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  November 22, 2013  
DEC Sun 01 Mon 02 Tues 03 Wed 04 Thurs 05 Fri 06 Sat 07

Photo by Danny Dorsa
With all ears turned their way from the recent outpouring of blog love for Love's Crushing Diamond, Mutual Benefit will be celebrating the release of this great album via Other Music Recording Co. on Monday evening, December 2, with an in-store performance at our East Village shop. (More North American tour dates are listed here.) Don't forget, we are taking pre-orders for the LP and CD here, and you can stream the newest single, "Golden Wake," which was named Best New Track on Pitchfork earlier this week.

OTHER MUSIC: 15 E. 4th St. New York, NY

DEC Sun 01 Mon 02 Tues 03 Wed 04 Thurs 05 Fri 06 Sat 07
  Sun 01 Mon 02 Tues 03 Wed 04 Thurs 05 Fri 06 Sat 07

Other Music Recording Co.'s beloved Anna von Hausswolff is coming to town in a few weeks on her debut US tour, in support of the stunning Ceremony LP we released here over the summer. It's a rare chance to catch Anna and her full band live in the States, and we have a pair of tickets to offer for both the Union Hall show on Friday, December 6, and the Mercury Lounge show the following night on the 7th. Email enter@othermusic.com for a chance to win, and make sure to list which performance you'd like to see.

UNION HALL: 702 Union St. Brooklyn, NY
MERCURY LOUNGE: 217 E. Houston St. New York, NY

Blood Orange
Saint Heron (Various Artists)
Patrick Cowley
Raul Lovisoni & Francesco Messina
Cut Hands
Cian Nugent & the Cosmos
Houston Rap (Photography Book)

Yo La Tengo (Deluxe Edition)
Kurt Vile (Deluxe Edition)
Nils Frahm
Mick Turner
Magik Markers
Wire (December 2013)

Luciano Cilio

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NOV Sun 17 Mon 18 Tues 19 Wed 20 Thurs 21 Fri 22 Sat 23

While San Diego's Crocodiles aren't exactly bringing any warm Cali sunshine to blustery New York tomorrow night, fans of the group's noisy, dark-tinted pop won't want to miss this one. With a new solo album under his belt, Fresh & Onlys' Wymond Miles performs right beforehand, so get to the Music Hall of Williamsburg early! We've got a pair of tickets up for grabs; email giveaway@othermusic.com for your chance to win.


NOV Sun 24 Mon 25 Tues 26 Wed 27 Thurs 28 Fri 29 Sat 30

Next Tuesday, November 26, NYC hometown faves Cults are headlining Webster Hall in support of their new album, Static, with SACCO and Mood Rings opening the night. It's a great triple bill and Other Music is giving away one pair of tickets. Email enter@othermusic.com for your chance to win!

WEBSTER HALL: 125 E. 11th St., New York, NY

DEC Sun 08 Mon 09 Tues 10 Wed 11 Thurs 12 Fri 13 Sat 14

Truly an incredible year for Queens of the Stone Age, and they'll be making a triumphant return to New York on Saturday, December 14. Other Music is giving away two pairs of tickets to their performance at the Barclays Center, with the Kills opening the night! Email enter@othermusic.com for your chance to win.

BARCLAYS CENTER: 620 Atlantic Ave, Brooklyn, NY





$13.99 CD
$21.99 LPx2


Cupid Deluxe

"On the Line"

