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   December 8, 2011  
       
   

 

THE LAST MAIL-ORDER UPDATE OF 2011
Another year has flown by and with only a few weeks left in 2011, this will indeed be our last mail-order Update until January of 2012. That said, there is a lot of great music that we wanted to cover so we've crammed a lot in for this week's edition, including new releases that were just getting unboxed only a few hours ago, like the Andy Stott double CD featuring his two 12" EPs from earlier this year, as well as a special note from legendary 4AD founder Ivo Watts-Russell about the exquisite This Mortal Coil box set. Next week we'll be sending out our Annual Holiday Gift Guide and the week after our Top 25 Picks for 2011, and we'll also squeeze in one more Downloads of the Week newsletter before the year's end. But for the rest of December, check Other Music's website homepages and our Facebook and Twitter feeds, where we'll be announcing noteworthy new release arrivals.


OTHER MUSIC GIFT CERTIFICATES

We hope that we can make your holiday shopping for the music lover in your life a little easier. Consider an Other Music Gift Certificate, which is redeemable for purchases made both in the store and from our CD/LP website. You can buy a gift certificate in the shop, or purchase one on-line by going to: www.othermusic.com/giftcertificates.html
There are Gift Certificates available for Other Music's MP3 download site as well, in $25, $50 and $100 increments.


HOLIDAY MAIL ORDER
Other Music can guarantee that any order placed by December 21 will reach its destination by Christmas. And it's easy to ship your gift directly to your loved one -- in the Shipping Address section (located beneath the Billing Address section), you can enter their name in Address Line 1 and their street address in Address Line 2. You may also request Overnight or Next Day Air for orders placed after December 21, or any other time that you need expedited shipping. Just email orders@othermusic.com, or call our mail order department: (212) 477-8150, ext. #2 (Monday-Friday, Noon-7 p.m. EST)



KUNG FU NATION POP-UP SHOP

During your next visit to Other Music, make sure to check out our new stellar t-shirt selection in the Kung Fu Nation holiday pop-up shop, with more than 30 designs from some of our favorite bands, from Mudhoney to Vampire Weekend, from Dam-Funk to Wilco, from Gang Gang Dance to Girl Talk, and so much more.

 
 
 
   
       
   
     
 
 
FEATURED NEW RELEASES
Andy Stott (Now on CD!)
Quilt
The Black Keys
Reagenz
Zomby 12"
This Mortal Coil (4CD box set)
Fennesz + Sakamoto
Pye Corner Audio + Advisory Circle 7"
Dimlite
Lee "Scratch" Perry
Pete Swanson
Bitch Magnet
Elijah & Skilliam (Rinse: 17 mix)
Theo Parrish 12"
Vladislav Delay
Teebs
Chris Watson 12"
I Have My Liberty! (Various)
Onra
Sweet Exorcist
LFO
Throbbing Gristle (2 reissues)

 

 

ALSO AVAILABLE
Original Sound of Cumbia (Various)
Black Truth Rhythm Band
Wives
FM3 (Remix CD)
Bleached 7"
Eccentric Soul: Nickel & Penny Labels
Bossa Jazz (Various)
Okko


NOW ON VINYL

Nick Nicely
Tim Hecker


BACK IN STOCK

Takeshi Terauchi
Blind Willie Johnson
The Tallest Man on Earth


All of this week's new arrivals.
Follow us on Facebook: facebook.com/othermusicnyc
Follow us on Twitter: twitter.com/othermusic

 
         
   
   
   
       
   
 
 
DEC Sun 04 Mon 05 Tues 06 Wed 07 Thurs 08 Fri 09 Sat 10



  WIN TICKETS TO THE ANTLERS W/ SUNNS
This Saturday, the Antlers wrap up a busy year of touring the world in support of their excellent Burst Apart full-length with a homecoming show at Webster Hall. Canadian art-rockers Suuns open the night. Other Music is giving away a pair of tickets to this sold out performance! Email tickets@othermusic.com to enter, and we'll notify the winner this Friday.

SATURDAY, DECEMBER 10
WEBSTER HALL: 125 E. 11th Street, NYC

     
 
   
   
 
 
DEC Sun 11 Mon 12 Tues 13 Wed 14 Thurs 15 Fri 16 Sat 17

  FRED ARMISEN'S PLAYLIST, LIVE AT OTHER MUSIC
Honestly, we don't know quite what to expect from this one, but whatever it is, you can bet it will be a ton of fun. We received a somewhat mysterious request the other day to host an in-store performance next weekend by the great comedian, musician, actor and longtime Saturday Night Live cast member Fred Armisen, for an event billed simply as "Fred Armisen's Playlist, LIVE!" We know Fred will be performing songs from perennial favorites including the Clash, Devo, the Stranglers, the Damned and Husker Du, and truly, that's all we know. If you want to know more (we do!), join us!

SUNDAY, DECEMBER 11 - 8PM
OTHER MUSIC: 15 E. 4th St., NYC
ALL AGES | LIMITED CAPACITY


     
 
   
   
 
 
DEC Sun 11 Mon 12 Tues 13 Wed 14 Thurs 15 Fri 16 Sat 17

  WIN MY MORNING JACKET & BAND OF HORSES TIX
Two of American rock's finest bands in operation, My Morning Jacket and Band of Horses are performing at New York City's legendary Madison Square Garden on Wednesday, December 14. We're giving away two pairs of tickets to this hot double bil! Email giveaway@othermusic.com and we'll notify the two winners on Monday.

WEDNESDAY, DECEMBER 14
MADISON SQUARE GARDEN: 8th Avenue, Between 31st & 3nd Streets, NYC

     
 
   
   
 
 
DEC Sun 11 Mon 12 Tues 13 Wed 14 Thurs 15 Fri 16 Sat 17

  WIN TICKETS TO WHY? ACOUSTIC PIANO TOUR
Other Music is giving away two pairs of tickets to the always great, unclassifiable WHY?, who will be previewing their new album with a pair of intimate shows, Thursday, December 15 (7PM and 10PM doors) at Florence Gould Hall, presented by Wordless Music. To enter, email contest@othermusic.com and make sure to list which performance you'd like to attend. We'll notify the two winners on Monday.

