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   March 28, 2012  
       
   
     
 
 
FEATURED NEW RELEASES
Daniel Rossen
Georgia Anne Muldrow
Gentleman Jesse
Quakers
SND / NHK
NHK'Koyxen
Mark Stewart
The B-Music of Jean Rollin (Various)
Tav Falco's Panther Burns
Rocket Juice & the Moon
Gene & Debbe
Belle & Sebastian Late Night Tales 2
Thee Spivs
 
ALSO AVAILABLE
Daphne Oram (Now on CD)
Caveman (Re-released)





All of this week's new arrivals.
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MAR Sun 25 Mon 26 Tues 27 Wed 28 Thurs 29 Fri 30 Sat 31
APR Sun 01 Mon 02 Tues 03 Wed 04 Thurs 05 Fri 06 Sat 07

Bonobo



Bush Tetras
  WIN TICKETS TO BONOBO, ARTHUR RUSSELL TRIBUTE & BUSH TETRAS
This Thursday (March 29), Bonobo's international "Bonobo Presents" concept night comes to New York at Le Poisson Rouge, where Bonobo will be joined by three artists who are featured on his Black Sands Remixed album: FaltyDL, Mike Slott and Machinedrum. The show is now sold out, but Other Music has two pairs of passes to give away to two lucky people, and each winner will also receive a signed copy of the LP! To enter, email tickets@othermusic.com, and also include your mailing address. We'll notify the winners via email on Thursday morning.

We're also offering tickets to a few other upcoming shows at Le Poisson Rouge that we thought our Update readers would be as excited about as we are. The venue will be hosting an Arthur Russell Tribute and Benefit Concert for the Queen's Artist Resource Collective next Wednesday, April 4, featuring Arthur's Landing (who are made up of several of Russell's collaborators performing a wide selection of his songs and works), Bear 54, the Forms, First Nature, Teddy Blanks, and more. Enter to win tickets to this show by emailing giveaway@othermusic.com. Then on Friday, April 6, we're giving away two pairs of tickets to see a rare performance from the seminal no-wave band Bush Tetras, who will playing with great Brooklyn newcomers Dive, which features Beach Fossils' Cole Smith. Email contest@othermusic.com to put your name in the hat...we've got two pairs of passes for this one!

LE POISSON ROUGE: 158 Bleecker St. NYC

     
 
   
   
 
 
MAR Sun 25 Mon 26 Tues 27 Wed 28 Thurs 29 Fri 30 Sat 31

  WIN TICKETS TO SCREENING OF JEAN ROLLIN'S FASCINATION AT NITEHAWK CINEMA
In this week's Update we've reviewed a fantastic new compilation featuring soundtrack music to French filmmaker Jean Rollin's psycho-sexual thrillers. New York residents will also get a chance to see a screening of one of his masterpieces, 1979's Fascination, which is playing in Brooklyn at Williamsburg's Nitehawk Cinema on Friday, March 30 and Saturday, March 31, with Morricone Youth providing live music and soundscape for the film! Other Music has two pairs of passes for the Saturday night screening (12:20 a.m.) and you can enter to win a pair by emailing giveaway@othermusic.com. We'll notify the two winners on Friday morning.

SATURDAY, MARCH 31
NITEHAWK CINEMA: 136 Metropolitan Ave, Williamsburg, BKLN

     
 
   
   
 
 
MAR Sun 25 Mon 26 Tues 27 Wed 28 Thurs 29 Fri 30 Sat 31

  NO BS! BRASS BAND TICKET GIVE AWAY
This Saturday, Richmond's NO BS! Brass Band take to the stage of Joe's Pub where they are sure to deliver a rowdy and eclectic set of New Orleans-inspired original compositions and arrangements of pop/rock hits from the '70s and '80s. NO BS! draw their inspiration from every thinkable source including funk, jazz, klezmer, calypso and delta blues, and their recent 7" on Electric Cowbell featuring their cover of "Take on Me" is undeniably infectious! To put your name in the hat for a pair of tickets, email enter@othermusic.com. We'll notify the winner this Friday.