The brainchild of Dev Hynes (of Test Icicles and Lightspeed Champion), Blood Orange is Hynes' soft and funky, '80s-influenced urban-indie project. Since Blood Orange's 2011 debut album, Coastal Grooves, Hynes has flourished as a behind-the-scenes songwriter, producer and magician creating memorable work with artists like Solange Knowles and Sky Ferreria, but it's with this project that his deep well of talent is beginning to find a real home of its own. While Coastal Grooves, which is a favorite of mine, felt like a one-man band re-imagining Prince's gender bending b-sides, this follow-up comes across as a fully fleshed-out and original take on the '2013 is 1983' formula trending these days, with Hynes channeling his inner Michael Jackson. Featuring a solid crew of musicians and vocalists, Hynes applies his catchy and lovely song-writing skills to a host of fresh voices that seem right at home in the contemporary nostalgia. Throughout, the talents of David Longstreth (Dirty Projectors), Caroline Polachek (Chairlift), Samantha Urbani (Friends), Adam Bainbridge (Kindness), Clams Casino, rappers Despot and Skepta, engineer Jimmy Douglass (Justin Timberlake, Missy Elliot), and a few more collaborators all lock into the soulful, mid-tempo grooves. Together they all help paint a kaleidoscope of ideas, giving the album a communal urban vibe where artists share talents and create quality, time-traveling modern/retro/R&B/pop/hip-hop/indie music that blurs lines with male and female vocals, rappers, scratching, field recordings, walking bass, drum machines, live drums, sax solos, keyboards, guitar, and all other means of grooviness.

Devoid of the lo-fi annoyance that usually accompanies this sort of retro vision, the album shines as live instruments and samples (Neneh Cherry, Grace Jones, Malcolm McClaren, Fat Boys) are woven together, yet it is Hynes' arrangements of all the players and sounds that is what's most impressive. One of Cupid Deluxe's strong points is the strength Hynes shows in putting seemingly opposite elements, styles, or sounds together (one moment Phil Collins, Naughty by Nature the next). Each song is filled with memorable melodies, hooks, lyrics, and appearances, everything feels in place, and damn near perfect. The album reminds me very much of ol' New York, Brooklyn primarily, pre-9/11 specifically. He continues to channel a certain undercurrent of NYC street life on Cupid Deluxe, from skaters and queers to the young homeless, making a complex and authentic reflection of the city. Though the album is full of songs of longing, wanting, and struggles of the heart, the spirit feels freer, warmer, and a bit lighthearted, like listening to an '80s classic R&B radio station. If you've been into the decade's past revivalist like Toro y Moi or Twin Shadow, Blood Orange is perfecting the formula. Best of the now school, right here, and a late-breaking addition to my 2013 hit list. [DG]





$17.99 LP+MP3


Saint Heron

"Go All Night" Kelela
"Noirse (Pional Remix)" Petite Noir

After her introduction to the indie world via True, her Blood Orange-produced mini-album for the Terrible label, Solange Knowles has become a sort of figurehead for American independent underground R&B artists. She has started her own label, Saint, and her first release is a self-curated compilation; Saint Heron is Solange's 2013 mixtape featuring a selection of the best underground jams of the year and some unreleased gems. There are known entities, like Kingdom's "Bank Head (featuring Kelela)" and Sampha's "Beneath the Tree," yet it's mostly filled with new and noteworthy names and self-released artists: Jhene Aiko, Jade J, Iman Omari, Starchild, India Shawn, Petite Noir, BC Kingdom, along with major label vocalist Cassie (produced by Solange) and the final track by Ms. Knowles herself. The overall mood is mid-tempo, electronic and soulful, inspired by the work of acts like Little Dragon, Rhye, or the Weeknd. Solange has an ear for good songs and vocalists, and the 12 tracks gathered here can serve as a primer of some new voices working mostly under the radar. Smooth and sexy, sweet and soulful, electronic and emotional, the comp plays out like the next step after Gilles Peterson's Brownswood Bubblers series, yet here the mood is more consistent. Solange seems to have tapped into the scene at just the right moment and this is a selection of her findings -- kind of funny that her song is called "Cash In." She seems to have found her own platform away from the shadow of her very popular older sister. It's a great starting effort to bring these underground names to the masses, and collected all in one place there is a creative weight to this scene and this sound that is impossible to ignore. A good listen from start to finish, dedicated to all the slow-burning soul lovers in the house! [DG]







School Daze
(Dark Entries / Honey Soundsytem)

Best known for pioneering the Hi-NRG sound and launching the career of Sylvester, Patrick Cowley is an undeniable disco legend. Yet for all we know of Cowley as a disco producer and DJ, his more experimental leanings have only recently begun to emerge; from his student days studying synthesizer composition to his late-'70s art punk project Catholic with Indoor Life's Jorge Socarras, Crowley's interests were varied and expanded well beyond the dance floor. Now, thanks to the always-reliable Dark Entries imprint in collaboration with the Honey Soundsystem party collective, we're treated to another side of Cowley with School Daze, a 2LP collection of his gorgeous, game-changing soundtracks for gay porn films made between 1973 and 1981.