THURSDAY, DECEMBER 15
FLORENCE GOULD HALL: 22 E. 60th Street, NYC

     
 
   
   
   
       
   

 

 

     
 

$22.99
CDx2

Buy

$5.99 MP3
Passed Me By

Buy

$5.99 MP3
We Stay Together

Buy

  ANDY STOTT
Passed Me By / We Stay Together
(Modern Love)

Preview Passed Me By on Other Music's Download Store
Preview We Stay Together on Other Music's Download Store

Modern Love does the world a favor by reissuing Andy Stott's two incredible vinyl double-packs from earlier this year, Passed Me By and We Stay Together, on CD, much in the way they did Demdike Stare's epic Tryptych set. As with the Demdike set, this includes both releases on their own disc, mastered LOUD, with about 25 minutes of extra, never-before-released material. These records pretty much set the high bar for bass-heavy, rumbling, dub-infused techno; many others tried to emulate the slow, deep majesty of Stott's work, but few came close. (Those who DID were Stott's labelmates on Modern Love.) Both Scott and myself have enthused most highly about these records, and they've sat among many of our staff's monthly Personal Best lists as seen in the store. Quite simply put, these are two of the year's best, most important releases, finally put together in one tidy package for mass consumption. If you haven't jumped on these yet, you'd be a damn fool not to take a bite now. Absolute highest recommendation, folks! (Download versions do not include bonus material.) [IQ]

 
         
   
   

 

 

     
 

$10.99
CD

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  QUILT
Quilt
(Mexican Summer)

"Cowboys in the Void"
"Penobska Oakwalk"

On their debut outing, Boston's Quilt does an exemplary job of cutting through a large portion of the current indie/folk/feathered zeitgeist for a luminous step in the evolution of the music from its current state. On one side of the chasm lies aesthetics: the drony, blissful, occasionally haunted moments of looser, more obvious takes that have stunned tens of thousands of young minds (Animal Collective, Brightblack Morning Light, the new Psychic Ills, and Prince Rama come to mind); on the other, a stately impulse to rock like our predecessors, the sort of dreamy jangle and offhand perfection found in bands like the Feelies, Real Estate, Crystal Stilts or Woods. As Quilt shows us here, it was a pretty good idea to bend these ideas together, retaining all of the elements of each path that provide their allure. They can effortlessly lock into a groove ("Rabid Love" is as squeaky as any porch swing, and rolls along in heavy-lidded adoration), shamble through bewitchingly twee/ghostly pop chants, and strum their way through the most plaintive, Pagan-sounding folk, with the dual lead vocals of Anna Rochinski and Shane Butler acting as the torchlight that opens up Quilt's sound to the world. This is an impeccable and well-designed coup on modern music, with a curatorial drive to take these ideas as far as they'll go. [DM]

 
         
   
   

 

 

     
 

$17.99
CD

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26.99 LP+CD

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  THE BLACK KEYS
El Camino
(Nonesuch)

"Hell of a Season"
"Gold on the Ceiling"

What can explain why some bands get better with age and maturity, while most seem to burn out creatively after a few records, or at least idle through a career after an early flash of creativity? Talent is not the answer, though obviously great art always takes talent; it has to come down to drive and ambition, a creative restlessness and the need to make your mark on the world that can not be sated. The Black Keys' seventh album is their most insistent, focused, and probably their best in a decade-long career that finds the unlikely hit makers continually evolving, from basement blues brawlers to garage-rock avatars to rock and roll superstars.

From humble beginnings in Akron, Ohio, making raw trashy electric blues that was, by all accounts, pretty surprising from a couple of white kids in 2002, the Black Keys have managed to continue evolving, record to record, while keeping their best traits front and center. Built around Dan Auerbach's hooky, fuzzed-out guitar riffs, classic sex-and-longing poetry and deep, expressive singing, coupled with drummer Patrick Carney's surprisingly subtle rhythms, their sound is so primal, it has been able to grow without losing any of its essence. El Camino finds the band back with producer Danger Mouse, with whom they worked on 2008's Attack & Release, which was the first album where the minimalist duo really stretched their legs, and also on their breakthrough 2010 single "Tighten Up," from last year's Brothers LP. Mr. Mouse gives these 11 tracks a laser focus, with subtle flourishes, like the up-with-people sing-along chorus of first single "Lonely Boy," or the Farfisa and handclap riff of "Gold on the Ceiling," adding little shots of energy throughout the record without ever detracting from the raw essence of the group.

El Camino has a forward motion and swagger that draws on '70s icons like T. Rex and Gary Glitter as much as it does Black Keys' base of Chicago blues and Zeppelin stomp; the album picks up the pace and highlights the sweetness in the band's hook-filled songwriting, without lessening the impact of Auerbach's thick guitar attack or Carney's powerhouse drumming, and the results are hard to dispute. El Camino is simply one of the best rock records we've heard in some time, and I'll bet it's better than any we'll hear for awhile more -- hopefully we won't have to wait until the Black Keys' next one! [JM]

 
         
   
   

 

 

     
 

$22.99
CD

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  REAGENZ
Playtime
(Workshop)

"Shibuya Day"
"Du Bist Hier!"

Workshop has been killing it this year, kicking off 2011 with the out-of-bounds sickness of Kassem Mosse's Workshop 12 EP and then the deeply special, psychedelic minimal-disco-soul of Move D's Workshop 13. We had our spectacles focused on the label, and when we got a line on getting Reagenz' Playtime CD from 2009 for the shop, we knew we had to feature it. Sometimes there's just something about a record, sound-wise, that sets it far apart from its peers, and that's the first thing about Playtime that is so surprising. It's just mastered so well with the production so clear, full and projecting, but with a palette that balances both pristine and raw sounds in that way Workshop seems to have a patent on. I can honestly say I haven't heard an electronic album that sounds anywhere as full and direct (almost live, in the room) as this before -- this is definitely a record where hearing is believing. We sold through our first delivery of the album quickly, just from playing it in the shop, and we've only now managed to get more in stock.

Tracks like "Dinner with Q" bring together Farben-esque class with Isolee-styled buoyancy, but delivered in a limousine of sound that just defies expectations. The deep, exploratory "Confidence" snakes and crawls its way through a seven-minute descent into a haunted house that eventually opens into a vacant ballroom of misty chords. The gorgeous "Shibuya Day" envelops in a dew-speckled haze reminiscent of the work of Ivo Watts-Russell. I also have to give points to the presentation of the record (I don't mean packaging either). The selection is grouped in clusters of one to three tracks with ambient cuts in between, and I should add that these are very solid analog ambient tracks too, not afterthoughts -- the ambient/house closer "Du Bist Heir" is 23 minutes long(!!) and adds a nice chapter-like experience to the album. Playtime is a fantastic record and another to put on my already jam-packed 2011 favorite list, despite being released two years ago! [SM]

 
         
   
   

 

 

     
 

$9.99
12"

Buy

  ZOMBY
Nothing EP
(4AD)

Zomby's Dedication has been a strong contender for many of our staff's Best of 2011 lists (mine included), and he manages to slip one last dispatch in before the year's end, allegedly culled from the same pool of material as the album. Nothing was actually included as a bonus CD with initial copies of the Japanese pressing of Dedication, and while there's definitely a similar streak running through the EP's shadowed melodies and neon beats, he's actually going for a new vibe here that bridges a gap between his album debut, Where Were You In '92?, and Dedication. He's going for a new strain of mutant jungle here, in all interpretations; each track is built upon foundations of either the skittering shuffle and pop of jagged "Amen"-style breaks or the thump and trance of tribal tom-toms. His arrangements feel less cluttered and more streamlined here than ever before, and everything is given ample time to unfold, yet is still kept brief and succinct. The electronics shine with a fluorescent glow, the drums kick up clouds of dirt and grit, and the pulse is kinetic and hypnotic throughout. Also, the packaging is classic 4AD, with embossed off-white outer and inner sleeves and a creamy white slice of wax inside. This is a vinyl and digital-only release, but the wax DOES include a download, so fret not. I know we keep saying this, but Zomby seriously just keeps getting better as a producer, and this is one of his best releases yet. [IQ]

 
         
   
   

 

 

     
 
Click image to enlarge
$114.99
CD

Buy

 

