October 27, 2011

		FEATURED NEW RELEASES Dirty Projectors & Bjork The Advisory Circle Surfer Blood Comet Gain Mark Sultan Opika Pende (Various Box Set) Tom Waits Alvarius B. Water Borders She & Him Roots Manuva Jonti Kuedo Roly Porter The Beets Void     Deer Tick Scuba (DJ Kicks Mix) The Tourists MF Doom Question Mark ALSO AVAILABLE Group Inerane (Now on CD) Titan: It's All Pop (Vinyl Box) DNTEL (Delxue Reissue) Follow us on Facebook: facebook.com/othermusicnyc Follow us on Twitter: twitter.com/othermusic

		NOV Sun 30 Mon 31 Tues 01 Wed 02 Thurs 03 Fri 04 Sat 05   BOLLYWOOD BLOODBATH RELEASE PARTY After what seems like a thousand years of blood, sweat, tears and a lot more blood, the zombified disc disciples at Finders Keepers unveil one of their most exquisite, exhumed, ectoplasmic, and existentially essential collections yet, Bollywood Bloodbath! In celebration of its release the Finders Keepers US office will be hosting a listening party/record release for this mind-melting masala plate of Hindi horror with Other Music's own Mikey IQ Jones and Amanda Chouette as the DJs, plus a screening of a Ramsay Bros tribute film concocted by Cinefamily's Tom Fitzgerald. This will all go down (with a few more surprises) on Tuesday, November 1st from 8pm-12am at Brooklyn Fireproof. This event is free and welcome to all inclined to celebrate Halloween with bloodthirsty freak-funk and discothèque pop! TUESDAY, NOVEMBER 1, 8PM-12AM BROOKLYN FIREPROOF: 119 Ingraham Street, Brooklyn (By the Morgan L Stop)

		NOV Sun 30 Mon 31 Tues 01 Wed 02 Thurs 03 Fri 04 Sat 05   WIN TICKETS TO BATTLES Our friends at Warp Records are offering you, loyal reader, a chance to win a pair of tickets to see Battles at what is sure to be a triumphant homecoming show at Webster Hall this Tuesday, November 1st, with Japanese all-female instrumental trio Nisennenmondai opening. We have two pairs to offer, and you can enter by emailing tickets@othermusic.com. Include your first and last name, and we'll notify the two winners on Friday afternoon. TUESDAY, NOVEMBER 1 WEBSTER HALL: 125 East 11th Street, NYC

		NOV Sun 30 Mon 31 Tues 01 Wed 02 Thurs 03 Fri 04 Sat 05   TICKET GIVEAWAY TO THE DRUMS With the recently released sophomore full-length, Portamento, under their collective belts, the Drums are wrapping up their month-long tour, and will be making a pit stop in their hometown for a sold-out show at the Bowery Ballroom this Wednesday, November 2, before heading out for just a few more dates in the Northeast. Their signature fusion of jangly '80s Anglo-pop, Factory and Sun Records sounds just as good live as it does on the stereo, and with the always-great Patrick Cleandenim opening, you won't want to miss. Enter by emailing giveaway@othermusic.com, and we'll notify the winner on Friday. Please include your first and last name. WEDNESDAY, NOVEMBER 2 BOWERY BALLROOM: 6 Delancey Street, NYC

		$11.99 CD $5.99 MP3   DIRTY PROJECTORS & BJORK Mount Wittenberg Orca (Domino) Preview Songs on Other Music's Download Store Finally out on CD and vinyl after an extended run as a digital-only release, the genesis for this odd little record came when Dirty Projectors' Amber Coffman was hiking Mount Wittenberg in Point Reyes, north of San Francisco, and spotted a family of whales in the sparkling Pacific below. The next step came just before the release of DP's breakthrough Bitte Orca LP in 2009, when the folks at Stereogum asked the band to collaborate with Bjork for a fundraiser concert at NYC's Housing Works Bookstore, and, with just a few weeks before the event and no set repertoire, Dave Longstreth wrote a suite of songs about the transformational event. This is Longstreth's literal, fantastical telling of the meeting of Amber and the whales, with Bjork singing the part of the mama whale, Amber, Angel and Haley of the DP's singing the parts of the baby whales, and Dave singing Amber's role. In some ways it is a companion piece to the stunning Bitte Orca, of course with a related "whaley" theme, but also built around the incredible, tightly-layered vocal arrangements that defined that album, and Bjork's singular voice is an incredible addition to the mix, both swimming beside the girls and soaring above; you can truly feel in your heart these performers inhabiting their roles, and also the joy and excitement they had working together for the first time. Yet where Bitte Orca often anchored Longstreth's dense compositions with a powerful rock rhythm section, Mount Wittenberg Orca makes few attempts to reign in its lush, avant-classical aspirations, and allows Bjork and Longstreth's sweet lead vocal melodies to be the only nods to pop's concise forms. As such, it may not be for everyone, but if you are a fan of either the Dirty Projectors or Bjork you know what to expect, and this record is anything but a throwaway; it's an inspired piece of art from some of the most forward-thinking artists we know. [JM]

