NEW RELEASES
Junior Boys
Revl9n (Formerly Revlon 9)
Beat of the Earth
Relatively Clean Rivers
Doctor Rockit
Susie Ibarra
DJ Shadow
Cooper-Moore

ALSO AVAILABLE
Benjamin Biolay & Chiara Mastroianni
The Necks
Hangar 18

Jack Rose
Shrimp Boat (Box Set)
Arovane
Nic Jones
Bell
Mr. Toytown Presents (Psychedelic Comp.)
Stratis
Isaiah Owens

"Birthday"

"High Come Down"

Sometime late last summer, rumors were circulating about this new duo from Canada who recorded under the moniker of Junior Boys. The talk was how they were "the saviors of electronic music" and "pop geniuses." In late October 2003, they released their debut 12-inch on their own Kin label and it featured a remix by Fennesz. (Yes, that Fennesz!) It is quite rare for an artist's debut EP to have a remix by such a well-established persona, but hey, the Junior Boys are special. Upon first listen to their single "Birthday" I was floored; this record had everything that I loved about pop music at the time. "Birthday" took the sound of Ultravox and Depeche Mode, and melded it with up-to-date beats à la Timbaland and the Neptunes. The vocals were sweet sounding like Jay Jay Johanson, and the lyrics were exceptional. It was the perfect pop song and the Fennesz remix solidified my purchase...I needed this record immediately!

Approximately two months later they followed it up with the "High Come Down" 12-inch and guess what…another stunning slab of vinyl, and another remix, but this time out it was Manitoba's turn. This duo were unstoppable, but where was the album? And could the Junior Boys pull off an entire record of their amazing brand of electronic pop? Wait no longer because the answer is YES!! The Junior Boys finally release their debut full-length and it is nothing short of brilliant. Ten tracks in all, including the two singles, this album lives up to all of the hype and more. Read the reviews, listen to the record, and bask in the glow of the Junior Boys and their debut full-length Last Exit. It is one of the best albums that you will hear all year. Highly Recommended. [JS]

"Walking Machine"

From the first time we played Revlon 9's homemade CD-R in the store, it was apparent that the band would quickly epitomize the expression "overnight sensation," at least in these parts. We couldn't keep their self-titled CD in stock. The EP's kick-off track "Someone Like You" was arguably the best dance-punk cut of 2002, and for a while there I heard it played out at clubs as much as the Rapture's "House of Jealous Lovers." Now, just in time for the summer, our favorite Swedish D-I-Y electro-punks are back with a brand new single -- as well as a slightly revised moniker, probably to keep the Revlon corporation off their backs. If you caught any of their live shows last year you won't be surprised at the group's current flirtation with a more straightforward dance beat and electronics. But it's all still delivered with (non-ironic) punk rock attitude thanks to the sexy vocals of Maria Eilersen and Åsa Cederqvist. (Read: lots of breathy gulps in between verses.)

I expect those only familiar with Revlon 9's eponymous EP to be a bit shocked by this transition, but in context of the group's evolution -- starting with their garage rock beginnings and then a transition to electro-punk -- the precise, cold pop of "Walking Machine" makes total sense and shows the band unconsciously staying ahead of the curve, just creating the kind of music that they want to hear -- unmistakably Revl9n. I've heard more than one staff member comment that there's a hint of early Madonna in this single, but perhaps a little darker and even sexier. One thing for sure, I can't wait to hear this blasting in the clubs this summer. (Currently only available at Other Music.) [GH]

"1 Beat of the Earth"

RELATIVELY CLEAN RIVERS
Relatively Clean Rivers
(Radioactive)

"Easy Ride"

"Babylon"

I know (relatively) little about the man behind these two albums, and attempted digging around on-line yielded barely any information, but just on the basis of these two albums I'd have to say this guy Phil Pearlman was some kind of musical genius. Separated not only stylistically but by about eight years, between 'em these two records manage to have just about everything I'm looking for in a high quality psychedelic re-issue these days. The first album, privately released under the moniker The Beat of the Earth in 1967, has got to be one of the least tedious "freak-out" albums I've ever heard. Just two long serpentine tracks seemingly influenced by the druggier and heavier moments from the first two Velvet Underground records. Raga guitars, shakers, organs, exquisite shouting and chanting. Cymbals and bells. SUPER weird production and that great bluesy undercurrent you find on the classic Spacemen 3 records.

