Having trouble viewing this email? Go to othermusic.com/2011may19update.html

   
   May 19, 2011  
       
   
     
 
 
FEATURED NEW RELEASES
Sandwell District
Group Doueh
L'Orchestre Kanaga De Mopti
Austra
Okkervil River
The Clap LP
Chancha Via Circuito
Danger Mouse & Daniele Luppi
Tin Man
Ezekiel Honig
Joaquin "Joe" Claussell (Fania Mix)
Nigeria 70 - Sweet Times (Various)

 

 

ALSO AVAILABLE
Damon & Naomi
Iron & Wine / Low Anthem (Limited LP)
Nodzzz
Amor de Dias
Let's Wrestle
Queens of the Stone Age


BACK IN STOCK
White Boy & the Average Rat Band
Howlin' Wolf
Trad Gras Och Stenar (LP)


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

 
         
   
   
   
       
   
 
 
MAY Sun 15 Mon 16 Tues 17 Wed 18 Thurs 19 Fri 20 Sat 21

  WIN TICKETS TO THE BUNKER'S BERGHAIN & PANORAMA BAR RESIDENCY
The Bunker's fifth Berghain & Panorama Bar Residency takes place this Friday at Public Assembly, and it's another one not to be missed. With a forthcoming Berghain mix CD in the works, Berlin's Marcel Fengler (Berghain, Ostgut Ton) makes a triumphant return to the Bunker, playing in the backroom along with Derek Plaslaiko. In the front room, Berlin by way of Michigan's Ryan Elliott (Ostgut Ton, Spectral Sound) will be representing the Panorama Bar, playing an extended set along with Bunker resident Spinoza. We've got two pairs of tickets up for grabs to this killer night. Enter by emailing tickets@othermusic.com, and we'll notify the two winners on Friday morning.

FRIDAY, MAY 20
PUBLIC ASSEMBLY: 70 N. 6th Street, Williamsburg
$10 Tickets Available at Other Music



     
 
   
   
 
 
MAY Sun 22 Mon 23 Tues 24 Wed 25 Thurs 26 Fri 27 Sat 28
JUN Sun 05 Mon 06 Tues 07 Wed 08 Thurs 09 Fri 10 Sat 11
JUN Sun 19 Mon 20 Tues 21 Wed 22 Thurs 23 Fri 24 Sat 25





Heresy of the Free Spirit
  UPCOMING IN-STORE PERFORMANCES
THURSTON MOORE: MONDAY, MAY 23 @ 8PM
We are truly thrilled to announce that Other Music will be hosting a record release party for Thurston Moore's fantastic new solo joint, Demolished Thoughts, produced by Beck Hansen for Matador Records. Thurston and his band will be performing at the shop at 8 p.m. on Monday, May 23, and signing records after. Please join us -- and, need we say, get here early!

HERESY OF THE FREE SPIRIT & PAUL METZGER: THURSDAY, JUNE 9 @ 8:30PM
Featuring lutenist Jozef Van Wissem and multi-instrumentalists Robbie Lee and Che Chen, Heresy of the Free Spirit plays Van Wissem's arrangements of lute compositions and improvisations that draw on early music, folk traditions, modern composition and noise. Their set will be followed by a performance from Paul Metzger, whose singular brand of solo banjo music is equally influenced by American primitive, Indian raga, and Middle Eastern tonality.

ICEAGE: WEDNEDSAY, JUNE 22 @ 8PM
These young Copehenhagen punks have already sold out a couple of small-label pressings of their first album, New Brigade, and Brooklyn's What's Your Rupture? is stepping up to the plate to give the record a proper North American release on Tuesday, June 21. The following night, Iceage will be celebrating its release playing a set of their exhilarating post-punk/hardcore at Other Music.

OTHER MUSIC: 15 East 4th Street, NYC
Free Admission | Limited Capacity


     
 
   
   
 
 
JUN Sun 19 Mon 20 Tues 21 Wed 22 Thurs 23 Fri 24 Sat 25
  Sun 26 Mon 27 Tues 28 Wed 29 Thurs 30 Fri 01 Sat 02



  WIN 3-DAY PASSES TO SOLID SOUND: A MUSIC & ARTS FESTIVAL CURATED BY WILCO
The Solid Sound Festival is a unique three-day event envisioned by Wilco and presented in association with MASS MoCA. This year's line-up is spectacular, with two nights of Wilco (Fri. & Sat.), the Levon Helm Band, Thurston Moore, Pajama Club (featuring Neil Finn), Syl Johnson & the Sweet Divines, Here We Go Magic, Dave Douglas & Brass Ecstasy, Pillow Wand (Nels Cline/Thurston Moore duo), Jamie Lidell, Handsome Family, Liam Finn, Sic Alps, JC Brooks & the Uptown Sound, Sarah Lee Guthrie & Johnny Irion, Glenn Kotche, Pronto, the Autumn Defense, Comedy Cabaret curated by John Hodgman featuring Wyatt Cenac, Eugene Mirman & Morgan Murphy, and lots more. Other Music has a pair of three-day passes (valued at $124.50 each) that we're giving away to one lucky person. Enter by emailing giveaway@othermusic.com, and we'll notify the winner on Monday, May 30. The winner will be responsible for transportation and housing (there are several lodging options listed here on the Solid Sound Festival website).