SATURDAY, MARCH 31, 11:30 P.M.
JOE'S PUB: 425 Lafayette St. NYC

     
 
   
       
   

 

 

     
 

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  DANIEL ROSSEN
Silent Hour / Golden Mile EP
(Warp)

"Return to Form"
"Golden Mile"

Like many of the best groups, Grizzly Bear has always been a band that is hard to unravel. Seeming like a true collaboration rather than a singular vision, the project began with Ed Droste alone in his apartment, but the eventual additions of Chris Bear, Chris Taylor and Daniel Rossen each added new layers and dimensions to their sound, and their more recent albums, like 2009's Vekatimest, are tightly focused but bursting with ideas from four talented individuals. There have been side-projects and solo releases before showing elements of the musicians' different visions, from the narcotic haze of Droste's early demo collection Sorry About the Delay to Daniel Rossen's ongoing Department of Eagles collaboration with his onetime NYU roommate Fred Nicolaus, but this new solo EP from Daniel Rossen is both a crystalline encapsulation of the singer/songwriter/guitarist's solo strengths and perhaps a tantalizing foretelling of what we can expect from Grizzly Bear's forthcoming new full-length.

Silent Hour / Golden Mile contains five gently swaying pop tunes, built around Rossen's crisp acoustic guitar and heart-breaking falsetto, orchestrated with swooning strings, sighing lap-steel, orchestral percussion, brass, piano and a lot more. It's a lush, meticulous sound, but with an ease and spontaneity that Grizzly Bear has mostly ironed out of their more recent recordings. Though it's more than a bit trite to suggest it, it's undeniable that Rossen sounds an awful lot like Sir Paul McCartney here, and not like some kid trying to sound that way either. It's not a ground-breaker or a game-changer like we've come to expect from his main group, and at just five tracks it comes and goes pretty quick, but this is a great little record that should satisfy the legions of Grizzly Bear fans tired of the long wait for their new album, and really any fan of emotional orchestral pop -- these are great songs, beautifully sung, perfectly arranged and executed. And when Rossen intones, "In this big empty room, finally feel free, to sing for me, to sing for me," during the chorus of opener "Up On High," there is a joy and liberation both rare and welcome. [JM]

 
         
   
   

 

 

     
 

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  GEORGIA ANNE MULDROW
Seeds
(Someothaship)

Beginning with her debut on Stones Throw in 2004, songwriter, multi-instrumentalist, vocalist and producer Georgia Anne Muldrow has changed labels a few times over, yet released an album every year since. With each record she continues her search within, exploring heady themes like Afro-centrism vs. commercialism, while crafting music with not only a message, but usually a funky, self-made beat too. Her latest, Seeds, has a new twist because of her choice to work with an outside producer; having collaborated on various projects throughout the years, Otis "Madlib" Jackson Jr. is an obvious but no less inspired choice for the job. Together they provide one another with inspiration and a much-needed balance; for Madlib, this is the first whole album he's produced for a female artist (though he's featured heavily on Erykah Badu's New Amerykah series), and here he crafts some nicely diced-up soul edits for Muldrow to voice her musings over, while keeping his samples purposeful and focused, offering a natural, rich, and fresh feeling back beat. For Ms. Muldrow, having Madlib produce seems to direct her choice of song selection (keeping things short and sweet at barely thirty-five minutes), and gives her freedom to simply deliver her words, coming up with some of her strongest performances yet. Separately these two have provided some great moments in hip-hop and new soul, and each collaborative track they've dropped has been a welcomed addition to my playlist; now with a full album that merges their sounds, it's an instant gem of underground soul, much like Muldrow's partner Dudley Perkins' debut, A Lil' Light, which Madlib also produced -- she's a better rapper and singer though. Muldrow has always reminded me of Chaka Khan and on the boogie-inspired track "Best Love" she shines with a classic '80s ultra-sheen. She also channels the spirits of Roberta Flack, Nina Simone, and Aretha Franklin, yet she's able to drop a rap that echoes Lauryn Hill's solo work -- all with her own modern spin. Lots of great tracks (with no interludes!), it's a pure and effortless fusion of two of the best artists of the California beat-rap-soul scene. [DG]
 
         
   
   
   
   
   
   

 

 

     
 

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  GENTLEMAN JESSE
Leaving Atlanta
(Douchemaster)

"Eat Me Alive"
"Kind of Uptight"

