Other Music New Release Update
January 24, 2001

In This Week's Update:

Vladislav Delay
L'Infonie reissue
Autechre Peel Sessions 2
Millenium reissue
Terry Riley reissue
Les Hauts de Plafond
Christina Rosenvinge
Le Tigre EP
Hermann Nitsch (2)
Alan Bern & Guy Klucevsek
"Vs. Rather Interesting" comp.
Delarosa and Asora EP
Burnt Friedmann
Blue States
Faust live

New Pornographers
Trikont Records catalog

Featured New Releases:

VLADISLAV DELAY "Anima" (Mille Plateaux, Germany) CD/LP  $15.99/$16.99
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The cause celebre of electronic music shows himself to be not
only a visionary, but a prolific one. It's scarcely been three years
since his debut EP "A Kind of Blue" (no musical relation to Mr.
Davis) appeared on the Finnish Huume label, and Delay now has
four EPs and five albums, including this one. "Anima" marks a
decisive though subtle break in his compositional style. Maybe
it's just that the metaphors required to describe the music have
changed, but there's more than that going on. With the exception
of his work as Luomo, Delay's music has always sounded as though
it was recorded on the ocean floor, with the occasional sonar blip
interrupting the calm. Now he sounds as though he is recording
from the heights of Everest. There's a fierce, bitter wind throughout
the one long track that constitutes the record. It finds its ways into
every corner, between snare hits and hi-hat slivers. Historically,
dub's heavy echo transported its listeners to another place, out of
Zion and into Babylon. Delay effects the same technique here,
bringing one to a barren tundra that has its own ascetic beauty. In
the canon of ambient composers, it was Brian Eno who specifically
stated the setting for his music. Vladislav Delay's music does it for
him, but only in the most minute and subtle shifts. "Anima" is
Babylon on a thin wire. [TH]
CD //perl-bin/OM/CD_Add_To_Cart.cgi?sku=71875080952&refer_url=email
LP //perl-bin/OM/CD_Add_To_Cart.cgi?sku=71875080951&refer_url=email

L'INFONIE "Volume 3" (Mucho Gusto, Canada) CD $13.99
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Reissue of the year! (thus far?) Led by composer Walter Boudreau
and poet/itinerant trumpeter Raoul Duguay, L'Infonie were a
collective of artists, musicians and probable hangers-on numbering
upwards of 33 and bent upon wreaking unprecedented genre-
melding havoc in the hinterlands of Montreal. "Volume 3", actually
their 1969 debut, finds the groop vaulting headlong into free jazz,
pre-Brigitte Fontaine dada-recitation, variations on Bach, psychedelic
pastiche ala Pierre Henry's "Psyche Rock", shambling bossa-nova
deconstruction (Antonio Carlos Jobim's 'Desafinado'), and that's not
to mention the obligatory Beatles cover ('She's Leaving Home',
never more beautiful!). Three bonus live freakouts round out this
remarkable set. The following year would find L'Infonie adapting
Terry Riley's "In C" for their second album of big band mayhem
(currently available as bonus material on Riley's "Reed Streams"
CD). An astounding precursor to Faust, L.A.F.M.S., Nurse With
Wound, Amon Tobin, etc. L'Infonie effectively pick up where Os
Mutantes left off. [JG]

AUTECHRE "Peel Session 2" (Warp, UK) CD/12 $5.99/$5.99
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After an extremely long hiatus, over a year to be exact, Autechre
are back with their second Peel Session, and once again the duo
of Booth and Brown have upped the ante, producing the finest
electronic music since their last release, the amazing "EP7". On
the first track ('Gelk') alone, Autechre progress through enough
changes and ideas to comprise a full album's worth of material.
It starts off with a discordant melodic Philip Glass-ish piano track,
then suddenly changes to "Chiastic Slide"-era DSP soundscapes,
then in comes one of the most laid- back, dirty hip-hop breaks
I've heard all year; one that would make the likes of the RZA run
back to the "lab" to refine his skills! Track 2 ('Bllfil'), reminds me
of a rare remix that they did for Lexis a few years ago, their
trademark skitterish beats at their heaviest and the melodies
pitched up to 10 -- truly incredible programming. The third track
disperses cut-up vocals and animal noises between the beats,
almost as if they collaborated with Stock, Hausen and Walkman.
And on the final track ('19 headaches') Autechre relies on the
sporadic programming that Squarepusher is known for, the beats
jetting out in every different direction, but still cohesive. Once
again Autechre have produced a work that will leave their many
imitators straining to keep up. Absolutely beautiful! [JS]
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CALLA "Scavengers" (Young God) CD $12.99
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Calla's songs are unique, with a sound that seems as though it
was built upon a sense of a self-imposed restraint, intimate yet
distant, little secrets from another time or place, never spelling
out the pain that drives them. On 'Scavengers', their second
album, they step a little further out from the shadows and into
the warmth of day, setting free the fireworks they once carefully
captured. The crisp cool-to-the-touch approach of their first album
is replaced with a framework that forces the electronics beneath
the surface, relying more upon the instrumentation of guitar, bass,
and drums. The vocals, now much more prominent, float in unison
with the trademark 'swamp' guitar, so every song sounds alive
with a story it refuses to tell. For those of you looking for a
comparison, I tend to think this revolves in similar circles as the
recent work of Radiohead. 'Scavengers' is a labyrinth, where you
gain more with every listen, picking up pieces from a puzzle to form
your own pictures. Beautiful yet austere, guarded yet inviting, this
is something you must experience. [AG]