		$19.99 CD $25.99 LP   THE ADVISORY CIRCLE As the Crow Flies (Ghost Box) "Beyond the Wychelm" "Now Ends the Beginning" The Advisory Circle's Jon Brooks has been a busy fellow this year, offering up a number of excellent self-released digital EPs and albums that saw him expand upon his earlier works, from a sound that had him sitting somewhere between the collage-based spectral bricolage of Julian House's Focus Group project and the more melody-driven analogue synth odysseys of Jim Jupp's work as Belbury Poly, to an absolutely breathtaking piece of beauty with his new album, As the Crow Flies. Brooks moves away from past tendencies to rely on ambiences and tone-poems, instead offering up a much stronger rhythmic interplay and some lovely melodies as well; he's able to conjure images not only of the pastoral English countryside that the Hauntologists often reference, but also to the classic UK techno palette of the early Warp variety, bending those tools to fit a more "grown-up" mentality, and adding some darker colors to the palette as well. The noted increase in craft here is really just mesmerizing; "Ceridwen" is a gentle etude for acoustic guitar and fizzing synthesizer textures, while the title track brings some echoplexed flute into a slowly arpeggiating spiral of hypnosis. "Modern Through Movement" goes into a proto-techno trance via a nice John Carpenter (in Berlin) rhythmic template, and the gorgeous lullaby "The Patchwork Explains," dedicated to the late Trish Keenan of Broadcast, blends a German motorik pulse and cold synth spirals to warm, delicate melodies. This is perhaps the defining track on the album, and one which displays both gentle beauty and commanding power simultaneously. This is without question one of Ghost Box's finest releases, one which sets the bar high for those who enjoy the likes of autumnal sound alchemists like Broadcast, Leyland Kirby, Boards of Canada, et al., and also happens to be one my favorite new records of 2011. Fall listening seldom gets finer than this. [IQ]

		$7.99 CD $12.99 LP+MP3 $19.99 LP+DVD Deluxe $3.99 MP3   SURFER BLOOD Tarot Classics EP (Kanine) Preview Songs on Other Music's Download Store With a new home waiting for them at Warner Brothers, Surfer Blood says goodbye to the indie world via this great four-song EP released by our stalwart friends at Kanine Records. Opening with "I'm Not Ready," it's immediately apparent that the reverb which buoyed fuzzy '90s alt-rock-inspired anthems like "Swim" has been swapped for a studio shine, and the youthful exuberance which defined the whole of their 2010 debut, Astro Coast, is now tempered by a touch of melancholy. Tarot Classics, however, is hardly a rewrite; the surf-tinged Pixies guitar leads and the Weezer-esque vocal harmonies still come through loud and clear, and Surfer Blood owns it all, eschewing the surreal sci-fi-isms of the former and the tongue-in-cheek irony of the latter, and mastering a level of popmanship that belies their young age. The aforementioned "I'm Not Ready" and the pogo-tempoed indie rock of "Miranda" seem readymade for their current tour with Pixies, while the latter two tracks find the band offering hints of the new directions that they might explore on their next full-length. During the breezy "Voyager Reprise," the quartet is nicely augmented with the addition of horns and electric piano, and they flirt with the yearn of an '80s-era new romantic in closer "Drinking Problem," where a weepy synth and drum pads are eventually overtaken by the squalling feedback of a guitar. The CD and both vinyl versions of Tarot Classics also include remixes from Another Summer of Love and Speculator, and the limited deluxe LP is pressed on colored vinyl and comes with a poster, DVD and mp3 download code. [GH]

		$13.99 CD   COMET GAIN Howl of the Lonely Crowd (What's Your Rupture?) "Clang of the Concrete Swans" "After Midnight, After It's All Gone Wrong" We're coming up on Comet Gain's 20th year of existence, and with their recent singles collection Broken Record Prayers, we got to see the best of the band via the format that suits them best. Their latest full-length, Howl of the Lonely Crowd continues that resurgence in every way and then some. No other pop band of the times has so successfully bridged the idealized pop torment of the Television Personalities with the exuberance and shimmy of northern soul. Of course, it's more complicated than that, but the British group is peerless in creating music with an indelible image of collage-based activism and the rising lift of a wallflower's first crush -- heady, sure, but also exciting and breathless and rare. Howl stands with 2002's Realistes as the group's strongest work, but where that record shredded and rollicked in burnt-in, monochromatic lo-fi, Howl sounds big and close and clear, dinged up around the edges just so by producer Edwyn Collins. This is just one of those bands that floors me at pretty much every turn; they encapsulate the pleading ache of adolescence, the desperate longing to find anyone who understands you, and can answer you in a cryptic eternal wisdom borne of the ennui of the industrialized world. CG's David Christian stands proudly amidst Jarvis Cocker, Dan Treacy, Mark E. Smith and Ivor Cutler as some of England's great minds when it comes to verbalizing and codifying a sense of purpose through pop music. You're not gonna believe how great this one is. End of year candidate for sure. [DM]