Moving away from the schmaltzy wah-wah of '70s porn music and his own brand of high-powered disco, Cowley's work here is more akin to the space-aged synthscapes of German kosmische artists like Klaus Schulze or Manuel Göttsching but with an understated groove that is most certainly the Megatron Man. With only one full-on disco cut here (album opener "Zygote"), what follows is nothing short of pure, cosmic magic. Deep, sensual, and bubbling with a languid dreaminess, this is Cowley's disco music stripped to its core: warm, skeletal beats, percolating synths, and a keen sense of melody that must have worked perfectly in their original erotic context. Tracks like "Seven Sacred Pools," "Nightcrawler," and "Mockingbird Dream" are beautiful, extended workouts driven by subtle rhythms and a palette that combines gentle ambient textures with an almost aquatic musicality. "Pagan Rhythms" and "Journey Home," on the other hand, are darker, more tribal exercises that retain their ethereal coolness, but also come off sounding like rough, early Detroit techno sketches. Easily one of the strongest archival finds of the year and an immediate staff favorite, those with even a passing interest in cosmic music, disco, proto-techno, or fans of cosmic disco of a more recent vintage (Chromatics, Glass Candy, the Drive soundtrack, et al.) should pick this up immediately! [CPa]





$26.99 LP


Prati Bagnati del Monte Analogo
(Die Schachtel)

"Hula OM"

I have to come right out and say that this record is so amazing, and it comes from a particularly fertile time in Italian experimental music when a group of Italian artists were making some just absolutely incredibly beautiful music that drew on minimalist and ambient tendencies, but filtered through their own particularly personal lens. Originally released on the legendary Cramps label, and stunningly reissued here by longtime Other Music faves Die Schachtel, if I could have given them a wish list of Italian rarities to issue this would have landed at the very top. Produced by the legendary Franco Battiato, and inspired by one of my all-time favorite novels, Mount Analogue (A Novel of Symbolically Authentic Non-Euclidian Adventures in Mountain Climbing) by mid-20th century French Pataphysician Rene Daumal, Lovisoni & Messina chart course to a sonically rarefied air, one riven with deeply atmospheric chasms and reflective pauses. Cloud-shrouded and all enveloping, with vague washes of synth and strings, and thoughtfully patterned harp, it is astonishingly rare that an album this quiet and thoughtful is nevertheless able to completely seize every aspect of your attention. Presented with Die Schachtel's usual exacting standards, the CD comes with three bonus tracks while the LP is strictly limited to 500 copies. Highest possible recommendation. [MK]





$15.99 CD
$29.99 LPx2


Through a Pre-Memory
(Editions Mego)

Habitués of a similarly bleak, dramatically unfolding universe of sound, Mika Vainio and Stephen O'Malley are in many ways perfectly suited musical collaborators. While Vainio's solo work and recordings as one half of Pan Sonic pushed the rhythmic and frequency extremes of analog and digital electronics, O'Malley's guitar playing in SunnO))) treaded previously unexplored ground in the abstract expressionist fringe of drone metal. Several years in the making, Aanipaa's Through a Pre-Memory brings together Vainio and O'Malley, along with a host of guest collaborators, for four extended-length meditations combining eerie glassy drones, vast reverberant spaces, and blasts of brutalist beats. Opening track "Muse" kicks off the album on an oddly plaintive note, O'Malley's gently clangorous riffs and Vainio's sparse beats eventually giving way to the blood-curdling spoken-screamed vocals of Khanate's Alan Dubin (reciting the work of Russian poet Anna Akhmatova). Massed clusters of guitar noise meld seamlessly with Eyvind Kang's haunting strings on the penultimate "Mirror of Mirror Dreams," while closer "Watch Over Stillness/Matters Principle" returns to the kind of droning-plus-doom-vocals territory that would be familiar ground for many fans of SunnO))). [DS]





