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   May 31, 2012  
       
   
     
 
 
FEATURED NEW RELEASES
The Walkmen
Lone
Sigur Ros
Suzanne Ciani LP
Grass Widow LP
King Tuff
Sun Kil Moon
Studio One Sound (Various)
Avengers
The Intelligence
The Trypes
Spectrum LP
Public Image Limited
 

ALSO AVAILABLE
Colourbox (4CD Box Set)
Flashback Magazine Issue #1
Ugly Things #33




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

 
         
   
   
   
   
   
       
   
 
 
JUN Sun 03 Mon 04 Tues 05 Wed 06 Thurs 07 Fri 08 Sat 09
  Sun 10 Mon 11 Tues 12 Wed 13 Thurs 14 Fri 15 Sat 16
  Sun 17 Mon 18 Tues 19 Wed 20 Thurs 21 Fri 22 Sat 23
  Sun 24 Mon 25 Tues 26 Wed 27 Thurs 28 Fri 29 Sat 30

  OTHER MUSIC TUESDAYS AT THE ACE HOTEL NYC
Other Music nights return to the gorgeous lobby of NYC's Ace Hotel every Tuesday in the month of June, with a different member of the staff DJing an eclectic mix of tunes every week. This Tuesday, the shop's webmaster Gerald Hammill will be pulling from a couple of record bags full of fun underground sounds and leftfield hits and misses. While you're at the Ace, make sure to check out the Other Music-curated release display by the front desk featuring a nice range of new CD and LP releases. See you at the Ace!

TUESDAY, JUNE 5: GERALD HAMMILL
TUESDAY, JUNE 12: ANASTASIA CRISIS
TUESDAY, JUNE 19: CHRIS PAPPAS
TUESDAY, JUNE 26: ANDREAS KNUTSEN
8:00 p.m. to Midnight Every Week

ACE HOTEL: 20 W. 29th St. NYC
Facebook Invite

     
 
   
   
 
 
JUN Sun 03 Mon 04 Tues 05 Wed 06 Thurs 07 Fri 08 Sat 09

  TICKET GIVE-AWAY TO THE TEMPER TRAP
Following up their 2009 breakthrough Conditions with their just-released eponymous sophomore full-length, Aussie rockers the Temper Trap are headlining Terminal 5 this Tuesday, June 5, with School of Seven Bells and Pegasus Warning rounding out the bill! While the show may be sold out, we've got five pairs of tickets up for grabs, so enter right away by emailing giveaway@othermusic.com. We'll notify the five winners on Friday.

TUESDAY, JUNE 5
TERMINAL 5: 610 W. 56th St. NYC


     
 
   
   
 
 
JUN Sun 10 Mon 11 Tues 12 Wed 13 Thurs 14 Fri 15 Sat 16

  WIN TICKETS TO CLARK AT LE POISSON ROUGE
Chris Clark has entered a new era, moving from the IDM of his early records and into more melodic, organic territory. His new full-length, Iradelphic, finds this Warp mainstay augmenting his productions with live instruments like guitars, piano, harpsichord, strings and orchestral drums, and features a couple of guest spots from Martina Topley-Bird and a few sessions with labelmate Bibio. Clark is performing at Le Poisson Rouge on Sunday, June 10, and Other Music is giving away two pairs of tickets. To enter, just email tickets@othermusic.com and we'll notify the two winners on Monday.

SUNDAY, JUNE 10
LE POISSON ROUGE: 158 Bleecker St. NYC

     
 
   
   
 
 
JUN Sun 10 Mon 11 Tues 12 Wed 13 Thurs 14 Fri 15 Sat 16

  OTHER MUSIC RECORDING CO. SHOWCASE AT NORTHSIDE FESTIVAL, 2012
Our new Other Music Recording Co. imprint is throwing its first live music showcase at Union Pool on Thursday, June 14, as part of Brooklyn's Northside Festival. We couldn't be more excited about our line-up, which features Ex Cops, whose debut single also happens to be the inaugural release on our label with an album coming out later this year, and Nude Beach, whose full-length, II, will be getting an official release August 14 on Other, as well as our favorite Jersey bar punks the Everymen, and a surprise special guest. We'll be listing more details in our update and on our Facebook invite, so stay tuned and save the date.