		Whatever I Want $14.99 LP+MP3 $9.99 MP3 Whenever I Want $14.99 LP+MP3 $9.99 MP3 Whatever/ Whenever $13.99 CD   MARK SULTAN Whatever I Want (In the Red) MARK SULTAN Whenever I Want (In the Red) MARK SULTAN Whatever/Whenever (In the Red) "Satisfied and Lazy" "If I Had a Polaroid" Double albums are tricky and truthfully there are not many who can really pull them off. Mark Sultan (a/k/a BBQ) had enough material for a double album, but instead has made the very wise choice of releasing the music as two separate LPs, and both can stand on their own as some of the best work he's ever done. Recorded over the past year or so, there are a fair number of guests that show up including Jared and Cole from the Black Lips and Danny Kroha from the Gories, as well as Choyce from Montreal's Red Mass and other talented Canadians. It seems that, like Alex Chilton before him, one of Mark's defining characteristics might be to never deliver the record that may be best for his career but rather to deliver the record(s) that he wants to make. His basis of 1950s rock 'n' roll and doo-wop is always present, but from there you also get nods to psychedelic pop, abrupt fuck-off punk, early Kiss, new wave (yes, there is an cover of Ultravox's "Just for a Moment") and even the funeral dirge that morphs into free jazz finale of "For Those Who Don't Exist." For some artists that might be too much of a stretch, but not for Mr. Sultan, who has an understanding and love of music that clearly comes across in his work. He is not copying records or trying on genres for a bit, this is all a part of who he is and what he does, and he does it very well. There is also a 13-track CD version with a great cross section of songs from both LPs. It does trim some of the LP's eccentricities (just a bit) and could be the perfect entry point if you're not familiar with Sultan's work or if you feel two full-lengths is just too much to commit to. For the rest of you, grab one or both A.S.A.P. because they are some of the best rock 'n' roll records to come along in a long, long time. [DMa]

		$56.99 CDx4+BK   VARIOUS ARTISTS Opika Pende: Africa at 78RPM (Dust-to-Digital) At first I was simply overwhelmed not only by the number of utterly jaw-dropping tunes included in this four-disc set of 100 sides from Excavated Shellac architect Jonathan Ward's extensive and excellent collection of African 78s, but by its outrageously diverse stylistic range. Then I spent some time with it, and a lot of well-spent time at that. Traversing Tunisia to South Africa, Algeria to Zanzibar, and reaching the remote islands of Seychelles and Reunion, this impossibly rare music paints an aural picture of nearly the whole of Africa between 1909 and the 1960s. There are songs of religious devotion, love songs, elephant songs, glorious highlife, guitar music, oud music, banjo music, accordion music, jazzy juju, liberation hymns, light numbers, heavy numbers, eastern sounds, western sounds, celebration songs, mourning songs, sloppy playing, virtuosic playing, marches -- nearly everything to enjoy in music! It's fitting to consider this set as the African equivalent to Harry Smith's game changer, the Anthology of American Folk Music; it exclusively contains music created by the people, bought by the people, and, for better or worse, music reflecting the social and economic conditions of the people. Sometimes jubilant, sometimes mournful, at others contemplative and even sublime, this music is decidedly engaging and universal -- well, except for that totally frenzied Ugandan ndingidi (a one-stringed tube fiddle) number by Sekinomu, about which legendary ethnomusicologist Hugh Tracey commented, "It cannot be everyone's idea of good music, but it is most certainly exhilarating." Exhilarating nails the Opika Pende experience on the head. While it is impossible to give fair shake to the multitude of top-shelf tunes here, I need to mention a handful: I can think of no more welcoming sounds than "Ahlen Bikoum" by Algerian music-biz veteran Sassi Lebrati, performed with sublime touch on the mandole, an Arab-Andalusian instrument somewhere between a mandolin and an oud. It's not common to feel totally at home in another world, but alas, one can within this piece. One of the most rousing pieces in the set is by Dalila Rochdi and her Tunisian band of spirited bagpipers and drummers -- in my music fan-boy nerd daydream, I envision Beyonce backed by Joey Baron and Masada covering "Haragli Guelbi" at a party at the end of the world. There is so much great music from Ghana on this set, but probably my favorite is the infinitely hummable "Osu Oblanyo" by highlife masters Yeboa's Band. Perhaps the perfect celebration music, Yeboa's brand of highlife incorporates the piano seamlessly into a smaller ensemble of percussion, sax, clarinet, and vocals: magnificent. I would be remiss if I didn't mention one more, entirely different, number from Ghana: Kamkam's guitar, vocal, percussion tour-de-force, "Okafu Nyi." Referred to as Akan blues, Kamkam's is a style akin to Frank Zappa's hyper-syncopated lead antics, enmeshed in a sound exponentially larger than the sum of its few disparate parts. One standout political song on the set is Kenyan group O.S. Africa Jazz Onema Pascal's "Furaha Ya Kanu" -- a most positive sound for the Kenyan African National Union's most positive message of freedom from British rule. Perhaps the most virtuosic performance of the collection is "Ba'd el Zouz Marghub" by singing Kenyan oud master Ustad Amar Gaba. Absolutely influenced by music of the Persian Gulf, this Arabic music ably relays the wise relationship advice "togetherness is wanted." The most remarkable counterpart track to Harry Smith's Anthology mentioned earlier is "Comic Sketch" by Mbaruk Talsam. Who knew there was an Uncle Dave Macon of Zanzibar?! The maniacal laughter, the inappropriate banter between musical phrases -- "I'm so sick of love..." Even his modal oud sounds like an open back banjo! Great minds think alike. Apparently, they knew how to party down in the diverse and remote island of Reunion. At least that's the impression one gets from "Cuisine Roulante!" or "Mobile Kitchen" by accordion-led Orchestre Andre Philippe de St. Pierre. One can't help but imagine an at least somewhat debauched banquet as the occasion for this decidedly festal music. There couldn't be a more fitting closer to OP than African National Congress anthem, "Nkosi Sikelel iAfrika" by South African actor and bandleader Griffiths Motsieloa. Banned by apartheid government, the tune symbolized Pan-Africanism and anti-colonialism, and you'd be hard-pressed to find a more poignant example of liberation theology on the planet. According to Ward's extraordinary liner notes, "opika pende" is an African phrase from the Lingala language that translates to "stand strong." While we cannot turn back the clock, we can learn from the past. Africa's music is a music of resilience in the face of utterly demoralizing colonialism and its ensuing civil strife. Anyone who has been able to avoid becoming totally cynical (or maybe even those folks too) should be able to learn something profound from listening: adversity is relative, and the human spirit is boundless. Opika Pende, indeed! [KC]

