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   April 25, 2013  


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All of us at Other Music would like to thank everyone who visited us this past Saturday on Record Store Day, and made it such a memorable event. From the long line stretching down the block to the packed store inside, every customer was wonderfully patient and seemed to be having as much fun as we were, and it was truly great seeing old familiar faces and making new friends throughout the day. We also want to thank all of the guest DJs who spun in the shop, Mister Saturday Sound for the DJ gear, Bowery Presents for the ticket giveaways, and all of the labels, artists and folks at Record Store Day for organizing such a special and exciting day for music lovers, record collectors, and indie stores around the globe.




We hope to see you at the Spring 2013 edition of the Brooklyn Flea Record Fair, along with all the other great vendors. In addition to the 50 collectors, record labels and shops represented, including Other Music, there'll be a small stage featuring an all-star DJ line-up curated by Red Bull Music Academy: DJ /rupture (Dutty Artz), James Friedman (Throne of Blood), James Pants, Veronica Vasicka (Minimal Wave), Dan Selzer (Acute Records), and Dean Bein (True Panther) -- who will all be taking a break from selling records at their label tables to spin a few. Located inside Smorgasburg, the spring Record Fair will be just feet away from all the tasty treats and beverages the food market has to offer -- as well as a special visit from Delaware's Dogfish Head Craft Brewed Ales who will be providing three of their finest seasonal beers just for the day. Hours are 11am to 6pm, inside East River State Park at Kent Ave. and N. 7th St. in Williamsburg, and entry is free. Click here for a full list of vendors, DJ set times, and specialty items that will be available that day.

No Joy
Caston & Majors
The Flaming Lips
Pump Me Up: D.C. Subculture of the 1980s (Book by Roger Gastman)
Iron and Wine
Shindig! Magazine Issue #32


Bill Fay

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APR Sun 21 Mon 22 Tues 23 Wed 24 Thurs 25 Fri 26 Sat 27

We're certain that many of our Update subscribers are as excited as we are to attend Annette Peacock's performance at the Whitney this Friday, April 26, as part of the museum's month-long Blues for Smoke series. From Peacock's collaborations during the '60s with Albert Ayler and her pioneering work with early synthesizers to her stellar solo records, the output of this visionary vocalist, composer, poet and producer can truly be called "other music." While this Friday at the Whitney is pay as you wish, we're giving away a pair of VIP passes good for complementary and express entry and guaranteed seating. Email giveaway@othermusic.com for your chance to win and see you tomorrow at the performance!


APR Sun 21 Mon 22 Tues 23 Wed 24 Thurs 25 Fri 26 Sat 27

Hot off their performance at the Austin Psych Fest, these Bay Area psychedelic explorers are playing at Brooklyn's Knitting Factory this Saturday night. Lumerians recently announced their forthcoming new album, The High Frontier, which will be out later this summer on Partisan Records, and hopefully we'll get to hear a few of these new tracks during their show, which is sure to be mind-blowing as always. To enter for your chance to win a pair of tickets, email contest@othermusic.com.

KNITTING FACTORY: 361 Metropolitan Ave. BKLN

MAY Sun 05 Mon 06 Tues 07 Wed 08 Thurs 09 Fri 10 Sat 11

Groundbreaking online magazine Triple Canopy celebrates its fifth anniversary on Saturday, May 11, with Cache Cleaner, an evening of musical and artistic performances, presented with RVNG Intl. We're pleased to be offering a pair of tickets to this great event, which will feature performances from Maxmilion Dunbar, Masks, My Barbarian, and BFFA3AE, with DJs Jon Santos, Michael Magnan, Matt Werth. To enter for your chance to win, just email tickets@othermusic.com.

CHINA CHALET: 47 Broadway, NYC
$10, $5 for Triple Canopy Members
Generously supported by BYCO and Other Music

Other Music's summer Monday residency at New York City's Ace Hotel kicks off on June 3 and goes through to the end of August! During those months, you'll find a different member of our staff DJing their favorite records and countless varieties of music inside the gorgeous lobby bar every Monday evening from 8pm to midnight, and we hope you'll come and join us as we shake off those dog days that are just around the corner. We'll announce the DJ schedule in the coming weeks but for now, make sure to mark your calendar: Other Music's Summer DJ Residency at Ace Hotel, every Monday in June, July and August.