THURSDAY, JUNE 14
UNION POOL: 484 Union Ave. Williamsburg, BKLN

     
 
   
   
   
   
   
       
   

 

 

     
 

$12.99
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  THE WALKMEN
Heaven
(Fat Possum)

"The Witch"
"Song for Leigh"

When the Walkmen formed in the late-'90s, they were wild, brash boys living out their dreams and disappointments on record; smart, literate, educated maybe a tad entitled, the band nonetheless had an aura of authenticity and feral intensity in their lyrics and their attitude that gave their music blunt impact. They were twenty-somethings struggling with real twenty-something questions and fears, but also exploring the freedom and the thrill of youth, with joyful abandon. The Walkmen are kids no more. The cover from their decade-old 2002 full-length debut Everyone Who Pretended to Like Me Is Gone shows three 1940s-era ten-year-old boys, cigarette-smoking street toughs wearing dark wool suits and cocked hats, staring menacingly out of their sepia portrait. The publicity for Heaven has sepia-tone, be-suited kids too, but these are the Walkmen's children, in a vintage-style family-band portrait of the Walkmen all grown up, laughing with and caring for kids of their own. Side by side these images are both startlingly similar in style and tone, but also plainly illustrative of how far this band has come, finding a way to grow into (and out of) their own image without sacrificing what made them special in the first place.

The Walkmen 2012 have different concerns than they did back when, and their magnetic frontman Hamilton Leithauser, who always had a vaguely prep-school fresh aristocratic air to him, and sang with resignation about his darkest impulses, now finds poetry and emotion in trying to hold on to love, or even simply loving his young daughter. And yet rather than sounding tired or boring, Heaven manages to teem with the same honesty and lifeblood that has run through this band from the start, and the sound of their music has matured similarly; the group still relies on grinding mid-tempo dirges with ringing guitars and churchy organ, but they have continued to refine the sound and production, adding swirling orchestration or artful allusions (a hint of calypso, or a 1950s pop flourish), without losing their center. If I can call Heaven adult music without making you want to run screaming to Bushwick, I will dare; it's a great new chapter from some brash boys who have risen to the challenge of life head-on, and whose music has grown along with their own lives and those of their many fans. [JM]

For a limited time, CD and LP both come with a bonus 7" single of "Heaven" and the non-album b-side "The House Your Made," while supplies last.
 
         
   
   

 

 

     
 

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$26.99 LPx2+CD

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  LONE
Galaxy Garden
(R&S)

"New Colour"
"Lying in the Reeds"

UK producer Lone's 2010 album Emerald Fantasy Tracks was a storewide favorite upon its release; it signaled a shift away from the abstract hip-hop textures of Matt Cutler's earlier work and toward a more streamlined synthesis of rave techno and the sun-bleached, warped-tone keyboard textures of Boards of Canada, whom Cutler has gone on record to claim as a primary inspiration for the project. His new album Galaxy Garden, appropriately recorded for the infamous R&S label, takes that sound further, crafting a gorgeous, sensual blend of '90s house chords, percolating Balearic congas, and some of the brightest neon-hued synth tones you'll hear all year. When asked about the record by curious shoppers, I'm often prone to declare that the album sounds the way that the cover looks, with its bright, glossy, aquatic flora set against a vast, sparkling outer space landscape. While it's true that there are quite a number of producers mining this sort of territory at the moment, Lone brings an attention to detail and arrangement, not to mention some earworm melodies, that many of his contemporaries seem to lack. He's joined on two cuts by Machinedrum, whose claustrophobic rhythmic clatter nicely complements Cutler's spacious ambient drift, and on closer "Spirals," he recruits vocalist Anneka to deliver honeyed tones overtop a gorgeous slow-jam that stands as one of his finest moments yet and leaves me begging for further collaborations with the British singer. Lone's impressive skill at layering and weaving multiple rhythms together into complex yet kinetically pulsating latticework simultaneously anchors and complicates the simple, direct keyboard work that floats on the top layers of these tracks, and on the whole, this has locked itself down as essential summer listening -- it's a gorgeous album of hazy, sweltering, humid electronic dream beats that stands as a personal favorite amongst this year's electronic releases. It's a record whose overt sensuality can simultaneously chill you out and work you up, and it deftly balances a retro-future aesthetic that nods to the past while determinedly looking forward. [IQ]