So just by that album alone I'd say Pearlman's place in the psych pantheon would be firmly established, but lo and behold come 1975 and he yet again unleashes a privately pressed rural/psych rock gem under the name Relatively Clean Rivers that just seems so effortlessly and inventively produced. Usually by '75 I can't stand stuff like this, but my god! He's got backwards drums on here like it's still 1968. And on a country rock record no less! It works perfectly. All California sunsets and country living clean, you can feel the wind in this album, in the melodies and in the guitar lines. This is Grateful Dead-esque music for people who hate the Grateful Dead (and also those who love 'em). [MK]

"Cameras and Rocks"

"Veselka's Diner"

My first introduction into to the squelchy world of Matthew Herbert was through a Dr. Rockit 12-inch. About eight years ago I was at a loft party somewhere in Chinatown feeling six degrees of "effed-up," when out of seemingly nowhere I hear the deep, minimal hiccup-y funk of "Cameras and Rocks" slice through the cloying four-on-the-floor stomp like a serrated beer can. I immediately made a drunken beeline rush to the deejay booth to ask what it was and the next day I ran out to get the Ready to Rockit EP from which that sick track came. I've been a huge fan ever since. Even though I really enjoy all of his albums, the Dr. Rockit material has always been my favorite Herbert related project, and I always thought it was a shame that this material hadn't been available -- so this collection of all of those sick EPs is like a Godsend. The catalog is pretty eclectic; probably the biggest difference between this and his namesake material is the eclecticism and that longtime Dani Siciliano is pretty much absent from almost all but one track. Tracks like "Cameras and Rocks" and "Cafe de Flore" have the trademark sound, but it's a lot looser, and not as frenetic as the later stuff. It's also amazing to hear how much of an immediate influence he's had on a lot of current artists. You can hear the accordion/flamenco shuffle of Gotan Project in "Cafe de Flore," the cut-up hip hop of Prefuse 73 in "How Do You Do," and the abstract live jazz/house hybrid of Mr. Scruff and Homelife in "Veselka's Diner." I can't believe how well this stuff has held up over the years, and stands as clear proof of the forward-thinking genius of Matthew Herbert. Can't recommend this one enough y'all! [DH]

"Anitos"

"Lakbay: Awit Sa Trabaho"

"Lakbay: Ang Sayaw"

After witnessing Susie Ibarra's outstanding performances at John Zorn's 50th birthday celebration at Tonic last September I've been waiting in eager anticipation for her new release, Folkloriko. Having already proven that she can more than hold her own on the skins in the men's club of improvised jazz, she has gracefully moved into the equally skewed world of contemporary composition. The new CD is further evidence of her importance and originality in that field as well.

Folkloriko contains two new pieces, the first of which "Anitos," meaning spirits, is an otherworldly and playful duet with husband and downtown percussionist par excellence Roberto Rodriguez. Recalling South African and Asian folk music, as well as the best moments of Zappa's writing for percussion, the piece grooves and soars with polyrhythms that seem to run in tangents places that only anitos can go.

The bulk of the CD is an extended, nearly programmatic suite in nine parts paying "tribute to a day in the life of a Filipino immigrant worker". Entitled "Lakbay," meaning journey, the piece follows the inherent hills and valleys of a person with the odds stacked against them. Ibarra receives excellent interpretations from her trio (Jennifer Choi - violin and Craig Taborn - piano) as well as from guest trumpet legend Wadada Leo Smith. More than just a showcase for a composer's considerable and varied musical vocabulary, "Lakbay" is a subtle and moving tapestry, bringing to mind a Berlioz for the new millennium. Simply put, Fantastique. [KC]

"What Does Your Soul Look Like Pt. 2"

"Reconstruction Medley"

DJ Shadow returns with a live CD/DVD combo that gathers the hits and misses from previous albums, UNKLE, and one-off singles, along with his given cut-n-paste, trick-up-my sleeve DJ treatment. Seeing Shadow live is a treat and something to witness, as he rebuilds his productions flawlessly from "scratch," using an MPC, turntables, and CDs to recreate the best moments of his career. This combo gives you the best of both worlds in a sense -- the audio as well as a visual accompaniment. The DVD shows Shadow in action, interacting with and responding to the three huge projection screens that made their way around the world with him last year. Essentially nothing new here, but a must have for fans of Shadow and DJ techniques. [DG]

Many Other Music customers will be familiar with Adam Lore's journal 50 Miles of Elbow Room. For those who aren't, it is simply one of the loveliest and most informative music journals out there, with respectful and in depth interviews and articles on everyone from Otha Turner and the Rev. Charlie Jackson to William Parker. But he's really outdone himself on this latest installment, a five 7-inch box set devoted to instrument builder and noted jazz pianist Cooper-Moore.

