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   November 18, 2010  
Jim Sullivan
Hayvanlar Alemi
Eleven Tigers
Funf (Various)
Gary War
Dom Thomas (Synthetic Soul Mix)
Soft Circle
Apparat (DJ Kicks)
Dr. Boogie Presents: Wasa Wasa (Various)
The Soft Boys
Artificial Peace
Matthew Friedberger (LP Subscription)
Baby, How Can It Be? (Various)
Rev. Johnny L. Jones
Cee Lo Green
Bruce Springsteen (The Promise)

All of this week's new arrivals.
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NOV Sun 14 Mon 15 Tues 16 Wed 17 Thurs 18 Fri 19 Sat 20

Ben Klock

This Friday, the Bunker crew brings another taste of Berlin to New York, welcoming none other than Berghain resident Ben Klock (who’ll be playing a 5-hour set!!!) and the North American debut appearance of nd_baumecker, who’s been residing at the Panorama Bar since 2004. And of course, Bunker residents Spinoza and Eric Cloutier will also be spinning. This will probably be one of their biggest parties of the year, in other words, don’t miss this night! We’ve got two pair of tickets to give away, so email enter@othermusic.com and we’ll notify the two winners on Friday morning.

PUBLIC ASSEMBLY (BOTH ROOMS): 70 North 6th Street Williamsburg, Bkln
NOV Sun 14 Mon 15 Tues 16 Wed 17 Thurs 18 Fri 19 Sat 20

This Saturday, PopRally is hosting a special evening featuring a live performance from legendary post-punk group the Raincoats in conjunction with a pair of MoMa exhibitions, Pictures by Women: A History of Modern Photography and Counter Space: Design and the Modern Kitchen. (Both exhibitions are associated with MoMA's publication Modern Women: Women Artists at the Museum of Modern Art.) Kathleen Hanna will kick things off with a DJ set at 8:30PM during which time you can also enjoy an exclusive exhibition viewing and open bar, with a live set from the Raincoats to follow at 10PM. We're giving away three pairs of tickets to this very special night. To enter, email giveaway@othermusic.com, and we'll notify the three winners on Friday.

MOMA: 11 West 53 Street NYC
$23 Advance Tickets available on-line / $25 at Door

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

"Symphony No. 15 Running Through the World Like an Open Razor (Music for Strange Orchestra)" may be Glenn Branca's most entertaining. From softly undulating washes of sound to rich changing neo-harmony to resonant fields of acoustic phenomena to roaring musical brutalism and even to parody, this symphony is a tour de force on the razor's edge of 21st century new music. In this performance Branca will be conducting an ensemble of 12 musicians playing more than 100 varying instruments, both acoustic and electric, many built, altered or prepared specifically for this production. Other Music is giving away two pairs of tickets to the premiere performance, which takes place this Sunday at (Le) Poisson Rouge. To enter, email tickets@othermusic.com, and we'll notify the two winners on Friday.

(LE) POISSON ROUGE: 158 Bleecker Street NYC




    Many of our customers have been enjoying the ease of texting their orders with their mobile phone. To take advantage of this option with 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.






$9.99 MP3


(Light in the Attic)


Okay, first things first. This is not the same fella as "Big" Jim Sullivan, who was a British session musician also known as Lord Sitar and who's responsible for some of the world's most wicked licks on such classic albums as Gainsbourg's Histoire De Melody Nelson, the Walker Bros' Nite Flights, and a little ditty known as "The James Bond Theme." No, this is a record made by a Los Angeles singer/songwriter and guitarist who quite literally became lost in the peripherals of the Hollywood machine. As detailed in this reissue's excellent, detailed liner notes, in 1975 Sullivan was en route to Nashville to begin work as a session musician but he never completed the trip; his car, wallet and guitar were discovered un-tampered in New Mexico, and to this day no other trace of Sullivan has ever been found. Rumors and conspiracies developed; one such theory explaining his disappearance was his abduction by a U.F.O., and this debut album was perhaps the main piece of evidence fueling that particular fire. A privately pressed Frankensteined beast of Sunset Strip folk and psychedelic orchestral funk, U.F.O. finally sees the widespread reissue it deserves courtesy Light in the Attic -- it was actually reissued once before in a drastically remixed form not long after its initial release, but that version also vanished rather quickly.