ACE HOTEL: 20 W. 29th St. NYC
8:00pm to Midnight





$15.99 CDx2
$15.99 CD




See the sun outside? That means Phoenix IS BACK. France's #1 pop band last brightened our shores in the grips of the late '00s recession, and brought with them a manic-melodic storm of hooks and riffs that burrowed their way into our heads, then seeped out into car commercials, stadiums and amphitheaters. It's somewhat of a small miracle that the group's fourth full-length Wolfgang Amadeus Phoenix -- the one after their major label stint ended -- turned out to be their big breakthrough in America, on the back of two can't-miss singles that opened the album. The rest of the record was great too, but seemed to be overshadowed by the twin colossus powers of "Lisztomania" and "1901." On their new one, Bankrupt!, their fifth studio effort overall, it's as if they decided to make something more attention-grabbing all the way through. Taking a page from the Daft Punk playbook, this has been staged in two ways: one, these new songs are very specifically reminiscent of hits from the '70s and '80s; and two, they have gone over the top with bombast, in the form of synthesizers. There are still guitars here, and there have been keyboards on every Phoenix record, but this is the one where the electronics take over. Fortunately these guys know what they're doing in both regards, and while there's a slightly darker mood pervading these ten songs -- maybe not obviously at first, but it's there -- they have loaded the deck with super-catchy tunes that you won't be able to shake. Lead-off single "Entertainment!" is abstractly a dead ringer for Graham Parker's "Discovering Japan," so much so that a mashup of the two wouldn't be out of the question. Its follow-up "Trying to Be Cool," which the band performed on SNL last month, is eerily reminiscent of Naked Eyes' chart smash "Promises, Promises." Those of you with the inclination will be able to spot the references elsewhere (and diehard OM customers won't be able to shake the similarities between the title track and, say, Emeralds, of all bands), but the rest of you will probably just enjoy this without hesitation or trouble, just like me. [DM]




$16.99 LP


Wait to Pleasure
(Mexican Summer)

"Lunar Phobia"

With My Bloody Valentine finally delivering their long-promised follow-up to 1991's iconic Loveless, the noise-pop album of 2013 should be a done deal, and any other record of that ilk released this year a mere footnote, yet No Joy's sophomore full-length hits all the right distorted notes, from songs to production, and then some. Unlike the Montreal group's album debut, 2010's Ghost Blonde, Wait to Pleasure was recorded in a proper studio with Jorge Elbrecht (Violens, Lansing-Dreiden) sitting behind the console, giving the band a clarity that wasn't present before, while still maintaining the dense, dark wash of sound. Compared to most of the other shoegaze revivalists of recent, No Joy's new album really does sound like it could have been released in the early '90s, sitting nicely in the old five-disc CD changer between Curve and Medicine, and while the group isn't necessarily reinventing the wheel, they have admirably made it their own. Fronted by the duo of guitarists/vocalists Laura Lloyd and Jasmine White-Glutz, "Hare Tarot Lies" and "Lunar Phobia" conjure the celestial swirl of the Cocteau Twins, only add some fuzzier and at times foreboding undertones from the bass, while tracks like "Slug Night" draw a perfect line between the distorted rumblings of Swervedriver and the aforementioned Curve. Elsewhere, "Blue Neck Riviera" finds the band channeling a little bit of the Cure, via the steady, low bass line and chiming guitar lead, atop Elbrecht's electronic rhythms, again sounding more rooted in the early Clinton years as opposed to the more modern, minimalist direction that groups like the xx have since gone with some of those same influences. Throughout, Lloyd and White-Glutz's vocals are buried in a shroud of reverb and effects, their ethereal melodies both steering the hazy wall of guitars, rhythms and atmosphere and floating through the din. It's enough to make you want to pick up the album cover and double-check the copyright date, only No Joy aren't on some retro trip; Wait to Pleasure is as authentic and inspired as their noisy forbearers, and a little darker too. [GH]






Black Beauty
(High Moon)

"Midnight Sun"
"Walk Right In"

