular taste though, this album plays like the '70s filtered through the lens of semi-reasonable people. Of course, the Zeppelin and Sabbath references still run wild, but I'm hearing some Vanilla Fudge, Mountain, and even a little Groundhogs creeping into the picture. It's not an easy task to take inherently ugly things and make them attractive to the masses without sacrificing the visceral, raw power of the grotesque. But that's exactly what Jack White has made a career of, and continues to advance with the Dead Weather. Now someone go give Jon Spencer a thumbs-up on Facebook, because the blues are still #1. [JTr] Order CD by Texting "omcddeadsea" to 767825


	$15.99 CD		INDIGNANT SENILITY Plays Wagner (Type) Untitled 3 Untitled 9 Originally issued as a very limited self-released cassette, Indignant Senility Plays Wagner is a grand introduction to the world of Oregon's Pat Maherr. This CD version compiles most of the content included on Type's two volume LP set of this material, and is indexed into 11 tracks, but the program works perfectly listened to as a whole. Maherr expertly manipulates recordings of Wagner pieces, slowing the audio down so that the end result is a thick, soupy fog. The intentional tape hiss adds a ghostly distance, as if the sounds are being dreamed. Although the results have much in common with so-called "hauntological" artists, such as the Caretaker, William Basinski and the roster of the Ghost Box label, Maherr's approach is more personal. His use of overdrive is particularly singular. There were several noisy moments on my vinyl LPs when I actually thought the record was faulty, but with this CD release I can report that the blown out, distorted peaks are intentional. Given Maherr's background as a noise artist, this is not surprising. The choices he makes when reworking his source material certainly do not come across as arbitrary. Like an adept sculptor, one of Maherr's strengths is his ability to strip away and create negative space. Rather than including overt orchestral passages, he reduces the music to ominous clusters of ambiance, thus creating a work far-removed from its source. With Indignant Senility Plays Wagner, Maherr proves that re-contextualizing can be as strong a personal statement as traditional composing. [MM] Order CD by Texting "omcdindignantplays" to 767825


	$15.99 CD		VARIOUS ARTISTS Dial 2010 (Dial) "Lines" John Roberts "New Heaven & Earth" Christian Najouks How many labels -- particularly electronic labels -- still sound fresh, young and vital after 10 years? Not many, but Dial does, and it's obvious to all who have been paying attention that they are just hitting their stride. And they have accomplished this without compromising quality, accepting any un-warranted hype or making any crossover hits or major business moves. All of the cornerstones of the label have one or more classic full-length album under their belt. And while the label has released some polarizing vocal albums that either stun or confuse the listener, depending on who you talk to, no Dial artist has jumped on any major trend bandwagon and flopped. The stuff just sounds fresh, hopeful, melancholic, natural and beautiful. So now that the label has helped usher in the ultra deep, stripped-down emotive house sound we enjoy today, they put out a compilation that pushes into an even deeper, even more stripped down, but still heartfelt, new territory. Each of the expected star pupils contributes a brand new killer track. In order, John Roberts, Efdemin, Lawrence, Isolee, Pigon, Pantha du Prince and Carsten Jost all deliver excellent cuts. New guys Kassian Troyer and Rndm also come out blazing with really great tracks that stand confidently alongside the masters. It is such a joy to hear a major anniversary label comp that doesn't simply rest on the laurels of their past releases, and instead shows a label that is pushing boundaries alongside its artists. This is all fresh and forward-thinking music that really demonstrates the Dial ethos of keeping it honest, solid and from the heart. At first I wondered if they had taken things too far, but I soon realized that I was missing the point. This stuff just moves with the subtlest amount of melody to keep it aloft; it's both more minimal and more 'funky' than previous Dial releases. Unexpected, but we all know not to expect the obvious from these guys. I'm so happy to report that this one is indeed a winner. They had me at Dial 00, they have me today, and I'm already thinking about Dial 2020. Thank you Dial! Essential release! [SM] Order CD by Texting "omcdvarious2010" to 767825