I was recently thinking how Gentleman Jesse's radiant power pop was just what I needed for the sunny season ahead, and when I heard news of a follow up to 2008's universally loved Gentleman Jesse & His Men, I also wondered, where has he been? It turns out that Jesse Smith's great new LP has been in the can for close to three years now, waiting patiently as Smith dealt with a series of personal setbacks that nearly sidelined the release, and moreover nearly sank Smith's faith in the redemptive power of rock & roll. And yet, rising like the Phoenix, Leaving Atlanta has emerged from the ruins, sounding like a triumphant kiss-off to the doldrums and downers (even if it was actually recorded before the shit hit the fan). Leaving Atlanta embodies what many already know about the band (Jesse is billed here without his Men, but it's far from a solo affair); a love for infectious hooks and meticulously crafted melodies rule. The album is made up of thirteen bittersweet numbers about love, loss and wanting -- all delivered with a whole lotta gusto. Getting the party started is the inspirational anthem "Eat Me Alive," which sees Gentleman Jesse staying true to his power-pop roots; "If you keep your head down you'll push on through, and you just might make it to the other side," Jesse hollers out alongside candied keys, elastic bass, forthright beats and chiming guitars that go on tangents of joy-filled solos. It's this upbeat attitude that fittingly denotes the bands' spunky demeanor, like on my personal highlight "You Give Me Shivers" -- if you want to know how good it feels to be sitting in a park when the sun is out as this song blasts in your headphones, well, you're just going to have to try it and see. Leaving Atlanta is about picking yourself up, dusting yourself off and keeping your chin up; when something makes you feel this good there's no need to question it, most certainly recommended. [KPo]

 
         
   
   

 

 

     
 

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  QUAKERS
Quakers
(Stones Throw)

"Big Cat ft: Synato Watts"
"The Beginning ft: Coin Locker Kid"

Geoff Barrow (Portishead/BEAK>/Anika) finally assembles a hip-hop record that channels the creativity of the '90s era, yet is also onto the next level. Quakers is the name and thick, melodic, punchy, soulful and dense hip-hop is their game. A collective of 35 members based around three producers involved in Barrow's Invada label imprint, 7-Stu-7 (the label engineer/producer), Katalyst (a label partner and producer in his own right) and Barrow form the nucleus. Featuring over forty tracks that mainly last around the two minute mark, a lot of rappers stop through to drop a verse, including many from the Stones Throw crew (Aloe Blacc, Guilty Simpson, M.E.D., Jonwayne), a couple of Midwest names (Diverse, Phat Kat, Frank Nitty) some New Yorkers (Prince Po, Dead Prez) and many, many more. Thick horns, psychedelic found sounds, keyboard freak-outs and breakdowns, and layers of handclaps all jump from the speakers -- it's like a Madlib production without Madlib. This isn't film noir trip-hop with rappers on top; the production is so much more imaginative, energetic, aggressive and powerful. Sure, elements of Barrow's past work are buried in the mix but that also assures the quality control, with his keen ear for vintage sounds, analog gear and the knowledge of what made the golden era of hip-hop just so golden. Imagine if you took the mindset of Ghost Box/Broadcast, blended it with the gear from the Portishead band, listened to a lot of Bomb Squad/Public Enemy and then invited all your talented rapper friends to come hang out in the studio; that's what it sounds like went down here. And it sounds damn good. As a bonus, a whole CD of instrumentals is added to the package. This feels like a long time coming and it's better than one could image -- one of the best hip-hop experiences you'll have all year. [DG]
 
         
   
   

 

 

     
 
SND / NHK
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NHK'Koyxen
$26.99
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  SND / NHK
Split EP
(Pan)


NHK'KOYXEN
Dance Classics Vol 1
(Pan)

Japanese musician/producer/illustrator Kouhei Matsunaga has collaborated with everyone from Autechre and Mika Vainio to Sensational, Merzbow, and Conrad Schnitzler under assorted variations on his NHK alias, and the excellent Pan label offers up two new slices of limited vinyl that only strengthen his stance as one of the best talents making beats right now. He's got a versatile style that combines thick bass grooves, percolating boom-bap beats, and thick neon synth textures with the sort of cut-up micro processing associated with folks like the aforementioned Autechre and SND. Coincidentally, the first of these releases is a split LP with SND themselves. It's nice to see some SND on wax after a four-year wait (they've been keeping it strictly CD/digital lately), and their contribution to this LP, a 16-minute piece entitled "15/16," is an epic of joint-popping braniac electro-funk that ably balances the craft and precision with which their work is associated alongside a sturdy, complex latticework of stuttering, hypnotic rhythms. They tease out a groove, flirting with the beat but never landing quite on it, and the simple surface work of the piece betrays the complex construction underneath. On the flipside, Matsunaga teams up with cohort Toshio Munehiro for four tracks as simply NHK that mix up industrial grind, airy dub space, and some thick funk that should appeal to fans of Pan Sonic, Gescom, and Raster-Noton's more outré releases.