The music on U.F.O. is extraordinary. Sullivan, backed by LA's famous Wrecking Crew of session giants, ably combines the sort of troubadour bluesy folk of artists like Gene Clark, Gram Parsons, or Fred Neil circa Everybody's Talkin', but backed by the dark, sparse chamber funk of David Axelrod. Imagine Rotary Connection covering "Wichita Lineman" and you're on the right track. Sullivan's in good voice, and his lyrics ache with the desolate tones of a man who knows he's a loner, but who is grasping for a tenderness which is just at the tips of his calloused fingers. He eerily foreshadows his own fate in so many of the album's songs that it gives the record a retrospective heaviness that is impossible to ignore. It's one of those LPs that really does sound like it should have been much, much bigger than the short shrift it was dealt, and if you dig the likes of Tim Buckley, the Burrito Brothers, or Terry Callier -- preferably all at the same time -- you need to hear this ASAP. I don't fall prey to the private press diamond in the rough trap very often, but this is the real deal. It deserves your full attention, and as the autumn days turn gray and the colors on the landscape start to fade, it's just you and Jim as he beams his beautiful blues down from some faraway star. Give the man some of the love he deserved way back when. He'll pay you back with interest. [IQ]

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Other Music loves Light in the Attic, and Light in the Attic loves us back! The label just featured us as their Record Store of the Week, and you can read their interview with OM's Josh Madell on the Light in the Attic website.







Guarana Superpower
(Sublime Frequencies)

The first release on Sublime Frequencies by a European (Eurasian?) outfit comes from Turkey's Hayvanlar Alemi. Hailing from the ancient city of Ankara, about ten hours away from Istanbul, the music of this two-piece band is not exactly what you'd expect from the hyper-traditional/uncannily wasted dynamic that Sublime Frequencies releases usually bring. If "improvisational ethnic surf-psychedelia" sounds like something you'd be into, you've probably enjoyed Torch of the Mystics-era Sun City Girls. Chances are the two members of Hayvanlar Alemi have as well. Which is not to say that this is a derivative record, as it picks up on a lot of the same things the Bishops have honed in on throughout their tenure, including molam from Thailand, West African guitar band music, and the swaying textures of late-period Can or Neu!, while creating something distinctly their own.

Their name means Animal Kingdom in Turkish, and there's something apt about it, as there is unceasing wonder in the particular hybrid sounds created here, almost like watching an animal discover its surroundings. This is not totally unchartered musical territory, but there are plenty of anomalies to arouse and maintain interest, and there is a lot of merit to the fact that this is foreign music very much of the present, music that stands on its own without the necessity of novelty or a sense of exotic. This is, of course, also due to the fact it is completely instrumental, allowing the songs to cascade freely without being specifically defined through language. Consistently fantastic, Guarana Superpower is an intriguing album from only halfway across the world, a treasure and testament to the confluence and influence born of cyclical paths of musical travel. It's a true grower, full of the endearing spirit and freedom of "rock" and a great gift from Sublime Frequencies. Not to mention that it includes a version of the "Lambada" that could get parties started in at least six continents. Sorry, Antarctica. [SG]

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Clouds Are Mountains
(Soul Motive)


The debut full-length from London-based Jokubas Dargis, a/k/a Eleven Tigers, is a surprisingly solid blend of shoegaze haze, ambient washes, rolling IDM rhythm patterns, warm synths, low-end bass, and the occasional ghostly vocal snippet, all blended together under the dubstep umbrella. It's a full-bodied listening experience, and Clouds Are Mountains plays out like a solid DJ mix more than an album of separate tracks and ideas. As you might gather from the title, there are high peaks, low cavernous valleys, and billowing fog.