FRIDAY, JUNE 24 - SUNDAY, JUNE 26
MASS MoCA: 87 Marshall Street, North Adams, MA

     
 
   
   
   
   
   
       
   

 

 

     
 

$18.99
CD

Buy

  SANDWELL DISTRICT
Sandwell District
(Sandwell District)

"Blood Tide (Regis Mix)"
"Hunting Lodge (Berlin Live)"

Over a series of 12"s dating back to 2002, Sandwell District has proven itself to be one of the most consistently exciting collectives in recent electronic music history. Carrying the torch of the Birmingham techno scene that also birthed Surgeon, these producers craft music that is as dark and hard as any noise or punk music, while working squarely within 4/4 techno parameters. This set, their first widely available CD, contains reworked versions of material from last December's exhilarating Feed-Forward LP, and has been released to mark the ending of "phase two" of their career. Though there is no information written on the packaging, this gang has carved out a strong visual language through their "Where Next?" blog, their striking black-and-white imagery taking cues from Dadaist photomontage, while also paying homage to early industrial culture. Members are also tied to the long-running Birmingham label Downwards, which recently branched out from hard techno into brilliant futuristic, dark electronic pop. It's these alliances that make this crew stand out from the pack, ensuring that their future moves could encompass any number of genres and lose no followers. Productions credited to the Sandwell District moniker are usually steered by David Sumner (who records as Function) and John Juan Mendez (Silent Servant), with assistance from Birmingham luminaries Regis and Female. Here all players rework each other's material, with startling coherence, as subtle webs of dark ambience surround pummeling rhythms that are somehow both shape-shifting and linear. Their inventive sound palette is defined by being lush and menacing at the same time, and it's clear there's no conceit to trends here, just purposeful, expertly crafted techno informed by dark imagery and personal vision. It's about time this crew got some recognition in the States. [NN]

 
         
   
   

 

 

     
 

$15.99
CD

Buy

  GROUP DOUEH
Zayna Jumma
(Sublime Frequencies)

"Zayna Jumma"
"Ishadlak Ya Khey"

Less than a year since their last release and Group Doueh return with another great album, by far the catchiest, most concise record the West Saharan family (led by Bamaar "Doueh" Salmou) have produced for Sublime Frequencies, and just in time to spread some buzz before the band's first ever North American tour this summer. While last year's Beatte Harab concentrated on displaying the group's intricate, austere, trance-inducing grooves channeled through their dazzling mastery of traditional Moorish instruments, this new record, Zayna Jumma, takes a step towards a more western rock sound, filling out the band on several tracks with bass guitar, full drum kit played by Doueh's son Hamdan, and of course, Doueh's hyper-phased guitar work. "Ishadlak Ya Khey" and "Zaya Koum" are uncomplicated, funky garage burners, with the group hanging back on Hamdan's simple, straight-forward rock rhythms, while Doueh's wife Halima and a gang of backing vocalists loosely shout in unison over the riotous jam, allowing for a joyous family party vibe to swell. Some of the most exciting music here is when the band obtains a euphonic pop trance through the combination of traditional instruments and some fantastic beats, tapping into a universal pulse that will definitely get Mauritanian desert dwellers and New York City hipsters grooving alike. The title track, with its heavy drum machine beat keeping the band steady, and exultant call-and-response vocals singing along with and around Doueh's frenzied tinidit lines (a traditional 3-stringed lute), is an infectious, entirely new musical hybrid, and it's hard not to start dancing. With a record like this, who knows, perhaps the Doueh camp might start sharing in some of the attention fellow countrymen like Omara "Bombino" Moctar have been receiving from NPR and the like, and with shows throughout Europe and the U.S. this summer, the glow around these sonic cross-culturalists is sure to grow. [JCa]

 
         
   
   

 

 

     
 

$17.99
CD

Buy

  L'ORCHESTRE KANAGA DE MOPTI
Kanaga De Mopti
(Kindred Spirits)

"Kulukutu"
"Sare Mabo"

