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  July 11, 2013  
JUL Sun 14 Mon 15 Tues 16 Wed 17 Thurs 18 Fri 19 Sat 20

For the past several summers Other Music has been thrilled to collaborate with the Fort Greene Park Conservancy in programming a free music series in Brooklyn's oldest (and absolute coolest) park, and this Tuesday will inaugurate the 2013 season. Please join us on the Myrtle Lawn for a great night of Fort Greene soul with Bilal, supporting his excellent A Love Surreal LP from earlier this year, and Brooklyn's own DJ Spinna. And stay tuned for Red Baraat and Debo Band, coming July 30.

THE MYRTLE LAWN OF FORT GREENE PARK (enter Myrtle and N. Portland), Brooklyn

Anna von Hausswolff
Nude Beach
Shintaro Sakamoto
Daughn Gibson
DJ Sprinkles
Under the Influence Vol. 3
Demdike Stare
Nicholas Bullen
Congo Natty
Source Family DVD
Smith Westerns
Devo (Hardcore now on 2CD)
The Fall
All Tiny Creatures

Wolf Eyes


Hackamore Brick

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JUL Sun 07 Mon 08 Tues 09 Wed 10 Thurs 11 Fri 12 Sat 13

Julia Holter's Ekstasis was a staff and customer favorite last year, and with her new album, Loud City Song, due out next month on Domino, this enchanting and innovative talent will be returning to the Le Poisson Rouge stage tomorrow night, surely previewing some of her new material. We're giving away one pair of tickets -- just email enter@othermusic.com for your chance to win!

LE POISSON ROUGE: 158 Bleecker St. NYC

JUL Sun 07 Mon 08 Tues 09 Wed 10 Thurs 11 Fri 12 Sat 13
  Sun 14 Mon 15 Tues 16 Wed 17 Thurs 18 Fri 19 Sat 20

This Sunday, Dutch-born, Brooklyn-based composer and lutenist Jozef van Wissem is performing at Union Pool, with Noveller and Tom Carter also appearing on the bill, making for a truly captivating night of otherworldly and avant sounds. Other Music is giving away one pair of tickets and you can enter for your chance to win by emailing tickets@othermusic.com.

UNION POOL: 484 Union Ave. Williamsburg, Brooklyn
Tickets available here

Also not to be missed, this Saturday, Latin soul legend Joe Bataan (!!) will be headlining the FREE Summer Thunder series, which takes place every Saturday afternoon through early September in Union Pool's backyard. Also performing will be the Afro-Latin/calypso group Quitapenas and DJ Joel Stones from Tropicalia in Furs.

UNION POOL: 484 Union Ave. Williamsburg, Brooklyn

Other Music's summer Monday residency at New York City's Ace Hotel continues through to the end of August! During these next few 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 finally here. So mark your calendar: Other Music's Summer DJ Residency at Ace Hotel, every Monday in June, July and August. Here's the schedule:

7/15 - Pam Garavano-Coolbaugh & Michael Stasiak
7/22 - Andreas Knutsen
7/29 - Scott Mou
8/05 - Amanda Chouette
8/12 - Chris Pappas
8/19 - Ryan Naideau
8/26- Ning Nong

ACE HOTEL: 20 W. 29th St. NYC
8:00pm to Midnight | Facebook Event Page





$15.99 LPx2+MP3


(Other Music Recording Co.)

"Mountains Crave"
"Liturgy of Flight"

We are very proud to present the newest full-length release on the Other Music Recording Co. imprint, Anna von Hausswolff's Ceremony, a record that truly captivated us late last year when it was initially available as an import via Kning Disk. The epic, majestic album is a gorgeous suite of songs written in tribute to this Swedish singer/composer's deceased grandfather, and its arrangements are centered around the sound of a massive pipe organ, with its rich, resonant tones recorded in a Gothenburg church similar to the ones she herself once sang in as a child. Anna's songwriting echoes the widescreen emotional vistas and intimate lyricism of artists like Kate Bush and Julia Holter, and she sings these songs in a powerfully assured delivery as percussion, intricate guitar lines, and additional piano and keyboard work intertwine themselves through the velvet tones of the organ. I haven't heard an album use the church organ so effectively and appropriately since Scott Walker's massive, epic Tilt, and while von Hausswolff's record does at times echo similar emotional distress, her songs are decidedly less oblique and more ambitious in their outlook. Altogether, it's a unique piece of work, quite unlike anything else that's been released in recent memory, and while there are certainly enough similarities to the recent crop of somewhat gothic songstresses like Zola Jesus and Austra (not to mention PJ Harvey's excellent, underrated White Chalk album), Ceremony is, to my ears, a decidedly more mature and accomplished work than those of her peers; she's without question an artist on whom we all should be keeping close watch. That she so deftly combines the experimental background of her father CM von Hausswolff's work with a clear talent for accessible pop songwriting makes her one of the most startling and satisfying new talents we've heard in some time. This album is a breath of fresh air; breathe it in as deeply as is possible. [IQ]




$5.99 45

What Can Ya Do
(Other Music Recording Co.)