The new High Moon label kick start their catalogue with the first legit issue of Love's long-lost and somewhat legendary album, Black Beauty. Recorded in 1973 by an entirely Afro-American version of the band (who would also record with Arthur Lee for Love's Reel to Real LP, with additional musicians supplemented), this era of Love has not been widely heard before, and it will be both a surprise and a revelation for fans. It's a blues-heavy sound that is anchored by a sweltering groove and swing that echoes the early Westbound Records-era of Funkadelic or Johnny "Guitar" Watson circa Ain't That a Bitch, yet burns with a fierce rock fire, delivering precisely what Lee had wanted in this new incarnation: an all-black band who "can play funky AND rock." Indeed they do, and these sessions, self-financed by Lee without any label interference, are pretty different from the majority of the releases in the influential group's discography, but definitely something special. Lee is in fine voice throughout, and the songs are absolutely solid, with hooks, riffs, and grooves galore, and with Lee in top form lyrically, addressing race relations, government distrust, and social consciousness head on. The music fuses funk, acid rock, and a bit of soul with flirtations into Caribbean reggae bounce and blues riffing. I can't promise that this album will immediately connect with every fan of the band, but without venturing into hyperbole, I'll say it is definitely one of my absolute favorite records Lee ever recorded, and it's no surprise that he considered this one of his personal favorites; it's obvious that this was a serious labor of love from the start, one undiluted by interpersonal squabbles or drug-induced paranoia so often associated with the stories behind his classic Forever Changes. While this is an altogether different sounding album than that masterpiece, it is most highly recommended to fans of early Funkadelic, Jimi Hendrix, Johnny "Guitar" Watson, Betty Davis, or any other classic early psychedelic soul platters. It's one hell of a start for High Moon as well; between this and their lovely Gene Clark reissue also on offer, it looks as though we'll be looking forward to more great things from these guys in the future. Consider this one of 2013's best, most important reissues. [IQ]




$19.99 LP



"Your Life Your Call"
"Walking Lightly"

Jose Gonzalez may still be better known for his minimalist solo albums, but while his Junip project at first blush would seem like a side outing, this band actually predates his solo success, and in many ways it seems like the most natural place for Gonzalez's talents. On the trio's self-titled sophomore album, the group continues to exploit the strengths of their earlier work, with synth-man Tobias Winterkorn and drummer Elias Araya adding wonderful texture and depth to Gonzalez's sometimes stark, folk-inflected songwriting. It's a real band with three talented players, and while the mood throughout could be called "quiet summertime melancholy," there is variety and surprise in the subtle flourishes: breezy percussion, wiggly synthesizer melodies, and lots of lovely instrumental turns. And Gonzalez sounds looser and more comfortable than ever here, making music with good friends, enjoying the simple pleasures of a backbeat and a melodic hook on which he can hang his hat. [JM]






(Kindred Spirits)

"Tudo Joia"
"Tamanco No Samba"

Oh man, YES!! I am absolutely thrilled that we have one of my favorite Brazilian albums on our shelves via this quality reissue from Kindred Spirits. Orlandivo is a vocalist who began his career as a percussionist in the 1960s with bandleader Ed Lincoln, and released a series of charming bossa nova vocal LPs throughout the decade. This 1977 album, though, is another story altogether; recorded with Joao Donato and Ivan Conti, two Brazilian heavyweight musicians in their own right, this is a gorgeous slice of stoned samba soul heavy on liquid, serpentine synth, clavinet, and electric piano layers, and anchored by slowly percolating percussion grooves, sun-soaked horns, and softly cooing female backing vocalists. Orlandivo himself sounds thoroughly baked throughout, delivering his vocals in a relaxed, hypnotic croon that's engrossing yet somewhat odd at the same time. Donato absolutely kills, his keys being the glue that holds the entire album together. Some of you may be familiar with one of the record's highlights, "Onde Anda O Meu Amor," which has been compiled on quite a few Brazilian soul/beat sets over the years; it's one of the best examples of the album's magic, with a slinky keyboard groove that comes across like a collaboration between Stevie Wonder and Sun Ra, and Orlandivo sounding like he ate an entire bowl of pot brownies before going into the booth, as cuicas, flutes, and assorted percussion dance around him seductively. This is, in my opinion, an absolute classic in Brazilian music, and one that deserves every ounce of the crate-digger gold star status it has obtained over the years; if anything I've said above whets your whistle, grab this post-haste, as it is quintessential spring and summertime listening. [IQ]






Caston & Majors - Expanded Edition

"Child of Love"
"I'll Keep My Light In My Window"

The struggle between the secular and spiritual within the R&B world has produced some of our most beloved music of all time; whether it's Al Green, Sam Cooke, R. Kelly or even Elvis, the conflicted inner turmoil caused by this dichotomy has resulted in masterworks like Marvin Gaye's What's Going On, Green's The Belle Album, Stevie Wonder's Innervisions, D'Angelo's Voodoo, and loads of lost classics such as this lone record by husband and wife duo Caston & Majors.

