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   September 7, 2012  
       
   
     
 
 
FEATURED NEW RELEASES
Cat Power
Animal Collective
Wild Nothing
Swans
Dan Deacon
Fresh & Onlys
Six Organs of Admittance
Staring into the Sun LP
Jens Lekman
 
ALSO AVAILABLE
Divine Fits
TEEN (Free Song Download)
Matthew Dear
Mono
Wax Poetics #52

SPECIAL ANNOUNCEMENT
September's Customer of the Month

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

 
         
   
   
   
   
   
       
   
 
 
SEP Sun 09 Mon 10 Tues 11 Wed 12 Thurs 13 Fri 14 Sat 15


Papa M
  LE POISSON ROUGE TICKET GIVE AWAY
Le Poisson Rouge is one of the city's best spots for eclectic music performances and the three shows highlighted here certainly reflect the club's always solid concert schedule. We've got one pair of tickets to give away to each of these shows below, and to enter, just email contest@othermusic.com and list the performance that you would like to see in the subject line.

SUNDAY, SEPTEMBER 9: PAPA M
MONDAY, SEPTEMBER 10: JOZEF VAN WISSEM
TUESDAY, SEPTEMBER 11: STEVE REICH: COMPLETE STRING QUARTETS

LE POISSON ROUGE: 158 Bleecker St. NYC

     
 
   
   
 
 
SEP Sun 09 Mon 10 Tues 11 Wed 12 Thurs 13 Fri 14 Sat 15


  BOB DYLAN LISTENING PARTY
Other Music is throwing a listening party this Tuesday, September 11, for Bob Dylan's new album, Tempest, which hits store shelves on the same day. We'll be playing the record in the shop from 6 p.m. to 8 p.m. and we'll also be giving away a couple of prizes which include a numbered, limited edition 2LP test pressing and a collectible out-of-print Dylan 7". It's going to be a great evening celebrating new music from one of America's greatest songwriters, come join us!

TUESDAY, SEPTEMBER 11, 6PM-8PM
OTHER MUSIC: 15 E. 4th St. NYC

     
 
   
   
 
 
SEP Sun 09 Mon 10 Tues 11 Wed 12 Thurs 13 Fri 14 Sat 15





  WIN TICKETS TO TOUCH.30 LIVE IN NYC EVENTS
Touch and ISSUE Project Room present "Touch.30 Live in NYC," a series celebrating the publisher's 30th anniversary. The series opens with Philip Jeck accompanied by Ted Riederer on electric guitar and vinyl lathe. Riederer will record and cut the performance straight to vinyl as it happens, handing these records instantly to Jeck. The following evening, Eleh gives the US debut of their deeply spiritual pure analog electroacoustic music, joined by Lary 7. Then on Saturday comes the US premiere of "The Bee Symphony" -- comprised of field recordings by Chris Watson and Mike Harding, presented by Harding with a vocal arrangement conducted live by Marcus Davidson, "The Bee Symphony" explores the vocal harmonies between humans and animals. Other Music is giving away a pair of passes good for the three shows listed above; to enter, email tickets@othermusic.com. Click here for a full listing of events in the series.

THURSDAY, SEPTEMBER 13: PHILIP JECK WITH TED RIEDERER + KEN MONTGOMERY
FRIDAY, SEPTEMBER 14: ELEH (US DEBUT) + LARY 7
SATURDAY, SEPTEMBER 15: CHRIS WATSON + MARCUS DAVIDSON

OUR LADY OF LEBANON CHURCH: 113 Remsen St. Brooklyn
All shows 8PM - $15 / $12 Members + Students

     
 
   
   
 
 
SEP Sun 09 Mon 10 Tues 11 Wed 12 Thurs 13 Fri 14 Sat 15


  THRILL JOCKEY CELEBRATES 20 YEARS
Our good friends at Thrill Jockey are marking their 20th year of releasing great records with a series of shows, including two events next week in New York City. The first night will take place on Friday, September 14th at Brooklyn's Death by Audio with White Hills, Guardian Alien, Man Forever, Dan Friel, Rhyton, and the Black Twig Pickers. The following evening, Thrill Jockey takes Manhattan, celebrating at Webster Hall with a bill that features Tortoise, Future Islands, Matmos, Liturgy, and D. Charles Speer & the Helix -- you can enter to win a pair of tickets to this big night by emailing giveaway@othermusic.com.