"What Can Ya Do"

The first new songs we've heard from Other Music Recording Co.'s Nude Beach since their power-pop masterpiece, II, from last year, and if you spin this once we're betting that you will be as psyched as we are! This is ostensibly a tour single to drum up support for a string of US dates this summer and early fall, but the tracks show a newfound depth from the band; the strutting rock and roll of A-side "What Can Ya Do" delivers a raw-throated wallop, and the gently finger-picked melancholy of "I'm Giving Up" on the flip shows a countrified dreaminess we have not heard before from Nude Beach. Great cover drawing, big hole, limited vinyl-only 7", this thing rules. [JM]





Don't Know What's Normal
(Other Music Recording Co.)

"From the Dead"

Shintaro Sakamoto returns with the first taste of new tunes since his excellent How to Live with a Phantom full-length (also available on Other Music Recording Co.), and damn, these songs are killer! This 7" picks up on the mellow tropical funk of the album but with the tempo increased a bit, making for some tasty Balearic dancefloor beats. A-side "Don't Know What's Normal" was originally written to be the closing theme music for the Japanese prime-time TV series Mahoro Ekimae Bangaichi, and its percolating congas, gentle piano chords, and deep, melodic bass anchor one of the most beautiful, melancholic melodies Sakamoto's ever penned, while his guitar lifts up the beat with subtle chicken-scratch licks and a lovely solo. It's a fantastic tune for the walk home from a night out, but it's the B-side that's really been killing me softly as of recent. "From the Dead" takes a similar musical framework and opens up a bit of dub space on the disco floor, with Sakamoto's smooth falsetto dancing alongside the conga-led beat as minimal, Monkish piano chords, bursts of brass and bass, and a grunting cuica all pop in and out of the mix with a delay effect chasing it all around. This tune is easily his funkiest, most dancefloor-friendly song yet, and it's an absolute jam. (It also has one of my favorite music videos of recent vintage... check it out.) If Sakamoto's album won you over with its smooth, funky, multi-culti charms, this will sink its 7" teeth into you and never let go. This man can seriously do NO wrong in my book, and he soundtracks a summer like no other. It's arguably my favorite single of the year. [IQ]




$14.99 CD
$22.99 LPx2



"Heartbreaks + Setbacks"

Stephen "Thundercat" Bruner is a key member of the Brainfeeder label family, and through his work with Erykah Badu, Shafiq, and most notably, Flying Lotus, his cosmically funky playing, smooth vocals, and sharp songwriting have plunged into the undercurrent of modern R&B. Following his solo debut, The Golden Age of Apocalypse, Thundercat returns with a new album of jazz-infused electronic soul. Where his debut seemed like a jammy ode to the jazz-funk fusion of George Duke and Roy Ayers, the follow-up is more focused on his voice, and with great playing and overall more structured songs, it's a mellow yet elegant suite dedicated to the untimely passing of fellow Brainfeeder artist Austin Peralta. Peralta, much like Bruner, lived more behind the scenes within the Flying Lotus world, and his songwriting and playing are also woven throughout both Cosmograma and Until the Quiet Comes. Apocalypse feels like an extension of those albums, but with Bruner's vocals as the emotional center. Executive produced by FlyLo, the sense of urgency, heartfelt emotion, pain, intimacy, and release are all explored in a series of passionately performed songs that present the yin and yang of loving and losing, in and out of this world. Much like '70s Stevie Wonder, Bruner intricately weaves acoustic instruments with electronics into a subtle melodic tapestry of soulful thoughts. Though I liked his debut, this set of material feels more focused and intimate, deeper and richer, which can happen to an artist with the passing of a friend. It's not all sad-guy soul though, and standout track "Oh Sheit It's X" feels like a modern Earth Wind & Fire roller-skating gem that could rival "Get Lucky" for summer jam of 2013. Beautiful album, beautiful spirit, with beat-filled soul, bass-ful thoughts, and real passion. Good stuff all around. [DG]




$13.99 CD
$15.99 LP+MP3


Me Moan
(Sub Pop)

"The Sound of Law"
"The Pisgee Nest"

Daughn Gibson's debut album, All Hell, was a surprise sleeper hit here at Other Music, a record that seemingly popped up from the ether and grabbed firm hold of the attention of many of the staff; its brilliant combination of desolate road-weary western balladry and minimal sample-and-beat electronics was so clever and brilliant that it was a surprise that no one had managed to pull it off sooner. Its underground release caused a bidding frenzy amongst the independent label community, and Sub Pop emerged victorious; one year later, they release his sophomore effort, Me Moan, and its clear from opener "The Sound of Law" that this is a much more epic affair.