Within the fourteen tracks gathered here, produced between 2006 and 2008, ET creates a swirling world of sounds and beats with a constant flow, moving effortlessly around dubstep, drum-n-bass, and textural atmospherics, sometimes all within the same song. From the first track, "Open Mirror," ET sets the pace at about 130 bpm, and maintains that steady stride, only letting the beat drop out, or slow down, in order to bring in new elements with the use of extended cross fades bridging the parts. Tough beats without the adrenaline-filled rave approach, Eleven Tiger's rhythms skip, spring, slide and spin into place, with lots of room to breathe. Actually the sense of flow, use of accents, and overall stride is great throughout, and the record is extremely listenable as Dargis has a keen sense for crafting tracks that move the feet yet also tickle the eardrums. Finally, a dubstep full-length with no weak moments, I honestly can't think of an album in the genre that has engaged and intrigued me so much since maybe the years of Burial's reign. A late entry in a full year of new beats and rhythms, and one that reminds me of what can be wonderful about the genre, Clouds Are Mountains has a guaranteed place in my top ten of '10. [DG]

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$21.99 LPx2


Not Music
(Drag City)

"Supah Jaianto"
"Leleklato Sugar"

If you've kept your eye on Stereolab the past several years, you might be surprised to see a new album hitting the shelves in 2010. After more than fifteen years as one of the definitive groops (sic) of the indie era, literally redefining the sound palette of modern music (you might be surprised at how much respect this band gets amongst modern R&B producers), and various well-publicized personal tragedies, the band went on indefinite hiatus after the release of 2008's Chemical Chords. Well, nothing much has changed for Gane, Sadier and Company, but they are indeed back with a new album. Not Music is made up of tracks recorded during the extended sessions that produced Chemical Chords -- but while it's not exactly a proper new studio album, it is far from an outtakes album, and it holds up to the band's meticulous standards.

Obviously the sound of the album has much in common with its predecessor (including two extended remixes of tracks from CC by Atlas Sound and Emperor Machine), and it explores the taut pop sounds of the 'Lab's late-period sound, most songs coming in under 4 minutes, and delivering propulsive grooves layered with warm and lush analog soundscapes and Sadier's cool and focused vocals. If you're looking for a career-capping coda from Stereolab, this probably is not it, but if you love their music as much as we do, and were crestfallen to hear the band was making music no more, this might be just what the doctor ordered. It's a solid and enjoyable album from one of the best. [JM]

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$9.99 MP3


(Ostgut Ton)

"My Room" Steffi
"Cooling Room" Emika

This two-disc, 24-track compilation celebrating the five-year anniversary of Berlin uber-club Berghain/Panoramabar couldn't have come at a better time, or in better style. Each track features a Berghain/Ost Gut resident or artist creating a track out of the various sounds of the club during its after hours while the space was vacant, in a field recording style. All these sounds were 'collected' by Berghain friend and Ninja Tune artist Emika, inspired by a John Cage-like experience in the empty club on a Sunday morning. And what could have been a barely there, horribly pretentious anti-techno record actually turned out to be one of the consistently great techno compilations of 2010.

Sure, there is a mind-boggling quantity of bass kicks made from thumping one of the club's aluminum heating/cooling ducts, but any limitations set out by the concept are quickly made irrelevant by the residents' abilities to construct some of the best tracks yet from this stellar label. The trademark depth and sophisticated 'hardness' is here, particularly on the first disc. "Gestalts" by Substance shows the Chain Reaction producer working outside his usual parameters, making a beautifully brutal track that pummels softly with a surprising, almost industrial beat pattern. And as expected there are great cuts from Dettman and Shed, particularly the latter's "Boom Room." The first half of this collection really seems to be about primetime tracks that can slam with a bit of authority while still being texturally special and full of effective dynamics and shifts. There are many long, focused builds that drop or change suddenly, showing a lot of love and intimate rapport between the producers/DJs and their audience of dedicated regulars.

