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   February 6, 2013  
Unknown Mortal Orchestra
The Stark Reality (3CD Box Set)
Jim James
Pye Corner Audio (Cassette)
Mystical Weapons
The Red Rippers
Night Beds
Speck Mountain


Circuit Des Yeux
Bauhaus (First two LPs back in print)

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

That's right, the Residents are performing in New York City this Saturday night, bringing their Wonder of Weird 40th Anniversary Tour to Stage 48! Other Music is giving away one pair of tickets to see these top hat-wearing, eyeball-headed purveyors of the avant-garde; just email tickets@othermusic.com for your chance to win and we'll notify the winner this Friday. Good luck!

STAGE 48: 605 W. 48th St. NYC

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

Mice Parade have just returned with their new album, Candela, which finds Adam Pierce and his band offering a great worldwide fusion of sophisticated post-rock-pop songs. The group will be celebrating its release this Sunday in Brooklyn at the Knitting Factory and we've got a pair of tickets for one lucky winner; email enter@othermusic.com to enter.

KNITTING FACTORY: 361 Metropolitan Ave, BKLN

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


Our good friends at Le Poisson Rouge are giving our Update readers a chance to win tickets to one of these upcoming shows. First, this Monday, February 11, Matmos bring their always intriguing and oft-head-scratching electronic sounds to the LPR stage, along with Horse Lords and Vorhees. Then a few days later, Bandshell will be presenting Kiss of Life - Valentine's (Thursday, February 14), with a great bill that features Teengirl Fantasy, Laurel Halo, Kelela and Fatherhood. To enter for either of these shows, just email contest@othermusic.com and make sure to list which night you'd like to see in the subject line.

LE POISSON ROUGE: 158 Bleecker St. NYC

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

Chaz Bundick has just released Anything in Return, his most diverse Toro Y Moi album to date, and next Wednesday he and his band will be bringing their soulful Technicolor pop to Webster Hall, with Wild Belle and Dog Bite opening. Other Music is giving away two pairs of tickets and you can enter for a chance to see this sold out show by emailing giveaway@othermusic.com.

WEBSTER HALL: 125 E. 11th St. NYC





The Man Who Died in His Boat


Dragging a Dead Deer Up a Hill


The Man Who Died in His Boat

"The Man Who Died in His Boat"
"The Long Way"

Dragging a Dead Deer Up a Hill

"I'm Dragging a Dead Deer Up a Hill"

Recorded around the same time as 2008's incendiary Dragging a Dead Deer Up a Hill, but unreleased until now, The Man Who Died in His Boat could almost be that album's companion piece, yet it also stands alone as a great single work from Liz Harris. Her releases as Grouper often make me think of the earliest days of His Name Is Alive, and while no one could ever confuse one artist for the other, both can take you to a similar place, where the opaque apparitions of a song flicker in the corner of a dark, cavernous room, coming in and out of focus like a ghost wavering between the living world and the hereafter. The title of this album calls upon an old memory in which a young Harris and her father came across a sailboat that had washed ashore, its captain missing and never to be found. Like that boat, Grouper's music often feels unpiloted, her songs drifting along rippling aquatic textures that emanate to the surface of her sparse arrangements through the misty brume of reverb, delay and tape hiss. The Man Who Died, however, finds Harris almost as uncloaked as Dragging a Dead Deer, the fog still present but lifted just enough, allowing the skeletal strums of her acoustic guitar and ethereal melodies to come into clearer focus.

While moments like "Cloud in Places" filter dream-pop to a bare essence of jangling open-chords and overlapping layers of her dulcet vocals, the music throughout this album remains purely impressionistic -- from the gorgeous lull of the melancholic "Vital" to the mysterious "Being Her Shadow," in which Harris' voice practically melts over slow, circular finger-picking of her six-string which is rendered almost unrecognizable, enveloped in the droning resonance of the room. In the context of The Man Who Died, the handful of abstract interludes like the spectral piano minimalism of "Vanishing Point" or the haunting drowned ambience of the instrumentals that bookend the album seem to mirror the fateful voyage of that sailboat -- each piece eerie and amorphous, floating as the final remnants of songs that can only be imagined yet never truly heard, like the captain's stories of that day, never told and forever swallowed by the sea. The reason that The Man Who Died in His Boat remained in the vaults for this long is anyone's guess; it stands among Grouper's best work and is a fantastic entry point into the stunning, beguiling sound world that Liz Harris has made her own. [GH]