I have waited YEARS for this record to see a proper reissue, and holy shit, Kindred Spirits have really outdone themselves with this one. L'Orchestre Kanaga De Mopti were one of the best of Mali's eight regional orchestras, state-sponsored bands featuring the best musicians in a respective area of the nation. These groups performed at both state and private functions, and as a result often had two names -- one name was used when performing for state officials, the other was used for private events. The Orchestre Régional De Mopti began performing under the guise Kanaga De Mopti in 1976; this musical alter ego replaced the gorgeous slow-moving, droning harmonies of their proper "Régional" activities (documented on an LP recently reissued by Mississippi Records) with an intense, frenetic Afro-futurism that blended the popular dance band styles then prevalent in Mali with the heavy influence and fusion of Malian Dogon traditions (as displayed in the ceremonial Dogon masks worn on the album's cover). The group made innovations with their increased use of synthesizers in a dance band setting, then highly uncommon. They stepped into Radio Mali in 1977 to lay down this set, their only LP under the Kanaga name, and it remains one of the most unique, uplifting, and cosmic recordings of dance band music from not only Mali, but 1970s Africa as a whole. Two tracks from this album ended up providing highlights on the excellent African Pearls: Mali 70 comp from a few years back, but now we're treated to the album in its entirety for the first time since its initial release.

Overflowing with frenetic, polyrhythmic percussion grooves, robust horn work, psychedelic finger-picked guitar lines, and vocal chants and synth parts run through assorted echo/delay units, the album blasts off into space from opener "Kulukutu" and never returns, displaying the same primitive/futurist aesthetic dichotomy heavily practiced by the likes of Sun Ra's Arkestra, while displaying aesthetic similarities to the lysergic explorations of Pink Floyd (the group was allegedly referred to as "The Malian Pink Floyd" because of their pioneering synth usage) and the melodic electronic pointillism of early Terry Riley. These six tracks are overflowing with pure joy, which comes through in the vocal chants, sung in harmony by various members of the band, not to mention impressive, complex rhythmic and harmonic counterpoint, as displayed in the latticework woven by the keyboards, balafon, and stuttering brass. Tracks like "Sare Mabo," "Sory Bamba," and "Gambari" usher in slinky grooves, yet never sacrifice the complex instrumental arrangements, while the staccato funk of "N'do N'do" shows the band could get down'n'dirty in a more Ghanian style. It's the album centerpiece and tribute to Dogon ceremonial mask dances, "Kanaga," that really shows what the group was capable of, though, with the freneticism of opener "Kulukutu" flipped inside out, as band members shout through delay units into a dub space that'd make King Tubby green with envy, and flip organ, synth, and sax blips into interstellar overdrive through the mix with hypnotic, dizzying results.

If you've ever displayed an interest in Malian music in general, in African dance band sounds, or have grooved to Sun Ra or Larry Young's Lawrence of Newark, you'll want to add this to your collection, ASAP. This is sitting at the top of my list of best reissues of 2011, and comes with my absolute highest recommendation. Afro-Jam of the Year, folks. You've never heard sounds quite like this. [IQ]

 
         
   
   
   
   
   
   

 

 

     
 

$13.99
CD

Buy

$19.99 LPx2+MP3

Buy

$9.99
MP3

Buy

  AUSTRA
Feel It Break
(Domino)

"The Future"
"Shoot the Water"

From the pitch-black pop of Zola Jesus to the exotic, medieval atmospherics of Glasser, the past few years have seen a new generation of songstresses following the footsteps of dramatic and ethereal-voiced visionaries like Siouxsie Sioux, Elizabeth Fraser and Lisa Gerrard. Austra is perhaps the most accessible of these newer names, not because their music is any less artful, but rather due to a more direct pop sensibility piercing through the darkness. This Toronto trio is fronted by Katie Stelmanis, a classically trained opera singer and pianist who was also a member of Galaxy (along with Austra bandmate Maya Postepski) and a guest vocalist on Fucked Up's Chemistry of Common Life. While the closest comparison for Stelmanis' icy, elastic croon would be Karin Dreijer Andersson, musically speaking, Austra's template is less claustrophobic than the Knife or Fever Ray, recalling at times a too-good-to-be-true pairing of Kate Bush with Black Celebration-era Depeche Mode. Tracks like "Spellworks" sound crafted for the dance floor of a clove smoke-filled club, sandwiched between Soft Cell's "Sex Dwarf" and Visage's "Fade to Grey;" still, at the same time Feel It Break comes across as very current -- from the precise four-on-the-floor kick driving the rippling electronics and fragile operatic harmonies of "Losing It" (think of this song as a heartbroken, minor-key response to Chairlift's feel-good "Bruises") to the dark, space-disco oscillations of "Beat and the Pulse." Throughout the record, smartly arranged layers of keyboards and synths shimmer around Stelmanis' haunting multi-tracked vocal melodies, but there's always a sense of restraint at play that makes the music as unsettling as it is catchy. Unexpectedly stunning, however, is the percussion-less album closer, "The Beast," in which Stelmanis fully reveals her classically trained hand, as byzantine piano work cascades beneath her gorgeous, unadorned vocal. A fine debut and more proof that the Goths are alright. [GH]