Disc-two is no less forceful or edgy but, as implied by the appearance of Tama Sumo, Murat, Soundstream, Ben Klock, Norman Nodge and Cassy, you can also guess that this one is on the deeper side. There are lots of great tracks from the expected favorites, and there are some surprises as well; Luke Slater's "Boom Tang Shwuck" is not nearly as relentless as his back-catalogue, but it is definitely a floor-killer. Soundstream's "Wenn Meine Mutti Wusste" also stands out, showing the producer retaining his total disco hedonism, but without relying on the retro samples he's become known for. All in all this is definitely one of the top compilations of the year -- unique sounds, fantastic tracks, and if you really love modern techno, a great listen from beginning to end. (I am considering the $85 vinyl box set myself.) With the integrity and dedication of this crew I only hope for ten years more! Absolutely recommended. [SM]

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$12.99 LP


$5.99 MP3


Police Water EP
(Sacred Bones)

"Grounds for Termination"

Emerging from the dazzling and hazy psychedelic mushroom cloud that was last year's Horribles Parade, Brooklyn's Gary War delivers their new Police Water EP, a surprisingly synth-heavy, miniature space odyssey. Eschewing the hissing, noisy flourishes that characterized the recording style of the outfit's previous releases, Police Water finds frontman Greg Dalton delving into cleaner, outsider pop territory, with the band trading its new-wave, messy psych-pop for a more other-worldly, electronic realm. The use of tight, synthesized sequencing and steady, rhythmic programming has forced Dalton to create music that is more rooted in structure, yet no less exploratory and interesting. With layers and layers of heavy electronics, the effects-laden vocals are still partially obscured into a murky, cyber ground. It's the urgent, mechanistic drumbeats and stratified keyboard arpeggios on tracks like "Born of Light" and "Off Your Heard" that are captivating; the music manages to wash over you, hinting at '70s and '80s prog rock without sounded dated. It's virtual and futuristic, but also modern, hooky and beat-oriented, and it still somehow embodies a punk aesthetic. Imagine Bladerunner in the 21st century. (Is there a buzz word for this genre yet? Space-house? Witch-wave?) By constantly toeing the line between accessibility and experimentation (and usually winning out), Gary War's music has evolved into something more than the stylized exercises in lo-fi bedroom pop of his previous peers. Note: the CD and MP3 versions includes two bonus tracks, "Reality Protest" and "Hollow Futures," previously only available as a 7". [PG]

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$23.99 LPx2


Synthetic Soul and Other Junk

Track 4
Track 18

Finders Keepers/B-Music co-founder Dom Thomas returns with the third installment of his Brutal Music series, a wild mix of re-edits, loops, and plunderphonic beat collage that blurs the lines between DJ mix and musique concrete composition. After the Miscellaneous Mutant Mishaps (Vol 1 in the series) and Exploding Disco Inevitable (Vol 2), this one is titled Synthetic Soul and Other Junk, and that's a pretty good overview of the modus on display here. Lots of oscillator-fueled funk, some kitchen-sink Krautrock, a bit of international psychedelia, and a hearty dose of new wave/post-punk era disco (not disco) get cut up and reconfigured into this mix (not mix), making for one of the most eclectic yet focused sonic journeys of recent memory. Parts of this remind me at times of the Broadcast & Focus Group album from last year, but superimposed with a steady, solid four-on-the-floor pulse that the Ghost Boxers often lack; at other times I'm reminded of recent likeminded beatsmiths like Gaslamp Killer and his work with Gonjasufi. I only recognize a scant handful of fragments of this shit, and coming from a dork like myself who has spent too many years of his life seeking out similar sounds in dirty-ass LP boxes, that's pretty impressive. If you've followed the Finders/B-Music breadcrumb trail before, you know the sort of treat you're in for. If you're new to their scene and your curiosity's been piqued by anything I've said here, dive in wholeheartedly -- this volume's a bit more focused and streamlined than the previous two, and it's all the better for it. Throw this one on as you wave your freak flag; it's a killer. [IQ]

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$14.99 LP+MP3


$9.99 MP3


Shore Obsessed

"First Time"
"Light Bright"