THIS MORTAL COIL
This Mortal Coil Box Set
(4AD)

"Song to the Siren"
"Tarantula"
"You and Your Sister"

While 4AD continues to thrive, just this year releasing crucial and groundbreaking releases from the likes of Atlas Sound, Tune-Yards, St. Vincent, Zomby, and Gang Gang Dance, longtime fans of the label hold a deep nostalgia for the imprint's first decade of existence. Then helmed by co-founder Ivo Watts-Russell, groups like the Cocteau Twins, Dead Can Dance, and This Mortal Coil would define the label's aesthetic, a sophisticated and often ethereal sound visually mirrored by the stunning album artwork of 23 Envelope (a/k/a graphic designer Vaughan Oliver and photographer/filmmaker Nigel Grierson). Of course, the aforementioned This Mortal Coil wasn't a proper band, but rather a large, ever-shifting collective of musicians lovingly assembled by Watts-Russell featuring both 4AD-related artists (members of Cocteau Twins, DCD, Colourbox, Modern English, Pixies/Breeders, Wolfgang Press, Dif Juz) and talent not associated with the label (Cindytalk's Gordon Sharp, Buzzcocks/Magazine's Howard Devoto, Deirdre and Louise Rutkowski, Dominic Appleton of Breathless, Alison Limerick, and Shelleyan Orphan's Caroline Crawley).

The three albums released under the This Mortal Coil name between 1984 and 1991 were visionary for the time, not only for the scope of Watts-Russell and John Fryer's exquisite productions -- which ranged from beautifully sparse and occasionally near-ambient, to soaring chamber orchestration with swirling string arrangements by Martin McCarick -- but also for many of the obscure cover songs chosen by Ivo, which defied the anti-hippie/anti-folk sentiment so prevalent in the punk and post-punk communities only a few years before. Sitting next to This Mortal Coil's haunting instrumentals and atmospheric explorations were gorgeous re-imaginings of Tim Buckley's "Song to the Siren" performed by Cocteau Twins' Robin Guthrie and Elizabeth Fraser, a dark and mysterious take on Pearls Before Swine's "The Jeweler" featuring Scott Walker-esque vocals from Dominic Appleton, and the devastatingly beautiful version of Chris Bell's "You and Your Sister" sung by Kim Deal and Tanya Donelly, along with a plethora of otherworldly re-workings of songs by the likes of Big Star, Alex Chilton, Spirit, Syd Barrett and more. While as a young listener, these three This Mortal Coil records were a gateway to new musical discoveries for me and countless others, I still return to these albums on a regular basis. They represent the power, drama, passion and art of music in ways that few other records have ever touched. [GH]

Other Music was able to bring in several copies of the recently released This Mortal Coil CD box set, which features all three albums (It'll End in Tears, Filigree & Shadow, and Blood) beautifully remastered from the original analog tapes, plus a fourth disc, Dust & Guitars which compiles all of TMC's singles plus two never-before-released tracks, "Thais (Bird of Paradise)" and a cover of Neil Young's "We Never Danced." This set is magnificently packaged with "re-worked" art by Watts-Russell and Vaughan Oliver and is, needless to say, very, very limited.

Our good friend Natalie Johns from Dig for Fire recently interviewed Ivo for her upcoming feature film on independent music, and put us in touch with the 4AD founder, who was very kind to send Other Music a special note about the box set. Here's what Ivo shared with us:

I blame it on Mew. Listening to And the Glass-Handed Kites some years ago I began to ponder progressive rock and, in particular, the lavish, often absurd album sleeves that accompanied them. I thought how sad it was that it was no longer possible to find, say, the infamous Roger Dean multiple fold out sleeve of church steeple as rocket ship that was the cover to Space Hymns by Ramases released on Vertigo. Not even on German label Repertoire, who do their own style of paper sleeves.

Long story short, after multiple searches I came across:

(click for image)

That was my first introduction to the Japanese mini-LP replica paper sleeve CD and elaborate boxes based on the artwork of one of the albums contained inside.

I'm not a vinyl obsessive at all but I do miss a music carrying device that is at least pleasant to hold in your hands. The idea of reproducing, in miniature, the original LP design, which reflects graphic design, cultural and sociological aspects of the times as well as being a potential work of art in its own right is so simple but, outside of Japan, impossible to achieve with any degree of quality.

For me it's all about archiving. This box will probably be the last gasp for a physical manifestation of This Mortal Coil albums. As such, I couldn't be happier with the redesigned sleeves, quality of material used and the gorgeous sounding HDCD. We covered a lot of my favourite songs from the earlier decades of my life and now I've been able to present them to the world in a format that has infatuated me in the most recent. It feels good to have participated in putting something of such beauty out into the world once again.

For those that agree, please email 4AD and demand they do the same with the rest of the catalogue!

Ivo W-R.

 
         
   
   

 

 

     
 

$18.99
CDx2

Buy

  FENNESZ + SAKAMOTO
Flumina
(Touch)

"0318"
"0411"

The third collaborative album between the two disparate avant-electronic pioneers Ryuichi Sakamoto and Christian Fennesz is a concept record of sorts, built around 24 short piano pieces that Sakamoto wrote and improvised, one in each of the 24 keys of the Western tonal system, for 24 consecutive live performances. He recorded these performances and delivered the tapes to Fennesz, who added his wooly sound environments using electronics, guitars and synths, before the pair met in New York at KAB Studios to mix the album with Fernando Aponte. The results, spread across two hour-long discs, are as minimalist as the concept's tight focus might imply. Like the cover photo of gentle ripples moving across a lake face, this music swells and recedes, pulses and fades, with quiet variations that give the record motion without ever making waves or rocking the boat, so to speak. The piano and electronics communicate and interact in a subtle drift; it is beautiful and haunting music, cool but embracing, with a consistency and a lack of drama that in the end is its defining trait and purpose. It takes the earlier collaborations of these groundbreaking experimentalists to their logical conclusion, and while there are few among us who will have the persistence to listen -- truly listen, not just play -- to this one from start to finish in one sitting, there is a lot to experience here, if you can slow down your heart rate and let it wash over you. [JM]
 
         
   
   

 

 

     
 

$11.99
45

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$1.99 MP3

Buy

  PYE CORNER AUDIO WITH THE ADVISORY CIRCLE
Study Series 07: Autumnal Activities
(Ghost Box)

Preview Songs on Other Music's Download Store

Ghost Box offer up one release for 2011 with their newest single in the Study Series. Pye Corner Audio's mysterious Radiophonic soundworld gets pushed to center stage for one of the label's best singles yet. The A-side, "November Sequence," is a smooth, dark slice of slinky electronic funk that rides a soft, sinister gallop of a beat that stomps into an arpeggiated syncopation through thick, hazy clouds of exhaust smoke and neon brightness. As ludicrous as it sounds, it reminds me of Leyland Kirby on a G-Funk/Dr. Dre tip, rolling forward in a blunted haze that takes the trademark Ghost Box sound and adds a bit of sensuality to the recipe. On the flip, "Cloud Control" is a collaboration with the Advisory Circle which offers up a bit of the classic dusty, brassy synth fanfares we've come to know and love from the label, but fused with another hypnotic slow boogie and a wicked bass groove. It's great when these guys get funky, and this is one of the best examples of the Ghost Box groove to date; newcomers to the label's vinyl treats would be wise to start here, while seasoned fans will find much to love. As always, these are limited, so buy now or cry later!

