March 15, 2011

		Click to Enlarge Edwyn Collins James Blake tUnE-yArDs   OTHER MUSIC & DIG FOR FIRE'S SXSW LAWN PARTY SXSW is finally upon us and we're en route to Texas for Other Music and Dig For Fire's Lawn Party, taking place on the lovely, historic grounds of the French Legation Museum! As you can see below, this year's line-up is fantastic. If you are in Austin for SXSW, please do join us on the Thursday and Friday afternoon of the music festival. And whether you can stop by or not, Dig For Fire will be filming the performances and you'll be able to see all the highlights on youtube.com/sxswlawnparty, with episodes launching on March 22. Speaking of, the xx's full 30-minute performance at 2010's Lawn Party is streaming on YouTube, which you can view here, along with several other clips of our favorite musical moments from last year's event. See you in Austin! THURSDAY, MARCH 17 HILL STAGE: Papercuts (1 pm), Cass McCombs (2 pm), Twin Shadow (3 pm), Sharon Van Etten (4 pm), Low (5 pm), Edwyn Collins (6 pm) VALLEY STAGE: Hanni El Khatib (1:30 pm), Olof Arnalds (2:30 pm), Janka Nabay (3:30 pm), Lia Ices (4:30 pm), Ted Leo (5:30 pm) FRIDAY, MARCH 18 HILL STAGE: Dead Gaze (1 pm), Lower Dens (2 pm), Grass Widow (3 pm), Cults (4 pm), James Blake (5 pm), !!! (Chk Chk Chk) (6 pm) VALLEY STAGE: Jamie Woon (1:30 pm), John Vanderslice (2:30 pm), The Ghost of a Saber Tooth Tiger (Sean Lennon & Charlotte Kemp Muhl -- 3:30 pm), Sam Amidon (4:30 pm), Tune-Yards (5:30 pm) Stay up to date with Lawn Party Announcements on our Facebook Event Page FRENCH LEGATION MUSEUM: 802 San Marcos Street Austin, TX 1 pm to 7 pm both days   Free | All Ages (21+ w/ID to drink) Follow Dig For Fire on Facebook

		FEATURED NEW RELEASES Cornershop Power of Zeus J Mascis Tape Steve Young Der Plan (2 LPs) Isolee Moritz Von Oswald Trio The Dodos High Mountain Hoedown     BACK IN PRINT Vernon Wray Follow us on Facebook: facebook.com/othermusicnyc Follow us on Twitter: twitter.com/othermusic