$15.99 12"

Damballah 58
(Blackest Ever Black)

William Bennett, founding member of pioneering UK noise-performance provocateurs Whitehouse, began the Cut Hands project as a platform to explore his longstanding interest in African music, language, and art. Dubbing his audacious new genre exercise "afro noise," Bennett, with Cut Hands, eschews Whitehouse's ear-splitting electronics, confrontational lyrics, and S&M imagery in favor of pile-driving percussion workouts that recall the polyrhythmic frenzy of batucada and ritual voodoo music. Damballah 58, Bennett's second release for Berlin-based imprint Blackest Ever Black, balances more assaultive, percussion-heavy tracks -- the carnivalesque title cut and the dread-laden "Immersion" -- with becalmed, atmospheric pieces ("Mamba Muntu, "Belladonna Theme") combining menacing synth tones, liquid pitch shifts, and an eerie disembodied female voice. [DS]


$21.99 LP


Folie Sacree
(Shelter Press)

Following a handful of cassette and CD-R releases comes the debut full-length LP from Normandy-based singer Alice Dourlen, issued by label-to-watch Shelter Press, an imprint based in the French Alps who have recently been putting forth an impressive array of artists' books, prints, records, and ephemera. Dourlen has been garnering comparisons to such heavy weights as Catherine Ribiero and Nico of late, and with good reason I'd say, as there's a quite impressive gravity and starkness to these songs that haul forward with a nearly ritualistic tension. Accompaniment is sparse, bordering on minimalistic at times, with spindly and twining electric guitar, wonderfully resonant percussion and a base layer of humming organ that complements Dourlen's compelling singing, which can conjure either the flintiest of granite or the breath of a hush. This is someone I'm positive we'll be hearing a lot more from, and one who is sure to appeal to fans of Zola Jesus or Anna Von Hausswolff as well as the aforementioned artists. Recommended. [MK]





$13.99 CD
$18.99 LPx2

Syndrome Syndrome
(RVNG Intl)

"Syndrome Syndrome"
"Nothing But Zero"

RVNG Intl. brings us a pair of Sydney natives who are making some really fresh stuff. Alex Murray and Mark Smith are Gardland, an improvisational analog techno band. While researching the duo is a difficult and unyielding task, the quality of their debut album hardly reflects the press they've received. With only a debut EP released earlier this year, Syndrome Syndrome is their first big outing, and it is pretty bold: the 13 tracks are on the whole pretty long, averaging at about five minutes each. It's clear they're not aiming for any kind of accessible techno either; the cuts are dark and moody, playing with the deepest bass and the sharpest beats. Much more grounded and cutthroat than labelmates Blondes, Gardland is all about the succinct, tense heat. Even the six-and-a-half-minute "Nothing But Not Zero," the longest track on the album, seems short; its entrancing video and lengthy bass-filled journey feels so club-ready solely because of the dense atmosphere it evokes. "Magicville," another highlight, plays with deep, warped beats to cater a similarly suspenseful morning club. That said, it's really the title cut that stands out; "Syndrome Syndrome" is a growing monster of strained noise, slowly evolving into a really aggressive piece. The tracks are all carefully constructed, far from tedious, and very much heart pumping -- not anything to miss here. The cryptic, exciting nature of Syndrome Syndrome is bound to entice any dark electronica fan, as well as any RVNG devotee in general. [MM]





$21.99 LPx2



"Alleys of Your Mind"
"El Salvador"

Even if you only have the slightest interest in the history of techno music, chances are that you have heard of Cybotron's 1983 landmark album Enter. But have you also listened to it? On this altogether conceptual affair, the visxionary duo Rik Davis and Juan Atkins combined futurist philosophy with progressive European electro sounds. With post-industrial Detroit as a backdrop, they merged the ideas of theorist Alvin Toffler with those of classic Kaballah, developing an exceptionally idiosyncratic vision in which the transformation of all people into a superhuman entity would come to be through spirituality and technology. It is in Toffler's writings that Atkins bumped into the term "techno rebels," signifying the agents of the computer age, from which he famously coined the term techno music. Cybotron's cold, synth-heavy sound documented a collapsed industrial empire, emphasizing a mood of paranoia and desolation while also bringing to the fore feelings of anticipation for an immanent future.