Early Lightning Bolt/Black Dice alum and collaborator and coordinator of Boredoms' epic Boadrum events, Hisham Bharoocha has been a fixture in the experimental-rock community for quite some time, not to mention his parallel life as an acclaimed visual artist. His main musical pursuit of the past few years, however, has been Soft Circle, which up until recently was a one-man-show, with Bharoocha building heady soundscapes out of looped electronics and his circular, tribal drumming. Multi-instrumentalist Ben Vida (ex-Town and Country, current Birdshow/Singer) joined the fold in 2009 and since then the two have been turning Soft Circle into a more song-oriented venture, one that is fully revealed on this project's second full-length, Shore Obsessed. The shimmering groove of album opener "First Time" has far more in common with a DFA production than the noisy RISD scene from which Bharoocha came from -- no surprise really, as he also drums for avant-disco trio Pixeltan. But the duo weaves a rich tapestry of sound using a minimalist's box of tools, as intricate layers of synths, samples and guitars are formed from repetitive musical patterns, guiding Bharoocha's simple yet intimate refrain of "Hey lover, hold my hand." Yes, it's a love song but it's also deep. Throughout the record, Bharoocha's vocals hang like mantras over the exotic, trance-inducing romps, whether moving through the minimal space-funk of "Treading Water" (with Metallic Falcons' Matteah Baim duetting with Hisham) to the Afro-tinged "Light Bright" to the percussive "Nerve of People," which marches through eerie sweeps of primitive synthesizers and seems to mimic techno as if birthed in a gray, communist-era sweatshop. Shore Obsessed is Bharoocha's most accessible, danceable outing to date, yet he and Vida keep the performances loose and live-feeling on tape, ensuring that Soft Circle's adventurous spirit is still intact -- disco not disco indeed. [GH]

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$21.99 LPx2


DJ Kicks

"Circles" Apparat
"The Madness of Moths" Vincent Markowski

BPitch artist, collaborator in Moderat and, yep, I'm gonna say it, Ellen Allien's boyfriend has come correct with a new mix of impeccably chosen melodic, dreamy-sweet techno tracks that bring the romance. There's always a sense of personal drama and lovey-dovey-ness in Ellen Allien's better mix CDs, and there's always a small section that, you know, kinda just gets in there and touches the heart in a natural un-forced way. Maybe it's kind of melancholic, maybe it's kind of sweet, but the songs are good and it just works. Well, with this mix, I am tempted to think that maybe Apparat is Ellen's muse in more ways than one; this selection is full of the genuinely heartfelt, dreamy stuff that makes for a great, intimate, thoughtful headphone listen, but still has enough force to be a dance mix. It's just that the force isn't necessarily reliant on the bpm or heaviness of the bass. There's a really excellent selection and variety throughout: some Oval cuts I've never heard before and now need, Martyn's "Miniluv," the killer Autechre remix of Scorn's "Falling," Pantha Du Prince, T++, and some choice Apparat tracks. Great stuff eighty-percent of the way through (despite the obligatory Thom Yorke track), for fans of Triple R's Friends mix, the Popular Songs mix CD from the Modernist, and particularly M. Mayer's more recent Immer 3 mix, but this one is even better! [SM]

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Dr. Boogie Presents Wasa Wasa: Fabulous Rhythm 'n' Blues Shakers on the Dancefloor! 1952-1968
(Sub Rosa)

"You Told Me" Willie West
"A Mellow Mood" Floyd Morris

This Belgium DJ and blues historian serves up his fifth compilation, Wasa Wasa, which highlights 26 little heard American rhythm-n-blues cuts that would help form the foundation of modern rock-n-roll music. Almost all of Dr. Boogie's previous collections focused on the fertile, electric boogie-woogie stomp sounds of the post-WWII era, circa late '40s and early '50s, but this time around he widens the scope a bit, including lots of tunes that wouldn't be outta place on a Keb Darge comp from the past. As the title suggests, these are rugged-n-raw cuts that'll tear the roof off many a juke joint. Highlights are aplenty, but I would certainly file the unhinged switchblade rumble of Johnny Jones & the King Casuals' "It's Gonna Be Good" and the Lil Richard-styled boogie-woogie madness of "My Testament" from Belgian-born(!) Big Brown and the Gamblers under the "must hear" category. You can call this music primitive, raw, sweaty and slightly dangerous, but it's never nuthin' less than a good time. Recommended! [DH]

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CD+Bonus MP3s


$13.99 CD+Bonus MP3s


A Can of Bees
(Yep Roc)

Underwater Moonlight
(Yep Roc)

Yes!! After languishing out of print for far too many years, the Soft Boys' first two albums are back on the racks for a new generation of miscreants to embrace. Formed in Cambridge, England during the start of the punk era, the Soft Boys took punk's bile-soaked gob-in-the-face attitude, applied it to frontman Robyn Hitchcock's more cerebral, surrealistic songwriting, and combined it with a lean angularity that could only have been birthed in punk's wake.