Me Moan takes the shadowed, dusty atmospheres of All Hell and blows them the hell up, going from Super 8 to widescreen Panavision thanks to a clearer, less muddied production, and a more ambitious arrangement of instrumentalists. The rhythms and sample textures snap and bounce with a deeper groove, and the guitars, cello, and horns are used in a more cinematic scale, oft bringing deeper emotion and accompaniment. Seldom do the instrumental arrangements merely sound as though they're backing tracks; instead, they complement and color the stories Gibson tells of loners, creeps, and losers throughout. He sounds throughout like Johnny Cash high on purple drank, sippin', spinnin', and twangin', and his beatmaking prowess has improved considerably since All Hell's somewhat rough-edged collages. It's altogether a strong step forward for his unique sound, with little sophomore slump to be found. All Hell was one of my favorite albums of 2012, and with Me Moan, Gibson looks to be earning himself a firm place on my list this year as well. This stellar slice of urban country noir gets my highest recommendation. [IQ]




$23.99 CDx2

Queerifications & Ruins: Collected Remixes by DJ Sprinkles
(Mule Musiq)

"Food of Love (Sprinkles' Dubarama)"
"Exhalation (DJ Sprinkles' Deep Breath Mix)"

Following the much-acclaimed DJ mix (and Other Music in-store favorite) Where Dancefloors Stand Still from earlier this year, DJ Sprinkles, a/k/a Terre Thaemlitz, returns with an incredible two-disc collection of remixes produced since the release of her acclaimed Midtown 120 Blues in 2009. All done in Sprinkles' signature style, these remixes are deep (and I do mean deep), dubbed-out, and sensual -- full of thick, bubbling bass lines, dreamy textures, echoing vocal samples, and jazzy overlays that groove just as well for a green-hazed headphone listen as for the dance floor.

Less remixes and more like full-on reconstructions, Thaemlitz reconfigures tracks from the likes of Italian house heavyweights Hard Ton, Scanner & Pete Lockett's downtempo project Parallax Beat Brothers, fellow Mule Musiq artists Adultnapper and Kuniyuki, on down to Pitchfork indie darlings Ducktails (turning the gentle electro-pop of "Letter of Intent" into a gorgeous, swirling jazz-house anthem full of breezy flute solos, heavy bass beats, and disembodied vocals). Much like Midtown 120 Blues, Thaemlitz's gift for articulating vulnerability and seemingly conflicting emotions into his productions is in full force here -- there is an undeniable swing and joie de vivre to these tracks, but a closer listen reveals a hidden melancholy and raw humanness that, at least in my opinion, sets DJ Sprinkles apart from most artists working in any genre these days. This is essential listening for anyone interested in contemporary house or underground dance music, as Thaemlitz's approach is so singular and 100% spot on. And with most of these tracks clocking in well over the ten-minute mark, you know this is gonna be some heady, blissed-out stuff. Another next level release from DJ Sprinkles, and my highest recommendation for all you house heads or anyone interested in discovering the more intelligent varieties of dance music out there. [CPa]





Under the Influence Vol. 3: A Collection of Rare Soul and Disco Compiled by James Glass
(Z Records)

"Do the Beat" Sweet Talks
"Squivatch" Magnum

For the past few years, the Under the Influence series has been featuring finely selected tracks by crate-digging DJs, and exploring some of the best gems in 'rare soul and disco'. After a successful run with the first two volumes, Z Records presents the third installment, this time compiled by James Glass. The British-born Glass is a life-long collector and record dealer who first discovered music through punk and new wave, and soon developed a taste for soul, jazz, and disco, and eventually expanded his influences after experiencing the vibrant underground dance scene of 1980s New York City. Later he helped define the eclectic '90s club scene after his move to San Francisco.

In this collection, Glass explores the boogie era of the late '70s and early '80s, starting off with Broken Glass' soulfully indulgent funk single "Rather You Than Me," making this a groovy introduction to the following 23 tracks. It's an ace opener for a compilation that later blends in Afro-funk, rootsy-disco, splashes of post punk, and left-field disco. Notably, we hear a take on People's Choice's disco-funk classic "Do It Any Way You Wanna," where Harold Butler creates his own mellow disco-reggae version ("Do It Anyday"), replacing male vocals with lush female crooning, accompanied by joyful keyboards and sharp groovy beats. The hypnotic quality of Doug Heam Blunt's "Gentle Persuasion" is groovy and mesmerizing, whilst the Electric Chairs' "So Many Ways" is a post-punk/no-wave ditty which echoes the Flying Lizards (no surprise -- David Cunningham produced the track). Thus, here we have acts that push the limits of rhythm and sound while staying strictly in the groove.