FRIDAY, SEPTEMBER 14
DEATH BY AUDIO: 49 S. 2nd St. Williamsburg, BKLN
SATURDAY, SEPTEMBER 15
WEBSTER HALL: 125 E. 11th St. NYC

     
 
   
   
   
   
   
       
   

 

 

     
 

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  CAT POWER
Sun
(Matador)

"Cherokee"
"3,6,9"

Chan Marshall's first new album of original material since 2006's The Greatest is perhaps her boldest yet; rather than further pursuing the lush soul big band style of that record, she pulls back and delivers an album in which she's playing nearly every note herself, much like her earliest years as a recording artist. But those expecting a stark, dark album of brutal confessional studio-apartment blues akin to those early Cat Power records like Dear Sir or Moon Pix will be shocked upon the discovery of what is instead delivered; Sun is in fact her strongest pop move yet, with a sonic palette that embraces machine beats, gauzy synth pads, wiry guitar lines, and even a bit of auto-tuned vocals (don't be frightened -- it's used sparingly and tastefully!).

In my opinion, it's her best album in years, and while the new sound may feel a bit shocking at first, after a few listens it begins to make more sense than it ever really should; while in many hands, such a move would seem forced and overcooked, the arrangements here are lean but still remarkably lush, mixed with an expert hand by noted French producer Philippe Zdar. Her multi-tracked vocals in particular sound fantastic, as she duets and harmonizes with herself overtop these hypnotic rhythmic skeletons, adding a soft, curvaceous flesh to their sharp angles. It's perhaps her most uplifting, positive album yet as well, tapping into aesthetics perfected in recent years by the likes of the xx and Mount Kimbie, yet never directly aping them in the way that many contemporary pop stars have begun to do on their respective recordings. This was a ballsy move for an artist with a now 17-year recording tenure to make, and Sun shows itself as Marshall's most mature, confident album yet -- no small feat for an artist with a reputation for being rather cagey and unstable in the public eye. This is the sound of her no longer facing her demons, but shrugging them off and moving forward, showing positive influence from the younger generation who has grown up influenced by her, yet retaining the experience and reference of her years to those who have followed her through her journeys thus far. It certainly has the potential to sharply divide fans and detractors alike, but in the end it's hard to deny that she's stayed true to character and delivered the last thing anyone would ever expect of her. I personally cannot recommend it enough; to these ears, it's a complete triumph. [IQ]

Deluxe 2LP is pressed on clear vinyl with an alternate gold foil cover and includes a clear vinyl 7" with two exclusive non-album tracks
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  ANIMAL COLLECTIVE
Centipede Hz
(Domino)

"Rosie Oh"
"Monkey Riches"

In their twelfth year, riding as high as they ever have in an improbable career, Animal Collective have gone back to their roots. After 2009's loopy pop masterpiece Merriweather Post Pavilion secured this awkwardly angelic, uncomfortable and uncategorizable group's place as one of the most beloved and influential indie artists of our time, Animal Collective could so easily have made another pop album, done a few cameo's on hip-hop mixtapes, and reaped the love (and money) that is their due. Instead, this new one is anxious, aggressive, and relentlessly hard to pin down, and Animal Collective have returned to their roots simply by refusing to coast on their many strengths and successes, and have made exactly the album they wanted to, rather than the one their legions of fans might want; we'll come around, like we always do -- these guys have been confounding expectations since before anyone even had any expectations for them. No, Centipede Hz doesn't sound quite like those early-aughts self-released records that first shook us up, and you surely won't mistake it for a hazy tripped-out Brian Wilson remix either, but this is 100% prime Animal Collective for the group's true fans.