MILENNIUM "Again" (Poptones, UK) CD $18.99
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Back in the late '60s, Curt Boettcher was a busy guy. First he
started recording with Sagittarius, then had to abandon them
(he'd finish a few years later) for a group called the Ballroom,
and work with the Association. In 1967, he assembled most of
the Ballroom into a group called the Millennium and got a
development deal to make a grand-scale, conceptual,
experimental pop project. But the Millenium had such a complex
scope that the group could never even approximate what they
did live. By 1969 they were cast aside by the label with only one
LP ("Begin") to show for it  -- but lots and lots of extra songs.
One of these, 'I Just Don't Know How to Say Goodbye', was
tapped by producers of the film "Midnight Cowboy" for the theme.
A disagreement sprung up between the film people and the
group's publisher, and the film people ended up using Harry
Nilsson's 'Everybody's Talkin'', a song akin in mood and sound,
with a very similar melody. The end of the compilation brings their
Levi's commercial to light: it's such a good song you forget they're
selling something, but becomes insidious once you listen to the
lyrics?sigh. (FYI: There is a similar Japanese compilation "Second
Millenium, on Dreamsville, where eight songs overlap with "Again".)
(Next week -- reviews of three of the solo projects sprung from the
Millennium: LPs by Curt Boettcher, Sandy Salisbury and Joey Stec.)

TERRY RILEY "You're Nogood " (Cortical Foundation) 2xCD $34.99
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In 1967, Terry Riley was contracted to record a 'theme' for a
Philadelphia disco (This is a _tiny_ subgenre -- music written for
the clubs themselves -- I know of another, but there must be more
out there). Riley reworked the smoking soul duet 'You're No Good'
(not the Betty Everett/Linda Ronstadt hit of the same name) into a
bizarre exploration of repetition and cuts. His techniques are similar
to Steve Reich's "Come Out" from the previous year, but Riley
rearranges an actual song in different ways and sections, whereas
Reich took one idea and a specific length of words on tape and ran
it out. Riley's is, I think, the first remix ever made. As he cuts and
snaps his blocks together and apart, it becomes numbingly repetitive
here and there, but it's not uniform in structure. You'll find it either
grating or great. The second disc is of one of Riley's all-night concerts,
a section of solo improvisation using a soprano sax and tape-delay
device. He loops and rounds the thin, cutting sounds of the sax,
branching them into a veritable forest of saxes. He can make it
sound warm, like a clarinet, oboe, or bagpipe, or artificial and two-
dimensional like a synth. Drones spiral up and around, and faint
offset rhythms are generated -- he ends up creating the rhythmic
minimalism he came to be known for, only with one instrument and
a completely different method. Both discs add up to over 80 minutes
of brain-spin mad lull. [RE]

OMAR "Best By Far" (Oystermusic, UK) CD $22.99
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British Soul vocalist and multi-instrumentalist Omar releases
his fifth full length, "Best By Far." Blending R&B, Disco, Funk,
Two-step, and Lounge into a solid uptempo groove by sampling
Burt Bacharach, John Barry, and Lalo Schifrin. Co-produced by
Omar and former Jamiroquai bassist Staurt Zender, they use full
string arrangements reminiscent of Marvin Gaye and Stevie
Wonder. Erykah Badu guests on a cover of the William Devaugh
classic "Be Thankful for What You Got". Recommended! [DG]