James Glass' own edit of Nadie La Fond's "Three Way Situation" is a perfect lead-in to Sweet Talk's "Do the Beat," a bongo-fueled catchy dance-floor filler integrating disco, funk, and Afrobeat. Other highlights include Jimmy Roma's orchestral space disco "Beyond the Galaxy," Popcorn's "Song for You" (is there such thing as twee-funk?), Robbie Cee's blissful instrumental "Beautiful People," and Batiste Brothers Band's jazzy "Never Leave You Baby." Under the Influence Vol. 3 is tastefully arranged, truly danceable, and probably the best in the series so far, making for a splendid summer soundtrack. [ACo]




$17.99 12"

Testpressing #003
(Modern Love)

The third release in Demdike Stare's Testpressing 12" series might just be the best, most brutal one yet. Where the previous offerings dabbled in hardcore/junglist mentalities, this one sees the duo cooking with the ingredients of early Chicago house and techno. "Eulogy" thumps like a lost Trax Records anthem, its nonchalant but deep throb offset by subtle arpeggiating synth spirals and fluttering chords. Its epic flipside, "Dyslogy," drones ominously for three minutes before a killer, brittle barrage of slapping and clapping jacking beats swarms in and ups the tempo considerably. These are easily some of the duo's best cuts, and are highly recommended not only to fans of the group's previous work, but of the more outre corners of house and techno grooves as well. for the world around you to vet it, a record like American Specialties ought to do it. [IQ]




$21.99 LP

Component Fixations

It's been quite a journey for Nicholas Bullen, one of the founders of the legendary grindcore outfit Napalm Death. He left that band at the height of their fame 25 years ago and since then has been a pioneering force in England's experimental scene, fronting a number of projects pushing the boundaries of noise and electronica. The Type label has now released his first true solo LP, Component Fixations, an album that's been reportedly in the works for many years. Right away we can see why. This is a dense, complex work, meticulously constructed with many fine and unexpected details. Featuring two side-long tracks, Component Fixations is reminiscent of a classic 1960s electronic record, recalling Stockhausen and Xenakis at times. All the sounds originated from Bullen's house and garden and were processed through tape and computers, giving the album a warm, organic feel. The two-part "Element Configuration" opens with jarring blasts of noise and Autechre-like slices of glitches and snaps before settling down into more lush, ambient territory. It climaxes with a lovely mix of water sounds. "Signal Filament Extensions" is more drone-oriented, high-pitched but before monotony sets in, Bullen adds an array of exotic sounds that bring the album to an exciting close. The music here is alive and teeming with life; it's the finest the genre offers. We're unlikely to hear many experimental records in 2013 better than Component Fixations, a vinyl-only release featuring gorgeous artwork as well. [JBr]




$22.99 LPx2


Jungle Revolution
(Big Dada)

"UK Allstars (Congo Natty Meets Benny Page Mix)"
"Jungle Is I and I (Congo Natty Meets Vital Elements Mix)"

During jungle's heyday of the mid '90s, a Bristol-based Dread by the name of Michael West (a/k/a Congo Natty, Rebel MC, Conquering Lion, etc.) ran a great label -- also called Congo Natty -- which always highlighted the importance of Jamaican sounds to the British scene. The stable of artists ran in circles with Massive Attack, Tricky, and Smith & Mighty, but unlike their pop-chart-climbing pals, these guys thrived in the rave underground, and fused a strong love and understanding of both jungle and dub sound system aesthetics with Rastafarian beliefs and strong political and spiritual lyrics. Congo Natty released vinyl-only singles and a few compilations before all but disappearing by the end of the century, but tracks would eventually begin to reappear on Soul Jazz's Rumble in the Jungle and Dub Echoes compilations, and Congo Natty the man has continued to produce and DJ under various aliases for the last decade, However, it's not until now that an official Congo Natty album has been released, thanks to Big Dada.

This record features all new material that combines the jungle rhythms and sounds of the past with modern technology, keeping in mind the sonic advances that have happened in dancehall, dubstep and hip-hop. Jungle Revolution is a throwback too, a timely addition for the "where's the drop" generation of bass music listeners. Congo Natty uses his skills well, offering songs that often shift rhythms throughout, one minute Augustus Pablo styled digi-dub, and then the next, flag-waving, triple-time bouncing beats and warped bass lines -- call it brethren-step if you will. The album is vocal heavy with a mixture of male and female singers, rappers, and toasters -- I miss this sound, and the energy can't be beat. While Zomby presented a dark and refined, high-art loner version of jungle on his recent With Love, Congo Natty, on the flip, presents the gritty, grassroots, tears, blood, sunshine, good vibes, one-world side of the story. For those that also long for the fusion of organic Jamaican flavor with synthetic British rhythms, this is a nice and welcome surprise. Fans of the energy and cyber-carnival aspects of Major Lazer, modern dancehall, or the heavier side of dubstep, Congo Natty is where it's at, and has always been. Where were you in 1992? [DG]




$15.99 DVD


The Source Family
(Drag City)