Leonard Caston was a successful staff producer within the pantheon of knob twiddlers and arrangers who walked the halls of Motown during the late-1960s and early-'70s. His early career was spent at Chess records, but after the demise of that label in 1969, Caston made his way out to LA, and a chance meeting with the great Frank Wilson in an elevator led to a production partnership that created some amazing music. Between 1970 and 1973, Caston wrote and co-produced many psych-soul classics, including "Nathan Jones" for the Supremes and the Four Tops' "Can't Quit Your Love," but the most significant work he did was for Eddie Kendricks. It was Caston who arranged and produced the epic proto-disco/hip-hop classics "Girl You Need a Change of Mind," "Date with the Rain" and "Son of Sagittarius." These were long, meticulous, epic workouts that ran soul deep and moved feet from the northern soul clubs of the UK to NYC's burgeoning underground disco clubs in the early-'70s.

By '74 Caston was going through a spiritual transformation; inspired by the conceptual psych-soul work of Norman Whitfield, and with a solo deal granted by Berry Gordy, Caston assembled a who's who of top LA session musicians and singers including Earl Palmer, Jay Graydon, Mike Melvoin, King Errisson, and Syreeta Wright. The final piece of the puzzle, however, would be the relatively unknown Detroit vocalist (and his future wife) Carolyn Majors -- the stage was now set.

Based loosely around biblical texts, this self-titled record is a seamless, orchestral soul album punctuated by some stellar vocal performances by Leonard and Carolyn. Highlights include the sweeping eight-minute centerpiece, "Let There Be Love," which boasts an incredible string arrangement from Jimmie Haskell ("Ode to Billie Joe," The Color Purple OST) and a captivating drums and stand-up bass breakdown from legends Earl Palmer and Ray Brown -- the song is as breathtaking as any Charles Stepney production of that era. "I'll Keep My Light in My Window" is another orch-soul stunner as well, a beautifully written ode to selflessness and charity that's been covered through the years by artists like Sylvester, Diana Ross, Marvin Gaye, Alice Russell, and famously by disco acts Eruption and the New York Community Choir, the latter whose version became a Paradise Garage anthem.

As you'd expect, the album was released and sank without a trace due to being "unmarketable." Is it gospel? Psych-soul? Easy listening? All of the above? The answer to all of those questions is yes. Even though the LP never found the audience it was after in 1974, the record was beloved by the few who encountered it and crate diggers and tastemakers like Gilles Peterson, DJ Spinna, and J Dilla have spoken reverentially about this album for years. I've loved this LP for a long, long time and I'm stoked that it's getting a proper reissue now. Any fan of Terry Callier, Kendricks, Norman Whitfield, Rotary Connection, or the like, step right on up!!! [DH]






Cosy Moments
(Kill Rock Stars)

"Throw It Up"

So I was in Seattle last year, at a show that, pitched between downer vibes, management clashes and low energy, made for a really odd time. Then Kinski got on stage and, launching into a cover of the Swell Maps' "International Rescue" and segueing into "Last Day on Earth" from Cosy Moments, everything was right with the world. Suddenly those lines at the bar started to not be a weird thing, and the $2 cup of Oly draft in my hand, which formerly tasted like cornstarch in dirty water, was as fine as golden mead. It's been quite a while since we've heard anything from this long-running Seattle psych/prog/space-rock group, which had formerly traded in 10-plus-minute song lengths, double albums, and moves from the '70s art rock playbook which were noble in their own rights, but take a look at the cover of their latest -- it's a car, flying off the top of a hill -- and you're getting the idea of where things are headed for them in 2013. This is a rager, a kegger, and if there are still dregs of the Hawkwind influence present in earlier works, it's now smashed down into the punkier, more direct era of that group's sound (particularly the "Silver Machine" and "Urban Guerrilla" 45s). Also reminiscent of vibes brothers Oneida's early masterpiece "Come On Everybody Let's Rock," this is the sound of about $20,000 in vintage musical equipment being taken for the joy ride it's been begging for, nothing but headbanging, floor-ripping JAMS for the besotted of spirit. Hop in! [DM]