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		$15.99 CD $9.99 MP3   CORNERSHOP And the Double 'O' Groove of (Ample Play) Preview Songs on Other Music's Download Store I want everyone to stop what they're doing and pay special attention to this album. Cornershop returned from an extended hiatus last year with the excellent glam-gospel soul of the criminally slept-on Judy Sucks a Lemon For Breakfast, which saw Tjinder Singh, Ben Ayres, & Co. sharpening their hooks, tightening their grooves, and delivering what may actually have been their best, catchiest album yet, fusing T.Rex with Syl Johnson with a touch of Ananda Shankar's rock'n'raga (to very much oversimplify). After such a perfect distillation of the band's influences and enthusiasms (better even than the group's 1997 classic When I Was Born for the 7th Time), where to go next? During the band's time away, folks like Diplo and MIA (to name but a few) took the blueprints drafted by Cornershop and refitted them to the hip-hop/dance scene, helping to take globally-conscious influences into Western pop music with hugely successful results. Prior to Judy Sucks a Lemon, one of the only dispatches we had really heard from the group since 2002 was a stellar double-A-side single "Topnotch/Natch" in 2004, which saw Cornershop showcasing the heavenly Punjabi vocals of newcomer Bubbley Kaur, a singer the band allegedly discovered in their local launderette, delivering what was simultaneously the group's most vintage and modern recording to date. (It's also worth noting that MIA herself asked to appear on the single, throwing down a guest verse on a remix of "Topknot.") Well, here we are in 2011 with Cornershop and the Double 'O' Groove of, ten songs of deep, sunny funk and dusty collusionist grooves with the gorgeous Kaur at center stage, placing perhaps the heaviest emphasis yet on the band's Indian roots with spectacular results. Tjinder's voice is nowhere to be found on this album, yet his and Ayres' voices are heard as loudly and clearly as Kaur's, fusing her siren calls into musical tapestries that enliven but never overwhelm her vocals; everything from percolating, brassy funk breaks to Tin Pan Alley piano are utilized to dizzying, dazzling effect. Overtop this choice blend, Kaur sounds like a seasoned playback singer, and the arrangements ably update the postmodern feel of classic Bollywood composers like RD Burman by fusing new influences into the mix; the beatbox boom-bap, harpsichords, and squelchy bass of "Double Decker Eyelashes" and the sliced'n'diced brass and woodwind fanfares of "Once There Was a Wintertime" draw direct lineage from Asha Bhosle to Run DMC, while "The 911 Curry" sees Kaur chanting atop a boisterous, Diplo-esque bhangra/Moog beat. Rather than fighting the grooves, Kaur sounds relaxed and confident, and it's this chilled confidence that helps make the album such a refreshing success. On "The Biro Pen," the group delivers a chunky Randy Newman-esque piano line overtop thick, crashing drums, while album closer "Don't Shake It" injects finger-picked acoustic guitar runs into a Hammond organ groover, sounding like Harry Nilsson sitting in with James Brown and Richard "Groove" Holmes, inspiring you to shake it after all. Thankfully, the band is also savvy enough to include both sides of the aforementioned single; the hypnotic circular guitar figures and clattering dholki drum patterns of "Topknot" are perhaps the most relaxing moments on the album, while the double-dutch breaks and pop-locking bass of "Natch" are a personal favorite, with Kaur singing deep in the echo chamber like a ghost of go-gos past. All in all, this has been one of the most infectious, joyful, and straight-up funky records I've had the pleasure of hearing so far this year; since first receiving a copy about a month ago, I've not been able to stop listening to it. I've got to give top marks to Cornershop for pulling off such a brilliant slice of multicultural unity without making a big f-ing deal about it. And that overall is what makes the record such a success; where many artists are keen to push their broad-ranging influences and obsessions in your face, Cornershop and Bubbly Kaur just want you to take them at face value -- it's all music, it's all valid, and best of all, it's all good. I'm hard-pressed to believe that anyone is going to release a new album in 2011 that I'm going to enjoy more than I do this one, and I can't give a higher recommendation than that. [IQ] Order CD by Texting "omcdcornershopdouble" to 767825

		$13.99 CD   POWER OF ZEUS The Gospel According to Zeus (Get on Down) "It Couldn't Be Me" "Realization" Motown's Rare Earth subsidiary not only supported the label's first Caucasian rock 'n' roll band of the same name, but also acted as their entry into the world of album-based rock altogether -- without them, America might not have seen a domestic release for such essentials as the Pretty Things' S.F. Sorrow. Rare Earth proved an interesting, if inconsistent imprint, documenting the music of the day with the sort of scattershot abandon that one finds with most modern-day surveys of the early-'70s record biz; lots of import titles (UFO, Toe Fat, Dave Edmunds' Love Scupture) along with homegrown signings of varied quality (Rustix, Xit, R. Dean Taylor in his transition from northern soul mystery man to Midwestern singer-songwriter, vis a vis his Top 40 heartbreaker "Indiana Wants Me"). Detroit locals Power of Zeus were one of the few acts on Rare Earth to truly fulfill the label's pledge of releasing underground and psychedelic rock; they were both. So little is known about the group that they are often dismissed in the history books with a line or two describing them as a one-off (which they were), as a Christian rock band, as drug casualties, etc. Sonically, the group was certainly much more than anyone at Motown was ready to deal with, and while their vocals-forward, organ-heavy rock met with some flowery psych touches and swampy, mired prog, they also busted out the teeth of anyone who dared to come close, via their two undeniably stomping tracks. A hip-hop sample favorite for years, opening number "It Couldn't Be Me" will be instantly recognizable to most people who've dug their fair share of crates in search of gold. With its hulking one-chord riff, Gibraltar-sized drum break, sledgehammer cowbell treatment and snarling vocals ("All I want is what's mine/I don't care who I hurt!"), this song is a career maker, dragging its tail across the mud and leaving competitors crushed and bloodied. (I was pretty shocked to hear this sampled by Obie Trice and used to promote a season of the cable TV series Entourage, but them's the breaks.) Likewise, "No Time" (which originally started side two) works around another heavy, swirling riff, crunching the same elements together in a slightly different model, and mimicking the anvil-drop attack of UK heavies like Uriah Heep and Deep Purple. Those looking to have their stacks blown off in such a fashion might have to go a bit further than the heavy tracks here, but it's a varied and often striking spin by a band that said their piece, then peaced. Very worth checking out. [DM] Order CD by Texting "omcdpowergospel" to 767825

