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   November 22, 2012  

Chances are you may be reading this Update in a state of post-Thanksgiving dinner bliss, which could be a perfect time as any to be thinking about records. For those of you who are spending your holiday in New York City, Other Music will be participating in Record Store Day's second annual Black to Black Friday tomorrow (Friday, November 23), and this year there will be an even bigger variety of limited RSD-only pressings plus some great advance releases exclusive to independent shops. You can browse a list of all these special titles here on the RSD website, or download a PDF wish list here, and while we can't guarantee that every one of these releases will be available at Other Music, we do have a great assortment of RSD merchandise -- keep in mind, quantities are limited, first come first served, and one per customer, in-store purchases only. We are closed today for Thanksgiving but we'll be back open tomorrow, regular business hours 11 a.m. to 9 p.m., and we hope to see you!

Good news for our on-line customers shopping in the United States: we'll be waiving our shipping & handling fees for all domestic mail orders from Thanksgiving Day right on through Cyber Monday (up until 12:00 a.m. Tuesday morning). Just enter the words Free Shipping in the discount code box at check out.

Speaking of, we've received a lot of positive responses about the new mail-order site we launched after Hurricane Sandy took out our old web store's server. While this was originally built as a temporary stopgap, our customers have been enthusiastic about conveniences such as being able to easily store their shipping and billing info for quick checkouts, a better search engine, and the ability to shop with a PayPal account. Please keep the feedback coming and keep in mind, the selection is currently limited to new featured releases and a select back catalog rather than the full scope of Other Music's inventory, so don't hesitate in emailing orders@othermusic.com or calling the shop at 212-477-8150 during business hours for any inquiries. We're constantly updating the site and you can click here for New Arrivals.

Other Music is participating in the Small Business Saturday incentive that American Express is offering to their card holders. This Saturday, when you use your AMEX for a transaction that totals at least $25 at one of the qualifying small businesses, you will be issued a $25 credit on your statement (one statement credit per American Express Card). Details are on the AMEX website, including information about enrollment so you can be eligible for this offer.

We hope that we can make your holiday shopping for the music lover in your life a little easier. We offer Other Music Gift Certificates which are redeemable for purchases made both in the store and from our CD/LP website. You can buy a gift certificate in the shop, or purchase one on-line by going to: store.othermusic.com/products/gift-certificate

There are Gift Certificates available for Other Music's MP3 download site as well, in $25, $50 and $100 increments, which you can purchase here.

Have a great holiday weekend!

-All of us at Other Music

Zs (Box Set)
Jim Jarmusch & Jozef Van Wissem
Lee Perry
Dinosaur Jr.
Sonic Youth
Crystal Castles
Only4U (Cajmere & Cajual Comp.)
Rodriguez: Searching for Sugarman LP
Godspeed You! Black Emperor

Hey Sandy, We're Still Here (Hurricane Benefit Download Comp.)

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NOV Sun 25 Mon 26 Tues 27 Wed 28 Thurs 29 Fri 30 Sat 01

On the heels of their recently released box set Score - The Complete Sextet Works (featured below in this week's Update), noise-jazz super group Zs (Sam Hillmer, Greg Fox, and Patrick Higgins) are taking their heavy, mind-scrambling jams on the road for a fall tour and will be performing their kick-off show in New York City at Bowery Electric this Sunday, November 25, along with Skeletons, Future Shuttle and DJ Chouette. Other Music is giving away a pair of tickets courtesy of Northern Spy Records, and you can enter for your chance to win by emailing giveaway@othermusic.com.


NOV Sun 25 Mon 26 Tues 27 Wed 28 Thurs 29 Fri 30 Sat 01

Bush Tetras' long lost album from 1998, Happy, has finally seen the light of day and these legendary downtown post-punkers will be celebrating its release next Thursday, November 29 at Le Poisson Rouge, with special guests Sediment Club opening the night! Other Music has two pairs of tickets to give away, courtesy of ROIR Records, and you can enter for your chance to win by emailing tickets@othermusic.com.