On Dance Classics Vol 1, Matsunaga steps out in a solo mode as NHK'Koyxen (say "NHK Caution" in a thick NY accent so your brain won't hurt!), and holy shit, this is honestly one of the best, funkiest electronic albums I've heard so far this year. He gets into a serious hip-hop groove on this set, with his beats hitting major bap factor, while synth chords swirl and drift like flower petals in a whirlwind around the rhythms. These eleven tracks recall everything from prime Autechre circa Tri Repetae and Chiastic Slide to Machinedrum's recent cut-up beatscapes, but with a serious dosage of psychedelia injected into the stereo field. It's been ages since I've heard a record sound so simultaneously lush AND mechanical at the same time. High marks go to Pan for the gorgeous sleeve on this one as well; their packaging is always noteworthy, but this one really looks sharp, I must say. All in all, anyone with an ear for the more experimental edges of beatmaking who has yearned for a bit of classic IDM flavor in their funk really needs to check out Matsunaga's work; he's a fine craftsman who can stimulate both your brain and your ass, often at the same time. How many producers these days can make similar claims? As with all of Pan's catalogue, these LPs are limited, so buy now or cry later, because they don't do represses! [IQ]

 
         
   
   
   
   

 

 

     
 

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  MARK STEWART
The Politics of Envy
(Future Noise)

"Gang War"
"Method to Madness"

"Everything is illuminated; I'm not impressed by your decadence." So begins Mark Stewart's latest, his eighth full-length LP since the demise of the iconic post-punk political agitators the Pop Group, a band that he formed in Bristol in 1978. Stewart's venom has lessened not one iota in the past 30-plus years, and the groundwork he laid in those early years, both lyrically and musically, is still in full effect here, and as affecting as ever. Produced by Youth and joined by a stellar cast of fellow travelers, including Lee Perry, filmmaker Kenneth Anger, Daddy G (Massive Attack), Richard Hell, Keith Levine (Clash/P.I.L.), Primal Scream, Gina Birch (Raincoats), Tessa Pollitt (Slits) and some fresh faces like Factory Floor and Kahn, The Politics of Envy is as raw and real as anything I've heard in some time, keeping the core sound we know, a punk/funk/dub hybrid that Stewart pioneered, but adding a cacophony of more modern production techniques, so the album churns and swirls through your head like a post-apocalyptic club banger from the burning streets of London. Politically incendiary punk/industrial/dubstep is not always an easy pill to swallow, but that is exactly as Stewart planned it, and his deep well of humor and humanist compassion helps raise the record above abrasive sloganeering -- it's a passionate, propulsive, soulful album that is actually a lot of fun. Sure, Stewart has a bad attitude, but that's just how he copes; over the electro-disco sway of "Baby Bourgeois," Stewart and Birch chant through the breakdown "Sorry but did you mistake me for someone who gives a fuck? Who really cares? Sanity sucks!" It's obvious from the fact that Mark Stewart is still making such dense, difficult and passionate albums that he does in fact care -- he cares a lot, and The Politics of Envy made me care too. (Limited edition double CD comes in "hardcover book format" with a bonus EP titled Experiments.) [JM]
 
         
   
   

 

 

     
 

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  VARIOUS ARTISTS
The B-Music of Jean Rollin
(B-Music)