The Western notion of God lost its primacy during the Renaissance, but often enough the 1960s gets credit for sending folks on spiritual quests far afield from the circum-Atlantic standard. Maria Demopoulos and Jodi Wille's fantastic and illuminating documentary on one such young American group of religious seekers does tell a story about the rock-rollin' sixties and the terrestrial paradise most associated with their Movement -- California. Still, the Los Angeles-based Source Family and their iconic leader, Jim Baker / YaHoWha / Father Yod who sought to transcend the mindset and mores of the "Greatest Generation" that spawned him, ultimately display themselves to be far more than the Flower Power Freaks much extant press on their famous communal lifestyle, vegetarianism, Eastern-inspired philosophies, and Grail-like vinyl output suggests. The (legally named) Aquarian sisters and brothers of this early postwar generation were (and are) an inextricable, brave part of a long and complex American tradition of occultism stretching back well before Black Herman's magic, Joseph Smith's spell in upstate New York's woods, and Estevanico's conjure of Kel Asuf across what later became the Southwest. Mysticism is the rule not the exception in our society, part of the very core of our nation's history, and the robed acolytes of YaHoWha co-exist along the turbulent continuum between the lost Kemet-centered Republic of New Afrika and the Mormons of "Deseret."

Those whose prurience derives from half-recollected Sunset Strip anecdotes, the celebrity of Baker's restaurant empire, and the confessions of disgruntled believers who abandoned the Aquarian Age when Jonestown and Reagan's ascendancy tarnished their youthful quest will likely perceive this film through the lenses of Father Yod's troubled past, filmed live births, and the burdens that polyamorous practice placed on some of the Source sisterhood. They would be missing the rich lessons about spirituality and the nature of being human in an alienating age of mechanical reproduction that are the film's true revelation. Remember, charismatic (or is that corrupt?) leadership, enforced polygamy, sex magick, drug use, and sometimes problematic rituals were endemic to such quasi-utopian, intentional communities as the Sing Sing "kingdom/family" of Matthias that Sojourner Truth belonged to. In contemporary Los Angeles and enlightened satellites, Family members like YaHoWha 13 band veteran Djin Aquarian and Muselist-runner Electricity Aquarian are sought out for their well-earned wisdom and the abiding integrity of the Source's legacy.

Treasure and hunt the rare Ya Ho Wha 13, Children of the Sixth Root Race, and the Spirit of 76 vinyl (plus Drag City's reissues of their psychedelic, free music), yet take away from The Source Family deep insight into our ongoing collective experience of processing which elements we disavow (ritual sacrifice, child exploitation) or embrace (yoga, ouija) on our journey to the heart of perpetually Weird America. Born on the 4th of July, Father Yod was genuinely possessed of some Light worth sharing everywhere. [KCH]




$24.99 LP

Round the Edges
(Machu Picchu)

Perhaps no record defines the collector/private press conundrum more than Dark's Round the Edges, an album whose considerable scarcity (only 50 acetates of the 1971 LP were ever made available, making it comfortably one of the rarest hard rock/psych records in existence) and advanced, focused mode of play precede its reputation over how well-known the group was, or whom they ever performed with. Young kids at the time, including guitarist Martin Weaver, then (barely) known for his role in the band Wicked Lady, whose reissues have been burning up heads all throughout the previous year, Dark played riff-heavy, lengthy music that fused West Coast garage-psych with progressive leanings, but did so aggressively enough that Round the Edges stands as one of the first records that would predict metal in the NWOBHM sense to ascend in British rock later on in the decade. It's a mesmerizing work that was rediscovered and reissued in the '90s, and Macchu Picchu's edition brings it to a new generation of rockers. [DM]




$15.99 LP+CD

Soft Will
(Mom + Pop)

"Imagine Pt.3"
"End of the Night"

In 2009, these kids from Chicago wooed indie-poppers with their cheerful, fuzzy debut, channeling Bolan and Bowie by combining elements of glam rock and bratty lo-fi garage, with raw vocals layered just below the guitars. Two years later, their follow up, Dye It Blonde, saw Smith Westerns polishing the production with much clearer singing and shiny pop tunes. Now with their latest venture, Soft Will, the band continues this evolution and dives deep into dreamy waters, shaves off the fuzz, and delivers nostalgic lyrics of a distant youth that they've left behind (they are all in their early 20s). They've also ditched most of the glam references, and instead look to the influences of 1990s Brit-poppers and Big Star-esque power pop from a few decades earlier, adding lots of sweet summery elements to their newfound slickness. It's a pleasure to hear the clarity in singer Max Kakacek's voice, and now that he's shed layers of the underwater fuzz effects, we actually find a talented lyricist and crooner. At times reminiscent of Sean Lennon's best work, Kakacek blissfully recalls chain smoking on lazy afternoons, spending time with someone special, and other topics of youthful carefree days. Now even with this clean approach, Smith Westerns haven't eschewed their jangly and murmuring guitars, and it all makes for ten optimistic songs of pure catchy sweetness to soundtrack your summer with, whether you're taking a road trip down the coast or relaxing with a glass of lemonade in the park. [ACo]