LE POISSON ROUGE: 158 Bleecker St. NYC

DEC Sun 02 Mon 03 Tues 04 Wed 05 Thurs 06 Fri 07 Sat 08

Animal Collective have rescheduled two make-up dates for their canceled appearance at Williamsburg Park last month, performing at Terminal 5 on Tuesday, December 4 and Wednesday, December 5, with the group donating a portion of the proceeds of these shows to the American Red Cross for Hurricane Sandy recovery efforts. Other Music has two pairs of passes to give away to each of these nights and you can enter for your chance to win by emailing enter@othermusic.com, or swing by the store and put your name in the entry box at the check-out counter.

TERMINAL 5: 610 W. 56th St. NYC







$4.99 MP3


Believers EP

"In the Water"

In some ways, almost all modern pop music is influenced by the music of Africa, where many of the rhythms and tones that eventually found their way into jazz, rock, hip-hop and pop originated. But lately there seems to be a fresh infiltration of African pop sounds from the 1960s and '70s into the indie rock lexicon, worming in far deeper than Vampire Weekend. In the modern reissue era, with shops like Other Music featuring a wealth of amazing (and amazingly diverse) Afro-funk, jazz and pop albums on our shelves, the vibrant African music of this period (and earlier) is more available to listeners around the world than it was even in its heyday, and as such, the shimmering guitars, dancing tom-tom rhythms and enveloping multi-part vocal delivery that were a part of so much African popular music of the era have crept into the indie lexicon. Few new bands I've heard are making more of this source material than Columbia, MO's Believers. Their vinyl-only self-released EP would never be mistaken for the revisionist Afro-funk of modern American groups like Antibalas or the Debo Band, but this five-piece, led by Brothers Wesley and Tyler Powell, makes swooning indie-pop with many of the same elements. The guitar melodies are fluid and sparkling, and matched with skittering bass lines, lurching keyboards and tom-heavy rhythms, yet as these songs explore elements of highlife and Afro-funk, the group always sounds like what they are, a young American indie band, and that's a good thing. Wesley's baritone croon can remind me of Beirut's Zach Condon at times, and the comparison is also apt because, like Beirut, Believers absorb and incorporate international sounds without aping them, making their own modern indie rock out of many of the same elements. (Limited pressing of 500.) [JM]





$15.99 LP


$9.99 MP3



Preview Songs on Other Music's Download Store"

A surprising new addition to the DFA roster, Sinkane is the nom de plume of Sudanese-born, Brooklyn-based Ahmed Gallab, a talented multi-instrumentalist who's played with the likes of Caribou, Yeasayer and Of Montreal. The music he creates as a solo artist is a uniquely modern, cosmopolitan blend of African influences, soul, funk, free jazz and electronic dance music that's warm and inviting. It's a wide-open sound palette which allows him to effortlessly globetrot here on his second full-length, moving from the Afrobeat-inspired "Runnin'," complete with snaky guitars and Gallab's soulful falsetto, to the laid-back world groove of "Jeeper Creeper" which nicely integrates the desert-blues influence of Tuareg groups like Tinariwen atop the hypnotic bass playing of Yeasayer's Ira Wolf Tulton. Soon after, Sinkane heads west, offering up some vocoder-driven slo-mo disco during "Making Time," (featuring a blistering guitar solo from Twin Shadow's George Lewis, Jr.) and landing in Krautrock territory via "Lovesick," which coasts on a Can-like rhythm for five-plus minutes with horns and flute fluttering atop, before segueing into the free-floating cosmic jazz of the title track. While it's a pretty diverse outing, Mars is all held together by mellow dance grooves and organic vibes making for ideal after-hours listening that'll sound equally great warming up a cold winter's evening spent indoors or cooling down a hot summer night while drinking wine on a rooftop. File under Chill-Out (Not Chill-Out) -- recommended. [GH]