 
         
   
   

 

 

     
 

$14.99
CD

Buy

$16.99 LPx2+MP3

Buy

$9.99 MP3

Buy

  OKKERVIL RIVER
I Am Very Far
(Jagjaguwar)

"Your Past Life As a Blast"
"Piratess"

In certain respects, Will Sheff has scaled back his monumental ambition on I Am Very Far, Okkervil River's great new record on Jagjaguwar; after several "big idea" concept albums that stretched Sheff's songwriting well beyond simple indie-rock drama, this new one seems to have a more humble approach, letting each song tell its own story and each chapter stand on its own. The thoughts are no less complex and soul-searching, as Sheff digs in the dirt of the human condition, but the ideas are explored one trowel at a time. On the other hand, musically, this may be the group's most nuanced, collaborative and accomplished album to date, with the band delivering multi-layered and engaging productions, built from the ground up around a powerful and engaging rhythm section, with multiple guitars, piano, well-thought percussion, and occasional string or brass orchestration delivering a wallop.

It's a brooding record, anthemic and emotional, full of moody mid-tempo tracks that range from lush singer-songwriter epics that could pass for Walker Brothers outtakes, to a Let's Dance-era Bowie soulful swagger on a tune like "Piratess." In the end, while I Am Very Far may not have the broad conceptual underpinnings that much of Sheff's most acclaimed music has, it does have some of Okkervil's best songs -- and that's what we're here for anyway, right? It seems there were two paths Sheff could have followed: either exploring an ever-increasing conceptual framework to his music, perhaps with diminishing returns, or stepping back for a moment to focus on his core strengths as a poet and bandleader. He may have taken the "easy" way out, but in hindsight, the choice was obvious, and the record is a winner. [JM]

 
         
   
   

 

 

     
 

$11.99
LP

Buy

  THE CLAP
Have You Reached Yet?
(Sing Sing)

One of my favorite US rock 'n' roll records of all time finally gets a much deserved legit reissue. Straight outta Manhattan Beach, CA, the Clap self-financed Have You Reached Yet? in 1972 and then disappeared into obscurity. I think the small but enthusiastic write-up by Greg Shaw in Bomp! magazine is about as much exposure as the album got around the time of its original release. It's a shame because the Clap, no matter how obvious their influences might seem (Rolling Stones, primarily), created a pretty unique sounding brand of classic rock. The sound is strangely minimal and the recording is somewhat tinny at times, but somehow that works entirely in the band's favor, creating a unique basement charm and private press mystique. The snarling, Jagger-esque vocals and stoned, glammy swagger of the band (and occasional sax solo!) makes it seem like the Clap existed in a time capsule, blissfully unaware of the psychedelic era. One of the coolest records I own, and one that I've filed so hard you'd need at least a dozen wild horses to drag it away. [AK]

 
         
   
   

 

 

     
 

$14.99
CD

Buy

$15.99 LPx2

Buy

$9.99 MP3

Buy

  CHANCHA VIA CIRCUITO
Rio Arriba
(ZZK)

Preview Songs on Other Music's Download Store

I'm pleasantly surprised at how radical much of this album is; Chancha Via Circuito is the project of Argentinean producer Pedro Canale, who for the last several years has been spearheading a form of digital cumbia in the clubs of Buenos Aires. Cumbia has been getting some well deserved recognition in record collecting circles the last few years via artists like Quantic and labels like Soundway issuing comps and creating updated takes on the form. Cumbia at its best can be really stripped down and raw, and while I wouldn't say the word raw can really be applied to what Canale is doing here, I would say that the best tracks manage to totally capture that insistent rhythmic minimalism that occasionally has me listening to older cumbia for literally hours straight at home. Tracks like "Cumbion de las Aves" build through a steady accretion of new sound elements, mixing folkloric samples with a crisp, digital production. In my mind I feel like this should be a terrible idea, but the results are rather shockingly great. A few tunes veer a little too close to downtempo for my personal taste, but the tracks that click are amongst the best new music I've heard all year. [MK]

 
         
   
   

 

 

     
 

$16.99
CD

Buy

  DANGER MOUSE & DANIELE LUPPI
Rome
(Capitol)

"Two Against One"
"Season's Trees"