MUSLIMGAUZE "Fedayeen" (Tantric Harmonies, Russia) CD $16.99
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Another round of superb, Arabic-flavoured drum'n'bass, mysterious
frantic rhythms, ghostly voices and broadcasts from beyond. As a
Muslimgauze fanatic, I've been waiting years to hear this one! Not
exactly a posthumous release, while not entirely a reissue,
"Fedayeen" was a full-length album initially released as an MP3
way back in 1998. I didn't know what an MP3 was at the time, but
hearing of this release made me want to find out! After conducting
diligent research and downloading one of those free-players, I
dutifully logged onto the Muslimgauze site only to discover that due
to overwhelming demand and technical difficulties the files had been
REMOVED! Imagine my despair?I had to wait an entire THREE weeks
between the releases of "Remixes Vol.2" and "Dark Thoughts", the
collaboration with Apollon. Within another month or so, Bryn Jones
(Muslimgauze) had died and my MP3 fiasco had been long forgotten.
Now some nice label from Russia has gone and pressed it up (limited
edition of 850) for compu-inepts like me to enjoy too. Thanks! [JG]

LES HAUTS DE PLAFOND "#1" (Sonore, France) CD $13.99
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Les Hauts is the project of Pierre Lutic and Phillippe Gautier, who
also do multimedia work (they have a stunning web site at
http://www.leshautsdeplafond.com). Bringing in throngs of friends,
you can hear in their music how they hate to be restricted in
anything -- medium, genre, whatever. The CD relies on the sampler's
potential, and more often than not they're piling so much on a mix
that it becomes pure chaos. But amidst this chaos are memorable
sequences, clefts through which come tiny memorable melodies,
words, wonderful beats, fragments pulled out of the past. I can't
really compare them to anyone, though when the beats get going
they're bouncy and from odd sources, a la Stock Hausen and
Walkman (and one track in particular is almost identical). A very
enjoyable CD of short-attention span music, though not so frenetic
that you don't have time to breathe. 42 minutes. [RE]

HERMANN NITSCH "Harmoniumwerk: Volumes 1, 2, 3, 4" (Cortical Foundation) CD $36.99
HERMANN NITSCH "Harmoniumwerk: Volumes 5, 6, 7, 8" (Cortical Foundation) CD $36.99

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With a renewed interest in Fluxus and its European counterparts
(Wien Aktion group, Zaj, etc...) the work of Hermann Nitsch, the
only member of the '60s aktion group still aktive, has emerged
from an underground museum of transgressive culture (he was
a large influence on young Genesis P'Orridge as well as Steven
Stapleton) to find a larger audience in the last five years than at
any point previous. Oddly, these newfound audiences are
encountering Nitsch not through his aktions (which have evolved
into Dionysian festivals celebrating life and death, lasting for days
and days) or through the bloodstained visual remnants of it. They're
introduced to his work via his music, and are consequently primarily
deprived of the entire dramatic context and imagery. "Harmoniumwerk"
was originally a 40-volume set of solo organ music, recorded by
Nitsch on his home organ in Prinzendorf Castle over the course of
five years and issued on his private O.M. Theater Verlag label in an
edition of 15. Cortical Foundation (following their announcement of
a proposed 100-CD set to document Nitsch's crowning gesamkunstwerk,
the Six-Day Play in August 1998) announced that are going to reissue
the entire 40-volume series in easily digestible, two-hour double CDs
(compiling two tapes per CD). The first eight volumes provide a
fascinating, though somewhat atypical chapter in Nitsch's work.
Unlike his solo cd on Yedermann with its excessive, violent blood-
drenched cover, these are packaged inoffensively in space photos
taken from the Hubble telescope, making this the first Nitsch CD you
can lend to your vegan friend with a PETA membership.
"Harmoniumwerk" is warm, meditative and overwhelmingly pleasant:
a droning organ playing an extended note, bathed in its own
overtones. Reminiscent of the recent work of Nitsch's friend
Charlemagne Palestine, the gentleness of these documents could
even be labeled 'new age' (if that term didn't carry such disturbing
connotations). The perfect music to for an early morning hangover or
a lazy morning spent in bed. [MG]
"Volumes 1-4"
"Volume 5-8"