		$14.99 CD $21.99 CDx2+BK Deluxe   TOM WAITS Bad As Me (Anti-) "Talking at the Same Time" "Get Lost" Okay, let's just get right to the point, here: Tom Waits is back with his first full-length of all-new material since 2004's Real Gone, and it's a raucous rollercoaster ride of short, almost pop-like bursts of his signature sonic funhouse. Bad As Me returns the man to the vibe of his classic Bone Machine, with each song displaying a blend of mischievous exuberance and sentimentality that his past few records have played down somewhat. Nearly every song is shoehorned into two- and three-minute efficiency, with the hooks top-loaded up to the front, and with his noisier tendencies still obviously audible, but mixed into more easily digestible palettes than the raw-throated, rusted, and dusty abrasion of Real Gone. If you've never cared much for Tom Waits, there's probably not going to be much here that sways you into the positive, with the upbeat numbers featuring him croaking and yelping vocal manias amidst swirling, looping polyrhythms that combine Harry Patch avant hobo blues with Steve Reichian hypnotism. It's on the album's ballads where he truly shines, though, with tracks like "Talking at the Same Time," "Face to the Highway," and "Back in the Crowd" recalling the kinds of heights he reached on Rain Dogs and Frank's Wild Years. You hardcore fans probably have already purchased this or have it in your shopping cart as we speak; the more casual listeners will be happy to know that this is probably his best album of the 2000s, with songs that have ample replay value once the initial novelty wears off. It's nice to find that his wife and cowriter Kathleen Brennan is to thank for trimming the fat on Bad As Me; her influence and collaboration here helps deliver an essential addition to Waits' discography. Consider this one Bad meaning good. (The limited edition 2-CD deluxe version includes a 40-page booklet and three bonus tracks.) [IQ]

		$15.99 CD   ALVARIUS B. Blood Operatives of the Barium Sunset (Abduction) "Slim 293" "Missy Undertaker" This is the second Alvarius B. album, originally released in 2005, and it sits right at the top of the pile of any Sun City Girls record or related project. Alan Bishop really let the demons loose on this one, a peculiar and gripping collection of acoustic ballads played on an acoustic guitar that probably has as many stories as its then-current owner. He doubles down on the soundtrack covers, including a take on Fabio Frizzi's score for Andy Warhol's Dracula that seemed harrowingly apropos for GW's second term, a menacing read on the song with lyrics by Bishop that foretell the endless thirst that we cannot slake. Supported by his brother Richard, Randall Dunn, Eyvind Kang and Tim Young, AB casts a startling and profound way around a more traditional American folk music from different times and places, carrying on the legend of storytelling with the personality of someone who'll forget more than many of us will ever see. In following a similar tangent, he is like the real world equivalent of Tom Waits, only Bishop actually sounds like he could destroy you rather than like a rusty old drunk. [DH]

		$15.99 CD $19.99 LP $9.99 MP3   WATER BORDERS Harbored Mantras (Tri Angle) Preview Songs on Other Music's Download Store I'll admit, I've not been sold on every release that has come out on the highly buzzed and praised Tri Angle label, but this new record from Water Borders has won me over. The San Francisco duo's debut full-length combines the English black sex magick of Coil circa Love's Secret Domain with the bass-heavy seasickness of the Hyperdub label, delivering a nice companion of sorts to Mordant Music's excellent 2009 album SyMptoMs. Some heavy, thumping ritualistic beats intertwine with marimba and shaker percussion and a bit of pastoral neo-folk acoustics, all providing a bed for some doomy baritone vocals; the results sound like something that would be as equally at home on World Serpent Distributions as it would on a Gang Gang Dance or Surgeon album. While the singer's voice can get a tad too maudlin at times, the excellent, eerie, and evocative music more than makes up for any overwrought vocals, and for as much doom and gloom as the duo tries to wallow in, the album as a whole is surprisingly listenable and coherent. They ably combine classic retro influences and sonic references with some nicely forward-thinking technological alchemy; if anything, this puts them in league with talented sonic hauntologists like the aforementioned Mordant Music, the Advisory Circle, and even Broadcast at their most hex-obsessed. While not flawless, it's a stunning debut, and makes Water Borders an act to keep an eye on; with such focus and emotion being displayed here, let's hope that Harbored Mantras is the first in many excellent releases by this promising new duo. If you're a fan of anyone I've mentioned here, as well as the likes of Silk Flowers, Cold Cave, or the rest of Tri Angle's roster, you need to check this out ASAP... it's eerie, autumnal, and totally awesome. [IQ]

		$14.99 CD $19.99 LP $9.99 MP3   SHE & HIM A Very She & Him Christmas (Merge) Preview Songs on Other Music's Download Store Let me start by saying that Elf may be the best Christmas movie ever made, and as such I already spend every holiday season with Zooey Deschanel, and relish our time together. But I will not review this record in October -- if you're the kind of person who takes any interest in a Christmas album before we've even buried Halloween, how about we skip the formalities, you just buy the thing and let's be done with it? While you enjoy the dulcet sounds of She & Him's new one, maybe you can start planning your summer vacation -- hop to. If that's how you roll, please enjoy, and if you're lucky this record might have the legs to still be on your turntable when it actually 'tis the season, as Zooey and Mr. Ward kept things simple here and played to their strengths -- namely, her warm, playful and effortlessly emotional singing, and his great guitar work and natural, relaxed production style. This thing is all room tone, gentle acoustic strumming and the subtlest embellishments, and yes, they tackle all the classics and a few obscurities (but no originals). For the rest of you, why don't you just enjoy the fall, and we can revisit this one in December? [JM]