Score: The Complete Sextet Works 2002-2007 Box Set
(Northern Spy)

"Nobody Wants to Be Had"
"Mimesis (Live)"

New York crew Zs have a versatility for which most folks would probably kill. Their compositional prowess would earn them fellowships in any conservatory; the occasional skronk they summon could go toe to toe with even the heartiest of NYC's downtown experimental elite; the propulsiveness of their prog moves make anyone else's claims to that space seem cute by comparison; and their resolute drive to keep all of these narratives together on their own terms is something even your crustiest punk would have to respect. And yet, despite their ability to claim membership in any number of scenes with a sound that's become all their own, Zs are often curiously absent in any discussions of the best New York has to offer. But given that this is a town where even the worst bands have at least a couple of stalwart copycats around which to form a scene, Zs' inability to bend to anyone other than themselves has clearly made them an island.

Now in operation as a revamped quartet, Northern Spy's generous Score box set collects everything this group attempted as a sextet between the years of 2002 and 2007, resulting in a voluminous release that pulls in eight separate records (the vast majority of which are now out of print) across four hours with a host of previously unissued cuts along for the ride. For those uninterested in boundary demarcations and party lines, this is one of the more important public services of 2012, as it allows the curious listener to work their way through the Zs' unparalleled evolution at their own pace in one convenient package.

Starting off with the group's first three EP releases (Zs, Karate Bump, and a self-titled 10"), Score's first disc wastes no time in establishing the group's sheer tonal versatility, from the intricacy of "Slalom" and its interlocking atonal stabs to "Zs"'s beautifully spare notes and vocal accompaniment. Elsewhere, tracks like "Bump" deal in a subtlety that harnesses the power of faint brushes, taps and scrapes to excellent effect. As a contrast, the second disc starts off in more immediately abrasive territory, with the brief blurts and shouted vocals of the "In My Dream I Shot a Monk" single setting the stage. "Four Systems," however, immediately veers away from this direction, with an emphasis on using bare drones to create open space as much as possible, while a fistful of live performances show just how aggressive some of Zs' early selections could be in front of an audience.

The set's third and fourth discs include material from the Arms album, a remix 12", and an hour's worth of demos, outtakes, and alternate versions. Here, "B Is for Burning" finds the group forging intricate guitar and horn patterns that display an intense urgency and a surprising lightness of touch. Meanwhile, "Nobody Wants to Be Had" pulls off a neat back and forth between passages of stabbing vocals and cascading instrumentals to excellent effect. On the final disc, pieces like "Tenor Duet" and "Woodworking Drums" provide intriguing glimpses into Zs' compositional and recording processes (which is worth a listen if the first three hours of Score haven't worn you out). A great group that deserves far more recognition than they have received over the past few years, Score gives the uninitiated plenty of running room to get up speed on Zs. [MC]





$15.99 LP


$9.99 MP3

The Mystery of Heaven
(Sacred Bones)

Preview Songs on Other Music's Download Store

This second full-length collaboration between Jozef Van Wissem, a deeply respected avant-garde composer and champion of early music, and filmmaker/guitarist Jim Jarmusch, is another flash of beauty and pain, light and darkness, from this intriguing duo. Jarmusch came up on the NYC No Wave scene before he found success making movies, and he has always kept his raw, 1970s Lower East Side aesthetic, and Van Wissem, though his instrument is a medieval lute, is a decidedly punk character whose musical vision is stubbornly timeless, so despite their different personal and musical backgrounds, they truly make beautiful sounds together. Though Jarmusch may be the "bigger" name here, and his playing is nuanced and powerful, it's clearly Van Wissem's show, and his bell-clear lute melodies define most of the tracks, spraying sun-filled, slow-moving but joyful acoustic dreamscapes which Jarmusch balances with his dark feedback drones. It's no surprise that these pieces are deeply cinematic -- in fact, The Mystery of Heaven often evokes Neil Young's haunting soundtrack to Jarmusch's own Dead Man -- and it's an easy record to get lost in. Tilda Swinton might snap you out of your reverie with her brief spoken intro to the 11-minute "The More She Burns the More Beautifully She Glows," but her unnerving darkly sensual poetry only adds to the mood, and this is a truly beautiful album from start to finish. [JM]