	$15.99 CD		SWEET TALKS Kusum Beat (Soundway) "Mampamsukure" "Sasabonsamm" Soundway is back with yet another superb vintage Afro jam. While most of the time the label's turning us on to some extremely rare, needle-in-the-haystack gem, Sweet Talks were huge stars in their native Ghana and big enough to have a budget to fly to the states and occasionally record in American studios. Featuring popular vocalist Ab Crentsil and veteran guitarist Smart Nkansah, the band was considered to be a bit of a super-group. Sweet Talks was actually the brainchild of Jonathan Abraham, the manager of Talk of the Town, a popular hotel in the port town of Tema, located just outside of Accra, Ghana's capital city. Taking advantage of the vibrant nightlife scene, Abraham assembled Sweet Talks as a house band for the hotel and the group almost instantly amassed a huge following; by the time they recorded this album they were a well-oiled machine. Sweet Talks had a keen ear for arrangement and on these tracks you can hear them pull from disparate sources like Tower of Power-style brass, and James Brown-styled "funky drummer" breaks and vocal grunts; you can even hear a bit of boogaloo in the brass soloing. Songs like "Oburumankoma" shimmer with vibrant highlife guitar lines and sweet vocal harmonies, but it's undercut by some frenetic, Latin-influenced drumming probably inspired by the Jimmy Castor Bunch records that were popular in the West African clubs during the mid-'70s. I can't even begin to tell you how disgustingly good this is! [DH] Order CD by Texting "omcdsweetkusum" to 767825


	$15.99 CD		OMAR SOULEYMAN Jazeera Nights (Sublime Frequencies) "Hot Il Khanjar Bi Gleibi (Stab My Heart)" "Eih Min Elemkom (From the Day That I Told You)" When Central Park's Summerstage recently announced the first US appearance of Syrian pop star Omar Souleyman (along with OM favorite Tinariwen), it felt like a massive victory for the folks at Sublime Frequencies and their vision of what gets lumped in as "world music." Until that June date arrives, we can spend some quality time with Souleyman's third collection of music to be released by the label from decades of cassettes recorded in the Syrian Arab Republic. Furious Syrian dabke, Iraqi choubi and all other sorts of Mideastern styles are thrown together on Jazeera Nights, with Souleyman's gruff and iconoclastic vocal bark and needling, mesmerizing keyboards holding it all together. Recommended. [AB] Order CD by Texting "omcdomarjazeera" to 767825


	$13.99 CD $13.99 LP		THEE OH SEES Warm Slime (In the Red) "Flash Bats" "Castiatic Tackle" Yet more '60s inspired folky/jangly stomp from Thee Oh Sees, the ground zero band for the Bay Area noise pop resurgence. Warm Slime was recorded live, and the dynamics of that concept give these songs the enormity of the vacant warehouses nobody seems to occupy in New York City, expansive and clear. John Dwyer and co. pogo around like the Dickies on "I Was Denied," reach toward the horizon on the 13-minute title track, and laze like the boss on tax refund day through "Flash Bats," money pouring out of its overstuffed pockets. Sic Alps' Mike Donovan co-stars. You loved the earlier stuff, so get on board! [DM] Order CD by Texting "omcdohwarm" to 767825 Order LP by Texting "omlpohwarm" to 767825


	$15.99 LP		FAMILY BAND Miller Path (Self-Released) "Hatred" "Fantasy" Sometimes it all starts to feel a little too easy. As effective as the internet hype-machine has become in generating band buzz, it's beginning to feel like a long walk through Chinatown: everybody trying to sell you the same Gucci knockoffs and ninja slippers out of a different closet. With a little luck you may stumble upon something pretty incredible, but it will never beat that hot tip from a friend whose uncle's pot dealer used to know a guy who lived above the fifth oldest basement on Canal St. where these two blind twin brothers who looked like gargoyles used to make the most mental Klaus Kinski door knockers out of whalebone and volcanic ash. Look, all I'm saying is there's still something to be said for old-world word-of-mouthism, OK?! Because when a weird tip pays off, it's so much more rewarding than winning on a sure thing. I mean, who knows what could have happened in that basement -- you could have emerged as a volcanic ash bust -- of yourself! In some ways, Family Band are the ultimate payoff for venturing down the stairs into that shady dungeon -- the difference between coming back from your vacation with a tote full of Trump dashboard bobbleheads or finding that one-of-a-kind artifact that only a sage local could point you toward. One of the inherent qualities which make Family Band a great local (Brooklyn) band is the fact that they don't really sound like a Brookyn band, at least in terms of what's happening in the indie underground of the moment. This may partially owe to the fact that their debut album was largely written, rehearsed, and recorded in a cabin in upstate New York, away from the manic bustle and omnipresent white noise that seems to insinuate itself into so much of the music that emerges from the city. You can feel the lazy gait of an afternoon stroll down mountain roads in the sparse, slowly unfolding country-folk that lies at the foundation of these songs. But for all its life-affirming beauty, nature has a dark side -- one which unsettles these songs with an American Gothic dread that squarely removes them from any kind of alt-country comfort zone. While Kim Krans' voice will inevitably draw comparisons to Chan Marshall or Neko Case, it's a more understated, if just as powerful an instrument. The band have used the term "heavy mellow" to describe their sound -- and the guitar riffs have just enough metal residue to lend an appropriately ethereal, slightly menacing vibe to proceedings, recalling nothing less than Hex-era Earth at times. But even more than this, the thing that I keep coming back to when trying to describe this music is Louisville, and the unique music scene that flourished there during the early to mid '90s. Tara Jane O'Neil, Rodan, the Sonora Pine, Rachel's, and of course Dave Pajo's indelible stamp on guitarists of that decade with Slint and his own Aerial M and Pajo projects. This band is going down in the dungeon and digging up the foundation to cover themselves in the dirt of influences that have lain dormant for too long. Gorgeous, homespun sounds for strange times. Take a tip from a weirdo and get down there to see what's going on. [JTr] Order LP by Texting "omlpfamilymillers" to 767825