Enter, rather than being the ultimate proto-techno album, is a concept-driven collection of electro pop songs built around a number of strong Cybotron singles released between 1981 and '83. "Alleys of Your Mind" offers a dystopian urban vision that combines Kraftwerkian electro with a Funkadelic edge, whereas "Cosmic Cars" is the funky and decisively non-romantic Detroit answer to Gary Numan's electro staple "Cars." On the closing track things become truly interesting, with "Clear" leading the duo to new futuristic heights, becoming techno's first defining moment, and paving the way for the Drexciya-like excursions that would follow a decade later. Although the tensions between Juan Atkins' sense of robotic funk and Rik Davis' more rock-oriented aspirations make the album as a whole sound somewhat dated, especially in the latter's sometimes overwrought guitar solos, it indicates a remarkable early shift from electro to techno, of which the conceptual framework would become hugely influential. Soon after, Juan Atkins would spark the techno revolution with Model 500, releasing a number of groundbreaking records, but the seeds of his brilliant innovations were already planted on this classic. [NVT]





$14.99 LP


Born with the Caul
(No Quarter)

"Double Horse"
"The Houses of Parliament"

Branching out from earlier, folk-centric releases, Dublin guitar heavyweight Cian Nugent welcomes a solidified backing lineup on his first release for No Quarter. The core of musicians from his last full-length, Doubles, reprise their roles on Born with the Caul, but the direction changes a bit from heart-swelling, tear-stinging folk pride to full-on electric ecstasies. As an arranger, Nugent is not one to sit still, so the three lengthy tracks that comprise this release build, turn, ramp up tempos and pile on the instrumentation to his heart's content. There's a method to all of this, not some random hodgepodge of styles and influences, so if you wanted your Van Dyke Parks song cycle to adapt a little bit of a brogue, then go full-on Dungen all over you, Nugent is your man, putting you in a stranglehold with top-shelf musicianship and joie de vivre. [DM]







(Sinecure Books)

Ever since the Geto Boys brought their nightmarish "Mind Playin' Tricks on Me" into the national conscious, Houston hip-hop has hovered at the edge of cultural perception like some strange dream, never quite being grasped. While massively popular throughout south Texas during his lifetime, DJ Screw's influence was really only felt some ten years after his death and when Houston hip-hop topped the Billboard charts circa 2005 (with Slim Thug, Paul Wall and Chamillionaire all scoring hits) it was short-lived. But as this excellent photography book from Peter Beste (who previously documented Norway's black metal scene) proves, Houston rap continues to thrive well into the present. Photos of icons like Bun B, Pimp C and Devin the Dude abound, but it's telling that the cover photo is of a schoolbus of cheerleaders waving at a SLAB out on the highway. And you'll have to go nearly a hundred pages in to even glimpse a candy-painted car. Rather than look on the glamor of hip-hop, Houston Rap focuses on the grit underneath. And the accompanying oral history, as told to writer Lance Scott Walker, documents impoverished African-American communities continually under siege, be it by speculative real estate or lack of health services. Still, the book proves that Houston rap is nothing if not resilient. [AB]





$13.99 CD
$14.99 LP


Julia with Blue Jeans On

"Everyone Is Noah, Everyone Is the Ark"
"Julia with Blue Jeans On"

Spencer Krug (of Wolf Parade) may be using his stage name Moonface here, but with just the piano to accompany his chilling vocals, Krug strips down and embodies the singer/songwriter always hidden within, pushing personal and stark messages into stunning new realms of clarity for all, as he opens himself up to an emotional voyage on Julia with Blue Jeans On. He takes deeper root in his classically trained background, allowing the piano and his voice to resonate with every keystroke and chord. Krug intimately opens up his home of thoughts -- it is as if the listener is sitting on the bench beside him at the piano, nestled deep inside the left side of his brain. The lyrics are metaphorically rich and self-reflective (take "Everyone Is Noah, Everyone Is the Ark" as proof). The contrast in loud/soft piano acts as the main energy that pushes the album from start to finish. Striking because of its unadorned revelations, Moonface's Julia with Blue Jeans On is an emotionally draining listen. It may induce some heartache, you've been warned. But after a full listen through, coming out the other side is something similar to a cathartic awakening. [TL]