$36.99 LP


The Terror
(Warner Brothers)

"The Terror"
"Butterfly, How Long It Takes to Die"

While The Terror is probably the Flaming Lips' darkest and most challenging record in their three decade-long acid trip of a career, it raises a question that I've often asked since "She Don't Use Jelly" became an unlikely top 40 hit for the band in the mid '90s, and Wayne Coyne and Co. rode their giant hamster ball into America's heart: do their legions of fans really listen to these records? The group may be best known for their (literally) electrifying live sets, with their all-encompassing multimedia thrill ride of a show consistently being one of the best tickets in rock. The Flaming Lips bring wild-eyed excitement to the stage that does not lack real emotion, yet relies on an over-the-top circus-like atmosphere that at times can seem incompatible with their often joyful, yet generally challenging recorded output. Never more so than now, as this great new album truly lives up to its name, this is foreboding, sometimes scary music. A set of throbbing synthetic songs built from pulsing synthesizers and oscillators, there is very little traditional rock band instrumentation, no drums at all, and only a disembodied shadow of Coyne's warbling voice to humanize the cold post-apocalyptic landscape. The sweetness of his melodies are fully intact, but in this context, incorporating elements of Krautrock, early electronic music, Silver Apples, Suicide, cold wave, sci-fi soundtracks, Pink Floyd and pure paranoia, it feels like Coyne is singing from a fallout shelter or hospital bed, sending one last transmission from his satellite heart. A continuation of the slide into darkness that 2009's Embryonic began, and likely nudged along by a series of personal setbacks in the band, this is a powerful and engaging record that ruminates on the pain and hardships of life without offering any easy answers, and I truly hope that every thrill-seeking festival fan of the Flaming Lips will spend some quality time with The Terror. [JM]






(Superior Viaduct)

"We Get Messages"

Over the past two years, the San Francisco imprint Superior Viaduct has been steadily releasing a string of excellent reissues of lost American art-punk classics of the 1980s. Following releases from the likes of 100 Flowers, Martin Rev, Factrix and others, the label turns its head toward the suburban Los Angeles group Monitor, whose sole album from 1981 remains one of the stranger relics of the Southern California punk scene. Born out of the art collective World Imitation Productions, Monitor created a dystopian and eerily pastoral version of Devo-esque art punk, combining such disparate elements as sparse punk riffs, folky minimalism, world music structures, antiquated-sounding synthesizers, and off-kilter vocal harmonies. Falling more inline with avant-garde art practice than the SoCal punk scene from which they emerged, Monitor's everything-but-the-kitchen-sink vibe feels more reminiscent of New York no wave (think Mars, Disband, Y Pants), the artier strains of UK DIY culture (Fuck Off Records/Street Level, etc.), and German Neue Deutsche Welle (Monitor's album was, not surprisingly, released in Germany on Der Plan's Ata Tak label). Yet for all their Dadaist posturing, the band doesn't entirely abandon their Californian roots here -- one of the album's most rewarding moments is when Monitor has the Meat Puppets cover their track "Hair," which disrupts the bohemian atmosphere for a searing blast of punk nihilism. Overall, it's an interesting listen that should please fans of early Devo, the aforementioned genres and groups, and those who like their punk rock served with a little bit of art pretension. [CPa]




$44.95 BK

By Roger Gastman
(Corcoran Books)

