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  June 6, 2013  
Jon Hopkins
Camera Obscura
Eleanor Friedberger
John Roberts
Future Bible Heroes
Queens of the Stone Age
Rinse 22: Mixed by Kode9
Laura Marling
When Saints Go Machine

Flashback Magazine No. 2 & 3
Wax Poetics Magazine No. 55


Joakim Skogsberg
Sigur Ros

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

This Friday, the Bunker returns to 12-turn-13 with digital-dub/techno purveyor Deadbeat playing one of his first American gigs in almost six years! Neel, who is perhaps best known for his acclaimed Voices from the Lake project with Donato Dozzy, will also be on the decks as well as Bunker resident Bryan Kasenic. Other Music is giving away two pairs of tickets to this great night, and to enter for your chance to win email enter@othermusic.com.

12-TURN-13: 172 Classon Ave. Brooklyn

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

Devendra Banhart comes to New York next Wednesday, June 12, performing at the city's historic Town Hall in support of his great, latest full-length, Mala. We're giving away one pair of tickets to this sold out show, as well as an autographed copy of his new LP! To enter for your chance to win, email tickets@othermusic.com and we'll notify the winner on Monday.

TOWN HALL: 123 W. 43rd St. NYC

JUN Sun 09 Mon 10 Tues 11 Wed 12 Thurs 13 Fri 14 Sat 15
  Sun 16 Mon 17 Tues 18 Wed 19 Thurs 20 Fri 21 Sat 22

The musical line-up at this year's Northside Festival is fantastic with a full range of artists like the Walkmen, Solange, Black Flag, Iceage, Lambchop, Pharmakon, Body/Head (Kim Gordon & Bill Nace), Swans, Jazz Butcher, Torche, Milk Music, Peanut Butter Wolf, Oneida with Rhys Chatham, Majical Cloudz, Son Volt, Chelsea Wolfe, White Fence, Sinkane, and Twin Sister being only a handful of the 350-plus acts that will be performing in venues and parks across Williamsburg and Greenpoint next week. Other Music has a pair of music badges to give away to one lucky Update subscriber and to enter for your chance to win, email giveaway@othermusic.com. View a full schedule of music performances and events here.

Purchase Festival Badges Here

Other Music's summer Monday residency at New York City's Ace Hotel kicked off earlier this week and goes 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:

6/10 - Ryan Naideau
6/17 - Chris Pappas
6/24 - Gerald Hammill
7/01 - Mikey IQ Jones
7/08 - Amanda Chouette
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- Pam Garavano-Coolbaugh & Michael Stasiak

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





$22.99 LP+MP3



"We Disappear"
"Open Eye Signal"

Jon Hopkins' newest full-length for Domino is one of very few must-hear electronic records thus far in 2013, and no doubt will be a summer classic; Hopkins' recorded output as a producer, composer, solo artist, and collaborator spans well over a decade -- including esteemed pairings with Brian Eno and recently King Creosote for 2011's wonderfully beguiling Diamond Mine -- and his work effortlessly shape shifts from glitchy and beat-driven to lovely, organic ambience sculpted from acoustic instruments, synthesizers and found sounds. Immunity brings all of these elements together, even as he crafts his most dance-floor friendly record to date, yet it's not without its surprises. Reportedly inspired by "the arc of an epic night out," album opener "We Disappear" reveals itself with a hypnotizing cyclical melody unfolding atop a brittle 2-step beat, and sets up "Open Eye Signal," a more ominous slice of techno in which low, throbbing synths pulse underneath chilly atmospherics while still retaining an underlying sense of musicality that defies the track's cold, factory-like tones. With "Breathe This Air," Hopkins scales back the beat as a meditative piano and synths gently ebb and flow, acting as an aural palette cleanser for the stunning, dazed sprawl of "Collider" that follows. The Eno-esque "Abandon Window" nicely nudges the record in a more reflective direction, with "Sun Harmonics" that comes soon after being 12-minutes of blissed, pastoral techno. Mirroring the break of dawn, the album-closing title track is vivid and slow-building, with found sounds and the lulling repetition of a piano reminiscent of Hopkins' collaboration with King Creosote, and here the Scottish singer-songwriter returns the favor, his ethereal vocals floating in the distance and fading out like the last morning star. It's a gorgeous end to a record that, rare for these times, should be listened to uninterrupted as a whole, again and again. [GH]