Perfectly timed with the release of The Man Who Died in His Boat, Grouper's watershed Dragging a Dead Deer Up a Hill is finally reissued on Kranky. Originally released in 2008 and out of print for a few years now, here Liz Harris tightened the ambient/drone song structure of her earlier records and brought a more instantly recognizable sound palette to the fore. There's nothing we love more than a pop sense getting tweaked in subtle ways, and the genius of this album is that she so successfully managed to combine such moving and memorable songs with the aquatic and somnambulant aesthetic that marked her previous work. Long an Other Music staff and customer favorite, we're thrilled to have this back on our shelves.







"Swim and Sleep (Like a Shark)"

Unknown Mortal Orchestra crept into our hearts a couple of years back with an air of mystery that is rare in this fully exposed age, releasing a couple of deeply intriguing singles followed by a hazy dream of an album that asked as many questions as it answered, coming off like a haunted artifact from a forgotten time and place, a soulful psych-pop gem from an artist cloaked in shadow. Eventually the smoke cleared; UMO is now known to be the vision of a young Portland kid named Ruban Nielson, and what started as a home recording project eventually became pretty much a real touring rock band, no less enthralling in the light of day. On his second full-length, Nielson again handles most all of the instrumental duties (save drums), and delivers another set of haunted pop that sounds fresh, yet draws on a variety of 1970s-vintage moods and grooves, and while II is full of both transcendent pop and sophisticated guitar textures, and definitely steps up the fidelity from its predecessor, it still sounds more like a well-worn private press LP recorded to two-track than an AOR smash.

The new album opens with an intricate, gently finger-picked guitar riff that morphs into a melancholy pop song deeply in the sway of Tyrannosaurus Rex, but with a dark turn pretty-boy Bolan rarely approached, with Nielson's lovely multi-tracked vocal almost masking the pain of his lyric: "I'm so tired but I can never lay down my head... I'm so lonely but I can never quite reach the phone... Isolation can put a gun in your hand." As the record drifts into the concise two-and-a-half-minute '60s jangle pop "Swim and Sleep," followed by the aching soul-funk of "So Good at Being in Trouble" -- "She's so good at being in trouble, so bad at being in love" -- the album both builds on the strengths of UMO's debut and breaks new ground, a trajectory that continues across the more abstract middle portion of the record, where several more sprawling tracks slowly unfold, never abandoning Nielson's strong songwriting, but taking more chances with elaborate, jazzy arrangements and swirling guitar textures. II brings it home with another set of tighter songwriting at the tail end, and the pacing works, showcasing the fragile pop, subtle soul and drifting psychedelia that all seem to inform Unknown Mortal Orchestra in equal measure. The mystery may have receded, and while it may be hard to duplicate that thrill of discovery that accompanied our first encounter with UMO, what we are left with is a truly original artist finding his own way. [JM]






Acting, Thinking, Feeling: The Complete Works 1968-1978

"Red Yellow Moonbeams"
"Roller Coaster Ride"

The Stark Reality were a brilliant Boston-bred ensemble led by vibraphonist Monty Stark who gained crate-digger infamy thanks to a 1970 double-LP set entitled The Stark Reality Discovers Hoagy Carmichael's Music Shop. That album saw the band rearrange children's music originally written in 1958 by famed songwriter and pianist Hoagy Carmichael into a funky, fuzzed-up psychedelic stew that hipped up the sound palette while losing none of the sweet, playful sincerity of the educational message -- the album was weird, but it sure was fun. Imagine Hendrix, Bitches Brew-era Miles Davis, and Milt Jackson forming a supergroup that grooves heavily into the Canterbury acid rock/jazz funk of Soft Machine, and you'll have a good idea of the magic being made here by Stark, guitarist John Abercrombie, drummer Vinnie Johnson, and bassist Phil Morrison. Stones Throw Records first reissued some of this wonderful music ten years ago via a pair of compilations, and former Stones Throw label manager Egon has finally fulfilled their original ambitions to put out the group's entire recorded output in this deluxe boxed set on his Now-Again label.