$22.99 LPx2+MP3


Modern Worship
(True Panther)

"Diamond Islands"
"Dime Piece"

Bristol-based DJ David Corney, a/k/a Hyetal, kicks off his second LP with an ominous but groovy synth-pop loop, supported by a simple drumbeat. "Forefathers" thus opens the gates to the forward-moving and bouncy electronica that Corney masterfully creates on Modern Worship. Whereas Hyetal's debut album, 2011's Broadcast, utilized '80s synthesizers to form a glossy and futuristic aura fit for clubs, Worship feels greater intentioned and full, with a handful of tracks that progressively expand into multi-faceted masterpieces. The songs all drive forward, generally beginning small with a drum loop and seething synths and reaching a state of flashy nirvana towards the end. On cuts like "The City Is Ours" and "1000 Lights," featured vocalist Alison Garner adds a new layer of depth to Hyetal's sound, with generally incomprehensible and breathy lyrics that act as an extra instrument in the songs' production. The real standouts, however, are the tracks that feature the spooky, crooning and beautiful but also incomprehensible vocals of UK singer Gwilym Gold -- check the forlorn "Left," where Gold's moody tones mesh with Hyetal's production flawlessly. Elsewhere, instrumentals like "Lovers" thrive mostly on staccato keyboard jabs and deep drum sample shine. Although Hyetal's upbeat rhythms and groovy synths have found a home on the dancefloor with past hits like 2010's "Phoenix," Modern Worship can be enjoyed in a club setting just as much as with headphones due to its elegant but accessible melodies. On the whole, the record sounds like the background to a sophisticated '80s Atari game, infused with hints of witchy and ambient textures, to shape a truly captivating group of twinkling songs. [MM]




$21.99 CDx2


Vol. 1
$19.99 LP


Vol. 2
$25.99 LPx2


(Superior Viaduct)

"Soo Bawls"
"Booji Boy's Funeral"
"I Need a Chick"

Now available as a two CD-set. RED ALERT! Devo's basement demos were comped for release by Rykodisc back in 1990 and 1991. Hardcore Devo captured the quintessential American musical art/commerce clash in its infancy, back when there were three Mothersbaugh brothers involved in the band, and no one had heard or seen anything like what they were creating, in veritable anonymity, in an Akron, Ohio basement. Covering the years 1974 through 1977, leading up to their early singles and well before major labels took interest, these archival offerings showcase Devo fully formed, with no lack of confidence or originality impeding their progress. It's difficult to express how incredible and enlightening these records are. They made a huge impact on me about 20 years ago and their reputation has only improved in the intervening decades. Homemade effects, tape loops, hot-rodded instruments, build-it-yourself synthesizers and ring modulators standing in for vocoders helped the members of Devo to achieve their vision (as would the early promotional films and features the band generated in these days, the music to which can be heard on these releases), and their sensibilities of warping pop music and broadcast media culture resulted in some of the most accessible weirdness you could hope to discover. They get crass ("I Need a Chick," "The Rope Song"), they get robotic ("Mechanical Man"), they get in your head ("A Plan for U," "Bottled Up"). Their early triumphs -- "Jocko Homo," their astounding cover of "(I Can't Get No) Satisfaction" -- are all realized here in full, years before they'd begin to enter the public consciousness via MTV and television appearances that made the group somewhat of a household name. Vol. 1 was only available on vinyl in France, and the second volume never was; the estimable postpunk reissue label Superior Viaduct brings both of them back to their glory, and tacks on four previously unreleased tracks. Imagine what you could do if time and money and resources weren't an issue, yet you didn't need a lot of capital to realize your ideal form of art. That's what Devo did. Essential listening. [DM]






The Inheritors
(Border Community)

"The Inheritors"

James Holden's The Inheritors is a wonderful suite of pieces built upon analogue and modular synth workouts that are crafted into hypnotic, disorienting meditations that reference at various points everything from Steve Reich and Aphex Twin to Pagan rituals and the KLF's epochal Chill Out album. It's without question one of the year's most deeply startling and intriguing electronic releases, and one which brings synthesis out of chin-stroking academia, back into the mind-expanding psychedelic territory where it so rightly belongs.




$15.99 CD


(Cherry Red)

"Kinder of Spine"

Album number 30 (or so) from the Fall, which features the same line-up of players who've been backing up Mark E. Smith for a record-setting six years in the group's almost four-decades-long history. Coming off the ramshackle (even for the Fall) Eratz GB from 2010, there's a better sense of purpose here and the curmudgeonly Smith seems to be having a good time while ranting about airports, spiders, and even taking a dig at LCD Soundsystem -- "James Murphy is their chief/They show their bollocks when they eat" -- in between his unintelligible grunts and growls.