The latest high-profile concept album from Brian Burton (a/k/a Danger Mouse) is essentially a tribute to the classic Italian cinema scores by the likes of Ennio Morricone, Piero Umiliani and Piero Piccioni. Teaming up with talented composer Daniele Luppi, they set off to Rome to utilize many of the same musicians and singers that the aforementioned worked with, recording the proceedings in Forum Studios, (the same studio Morricone used for his productions) and then taking five years to shape the sessions into this album at hand. The arrangements actually remind me a bit of Serge Gainsbourg's masterpiece, Histoire de Melody Nelson, and that's certainly a good thing. There's some surprisingly rich vocal leads from Norah Jones throughout, especially on "Season's Trees" and "Black," while Jack White's vocal contributions add a bit more grit and eeriness to the slinky arrangements ("The Rose with the Broken Neck," "Two Against One"). But even with the musical references pointing to the past, this album doesn't sound retro at all, and sonically is more reminiscent of Air or Charlotte Gainsbourg's recent solo albums. A very lovely record, fans of any of the aforementioned will surely be listening to this one on repeat, as I have. [DH]

 
         
   
   

 

 

     
 

$16.99
CD

Buy

$28.99 LPx2

Buy




$15.99
LP

Buy

  TIN MAN
Perfume
(Salon)

"Good Stuff"
"Perfume"

Hot on the heels of the amazing (and James Blake-challenging) Scared EP comes the newest album from Tin Man. Finnish/American producer Johannes Auvinen has explored everything from warm instrumental acid house to desolate minimal soul, and with Perfume he's taking a stab at slo-mo minimal vocal house. These tracks strike me as a sizzurp-inspired take on classic Markus Nikolai (of Perlon/"Bushes") fame, mixed with a moody, smoky, coldly intimate Mordant Music version of Louie Austen(!). But what makes this so worth listening to is how the mid-tempo house structures really showcase the hi-fi yet grayed-out jazz and acid elements; check "Rockers Ravers," with its crawling piano house stabs and very Louie Austen-ish chorus: "Fashion, music, money, couture." Or "Love Sick," with its warm acid sound sprinkled with deep house piano accents, or "Electric Blue" with its galloping kick drum and more ivory tickling and deep, spoken/drawled Arab Strap-esque vocals. The climbing chords six minutes into "Mona Lisa" are both epic and hilarious at the same time; it's definitely a strange blend of warm/light-hearted elements mixed with Auvinen's trademarked hi-fi warm yet mortuary-slab cold production style. The first listen might make you chuckle a bit, but like the Shangaan Disco comp from a while back, once you get used to the tempo, it all falls into place and you really hear it. It's another feather in the cap for Tin Man, making Perfume a definite album to get and Auvinen a producer to keep a close eye on.

Also in: We have limited quantities of Tin Man's amazing Scared LP, eight tracks of desolate, cold, spoken minimal soul and negative space house. Absolutely special stuff. [SM]

 
         
   
   

 

 

     
 

$15.99
CD

Buy

$19.99 LP

Buy

$9.99 MP3

Buy

  EZEKIEL HONIG
Folding in on Itself
(Type)

Preview Songs on Other Music's Download Store

New York spectral soundscape composer Ezekiel Honig has crafted a gorgeous offering on Type that ably merges washed-out, processed field recordings of urban mundanity to soft, sparse electronic pulsations and beds of gauzy synth pads, creating the same sort of bleak cityscape that's been visually documented in films like Taxi Driver, but soundtracked in a manner that is simultaneously nostalgic and modern. It evokes the likes of Fennesz, Pole, Moritz Von Oswald, and William Basinski while never exactly sounding like any of them; it speaks the same language in which records like The Disintegration Loops or Endless Summer are well versed, but phrases its context in tones that use dub mixology, minimal techno, and ambient drift in equal measure. Folding in on Itself is an absolutely gorgeous recording, a rare electronic album imbued with a sense of intimacy crafted for late nights or early mornings, or those moments when you find yourself alone, reflecting, but it's also a quiet record that begs to be played as loudly as you can manage. The devil is in the details, as they say, and this album's detailed heartbeat grows fonder with each listen. If you're a fan of the records I've mentioned, check this without hesitation; it's perhaps Honig's best work yet, and deserves your attention. [IQ]

 
         
   
   

 

 

     
 

$16.99
CDx2

Buy

  JOAQUIN "JOE" CLAUSSELL
Hammock House: Africa Caribe
(Fania)

"Vamos A La Loma" Mental Remedy
"Lucumi (Traditional Remix Edit)" Mongo Santamaria  