With Deakin back in the fold after a four-year hiatus (he even sings lead on a track -- "Wide Eyed," often featured in their live shows over the past year), Centipede Hz is a dense, pounding set, percussive and gritty, built on live drumming, analogue synths and the sound of four good friends together in a room -- you can even hear some guitars in the mix! It's much less bucolic than recent work -- tension and paranoia are more present than bliss or melancholy, and while there are plenty of electronic sounds throughout, they usually lend the production a taste of the chaos and noise of industrial music more than the sleek minimal techno grooves that the band has drawn on in the past. Several tracks have a tropical sway to them, like Panda Bear's dubby "Rosie Oh," and there are plenty of moments of beauty and light here -- it's a welcoming and engaging record, full of melody and groove, though not in the hazy or childlike ways fans might expect -- but the beauty here more often lies in the record's raw-nerve emotions rather than any shimmery dream visions. In the end, there can be little doubt that Centipede Hz will weed out a few of the group's more recent fans, but I like to think that most of you approach a new AC album with the same open minds and ears that the band have been using to craft this stuff with from the start. [JM]



 
         
   
   
   
   
   
   

 

 

     
 

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  WILD NOTHING
Nocturne
(Captured Tracks)

"Shadow"
"Disappear Always"

As of late, we've been paying a lot of attention to what boys do in their bedrooms; from Ariel Pink to Bradford Cox's Atlas Sound to Youth Lagoon, the insular world that usually exists between the pillow and the nightstand has been enjoying a fair amount of time in the indie-rock spotlight. Wild Nothing's 2010 debut, Gemini, was able to break loose from the boutique label holding pen because the textures and scope of Jack Tatum's songwriting had "major leagues" written all over it, but that album was recorded quickly and cheaply on laptop computers. For his follow-up, Tatum trades up from a laptop to a proper recording studio (for at least some of the tracking), and the result is a sound that is warm and dusky.

Nocturne was preceded by a one-off single, "Nowhere," that found Tatum hugging his Go-Betweens records tightly -- it's a melancholy guitar pop nugget with a chirping countermelody played on a melodica. To my ears, the songs on Nocturne follow the trajectory suggested by that 7". Singles like "Shadow" and "Nocturne" are more sparsely orchestrated than anything on Gemini, and Tatum achieves lush textures without hundreds of synth or guitar overdubs. For guitar tones, he raids the road cases of eighties arena rockers, with echo and chorus pedals cranked all the way up to replicate the Edge and pretty much every song ever recorded by the Church. The go-to synthesizer patch is a Wake-like string pad which is utilized on nearly every tune, but to greatest effect on anxious love songs like "Only Heather." I like the way that each song fades in and fades out, entering and exiting gracefully -- the technique recalls the waxing and waning of the moon, an image that is evoked on the album's cover. I've always admired the way Wild Nothing's songs championed romanticism in sound as well as aesthetic, and the marriage of the two on Nocturne is just about perfect. Tatum is the king of the paisley new wave pack. [MS]

 
         
   
   

 

 

     
 

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  SWANS
Seer
(Young God)

"The Seer Returns"
"The Apostate"

In a word: WOW. The twelfth studio album by Swans, and second since reconvening activity after a fourteen-year hiatus, comes forth as a stunning, brutal epic that combines elements of all the band's work that has come before it, but pushes their sound forward into a product that could only have taken thirty years of living to the extreme to craft. To put it bluntly, if this proved to be their swansong, they'd perhaps be delivering the finest album of their career, and one that acknowledges all that came before it with a tribute suited for kings. Group mastermind Michael Gira has explicitly stated that the record will not be their last, though, so let's just take a look at the dark prism of harrowing delight he has delivered to us.