		$13.99 CD $17.99 LP+MP3   J MASCIS Several Shades of Why (Sub Pop) "Several Shades of Why" "Where Are You" It could be argued that Dinosaur Jr.'s later records were essentially J Mascis solo albums, but I'll leave that to Lou Barlow to worry over. Several Shades of Why, Mascis' first Sub Pop release, his first under his own name, and his first acoustic-driven album, is the solo debut from this legendary shredder, and it's everything his fans could hope for, a beautifully textured, haunting journey through Mascis' melancholy and joy. It's a great album, distinctively Mascis, with layers of guitar that swirl and swing and echo and soar even though they are only occasionally amplified, and his world-weary whine of a voice clearer and more nuanced than ever, exposed to every whimper and sigh without a wall of feedback to hide behind. The album starts out stark and lonely, with Mascis strumming along with Kurt Vile (who is all over the record, aurally as well as spiritually) on dueling acoustics, wishing for "a place where we could rest and be alone," on "Listen to Me," his best album opener since "Freak Scene" kicked of Bug 20-some years back. The record expands from there, in little ways, as Mascis is joined by a cast of talented friends that he has influenced, from Band of Horses' Ben Bridwell to A Silver Mount Zion's Sophie Trudeau, Broken Social Scene's Kevin Drew, Tower Recordings/MV&EE's Matt Valentine, Mercury Rev's Suzanne Thorpe, and others, who all add their own great playing and quiet touches, giving songs subtle vocal harmonies and measured musical coloring. But in the end, this is really J Mascis alone, and after years of swimming in sludge, it sounds fucking great. [JM] Order CD by Texting "omcdjseveral" to 767825 Order LP by Texting "omlpjseveral" to 767825

		$15.99 CD   TAPE Revelationes (Hapna) "Companions" "Byhalia" Swedish trio Tape delivers another solid album at the junction of electronic and acoustic composition, always subtly pushing their quiet instrumentals into fascinating new territories. The record opens with drumming that recalls Radian at their best, all intricate brushwork and delicate gestures, until epic, swooping melodies enter and the palette is broadened with the inclusion of vibes. "Companions" starts as a sleepy lo-fi jazz-groove, until it is pleasantly disturbed by swirling discordant organ; Tape always gravitate towards these sort of juxtapositions, but there is chemistry at work here that allows the music to sound fluid and not slapped together on someone's hard drive. "The Wild Palms" pits a Vini Reilly-esque guitar figure against an almost Latin rhythm, to dazzling effect. Closer "Gone Gone" is just one vocal microphone shy of being a straight-up soulful pop ballad, but is all the more expressive for its unusual approach; this stately seven-minute piece brings together the many strands of the album, with its synthesizer blasts and great ensemble playing. Tape has come a long way from the drone-heavy approach of their first few albums, and the shift suits them well. [NN] Order CD by Texting "omcdtaperevelationes" to 767825

		$19.99 CD   STEVE YOUNG Rock Salt & Nails (Big Pink) "That's How Strong My Love Is" "Coyote" How to sum up the considerable talents of guitarist/ songwriter Steve Young? Let's turn it over to Van Dyke Parks, who penned "The All Golden" (from Song Cycle) in homage to the man, far from his home of Georgia and amid the alien climes of Los Angeles. "He is not your run of the mill garden variety Alabama country fair," it goes, which is a fine assessment of Young. Parks wasn't his only fan, and his songs have been turned to gold by the likes of Waylon Jennings and the Eagles over the years, but this exquisite solo debut, released in 1969 and one of the finest country-rock-soul documents of that or any era, has remained out of print for decades, making this Korean reissue on CD a welcome sight indeed. On Rock Salt & Nails, Young gets a bit of help from the likes of Gene Clark, Gram Parsons, and James Burton, but it's plain to see that the man's integration of seemingly-disparate strains of classic country music (with covers of Hank Williams and Flatt-Scruggs) and Memphis soul (a strong and assured take of Otis Redding's "That's How Strong My Love Is") into west coast rock influenced Clark and Parsons on their own efforts. And his gorgeous song "7 Bridges Road" crops up here as well, covered by the Eagles a decade later to great success. Tackling folk, country, mountain music and boot cut rock, Rock Salt & Nails is a classic album front to back. Highly recommended. [AB] Order CD by Texting "omcdsteverock" to 767825