		$12.99 CD $9.99 MP3   ROOTS MANUVA 4everevolution (Big Dada) "Wha' Mek" "First Growth" Over the last decade, Rodney "Roots Manuva" Smith has been the voice of UK hip-hop for many listeners worldwide. His eighth studio album, 4everevolution, combines all the various styles he's adopted through the years, yet is the freshest he's ever sounded. Musically speaking, there's a bass-heavy mix of reggae, wonky, dub, grime, dubstep, soul, 2-step, and straight-up hip-hop, incorporating live and programmed instrumentation. Lyrically he's in top form, walking the line as both an elder statesman for England's still disgruntled young generations and a bubbling, slang-ridden party man, and he feels secure and skilled at both and beyond. Full of soulful rapping and singing from RM as well as backing support from Skunk Anansie's Skin, Elan Tamara, Spikey Tee, Ricky Ranking, and Rokshan, they create a nice, warm, soulful, lively and varied accompaniment. He moves effortlessly from persona to persona, all with a cool, empowered, and liberating air. Maybe not since his 1999's Run Come Save Me has Mr. Manuva sounded so fresh and needed. He brings something to the world hip-hop game that guys like Dizzee, Wiley, and the Streets have never really been able to accomplish: consistency and a non-forced crossover appeal. There are lots of great tracks throughout the 17 songs and the album is filled with just as many different moods, yet it all works surprisingly well. If you need a break from the dark and damaged explorations in excess that rule American hip-hop these days, take a trip into the wonderfully warm and funky world of the UK's best, Roots Manuva. He seems to only get better with age. [DG]

		$12.99 CD   JONTI Twirligig (Stones Throw) "Hornets Nest" "Cyclic Love" This talented multi-instrumentalist from South Africa has delivered a solid debut for the always forward-thinking Stones Throw label. Jonti is yet another bedroom boom-bap specialist obsessed with psychedelia and harmonies, but his rhythmic lilt has much in common with Matthew Herbert's waltz-like shuffle sans the four-on-the-floor beat. Musically speaking, Jonti seems inspired by the sunny, symphonic, childlike melodies of Raymond Scott, Hoyt Curtin and the Beach Boys -- in other words, he's on some other shit. The sound ranges from the space-age waltz of "Firework Spraying Moon" to the lovely Friends-era Beach Boys-influenced "Koi Moon's Daughter," and there's also a strong slab of leftfield hip-hop ("Cyclic Love" feat. Otayo Dubb) and a fuzzy, motorik tribute to Warm Jets-era Eno. Through it all Jonti's unique talent for arrangement is on display, his keen ear allowing all of the seemingly disparate sounds of his aural treasures to hang together coherently. When you take into consideration that he's all but 23 and everyone from Mark Ronson to Dangermouse is singing his praise, it makes this debut all the more impressive. Fans of the kitchen-sink pop of Koushik, Caribou, Panda Bear, BBC Workshop music, or leftfield pop in general will find a lot to love right here. [DH]