$13.99 10"

Secret EP
(Joyful Noise)

The iconic group who helped make "lo-fi" a professionally acceptable sonic descriptor have returned with their first new recordings in thirteen years. Lou Barlow and Jason Lowenstein deliver five great songs on a limited edition 10" in anticipation of the forthcoming album Defend Yourself, each filled with yearning sentiments, sharp hooks, and a rough, fuzzy bounce that reasserts their reputation as prime arbiters of heartfelt, noisy indie rock.






Dark Clock

"Chase Lights"

The second album by Wisconsin band (and Volcano Choir members) All Tiny Creatures fuses jangling, psychedelic indie pop with a shiny coat of new wave synth and the sparkling glimmer of machinery. Filled with buzzing synthesizers, snapping beats, and a buoyant harmonic energy that lands somewhere between Animal Collective and Of Montreal, these songs are bright, upbeat, and ready for summer.







"Latch" feat. Sam Smith
"Grab Her"

Definitely one of the most anticipated releases from the UK this year comes from these Internet darlings, the young Lawrence brothers, Guy (age 21) and Howard (18), b/k/a Disclosure. Sometime during 2010, they began releasing singles on Moshi Moshi and Joe Hot Chip's Greco-Roman label, but it wasn't until they found their way to London-based powerhouse PMR (also home to Julio Bashmore and Jessie Ware) that their skills started to reach high-octane levels. It's been hard to avoid the glowing press on their growing-up-in-public stream of releases over the last couple of years; their first recordings had a sort of post-James Blake cut-up R&B aesthetic that also referenced New Jersey house as well as UK garage, 2-step, and a nod to the oh-so-current dubstep/house fusion. But from their earliest MySpace days, the bros have created a signature style and sound that's all their own, evolving into a finely tuned, lean and tight dance-pop machine.

Disclosure's debut album, Settle, is a young, fresh collection of up-to-the-minute bassy, bouncing dance-pop songs. Disclosure's sound simultaneously feels new and old, in a similar way that Daft Punk are attempting to give dance music songwriting a 'quality over quantity' re-boot. It nods to history, yet Settle is the sound of young imaginations 'remembering' the 1990s that they never lived through, not dance music elders reminiscing about a 'golden era' of disco, house, techno, or whatever was cutting-edge back in their day. The album is a non-stop, up-to-date, shiny, polished, feel-good collection of top quality songs that balance classic and new, and their cut-up past with their pop present. The Lawrence charm seems to be in the brothers' ability to trim the fat, so to speak, and give you all the elements that make their music universally accessible and undeniably catchy, as well as bringing in the crème of contemporary British vocalists to get the job done, via perfect cameos from Jessie Ware, Aluna Francis (AlunaGeorge), Jamie Woon, Ed Macfarlane (Friendly Fires), Sam Smith, and Eliza Doolittle, alongside a few others. With the diversity of young voices each song is given a fresh perspective and on-point energy and spirit, with the producers giving them quality material to work with, and co-writing with their collaborators as opposed to just dumping them on top of a readymade track. But a standout actually comes from Howard Lawrence's own soulful vocals on "F For You" (the 'F' turns out to stand for fool). Alongside many full-on vocal moments, the Lawrence bros have fun with vocal cut-ups, sampling Kelis, Slum Village, Lianne La Havas, and Eric Thomas, giving the album a balanced and steady sequence with varied high points throughout.

This is music to make you happy, dance, sing along, and enjoy with no ironic bent, highbrow attitude, or moody abstractions -- just good songs, with great vocalists, fresh production and thoughtful album sequencing. It's been awhile since a debut record this self-assured and solid has reached our shelves, in any category. Settle has the ability to reach beyond the dance world, yet its soul lies within this arena, and it fully integrates the two impulses, never sacrificing pop sensibilities for groove, or abandoning sharp, edgy production for pop. Those who have enjoyed releases and/or remixes from Totally Enormous Extinct Dinosaurs, Azari & III, SBTRKT, Basement Jaxxx, MJ Cole, Todd Terry, Skream, El-B, or any of the above, you need this! As a lover of the moments when pop and dance, underground and overground, lyrics and voice, production and groove all fit together into a swirl of sunshine, sweat, and good vibes, I have to say, this is where you'll find all that and more. Is it the crossover album of the year? I really think so. Big up to the '90s babies, best of the now school! [DG]




$12.99 CD

No Answer: Lower Floors
(De Stijl)

New album from Wolf Eyes, No Answer: Lower Floors finds these longstanding Michigan noiseniks taking a more focused and dare we say spatial approach to their squalling post-industrial experimentations, but without forsaking any of the sinister hallmarks of the earlier works in their dense catalog. While guitarist James Baljo joined the fold last year soon after Mike Connelly announced his departure, both Connelly and former member/co-founder Aaron Dilloway are back to contribute here, along with Wolf Eyes mainstays Nate Young and John Olson, making this new album the band's most vivid yet, where the primitive electronics, woodwinds, guitars, and rhythms are splayed out with a clear sense of purpose and intent, albeit the end results are always abstract, intense, heady, and nothing less than exhilarating.