The pummeling rhythmic hypnotism, complex instrumental interplay, and ragged yet commanding vocals that are Swans' trademarks are all here, all clothed in stunning arrangements that blanket these songs in black drones, spaghetti western ragas, and dirty, lumbering grooves. This is a dense record that still pummels with the force of old Swans, yet provides pockets of oxygen in the arid, humid landscapes, much like two lovers gasping for ragged, cold breaths during fierce passion. The album charts territory similar to the nightmarish landscapes of Scott Walker's The Drift and Tilt, but with more light let in and less determination to fragment and reassemble structure. Instead, it is simply ambitious, complex, and demanding of your full attention; comprised of two CDs clocking in at two hours of listening, it's not an album that you can casually eavesdrop upon. That's not to say it's impenetrable, though; on the contrary, these are some of Gira's most uplifting songs, playing like a rallying call to arms for those who want to listen, and demanding the attention and respect of those who attempt to play deaf toward it.

There's maturity and confidence displayed throughout that comes from experience, as the entire band locks together like a well-oiled machine with the telekinetic interplay that only develops through trust. Kudos also go to the numerous guests who lend their talents across this opus without conspicuity, with contributions from Ben Frost, Karen O, Mimi and Alan from Low, members of Akron/Family, and even former Swans member Jarboe, not to mention an extended lineup of string sections, accordion, woodwinds, and horns. Gira's vocals have never sounded stronger and more assured of their powers either, and the final product gels together into one of the year's most astonishing achievements that may sound intense upon first listen, yet is actually more accessible on the whole than one would reasonably expect. If you're a fan, you've most likely already scored a copy, but those bold souls as yet unconverted should plunge in without fear. [IQ]

 
         
   
   
   
   
   
   

 

 

     
 

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  DAN DEACON
America
(Domino)

"True Thrush"
"USA IV: Manifest"

It's easy to imagine Dan Deacon as being the class clown in the conservatory where he studied electro-acoustic and computer music composition. While only his classmates and professors really know the answer, the music that Deacon is best known for is far from the high-brow academia that his C.V. might suggest, something we once described in the Update as "Raymond Scott partying at Pee-Wee's playhouse." Yet behind his feverish day-glo assault of buzzing sine waves, weirdo samples, and frantic 8-bit beats is the meticulous craft of a formally trained composer who pulls as much inspiration from Terry Riley as he does from old video game theme songs. Bromst, from 2009, found Deacon broadening his sonic palette to include sacred harp singers, player pianos and sounds from busted toys, and all at once utilizing a minimalist approach to create a head-swirl of maximalist proportion. In the few years since, we've seen him composing for and performing with chamber orchestras and percussion ensembles fairly frequently, and even scoring Francis Ford Coppola's horror thriller Twixt.

It's no surprise, then, to find Deacon maturing -- for lack of better words -- with his eight full-length, America, a visceral yet exciting two-part album which finds the Baltimore-based composer working in a more serious mode. From the explosive pummel of opener "Guilford Avenue Bridge" to the gauzy motorik pop of "True Thrush," which crests into a rapturous chorus that you could imagine coming from Animal Collective, to the gorgeous synth- and piano-fueled instrumental "Prettyboy," which travels the same majestic spaceways as Klaus Dinger's La Dusseldorf, Deacon has eschewed the comedic side of his earlier albums without losing any of the ecstatic abandon. And then we get to the second half of the album, the four-part "USA" suite, an expansive, politically driven aural narrative in which he conveys both his cynicism and wonderment of this country. Opening with "USA 1: Is a Monster," the slow swells of horns and strings set the stage for an onslaught of buzzing synths, choir and tribal beats that eventually fold into percussive Reichian minimalism ("USA II: The Great American Desert," "USA III: Rail") before winding back up into the soaring, cacophonous conclusion, "USA IV: Manifest" -- think Vision Creation Newsun-era Boredoms armed with an arsenal of synths and backed by a small orchestra. Whether Deacon will be able to whip his live audiences into the same kind of frenzy as he has in the past with this new material remains to be seen -- I'm guessing the answer is yes, even brainiacs like to party -- but there's little doubt that America marks a new era for the oddball composer and it's his most thrilling, poignant recording yet. [GH]

 
         
   
   

 

 

     
 