		Geri Reig $19.99 LP Normalette Surprise $19.99 LP Geri Reig + Normalette Surprise $11.99 MP3   DER PLAN Geri Reig (Medical) DER PLAN Normalette Surprise (Medical) Preview Songs on Other Music's Download Store At the risk of sounding hyperbolic, Der Plan were one of the most important German bands of all time. While they did not have the far-reaching impact on artists around the world as did the so-called Krautrock groups of the late-'60s and '70s including Can, Faust, Neu!, Kraftwerk and many on the Sky Records roster, Der Plan were one of the first bands in post-war Germany who created a strictly German sound for Germany. This sound, eventually known as Neue Deutsche Welle ("German New Wave" or NDW), defined a whole new crop of artists in the early 1980s interested in pushing the boundaries of music as the Krautrock legends had done a decade earlier. Though the genre eventually succumbed to complete commercialization by the mid '80s (see Trio, Nena, and Peter Schilling), at the outset NDW bands were making some really adventurous stuff, and Der Plan were at the forefront -- paving the way for other German artists and musicians to explore the potential of electronic music and find new ways to make sound. Hailing from Düsseldorf and counting future members of DAF and Liaisons Dangereuses as early contributors, Der Plan used Dadaist art practice as a guide to pull from, recycle, and then regurgitate and mutate the sounds of pop music into an oddball artistic vision, while also maintaining a clear interest in experimental music. Though sometimes pegged as the "German Residents," Der Plan's Dada-meets-experimental-pop aesthetic feels much less bleak than the Residents' 1970s output. Colorful, bizarre, futuristic, and undeniably DIY, Der Plan is ultimately supposed to be both funny and disconcerting; their music is the soundtrack to a dark, twisted cartoon that makes you laugh or want to run screaming, or sometimes both. It's really, really weird, and that's what's so damn good about it. Available for the first time on LP since their original release in 1980 and 1981, Der Plan's first two albums, Geri Reig and Normalette Surprise, are two of the best and most quintessential NDW releases. While Geri Reig tends to be more experimental and Normalette Surprise slightly more "pop," both albums display Der Plan's eccentric mishmash of minimal electronics, tape collage, odd vocal manipulation, studio fuckery, and discordant pop ditties (most tracks run under the two-minute mark and often end mid-track to mess with you). These are absolutely essential records for fans of art-damaged post-punk and minimal synth; two of my favorite records of the '80s, and thanks to Seattle's Medical Records for making them available again. Highest recommendation! [CPa] Both albums are packaged together in download format. Order LP by Texting "omlpdergeri" to 767825 Order LP by Texting "omlpdernormalette" to 767825