$13.99 CD


Desire Lines

"I Missed Your Party"

I don't measure the coming of summer by a calendar, a holiday or a shift in wardrobe -- my seasons are defined by albums, and there's no record that better speaks to the start of summer than Camera Obscura's latest, Desire Lines. Five years in the making, the Scottish ensemble's new LP is simply terrific, yet another stellar collection of songs led by singer/songwriter Tracyanne Campbell's impeccable melodies and dark, funny lyrics. It's hard to believe that this band was once dismissed as a Belle & Sebastian knockoff -- you'd have to be certifiably mad to make that charge now: Camera Obscura have their own style, blending a variety of pop influences, from girl groups to '80s Britpop, giving them one of indie rock's most clearly identifiable sounds. For their fifth LP, the band went to Portland to work with Tucker Martine, a producer who's collaborated with the likes of R.E.M., the Decemberists and Sufjan Stevens. The result is a welcome, stripped-down sound, less reverb and some nice orchestration with strings, horns, synthesizers and percussion, yet the group is also not afraid to rock out. The rousing, buoyant "Let's Do It Again" is an unabashed ode to the pleasures of sex without a hint of guilt or vulgarity ("You were insatiable/ I was more than capable/ Turn down the lights now/ let's do it again"). The winning "I Missed Your Party" features soulful horns and such delicious lines as "I'll listen to Billy Joel/ I'll watch Flashdance again/ I'm gonna get through Walt Whitman/ I'm gonna be in bed by ten;" it's one of the band's finest songs. Crisp guitars guide "Troublemaker," while "Break It to You Gently" has synth work worthy of Trevor Horn. Throughout Desire Lines, we hear a group ready to take risks, eager to explore new styles. As always, Campbell's plaintive voice shines. She won't dazzle you with her range, but there's an aching vulnerability to her singing that's endlessly appealing. Camera Obscura have been around for more than a decade now, and we can drop the Belle & Sebastian references once and for all. This is a band at the peak of their powers, and Desire Lines is classic pop, as good as anything they've released. [JBr]




$19.99 LP+MP3


Personal Record

"I Don't Want to Bother You"
"I Am the Past"

With a title like Personal Record, it isn't much of a surprise that the songs on Eleanor Friedberger's second solo effort are filled with heartaches and humiliations. Although Friedberger has hinted that this album is less confessional than 2011's Last Summer, her songwriting is so convincingly heartbreaking you'll likely believe otherwise. Trading in her role as the coolly detached narrator of her longtime project the Fiery Furnaces, on her own Friedberger is warm, vulnerable and reflective; her lyrics are less abstract but no less interesting. On "I'll Never Be Happy Again," Friedberger beautifully captures the longing of unrequited love, matter-of-factly stating, "After perfection, it's all downhill." In "I Am the Past," Friedberger is "the ghost of ex-girlfriends" summing up a lost relationship as simply "a million hellos and one last goodbye." During the crushing "Other Boys," the long-suffering partner of an unfaithful man only becomes more determined as she assesses the threats posed by the numerous women who share his affections, concluding, "When they quit calling, texting, knocking, I will be there for the locking." Influenced by '60s and '70s pop singers such as Donovan and Todd Rundgren, the album certainly has a nostalgic twist, but Friedberger's velvety voice delivered in her sing-speak still feels fresh and modern. As she sings in "My Own World," "everything ancient is suddenly brand new," a concept few have mastered as gracefully as Eleanor Friedberger. [KB]




$23.99 LPx2




John Roberts' 2010 album Glass Eights was a stunning debut that showcased a talented new producer and his skill with regal harmony, deep sensuality, and a nuanced ear for texture that made his tracks stand out, even on a label with such high standards and quality releases as Dial. While Glass Eights leaned towards deep house, the sound of this new one, Fences, takes a surprising and absolutely wonderful shift away from those steady rhythms in favor of a more polyrhythmic collusion that blends many of the classically derived acoustic textures of the debut with a palette that oft recalls Asian harmonics. There are echoes of Jon Hassell and Brian Eno's 'Fourth World' concept here, but I'm more often reminded of Ryuichi Sakamoto's stellar 1980s masterpieces B-2 Unit and Left Handed Dream, which fused alien synth textures, jacking electro machine rhythms, dub mixing techniques, and a gentle palette of Japanese acoustic instruments into similarly hypnotic and rich musical environments. Roberts takes hard, steam-powered machinery and makes a beat out of it, while harps gently glissando above the tumult. Plucked strings that sound like koto mirror a melody played on a warbling synth, and the rhythms creep, crunch, and crack in a manner similar to Andy Stott's way with a beat, but with more breathing room.