$13.99 CDx2


Fade - Deluxe Edition

"Stupid Things"
"Two Trains (Demo)"

Yo La Tengo's Fade gets the deluxe edition treatment, the double-disc containing a bunch of extras: an array of Fade outtakes, extra tracks and alternate versions, plus a download card for the now out-of-print 12", Stupid Things. If that's not enough, you also get the "Oriole" b-sides from the recent, limited "Ohm" triple-12" set. A great record and a definite contender for our "Best of 2013" lists, here's what we said about Fade when it was initially released:

As Yo La Tengo closes in on 30 years together, with well over a dozen full-lengths and innumerable singles and EPs in their catalog, what is there left for them to say -- or even for us to say about them? Aging gracefully is something that very few artists manage to pull off, but this group continues to do it with style. YLT are often called a critic's band, beloved by music writers, but moreover coming out of that world, with Ira Kaplan having made a name for himself as a music journalist and promoter before his own band pulled him out from working behind the scenes. Perhaps that critic's eye does have something to do with their longevity, giving the trio an unusual ability to step back and really consider their approach, but there is more behind their continued inspiration. YLT have kept their place at the forefront of indie rock's ever-shifting sound by constantly growing and pushing themselves as musicians (and as people, we imagine), gradually adding their combined new experiences into their sound. What was once straight-up indie jangle over the years has added psychedelic sprawl, raw power, percussive inventiveness and gorgeous acoustic abstraction in equal measure, and YLT's music is now a complex psych-pop concoction that builds on their past rather than abandoning it, yet rarely do they sit still for long.

At this point, the band draws on a deep and varied skill set, with complex multi-part percussion, emotional orchestration, great piano work (from Kaplan, who can tickle the ivories as impressively as he shreds the six-string), and a nuanced understanding of the possibilities of the recording process that has grown out of the various soundtrack productions that the group has completed in their own practice space recording studio. Fade was produced by Tortoise's John McEntire in Chicago, a first time collaboration that is such a perfect fit you might wonder why these old friends have never tried it before. McEntire drew out the textures and surprises within these songs and added his own subtle instrumental flourishes, and he also left the group plenty of room to breathe. It's a mellow and introspective album, both musically and lyrically, full of quietly emotional songs about love and loss and -- perhaps -- growing older gracefully. There may not be a breakthrough single on here, but really, hits are for kids, and this is a thoroughly grown-up yet no less ambitious, thrilling and boundary-pushing record from a band that continues to earn our attention and affection, one great album at a time. [JM]






Vinyl EP Only


Wakin on a Pretty Daze - Deluxe Edition

"Walkin' on a Pretty Day"
"Shame Chamber"

The deluxe edition CD re-release of Kurt Vile's Wakin on a Pretty Daze adds a second disc to the mix: Kurt Vile's newest EP, It's a Big World Out There (And I'm Scared) -- also available separately on vinyl. The EP is comprised of b-sides and alternative versions of album tracks, allowing the listener to hear how Vile's songs evolve, where he goes wrong, and, most importantly, where he gets it right. Definitely worthwhile for Vile fans. Here's what we said about the original album back when it came out:

Rock and roll is an art form that rarely benefits from maturity. As with many musical innovations, rock started, more than half a century ago, as a youth movement, and to be frank, if it is still relevant at all, it's usually in that context: brash, bratty, headstrong and confused, oozing with raw sexuality and unkempt emotion. And yet, how is it that Kurt Vile keeps getting better with age? Vile has always had all the key elements in place to make great teenaged rock and roll; he's a stoned, long-haired, working class guitar shredder with a poet's heart, and every one of his five albums has had moments of greatness, too, looking to simple, classic rock archetypes while seemingly reinventing the genre for a new generation. But with 2011's breakthrough Smoke Ring for My Halo Vile managed to simply do it better, slowing things down a little and ramping up the fidelity and production so that every shimmering guitar riff echoed into infinity, his slurred vocal drawl cut through just that much more, and without breaking any boundaries he delivered a set of timeless rock songs.