		$14.99 CD   ISOLEE Rest (Pampa) After falling out of print following the dissolution of the Playhouse label, Isolée's first two albums are finally back on Pampa Records. Isolée's debut, Rest, has become over the years one of my favorite electronic albums; it's a record I can always return to which has proved to be multifaceted in its abilities. It's a diamond-hard update of the sort of tuneful electro hypnotism perfected by Kraftwerk on their Computer World album, where classical melody collides with dark, gritty synthetic texture, and more than a decade later, Rest hasn't dated in the slightest. At the time of its release, Isolée (né Rajko Müller) had the dance world buzzing like a swarm of bees after his single, "Beau Mot Plage," became a smash, working its way into sets everywhere. Rest was released to pretty much universal acclaim, and has often been regarded as the first "microhouse" album, for what that's worth. But to my ears, I hear a heavy debt to post-punk sonic auteurs like Adrian Sherwood's On-U Sound and Martin Hannett's early work for Factory Records, where stark, barren landscapes of flange and phaseshift give way to lush, almost tropic humidity, while the melodies bob up and down like duck decoys in an algae-filled pond, occasionally submerging themselves, only to reemerge with a splash. It's to Müller's credit that while many other albums in the minimal/microhouse style have not aged particularly well, this record's attention to not only sonic detail but to sound design and even songcraft has given it a leg up on its brethren. Tracks like "Démon" and "Rest Encore" pound ominously across the terrain like outtakes from John Carpenter's imaginary score from Escape from Berlin, while "Alleinunterhalter" and the aforementioned "Beau Mot Plage" (wisely included on the CD versions of the album), take that Computer World template and beef it up, adding thick patches of melody and more uptempo grooves to the stark soundscapes. This record has its fingers dipped into so many pies that it's a veritable bakeshop of flavors all rolled into one flaky, delicious crust; there are traces of house, cold wave/minimal synth, electro, post-punk, and even experimental glitch techno here, yet everything is mixed and blended so expertly that it sounds explicitly like none of those things at all. This is one of the few "techno" or electronic albums that really should be heard by everyone at least once. Pampa has re-mastered the record and included the two vinyl-only tracks that were never released on the Playhouse CD editions of the album, making this new issue the most complete document. The follow-up, Wearemonster, got all the praise and hype, but for my money, this is still Isolée's most perfect statement. It's utterly essential. [IQ] Order CD by Texting "omcdisoleerest" to 767825

		$17.99 CD $21.99 LPx2 $9.99 MP3   MORITZ VON OSWALD TRIO Horizontal Structures (Honest Jon's) Preview Songs on Other Music's Download Store When Berlin's mighty techno-dub maestro Moritz von Oswald (the genius behind OM-approved heavyweights like Basic Channel, Rhythm & Sound, Maurizio, and others) announced that he was forming an improvising trio with fellow electronic groundbreakers Vladislav Delay and nsi.'s Max Loderbauer, we were taken aback by the idea, and their debut, Vertical Ascent, was dark, abstract and cavernous in all the right ways. Cool as it sounded though, one surmised that these three titans would convene but a few times before getting back to their respective projects. And then came their live album, recorded at NYC's Le Poisson Rouge, which was a whole other beast; the trio enfolded two other masters (Carl Craig and Francois Kevorkian) and levitated the entire room. And now we have a new studio album from the group, again featuring four extended explorations. Augmented once again by outsiders, this time by R&S collaborator Paul St. Hilaire on guitar and upright bassist Marc Muellbauer, MvO3 are given room to go further out. Throughout, the music created has more horizontal spacing to it and Muellbauer's bass work -- filled with drone and buzz -- gives the sparse clattering of Delay a bit more edge. But it's the gentle melodic guitar ruminations of St. Hilaire that makes it all cohere, giving this second album a gorgeous shimmer. We can't wait to hear what direction they go in next. [AB] Order CD by Texting "omcdmoritzhorizontal" to 767825 Order LP by Texting "omlpmoritzhorizontal" to 767825

		$11.99 CD $16.99 LP $9.99 MP3   THE DODOS No Color (Frenchkiss) Preview Songs on Other Music's Download Store The Dodos have become known for soaring pop songs that are as vibrant and sonically colorful as the band's album artwork. With pounding, syncopated percussion and equally tribal acoustic guitar work, Meric Long and Logan Kroeber combined the math-influenced progginess of bands like Aloha with the soaring, anthemic hooks of the (now defunct) French Kicks or the Born Ruffians. The cover of the Dodos' third LP struck me, exactly because it lacked everything that I had come to expect; instead of confetti, the band chose a stark black and white photograph of an empty field, with some scraggly trees in the foreground. The title of the record is No Color, and it finds Long and Kroeber scaling back a bit after 2009's Time to Die, which featured vibraphonist Keaton Synder and lush, filled-to-the-corners production. The new record is sparser, less packed to the gills with instrumental flourishes, with a noticeable absence of Snyder (which is fine by me). The best single thing about the Dodos has always been the push and pull between Long and Kroeber, who often switch instruments and vocal duties from song to song. "Going Under" perfectly captures the way that their two personalities can create jumpcuts, with a drum-driven wind-up and smooth, earworm chorus. "Good" and album closer "Don't Stop" both kick off with blazing, folksy guitar fingerpicking, no sooner establishing a pace before leaping into tribal, pounding drums and furious strumming. And the vocal work on No Color has a looser, less strained delivery than on previous recordings; while the performances are as tight and forceful as ever, the wilder, less vigorous production gives the feeling that the Dodos are exactly where they want to be. [MS] Order CD by Texting "omcddodosno" to 767825 Order LP by Texting "omlpdodosno" to 767825