 
         
   
   

 

 

     
 

$12.99
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$23.99 LPx2+MP3

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$9.99 MP3

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  SIGUR ROS
Valtari
(XL)

"Varud"
"Valtari"

With Sigur Ros' last full-length, 2008's Med Sud I Eyrum Vid Spilum Endalaust, finding these Icelandic soundscapists flirting with almost conventional song structures, and then lead-singer Jonsi maintaining this sort of sunny pop trajectory on his solo album Go from 2010, many fans might have been expecting the group to continue down a similar path on the long-awaited Valtari. It's a bit of a surprise, then, to find their first new recording in four years a return of sorts to the elegant, free-floating melancholia of earlier records like Agaetis Byrjun or ( ), when the band's dramatic, slow-building orchestration and Jonsi's otherworldly falsetto were enough to induce fainting spells in concert audiences. There is, however, a much more prevalent sense minimalism being utilized; here, the swelling beds of synths and strings, sparkling piano, and ethereal atmospherics move at a quiet, glacial pace, lulling the listener into a dreamy state of catharsis, and more often never reach the soaring climaxes that the band previously turned into an art form. Consider that Valtari's last two songs, the title track and "Fjogur Piano" (totaling 16-plus minutes of the album's run time), are beat-less instrumentals, the latter reminiscent at points of Brian Eno's late-'70s ambient works. Needless to say, this is a patient listen, but the rewards are fantastic; the haunting Gavin Bryar-esque atmosphere created from slow weeping strings, metallic clanks and the chimes of a clock preclude a celestial crescendo for Jonsi's gorgeously alien croon during opener "Eg anda," while the six-and-a-half minutes of "Varud" ebb and flow in a reverb-heavy shroud of chamber instruments before reaching a rapturous, hair-raising ascent of cascading guitars, drums, and a choir of vocals. These epic moments may be few and far between, but they are perfectly placed and these grand emotions silently inhabit the quiet ambience of the rest of the record. It makes for an album that needs to be played from start to finish in order for one to fully immerse themselves, and you'll want to, as the beautiful, mysterious worlds that Sigur Ros conjure on Valtari are spell-bounding. [GH]
 
         
   
   

 

 

     
 

$25.99
LP

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  SUZANNE CIANI
Voices of Packaged Souls
(Dead-Cert)

Suzanne Ciani's first album, Voices of Packaged Souls, was originally pressed in a minuscule edition of 50 copies for a 1970 Brussels art exhibition in collaboration with Harold Paris. Paris was the man who first introduced Ciani to electronic instrument designer Don Buchla, whose innovative synthesizer would become the primary tool in Ciani's arsenal for decades to come. Andy Votel and Demdike Stare have just reissued the album on yet another new label called Dead-Cert Recordings, and it's a stunning package that deserves your attention. The record finds Ciani working not only with the Buchla synth, but also with early computer music software, which operated via punch card systems, as well as musique concrete tape manipulations, giving the album a very Radiophonic feel. A few brief excerpts from the album were included on Finders Keepers' Lixiviation compilation which provided a key overview of Ciani's early work; these pieces overall offer a more primitive blend of bleeping synth tones, pulsating, flickering glitch patterns, and deep tone poetics that compare to similar works by the likes of contemporaries Delia Derbyshire and Daphne Oram. Fans of this sort of early electronic sound exploration are strongly recommended to pick this up, as it will not last (strictly limited 1000 LP pressing); it stands as another important document of the female perspective in early electronic music, and provides another key chapter in the story of Ciani's development as an innovator unto herself. This is absolutely stunning both sonically and visually; Dead-Cert have fully reproduced the original Mylar mirrored sleeve with screen-printed graphics, and pressed it at 45rpm for full sonic capability. This is one hell of an inaugural release; I can't wait to see what they come up with next! [IQ]

 
         