As a New Yorker since childhood, I'm perhaps an odd choice to be reviewing this book, but I've also been a longtime supporter and enthusiast for the Washington D.C. go-go scene, much to the same degree as those who are into D.C. hardcore, so it's with great pleasure that I'm able to offer up this stellar volume to both sides of that coin. Pump Me Up: D.C. Subculture of the 1980s is a massive, 300-plus-page oral and visual history of the capital city's art and music underground that covers the DIY ethos that permeated through the punk, hardcore, and go-go scenes, as well as the art, graffiti, and club cultures that flourished during the era as well. It features essays and galleries of photos and posters covering the art of D.C. street promotion (the punk and go-go flyer galleries are incredible!), Ian MacKaye and the Dischord revolution (as well as its relationship to D.C.'s punk and hardcore scene overall), primers and profiles on go-go's greatest movers and shakers (as well as some more under-the-radar favorites), moving into the early genesis of D.C. hip-hop culture. Of course, this being a book about the nation's capital, there's a heavy political undercurrent that runs through everything here, detailing the crack epidemic, increasing homicide rates, and the tensions, struggles, and triumphs of racial diversity. The total package delivers a deeply enlightening portrait of a scene that is as vital, lively, and important as NYC's punk, hip-hop, and no wave cultures during the same era when, to quote the book's back cover copy, "D.C. was largely ignored by its president, but embraced by its citizens." You don't have to be a scholar or enthusiast to enjoy and appreciate what's chronicled here, and its wide-ranging net makes for an even more enriching experience in reading the book, and one that'll most likely have you compiling new lists of bands, records, or visual artists to start hunting down. If you've any interest in the histories of punk, hip-hop, funk, or DIY cultures, this is an absolute MUST READ. [IQ]




$13.99 CD
$24.99 LP+CD


Ghost on Ghost

"Caught in the Briars"
"Low Light Buddy of Mine"

Sam Beam has come a long way with his shape-shifting Iron and Wine project since the hushed, homespun recordings that graced his debut more than a decade back. Without ever losing the intimacy of those first tracks, Beam has continually widened the scope of Iron and Wine from album to album, adding layers of orchestration, complex percussive rhythms, and lush vocal harmonies over the years, and this latest release, for new label home Nonesuch, continues that growth. The sounds here come from a number of different directions, including the sparkling production of vintage 1970s AM radio California pop, the bleating horns and gutbucket rhythms of New Orleans jazz, and the floating dreaminess of lite psychedelia, all filtered through a more modern "alternative" folk-rock filter, and graced with Beam's wonderfully expressive voice. How the pieces fit together somewhat depends on your perspective; no doubt, this is music meant for a big stage and a broad fan base, which at this point includes legions of pretty "mainstream" college rock devotees, and yet it's far from pedestrian. Horns and strings were wonderfully arranged by Rob Berger from the Tin Hat Trio, and while some longtime fans might fret that Iron and Wine have embraced their jam band following to their own detriment, Ghost on Ghost is an adventurous and sometimes thrilling record that takes chances rather than drifting forward on cruise control. I'm not sure all of the experiments completely work, but fans of Iron and Wines's more recent maximalist output will find plenty to enjoy throughout. [JM]





$8.99 MG

Issue No. 32

Brand new issue of Shindig! is on the stands featuring our longtime favorite avant-psych-pop band, Broadcast, whose Trish Keenan is dearly missed. Thomas Patterson interviews group founder James Cargill, along with an accompanying look at Broadcast's musical, cinematic and literary influences. Also inside: James Blackford examines Italian giallo films; Carl Tweed uncovers the long overlooked Cambridge group Jokers Wild featuring a young David Gilmour; Dave Thompson takes a look back at the tumultuous birth of glam rockers the Sweet; Alex Nielson dives into the early solo LPs of Incredible String Band's Mike Heron; plus Kim Fowley, Ghost Box Records, Donovan, Children's Film Foundation and more.





Time of the Last Persecution
(4 Men with Beards)

British singer/songwriter Bill Fay's second album, 1971's Time of the Last Persecution, is reissued on vinyl. Backed by a killer, tight-knit group of British rock/jazz players (spearheaded by shredder Ray Russell), here Fay's songs have more of a serrated edge when compared to his eponymous LP from the year before, and the man is quite honestly fed-up, disenchanted, and bleak in his outlook on the world. Lashing out at the hypocrisy, malevolence, and dark forces surrounding him, the music matches his lyrics blow for blow, with biting guitar, moments of unbridled frenzy, and a seething, viscous feel to it all. Not for the faint of heart, this is an emotionally powerful document from a man standing on the edge. [RB]
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[RB] Randy Breaux
[GH] Gerald Hammill
[DH] Duane Harriott
[IQ] Mikey IQ Jones
[JM] Josh Madell
[DM] Doug Mosurock
[CPa] Chris Pappas

- all of us at Other Music

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