		$19.99 CD   HIGH MOUNTAIN HOEDOWN High Mountain Hoedown (Big Pink) "That's How Strong My Love Is" "Coyote" This mellow little groover from 1970 is bound to be someone's favorite album, and is the perfect kind of record to find out in the wild: a veritably unknown slice of almost-was/never-been rural rock, smartly played, expressive, and rich. I found my own copy (white label promo, no less) at Other Music under the LP shelves about a decade ago for the low, low price of $1.99. Not a lot is known about the band, who released this and nothing more, but the singer-guitarist is presumed to be one Jerry Lynn Williams, a Texan songwriter who honed his chops playing rhythm guitar for Little Richard in the mid-'60s alongside Jimi Hendrix. While Williams penned a bunch of songs for folks like Delbert McClinton, Eric Clapton and Bonnie Raitt, his own career as a performer never took off. Apart from an affiliation via Buffalo Springfield producer Charles Greene, High Mountain Hoedown remains a mystery, as there are no performer credits and only the bare minimum acknowledgement that the late Williams ever came near anything here except the songs themselves. And what a shame that is, as this one is really nice, a rollicking country-rock affair that keeps the two halves gritty and heartfelt. Williams' voice belongs to the higher registers, and though his words soar above the music, the toughness within remains, placing his throat somewhere between Terry Reid and John Fogerty. Musically, this thing's a peach, rolled out with some fine session accompaniment and the sort of warm summer afternoon front porch vibe that cannot be easily replicated. Their soulful rendition of "The Weight" burns along with ornery joy, as does their fuzzed-out, in-the-pocket take on "Goodnight Irene," but the originals here are the real revelation -- see if your heart doesn't melt over a sweet ballad like "Pickin' Berries." What a wonderful record, sitting alongside releases by Help Yourself, Jesse Ed Davis, Bernie Schwartz, Sir Douglas Sahm and Jim Ford as music from the genre that I'd recommend to anyone interested in the lesser-knowns (in a field of popular artists like Neil Young) without reservation. [DM] Order CD by Texting "omcdhighmountain" to 767825

		$19.99 CD   VERNON WRAY Wasted (Big Pink) "When I Started Drinking" "God Is Colored Blind" We've sold literally hundreds of Link Wray's Three Track Shack recordings in the last few years, and it's a body of work that seems to still be gaining steady converts all the time as it's simply some of the most raw and soulful rock and roll put to tape in the early '70s. Truly can't recommend it enough, and I can't tell you how pleased we are to offer a missing piece of the three track shack puzzle, Link's older brother Vernon's privately released album Wasted, originally pressed in a miniscule edition and apparently only ever sold at gigs in and around Arizona. I despaired of ever hearing this record, but here we've got a pretty sweet little miniature-LP styled reissue, and I'm happy to report it doesn't disappoint one bit. Vernon must have been the sensitive brother in the Wray family, as there isn't quite as much hellfire here as there is on Link's shack recordings, but it's more than made up for by a dusty forlornness that is every bit as compelling. A few of these tracks would fit right in on that recent Numero comp of loner folk, but just as often you've got some gloriously loose rock and roll, with Link on hand to provide some deliriously skewed guitar histrionics. Pretty bad-assed all around I've gotta say, from the black and white cover to the album title to the tunes, this is the real deal right here people. [MK] Order CD by Texting "omcdvernonwasted" to 767825

		PHONE ORDERS Phone orders are accepted at (212) 477-8150 (ext. #2, mailorder) Mon-Fri, Noon - 7pm EST EMAIL For general inquiries or other information please email sales@othermusic.com. Do not reply to this message. REMOVE This is an automated list. If you would like to be removed for any reason, please visit: digital.othermusic.com/subscribe.php   THIS WEEK'S CONTRIBUTORS [AB] Adrian Burkholder [CPa] Chris Pappas [IQ] Mikey IQ Jones [MK] Michael Klausman [JM] Josh Madell [DM] Doug Mosurock [NN] Ning Nong [MS] Michael Stasiak THANKS FOR READING - all of us at Other Music

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