We've also got limited quantities of the excellent Hintermass 7" back in stock, not to mention some wicked-looking packs of 1" badges designed by Julian House -- each pack includes a Ghost Box logo badge, and one each for the Focus Group, Advisory Circle, and Belbury Poly. Show your support for one of the best contemporary labels in action and wear them with pride! [IQ]

 
         
   
   

 

 

     
 

$16.99
CD

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  DIMLITE
Grimm-Reality
(Now-Again)

"Blur, Blur, Blur"
"XY"

Swiss producer Dimitri Grimm, a/k/a Dimlite, is one of those producer's producers, his albums and collaborations quietly pushing things forward within that wonky, leftfield boom-bap genre. On Grimm Reality, Dimitri moves further and further away from that sound and closer to something that he truly embodies: equal parts Dilla, Soft Machine and Zappa rolled into one. Tracks like "XY" and "Yes, Welcome" make use of some sweet, celestial male harmonics to offset the bursts of percolating electronics and stabs of guitar and low-end which tighten up the tension, while "Heroine Roof" is an ambitious five-minute piece that sounds like futuristic prog-rock. But these references by no means fully describe what's going on, and the sound here is truly is his own. For those intrigued by the aforementioned or the new school progisms of the Focus Group and Belbury Poly, this will be right up your alley! [DH]

 
         
   
   

 

 

     
 

$17.99
CD

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  LEE "SCRATCH" PERRY
Nu Sound & Version
(On-U Sound)

"God Smiled" Moody Boyz
"Yellow Tongue" Kode9

2011 may be the year we all remembered why we love the Jamaican from another planet, Lee "Scratch" Perry. Celebrating his 75th year in fine style with several comps, reissues, and even a documentary, now Perry reconnects with the On-U Sound label for a journey down the remix hole. Enlisting a nice collection of producers to work their magic, each track finds Perry in a new sonic galaxy. Most of these cuts were initially released as vinyl-only white labels, and beginning with the great Moody Boyz mix of "God Smiled," Digital Mystikz, Kode9, Congo Natty, Horsepower Productions, Bullion, Dennis Bovell, and Adrian Sherwood all take turns in turning Perry's sound into a electronic mosh pit of dub, bass, beats, and effects that reference jungle, dubstep, house, and digidub. Much like the recent remix album from King Midas Sound, or the Scientist Launches Dubstep into Outer Space collection, this one transforms the originals into something new, contemporary, edgy and fresh. Maybe not for the die-hard old-school dub reggae aficionados, however, this will appeal to those that can't get enough of Perry's adventures across the sonic spectrum and those who love the dubby stuff and the funky breaks. [DG]

 
         
   
   

 

 

     
 

$21.99
LP+CD

Buy

$9.99 MP3

Buy

  PETE SWANSON
Man with Potential
(Type)

Preview Songs on Other Music's Download Store

Pete Swanson, formerly of Yellow Swans, offers up his solo Type debut and it's one hell of a wallop. There have been a number of albums this year from stalwarts of the noise and experimental scene stepping into more straightforward techno-influenced rhythm & synth soundscaping, with wildly varying degrees of success. Man with Potential ups the ante by never pretending to be something it's not; Swanson creates massive, obliterating analogue electronic clusters that flirt with everything from industrial music, trance, and the gnarly textural dances of Andrew Weatherall and Adrian Sherwood, but his rhythms overlap and stumble in hypnotic but disorienting ways. These are thick, thorny briar patches of laser-guided sound, evoking the dark undersides of the Blade Runner-esque landscapes everyone else seems eager to ape lately. The LP also includes a bonus CD compiling Swanson's recent cassette-only releases for more takes on this sound, recorded in the same marathon sessions but stretching the lengths and the symphonic edges as far as they can go. While it may not be for everyone, if you like your beats and blips a bit jagged, a bit raw, and a bit relentless, you'll find much to love here; it's a standout release in Type's catalogue and deserves your attention. Most highly recommended. [IQ]

 
         
   
   

 

 

     
 

$14.99
CDx3

Buy

$31.99 LPx3

Buy

$14.99 MP3

Buy

  BITCH MAGNET
Bitch Magnet
(Temporary Residence)

Preview Songs on Other Music's Download Store


In creative fields, the most exciting moments often occur in transition; artists work through problems to make breakthroughs, and creativity truly flourishes before the codification of a movement, when both artist and audience can be surprised. The same claims could be made with respect to transitions in our lives -- it is in these exciting times that the world looks very different to us, almost as if there are literally no boundaries. It was during one of these periods of transition for me (freshman year in college, '89) that I first encountered Bitch Magnet, a late-'80s band who itself encapsulated a stylistic transition of sorts: part punk, part metal, with jazzy syncopations and hook-filled, pop-ish songwriting. Of course, I had heard all of these elements in music at that time, but BM's take on them was refreshingly something totally else.

Bitch Magnet was (usually) a trio of oddballs who met at Ohio's Oberlin College in the mid-'80s, led by bassist/vocalist Sooyoung Park (later of Seam fame), with fairly stunning instrumental work from guitarist Jon Fine and drummer Orestes Delatorre. Incidentally, attending at the same time, and friends to the band, was Bastro drummer John McEntire (soon of Tortoise/Sea & Cake); Bitch Magnet also befriended Bastro's David Grubbs, whom they later recruited to play in the group. After rapidly establishing themselves as a sound to be reckoned with in 1988 with the release of the Star Booty EP on Communion (produced by Steve Albini, whose Big Black was clearly an influence), the band toured America and Europe and released two absolutely ground-breaking and, thanks in no small part to guitarist Jon Fine's metallic riffage, increasingly pummeling but largely ignored LPs (Umber and Ben Hur). Then as quickly as they arrived, after only a couple of years, they disappeared, eluding categorization and compromise. The members went on to perform in such bands as Seam, Walt Mink, Don Caballero, Coptic Light, and Vineland.