The box contains, for the first time since its original 1970 release, the complete four sides of music from the Hoagy Carmichael album spread across two CDs (Stones Throw's initial reissue was comprised of select tracks from the LP), newly remastered here from the original tapes and never having sounded better. The third disc in this set compiles the group's 1969 recordings, once simply called 1969 and now titled Roller Coaster Ride, both sides of the group's 1968 7" Say Brother, and a bunch of previously unreleased cuts recently unearthed by Luke Mosling at Porter Records. This material holds onto the same sonic template of the Carmichael material, but augmented with saxophone and flute, as lyrically the band moves into a different kind of socially conscious positivity akin at times to Curtis Mayfield producing the Free Design. This is easily one of the most important and enjoyable releases in the Now-Again catalogue, and easily sits firm in the shortlist of what will be the best archival releases of 2013. This music has massive appeal to a wide range of listeners; jazz heads, crate diggers and sample hounds (don't be like the Black Eyed Peas, though -- if you sample it, pay for it!!), psych fans, funk soldiers, and those who dig the esoteric strands of exotica music will all find something here into which they can sink their teeth. The set also includes a massive booklet with notes by Egon detailing the history of this music getting reissued, bios and interviews with the band and the Carmichael family, and Egon's touching tribute to Stark, who sadly passed away in 2009 from cancer. This is a prime example of how reissues should be produced -- filled with the passion, sweat, and knowledge of a true fan who simply wants to spread the love. [IQ]






News from Nowhere

"A Day's Pay for a Day's Work"

Over a short span of time, British trio Darkstar has moved from the fringes of dubstep to a fully formed and forward-thinking electronic pop project. Since the release of their debut sleeper hit, North, on Hyperdub, they have joined the Warp label and their sophomore effort, News from Nowhere, effectively warms and brightens their once frigid brand of cold wave. While maintaining their melodic and emotive sense of outsider pop, the trio takes the listener on an isolated journey into digital abstraction, organic beauty, and electronic textures. This exploration of warmer climes alludes to an update of the era of Colin Newman, Gary Numan, or Human League, and though I have often described them as "OMD gone dubstep," this new album pushes that fusion into a contemporary territory where Panda Bear and James Blake hang out.

The album was co-produced by Richard Formby, and together they weave a stellar sound design that doesn't abandon their love of low end for a bouquet of flowers (as the cover may suggest); the balance between dark and light are equally present throughout, as distortion, ambiance, and space are utilized to add tension and movement. The songs still incorporate skills learned while making dance music, only it's applied to a more seductive vision filled with warmth and beauty. Vocals sit atop a foundation of electronic production, but they use organic and natural sounds to flesh out the environment. This is more of a morning-after-the-rave/come-down type of listening experience, much like their debut, yet this one seems to shine in a way the previous album was steeped in cold and starkness, and in the end is more refreshing. Fans of any of the above, as well as Thom Yorke or the recent xx, or minimal emotive electronic pop, will find lots to get lost in here -- maybe the best surprise of the year so far. [DG]






Regions of Light and Sound of God

"Dear One"

Regions of Light and Sound of God, the first proper solo album from My Morning Jacket frontman Jim James, is the result of some serious soul searching. Inspired by Lynd Ward's 1929 graphic novel, God's Man, about a young artist's quest for redemption, James documents a personal yet universal struggle to make sense of spirituality, God and religion, and how it fits into our lives. The album opener, "State of the Art (A.E.I.O.U.)," offers a harsh commentary on our tech-obsessed existences as James asks, "Supposed to make for better livin'/but are we better human beings?" Being better is a common thread throughout the record, as is the desire for forgiveness. In "All Is Forgiven" he pleads with God, "Followed all the wrong dreams/Lost in man's schemes/Oh Lord!/I pray that all is forgiven."