This is easily one of the most gorgeous, detailed electronic/beat records I've heard all year; while the house heads who enjoyed Glass Eights may not instantly take to this set's slower tempos, it is not to be ignored, as it states its case powerfully, and at a lean 38 minutes, does not overstay its welcome. I'm hugely impressed with the way that Roberts has managed to hone his skills in new contexts while retaining all of his trademarked production touches -- no sophomore slump to be found here. [IQ]




$25.99 CDx4
$32.99 LPx3


Memories of Love, Eternal Youth, and Partygoing

"Death Opened a Boutique"
"I'm a Vampire"

Aside from his defining pop project Magnetic Fields, Stephin Merritt has long been involved in various intertwined side projects like the 6ths, Gothic Archies, and Future Bible Heroes, which includes his longtime Magnetic Fields collaborator (and on-stage foil), Claudia Gonson, and popular Boston area DJ Christopher Ewen. The three have known each other for 25 years, and Future Bible Heroes released their first electro-synthpop record Memories of Love in 1997, which was followed by Eternal Youth five years later; after 11 years, the trio is back, with another great set of downcast synth-driven pop pleasure.

Partygoing finds Future Bible Heroes continuing to do what they do best; as usual, Merritt's lyrics are full of heartbreak, melancholy, death, and the general "terrible advice," yet his devilish sense of humor continues to shine. Claudia shares vocal duties, providing a great counterpart to Stephin's deep baritone, and the instrumental tracks are created by Ewen, whose playful bubbly synth melodies are often reminiscent to Magnetic Fields' more electro-inspired tracks. It's a quirky and catchy album throughout, showcasing the group's signature mix of party anthems and sad ballads.

In addition to Partygoing, FBH are re-releasing their back catalogue which includes Memories of Love, Eternal Youth and a compilation of the band's three EPs -- The Lonely Robot, I'm Lonely (And I Love It), and Lonely Days -- plus a couple of tracks from various compilations, including the goofy role-swapping cover of Human League's "Don't You Want Me?" This collection marks the first time all of Future Bible Heroes' material is available in one place. Definitely recommended to Stephen Merritt/Magnetic Fields fans and all lovers of indie-synthpop goodness. [ACo]




$22.99 LP+MP3
$41.99 Deluxe LPx2+MP3 w/Booklet

...Like Clockwork

"I Sat by the Ocean"
"The Vampyre of Time and Memory"

Queens of the Stone Age have flourished for the last decade and a half as something few hard rock bands can rightly claim to be -- musically unpredictable. In a genre steeped in tradition and sometimes lost in the shadows of a handful of definitive forefathers, QOTSA have always swam with the big fish while avoiding getting caught up in their wake, and with ...Like Clockwork, Josh Homme and Co. have made a thoroughly enjoyable and often surprising album that only extends their legacy of confounding expectations. As always, there have been some changes in this band's fluid lineup, with the return of a few old standby's, including Dave Grohl on drums for most of the record, and Mark Lanegan delivering his trademarked gruff counterpart to Homme's more refined vocals, plus an array of guests that include James Lavelle (U.N.K.L.E.), Alex Turner (Arctic Monkeys), Jake Shears (Scissor Sisters), and none other than Sir Elton John. And while there is no doubt this is a rock and roll album -- between Grohl and Homme's playing you pack a pretty hefty wallop -- it's a pretty sweet and delicate one at times. Rather than using their exit from the major label system -- this new record is on iconic indie Matador -- as an opportunity to let their freak flag fly, QOTSA have made their most pop-oriented, intimate album to date, sometimes exploring a glammy Bowie vibe, sometimes unfurling a heartfelt piano ballad, without giving up Homme's cocksure vocal swagger or hypnotic riffage. There was always pop at the root of Homme's songwriting, but he lets it shine through here, and to great effect. [JM]

Deluxe vinyl edition includes two 180 gram LPs (pressed at Pallas in Europe) housed in a thick gatefold sleeve with printed inners, a 20-page booklet and an album download code.