	$17.99 CD		ROSKA Rinse Presents Roska (Rinse) "Love 2 Nite" "Hey Cutie" A mainstay on the UK funky scene, Roska, has been exploring a poppy, song-oriented version of that burgeoning danceloor genre for a few years now. UK funky is the latest British mutation of house, blending the rapid and rolling groove from 2-step, the steady 4/4 pulse of tech-house, and many of the sonic characteristics of dubstep. Similar to El-B and Geeneus, Roska's tracks are vibrant and percolating -- snappy rhythms with a radio friendly party vibe. That vibe, perfect for a big room dance party or fashion runway show, is both the main strength and the main weakness of the album; this is a series of great singles (perhaps more than a thought-out album), each clocking in a six to nine minutes apiece, with minimal changes from track to track -- it can start a party, but it can get a little taxing through a full-length album. That said, when Roska aims for top of the pops on cuts like "Wonderful Day" or "Love 2 Nite," featuring the soulful vocals of Jamie George, his songs contain an exciting crossover appeal. Roska constructs tight and spacious tracks using minimal sounds, usually kick, snare, synth chord/melodies, vocal snippets and not much else. These songs long to be mixed, maybe Rinse should have offered Roska the next volume of their mix series rather than an album. Roska has skills and a potentially wide appeal, in search of the right context, and has delivered a collection of solid, enjoyable tracks, if not a game-changing album. [DG] Order CD by Texting "omcdroskarinse" to 767825


	$31.99 CDx2		JUNIOR MURVIN Police and Thieves - Deluxe Edition (Universal/Island) "Childhood Sweetheart" "Roots Train (Extended Mix)" Yeah, people, this is what I'm talking about!! Island delivers another stellar deluxe edition with their 2CD reissue of Junior Murvin's classic reggae album Police and Thieves. Produced in 1976 by the infamous Lee "Scratch" Perry during his heyday at the Black Ark Studio, its title track covered by the likes of the Clash (and more recently by Get Back Guinozzi), this record has gone down in the annals of music history as one of those "bucket list" albums -- one you need to hear at least once before you kick it. A mix of enlightened Rasta/roots philosophy, heady sociopolitical commentary, tough rockers rhythms, and Perry's black (ark) magic behind the boards, Police and Thieves sees Murvin and Perry taking reggae to new heights, applying soul, studio ingenuity, and most importantly, classic, catchy tunes to what ended up becoming one of the most damn-near perfect records ever made in the genre. Murvin's velvety falsetto sounds better than ever here, and the re-mastering job ekes impressive detail out of Perry's thick production haze; the effects swirl around his voice and the performances of the band like thick smoke, the horns sound off in the distance like foghorns on a rough ocean, and the rhythms click, pop, bounce, and skank with more muscle that ever before, while still retaining the lightness of touch that made all of Perry's Black Ark work so mesmerizing. This reissue does not skimp on bonus cuts; the extra material here is almost overwhelming. CD1 fleshes out the album proper with dubs, while CD2 compiles all of the singles, DJ and alternate versions, extended mixes, outtakes, and even some wild radio commercials for the album, making for some serious listening. Most, but not all, of the bonus material has been issued elsewhere over the years, but it's wonderful to have it all in one place, and I'd imagine that none but the most hardcore collector will have heard all of these versions/mixes/etc. The booklet is overflowing with photos, clippings, and great liners that tell the story of Murvin's career and the making of the album, not to mention the origin of many of the alternate/bonus cuts offered. What else is there to say? If you've never heard this album, you need to remedy the situation ASAP because let's face it, you could get hit by a city bus tomorrow and then where would you be? If you've loved this album as much as I have over the years, there is plenty on offer here for splendid rediscovery. The album has appeal beyond the standard reggae audience, influencing punks, Rastas, funkateers, experimentalists, and soul crooners all the same. This is the way all of these deluxe reissue editions should be treated, with care, respect, and devoted attention to detail. Highest possible recommendation! Get on the roots train! [IQ] Order CD by Texting "omcdjuniorpolice" to 767825