		Kuedo $14.99 CD $9.99 MP3 Roly Porter $17.99 CD   KUEDO Severant (Planet Mu) "Whisper Fate" "Scissors" ROLY PORTER Aftertime (Subtext) "Tleilax" "Corrin" Following the disbandment of their excellent yet short-lived dubstep project Vex'd, Roly Porter and Jamie "Kuedo" Teasdale are now releasing their two respective solo albums, both of outstanding quality. Having met in school, Porter and Teasdale began releasing singles in Bristol, helping move that storied scene from grime and jungle into what would become dubstep. Along with Burial they created a vision of bombed-out England in the early-'00s; theirs was a world filled with sub-bass harmonies, heavy metallic/industrial clangs, and deep dark synths, cinematic and heart pounding, like the actual crumbling of a building as opposed to the still and hollow aftermath. Their official album for Planet Mu was 2005's bombastic 2CD Degenerate, only followed by a collection of "lost" tracks and remixes on the haunting 2010-released Cloud Seed. Now with a parting of the ways, the two delve deep into oceans of sound that couldn't be further apart, yet still complement each other well. Both albums are recommended, particularly as a pair, showing how two once-like minds can grow and mature into two distinct individuals. Teasdale served more as the engineer for the sound of the Vex'd releases, creating a hollowed bass womb to nurture the sonic depths they sought to create. His anticipated solo release under the Kuedo moniker is a complete shift in sound, yet not in attention to detail. Here he takes the high road in an effort to create his version of modernism, skillfully combining analogue synth melodies reminiscent of Tangerine Dream or Vangelis, with the speedy, choppy, soulful, and spinning rhythms of coke rap and footwork. Imagine a mashup of Soulja Boy, Clipse or Lex Luger instrumentals with the Blade Runner soundtrack and you get closer to what's in-store. Equally inspired by the '70s obsession with what would go on to be called New Age, and the current trend of the inner city of spinning snares, stuttering hi-hats and belly-aching bass, his modernism is actually futuristic. This is a great fusion of two truly modern forms that feel amazing together. From start to finish the album flows and shifts from beat dropout ambient textures to boom bap head-snapping and heart-stuttering rhythms. Well worth the ten months I've been waiting for this to hit the shelves, it's another winner from Teasdale and a new-school classic from Planet Mu. If you liked the MachineDrum album, think Rustie is good, but a bit immature, or are just looking for some instrumental, world-transporting electronic music, then step right up; first stop Venus, next stop Mars... spacey AND funky, amazing stuff. The other half of Vex'd, Roly Porter, has been less hyped as a solo artist, yet taking the slow and low road he's created one of the best ambient records I've heard all year. Aftertime is the second full-length release from the Subtext label, following Emptyset's excellent, super-bassy Demiurge. (Subtext, incidentally released the very first Vex'd single). Aftertime is an album of pure sound, stretched-out tension, distortion as emotion and harmony, digital manipulations of live instruments, found sounds, and unimaginable sonics. Dark and at times frightening, this is an amazing creation; much like the work of Ben Frost, Porter creates barren and vicious landscapes of texture, atmosphere, and ghostly voices. Images of war, short-wave radios, explosives, and terror come together effectively in "Tleilax" (the title is a Dune reference, natch). Establishing himself more as a composer and sound designer than electronic producer per se, Porter has created a wonderful work of art, steeped in haunting emotions and deep passion. Though this is not sensual experimentation a la William Basinski, Leyland Kirby/Caretaker, or Fennesz, this is ambient for the industrial crowd. Those that came to drum-n-bass or dubstep for the hard edges, abrasiveness, harshness, and deepness of the sonics, you'll find much to zone out to here as well. Fans of drone, edgy modern classical, and deep sonic exploration, this is it. Porter's Aftertime is a bit of a surprise sonically, yet it does make sense given his history in sound experimentation, more in line with the deep starkness of Vex'd yet without the need for beats. Whether you're looking for a soundtrack that will get you into the season of the witch mood, or just like to feel a presence without much "music," this is some truly haunting stuff. [DG]

		$11.99 CD $13.99 LP+MP3   THE BEETS Let the Poison Out (Hardly Art) "Now I Live" "I Don't Know" Queens' finest folk-pop-punk band strums its way into album #3, their debut on Sub Pop imprint Hardly Art, and the first to follow their newfound notoriety as being one of the first groups from this scene to get noticed by "The Howard Stern Show" (frontman Juan Wauters and band are superfans, and listen to the show all day while driving on tour). Even the title Let the Poison Out seems to reference Robin Quivers' many fad diets and the random Sybian ride for besotted guests. That said, this seems like their finest moment to date, a feel-good batch of songs that benefit from cleaner production, drummer Chie Mori's shouted backing vocals, and of course the clever sentiments behind Wauters' lyrics. The closest analogue the Beets have in contemporary NYC rock history is probably the Moldy Peaches, but where that band (and they were pretty great) got off on childlike humor, the Beets channel both a teenage/young person sensibility with credible outsider vibes to create some really wonderful, rollicking sounds. Member Matthew Volz's stunning pastel artwork gets full focus this time around, and is very nearly worth the price of the album itself. Great stuff indeed. [DM]

		$10.99 CD $11.99 LP+MP3   VOID Sessions 1981-83 (Dischord) Though they inspired many and a few have tried to match them, even 30 years after the fact, no other band sounds like Void. The DC group was the amazing nexus of desire, energy and rudimentary ability, and while on paper it's just blasts of feedback that morph into quick riffs, breakneck tempos and classic hardcore vocals, when you give this music a listen, it is obviously so much more. The first side of this collection features the entirety of the band's first studio session, 20 unreleased tracks recorded at Hit and Run in November of '81. (A month later they would record again at Inner Ear with Ian MacKaye, and three of those songs would end up on the Flex Your Head comp, with the seven remaining tracks eventually released as the Condensed Flesh 7"s in the 1990s.) We also get two tracks recorded six months later at Inner Ear in June of '82 but which had been left off of their side of the legendary Faith/Void split LP. The version of "Get Out of My Way" from these sessions might be the highlight of this record for me -- absolutely insane! Finally, there are two live tracks from 1983, the final one possibly the last song Void ever played. Once again, Dischord's archival series strikes gold and this one is probably the best yet, as it has the most quality unreleased material of the series so far. Almost as essential as the Faith/Void split album and absolutely recommended. [DMa]

		$10.99 CD $15.99 LP $9.99 MP3   DEER TICK Divine Providence (Partisan) Preview Songs on Other Music's Download Store Deer Tick's fourth LP kicks off with "The Bump," a cocaine anthem which has John McCauley channeling, somewhat successfully, both Iggy and Sid over a trashy, stomping guitar riff and the chorus, "We're full grown men, and we act like kids, we'll face the music, next time we roll in," with a boogie piano in the background for good measure. The second track opens with a fairly unpleasant expletive uttered off mic, perhaps the "Funny Word" of the title, and another trashy, pretty damn hot guitar riff. The third song is about going to the bar. This band is known for pushing themselves in new directions with every release (musically, if not lyrically), and without abandoning their rootsy drawl or freewheeling attitude, they have made a fierce, powerful record that successfully taps into the energy of their live maelstrom -- that is, drunk, stupid, and full of life, somewhere between the Replacements and Ryan Adams, but younger, and possibly even more wasted. And like both of those artists, Deer Tick are willing to slow down and sing from the heart too, like on the fourth track, the soul-bearing "Clowning Around." If you think there is a world of difference between the 'Mats and Adams, I can't help you here -- frankly I'm not sure where these guys fall, but I'll admit, this record is stuck in my head. [JM]