Limited to 300 copies and housed in a cedar box, there is also an engrossing interview with Cooper-Moore where he recounts a good deal of his history and working methods. Cooper-Moore came up during the loft scene era here in New York (in the early-'70 he set up an artists live/work space on Canal street where David S. Ware also lived). Most of the recordings he's done since then have featured his piano playing, so it is very welcome indeed to have so many of his homemade and unconventional instruments documented in one package. He clearly has an affinity for earlier African forms and instruments, through his utilization of adapted banjos and by constructing his own xylophone-esque "Ashimba."

There are also stunning pieces for hand held harp, diddley-bo, mouth-bow, and bamboo fife amongst others. A New York artist through and through, Cooper-Moore has recorded some of these songs outdoors on city bridges, with one session even taking place atop the Ward's Island garbage dump. It is clear in these performances that Cooper-Moore's musicality is one that is fully intent on capturing the listeners sense of wonder. The man is clearly a treasure, and this package goes a long way toward securing his important place in today's musical landscape. [MK]

"Crossing the Great Waters"

"Black Pearls From the River"

Pelt's Jack Rose is back with another masterful acoustic guitar record. Last year's Wooden Guitar compilation on Locust Music seems to have successfully resurrected the genre that developed around John Fahey, Robbie Basho, Sandy Bull, and other brilliant minimal folk instrumentalists in the 1960s. There may be plenty of other contemporary artists who are revisiting this style of music with some competence, but not one of them is doing it with even half of Rose's originality and taste. His guitar playing has a lyrical expressiveness and Eastern influence that evokes the spirit of La Monte Young's work with Pandit Pran Nath. Raag Manifestos is completely incredible, easily as good as the Two Originals Of CD that came out a couple of months back. Transcendent, bordering on religious, don't be surprised if you find your jaw hanging open in awe from start to finish. [RH]

"Honeyside"

"Sourwood Mountain"

An epic release from a group that you may not realize merits such treatment (but they do!), this career-spanning 4-disc box from Chicago's Shrimp Boat, comprised almost entirely of unreleased material, is a deep and powerful set, full of surprises for both old fans and newcomers. Perhaps best known as Sam Prekop and Eric Claridge's pre- Sea and Cake project, the band also featured Chicago star producer Brad Wood, as well as Ian Schneller and several other talented and eclectic players during its eight-year run from 1985 to '93.

A classic art-school band (several of the groups members have since developed successful careers in the visual arts), the band's skewed artistic vision touched on nearly all of the varied musical stylings that in later years have become lynchpins of Chicago's vaunted underground scene. And in many ways they seem to have kick-started the musical renaissance of the Windy City, gleefully mixing their indie-pop (perhaps the New Zealand variety) with classic country and roots music (both the Carter Family and the Meat Puppets come to mind), free jazz, soulful grooves and exhilarating experimentalism (think TFUL282, or maybe Royal Trux with less heroin and more beer and psychedelics). Touching on alt-country, post-rock and improvisation before we knew it was cool for rock bands to do that, at a time when Naked Raygun was the biggest game in town, and hard, tight guitar bands ruled. And amazingly, the group seemed to have an unerring sense of just how far they could push the limits of their own abilities, tackling varied styles without relinquishing the Shrimp Boat sound, and never sounding like pretenders.

The set is arranged roughly chronologically, with the first disc comprised of 4-track recordings made in '87 and '88, when David Kroll was still in the group, and they feature his plucky banjo playing throughout. Far from "country", these tracks nonetheless betray a passion for American roots music as well as crash and drone. Disc two spans '89 to'91, after Wood joined the group, and about half of it was recorded to 16-track at his Idful Music Studios, as well as a number of live tracks from Chicago's Cabaret Metro and elsewhere. Besides taking over the drum kit, Wood's soprano sax clashes with Kroll's tenor as the group more formally explores its jazzier side. We can also hear the band tighten its pop side, with cleaner song structures and a more focused approach. The third disc covers'92 and '93, and although it is still chock full of variety, the most startling change is the addition of tenor saxophonist Joe Vajarsky, whose fluid playing and rich tone can easily fool you into forgetting that this is an indie rock band, not "legitimate" jazz improvisers. Add to this a career-spanning "bonus" disc with the initial pressing, plus a beautiful and informative 52-page book, and you have an immensely satisfying package.