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  FRESH & ONLYS
Long Slow Dance
(Mexican Summer)

"Yes or No?"
"Dream Girls"

Fresh & Onlys spawned on the breeding grounds of San Francisco's garage rock scene back in 2008, and have kept quite busy ever since, not just with their own releases, but with side projects from front man Tim Cohen, guitarist Wymond Miles, and bassist Shayde Sartin as well. Throughout their three full-length albums, the band has slowly transformed their sound from typical lo-fi garage noise to a cleaner idea of an established melodic rock group as can be heard on Long Slow Dance, their fourth LP in the past four years. Perhaps influenced by the members' other projects, this album portrays growth in sound: a bit of xylophone on "Dream Girls," a touch of '80s synth on "Fire Alarm," a '60s psych percussion jam on "Executioner's Song," all set to Cohen's melancholy croons and Miles' twangy guitar rhythms. "Foolish Person" is one of the strongest tracks here, a sing-along anthem backed by razor-sharp guitars and pulsating drums that evolves into a three-and-a-half minute long guitar battle. Long Slow Dance wraps up with the airy ballad "Wanna Do Right by You," once again demonstrating how this is an album of evolvement for Fresh & Onlys, a record perfectly combining garage fuzz with the wistfulness of dream pop. [ACo]
 
         
   
   

 

 

     
 

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  SIX ORGANS OF ADMITTANCE
Ascent
(Drag City)

"Waswasa"
"Visions (From Io)"

A decade or so back, when Ben Chasny's Six Organs of Admittance project took to the road with California psych-rock destroyers Comets on Fire, I think there was a plan afoot to record an album with the band backing Chasny. That collaboration took a different path when he ended up joining Comets, and for a couple of intense, head-banging records, and a number of blistering tours, Comets on Fire was a two-headed guitar-wielding beast, with Chasny and Ethan Miller (now of Howlin' Rain) both writing songs and melting strings out front. Clearly Chasny felt at home with a wall of feedback behind him, but Six Organs records have continued to be largely mellow psych-folk affairs, and while he explored some of his noisier impulses with Rangda, we've rarely heard him cut loose like he does here on Ascent, a thrilling, overloaded, truly blistering take on the twisted vision of Six Organs of Admittance. Joined here by most of Comets on Fire, the album comes off like the perfect blend of the two projects, fiercer and more aggressive than we've ever heard Six Organs, yet calmer, more centered and spiritual (with a slight Eastern tone to much of Chasny's lead guitar riffing) than Comets ever were. There are moments of pure head-banging riffage, like the set-opening "Wawasa," and also quieter times that in some ways are not so far off from the moods we are used to from Six Organs, but from start to finish this is the most expansive, heaviest, and most visceral albums Ben Chasny has ever made, and it seriously rocks. [JM]

 
         
   
   
   
   

 

 

     
 

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  VARIOUS ARTISTS
Staring into the Sun: Ethiopian Tribal Music
(Sublime Frequencies)

Preview Songs on Other Music's Download Store


OLIVIA WYATT
Staring into the Sun - DVD, CD & Book
(Sublime Frequencies)

Last year, Sublime Frequencies released a stellar documentary from filmmaker Olivia Wyatt detailing her travels through Ethiopia with mesmerizing and unsettling vignettes (like the scene wherein the Harari tribe feed raw meat to wild hyenas, the food dangling from a stick clenched in their teeth). Now the music from that journey sees release on vinyl. The package is stunning to be sure, but the raw field recordings are evocative. In all the titles they've released, this album seems the most like a classic Folkways album, presenting entrancing tribal music selections that make you feel you are in their midst. Another stunning presentation from the world's finest world music imprint. Limited edition double LP housed in a full-color tip-on sleeve with Polaroid shots from Wyatt. (Download version is sale priced at $7.99 through September 29th.) [AB]

We recently restocked the aforementioned documentary; here's what we wrote last year when it was featured in the Update:

Olivia Wyatt's Staring into the Sun, a vivid document of the filmmaker's 2009 trip to Ethiopia, is ostensibly an ethnographic study. The video, book and CD work in tandem to create more of a picture of a particularly pointed voyage than the more typically dry, impersonal anthropological account you might be subjected to in countless academic tomes. Wyatt traveled around the varied high and lowlands of Ethiopia in her month and a half there, visiting different tribes and recording the activities she told people she wanted to see: music, rituals and zar possession ceremonies. With the footage she brought back, she assembled a collage of her time there, part documentary, part travelogue, part performance footage. There is a certain endearing naivete to her approach -- no overly romanticized shots of lions bounding through the savannah, no heavy-handed voiceovers, no negotiating the complexity of the viewer-subject relationship. What the film does allow is for the people themselves to shine, and for their humble nobility to become the conduit through which you can sense the filmmaker's excitement. Of course, this being a Sublime Frequencies release, music is at the forefront of the proceedings, and some of the tribes and musicians Wyatt met are truly remarkable. Polyphonic singing, fractal rhythms, shrill horns made from animal parts, and primitive lutes and zithers abound. The book gives short accounts of each tribal group covered, as well as explication of instruments and folk song contexts, along with Wyatt's casually composed and alluring Polaroid images. All in all, an excellent document, and another branch of the Sublime Frequencies tree worthy of investigation and expansion. [SG]

 
         
   
   

 

 

     
 

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  JENS LEKMAN
I Know What Love Isn't
(Secretly Canadian)

"The End of the World Is Bigger Than Love"
"I Know What Love Isn't"

Seeing Jens Lekman perform in Williamsburg last year was one of the most intimate and moving gigs I'd ever attended. This Swedish gentleman has a knack for taking his audience on a journey through his world of awkward romances, simultaneously laughing and crying at himself, covering all sorts of topics, from stalking Kirsten Dunst in Gothenburg to being intimidated by a cab driver -- all sung in the key of Morrissey with Stephin Merritt's melancholic tone. His sound is well-established, yet this third album, I Know What Love Isn't, takes his fans on a slightly different path -- a rather gloomier mood that is immediately set up with the piano instrumental in opener "Every Little Hair Knows Your Name." To call this an easy listening would be inappropriate, although if anyone can pull of a saxophone solo without sounding cheesy (on the track "Erica America," for example), Jens Lekman surely can. The songs are heavy on piano and violin interludes gliding along the swooning vocals, and despite the darker tone here, it's still a pop-hook-filled sound. Lyrically, he's as clever as ever, and maybe more heartbroken too; during "The World Moves On" Lekman croons "You don't get over a broken heart, you just learn to carry it gracefully," an example clearly portraying his poetic style. Probably the highlight here is the epic "The End of the World Is Bigger Than Love," a track that was self-released in 2010 over the Internet. As described by Lekman it is a song of hope, and having the comfort of knowing that there is a world out there that could care less about your problems. It might not be the easiest of his albums to listen to, but it still connects dead-on. Keep it up, Jens, don't stop the charm. [ACo]

 
         
   
       
   

 

 

     
 

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  DIVINE FITS
A Thing Called Divine Fits
(Merge)

Preview Songs on Other Music's Download Store

The debut full-length from Divine Fits, an all-star trio featuring Spoon's Britt Daniel, Daniel Boeckner of Wolf Parade/Handsome Furs, and New Bomb Turks' Sam Brown. Safe to say, the sum does indeed equal its parts, the group combining Spoon's infectious rock minimalism with the buzzing synths and beats you'd hear on a Furs record, with Daniel and Boeckner trading vocal leads. Far from a throw-away project, however, this album and band rules.

 
         
   
   

 

 

     
 

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  TEEN
In Limbo
(Carpark)

Preview Songs on Other Music's Download Store

Debut full-length from Brooklyn's TEEN, a group led by Kristina "Teeny" Lieberson (formerly of Here We Go Magic) along with her sisters Katherine and Lizzie, and Jane Herships. In Limbo is a varied ride through hazy girl-group pop meets VU primitivism, synth-fueled DIY new wave, and a few droney spaced-out moments where you can really detect producer Sonic Boom's influence. Fans from Girls at Our Best right on up to Electrelane and Telepathe will want to climb aboard, and here's a complimentary preview of the trip ahead, via this free download of "Electric" off of Other Music's download store.
 