James also explores the inevitability of change and the opportunity for rebirth that follows, a theme that feels appropriate considering that he, after 15 years with My Morning Jacket, has created a record full of surprises. Musically, the album does not turn its back on MMJ's eclectic rock & roll swagger, and yet it is a departure; James' signature soulful, velvety voice is here, but he isn't afraid to twist and bend and get weird. His influences are vast and he doesn't shy away from experimentation: in "A New Life" James channels Roy Orbison as he begs, "Hey/Open the door/I want a new life;" "All Is Forgiven" incorporates Eastern instrumentation; and the shimmering closer, "God's Love to Deliver," verges on psychedelic. James is diving into some pretty heavy subject matter here but he's also pushing his own musical boundaries. Longtime My Morning Jacket listeners will not be disappointed. [KB]






The Ever-Present Hum Cassette

This new cassette-only offering by OM favorite Pye Corner Audio is a bit of a departure from his usual throbbing, shadowy ethereal beatscapes. Instead, we're given two long form ambient pieces, each taking up one side of the tape, crafted from just two synthesizers and a looping delay pedal. "Part 1 (Motorway)" is centered around a thick drone that slowly builds, its chords quivering and cooing like the siren calls of a vaporous spirit in a twilight night. A soft, quiet pulse gradually kicks in, and the keyboard tones grow in asymmetric clusters, until the drone and the pulse drop out, leaving only lush swells of warbling voices slowly fading away; it is, in a word, stunning. "Part 2 (Treetop)," an altogether darker affair, comes off more like the doom-laden ambient works of Deathprod than anything in the PCA catalog. Low, rumbling drones comingle with what sound like gusts of wind and slowly escaping air, building into a thick bog as organ tones overlap atop one another. It reminds me at times of Tangerine Dream, if only they were scoring an old Hammer horror film, or perhaps an episode of Dark Shadows. As the piece approaches its closure, a gentle yet sinister cycle of chord arpeggios chime in ascending sequence, slowly circling skyward before fading out of sight and earshot. While this certainly isn't the entry point into the world of PCA's Head Technician, it's a striking piece of work most highly recommended to longtime fans and those who appreciate the darker hues of ambient music in general. This cassette is a one-time-only release limited to just 200 copies worldwide, so grab it while you have the chance! [IQ]




$15.99 LP


(Sacred Bones)


Just like their pals and label mates the Holydrug Couple, Föllakzoid are a keystone of Chile's blooming underground psych scene. The quartet is a group of childhood friends, a collective of creative souls who conceived the project in 2008 after what they call a "trance experience." The stoned spirituality of their second LP lives up to that origin myth, and is just as mesmerizing as the cover art would suggest. This five-track album is a sort of atmospheric soundscape, directly influenced by Krautrock and psychedelia, filling a gap somewhere between Can and Spacemen 3. II is packed with hazy, brain-melting music driven by howling garage-psych guitars and chilly alien synths weaving through a steady drumbeat, two-note bass lines and breathy distant vocals covered in reverb. According to the Föllakzoid dudes, they "take their time recording albums," perfecting their songs with the goal being "to make something organic, that breathes on its own, which integrates into part of a separate, higher and bigger living organism." A perfect fit for the Sacred Bones roster, this is one of the better new psychedelic albums we've heard in a while. [ACo]






Mystical Weapons

"Gilbert Releases His Pet Salamander into the Wild"

This collaborative instrumental project of Sean Lennon and Greg Saunier may not be quite what you expected if you are a fan of both or either of these talented players, but really, what exactly were you expecting? Lennon was, of course, born as rock & roll royalty, but he's used his birthright to explore an eclectic array of sounds, from the bright spotlight of major label pop to a behind-the-curtain role as a sideman in a variety of interesting arty bands, and more recently his understated folk-pop project the Ghost of a Saber Tooth Tiger, with girlfriend Charlotte Kemp Muhl. For close to two decades, Greg Saunier has been the drummer for Deerhoof, and that SF group's sound is eclectic and varied enough to encompass just about anything. As Mystical Weapons, the duo has made an engaging and enjoyable album of leftfield prog rock, a set of largely improvised short pieces, layering keyboards, electronics, mallet instruments and guitars in a stream-of-consciousness set that can be soulful, explosive, and everything in between. Saunier's in-the-pocket rhythms hold this thing together, giving the sessions a wonderful classic Krautrock vibe that synthesizes the varied sounds that percolate through the album, but it succeeds on the numerous strengths of these two talented players. [JM]






First Step Beyond
(Numero Group)