Within its many hours of surprises, you can hear Prekop's distinctive vocal and guitar styles emerge, and fans of his work with the Sea and Cake will be thrilled by these early tracks, both for their similarities to his later work, and their differences, as he takes more chances and drops the cool demeanor that he has since perfected. (Oh yeah, and how about that pompadour he sports in the many photos included?). As well, we hear Claridge's beautiful melodic bass playing (and on the early tapes, drumming), Wood's first stabs at the drums and early production work, as well as a bevy of delights from the rest of this talented and influential crew. A bit of an investment for a bunch of unreleased tapes by a marginal indie band, but the final product more than justifies the love and attention that went into creating this music, and compiling the set, and I for one am glad that these tracks are not forever confined to the scrap heap of history. [JM]

"Cry Osaka Cry"

It has been four long years since Arovane released his last album and a lot has changed in electronic music. His last album Tides was a beautiful electronic masterpiece featuring melodic downtempo beats, lulling synths and finger picked acoustic guitars. Tides was an incredible album and it is still a highly requested purchase around here. Well, four-years later and Uwe Zahn has graced us with another masterpiece entitled Lilies, and in a way, picks up from where Tides left off. There are still the melodic downtempo beats and lulling synths, but this time out the melodies are primarily based around delicately tapped piano keys instead of acoustic guitars. Lilies is not as subdued as Tides, it kind of has the feeling of Warp's legendary Artificial Intelligence series. Think Autechre's Amber album or Black Dog's Spanners CD and you kind of have a feeling where Uwe Zahn is heading this time out. Lilies is a beautiful album that recalls the classic days of electronica as well as keeping one foot in the future. Word has it that Arovane has stopped making music for a while. After hearing this album I wish he would reconsider, even it does take another four years. [JS]

"Ten Thousand Miles"

"Captain Glen"

"Annachie Gordon"

Nic Jones is one of the finest singers and guitarists I've ever heard on record. With all this renewed interest stateside in the British folk revival, it would be practically criminal for us to not point out his somewhat unjustly overlooked contribution. For while he has many a rabid a fan in the United Kingdom, his name is still somewhat unfamiliar to all but the most devoted folk enthusiasts in the U.S. In the mid-'60s Jones got his start as a member of the British folk revival group Halliard. Like many musicians in those days, he'd spend hours poring over songs at the famous Cecil Sharpe House, trawling through the ballads Sharpe had obsessively collected that would also give inspiration to people like Shirley Collins, Bert Jansch, and the Fairport Convention.

In 1970 he embarked on a solo career, releasing four acclaimed albums for the Trailor label that have yet to be reissued due to legal hassles over their ownership. In 1982 he recorded what would prove to be his last studio album, Penguin Eggs. It was enormously successful both critically and commercially and Jones' star was on the rise. Tragically, not too long after its release Jones was driving home from a performance when he fell asleep at the wheel and suffered a terrible banging up. He lived, but was hospitalized for six weeks with horrible injuries. His memory has apparently never fully recovered, and his right hand won't seem to play with the fleetness that it once did. He has not performed publicly since, which brings us to Unearthed.

After the accident, Nic's wife Julia sent out word to all of Nic's friends and fans that tapes of his concerts, rehearsals or studio outtakes would greatly be of help in the recovery of his memory. She hoped that by playing these songs she could help him through the fog he'd been unfortunately submerged in. She ended up with over 500 tracks, 31 of which have made it on to this two-disc compilation. Jones is above all else a storyteller, or even a bard in the classic sense, and listening here you can't help but feel pained that a man blessed with such a remarkable ability to commit these ballads to heart would be robbed of their memory. He wouldn't just recite these old tales by rote either, every song he sang he dusted off and infused with the commitment and emotion needed to display the continuing relevance of those hundreds of old ballads he knew by heart.