ALAN BERN & GUY KLUCEVSEK "Accordance" (Winter & Winter, Germany) CD $15.99
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These two are at the absolute height of their profession. I can
think of none more proficient, skillful, diverse and adept in the
small accordion-playing world. Here, you get them in stereo:
Bern in one channel, Klucevsek in the other. And when they both
get boiling, it's hard to tell exactly how many accordions are in the
room. Bern's compositions are greatly different from Klucevsek's.
While Klucevsek, puckish, uses complex 'ethnic' riffs and melodies
(or distills them), Bern derives his compositions from deep blues,
the dark corner of the soul. This is especially obvious on 'Angel
Blues', a remarkable bit of extreme soul wrung from such an
unwieldy machine. 'Starting Over', the centerpiece, goes from
near-stillness to a religious intensity: swelling plumes, billowing
clouds of compounded notes make the two an absolute choir.
Bern (from the klezmer group Brave Old World) also plays the
piano, his compositions introspective and airy. I'm also guessing
he uses this as an opportunity to make music not touched by
klezmer's wild sadnesses and frenzies. Klucevsek's pieces are
the jauntiest, though unforgivably titled with some of the worst
puns ('Life, Liberty and Prosciutto Happiness' being the standout
'ugh'-inciter). Together, they sweep you up, carrying you on hard
currents of sound. It rates very high among the best accordion
CDs I've ever heard. [RE]

CHRISTINA ROSENVINGE "Frozen Pool" (Smells Like) CD $12.99
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Christina Rosenvinge, formerly of Alex and Christina (a bona-fide
pop phenomenon on WEA Latin America) sings beautiful lullaby-
like pop on her new album, "Frozen Pool." Rosenvinge's
understated songs wander between her lightly-accented voice,
lyrical guitar leads and simple percussion, creating an
atmosphere reminiscent of Mazzy Star. But her voice might be
the softest instrument of all: Rosenvinge's subtle accent and
bittersweet melodies are exactly what sets this apart from less
magical songwriters. Joined by Tim Foljhan and Janet Wygal of
2 Dollar Guitar, and Lee Ranaldo and Steve Shelley of Sonic
Youth, her music resonates with a stunning confidence and
sophistication. "Frozen Pool" might be the perfect pop album
of the moment; Rosenvinge's sad voice rings just right during
these cold winter days. [PW]

LE TIGRE "From the Desk of Mr. Lady" (Mr. Lady) CD EP $8.99
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If you've attended a Le Tigre show recently, you've heard most
of the songs on this EP. Though the live versions carry more
emotion, the bright spots occur when you can hear and
understand the lyrics. These spots are like a splice on celluloid --
raw, overstated and to-the-point lyrics highlight the everpresent,
inspiring DIY aesthetic.The tunes have cooled down a bit, using
samples from a nameless '90s Manchester dance pop band (on
'Get Off the Internet'), or bare-bones drum programming and
vocal snippets ('They want us to make a symphony out of the
sound of women swallowing their own tongues'), or late-'80s
Casio demo musings ('Gone B4 yr Home') that seem tailor-made
for a Burgalat remix. But for now, I'm grateful for the drum'n'bass-
ish remix of the last song, 'All That Glitters': go Rachael Kozak! [LG]

DELAROSA & ASORA "Backsome" (Schematic) CD/12 $11.99/$7.99
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Scott Herren, who is also Savath & Savalas, keeps naming his
projects as if they're NYC gourmet food shops (his next project
is going to be called Dean & Deluca). The first track on this EP
(full-length out next month) sounds like Spaceheads with all
the angles and edges removed, only brass echoes and drones
remaining. Purposefully calming, his music can have a slower
pulse than most, a slight trip-hop jazz edge, and spritely
keyboards. His second track springs from a barely-cohesive
collage to an equally jarring set of really choppy beats that
become unfixed halfway through. Post-rock meets Boards of
Canada with a little soul and robots stirred in. Six tracks,
21 minutes. [RE]
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[V/A] "Versus Rather Interesting" (Quatermass, Belgium) CD $15.99
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At first glance, the catalog of the Rather Interesting label has
quite a roster: over 25 different groups and artists. But looks
can be deceiving -- RI was spun off of the Fax label so that Uwe
Schmidt (Atom Heart) would have somewhere to lay out all of
his musical disguises. Quatermass has invited a number of
electronic artists (Pram, Pole, Plaid, more) to remix anything
from RI's catalog. This CD alternates these remixes with rare
tracks selected from the RI catalog (only between 1997 and
1998, for some reason), most of which are out-of-print: blends
of exotic sensibility and glinting electronics. The remixers stick
to their respective styles -- Pram's is pretty, melodic, diverse
and teeming with life, Pole brings in a deep, dubby bass. [RE]