$22.99 LPx2


$9.99 MP3




Sound Doctor: Black Ark Singles and Dub Plates 1972-1978
(Pressure Sounds)

"Army of Love" Junior Byles
"Sound Doctor" Bobby Floyd

Disco Devil: The Jamaican Discomixes

"Disco Devil" Lee Perry & the Full Experience
"Neckodeemus" The Congos

Once again, we have the pleasure of more rare singles from Lee 'Scratch' Perry finding their way onto our shelves. First up, Pressure Sounds continues their fruitful relationship with the Upsetter on The Sound Doctor; the label's last installment in this series, High Plans Drifter, focused on Perry's output during the end of the 1960s leading into the 1970s, and now they have collected singles and dub-plates dating 1972-1978. After Perry's relationship with Bob Marley & the Wailers grew uncomfortable, and as the producer simultaneously soured on working in other's studios, he began to build his own production house, to be called the Black Ark. By the end of 1972, Perry had completed a functioning studio in the yard of his Kingston home, and as his main vocalist had jumped ship, Perry brought in a new group of talented local musicians and vocalists he named "the Sufferers." The Sufferers were his like-minded brethren, mainly downtrodden, spiritual men from his area, and he wanted to give them a platform for their inner-city tales. Included in the loose-knit group were Junior Byles, Dillinger, Jah Lion, Keith Poppin, Pat Francis, Jimmy Riley, and Delroy Butler, among many others. Like some Caribbean offshoot of the Motown hit factory, Perry's Black Ark began churning out small pressings of local talent on his Justice League and Upsetter imprints. This compilation is the first to focus on this era in Perry's long discography, as within this sacred space (or was it a space ship?), Perry let his brethren make songs that referenced the Bible, Rastafarian philosophy, and the poor man's struggle. The Sufferers inspired Perry to create his own version of earthy roots reggae, providing the needed lyrical, spiritual, and musical foundation that Perry seemed hungry for following the departure of Marley. These songs are filled with heartfelt harmonies, meaningful lyrics, and Perry's undeniable slow-burning grooves. Included with many of the songs, most only serving as local singles (not licensed to the UK, as much of this stuff was at the time), are their accompanying dubs. If you are fans of Perry's early work with Marley, outsider roots reggae, or simply a fellow Scratch-oholic, this is a great glimpse into the core of Lee Perry's foundation.

If that last collection did not whet your appetite, you may need to fast for a bit, but regardless this next comp is simply, absolutely essential listening and is sure to tingle your auditory taste buds. Trojan had the amazing idea of compiling a two-disc set of Perry's disco mixes from the late seventies, most originally released in 1977. Oh man, I love this material, probably my favorite year in Perry's discography; by '77, the Black Ark was fully functional (and still a year or so from being burned to the ground), and Perry had perfected his dripping and moist sound technique. And while acetates and dub plates had been used by Jamaican sound systems since the 1950s, in the mid-'70s the extended-play 12" format was becoming a prime tool for producers and sound systems to test out and break new tracks, and Perry took to this format with much love. For years, most Jamaican singles would come in different versions: a vocal, instrumental, dub, and possibly a re-voicing or "DJ" version (which was essentially the Jamaican term for a toaster i.e. rapper). Typically, different versions could be on the A and B side of a 7", though these were always limited by the short time frame. Perry began splicing these versions together, creating an extended "disco mix," doubling and sometimes tripling the playing time of a favorite rhythm. Along with the longer run time, by pressing these tracks to 12" the sound quality was also richer, due to the ability to cut the grooves wider, allowing for deeper bass and more dynamic range. Perry loved that aspect and took advantage of it, creating waves of sonic tides, filled with tasty effects and his unusual signature soundscapes. And Perry was also always looking to the dance floor with his rhythms, and in these extended versions, his sound bounces, shimmers, and shakes like never before.