The folks at Temporary Residence were clearly impacted by Bitch Magnet as much as I was, and they have put together a stellar box (at a criminally affordable price!), with all three releases, and a ton of bonus material. First of all, Alan Douches' fantastic mastering job allows us to experience anew the ferocity and majesty of the entire recorded output of this extraordinary band. Additionally, there are five "alternate versions" included of some of the best tunes from their seminal Umber full-length which are merciless and mind-blowing. Seriously, I can't imagine any reason why these versions were not originally part of the released album. There are also two non-LP tracks, "White Piece of Bread" and "Sadie," recorded during the sessions for Bitch Magnet's swan song, Ben Hur. A mess of cool fliers for shows and unearthed band photos comprise the ample booklet and the vinyl version comes with a download code for fans of portable music. I can sleep easier at night knowing that the truth has been told about this great band, about which so many had heard only indirectly through their influence on other groups... don't blame me if you end up feeling a little cheated by some of your favorite bands that once seemed so innovative. Don't sweat it -- those groups were probably just fine, just not as fine as Bitch Magnet. If you are into ideas, you MUST buy this! [KC]

 
         
   
   

 

 

     
 

$15.99
CD

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  ELIJAH & SKILLIAM
Rinse: 17 - Various Artists
(Rinse)

"Orangeade Vip" Royal-T
"Arizona Skyz" P Jam

Once again the crew at Rinse (the British radio station and label) has found a fresh face, or in this case fresh faces, to warm these cool winter nights. Elijah and Skilliam are two of the UK's top grime DJs, and for the past couple of years have run their own excellent Butterz label. The London-based duo's debut mix is a killer blend of bumping and edgy electronics with soulful overtones. And while grime is generally known as an MC-dominated genre, E&S tend to strip away the vocals to open the sound and highlight innovative instrumental producers working within the scene, with vocals thrown in at just the right moments to heighten the tension. Urgent and immediate, fierce and funky, Elijah and Skilliam bring an urban vibe to their mix of grime, UK funky, and electro-infused R&B rhythms with a little bit of pop, lots of bass and some hard beats. The selections include tracks from Wiley, Terror Danjah, Starkey, Bok Bok, Trim, TRC, Swindle, Pangaea, and many more greats of the genre. This is a non-stop, can't stop/won't stop kind of mix that keeps the youthful energy flowing. High-energy rhythms abound, making this essential listening for those looking for some grimy and cutting edge cyber-funk. So crack open a case of Red Bull and get ready to rumble! [DG]

 
         
   
   

 

 

     
 

$10.99
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  THEO PARRISH
STFU
(Sound Signature)

Aww shittt... Theo Parrish is getting down and dirty with this one while stepping a bit outside his own box; you know how good things can get when Theo leans a bit more toward the techno side, right? (Meaning, he keeps it raw and hella swingin', but he doesn't always need an acoustic sample loop to make an awesome track!) "STFU" lopes and bounces like the killer "Dirt Rhodes" but with way more spring in its step and more going on for sure. (Side A is the long version while Side B is a shorter take, with a different middle section.) A gentle, fuzzy stomp, clacking Morse code percussion, and globby/angular synth chords that are all raw and condensed as fuck are gift wrapped in some kinda tribal-cubist gift wrap... speaking of gift wrap, this EP sports one of the best sleeves ever seen on a Theo 12", with artwork by Josephine Ada Chinonye Chime -- feelin' it!

A quote from the liner notes (not lyrics): "The hidden agendas/The cynical apology/The timed, blatant, obvious whisper/The faked praise/The white lie/The damning judgment...The worship of information over knowledge/The placement of style over substance... The numerous contradictions inside myself... Shut the fuck up." Essential Theo, once again! [SM]
 
         
   
   

 

 

     
 

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  VLADISLAV DELAY
Vantaa
(Raster-Noton)

"Lipite"
"Narri"

Vladislav Delay returns with a stunning new album on Raster-Noton in what is said to be a new ongoing curatorial series for the label. Vantaa sees him dulling down the freer, more abrasive improvisatory tendencies of his recent Quartet album on Honest Jon's, instead opting for a gorgeous, shimmering aquatic dronescape that adds up to some of his best work since Luomo's Vocalcity dropped.

The album begins with two of its roughest, most aggressive tracks, which sound as though someone dropped Andy Stott's gritty, mud-encrusted dub fabrics into a washing machine filled with honey; they thump, roll, and tumble through a spin cycle that sets up the thick, viscous liquidity that is maintained throughout the album's entirety. As the record progresses, the heaviness lets up a bit and makes way for a soothing, cyclical ambiance that echoes the more fluid moments of Eno's Apollo, never losing the steady rhythmic tumble. There's a brief and brutal penultimate track that throws a thudding jackhammer click-stomp on loop until the album closes with the record's slowest, thickest, most gorgeous liquid drift, like a float across a serene pool. I'll be honest, I wasn't expecting much from this record, as I've felt Delay's releases have personally held diminishing returns for me; Vantaa, however, is one of the best albums Sasu Ripatti has crafted under any of his pseudonyms. Fans of more ambient strains of electronic drift should check this out ASAP. I'm loving this. [IQ]
 
         
   
   

 

 

     
 

$17.99
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  TEEBS
Collection 01
(Brainfeeder)

Mtendere "Teebs" Mandowa is one of the most interesting artists on the Brainfeeder label; his great debut, Ardour, was amongst my favorite albums last year, and I've been waiting for more music from this L.A.-based musician. This vinyl/download only release, Collection 01, is just that, a collection of additional material recorded around the same time as the debut, essentially a 'b-sides' EP. The eleven tracks of dripping, pastoral, and melodic hip-hop instrumentals gathered here are a sweet and breathtaking set of soulful thumps, like a mash-up of Dilla's Donuts, FLyLo's Cosmogramma and the Art of Noise's Moments in Love. His tracks flow like watercolors, and with a keen ear for organic accents and instruments (chimes, bells, harps, hand drums) he paints a nice earthy picture filled with sparkling sounds and warm chords; these tracks feel natural and played, not just programmed. Teebs creates little dubs of light and emotion (i.e. his beats are soft), and he seems more interested in working with simple and open, yet carefully layered, melodic structures rather than hard-edged beat juggling. His drums are barely present, but they add just enough bump to keep things from being completely atmospheric. It's not a proper new album, but this is another solid set, and for fans of Koushik, Bullion, Bibio, Nosaj Thing, etc., Teebs should definitively be on your radar too. [DG]

 
         
   
   

 

 

     
 

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  VARIOUS ARTISTS
I Have My Liberty! Gospel Sounds From Accra, Ghana
(Dust-to-Digital)

"Adoration Prayer" Christ Believer's Ministry
"Countdown" Shallom Youth Choir

In 2008, Calpin Hoffman-Williamson armed himself with audio recording equipment and the spirit of Alan Lomax, or perhaps Hugh Tracey, and took to documenting some of the jubilant music of the Christian charismatic churches in Ghana's capital city of Accra. The result is I Have My Liberty!, a series of snapshots of the worship life of these unconditionally hopeful people. While Ghana has been called the world's fastest growing economy, it remains a country recovering from the effects of abandoned British colonialism and subsequent poverty, particularly in rural areas. Despite this fact, Ghana has become a politically peaceful and socially progressive country -- the positivity on display in these 25 tracks clearly must have played a part in guiding this country out of adversity and into prosperity.