BURNT FRIEDMAN "Plays Love Songs" (Nonplace,Germany) CD $15.99
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Burnt (or Bernd) Friedman has been a peripheral figure in German
electronics for nearly a decade. During the early '90s he went
under the pseudonym Nonplace Urban Field, and produced hard,
clinical German darkwave records where he attempted to
integrate jazz stylings. Albums such as "Nuf Said" (1995) have
not aged well. His period of fecundity really came began 1998
when he went to Chile to record "Templates", under the group
name Flanger with the prolific Atom Heart. Their album was a
successful integration of analog electronics, background street
sounds and indigenous Chilean music, somehow managing to
avoid sounding like the imperialist adventures of two white boys.
Friedman then went to New Zealand and recorded a strange,
mesmerizing record "Just Landed" on Pole's ~scape label,
which again effected a near-perfect synthesis, this time of live
trumpet, sax, and odd, shouted vocal samples with excursions
deep into the echo chamber. On "Plays Love Songs", Friedman
samples Bacharach, Mike Patton, and Sun Ra. 'Fucking Long Time,'
the opening track, is, upon first hearing (and like most of the
album) a seemingly incoherent, sloppy piece, with off-time drum
programs, out of tune guitars and sax and senseless vocal
samples. But the third listening reveals a very deliberate, almost
song-like structure buried beneath the messy exterior. Like the
preceding EPs from which much of this material is culled, one
gets the sense of scraping years of dust and grime off an objet
d'art, only to discover glistening jewels beneath. [TH]

BLUE STATES "Nothing Changes Under the Sun" (18th St. Lounge) CD  $14.99
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With the oversaturation of Rhodes-driven downtempo for the
last several years, it's hard to find a record that stands out.
Enter the Blue States. While all the typical tags are applicable
(cinematic, seductive, laid-back), "Nothing Changes Under the
Sun" surpasses these parameters while acknowledging the style's
short but rich tradition. With songs ranging in themes from
Muzak-esque Air to Thievery Corporation- style exoticism to
ambient break-beat to even John Barry's film scores, the Blue
States have created a record that has eluded the static
trappings of downtempo. Andy Dragazis, born in Greece, relies
on a melodic sense of harmony rather than slick production: he
owes more to the electro-organic styles of Kid Loco and Fourtet
than the Kruder and Dorfmeister, the uber-smooth kings of the
genre. [NF]

FAUST "The Land of Ukko & Rauni" (Ektro, Finland) 2xCD $19.99
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On this live concert from April of 2000, Faust begin as a
gargantuan beast prowling the landscape, groaning and
rumbling. Bits fly from this mass of trampling sound like
objects flung, untouched, from the tube of a tornado.
Given aural form, there's a clear stab of cello, a stream's
gurgle, a fraction of a second of the sound of a plane taking
off, a solitary cymbal crash. As the beast lies down for a nap,
you hear its giant pulse, while strings are caressed by wind,
a keyboard is struck, and they begin a churning, guitar-
driven drum-smacked cascade of sounds that lasts over 80
minutes, spread over two discs (by the second, they've
brought in pots and pans, an opera singer, and chant gruffly).
CDs are indexed in sections. [RE]


NEW PORNOGRAPHERS "Mass Romantic" (Mint) CD $13.99
New over-the-top pop supergroup featuring Neko Case and
members of Destroyer and Zumpano. Just repressed.

Back in stock after a two-month hiatus is nearly the entire
catalog of Germany's excellent Trikont Records label. We apologize
for the many orders that we weren't able to fill during the time
when these disks were out of stock. Below are listed several of
our best-selling Trikont titles. There are over two dozen others
that we also carry. To find them, please visit our website and
perform a label search for "Trikont".

[V/A] "Ho! Roady Music From Vietnam" (Trikont) CD $13.99

[V/A] "American Yodeling 1911-1946" (Trikont) CD $13.99

[V/A] "Down and Out: The Sad Soul of the Black South" (Trikont) CD  $13.99

[V/A] "Prayers From Hell: White Gospel and Sinners Blues" (Trikont) CD $13.99

[V/A] "La Paloma Volume 4" (Trikont) CD $13.99

[V/A] "Copulation Blues: Hot and Sexy" (Trikont) CD $13.99

[V/A] "Drug Songs: High and Low 1917-1944" (Trikont) CD $13.99

[V/A] "Novelty Songs: Crazy and Obscure 1914-1946" (Trikont) CD  $13.99

Contributors: Robin Edgerton [RE], Nick Follett [NF], Lisa Garrett [LG], Jeff Gibson [JG], Andy Giles [AG], Daniel Givens [DG], Michael Goodstein [MG], Duane Harriott [DH], Tim Haslett [TH], Phil Waldorf [PW].

The Big Picture:

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