Rinse 22: Mixed by Kode9

"Pusher Taker" Morgan Zarate
"Uh" Kode9

The UK-based Rinse radio station and label continues their nicely-curated mix series with this, their 22nd installment, featuring multifaceted artist, producer and Hyberdub label head Steve "Kode9" Goodman. The Hyberdub imprint is as influential as Rinse, and across these 37 tracks the many sides of the UK bass movement collide with ease. Starting off with a beautiful blend of Burial and Theo Parrish, Kode9 steadily builds a great mix that is dense yet accessible, featuring cuts from a globe-spanning who's who of current favorites in the underground electronic scene. Over the CD's hour-long playtime, the likes of Joy O, Jam City, Kuedo, the Bug, Rustie, S-Type, and Faze Miyake form an intricately layered web of bass, beats, and vocals. Another one of the more interesting elements of the mix is how the tempos rise from around 120 bpm into the 160s, with the last half-hour or so featuring a great collection of footwork tracks from some of Chicago's top producers including RP Boo and DJ Rashad. In describing his DJ style, Goodman told the press, "Generally, these sets start relatively simple rhythmically, and then get more fucked up as the mix goes on," which sums this disc up perfectly. I've been a fan and follower of both the Rinse and Hypedub labels through the years and this is one of the best sets from either of those established entities. Spanning house, dubstep, grime, bass, techno, and footwork, Kode9 delivers a balanced selection of hits, exclusives and rarities, with each fleeting sonic moment from start to finish top-notch and highly enjoyable. These Rinse mixes always serve as timely primers of the sound and personalities who are keeping the airwaves and dance floors around the world spinning, sweating, and ever expanding, and this edition is no exception. It's definitely a must-have for the upcoming open air-season, with the days of the escalating temperatures finally arriving, but be warned: your heart rate will rise upon listening. [DG]




$13.99 CD $22.99 LPx2


Once I Was An Eagle
(Ribbon Music)

"Take the Night Off"
"Master Hunter"

At first blush, Laura Marling's Once I Was An Eagle could be mistaken for a sleepy Sunday morning kind of record; the 23-year-old British songwriter's arrangements are stunning, songs melt seamlessly into each other, and her rich voice envelopes you like a soft blanket. But Marling isn't just another folk darling -- her songwriting has some seriously sharp teeth, and this album, though haunting and devastating, is exhilarating. In the span of 16 tracks, Marling deconstructs a failed relationship and ultimately herself. In songs like "I Was An Eagle" Marling's lyrics are cutting with declarations such as, "When we were in love/if we were.../I was an eagle and you were a dove." In "Breathe" she recounts cruelty on both sides: "us of constant banging, throwing fists against the wall." Regret looms ominously and sadness often gives way to anger. In the bluesy "Master Hunter" Marling decimates her former squeeze, quipping, "You're not sad, you live for the blues." The second half of the record takes a decidedly inward turn as Marling examines her own role in the dissolution. She softens on "Little Bird," asking, "Why did you run/from everyone/who only tried to love you?" And later answers herself: "Maybe I like pleasure pain/of going and coming back again/what I leave behind/I come back to find/it's no longer mine." Marling's chronicle of the excruciating pain caused by the loss of love and its messy aftermath is honest and raw. Once I Was An Eagle is both ambitious and personal -- an achievement by an artist at any age -- and truly a timeless record you will return to over and over again. [KB]




$14.99 LP+MP3


(Dead Oceans)

"Always On"
"How the Ranks Was Won"

The brainchild of Austin native/current Brooklyn resident Martin McNulty Crane, Saltwater finds Brazos now recording for the Dead Oceans label and fleshing out the line-up to a proper trio with new bandmates Spencer Zahn on bass and drummer Ian Chang. What results is a more textured, nuanced outing than 2009's debut full-length, Phosphorescent Blues, without shedding any of the visceral intimacy, as Crane's gentle, elastic voice and his acoustic guitars flutter about the intricately woven arrangements and Afro-pop, jazz and Kraut-inspired rhythms. Certainly an album that fans from Dirty Projectors to Here We Go Magic won't want to miss.




$17.99 LP+MP3


From the Hills Below the City
(Rough Trade)

"On the Road"

Hailing from New Albany, IN, just a few miles across the river from Louisville, KY, Houndmouth must have been nipping at some of the same moonshine as folks like Alabama Shakes, though HM are perhaps a little more indebted to the Band, and a little more polished in the production as well. But this quartet is clearly talented and soulful too, often trading vocal lines between the members as they deliver odes to hard times, weary road life, and even cocaine running during "Casino (Bad Things)," which finds Katie Toupin plaintively singing in her slight southern drawl about the dealers "who got me hooked on freebase" and "now, they got me doin' bad things." Look for the group on tour throughout the summer with Alabama Shakes and Dr. Dog.