Their debut, A Can of Bees, is tense, taut and jagged in all the right places, similar to early Magazine if someone had given Howard Devoto a bit of blotter behind the scenes. They blend the cubist blues fracture of the almighty Beefheart with a barbed wire duel-guitar attack reminiscent of Television, some odd vocal harmonies, and a pinch of irreverent Englishness that makes for one of the most unique debuts in punk history. Songs like "The Pigworker," "Leppo and the Jooves" and the classic "Sandra's Having Her Brain Out" still seethe with bile and wink with mischief, and these newly remastered versions sound fantastic. This version includes the original track list from the first vinyl pressing on CD, with an additional nine bonus cuts available by way of a download code. My only gripe here is that I wish the single version of "I Wanna Be an Anglepoise Lamp" would have been included.

It's the follow-up, Underwater Moonlight, though, that really takes the cake for me. Opening with the classic "I Wanna Destroy You," one of the catchiest, most tuneful punk rave-ups ever recorded, the album as a whole takes the template established on Can of Bees and perfects it, adding a heftier dose of Syd Barrett's lyrical and melodic hallucination to the jagged proceedings. (The band would even go on to release a cover of Barrett's "Vegetable Man" as a b-side to the excellent "Kingdom of Love" single, included in the bonus material.) The tempos slow down a tad, and the interplay between the guitars is given more emphasis, the similarities to Television coming through a bit stronger here. This was an album that, like the first Velvets album, was heard by few, but those who did hear it went on to extol its virtues via their own bands' recordings and interviews, to the point where there was a time when more people had probably heard OF the Soft Boys rather than had actually HEARD them proper. Quite simply, Underwater Moonlight is near flawless, a hint to the jaded masses that psychedelia could adapt and take on a new set of clothing but still retain its core mind-bending ideals. Its songs are innovative square pegs trying to squeeze through elliptical holes, and this reissue comes with downloadable bonus material that totals a whopping thirty extra tunes, featuring all of the material previously available on Matador's excellent but now-deleted 2CD/3LP reissue from a decade ago, including demos, single A- and B-sides, live tracks, as well as a handful of additional cuts never before heard. This is one of my all time faves, a record that most music fans should hear at least once before they die.

Both records are long overdue for reissue, and as I mentioned before, they're both overflowing with extra material. These remasters sound great, and all of the original artwork has been restored as well. Three cheers to Yep Rock for these -- they're absolutely essential listening. [IQ]

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$11.99 LP


$9.99 MP3


Complete Session, November '81

"Suburban Wasteland"
"Wild Thing"

Like a good portion of the first wave of Washington D.C. hardcore bands, Artificial Peace's time as a group was incredibly short, but they did have three tracks on the legendary Flex Your Head compilation which ensured that their songs and name would live on as a part of one of the best documents of a hardcore scene ever. Those three songs kick off this album and are definitely the standout tracks, but then again those tunes are positively etched into my brain, as I must have worn out several cassette copies of Flex Your Head on my Walkman as a teen, so the deck is a bit stacked against the rest of the record.

I'm happy to say, however, that (most of) the other material isn't far behind. There are a few moments of pure teenage folly where they can't resist copping a Van Halen riff or their ludicrous take on "Wild Thing," which is a fun listen, once, but it does provide a glimpse as to where most of these kids came from and also showcases how much better they were when they kept things shorter, tighter and faster. As a teen, "Outside Looking In" was like a transcription of my daily thoughts with its misfit mantra, and now they've done it again -- stealing my thoughts -- with the lyrics to "D.J." ("You're a stupid D.J. All you play is shit. No one even listens, no one even cares"). What can I say, this is the stuff that is important to me.