Common elements in nearly all the music here include percussion (clapping, hitting, shaking, slapping, clanging, etc.), choral singing, and universal melodies, three things for which anyone with a pulse should be a sucker. Rollicking highlife guitar, bass, and electric keyboards also make welcome appearances, seemingly blurring the line between sacred and secular; even a hip reggae groove surfaces during the "Welcome to Great Grace" track by the Great Grace Church ensemble. There are also two moving excerpts of sermonizing reminiscent of the great Reverend JM Gates entitled "No Politics in Heaven" and "Stand Firm Church" by pastors from the Great Grace Church. The Divine Healer's Church, Nima Assembly has some of the most stirring tunes on the collection: "Drums from Ashaiman" is waiting to be sampled for the next laid-back, head-nodding track by RZA, and "Onyame Ba" and "Onyame Ye" are rollicking highlife party jams for "the supreme deity," after which the songs take their names. I can't help but imagine that many who are reluctant to seriously pursue their own spirituality would likely discover a change of heart at one of the Divine Healer's Church's services -- this is music to light your soul on fire! Much like peace and prosperity, the music on I Have My Liberty! is the result of a concerted effort of many people, giving rise to possibilities that are much greater than the sum of the work put in. Ghanaians do now, in fact, have their liberty, and as a result, the question they want the world to now address is, "how can you keep from singing?" Sing on! [KC]

 
         
   
   

 

 

     
 

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  CHRIS WATSON
El Tren Fantasma - The Signalman's Mix
(Touch)

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Here are four words you don't read much these days, but which we should hear more often: Chris Watson On Vinyl. El Tren Fantasma has proven to be one of the most epic, stunning releases not only in Watson's discography, but in the Out sector for the whole of 2011, and The Signal Man's Mix offers 15 minutes of Watson's railroad travelogues split across two sides of a 12" single. He takes the more rhythmic, mechanical elements of the album and layers them into extended slices of industrial hypnosis. As the wheels chug against the tracks, we're surrounded by the pulsations of wind, the natural sound envelopes of tunnels and overpasses, and the sharp whine of screeching iron. Watson's masterful sound design keeps this single from simply being a noisefest; each layer is delicately placed, even when at its most jarring. It gives more natural propulsion than the long stretches of ambient sound on the album, but also nicely serves up a sort of Cliffs Notes version to the full-length. I'd been waiting eagerly for this to arrive, and it does not disappoint; these are limited, so if you're intrigued, don't sleep. I've been listening to The Signal Man's Mix on my iPod every morning during my commute to work, and it adds a majesty to my routine and surroundings that I'd set on a shelf long ago, making me more aware of my environment by creating an entirely new one around my train ride. [IQ]

 
         
   
   

 

 

     
 

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  ONRA
Chinoiseries Pt. 2
(All City)

"Tears of Joy"
"Hide and Seek"

The latest release from Arnaud Bernard's Onra moniker is a continuation of his Chinoiseries from 2007, and follows this French crate-digging beat banger's accomplished updating of '80s boogie on 2010's Long Distance. Chinoiseries Pt. 2 is essentially a beat-tape of exotic-themed instrumentals; once again, Onra cuts up and loops snippets from hundreds of vintage Chinese and Vietnamese records purchased during trips to the Far East and much like Madlib's Beat Konducta series, these play out like short soundtracks for scenes from imaginary films. Onra is able to find the gem moments in the various tracks he dissects and while not a new idea, it is a great extension of J-Dilla's lineage and a nice complement to the Asian-obsessed work of RZA (minus the drama). Crackling and bumping, Onra goes from the operatic and epic to the more quirky and groovy with a selection of bright and coastal breaks & beats. The hour-long journey could get a bit tiresome (32 tracks in all), yet he saves some of his best beats for the last third of the album. Filled with lots of funky guitars, floating flutes, rolling pianos, thumping drums, clanking bells, various Asian voices and sonic textures, it's when he moves beyond the usual and expected boom-bap tempos that his ear for rhythm starts to shine. This will appeal to fans of B-Music/Finders Keepers, those Thai funk compilations, international enthusiasts, as well as the average beat head. While not a fully satisfying follow-up to the excellent Long Distance, it's still a nice diversion while we wait it out, and recommended just the same. [DG]

 
         
   
   

 

 

     
 

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  SWEET EXORCIST
RetroActivity
(Warp)

"Testtwo"
"Psych Jack"

"If everything is ready on the dark side of the moon ... play the five tones." Much-needed reissue of a history lesson you can lose your mind to: the fundament of "bleep" techno, circa 1990, as envisioned by Cabaret Voltaire's Richard H. Kirk and DJ Parrot (a/k/a Richard Barratt). They were responsible for the very first release on Warp Records, who celebrates a 20th anniversary with a deluxe edition of the duo's two EPs and one full-length for the label. With a very limited, very defined vocabulary of sounds (including several unreleased variants on their three "stems" for the body of work presented here), these guys built up hard, skeletal, roughly-filtered body music, set to a pounding beat, proto-acid arrangements, the kind you can feel gritting between your teeth. It is not hard to draw lines between the polygons and lo-res, jagged bass pops of "Clonk (Freebass)" and envision artists like Aphex Twin and Autechre coming out of the same field. But Sweet Exorcist is far more primal, and lets those urges drive the more esoteric elements, like the shambling, far Eastern gongs that lay against the rigid, pulsing beat and five-note mantra sequence of "Mad Jack." This will remind you of that summer where you saw a UFO, and you were ready for its inhabitants to come and take you off this Earth. And if you haven't had that summer yet in your life, this music will all but inspire it. Essential! [DM]

 
         
   
   

 

 

     
 

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  LFO
Frequencies
(Warp)

"LFO"
"Nurture"

Born out of Sheffield's acid house movement of the late-'80s, LFO (Mark Bell and Gez Varley) helped establish the connections between the UK rave scene and Chicago house, Detroit techno, and New York electro. Their debut full-length from 1991, Frequencies, for the newly formed Warp Records (the label's third album release), laid the foundation for what was to be termed bleep techno. Beginning with an intro roll call of the pioneers that influenced the duo, ranging from DJ Pierre to Tangerine Dream (and also calling out for racial and sexual equality), Frequencies was something fresh and unheard of at the time. Now some twenty years later, Warp begins a re-release series of groundbreaking albums, and today this record still sounds crisp and fresh, thanks in part to the current resurgence in analog gear, and the widespread embrace of all things house and techno. This was music made for large crowds of people to sweat and escape to, and it worked, before the sound was reduced to simple IDM. Like Kraftwerk gone acid, LFO utilized melodic layers of electronic percussion, synth chords, 2001 sound effects, and a re-defined view of what techno could sound like. Influenced by the top American producers of the day, LFO took that blueprint of electronic body music into a new era. Any fan of the current indie-exploration of house/techno from labels like 100% Silk, DFA, or Kompact, classic names like Adonis or Derrick May, any of the groups Warp went on to sign (Autechre, Luke Vibert, Squarepusher), or even modern producers like Zomby, should not hesitate. This is the classic roots of UK techno music and deserves a revisit or a first listen; it'll sound great either way. [DG]

 
         
   
   

 

 

     
 
Heathen Earth
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Greatest Hits
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  THROBBING GRISTLE
Heathen Earth
(Industrial)

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THROBBING GRISTLE
Greatest Hits
(Industrial)

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20 Jazz Funk Greats and Greatest Hits are certainly the best starting points for newcomers taking their first Gristle'd steps, but for the already acclimated fan, Heathen Earth might be the most exciting of the Throbbing Gristle albums reissued this year. Recorded live in 1980 in the Industrial Records studios for a select group of friends and like-minded wreckers, Heathen Earth presents an ultra-refined version of what TG could do live, with the added benefits of an exceptional recording quality and a few post-performance edits. Throbbing Gristle took advantage of both, churning out what may be their darkest and most difficult album alongside The Second Annual Report. There are no humorous asides, few melodic comforts, and even fewer moments of repose. Chris Carter's synthesizers churn and pump out factory machine rhythms for the duration of the show, and Cosey uses her guitar like a whip, cutting electric lashes across the miasma of Sleazy's already tortured tape manipulations. All the while, Genesis moans and mutters his lyrics with a resigned drawl, as if the gas of sound being produced were choking him. TG's live shows were notoriously confrontational, and this is an unrelentingly cold and negative album, and easily one of the group's most impressive. Chris Carter's remastering job on this record is also outstanding, and combined with the quality of the original performance, it makes Heathen Earth sound more like a proper studio recording than a live album. Accompanying the CD version is a second disc filled with live material from throughout 1980, plus two 7" cuts released in that same year, "Subhuman" and "Adrenalin." These provide an insightful contrast to the Heathen Earth experience and help round out the live picture of TG in this period. Uncomfortable and, in places, frightening, this is an absolutely essential release that exemplifies Throbbing Gristle's most uncompromising side.