"La Cite Rouge" Acanthus
"Gilda & Gunshots" Pierre Raph

Finders Keepers/B-Music offer up a fine compilation of music from the movie soundtracks of cult French film auteur Jean Rollin, known for excellent horror erotica flicks like Le Frisson des Vampires, Fascination and Jeunes Filles Impudiques. These films combined dream-like surrealism with some of France's first splatter/gore horror aesthetics, not to mention plenty of nudity. The movies, often made on shockingly low budgets, have over time become canonized cult classics, many of which have recently seen rerelease on DVD. Last year, Finders Keepers announced that they'd be releasing many of Rollin's soundtracks, some of which had never actually seen proper release on CD or even vinyl. The first in this series was Le Frisson Des Vampires, performed by French psych-rock band Acanthus, and now this compilation, which offers up works by the likes of Pierre Raph, Yvon Gerault, Philippe D'Aram, and jazz pianist/composer Francois Tusques, as well as select cuts from the Acanthus score. The music blends everything from rollicking drum breaks and fuzzed-out guitars to female dream-pop vocal arias, jazz grooves, and a bit of electronic experimentation. The whole thing is sequenced like a mixtape, featuring dialogue and sound effects interspersed with the score, adding to the heavy atmosphere and giving the comp a dash of naughtiness, with women cooing and moaning amongst psychedelic freak-outs. Take a dash of the spectral folk of Valerie and Her Week of Wonders (one of Finders' first archival releases), a bit of the out-jazz grooves of early Soft Machine and Art Ensemble of Chicago, and a pinch of Gainsbourg's femme fatale magic, and you'll get a good idea of the magic being brewed here. These are film cues, so many of the tracks are short and sweet, playing out like a wild acid trip of a library music album; regardless, there's an overabundance of excellent music here, and with much of it being issued for the first time, this is an invaluable release. [IQ]

 
         
   
   

 

 

     
 

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  TAV FALCO'S PANTHER BURNS
Behind the Magnolia Curtain / Blow Your Top EP
(Fat Possum)

"Hey High School Baby"
"Where the Rio de Rosa Flows"
"I'm on the Rocket"

Fat Possum has done a great service with this reissue, as Behind the Magnolia Curtain stands as one of the high-water marks of deranged American music. Originally released on Rough Trade in 1981, it is a mind-bending journey through outsider music and art, Memphis style. Like the Cramps, whose time spent recording with Alex Chilton inspired many Memphis residents, Tav and his band's filtering of '50s rockabilly, country and blues made for one of the best albums to ever come out of Tennessee, not to mention the inclusion of a fife and drums corps (featuring the legendary Jessie Mae Hemphill) on some of the tracks, giving the record a feel like no other that I can think of. Recorded in NYC a year later with a stripped-down band that included Jim Sclavunos on drums, the Blow Your Top EP may lack a bit of the southern weirdness that made Behind so unique, but it's one of the most focused and rocking of Panther Burns' releases. This package is rounded out with ace liner notes by longtime Panther Burns drummer Ross Johnson (although he's not on these records), Panther Burns bassist Ron Miller, and Tav himself, who offer three spirited and distinct views of the group at the time of these recordings. All in all, this is one of the more satisfying and needed reissues of this (or any) year. [DMa]
 
         
   
   

 

 

     
 

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  ROCKET JUICE & THE MOON
Rocket Juice & the Moon
(Honest Jon's)

"Hey, Shooter"
"Follow-Fashion"

Damon Albarn once again explores his love and knowledge of African music with his latest project, Rocket Juice & the Moon. Following his more experimental excursion, DRC Music, Rocket Juice is essentially an Afrobeat jam band in the truest sense -- a daunting concept, yet with the longest song at five minutes and the album clocking in under an hour, it's actually a pretty cool, well-focused idea. The key to a great jam band is the rhythm section, and the key to great Afrobeat is a drummer who understands the timing; Albarn has two ringers here, with Fela mainstay Tony Allen sitting behind the kit and on bass, Flea, who knows his way around some skanky bass lines. Also in the musical mix are the Hypnotic Brass Ensemble, Thundercat, Fatou Diawara, M.anifest, M3NSA, Cheick Tidiane Seck (another Fela alum) and Erykah Badu, while Mark Ernestus (Rhythm & Sound) assembles and mixes the recordings from Chicago, Paris and New York into a sonically present and throbbing journey. Blending various facets of contemporary African music from Afrobeat, Afro-funk, disco, and jazz to African rap spoken in a native tongue, the core of Albarn, Flea and Allen weave futuristic sonics with a solid and grounded foundation that's springy, engaging and feeling more authentic than you might expect. With such a love and respect for the music as the starting point, being great musicians and inviting quality guests makes this farfetched project actually work -- if you've been a fan of the countless exploits of Albarn, Allen or Flea, this is a highlight (they sound good as a band), or if you would like a modern African selection for your next dinner party, this is perfect. Driving and dense, playful and pulsing, all the best elements of classic African pop music, only updated. [DG]

 
         
   
   

 

 

     
 

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  GENE & DEBBE
Playboy: The Best of Gene & Debbe
(Sundazed)