   
   
   
   
   
   

 

 

     
 

$15.99
LP

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  GRASS WIDOW
Internal Logic
(HLR)

Grass Widow are a cosmic cocktail of the Raincoats' harmonic vocals, Marine Girls' lo-fi pop innocence, and Stereolab's surrealism topped with a dollop of sugary sweetness to boot. While this San Francisco-based all-femme trio has been releasing solid records since 2009, Internal Logic is brimming with musical growth and confidence. (The record is also the first release on Grass Widow's own HLR Records, an acronym for the band members' names, Hannah, Lillian and Raven.) The mix of shared female melodies seems to float above angular waves of guitar, bass, and sharp, steady drums, combining a DIY vibe with an otherworldly aura of mystery. The album heavily focuses on subjects of space and time, from the extraterrestrial opener "Goldilocks Zone" backed by sci-fi synth effects, to the steady guitar riffs and ethereal murmur of "Under the Atmosphere," and who could possibly overlook a Star Trek reference on the catchy "Spock on MUNI?" To top it off, Grass Widow snuck in two instrumental tracks to wrap up each side of the LP; "A Light in the Static" on Side A is a melancholy Spanish guitar solo (a touch Lawrence would've put on a Felt record), and Side B concludes with an eerie "Response to Photographs" played on what sounds like a dusty ancient piano. Taking matters into their own hands has definitely worked out for Grass Widow, as they sound more together, more understanding and in tune with each other, and truly better than ever, cooing away through time and space. [ACo]

 
         
   
   

 

 

     
 

$13.99
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$17.99 LP+MP3

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  KING TUFF
King Tuff
(Sub Pop)

"Alone & Stoned"
"Evergreen"

It may seem like a diss to trumpet the word "restraint" with regards to a rock and roll album, but not when it comes to this new King Tuff record. In the wrong hands, riffage of this caliber could easily sound like self-indulgent wanking -- just another overeager boy wielding an electric guitar like it was his... you get the idea. But what I love about so much of the greatest rock and roll is very present throughout Kyle Thomas' songs: a great sense for rising and falling dynamics, the buildup of tension with hooks, riffs that stick in your brain, a devastating rhythm section, and an attitude that reminds you that rock music is supposed to be FUN.

With a voice that alternates between bratty and snotty (think Girls' Christopher Owens suffering from a cold, or any of the members of Milk 'N' Cookies), King Tuff takes the spirit of the MC5 and smears the irreverence of the Stiff Records roster on top. Opener "Anthem" is exactly that, crashing on top of you with the kind of riff that bands step out of fog and lasers to deliver. "I don't know what I did/but I sure as hell don't give a shit," sings Thomas on "Baby Just Break," which should give you an indication of how deep a lot of these songs go lyrically. I fell in love with King Tuff when I heard their Wild Desire 7" a couple of months ago, and the album is a great mix of up-tempo rockers like that single, and softer, spacey ballads that comfortably share space with fellow garage pop acts like the Fresh & Onlys and White Fence. Think of Wreckless Eric covering "Kick Out the Jams," and you've got the king of summertime jams: King Tuff. [MS]

 
         
   
   

 

 

     
 

$16.99
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$9.99 MP3

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  SUN KIL MOON
Among the Leaves
(Caldo Verde)

Preview Songs on Other Music's Download Store

"My band played here a lot in the '90s when we had lots of female fans/And fuck, they all were cute/Now I just sign posters for guys in tennis shoes." So sings Mark Kozelek on the track "Sunshine in Chicago," from the new Sun Kil Moon LP Among the Leaves, and while I feel a little cheap opening this review with such an easy lob, that line does say a lot about the direction of this emotional new record. Kozelek turns his personal songwriting style full-power on himself here, and explores his own life as an aging, beloved, struggling and somewhat lost bard; he sings of life's small details with touching honestly and candor, from fan mail to the death of a friend, with flashes of humor and a large does of heartbreak. Recorded here, there and everywhere during his endless tour cycle, it's a simple sound of nylon guitar strings as the only solace alone in some strange hotel. This intimacy in both sound and spirit -- quiet songs of self-reflection written and performed seemingly for Kozelek's own enjoyment or consolation, as love-letters and tributes to the people, places and moments that have shaped him -- makes Among the Leaves feel at times like eavesdropping on an acquaintance, and at the same time begs you to revel in the moments of your own life. "Song for Richard Collopy" is a wordy tale of a San Francisco guitar repairman who died unexpectedly and left Kozelek asking why; so specific in its detail, yet so universal in its emotion, the song, and the record, is a tribute to our humanity, as seen by Mark Kozelek. [JM]