Greatest Hits is, as the title suggests, a touch less truculent. Compiled and released in 1984, this collection gathers Throbbing Gristle's noisiest and most melodic moments together, which both highlights their extremes and softens the blow of the harsher material. Still, the record kicks off with "Hamburger Lady," which isn't the most likely song to win over new listeners, and the inclusion of a backwards version of "Slug Bait" proves that TG wasn't looking to relax their ethos or compromise their sound for a wider audience. Rather, Greatest Hits provides a bird's eye view of the band's sonic breadth, and serves as a good indication of how diverse they could be. For fans who already have all the material featured on the original release, the second disc of the CD edition contains some excellent live material of its own, along with previously unreleased mixes of "The Old Man Smiled" and "AB/7A" and two 7" cuts from 1978 and '79, for a total of 20 extra songs. Anybody scared to dive right into the industrial mire that TG created can dip their toe into these waters first, and get a good sampling of where each member would go after the band dissolved. As a Coil fan, I love hearing Peter Christopherson's touch on these songs, but portents of both Psychic TV and Chris & Cosey are here for the inquisitive listener to find as well. [LS]

 
         
   
       
   

 

 

     
 

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  VARIOUS ARTISTS
The Original Sound of Cumbia: The History of Colombian Cumbia & Porro, As Told by the Phonograph 1948-79
(Soundway)

"La Cumbia Esta Llamando" Gaston (El IsleƱo) con El Conjunto de Jaime Simanca
"La Culebra" Los Tigres con Morgan Blanco
"El 4 y 5" Carlos Roman

British musician and producer Will Holland, a/k/a/ Quantic, has been living in Colombia for a half a decade now, immersed in the rich sounds and musical history of this South American nation. We're huge fans of pretty much anything bearing Quantic's name at the shop -- we couldn't keep his mix of vintage cumbia for the Mochilla label on our shelves a few years back -- so to find him collaborating with Soundway head Miles Cleret for this 55-track collection of Colombian cumbia and porro, well, you know it's going to be a doozy. And it is. Featuring two-and-a-half hours of songs culled from countless 78s, 45s and LPs recorded between 1948-79, The Original Sound of Cumbia traces the origins and evolution of this irresistibly kinetic, tropical music. Essential as it gets.
 
         
   
   

 

 

     
 

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  BLACK TRUTH RHYTHM BAND
Ifetayo
(Soundway)

"Ifetayo"
"Umbalo"

The lone LP from Trinidad's Black Truth Rhythm Band is reissued for the first time courtesy of Soundway. Formed in 1971 and led by vocalist Oluko Imo (who also played bass, kalimba, flute and percussion), their 1976-released Ifetayo was an anomaly from most of the other West Indian groups whose ears were tuned to James Brown and American funk. Imo and his bandmates looked to Africa for their main source of inspiration (in both sound and dress), blending African and West Indies rhythms with bits of Calypso, jazz, funk and soul. There's a nice exploratory vibe to these tight grooves and honestly it's pretty surprising that it took this long to come back in print. Imo would go on to record with Fela Kuti in 1988 and perform with members of Egypt 80. Includes a non-album bonus track.

 
         
   
   

 

 

     
 

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  WIVES
Roy Tapes
(PPM)

"One"
"Can't Tell No One"

Randy Randall and Dean Spunt celebrate the 10-year anniversary of their Post Present Medium label with these until-now unreleased final recordings from their pre-No Age group, Wives. Coming in at 10 minutes, these seven tracks (which include a cover of Negative Approach's "Can't Tell No One") were put to tape in 2005 with drummer Roy Tatum (who had joined following the departure of Jeremy Villalobos from the trio) on the eve of their only European tour. While far more noisy and scrappy than No Age's poppier but still-scuffed shoegazing punk, there's more than a glimmer of melody in many of these songs when compared to Wives' abrasive, art-damaged Erect the Youth Problem from the year before -- in hindsight, a hint of things to come.
 
         
   
   

 

 

     
 

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  FM3
HeXieFu
(FM3)




Beijing-based electronic duo FM3 are best known to the Western world as being the creators of the Buddha machine, a simple yet hypnotizing, pocket-sized box which plays nine of their ambient loops. It's been a store favorite here for years and has spun off a remix CD (featuring Sun City Girls, Thomas Fehlmann, Robert Henke, Blixa Bargeld, Jan Jelinek, and more) along with a few other albums that have used the Buddha machine as sound sources. For HeXieFu, FM3 have now enlisted a cast of contemporary Chinese musicians (including Dou Wei, Sun Dawei, and Huan Qing) to reimagine and re-work their loops. The CD is limited to 2000 and is housed in a re-sealable gold foil package and comes with a series of individually numbered FM3 "VIP" cards, a metallic FM3 sticker, and a commemorative coin.

 
         
   
   

 

 

     
 

$5.99
45

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  BLEACHED
Searching Through the Past
(Suicide Squeeze)

Sisters Jennifer and Jessica Clavin (of the now defunct Mika Miko) are back! Their third single as Bleached is everything you've come to expect from them: catchy punk meets vintage girl-group pop. It's bouncy and gritty, towing the line between girlish innocence and teenage rebellion. For fans of the great girl-groups of the past (the Go-Gos) and present (Dum Dum Girls).

 
         
   
   

 

 

     
 

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  VARIOUS ARTISTS
Eccentric Soul: The Nickel & Penny Labels
(The Numero Group)

"Just Say the Word" Jerry Townes
"I've Got to Find a Way" Halleluiah Chorus

The Numero Group's latest entry in their Eccentric Soul series shines a light on Chicago's Nickel and Penny labels, two sister imprints that doo-wop and soul aficionado Richard Pegue wrote, arranged and produced for during the '60s and early '70s. Features 24 rare, great, vocal-heavy sides from names like Jerry Townes, the Voices, the Novrells, Little Ben & the Cheers, South Shore Commission, Brothers & Sisters, and more. Pegue, who sadly passed in 2009, would go on to become a legendary personality on Chicago and Indiana radio airwaves, but these songs endure as a testament to the man's lifelong dedication to soulful sounds.