These cuts also showcase the roots of Perry's influence on contemporary dance music, especially on British dub-influenced electronica, as well as NYC DJs/engineers/producers like Walter Gibbons. This is Jamaican disco at its finest and most otherworldly. Like much of the recently resurfaced material from Perry, most of these versions never made it outside of Jamaica the first time around, and the original 12"s are collector's choice picks. Included among the more obscure artists are great version songs from his stable of late-'70s stars, like the Congos, Max Romeo, Junior Murvin, the Heptones, Junior Delgado, and George Faith. Most of the tracks last in the seven-to-nine-minute range with a big climax being Perry's own thirteen-minute jam "Free Up the Prisoners." I cannot recommended this one enough, and I'm sure we will run out of them, so don't wait. If you haven't bought a reggae record this year, this would be the only one you need. The document of a man at his creative peak. In my top five comps of the year! [DG]







$9.99 MP3


Chocomel Daze LP

Preview Songs on Other Music's Download Store"

To celebrate the 25th anniversary of their iconic You're Living All Over Me LP, Dinosaur, Jr. are releasing this 1987 live performance, recorded in the Netherlands on the band's first-ever European tour. Eleven tracks, drawn from that album and the band's debut (and featuring great new artwork that riffs on YLAOM's head-melter), this is probably not essential, but it usually rocks, and is a reminder of just how great this group was (and still can be). J. Mascis' guitar is enveloping, even on this board tape, with dense chords and swirling leads, unafraid to rock in the most classic sense, despite the band's punk rock pedigree, and the trio is a powerhouse. I'm not going to tell you that this live set will change the way you think about Dinosaur, Jr. or You're Living All Over Me, and with the so-so recording quality you might be better served catching the group on their current album redux tour, but if you are still in the sway of that record, as I am, it's a pleasure to hear the band playing these songs when they were fresh and new. [JM]





$19.99 LPx2+MP3


$9.99 MP3


Smart Bar Chicago 1985

Preview Songs on Other Music's Download Store

SY have been using their downtime -- the band did not officially break up (though Kim and Thurston did), they just went on "indefinite hiatus" -- to complete various archival projects, including this 1985 live set, released on the group's own Goofin' imprint. Recorded in Chicago to 4-track tape, this is Sonic Youth in their raw early prime. Touring behind their just-released second album, Bad Moon Rising, this set is full of perennial crowd-pleasers like "Death Valley '69," "Kill Yr Idols," and "Expressway to Yr Skull," and while it's definitely vintage live fidelity, the guitars have the broad dynamic range needed to capture Thurston Moore and Lee Renaldo's incredible live chemistry, and the rhythm is powerful and deep. In '85 folks were just starting to realize how great and innovative this band was, and across 14 cuts (including "Kat'n'Hat," an obscure original that the group only played live during the summer '85 tour, and whose only previous release was a different live version included on a cassette in the Bang Zoom 'zine of the era), it's easy to immerse yourself in the thrilling immediacy of their set. For the fans, for sure, but sure to please if you are one. [JM]







Crystal Castles (III)

"Sad Eyes"

When this duo first appeared on the music radar six years ago, their dark, claustrophobic electro-pop was an anomaly of sorts; by this point nu-rave had run its course and synth kids were getting hip (again) to all things 8-bit, including Crystal Castles' Ethan Kath, who was plugging old Atari sound chips into his keyboards. However, he and singer Alice Glass were mining bleaker, woozier depths than most, all the while holding on to a strong sense of melody and pop. One couldn't help but be intrigued by the duo, even if simultaneously skeptical about their shelf life given the overenthusiastic blog buzz (not to mention the band getting caught skirting copyright laws with some sample usage). In hindsight, Crystal Castles might have unknowingly been a precursor to the spooky undercurrent that's been pulsing through music as of recent, a la witch house and all the other goth-tinged sounds that have been turning countless white earbuds black.