         
   
   

 

 

     
 

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  MATTHEW DEAR
Beams
(Ghostly International)

"Her Fantasy"
"Headcage"

Matthew Dear's fourth full-length sees him moving even further away from the four-on-the-floor techno which first brought him to prominence, and embracing actual rock structures. It's not exactly a surprise following the claustrophobic electro-pop of 2010's Black City, but Beams is a different beast. Brighter in sound but mysterious as ever, Dear steers through post-punk ("Earthforms"), avant-disco ("Fighting Is Futile," "Up & Out") and queasy, throbbing synth-pop ("Overtime"), making for a musical journey that only he could take you on while marking an exciting new chapter.

 
         
   
   

 

 

     
 

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  MONO
For My Parents
(Temporary Residence)

"Dream Odyssey"
"A Quiet Place (Together We Go)"

With their sixth album, Japan's Mono continue to explore the cinematic side of post-rock, once again collaborating with the Wordless Music Orchestra (here named the Holy Ground Orchestra) -- five gorgeous, dramatic tracks that move from sweeping orchestration to thundering dissonance. While fans of Mogwai, Explosions in the Sky, et al. will love this, Mono are doing their own thing, their music rich with detail and filled with genuine emotion and grandeur.

 
         
   
   

 

 

     
 

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  WAX POETICS
Issue #52
(Wax Poetics)

Wax Poetics "celebrates the individual" with issue #52. Inside the glossy pages: Sade, Flying Lotus, Lenny Kravitz, Dam-Funk, Betty Wright, Roller Boogie, Gary Bartz, Cody Chesnutt, Quantic & Alice Russell, Georgia Anne Muldrow, Thundercat, Jamire Williams and ERIMAJ, Myron & E, and MeLo-X.
 
         
   
       
   
 
 
SEPTEMBER'S CUSTOMER OF THE MONTH: UDLAND KREGGER

How long have you shopped at Other Music?
Since 1999. Still remember the very first thing I picked up was Pentax's Das Album... killer!!!

Favorite bands/genres:
BANDS: Les Rallizes Denudes, Fushitsusha, Chrome, Raymond Dijkstra, Ghedalia Tazartes, Burzum, Bathory, Les Rallizes Denudes, Giacinto Scelsi, Iannis Xenakis, Maurizio Bianchi, Sabbath, Queen, Thin Lizzy... Oh, did I mention Rallizes??
GENRES: Japanese Psych, Minimal House, Pagan Viking Metal, no-fi Noise Cassettes, Musique Concrete, & any disgustingly over-the-top guitar hi-jinx.

Favorite sections at Other Music:
Experimental, Electronica, Psychedelic, Krautrock, any and all VINYL.

Top 3 albums/bands you were turned onto at Other Music:
Iceage, Ike Yard 1980-82, Monoton Monotonprodukt 07

Your go-to people in the shop:
Mikey, Scott and Andreas

Why record stores over online shopping?
There are so many great records that I've picked up at OM that I would NOT have found on my own. The great thing about OM is that the store has a knowledgeable staff and they really go out of their way to help find music that fits your tastes. Great music stores are a rare thing these days and everyone should get out and support them whenever possible... besides, clicking around online is just NO FUN.

I'm DJing the biggest, most awesome music festival of the century. I have to be sure to drop _________ in my DJ set:
Einsturzende Neubauten "Z.N.S."


 
   
       
   
         
  All of this week's new arrivals.

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THIS WEEK'S CONTRIBUTORS

[AB] Adrian Burkholder
[ACo] Anastasia Cohen
[SG] Simon Gabriel
[GH] Gerald Hammill
[IQ] Mikey IQ Jones
[JM] Josh Madell
[MS] Michael Stasiak



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