	$13.99 CD $9.99 MP3		THE FALL Your Future Our Clutter (Domino) "Bury pts. 1+3" "Funnel of Love" Most Fall reviews that you'll see -- at least the ones written to encourage you to buy their new album, so that their releases can take up a 12"x12" chunk of your record collection, or top out 15 GB of digital storage -- usually run with the premise that this is "the new Fall" and it's "better than the last one." While such hype can be somewhat disarming, for any other band you'd expect it to be little more than hype, it leaving a bad taste in your mouth, leftovers from the marriage of art and commerce. Yet Mark E. Smith, his bride Elena Poulou, and still another group of chipper young people hammer out the band's 28th full-length studio album (that figure includes 1980's Slates 10" EP, but excludes the two dozen live albums and singles collections the band has amassed in its 34 years of activity), and it's the most vital the group has sounded in the past decade. Mind you, the last ten years of Fall activity was nothing to take lightly; his peers are beginning to vacate the planet, and Smith soldiers on in abject spite, making some of the best music of his career. Your Future Our Clutter somehow manages to top third-decade bangers like Country on the Click and Fall Heads Roll with great songs (no Nissan commercials in sight here), a renewed burst of energy ("Slippy Floor" reminds me of "The Container Drivers" except a wee bit faster and more manic), well-planned production and a track order that doesn't shortchange the album altogether. These songs all hover in the five-to-six-minute range for the most part, and they'll make you snap into confrontation mode: Smith and gang have words for the current generation, and those with minds of their own would do well to listen. Likely a top 10 album for the year, Your Future Our Clutter defies all logic of what we know about bands and longevity, and offers a brief moment of relevance and pride for the original class of '77 punks. [DM] Order CD by Texting "omcdfallyour" to 767825


	$14.99 CD		MILT MATTHEWS INC. For the People (Fatastic Voyage) "Hard Day's Night" "Presence of the Lord" An incredible psych/soul/funk crossover album by Milt Matthews from 1971. Matthews has lungs comparable to Otis and he obviously aimed pretty high with this album, attempting to make it big, as evidenced by the inclusion of "Hard Day's Night." But before you cringe, Matthews' take on the song is killer (and I have a really low tolerance for the Beatles) and adds a heavy dose of funk and blazing fuzz guitar. Elsewhere, there's "Disaster Area," a superb Psychedelic Shack-inspired extended psych soul workout and "That's the Way I Feel," a burnin' hot love song with more of that scorching fuzz courtesy of Hendrix disciple Randall Burney. Impressively, these are both Milt Matthews originals. Another highlight is a gritty version of BB King's "The Thrill Is Gone," turning it into a deep, rootsy Southern soul number. All in all, a top shelf album, and a must for anyone into Hendrix, Otis Redding, Black Merda, Sly Stone, Demon Fuzz, Loading Zone, Funkadelic, etc! [AK] Order CD by Texting "omcdmiltfor" to 767825