		$14.99 CD   SCUBA DJ Kicks (K7) "The Affair" Until Silence "Gedons" Jichael Mackson Hotflush Record's head honcho Paul Rose, a/k/a Scuba, is an excellent choice for the long-running yet always-of-the-moment DJ Kicks mix series. Having a big hand in bridging the gaps between house, techno, dubstep and other contemporary UK electronic dance music mutations, this former Londoner now based in Berlin is one of the most important upcoming producers in Europe -- along with much of his label roster. Across 32 tracks from the likes of Sigha, dBridge, Peverelist, Surgeon, George FitzGerald, Marcel Dettmann, Recloose, Roska, Sepalcure, Scuba (of course) and many more, Rose's bubbling, shimmering mix showcases his taste for clean and melodic cuts built from crisp percussion, bass melodies and crystalline sonic atmosphere. Most of the tracks barely last two minutes with his blends usually starting a minute in, but with an even sway of the cross fader, he weaves a web of bass, beats and synths from a low-end-heavy fusion of melodic dubstep and streamlined techno. Never becoming too hands-in-the-air, Rose keeps the energy and pulse escalating throughout, and by shifting from the bass as leader to the drum being the driving force, it feels as if the pace is quickening, though it's more sleight of hand from the well-thought track sequencing than the bpm count. If you're in the mood for a mostly instrumental, hypnotic, hip-shaking, fresh-sounding and expertly articulated mix, here's one from a man with his finger on the pulse. And if you want more of his tasty selections, you should also pick up the Hotflush label compilation, Back and 4th, and his Sub:stance mix CD. [DG]

		$14.99 CD   THE TOURISTS Greatest Hits (BMG) "I Only Want to Be with You" "Don't Say I Told You So" I'm absolutely delighted to be able to offer up this excellent compilation by UK power-pop band the Tourists, who were a late-1970s group best known for having a hit in the UK charts with a new wave cover of Dusty Springfield's "I Only Want to Be with You." The lead vocalist on that cover was a then-unknown woman named Annie Lennox, who would go on to worldwide fame and acclaim with Tourists' lead guitarist Dave Stewart as a little band called the Eurythmics. Now, I'm not gonna front -- I'm a HUGE Eurythmics fan; their Conny Plank-produced debut album In the Garden is one of my desert island discs, and for years I'd wanted to hear the roots of where that record's sound came from. This collection by the Tourists provides ample proof; compiling 20 songs from the band's three late-'70s LPs, Greatest Hits blends a heavy dose of Squeeze and Elvis Costello-inspired pop rave-ups, with vocals by lead songwriter and singer Peet Coombs, with an ample dosage of art-school Roxy Music glam psychedelia and dub-inspired mix techniques. Coombs and Lennox often double up on vocals for many of the songs, with Lennox handling a handful of tracks on her own. My first exposure to the band was their final album, Luminous Basement, and its standout single "Don't Say I Told You So." I don't exaggerate when I say that the song was lodged into my subconscious for a solid two weeks after first hearing it; I'd wake up in the morning and it'd be the first thing to enter my mind. That tune is included here, as are the group's other singles, not to mention a number of album cuts that offer up equal amounts of pop efficiency and hooks galore. I had no idea that the band had anything on CD until last week, and here it is for your enjoyment. Most highly recommended to anyone looking for some rock-solid, energetic pop with a bit of ingenuity. While it may not equal the brilliance of Eurythmics at their best, it comes damn close. This is great, great music by a band who deserve more attention than the short historical footnote they received. Don't say I didn't warn you! [IQ]

		$16.99 CDx2   MF DOOM Operation Doomsday - Deluxe (Metal Face) "The Finest (feat. Tommy Gunn)" "Hey!" MF Doom is very possibly the godfather of all backpacker culture, and that's a compliment by the way. Continuing his own deluxe reissue series, here comes another version of this metal-faced MC's debut, Operation: Doomsday (minus the lunch box or P.I.L.-style tin can). British born, NY nurtured, Daniel Dumile established himself as a member of K.M.D. in the mid-'90s, but by the end of the decade Dumile would experience the death of his brother and professional partner, DJ Sub-Roc, and the dissolution of the band that would foster his cult status. Released in 1999 on Bobbito Garcia's Fondle 'Em Records, this debut marked Doom's return to the masses, fresh with a new name, style, and persona, like a mix of Kool Keith, Prince Paul and RZA, with a shadow that looms over many who followed, namely Madlib, and even modern day misfits like Kayne West and Odd Future. Yet this was the late-'90s, rappers were different, and Doom was blowing up the underground. Filled with soul loops, analogue drum machines, raw edits, and a spitfire delivery, Doom firmly established an aesthetic on this record that he continues to explore to this day. This "complete" edition includes two CDs containing the remastered album and a full disc of 12" versions, remixes, and instrumentals, with new artwork from the original cover artist, Jason Jagel, and a 32-page lyric book. Even before his rebirth as MF Doom, Dumile had been a talented rapper, producer, purveyor of the independent and underground, and this album showcases his raw talent and presence at its core. Yes, another nostalgic poly, yet as many hip-hop fans will attest, we'll fall for it every time, and it's nice to have a classic NY hip-hop record back in stock to recommend. Thanks Doom. [DG]