It seems that the duo have gotten caught in the spell too; on (III) they've eschewed their chiptune assaults for ominous, flickering, synth swells and even a couple of slo-mo rhythms that you'd expect to find on a Balam Acab or oOoOO record. But where the music of the aforementioned is sultry and subtle, Crystal Castles are maximalists at heart and here they are sinisterly focused, in part due to the heavier presence of Glass' voice, which moves from crystalline coos to banshee shrieks and back again, with some haunting screwed-down vocals in between. Forget the vintage '80s Atari game from which Crystal Castles derived their name, album opener "Plague" and "Affection" could double as a score for the latest spine-tingling PlayStation 3 thriller (rate M for maturity). Even clubbier tracks like "Sad Eyes" or "Transgender" are delivered with the weight of a demonic possession, coming across like the last few moments before you black out at a rave and wake up in the arms of the devil. It's all about as far from the icy pop charms as you can get from Crystal Castles' 2010 take on Platinum Blonde's "Not in Love," which the duo famously covered twice, the second time enlisting the Cure's Robert Smith for vocals. But in this case, that's a good thing; Kath and Glass have come into their own here without the help of illicit samples or a cameo from a mope-rock godfather, proving that the third time really is a charm, albeit a dark, dark one. [GH]





$25.99 LPx2


Only4U: The Sound of Cajmere & Cajual Records 1992-2012

"Percolator (Remastered Original Mix)"
"U Got Me Up (Danny Tenaglia's Club Version)"

Curtis A. Jones a/k/a Cajmere a/k/a Green Velvet had a hands-on influence on the second generation of Chicago house music, and throughout the 1990s until today, his Cajual record label has kept many a dance floor filled and sweating. Though his one-man freak-show electro/acid-house project Green Velvet may be better known, Cajmere represents Jones' pure house music roots. His breakout track, originally called "Coffee Pot," then renamed "The Percolator," became a staple in his home town, then it blew up overseas, and it became one of those songs you kinda liked, then hated, then loved, then hated again 'cause every car in your neighborhood was blasting it. And then you heard it that one night out dancing, and it blew your mind. The label represented a different side of Chicago house, musically and politically. Jones left the city to get a degree in chemical engineering, returning to begin his work as Cajmere and start his Cajual imprint. He was of a new school of artist-run labels in the area, which had a sometimes difficult relationship with the established local labels of the '80s, giving new voice, face and perspective to the scene, and giving lots of then up-n-coming producers their first singles.

Across the two CDs the scope of the Chicago scene is represented: ghetto house, tribal, gospel, hard, and soulful. These are tracks made by DJs for people to dance to and for each other to play out. There is a nice variety of sounds, moods, and tempos throughout that are more focused on tracks yet there are plenty of songs as well. That said, as a pure listening experience the two-and-a-half hours of music here really needs to be accompanied with some sort of activity -- it's body moving music, or else it feels like you're missing the point. Cajual's sound is hard to pin down aside from saying that it's quality American-made house music. Included are tracks from Cajmere's main collaborator, vocalist Dajae (her "Brighter Days" made it into the top five of Billboard's dance charts), Derrick Carter, Gemini, Johnny Fiasco, Braxton Holmes, Jamie Principle, Andre Harris, and Glenn Underground. For followers of the current school of heady producers like Theo Parrish, Hieroglyphic Being, Kyle Hall, Marcellus Pittman, or the classic more primitive 1980s DJs like Ron Hardy or Farley, this is of an era in-between. It will appeal to those that like Frankie Knuckles, Honey Dijon, Louie Vega, and even Danny Tenaglia. Like I said music for DJs by DJs -- sometimes that's the best kind. Recommended for those looking to explore their inner '90s raver, it'll get you tweaking in no time. [DG]