 
         
   
   

 

 

     
 

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$24.99 LPx2

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  VARIOUS ARTISTS
Studio One Sound
(Soul Jazz)

"Hip Hug" Slim Smith
"I Second That Emotion" The Martinis

It's no secret that the British Soul Jazz imprint loves the fabled Studio One production studio and label -- for years they have been digging through the trove of music in the iconic Jamaican label's archives for an ongoing series of reissues and compilations. For their 25th release within the series, Studio One Sound takes a journey into the endless search and discovery of fortified hits, unknown gems, in-demand jams, obscure versions, and deep moments from Studio One, once a one-man operation that sent a ripple through the worldwide music pool. Unlike some of the previous installments, this one doesn't really have a specific theme, instead exploring the overall spectrum of the various styles the label worked in. Vocal groups like Wailing Souls, the Heptones, and the Martinis share space with groundation orator Ras Michael, soulful crooners Johnny Osbourne and Ken Boothe sit next to a young Rita Marley, while musicians and producers like Roland Alphonso and Dub Specialist provide technical support. Dub, rocksteady, ska, roots, and dancehall sit side by side here, all with a crisp remastered sheen. If you're running low on your reggae jams for this summer, this one will keep the vibe just right for months to come. [DG]

 
         
   
   

 

 

     
 

$22.99
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$19.99 LP
180 Gram

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  AVENGERS
Avengers
(Water / 4 Men with Beards)

"I Believe in Me"
"The American in Me"

Punk rock is littered with "what could have been..." bands, the kind that for whatever reason just didn't get the breaks they needed and/or burned too bright to keep it together. I can't think of any group that invokes that sort of feeling in me more than the Avengers. They were only active from 1977 to 1979 and only one record -- their single on L.A.'s legendary Dangerhouse label -- was released during the time of their short existence, but they played over 100 shows and had a wealth of other top-notch material that trickled out over the years. This collection from 1983, often referred to as The Pink Record because of the cover, gathered most of their studio work and a live recording, but unfortunately it has only been sporadically available since then, and for a good portion of that time it has been mired in legal disputes.

Thankfully that is all in the past as this set deserves to be heard far and wide. From the ringing chord opening of "We Are the One" you'll be hooked all the way through right up until the feedback and dazed shouts that ends "Fuck You." This is top-tier stuff that deserves to be mentioned alongside the "classics" of the first wave of punk bands like X or the Buzzcocks -- the Avengers certainly had the chops and songwriting skills to go toe to toe and arguably even best those, or any other band of the era that you'd care to mention. Of course, those groups didn't have Penelope Houston singing for them so they were already at a major disadvantage. Possessed with both an amazing voice and textbook beauty, I'm sure that many copies of this LP have been sold on the strength of the cover photo alone, and then those people realize that the record is even better than the sleeve.

Nerd notes: disc one of the CD set is the original running order of the 1983 LP release. Disc two collects most other studio recordings, including the tracks that were included on the CD Presents cassette and CD issues, and a fine selection of live songs that never made it to the studio. The 4 Men with Beards LP is the 14 songs from the first disc. [DMa]

 
         
   
   

 

 

     
 

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  THE INTELLIGENCE
Everybody's Got It Easy But Me
(In the Red)

"I Like L.A."
"Reading and Writing About Partying"