	$15.99 CD		LITTLE BROTHER Left Back (Hall of Justus) "Revenge" "What We Are" The brilliant 2002 debut from this Durham, NC-based crew, The Listening, was one of the many small independent pebbles that produced a nice ripple effect within the hip-hop community. 9th Wonder's rich, melodic, unabashedly sampled and textured beats were built on the established "true-skool" sound foundation created by producers such as Pete Rock, ATCQ, Beatminers, Buckwild and DJ Premier -- a sound that by '02 had been all but abandoned in most modern hip-hop. Phonte Coleman and Rapper Big Pooh's lyrical subjects eschewed hedonism and addressed real life adult issues such as the struggles of raising a family and maintaining relationships, without sounding preachy and whiny. In essence, their music was a breath of fresh air and they immediately gained a small yet strong cult of followers worldwide, which begat collabos with Jay-Z, Erykah Badu and Lil Wayne, as well as a major contract with Atlantic. Fast-forward seven years and three albums later -- Little Brother are the 2010 poster boys for the bittersweet taste of indie hip-hop success. The sweet: Phonte Coleman and Rapper Big Pooh have garnered some success with other projects (Foreign Exchange, Away Team) and 9th Wonder is an acclaimed producer skirting with the mainstream. The Bitter: an indifferent major label poorly promoting an incredible sophomore release and an icy split with third member 9th Wonder. After all of this, Phonte and Pooh have unfortunately decided to call it quits on acrimonious terms and Left Back is a fitting epithet for this underrated crew. On many of these tracks the duo pointedly address their reasons for why they chose to break up. It may seem a bit self-indulgent, but in essence Phonte's transparency could actually serve as a great analogy of the midlife crisis currently going on in hip-hop: "We need LB to come save the rap game//but truthfully I don't think it needs savin//I think I got a wife and son that needs raisin’//21-years old I needed to slang verses//But 10 years later//I'm not the same person." Even though 9th Wonder isn't here, the lush, boom-bap sound is still preserved and the album boasts strong production from 9th Wonder protégé Krysis, Foreign Exchange member Zo, and Denaun Porter. So while LB has decided to hang up the mic cord once and for all, it's a fitting closing chapter to a group that stuck to their guns and resurrected a sound and attitude in hip-hop that was in danger of fading away. Respect!! [DH] Order CD by Texting "omcdlittleleftback" to 767825


	$13.99 CD $16.99 LP+MP3		COCOROSIE Grey Oceans (Sub Pop) "Smokey Taboo" "R.I.P. Burn Face" Filtering blues, soul, hip-hop and cabaret through a dreamy, 4-track cloud of tape hiss, CocoRosie proved to be the freakiest of the freak folkers with their 2004 debut, La Maison de Mon Reve. And while New Weird America certainly faded from the headlines in the years that followed, the music that the Casady sisters have been crafting since continues to be, well, still weird, and their MO hasn't really changed much other than more studio polish and pronounced beats. With a new home on Sub Pop and the band welcoming accomplished, Paris-based pianist Gael Rakotondrabe into their fold, one could guess that CocoRosie's fourth album might be a more traditional move to the center, but au contraire. Aside from a little jazz tinkling from Rakotondrabe, this is the group's most visceral, indescribable outing yet, and that's saying a lot. Order CD by Texting "omcdcocogrey" to 767825 Order LP by Texting "omlpcocogrey" to 767825


	$11.99 CD		UNKLE Where Did the the Night Fall (Surrender All) "Natural Selection" "Caged Bird" UNKLE is one of electronic music's most intriguing acts, British producer Jamie Lavelle and his ever-changing cast of creative partners and guest vocalists blazing new trails with every new record, each release certain to attract plenty of new fans while alienating a number of older ones. Where Did the Night Fall is no different in that regard, here the current duo of Lavelle and Pablo Clements (of the Psychonauts) adding a psychedelic sheen to their beat science, and bringing in guests like Celebration's Katrina Ford, grunge godfather Mark Lanegan, Sleep Sun, Black Angels, as well as returning collaborators Gavin Clark and Autolux. Though this album will by no means eclipse the acclaim of 1998's Psyence Fiction, this is certainly UNKLE's best and most original outing since. Order CD by Texting "omcdunklewhere" to 767825


	$14.99 CD $9.99 MP3		GAYNGS Relayted (Jagjaguwar) Preview Songs on Other Music's Download Store The brainchild of producer Ryan Olson, who had initially enlisted the help of Solid Gold's Zack Coulter and Adam Hurlburt, Gayngs was reportedly to be a bedroom project inspired by 10cc's "I'm Not in Love," and soon grew to a cast of 25 contributors including members of Megafaun, the Rosebuds, Rhymesayers and Bon Iver's Justin Vernon. What results is a gorgeous album of narcotic pop that takes cues from '70s soft rock, blue-eyed soul and hip-hop, and is bound to be one of this year's sleeper hits. Recommended. Order CD by Texting "omcdgayngsrelayted" to 767825