Searching for Sugarman OST
(Light in the Attic)

This is the soundtrack to the wonderful documentary about two South African fans' pursuit of their long-lost musical hero, the political singer/songwriter who released a pair of stellar albums in the US in the early '70s under the name Rodriguez. Those albums bombed at home but eventually went platinum as bootlegs in South Africa -- I won't go into Sixto Diaz Rodriguez' fascinating story here, we've been crowing about this guy forever, but Searching for Sugar Man is a great collection of all the best tracks from his two albums, plus a few never-before-released gems. While many of you might already own Cold Fact, from '70, and some of you also have the following year's Coming from Reality, this is a great vinyl package and probably, track for track, the best introduction to Rodriguez' powerful music. [JM]





$21.99 LP


$9.99 MP3


Allelujah! Don't Bend! Ascend!

"We Drift Like Worried Fire"

It's been a decade since Godspeed You! Black Emperor delivered one of their coded missives to the struggling world, and after the surprise announcement that we should expect a transmission, it has arrived as promised, and not a moment too soon. The Canadian collective cut a broad swath across the indie world in the late-'90s with a dark instrumental sound that drew on a diverse range of modern music, from rock to post-rock to metal, from noise to classic soundtrack atmospherics to classical composition and minimalism, always underpinned with a sharply political bent that somehow managed to seep into their wordless music, adding layers of meaning and intensity to the brooding tones. Their last record came out in 2002, but after years of total silence, the band began to perform again recently, and now they have graced us with these four new tracks (actually the core of this album has been in the group's live repertoire since the early 2000s), including a pair of 20-minute workouts that are among the heaviest, deepest and most intriguing recordings that Godspeed has ever made.

Album opener "Mladic" enters with a found-sound vocal snippet and a hypnotizing melody that seems to blend an Eastern-sounding string melody with the drone of harmonium, soon joined by a birdsong of plucked guitar notes that are slowly enveloped by a menacing, overdriven guitar orchestra that is darkly metallic and numbingly powerful. The track is a paranoid, uncomfortable and purely cathartic ride that caresses and pummels in equal measure, building and morphing several times, moving in several directions simultaneously, but always with a measured and deftly assured logic that is inescapable. It's primal music, to be sure, moody and deeply abstract, but somehow this band, through their dense and hallucinatory artwork, their ungainly and evocative titles, and their backs-turned attitude towards much of the commercial side of making music, manage to imbue their records with a sense of freedom and rebellion that is both deeply subversive and utterly embracing and humanizing. Surely we project our own hopes and desires on the art that we love, and Godspeed's music leaves so much open to interpretation, but it's hard to listen to this album without feeling like the band forced themselves out of hiding after all these years because they felt the crumbling world needed to hear this message; now it's up to you to decode. Time is of the essence, it's almost too late already, and I have only one clue -- play loud!!! [JM]






On Bandcamp



Hey Sandy, We're Still Here.
(A Hurricane Benefit)

There has been an outpouring of support from the music community for those displaced by Hurricane Sandy, including various high-profile benefit concerts in recent weeks, and our good buddy Mike V from the Everymen (who hails from hard-hit Tuckerton, NJ) put together a pretty cool benefit compilation of Jersey and Long Island bands that he is selling for $5 on the Everymen Bandcamp page. Other's own Nude Beach have a track on there, as well as favorites like Real Estate, Nicole Atkins, La Sera, the Front Bottoms, and an amazing 1996 interview Tom Scharpling did with Neil Hamburger. Great cause, great tunes, just buy the thing, okay?

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[MC] Michael Crumsho
[DG] Daniel Givens
[GH] Gerald Hammill
[JM] Josh Madell

- all of us at Other Music

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