A handpicked selection of singles from the legendary Fania label, all re-imagined and mixed by veteran NYC DJ/producer Joaquin "Joe" Claussell. With his celebrated Body & Soul parties, Claussell welcomed a whole melting pot of music lovers, his DJ sets bridging house music and island culture (Haiti, Brazil, Puerto Rico and the Dominican Republic), while incorporating a heaping helping of African aesthetics, often with live percussion being played over his recorded grooves. Now given access to Fania's record vaults, he has assembled a two-disc compilation that features a great 70-minute mix and nine different remixes. Featuring selections from the likes of Mongo Santamaria, Celia Cruz, Eddie Palmieri and Ray Barretto, to name a few, Claussell's re-workings aren't just simple additions of looped 4/4 beats underneath the original arrangements; there's more of a musicality to his approach as he creates whole new versions and even occasionally builds songs from scratch. Much like NYC itself, Fania and Claussell are products of the streets, boroughs and dance halls, living breathing multi-cultural representations of migration, assimilation, and accomplishment. If you've been digging the massive Fania reissue series going on, you'll love the nice laidback vibes and funky updates of these classic sounds. [DG]

 
         
   
   

 

 

     
 

$14.99
CD

Buy

  VARIOUS ARTISTS
Nigeria 70 - Sweet Times: Afro-Funk, Highlife & Juju From 1970s Lagos
(Strut)

"Kinringjingbin" Dr Victor Olaiya's International All-Stars
"Ire" The Don Isaac Ezekiel Combination

Strut's ongoing Nigeria 70 series returns with a new volume entitled Sweet Times, which documents the prosperous economic upswing in the Nigerian economy and the concurrent proliferation of more joy-filled, positive dance grooves that poured out of the scene as a result. This is the same era of Nigerian music recently documented in the equally excellent Brand New Wayo, but where that collection highlighted the tail-end of the economic boom, bringing disco and boogie into the mix, Sweet Times looks at the beginnings of the era, with a focus on the sorts of highlife, funk, and juju sounds pouring out of Lagos. I'll be honest; I've reached a point where I felt I'd never need to hear another highlife or Afrobeat record ever again after the insane wellspring of quality vintage recordings which have poured forth in the past ten years, but here I am proven wrong, as this collection delivers what may be some of the best tunes from the era I've yet heard. There's a higher presence of juju grooves here that take the airy weightlessness of that sound and inject a rock-solid bottom end to the party, with many tracks also beginning to experiment with dub-style mixes and post-production effects that only enhance the rich, soulful vibes. There are highlights aplenty, but personal faves include the smooth sounds of Admiral Dele Abiodun's "It's Time for Juju Music," which plays like a Nigerian flavor of AM Gold, and Tunde Mabadu's booty-rocking "King of Jungle/Viva Disco," which takes heavy influence from Stevie Wonder's "Superstition" and offers some serious gut-busting sax grooves. "Bisi's Beat" by Soki Ohale brings some nice psychedelic soul into the mix, but the crown jewel in the set has to be Eji Oyewole's "Unity In Africa," which adds echo chamber freakiness to an incessant, relentless proto-house disco beat, monstrous sax riffs, and a marble-mouthed vocal chant. All in all, the usual top-shelf quality is offered up, along with a booklet filled with superfly photos, album sleeve repros, and illuminating liner notes. This is straight-up party music for sunny summer months; all regular Afro-funk enthusiasts should check this post-haste... it's a winner. [IQ]

 
         
   
       
   

 

 

     
 

$13.99
CD

Buy

$16.99 LP

Buy

$9.99 MP3

Buy

  DAMON & NAOMI
False Beats & True Hearts
(20|20|20)

"Walking Backwards"
"Ophelia"

At this point, it would be easy to wave off a new Damon & Naomi record -- been there, heard that. And truth be told, False Beats & True Hearts is nothing particularly new from the duo; it's another lovely, haunting album of psychedelic folk-pop, again in collaboration with guitarist Michio Kurihara of Ghost. But unlike most every other artist out there, these guys actually keep getting better, and some twenty years into their post-Galaxie 500 career, they have made what might be their most enjoyable album. It's looser than their recent stuff, with a trippy, hazy beauty, searing guitar leads, aching melodies, and a lot more; if this was an obscure private press LP from some lost hippie collective, it would be reissued to thunderous praise. It IS self-released, and I think they might be hippies... let yourself love this record!

 
         
   
   

 

 

     
 

$11.99
LP

Buy

  IRON AND WINE / LOW ANTHEM
Daytrotter Sessions Split
(Daytrotter)

A late Record Store day release, and Daytrotter's first LP issue of one (no, TWO) of their always-interesting Daytrotter Sessions. Iron & Wine and Low Anthem have recently been touring together, and this LP features I&W doing "Godless Brother in Love," "Tree by the River," "Glad Man Singing," and "Naked As We Came." Low Anthem deliver "Apothecary Love," "Dreams Can Chase You Down," "I'll Take Out Your Ashes," and "Maybe So." Very limited (1000 LP copies worldwide), so don't sleep.