The latest offering from the folks at Numero is a forgotten Chicago hard rock band from the mid-1970s, and the first thing you notice is that it comes housed in a stunning faux black velvet sleeve that has a foreboding pentagram embossed in deep blood red and shiny gold. It is the kind of sleeve that jumps out at you from across the room and commands you to pick it up so you can feel the vibes -- and the vibes are heavy! It's a big set up even before you get the record on a turntable, but thankfully Medusa deliver the goods with a great mix of Sabbathy songs, and longer jams that show a distinct debt to the more adventurous psychedelic underground stylings of Amon Düül II or Hawkwind. It sounds great now but it is probably not the sort of stuff that went over well in the cover song fixated bar circuit of the 1970s. The only thing lacking is a bit of back story, but I bet it goes something like this: hard rock loving misfits form a band and collectively beat their head against a wall of indifference. They make a recording of their songs that, after the group's break up, sits in a basement for almost 40 years... and the vibes are still heavy! [DMa]




$21.99 LP


Over There...and Over Here
(Paradise of Bachelors)

"Over the Edge"

The Paradise of Bachelors imprint has turned up an absolutely fascinating record here, a 1983 D.I.Y. concept album that across its nine songs charts the experience of former Navy fighter pilot Ed Bankston and his fellow comrades in Vietnam ten years earlier. Originally only offered for sale via mail order from an advertisement placed in Soldier of Fortune magazine, it's at long last getting some well-deserved exposure. I must say it's a truly singular and compelling listening experience, with songs such as "Soldier of Fortune," "Firefight," "The Dark & Bloody Road," "Body Bag" and "Over the Edge" never shying away from describing the vagaries of war. The album began gestating in 1973, not long after Banskston had returned home from serving on the USS Kitty Hawk, and it's hard to emphasize how viscerally and unflinchingly he puts across his impressions and stories from a decade earlier. For instance, take "Vietnam Blues," which initially comes on like a light-hearted blues number, yet within the first thirty seconds contains the line "Been down in Vietnam/180 days/He been down in Vietnam/Burning babies for his pay." Strange to think that an album that comes on like some strange amalgamation of Waylon Jennings and the Meat Puppets could so successfully impart such a multi-sided impression of the physical and psychological impact of the war experience, and yet it does. Over There... and Over Here, I don't think there has ever been another record quite like this -- and in all honestly I hope there never will be. [MK]

The label and artist shall be donating a share of the proceeds from the sale of this reissue to a veteran's charity organization.




$14.99 LP


Country Sleep
(Dead Oceans)

"Cherry Blossoms"

Listening to this debut full-length from Night Beds, it's easy to get lost in the hushed world of 23-year-old Winston Yellen. Recorded in Hendersonville, Tennessee (in a home once owned by Johnny Cash), the album is spare and atmospheric, dreamy roots music that explores timeless country pop themes and sounds while drawing on current indie icons like Bon Iver and Fleet Foxes, yet it still stands out on the strength of Yellen's deeply affecting melancholy vocals sung over slide guitar and lush, pillow-y drums. Record opener "Faithful Heights" is an invitation: "When the sorrow comes/And you don't know why/Climb into my arms." The songs that follow continue to be sincerely personal as he explores the raw vulnerabilities of loneliness and relationships that, although they don't fill that void, still feel necessary. Yellen's world is populated by people yearning to be understood but seemingly incapable of making connections; in "Ramona," Country Sleep's most upbeat track, he sighs, "Everyone's singing/Why do we feel so alone?"

Although "Ramona" is a well-crafted pop song, Yellen really excels when he slows it down and peels back the layers. His sparsest tracks feel the most honest and exciting, like on the gorgeous "Even If We Try," which begins with only his trembling a cappella, and reveals a complexity of songwriting not expected from someone so young. At times Yellen's quiet guitar sounds listless, his voice defeated, but there's a hopefulness lurking. On "Borrowed Time," he suggests, "Go on sing your part/And we'll see this through/And maybe, maybe it might move you." Night Beds is a perfect addition to the Dean Oceans roster alongside fellow label-mates Bowerbirds, Akron/Family and the Tallest Man on Earth. Also, suggested for fans of M. Ward, Cave Singers and later Mark Kozelek, this is one of the more refined debuts we've heard in some time. [KB]