			FELA KUTI Reissues (Knitting Factory) Knitting Factory Records continues their excellent Fela reissue series, with seven more CDs featuring a total of 14 albums that capture the King of Afrobeat and Africa '70 in their prime. Each album is $14.99, just click on the title to add to your shopping cart, or text your order: Alagbon Close (1974)/Why Black Man Dey Suffer (1971) Order CD by Texting "omcdfelaalgabon" to 767825 Expensive Shit (1975)/He Miss Road (1975) Order CD by Texting "omcdfelaexpensive" to 767825 Everything Scatter (1975) /Noise For Vendor Mouth/ (1975) Order CD by Texting "omcdfelaeverything" to 767825 Monkey Banana (1975)/Excuse O (1975) Order CD by Texting "omcdfelamonkey" to 767825 Ikoyi Blindness (1976)/Kalakuta Show (1976) Order CD by Texting "omcdfelaikoyi" to 767825 Yellow Fever (1976)/Na Poi (1976) Order CD by Texting "omcdfelayellow" to 767825 J.J.D. (Johnny Just Drop) (1977)/Unnecessary Begging (1976) Order CD by Texting "omcdfelajohnny" to 767825


	$13.99 CD $14.99 LP+MP3 $9.99 MP3		HOLY FUCK Latin (Young Turks) "Stay Lit" "Stilettos" Holy Fuck's third full-length finds this one-time duo now drafting their touring rhythm section as full-time members and recording their first album as a quartet. This new version of the band is indeed new and improved, with the live drums and bass ensuring that the group's noisy and often spastic fusion of synths and dance beats is all the more heavy and heady. (CD includes Ghost EP.) Order CD by Texting "omcdholylatin" to 767825 Order LP by Texting "omlpholylatin" to 767825


	$15.99 CD $9.99 MP3		VARIOUS ARTISTS Document (Spectral Sound) Preview Songs on Other Music's Download Store Spectral Sound celebrates its almost decade-long existence as Ghostly International's dark, dancefloor-oriented sister label with this great compilation that features the imprint's old guard (Audion, Hieroglyphic Being, James T. Cotton) mingling with young bloods like Kate Simko, Seth Troxler and Lee Curtiss, not to mention staples like Lawrence and Bodycode. In the words of label cofounder Matthew Dear, "body music for the mind." Order CD by Texting "omcdvariousdocument" to 767825


	$13.99 CD		RUSKO O.M.G. (Mad Decent) After a ton of remixes and singles, Rusko finally delivers his debut full-length, and delivers on much of his hype as well. Rusko's version of dubstep is pretty slick and full of swagger -- check out the Gucci Mane cameo on "Got Dat Groove," or the pop-house influence on the Dirty Projector's Amber Coffman vehicle "Hold On." But Rusko does not need high-profile pop stars to move those bodies, and the album is a solid floor filler from start to finish. Order CD by Texting "omcdruskoomg" to 767825


	$17.99 CD		BOBBY KONDERS A Lost Erra in NYC: 1987 to 1992 (International DJ Gigolos) "Nervous Acid" Bobby Konders "Slackness and Sax" Massive Sounds Bobby Konders is primarily known for his dancehall productions and radio show, a staple on New York's Hot 97 for years. But back in '87 he, Timmy Regisford and Victor Rosado were purveyors of a new deep house scene in NYC. This was before Giuliani's gentrified New York, so this music reflects the city of days gone by -- dark "after-after hours" grooves that were meant to suspend time instead of speeding it along. This was house music made to roll a spliff to, not do a bump to. The parties that Konders and co. would throw generally started after 2 a.m. and went until... The sound was less strident than their Detroit counterparts, slower in tempo and less busy than their Chicago counterparts. The basslines you felt more than heard, the keyboard lines were simple minor key chords held for whole notes. If there were any vocals, they were righteous, conscious spoken word pieces, or eerie, subdued freeform vocals. This music definitely defined a time and place that NYC may never see again, but the influence of this music is still heard in the deep reverberations and the cascades of 303 acid lines of Vladislav Delay and dubsteppers like Zomby and Kode9, as well as the releases heard on the Kompakt label. The minimal lo-key funk of Massive Sounds has also found a new home in the grooves of Motor City Drum Ensemble and Trus' Me records. If you are a fan of any of the aforementioned artists, please pick this up. This is one of the places it all started and I urge you to investigate. [DH] Order CD by Texting "omcdbobbylost" 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 [DG] Daniel Givens [DH] Duane Harriott [IQ] Mikey IQ Jones [AK] Andreas Knutsen [JM] Josh Madell [JMi] Jason Milner [MM] Marc Moeller [DM] Doug Mosurock [SM] Scott Mou [JTr] Jonathan Treneff THANKS FOR READING - all of us at Other Music

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