And now, with Walking on a Pretty Daze, Vile has again raised the bar, working with producer John Agnello to hone the small details of the sound so that these songs are airtight: the shimmer of the acoustic guitar and the lazy riff that define the nine-minute opener "Walking on a Pretty Day," the soaring background vocals and occasional tambourine drop of the equally epic closer "Goldtone," the stuttering percussive groove that opens "Was All Talk." Just as important, Vile's lyrics have grown alongside his ever-refining musical vision, and while on the surface he seems to be slipping away from the time-tested rock demographic -- he's now married with a young daughter at home -- these songs, many dealing with marriage, fatherhood and responsibility, connect with more honesty and originality than anything he's done before. On "Too Hard" he sings, "Comes a time in every man's life where he's gotta take hold of the hand that ain't his, but it is." Maybe you really can be a responsible adult and make great rock and roll. Kurt Vile seems to be figuring it out, one stoned, head-nodding riff at a time. [JM]





(Erased Tapes)

"An Aborted Beginning"

It's a live album delivered as sound art, and as such, with Nils Frahm's intuitive piano playing and wonderfully open-minded approach to music, this is a fairly stunning and truly enjoyable record. Frahm has long tended to make great music out of enforced limitations, from the string-deadening approach on 2011's Felt to the minimal meditations of last year's Screws, but the genius of this new set can be defined by one song title: "Improvisation for Piano, Laughs, Coughs, and a Cell Phone." Drawn from more than 30 performances, Frahm carefully constructed this album to reflect the magic and off-kilter surprises of a public performance, and the results make for a great home listen far beyond the pale carbon copy of most live LPs. Really great and innovative stuff here, joyful, melodic and emotional in the truest sense.







Don't Tell the Driver
(Drag City)

"Over Waves"

Dirty Three guitarist/Australian composer/painter Mick Turner offers us his second solo full-length, Don't Tell the Driver, a "post-rock rock opera" comprised of layered instrumentals and ambient tones, with guest vocalists Caroline Kennedy-McCracken (the Plums, Deadstar) and opera singer Oliver Man.





$18.99 LP


Surrender to the Fantasy
(Drag City)

"Screams of Birds + Girls"

Coming off a four-year break, Magik Markers return with the Drag City-released Surrender to the Fantasy, which finds the Connecticut-based avant noise-rockers reeling it in a tad with a little more melody coming through their explosive sprawl. It's a more varied outing than what we've heard from the (now-again) trio than before, yet they're still as adventurous and fiery as ever.






Issue #358 - December 2013
(Wire Magazine)

UK electronic conjurers Demdike Stare grace the cover of December's issue of Wire. Also inside: new age purveyor and Eno collaborator Laraaji; Heatsick + Helm; Invisible Jukebox with New York turntablist Maria Chavez; Global Ear: Western Russia; Cross Platform: Robert Beatty; plus, news, reviews and much more.





$21.99 CD
$35.99 LPx2

Dell'Universo Assente
(Die Schachtel)

Back in print on CD and double-LP. Luciano Cilio's Dell'Universo Assente is a truly singular work of intimate acoustic arrangements that reference many different musical genres. The 11 tracks in this collection represent the entire recorded output from the virtuosic multi-instrumentalist whose unfortunate suicide in ‘83 left few artifacts behind. Folk, modern composition, improvisation and various world musics are just a few of the musical genres that spring to mind when listening to Dell'Universo Assente. But it's the kind of self-contained, confident and reflective work that transcends mere genre restrictions to become that rare thing which is truly unique. [KH] 

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[AB] Adrian Burkholder
[DG] Daniel Givens
[KH] Koen Holtkamp
[MK] Michael Klausman
[TL] Taylor Law
[JM] Josh Madell
[MM] Matthew Malone
[DM] Doug Mosurock
[CPa] Chris Pappas
[DS] Dave Shim
[NVT] Niels Van Tomme

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