$13.99 CD
$13.99 LP


(Carrot Top)


It's been a few years since we heard from this hazy Chicago roots pop project, but life is as it ever was up on Speck Mountain. Marie-Claire Balabanian fronts the band with warm, husky vocals and languid melodies that draw on the classic dreaminess of Mazzy Star and Cowboy Junkies (and as such, the group shares more than a few tricks with Brooklyn's own Widowspeak) without becoming a rote imitator. And while her upfront vocals are generally the most engaging aspect of these productions, Karl Briedrick's guitars create lovely textures throughout, and the winding rhythms and woozy organ find unusual depth in the album's lazy tempos. At times, though, it feels like the band may be holding back -- I would love to follow one or two of these haunting tracks into the ether of a swirling space-rock blowout, but perhaps they are saving it for the stage. It's loose, while it never really let's loose, and yet Badwater aims for the heart, and generally finds it. [JM]




$19.99 LPx2


Cassette Pets
(Dark Entries)

The New Jersey rhythmic industrial duo Smersh was a dedicated group. Releasing over 30 cassettes from their basement throughout the 1980s and into the '90s, the band followed a strict MO: they never played live, and they recorded tracks only once, never to be touched again. While their method may have kept them tucked away in obscurity, Smersh's brand of noisy, house-inflected analog industrial music makes them one of the most critically underrated American D.I.Y. electronic groups of the '80s.

Dark Entries' career retrospective Cassette Pets compiles some of Smersh's best material across two LPs, showcasing their progression from early industrial machismo toward their own take on the burgeoning electronic dance culture of the early-1990s. The tracks here are hard, rhythmic, muscular, and touch on everything from Belgian electronic body music, European cold wave, and classic Wax Trax industrial, to dirty Chicago house and dark Detroit proto-techno. Yet, while Smersh wore their influences on their sleeves, they filtered these inspirations through the gritty lens of their New Jersey basement -- songs are shouted, not sung and their lo-fi set up keeps their sound raw and intense, as if they were pushing their equipment as close to its breaking point as possible. This is easily one of Dark Entries' best and most essential reissues for fans of the harder edges of the early-'80s underground. [CPa]




$24.99 LPx2 w/CD




It's the sixth album in 16 years for this Viennese duo that pretty much defined the sound of smooth downtempo electronica. While this music may not sound quite as cutting-edge as it once did, you have to admire Richard Dorfmeister and Rupert Huber for sticking to their guns, and truth be told most of this new one is a good deal more satisfying and accomplished than "Chocolate Elvis" ever was. These guys are perfectionists, and it shows in everything they do.




$12.99 10"


(Magnetic South)

Haley Fohr takes us farther out on a 10" than most accomplished psych-noise-freaks can with a 12" or even a 15". It's hard to put words on music that speaks so loudly for itself, but Fohr, here leading a trio on a slow road to nowhere, dismantles Springsteen's "I'm on Fire," and a pair of similarly burning abstractions, on this fairly twisted vinyl. Hazy, dark, at times more than a little bit unsettling, this record unspools at its own unhurried pace, and when it's finished, you want to start all over again.



In the Flat Field


$16.99 LP


In the Flat Field


Two dark rock masterpieces are back in print on vinyl. Bauhaus' first full-length, 1980's In the Flat Field, contains some of the most menacing material from these godfathers of goth (who at heart were really just a sinister glam-rock band), moving from the pounding, overdriven one-two punch of "Dark Entries" and "Double Dare" to the spindly "Terror Couple Kill Colonel," and of course, the seering art-punk of "Stigmata Martyr." The following year, Mask would find Peter Murphy, Daniel Ash, David J and Kevin Haskins expanding the boundaries of their music without eschewing any of the brood; tracks like "Kick in the Eye" and "In Fear of Fear" bounce along elastic bass-driven grooves while the slow-creep of "Hollow Hills" and the title track are downright ominous.
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[KB] Kari Boston
[ACo] Anastasia Cohen
[DG] Daniel Givens
[GH] Gerald Hammill
[IQ] Mikey IQ Jones
[MK] Michael Klausman
[JM] Josh Madell
[DMa] Dave Martin
[CPa] Chris Pappas

- all of us at Other Music

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