$19.99 LP


Queen of the French Swinging Mademoiselle 1967
(Born Bad)

"Je T'ai Voulu Et Je T'ai Bien Eu"
"La Chanson Bete Et Mechante"

French pop fans, pay attention: this is ESSENTIAL LISTENING. Clothilde is renowned in collector circles as perhaps THE greatest of the '60s-era yé-yé girls, a legendary popette who recorded just a handful of singles and EPs before vanishing from the scene. While this wasn't really abnormal for many of the one-jam-wonders of the said scene, what made her disappearance so surprising was the real talent she possessed as a performer; her releases were often instilled with more maturity, more rhythm, and more psychedelic undertones combined than many of her contemporaries. Original copies of her records often fetch triple-digit prices amongst collectors, and while she's had a few of her songs appear on assorted yé-yé compilations over the years, it has taken until now to see a complete retrospective receive release. Thank the fine folks at Born Bad for this stellar collection of Clothilde's pop magic; both of her extended play records are here, as well as her one Italian single, and everything sounds as though it were mastered from either perfect copies of the records, or the tapes themselves. This ranks up there with Françoise Hardy's Vogue recordings, France Gall's early Philips sides with Gainsbourg, and Jacqueline Taïeb and Stella Zelcer's late period EPs as some of the finest yé-yé pop of its kind. The package also includes great, informative liner notes and some lovely photos; this release has been in the works for a LONG time, and it was well worth the wait. Faithful OM Update readers know how seriously and furiously I collect and praise this music, so take it from a fanatic such as myself... You need this. [IQ]





One Kiss Leads to Another
(Real Gone Music)

The Kama Sutra label was a hit factory for the Lovin' Spoonful until they became the sister label to Buddah Records, when a streak of non-commercial experimentalism relegated most of its output far away from the charts. Labelmates to awesomely cement-headed Brooklyn hard rock trio Dust, Michael Brown's post-Left Banke combo Stories, and a rocked-out and revitalized Flamin' Groovies, Williamsburg, Brooklyn's Hackamore Brick signed to the label and issued one album and a 45 in 1971 before vanishing into the cut-out bins. Whatever the public was looking for at the time, Hackamore Brick could not puzzle out. What they did manage to do, however, is become the first band to cite the Velvet Underground as a significant influence -- members of the group were said to have chaired the Venus in Furs Society, the official VU fan club, while the band was still active -- and, moreover, bridge their late-'60s Factory double-time chug with the searing, involved six-string search of Television and the Patti Smith Group in the mid-'70s, despite having only surface connections to either. (One could link Lenny Kaye to working with another Kama Sutra artist, Andy Zwerling, in this era, and both Zwerling and the Brick sharing Richard Robinson as a producer). If for no other reason, Hackamore Brick are a crucial band by virtue of the development of these sounds between generations and scenes.

But the record, man! Over the years, this thing has grown on me like no others of its kind or time. With the aforementioned VU influence in place, Hackamore Brick sought to burnish that group's amphetamine drone into a more accessible pop-rock framework, but instead added more touches of originality than could be expected, energized by warmth, struggle, and loss, and to say they accomplished this is an understatement. The guitar playing that became synonymous with Television is there right off the bat with "Reachin'," a heart-rending ballad that questions the ongoing battles in Vietnam with that of personal character, wondering if there was a man who could really brave the war and return spiritually intact. They chug along with Loaded intensity on the groovers "I Won't Be Around" and "Oh! Those Sweet Bananas," then double-back to an even greater height on "I Watched You Rhumba," and when that organ kicks in you won't be able to keep from nodding your head. Ever the classicists, their "Radio" is a love song to the medium -- and simultaneously a dead girlfriend ballad, the albatross of early-'60s doe-eyed pop (see J. Frank Wilson's "Last Kiss"). They cap the album off with "Zip Gun Woman," proto-punk that eclipses a similar sound the Modern Lovers would mine by a few years. Also included in this reissue is the impossible-to-find "Searchin'," a Jimmy Webb tune that only appeared as the B-side to the "Radio" single; this is as complete a picture of the band as has ever been made available.

It'll either click with you or it won't, but those who dig Hackamore Brick will be singing their praises for years to come. I've owned a copy of the original for years, and rarely does it get filed back on the shelf. Out of all the "lost" albums out there vying for your attention, this one is definitely more worth the chance than a lot of others. It has a strangely satisfying common touch and is executed so effortlessly, it'll sound like something you've been familiar with for a long time. [DM]
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[JBr] James Bradley
[ACo] Anastasia Cohen
[DG] Daniel Givens
[KCH] Kandia Crazy Horse
[IQ] Mikey IQ Jones
[JM] Josh Madell
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[DM] Doug Mosurock
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