"Playboy"
"Rings of Gold"

There is something sublime about a great pop duet, especially a love song -- when a man and a woman weave their voices together, the effect can be enchanting and disarming. In the 1960s, listeners swooned for Sonny and Cher, Marvin and Tammi, Lee and Nancy, Johnny and June; tucked away in that decade, like a picture of a nearly forgotten sweetheart in a locket at the back of a drawer, are the songs of Gene & Debbe. The first half of Playboy features the duo's lone album, Hear and Now, released in 1968. Debbe Neville's honeyed, lilting voice is a perfect match for Gene Thomas, whose slightly nasal delivery could very well be compared to Gram Parsons. What sets Gene & Debbe apart from some of their contemporaries is just how wholesome they seem; the sauciest lyric on the disc is from "Go with Me," when Thomas sings, "Go with me, climb the mountains made of ecstasy." Neville's character is usually that of a naïve dreamer, looking for touches that are tender and true, and she sings of love the way that Jackie DeShannon does. A line from "Love Will Give Us Wings" neatly sums up the world of Gene & Debbe: "Love is all we need to rule the world/as long as there's a boy who needs a girl." Hear and Now was a curious hybrid of Nashville twang, blue-eyed soul, and straight teen beat, all wrapped tightly in Louvin Brothers-inspired close harmony. The second half of the collection features unreleased material from the duo that finds them moving towards Bacharachian vaudeville ("Lovin' Season"), Motown ("Makin' a Noise Like Love"), and melodramatic orchestral pop ("Then I Cried"). There are gems galore, particularly "Then I Cried," with its brilliant organ work and swirling string arrangements. Playboy is an essential collection for listeners who are in love with 1960s pop and the feelings it evokes in them. [MS]

 
         
   
   

 

 

     
 

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  BELLE & SEBASTIAN
Late Night Tales 2
(Late Night Tales)

"Still Thinking of You" Steve Parks
"Tomorrow's People" "McDonald & Giles

Belle & Sebastian's first Late Night Tales installment was a fun and unexpectedly varied multi-cultural mix, perfectly reflecting what this long-running musician-curated series has always been about: an intimate and often surprising snapshot of an artist's diverse taste. It was so good in fact that the Scottish group was asked to assemble a second volume and here they've topped the last edition, digging deeper and going further out. Much of the selection mirrors Other Music staff favorites (Broadcast, Milton Nascimento, Pop Group, Dorothy Ashby, Mulatu Astatke, Toro Y Moi), with a smattering of late-'60s/early-'70s hits from the likes of the Lovin' Spoonful, the Wonder Who?, and Blood, Sweat & Tears; Aquarian French pop from Marie Laforet; psych-folk from Bonnie Dobson and Trees; and obscure nuggets like the sweeping soul of Steve Parks' "Still Thinking of You," some choral jazz-funk by way of Joe Pass' "A Time for Us" (also a favorite of the Gaslamp Killer) and Roland Vincent's rare groove anthem "L.S.D. Partie." Throw in some unexpected detours -- an excerpt of avant-classical composer David Behrman's seminal "On the Other Ocean," Cecile's "Rude Bwoy Thug Life," a dub version of Pete Shelley's new wave classic "Homosapien" -- and Belle & Sebastian's own jazzy, cheeky take on the Primitives' "Crash," and it all adds up to one of the best editions of Late Night Tales that we've heard in quite a while -- a wonderfully diverse, hand-selected mix for music lovers such as yourself. [GH]

 
         
   
   

 

 

     
 

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  THEE SPIVS
Black and White Memories
(Damaged Goods)

"We See Red"
"People Come and People Go"

Nevermind the Buzzcocks, here's Thee Spivs! This East London trio is back with their second full-length on Damaged Goods, and they mean business with that good ol' fashioned punk rock sound circa '77. With songs telling you to stop watching TV and another about "Flickin' V's," this is snotty three-chord garage punk at its finest, complete with an I-don't-give-a-crap attitude and skinny jeans. There are traces of pop-punk as well -- opener "We See Red" is straight-up Ramones with glockenspiels thrown in for good measure; the title track sounds like something Dan Treacy of Television Personalities would approve of; and the acoustic ballad "Cowboys and Indians," with its man-child lyrics, could almost be a tribute to my beloved Tronics. The whole record has an odd vintage feel with slight traces of Billy Childish, who just happens to be a label mate. Looks like Thee Spivs have managed to successfully sum up their feelings of angst throughout an album that clocks in at just around half an hour. Black and White Memories is a perfect salve for today's Technicolor lives. [ACo]