 
         
   
   

 

 

     
 

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  VARIOUS ARTISTS
Bossa Jazz: The Birth of Hard Bossa Samba Jazz & the Evolution of Brazilian Fusion 1962-73
(Soul Jazz)

Another fantastic installment in Soul Jazz's ongoing Brazilian music series. Their latest explores the connection of the early-'60s bossa nova scene to the subsequent fusion of Brazilian music and jazz during the latter part of the decade, following a mass exodus of musicians to the United States. Features a stellar selection from the likes of the Sergio Mendes Trio, Tamba Trio, Quarteto Novo, Bossa Tres, Zimobo Trio, Dom Um Romao, Baden Powell, Joao Donato, Tom Jobim, Deodato, Airto Moreira, and more. Double CD includes thick booklet with great liners.
 
         
   
   

 

 

     
 

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  OKKO
Sitar & Electronics
(Okko)

"Ganges Delta"
"If I Needed Someone"

Well worth the price of admission for the cover art alone, the 1971 debut album from the Dutch-born, Hamburg-based Okko Becker (perhaps best known for his long musical partnership with Amus Tietchens) is a pretty diverse, groovy and occasionally funky exploration of, you guessed it, Sitar & Electronics. Okko recorded this set in Germany with a group that also featured Herb Geller on flute, the small ensemble performing a mix of originals and covers that include two Beatles songs: "If I Needed Someone" and "A Day in the Life" -- either one would have been a perfect inclusion for the In-Kraut series. Imagine Ananda Shankar and Bruce Haack making music together after smoking a little wacky tobacky from their hookah and you're getting there.
 
         
   
       
   

 

 

     
 

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  NICK NICELY
Elegant Daze
(Captured Tracks)

"Hilly Fields"

Captured Tracks issues this great collection of Nick Nicely tracks on vinyl! It's a similar selection of cuts as last year's Psychotropia CD compilation, (which made it onto Other Music's Best of 2010 list) with just a few less songs. Here's what we wrote when we first featured the comp:

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 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]

 
         
   
   

 

 

     
 

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  TIM HECKER
Dropped Pianos
(Kranky)

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Tim Hecker's new release Dropped Pianos is being more or less touted as a set of demos made in preparation for his mind-blowing Ravedeath, 1972 from earlier this year. Indeed, the nine pieces here are simply titled "Sketch 1," "Sketch 2," etc. He and his label, Kranky, might be doing themselves a disservice with their modesty, however; despite the implication that these are vestigial ideas tossed down in preparation for the "real" release, Dropped Pianos is more than capable of standing on its own. Whereas the prior record was famously recorded on an Icelandic pipe organ, these initial pieces are performed exclusively on piano. (The instrument later being dropped from the project as it focused on the organ, as the cover art of both releases jokingly hints.) While he brings the same techniques to bear here, the gentle timbre of the piano creates a different listening experience than his previous work. I can easily see this appealing to fans of calmer, more spacious music like Harold Budd who might not be on-board with the density and aggression of, say, In an Imaginary Country.

It's almost a bonus that Dropped Pianos also provides some fascinating insight for folks like me who are near-obsessed with Ravedeath 1972, to which the artist is apparently actively inviting comparison. The same kinds of harmonic explorations are already present and some of the basic chord sequences may ring familiar. Lacking the organ's ability to hold notes indefinitely, though, Hecker allows himself a greater reliance on pauses and negative space despite the copious use of pedal sustain and reverb. It's fascinating to hear him reach for the same level of complexity and apply the same types of processing to an entirely different acoustic instrument. "Sketch 4" begins sparsely and dissolves into a cloud of tremolo; "Sketch 9" distorts and distends each note into accordion-like tones; "Sketch 2" coaxes out some surprisingly orchestral soundscapes. The piano stool audibly creaks throughout, making the piano more tactile, more life-size than that otherworldly pipe organ. The result is a smaller and possibly more aloof record than its predecessor, but one whose delicate kneading of the electronic and acoustic feels more earth-bound. Another remarkable addition to Tim Hecker's discography. [JB]

 
         
   
       
   

 

 

     
 

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THE TALLEST MAN ON EARTH
Shallow Grave
(Gravitation)

"I Won't Be Found"
"The Gardener"

It's hard to believe it's been three years now since Swedish folk singer the Tallest Man on Earth released his first full-length. The LP version of his debut album has gone in and out of print a few times now, but we're pleased to have this finally back on our shelves, as you won't hear any better suited format for listening to his finger-picked guitar and his heart-on-the-sleeve melodies than the good 'ol LP -- with the exception of catching one of his impassioned live shows, of course. This record may only be a few years old, but it is indeed a timeless classic.

 
         
   
       
   

 

 

     
 

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  TAKESHI TERAUCHI
Nippon Guitars: Instrumental Surf, Eleki & Tsugaru Rock 1966 to 1974
(Big Beat)

"Rising Guitar"
"Meiji Ichidai Onna"

Takeshi Terauchi is a guitar legend in Japan who rose to fame during the eleki boom of surf guitar bands that began popping up after the Ventures' first tour of that country in the early 1960s. He was a player of astonishing skill and speed, whose many albums saw him reinterpret everything from classical favorites by Mozart and Bizet to traditional Japanese enka folk songs. This is his first ever collection of material released outside of Japan, and gives ample proof of the man's talent with a whammy bar from the early 1960s until the mid 70s. If you're a surf fan, a fan of the wild "outernational" sounds of the Finders Keepers/Sublime Frequencies labels, or if you're curious to check out the roots of the sound documented in Julian Cope's Japrocksampler book, you'd be wise to pick this up post-haste; it's overflowing with good tunes, good fun, and wild arrangements, while also providing lots of rock solid mixtape fodder. I absolutely love Terauchi's music, and it's excellent that we finally have something of his to offer of his at an affordable price. I give this one my highest recommendation. Quantity on the LP version is extremely limited. [IQ]

 
         
   
   

 

 

     
 

$16.99
LPx2

Buy

  BLIND WILLIE JOHNSON
Dark Was the Night, Cold Was the Ground
(Mississippi)

Dark Was the Night, Cold Was the Ground collects the complete recordings of Texas-born Blind Willie Johnson (who apparently wasn't born blind, but no one seems to know how he lost his sight) over the span of two LPs, and is a totally unmissable package. Johnson, who spent the majority of his life as a street musician, moans and groans his way through an astonishing set of ballads and uptempo rockers, and is matched in raw power and sheer emotion only by Skip James and Robert Johnson. As a testament to his greatness, Blind Willie Johnson has been covered by many of the best of today and yesteryear, including White Stripes ("John the Revelator"), Billy Childish, Led Zeppelin, Nina Simone (who does a storming version of "Nobody's Fault but Mine"), Grateful Dead and Bob Dylan, who turned "Jesus Make Up My Dying Bed" into "In My Time of Dying" on his debut album. Not many of these left, so don't miss out! [AK]
 
         
   
       
   
         
  All of this week's new arrivals.

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THIS WEEK'S CONTRIBUTORS

[JB] James Bess
[KC] Kevin Coultas
[DG] Daniel Givens
[GH] Gerald Hammill
[DH] Duane Harriott
[IQ] Mikey IQ Jones
[AK] Andreas Knutsen
[JM] Josh Madell
[DM] Doug Mosurock
[SM] Scott Mou
[LS] Lucas Schleicher

THANKS FOR READING
- all of us at Other Music
 
         
   
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