Album number nine-ish from the Intelligence brings with it a bit of a geographical shift -- although main man Lars Finberg is now a Los Angelino, the band itself is a bit bi-local, with twin grips of players on Everybody's Got It Easy But Me calling Seattle and L.A. home. You'd be forgiven for thinking this would make this newest collection of Finberg's songs sound disjointed, though. Always one to favor a sort of revolving door lineup, this latest iteration(s?) of the Intelligence sounds as sharp as a burlap sack full of knives, with Finberg's bursts of quasi-Teutonic post-punk-cum-garage-surf-psych (or something like that) sliding by with a renewed ease. Maybe that's what happens when one trades the endless grey of the Pacific Northwest (which I do love, by the way) for the bounty of sunshine that is Southern California, but Everybody's Got It Easy But Me finds Finberg and company in an almost distinctly poppier mode. Sure, tracks like "Hippy Provider" still pulse and summon early Devo vibes, but songs like "Little Town Flirt" cast a longer glance backwards, sounding almost like the type of group Phil Spector might have worked with during his girl group days. Better still are tracks like "Dim Limelights," which segues from genteel strums to a more laidback take on British-invasion styled R&B. Ultimately, as the Intelligence has evolved from a fairly straightforward post-punk unit, so too have Lars Finberg's songwriting chops, so much so that each new album pulls from a myriad of styles without ever sounding like a pastiche. Tightly played and with a sly sense of humor, Everybody's Got It Easy But Me is another great addition to the Intelligence's discography. [MC]
 
         
   
   

 

 

     
 

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  THE TRYPES
Music for Neighbors
(Acute)

Preview Songs on Other Music's Download Store

Here's a long-overdue reissue -- the Trypes' The Explorers Hold EP and comp track, along with revealing demos that show the band's pre-Feelies personage, as well as live recordings of a number of songs that were never taken to the studio. The Trypes were a Hoboken-based band that brought the yawning stretch of raga, flash '60s psych-folk (they must have had great record collections, and maybe still do), and a bit of darkness to the early-'80s Tri-State music scene, in a crew that also featured Yung Wu, a very young Yo La Tengo, and the Feelies, whose membership would eventually join the Trypes altogether, only to poach Stanley Demeski and Brenda Sauter as the rhythm section for The Good Life. Of the three recent vinyl reissues on Acute (Disco Zombies, Happy Refugees, and now this), the Trypes are the least obvious, but also the most memorable, as there really weren't any bands that sounded like this in their time, which has become a truth as the years have gone on. If you were looking for a different side of the Feelies, one which cast off the nervousness for quiet, focused determination, or if you're just a big fan of the aforementioned forms that the Trypes inhabited, this would be a wise pickup for you, and shows a good three or four facets of the band as they grew, contorted, and eventually broke apart, each phase with its own distinct tone language and inward-growing energy. [DM]

 
         
   
   

 

 

     
 

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  SPECTRUM
Soul Kiss (Glide Divine)
(Vinilisssimo)

It has been a good year for shoegaze fans -- those remastered editions of My Bloody Valentine's albums and EPs finally dropped from heaven; Captured Tracks released bloody great collections from underrepresented acts like Should, Deardarkhead, Medicine, and Half String; Rhino put together a beautiful reissue of Ride's Nowhere; 1972 quietly put the Jesus & Mary Chain's Stoned and Dethroned back on vinyl; and Spiritualized released a great new album of slow, druggy songs about God. Maybe all of this talk about the end of the world just has people more attuned to spacey, cosmic rock music.

Vinilisssimo got in the game with their recent reissue of the first post-Spacemen 3 record from Sonic Boom, and now they deliver the second dose of Sonic, Soul Kiss (Glide Divine). Originally released in 1992, this has been an absolute pleasure to sit and listen to over and over again, both very loudly (so sorry, dear neighbors!) and in an admittedly blissed-out state with the old headphones on. Soul Kiss alternates between somewhat conventional -- albeit very jammy -- songs like "How You Satisfy Me" (whose skronky organ riff is indebted to "Can't Let Go," as made popular by the Hollies), and long slides through dripping opium drones. In Pete Kember's universe, electric guitars and fuzzy organs are difficult to tell apart, the drums are often buried to a mere pulse in the mix, and the only way to discern the lyrics is to read the song titles on the back of the sleeve. With the recent spate of noisy rock records on the shelves, it's wonderful to hear the perfectly realized work of one of the pioneers on vinyl once again -- get that third eye to gazing! [MS]