 
         
   
       
   

 

 

     
 

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  DAPHNE ORAM
The Oram Tapes: Volume One
(Young American)

Modern Love subsidiary Young Americans issues the latest in what is said to be an ongoing series of releases archiving unheard material from British sound innovator and BBC Radiophonic Workshop founder Daphne Oram. When Oram passed away in 2003, she left behind what is estimated to be over 400 reels of tapes that are currently being catalogued and documented. What's astonishing is that in spite of her being such an important figure in the history of electronic music and experimental composition, outside ears had heard only a tiny portion of her works; save for a few 45s and a promotional LP of musique concréte-inspired Radiophonic pieces, there was but a drip documenting Oram's vast ocean of sound. The compilation CD, Oramics, changed that; drawn primarily from commercial music a la Raymond Scott's Manhattan Research, music for theatre/dance performance, and pieces made with her innovative Oramics machine (which created electronic sound by reading painted strips of unused film stock), a critical floodgate was opened.

Originally issued late last year as a 4-LP box set and now available as a double CD, The Oram Tapes: Volume One delves into darker, more overtly experimental works, with drone pieces, cut-up musique concréte tape edits, field recordings, and sound effects and music created for films like Jack Clayton's The Innocents and Kubrick's 2001. While many will be quick to draw comparison to the brilliance of Delia Derbyshire, another pioneering woman who came out of the Radiophonic Workshop, Oram's approach here is less percussive or harmonically "musical," drawing instead upon a rich textural field to create dreamlike states that mirror works by everyone from Eliane Radigue to Luc Ferrari. Anyone with a remote interest in electronic and tape-based music needs to hear this work at least once before they die; Young Americans is doing the arts world a proper service by helping to archive and document this vast treasure chest of inspiring music. Absolute highest recommendation, folks. [IQ]
 
         
   
   

 

 

     
 

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  CAVEMAN
CoCo Beware
(Fat Possum)

"Decide"
"Old Friend"

With a new home on Fat Possum, this buzzing Brooklyn quintet's self-released debut is now available to the masses. CoCo Beware opens with a hypnotic rhythm pattern, tom-toms and clicking sticks bolstered by a pulsing bass guitar, that builds into a reverb-heavy guitar swell, and the sweetly melodic vocals of singer-songwriter Matt Iwanusa -- but before all that, what you really hear is the room tone. Warm, natural, instantly inviting, this is the sound of five guys actually playing together. Now I'm not sure how this record really was recorded, but in an age of laptop albums, this one sounds like it was laid to tape in a big old live room. Caveman have been creating a lot of excitement with their live shows over the past few months, big, drum-heavy, distortion-drenched affairs that can fill any venue they play. And while the debut album retains much of that power -- the drumming here is so dynamic, always shifting yet always spot-on, and the songs are full of warm, embracing guitar and keyboard tones, and sweet harmonies -- what most stands out is the subtlety rather than the grandiosity. Caveman, despite their name, never bash and stomp, they just drift in and let their songs speak for themselves, with strummed guitars, gentle lead melodies, one-chord keyboard washes or quietly tinkling electric piano all finding their perfect spot amidst the entrancing rhythms, and all making way for Iwanusa's dreamy vocals.

If you can imagine the Feelies playing the Beach Boys, you are on your way to understanding the sound of this great new band. I've seen them referred to as shoegaze, and while there is a similar reverence for sound and texture at work here, and a simple joy in the psychedelic nature of haze, this music studiously avoids squall -- it's a quiet storm. At its core, Caveman writes simple, embracing pop songs, and then folds them into a quietly shifting quilt of rhythm and sound. These songs seep into your consciousness, easy on the ears, but still rich with surprises, and though it's not exactly something new, Caveman have forged a truly distinct, wonderfully engaging debut. They may not have discovered fire, but they burn. [JM]

 
         
   
       
   
         
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THIS WEEK'S CONTRIBUTORS

[ACo] Anastasia Cohen
[DG] Daniel Givens
[GH] Gerald Hammill
[IQ] Mikey IQ Jones
[JM] Josh Madell
[DMa] Dave Martin
[KP] Kimberly Powenski
[MS] Michael Stasiak



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