$14.99 CD
$21.99 LP+CD


Infinity Pool

"Love and Respect"
"Infinity Killer"

A bit of a departure for this almost unclassifiable Danish electronic pop band -- for proof just check the opening track, "Love and Respect," which bounces along a hip-hop beat and features a guest vocal turn from Atlanta rapper Killer Mike. While the group continues to masterfully blend accessibility with surreal delivery -- and singer Nikolaj Manuel Vonsild's breathy, androgynous voice certainly does recall Antony Hegarty -- here the quartet moves in a slightly more experimental direction, a little darker and fuller sounding, but without forsaking any of their sense of melody, drama or wonderment.



Issue No. 2
$17.00 MG


Issue No. 3
$17.00 MG


Issue No. 2 | Issue No. 3

Issues 2 and 3 of Flashback magazine are now on our shelves. Two-hundred-and-twelve pages long, #2 features Tomorrow, hard psych-rockers Morgen, 13th Floor Elevators (guitarist Stacy Sutherland's last interview), interviews with Gerry Rothberg (editor of legendary '60s music mag Hullabaloo), Fairport Convention/Trader Home singer Judy Dyble, legendary guitarist Ray Russell, and lots more.

Also 212 pages, Flashback #3 includes an extensive exposé on Mighty Baby, Syd Barrett, the mysterious San Francisco psych band Tripsichord Music Box (featuring a rare interview with their manager, Matthew Katz), and the Common People, plus influential folk-rock producer Sandy Robertson offers inside stories on many of his productions, Flashback nominates the 50 best overlooked singer-songwriter albums, "MONO vs. STEREO," and more. Both issues feature writing from noted music authorities Richard Morton, Richie Unterberger, Patrick Lundborg, and Aaron Milenski.




$11.99 MG

Issue No. 55
(Wax Poetics)

The latest Wax Poetics' double-cover features everyone's favorite French robot duo, Daft Punk, and hip-hop legends De La Soul! Also inside: Nile Rodgers, Teddy Riley, Slum Village, Gino Soccio, Me'Shell Ndegéocello, Waajeed, Jack Bruce, Lady, Ava Luna, BLKKATHY, and more.






Jola Rota
(Subliminal Sounds)

Originally released in 1972, Jola Rota was the only album Swedish psych troubadour Joakim Skogsberg managed in his brief career. And with most of the original pressing of a thousand copies long since melted down by his label to make other albums, this slab of avant-primitive weirdness has become a highly sought after side in recent years. Recorded mostly on portable gear in Swedish forests, Jola Rota saw Skogsberg creating a disc that was truly sui generis, blending deep, chanted vocals with sawing strings and dark flecks of electric guitar in ways that few have ever been able to touch. Album opener "Jola Fran Ingo" gradually sets the pace here, introducing a stark violin drone before Skogsberg's wordless, repetitive chants come through to carry the piece home. "Offer Rota" assumes a more ceremonial stance, with pulsing percussion that lays the groundwork for distorted guitar drones and a distant mouth harp. Later still, "Jola Fran Stensate" places the emphasis squarely on Skogsberg 's voice, giving it reign to flow across a gently woven pattern of backing drones.

Issued on vinyl for the first time since its original release in a limited pressing of 500 copies from the original master tapes, with previously unpublished photos and liner notes, this great reissue evidences a creative soul bent on exploring deep recesses of the mind's eye that most people don't even know exist. [MC]




$14.99 CDx2


Hvarf / Heim

Back in print on LP, the first five songs of this lovely Sigur Ros record are rarities from the band's archives, including two radical re-workings of tracks from Von, their arresting 1997 debut. Then you get six more breathtaking live acoustic versions of classic Sigur Ros, for an irresistible package.






(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 summertime listening. [IQ]
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[KB] Kari Boston
[JBr] James Bradley
[ACo] Anastasia Cohen
[MC] Michael Crumsho
[DG] Daniel Givens
[GH] Gerald Hammill
[IQ] Mikey IQ Jones
[JM] Josh Madell

- all of us at Other Music

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