 
         
   
   

 

 

     
 

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  PUBLIC IMAGE LIMITED
This Is PiL
(PiL Official)

"Deeper Water"
"It Said That"

After twenty years of silence (the band began playing shows again in 2010, and this is the first LP since 1991's That What Is Not), it's somewhat reassuring when This Is PiL opens with a sustained belch and a call to arms to join the "PiL Zone;" where do I sign up? Do you offer a rewards program? I've been on this train for a long while! Elsewhere we hear more teenage tragedies, in the reggae-tinged "Lollipop Opera" and the timely pop ode "Reggie Song." This album on a whole reminds me of my first summer in London; the whole dank Englishness of it all; the smell of lager in empty pint glasses, dreading the early closing of the tube, taking a taxi back to a tiny council flat with musty maroon shag carpet. Just yearning to belong to a culture that is fading and being taken over by outside influence. When John Lydon speak/sings "I miss those English roses ... cotton dresses skipping across the lawn/ Happy faces when football was not a yawn/ Playing on bomb sites, all the days were long," I shed a little tear for England. Obviously, for a group that sprung from youthful anti-idealism and thrived on confrontation, this late-period revisiting probably feeds off the legacy rather than adds to it in any significant way, but even without Keith Levine or Jah Wobble in tow, Lydon is too smart, too driven and too talented to disappoint, and there are plenty of great new songs here. [MF]
 
         
   
       
   

 

 

     
 

$34.99
CDx4

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$13.99 MP3
Colourbox Expanded

Buy

$9.99 MP3
12" Singles

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  COLOURBOX
Colourbox Box Set
(4AD)

Preview Songs on Other Music's Download Store

The ultimate collection of UK groundbreakers Colourbox, whose genre-hopping, sample-heavy dance-pop tracks were a bit of an anomaly at the time compared to arty and ethereal 4AD labelmates like Cocteau Twins, Clan of Xymox, Dif Juz, et al. Totaling 58 tracks, the four-CD box set includes their debut album from 1985, remixes, EP cuts, rarities (including the free bonus album that came with the original 10,000 LPs of their first full-length), BBC recordings, an unreleased four-track mini-album and lots more. It would have been nice to have found the classic "Pump Up the Volume," Colourbox's 1987 breakthrough collaboration with A.R. Kane as M/A/R/R/S and technically the last thing we heard from the band, thrown in for good measure, but you can't get much more complete than this!

Please note: download version is split into two separate volumes.

 
         
   
   

 

 

     
 

$9.99
MG

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  FLASHBACK
Issue #1
(Flashback Magazine)

Edited by musicologist and Sunbeam Records co-founder Richard Morton Jack, the first issue of Flashback is on our stand, spotlighting obscure, long-forgotten and overlooked '60s and '70s music. Featuring 212 pages with rare full-color photos and new interviews, research and writing from respected authorities like Patrick Lundborg, Aaron Milenski, Richie Unterberger and David Wells, this is essential reading from cover to cover, with articles and features on Mad River, Montage, David Axelrod, Fanny, Linda Hoyle, 1950s Psych, plus "The Hundred Most Under-Rated Guitarists of the 1960s & 70s," reviews and more.

 
         
   
   

 

 

     
 

$9.95
MG

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  UGLY THINGS
Issue #33 - Spring/Summer 2012
(Ugly Things)

The new Spring/Summer issue of the definitive psych-pop bible delivers a truly enlightening cover story on Love featuring a fascinating interview with band member Johnny Echols, plus articles on Group 1850, Wimple Witch, Electric Eels, Ed Sanders, Reekers, the Craig, and some band called Led Zeppelin, and plenty of reviews, columns, and much more.
 
         
   
       
   
         
  All of this week's new arrivals.

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THIS WEEK'S CONTRIBUTORS

[ACo] Anastasia Cohen
[MC] Michael Crumsho
[MF] Michael Fellows
[DG] Daniel Givens
[GH] Gerald Hammill
[IQ] Mikey IQ Jones
[JM] Josh Madell
[DMa] Dave Martin
[DM] Doug Mosurock
[MS] Michael Stasiak





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