Overall, there is still more than enough great tracks here you haven't heard before that would have filled out a 7" EP quite nicely, and had they done so at the time (Artificial Peace also later released a split single on the Fountain of Youth label that has always been one of the scarcer early DC hardcore artifacts, but those songs are not included here) I'm sure it would be topping the three figure mark like the rest of Dischord's early records. Dischord has always been great about documenting their scene and this release, as well as most of the other great archival releases and re-mastered re-releases, are all well worth your time and money. [DMa]

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In-Store Pickup


$84.99 LP
Mail order - Includes S&H


Solos - 8LP Subscription
(Thrill Jockey)

Fans of the Fiery Furnaces have gotten used to an embarrassment of riches when it comes to the band's output -- let's just say that the Friedberger's are prolific. But Matthew Friedberger's plans for 2011 might give even Madlib pause (well, maybe not him); along with myriad other projects, Friedberger is planning a six-part LP series, in full graphic sleeves, one delivered every two months, each focusing on a different instrument, with the final chapter being delivered with two exclusive bonus LPs (and a tip-on box for the set) of Friedberger collaborating with special guests.

The first release, shipping in January and entitled Napoleonette, features Matthew on piano and voice. The second, due in March, features guitar. The rest is still a mystery, but the pressings are limited to 700 for the world, there will be very limited supplies to retail beyond this original pre-order, and the bonus LPs and box are strictly limited to pre-order customers. The bottom line is, if you want this set, you should place your order now. If you are a NYC-area customer, you can save a bundle on shipping by opting to pick your LPs up here when we notify you of their arrival, or we can ship them to you anywhere in the US for an additional charge of $25, which will cover S&H for the whole series. You go, Matthew!






Baby, How Can It Be?

Three discs full of Songs of Love, Lust and Contempt from the 1920s and 1930s, drawn from the 78 collection of John Heneghan, with liner notes from Nick Tosches and illustrations from R. Crumb. With a pedigree like that, need we say more? Beautiful, magical stuff. Full review next week.

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The Hurricane That Hit Atlanta

"Walk with Me"
"I Promised the Lord That I Would Hold Out"

Johnny Jones was born in rural Alabama in 1936, and as a young boy he found his calling playing piano and singing in church. At 21 he moved to Atlanta to make his name, and has been preaching his own brand of fiery gospel in churches and on his own radio ministry ever since. He released several albums in the '60s and '70s, but the tracks on this lovingly compiled two-disc set are culled from reel after reel of private tapes from sermons and radio shows throughout the Reverend's long history. Some are spare, some are rocking, but all are raw, intense gospel for a world that needs saving. Full review next week.

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Lady Killer

"Bright Lights Bigger City"

Cee Lo Green has delivered on the promise of the unforgettable "Fuck You" single that has been tearing up the web the last couple of months with a solid, soulful album of modern R&B. Cee Lo owes a lot to the classic sounds of Philly International, Motown and Stax, but he doesn't try to ape the past as much as honor it. There are elements of electro, modern pop and hip-hop production popping up here and there, but in the end this is really about Green's amazing voice, solid songwriting and soul-drenched delivery. It's some of the best stuff he has done in a long and storied career, and these tracks are here to stay.

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$126.99 CDx3/BLU-RAYx3


The Promise


The Promise: The Darkness on the Edge of Town Story

This epic set is conceived as a tribute to and a workbook from the making of Springsteen's classic Darkness on the Edge of Town. Though not his commercial or critical blockbuster, it's one of his best, an essential album that saw Springsteen coming of age as a songwriter and lyricist. Along with the original album remastered, you get two discs of tracks that never made it on the record, some radically altered versions of songs you know, many beautiful stand-alone classics that could easily be included on a proper Springsteen studio album, but simply not quite fitting with the stark, haunted image that Bruce was spinning of himself and his music at that point. And three DVDs (or three Blu-ray discs), one vintage and one recent live set, and an insightful and interesting documentary about the making of the record by Tom Zimny. All in all there are 70 songs and hours of footage, and though we are slow to champion these extravagant reissues, if you love Darkness, you might need this one. (Also available: Two-CD set featuring the 21 unreleased tracks from the Darkness recording sessions.)

Order 3CD/3DVD by Texting "omdvdbrucepromise" to 767825
Order 3CD/3Blu Ray by Texting "omblubrucepromise" to 767825
Order Promise CD by Texting "omcdbrucepromise" to 767825
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