 
         
   
   

 

 

     
 

$13.99
CD

Buy

$14.99 LP

Buy

$9.99 MP3

Buy

  NODZZZ
Innings
(Woodsist)

"Always Make Your Bed"
"Troubled Times"

It would not be entirely off base to say Nodzzz are a sort of modern-day San Francisco version of Half Japanese. Yes, they are a kind of a garage-rock band, no, there is no David Fair, and Anthony Atlas is probably a lot more together than Jad -- but the halting, willfully uncool, nervous, funny and fun pop that this band deliver on Innings has the same aura of childhood's freedom crossed with childhood's pain, crossed with electric guitars. Their Woodsist debut cleans up the band's sound, a little, and if you liked their last one, you will only like this more.

 
         
   
   

 

 

     
 

$13.99
CD

Buy

$18.99 LP+MP3

Buy

$9.99 MP3

Buy

  AMOR DE DIAS
Street of the Love of Days
(Merge)

"Season of Light"
"Street of the Love of Days"

The debut LP from this project of the Clientele's Alasdair MacLean and Pipas Lupe Núñez-Fernández. If you're a Clientele fan, you will probably be a fan of this collaboration too; Alasdair's breathy vocals and spindly guitar are unmistakable, and he is not saving his best material for his day job -- there are some great songs here. But Lupe's tracks are just as intriguing (and truth be told, pretty similar in their hushed intimacy). There are elements of Brazilian folk-pop that run throughout the record, but in the end, it's more about these two singular voices than any overarching concept.

 
         
   
   

 

 

     
 

$13.99
CD

Buy

$9.99 MP3

Buy

  LET'S WRESTLE
Nursing Home
(Merge)

"Bad Mammaries"
"In Dreams Part II"

This British trio sounds like a variety of '90s American indie-rock bands that you can't quite put your finger on, with swaths of distorted guitar and an off-the-cuff/off-kilter production style that is entirely appropriate for singer Wesley Patrick Gonzalez's shoot-from-the-hip lyrics. His songs are funny, irreverent, pissed off and sometimes just plain silly, but always delivered with a passion and intensity that is utterly real.

 
         
   
   

 

 

     
 

$11.99
CD

Buy

$21.99 LPx2

Buy

$9.99 MP3

Buy

  QUEENS OF THE STONE
Queens of the Stone Age
(Rekords Rekords / Domino)

Preview Songs on Other Music's Download Store

Josh Homme's Rekords Rekords teams up with Domino and reissues Queens of the Stone Age's eponymous debut album from 1998. While by no means as packed as the deluxe 10th anniversary edition of QOTSA's seminal Rated R (reissued last year with a full second disc of b-sides and a live concert), fans will be thrilled to hear this self-titled record fully re-mastered from the original tapes and expanded with three bonus cuts: "The Bronze" and These Aren't the Droids You're Looking For" (originally released on The Split CD in 1998), and "Spiders and Vinegaroons" off of 1997's posthumous Kyuss/Queens of the Stone Age split EP. A director's cut edition, if you will, and of course, the double LP comes in a gatefold sleeve.

 
         
   
       
   

 

 

     
 

$17.99
LP

Buy

  WHITE BOY & THE AVERAGE RAT BAND
White Boy & the Average Rat Band
(Roach)

Whoa, here's one for the metalheads, heshers, stoners, rockers, psych casualties, and private press collectors to enjoy... hand in hand! Straight outta Baltimore, White Boy & the Average Rat Band's lone album is so good it made the cut for the first edition of the Acid Archives book of psychedelic obscurities even though it's from the 1980s (the exact year seems to be a bit of a mystery) and the music is some kind of proto-metal. I'm not sure what to call it exactly; whenever it was actually recorded, it seems to lurk in a vacuum between '70s hard rock and early heavy metal. The tempo is breakneck, with the exception of one acoustic track, the guitar sound is overdriven and distorted beyond belief, and the solos rip and shred with caveman-like ferocity. Then there are the Ozzy-with-a-snarl vocals and lyrical themes of metal crusaders, oriental doctors, and an amazing science fiction-inspired track called "Sector 387." Oh, and the second song starts off with a drum solo. Just the right amount of inept genius -- where's the documentary about these guys? Limited to 400 copies. [AK]
 
         
   
   

 

 

     
 

$13.99
CD

Buy

  HOWLIN' WOLF
The Howlin' Wolf Album
(Geffen)

"Smokestack Lightning"
"Evil"

All you need to do is look at the cover of this album, which states in plain text the overall distaste documented in the grooves, and you know that something special's about to take place. After languishing out of print for decades, and previously only available on CD as a Japanese reissue which itself lasted for only a moment, blues legend Howlin' Wolf's 1969 psychedelic opus for Cadet Concepts is finally back on the shelves and hot damn, if you don't know this record, pick this up post-haste, because fans of psych-rock and dirty blues owe it to themselves to hear this at least once.