		$15.99 CD   QUESTION MARK Be Nice to the People (QDK Media) "Have You?" "Freaking Out" No Mysterians here -- this Question Mark hailed from eastern Nigeria and surrounding areas in the '70s, its members playing in a rock band while attending school. They were featured on Soundway's Nigeria Rock Special compilation, and here's their full album, released by an African division of EMI in 1978. They are a good deal poppier and brighter sounding than other championed African rock bands of the time (Witch, Amanaz, Blo, Mack Sigis Porter), and that unique identifier actually puts a lot of their music a bit closer to DIY circles than the rest, with tinny, punk-ish guitars and organ, and slightly imperfect drumming. Really enjoyable, especially tracks like the insistent opener "Have You," the raucous "Freaking Out," and the groovin' "Hey Hey Girl." [DM]

		$15.99 CD   GROUP INERANE Guitars from Agadez Volume 3 (Sublime Frequencies "Alemin" "Tchigefen" Now available on CD, the liner notes to this Sublime Frequencies excursion into desert guitar search (see also Group Doueh, Group Bombino, and Group Inerane's stunning debut album) speak to a tragedy that most musicians of the Western world could never face. Dispatched from March 2010, SF honcho Hisham Mayet traveled to Niger in the midst of a military coup. Unable to travel safely to Agadez to meet Inerane leader Bibi Ahmed, Mayet was met by Ahmed in the capital of Niamey with tragic news: second guitarist Adi Mohamed had been murdered in the insurrection. With no time to spare, Ahmed assembled a new band, featuring "second wave" Tuareg guitarist Koudede in his late friend's stead. The difficulties of life in their world notwithstanding, Group Inerane has turned in a work as hypnotic and arresting as their first album: rock music in a '50s Bo Diddley tradition, completely turned inside out in terms of scale, style, and motivation. African rhythms roll and shuffle underneath a twisting path of guitar mastery, chords and solos weaving together in a single key as the words of struggle and relief are belted out over top. Inerane remains the crown jewel in the series, even topping Doueh's madman Hendrix appropriation in terms of sheer focus and drive. [DM]

		$44.99 LPx4 $19.99 MP3   VARIOUS ARTISTS Titan: It's All Pop (The Numero Group) ""Shark" Gary Charlson "I Hope" Scott McCarl" Back in '08 I wondered where the vinyl edition of the magnificent Titan Records box set was and, lo and behold, here it is three years later, and with eight extra tracks not on the CD version plus a nice LP-sized booklet to boot! Reissue-of-the-year material indeed. The Boys deservedly get a whole record to themselves, and Arlis, Gems, Gary Charlson, and the Secrets spread out over four sides, while the fourth LP is made up of the "Teen Titans": Millionaire at Midnight, Scott McCarl, JP McClain and Bobby Sky. We only have a handful of this very limited red vinyl version, so don't miss out. Here's what we said of the CD version when it came out three years ago (never mind the Criss Angel reference, I have no idea what that was all about): First off, Titan Records founder Tom Sorrells gambled and mortgaged his house to bring you these records. And lost. Before we become totally overwhelmed by guilt and regret here, most of us were too young, or not even born, when these 45s originally came out, but it's never too late to make up for lost time! Numero Group's 2-CD, plus amazing booklet, set collects 42 tracks (18 unreleased) of glorious, chiming power-pop. As with most everything good, Titan's existence was short but their output was undoubtedly sweet; incredibly infectious Nebraska glam poppers, the Boys (Warning! May induce uncontrollable air guitar urge: www.youtube.com/watch?v=3Qk2_y_Ap5c), Kim Fowley cohort Bobby Sky, Arlis! (who's got the Raspberries thing down pat), and Byrds fan #1, Gary Charlson, are all top of the heap. And if the booklet doesn't leave you with a severe case of flare and feathered hair envy, you must look to Criss Angel or the dude from The Pick-up Artist for fashion advice. If you like your music Byrds- and Beatles-informed, with a sprinkle of glammy swagger and US AM radio sheen, this will be your reissue of the year. [AK]

		$15.99 CDx2 $23.99 LPx2+MP3   DNTEL Life Is Full of Possibilities - Deluxe (Sub Pop) "Anywhere Anyone" "(This Is) the Dream of Evan and Chan [Superpitcher Kompakt Remix]" Originally released in 2001 on Plug Research, Life Is Full of Possibilities still stands, a decade later, as one of the best examples of pop electronica we've heard. Jimmy Tamborello's Dntel was soon overshadowed by his Postal Service project with Death Cab for Cutie's Ben Gibbard on vocals, a collaboration that began here with "(This Is) The Dream of Evan and Chan," a killer song by any account, and we also have featured vocal appearances from Mia Doi Todd, Rachel Haden and others. Tamborello's genius is starting with a great pop song, then screwing it all to hell with layers of static, hazy bass tones and stuttering rhythms, making for some of the most engaging melancholy around. This deluxe edition comes with a host of bonus material; the double CD has the remastered album, plus remixes both new and previously released, and a series of outtakes and b-sides. The LP spreads the ten album tracks across two records at 45 RPM, with the bonus material delivered as a free download with purchase.

		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 [KC] Kevin Coultas [DG] Daniel Givens [GH] Gerald Hammill [DH] Duane Harriott [IQ] Mikey IQ Jones [AK] Andreas Knutsen [JM] Josh Madell [DMa] Dave Martin [DM] Doug Mosurock THANKS FOR READING - all of us at Other Music

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