Recorded during the same period as Muddy Waters' Electric Mud LP, and featuring nearly the same band of players (including guitarists Pete Cosey and Phil Upchurch), This Is Howlin' Wolf's New Album featured updates of many of Wolf's classic tunes with a new, modern sound influenced by the burgeoning psychedelic rock scene that birthed Cream, Led Zeppelin, and many others who were, ironically, influenced by Wolf and Waters themselves. While Electric Mud went on to become a bit of a success, even reaching the bottom of the Billboard pop charts at the time, this record did not fare as well, and that's a damn shame. One can explicitly hear the roots of Captain Beefheart, Led Zep, and Cream (right on up to modern-day practitioners like the Black Keys, not to mention Funkadelic, electric Miles Davis and Public Enemy) in producer Marshall Chess's experiments with Wolf and Muddy. The dark, swampy electric arrangements are thick with fuzzbox incantations, wah-wah voodoo rituals, and loping, slithering grooves which drip with moody, evil heat. The guitars growl like electric cats, the rhythm section burps like a backroom pimp, and then there's Wolf himself, trying his hardest to stay righteous and true amidst this jungle of dark sleaze, by the end declaring himself a backdoor man, slipping out as he tells the kids that their new groove ain't s**t.

It's easy to take for granted how revolutionary a statement this was at the time; as much as Dylan plugging in at Newport, as much as Bad Brains paying to cum, as much as Miles running the voodoo down, this is a document of revolution, and it's a revelation to have it back on the racks again. Learn from the master, because it doesn't get much better than this, people. [IQ]
 
         
   
   

 

 

     
 

$44.99
LPx2

Buy

$9.99 MP3

Buy

  TRAD GRAS OCH STENAR
Gardet 12.6.1970
(Subliminal Sounds)

Preview Songs on Other Music's Download Store

First things first, we are on record as being big supporters of this band and this album. In fact it says right there on the sticker on the front cover: "No doubt one of the best recordings of legendary Swedish psych-rockers Träd Gräs Och Stenar." - Other Music. That's our story and we're sticking to it.

If you've never heard the record before then I will tell you it is a must have, as it embodies everything that is great about psychedelic rock: nice thick guitar riffs and sick, repetitive grooves that last a good long time. The recording itself is perfect too; much like a classic jazz LP, this is a nicely balanced presentation of what really happened, and unlike a lot of soundboard-taped performances of live shows, this feels very "live." When you have such a classic record the story behind it often ascends to mythological status, and that is certainly the case here: a bunch of Swedish hippies try to set up a free, outdoor music festival without corporate or financial concerns and when they can't secure the permits to make it happen, they decide to do it anyway. And although the man could probably have busted their music, positive vibes prevailed and they were able to convince the authorities to let the show go on. Träd Gräs opened the festival with a set that includes a lot of material that would end up on their self-titled album -- then still a few months from being recorded -- and while that LP is certainly great, when seen through the lens of time, I have to say that the versions here are the ones to have.

Now on to the nerdy details. Because of the length of the tracks, there has been a slight shuffle in the song order and you now hear the two covers, "All Along the Watchtower" and "(I Can't Get No) Satisfaction," together on one side. You also get a recently discovered, totally unreleased song from the rehearsal sessions that led up to the recording of their first album, "Lat oss tänka ett par dagar" being a wonderful, lengthy jam (available on the vinyl format only). The two LPs are pressed on red and green splattered vinyl and the gatefold and inner sleeves are packed with great photos and updated liner notes. The only downside is that it is limited to 500 copies, so it's now or never for this one. [DMa]

 
         
   
      
   
         
  All of this week's new arrivals.

Previous Other Music Updates.

Visit www.othermusic.com.

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

[JCa] Jesse Carsten
[DG] Daniel Givens
[GH] Gerald Hammill
[DH] Duane Harriott
[IQ] Mikey IQ Jones
[MK] Michael Klausman
[AK] Andreas Knutsen
[JM] Josh Madell
[DMa] Dave Martin
[SM] Scott Mou
[NN] Ning Nong


THANKS FOR READING
- all of us at Other Music

 
         
   
    Copyright 2011 Other Music
Newsletter Design Big Code