He could do the same thing to songs of newer vintage as well; I don't think I'd ever fully understood Bob Dylan's "Boots of Spanish Leather" till I heard Jones' version on this CD. There is a certain emotional clarity combined with a lonesome yearning in his voice that is as brilliant, if not more so, than that of Jansch or Jackson C. Frank, or damn near any other folk singer I can think of. He was equally innovative on the guitar, forgoing the note-y fluidity that Davey Graham introduced for a more percussive approach that tended to lend momentum to the arc of his stories. Nic Jones has an understated brilliance which may account for the lack of name recognition over here, and at first blush his music may seem a tad traditional for the usual Other Music customer's taste, but for those willing, there are enormous riches to be found in these songs. [MK]

"Rhythm Machine"

"Slide Out Wide"

Anyone remember to first LFO album? Its squelchy, bleepy electro managed to capture the spirit of days gone by (Mantronix, Bambaataa, Farley, Phuture, etc.) and still updated the sound for the time. A dozen or so years later, Bell arrives to do much the same. Over the course of twelve tracks they explore the brand-new-year-retro sound with confidence and precision. Tracks like "File One" rely on a straight-up 4/4 kick that pops, wobbles and skitters out the funk, while "Winning Signal" twists out simmering acid lines and thrusts of bass over skittering drum patterns. Ha-cha-cha-cha, "Mode 3" 2-steps over a filtered vocal vacuum and squelchy 303 lines, and "Two Voices" frantic ghost-in-the-machine molten electronics sizzle underneath full-tilt shuttering drum punches and elastic basslines. All in all, Seven Types of Six strikes a good balance between grimy electronics and minty fresh sheen and succeeds in marrying yester-year with many of the facets the drive contemporary British dance music today. [GA]

"Come in Bonzo" Big Cherry

"Jimmy Joe" Napoleon

Mr. Toytown Presents collects 21 international psych treasures so obscure that you can be sure most of them probably won't turn up anywhere else. All of the tracks are taken from 45s released on small Spanish record labels between 1969 and 1974, but only a handful of the bands are actually from Spain. The groups also come from Canada, France, Italy, England, Belgium, Sweden, and the Netherlands, and they are as stylistically diverse as their countries of origin. The disc includes phenomenally orchestrated soft pop nuggets alongside great psychedelic rock anthems, otherworldly folk, and even a searing lysergic interpretation of the Beatles' "Help." The tracks are all incredibly different, but they're on the whole quite playful and recorded with a healthy dose of studio experimentation. This is an incredibly impressive debut release from Spain's fledgling Toytown record label, one can only hope that they're sitting on a lot more of this stuff. What a great surprise. They only made 500 copies of this collection so don't miss it before it's gone for good. If you're into any kind of psych at all, there's something on here that you'll love. [RH]

"Herzlos"

"Il Futuro"

This is a 23-track collection compiled and burned by the artist himself -- his autograph is inside the booklet -- of moody, sci-fi (Blade Runner, not Flash Gordon), German art/new wave/electro, mainly from the '80s. Before this one arrived we only knew of Herr Stratis through his lone submission included in the Neu Deutsch compilation released by DJ Hell's Gigolo records. (Actually, said track "Herzlos" is the LEAST interesting one of the whole bunch -- it's straight up trashy German electro. The rest of the Herzlos album is a whole other affair.)

As I mentioned before, this stuff has the whole future-obsessed feel of Vangelis' soundtrack for Blade Runner, complete with the electro-eastern vibe (lots of Arabian melodies/vocal samples echoing in the background) of select Chris and Cosey (still pure and raw), and especially Yello(!) (but not as pop). You know, that moody/multi-culti/sci-fi that's sincere in way that is all but impossible to achieve today. (Seemingly, and beyond what some Crammed Discs/Axiom releases have done.)

Tracks 1-10 explore this feeling. Tracks 11-14 have the Neu-Deutsch-style electro feel. Track 15 begins a section of art sci-fi tracks that have the feel of the early tracks combined with a synth funk that rides the line between funky and WRONG in such a nice way...(see track 16, "Arabian Nights"). Track 19, "Elemente Des Grauens" features queasy synth funk, accented with reverb-ed scratches and German vocals that sounds like German synthpunk/hip hop!!! (In a good way!) Great record. A total steal at the $9.99 sell price, and still a deal for twice that!! Recommended! (Very Limited Quantity.) [SM]

"You Without Sin"

"I'll Fly Away"

Second release from Case Quarter, the folks who brought us the smoking Rev. Charlie Jackson compilation last year. Isaiah Owens' debut album at the age of 69 is idiosyncratic gospel at its finest; and if the notion of idiosyncratic gospel strikes one as odd, just listen here. Owens has long been a gospel singer, but didn't pick up the guitar until he was in his 50s. He is entirely self-taught and plays like no one I've ever heard before. He is clearly not afraid of the discordant note; he jabs and twists those strings for the maximum amount of emotional impact. Something about his playing makes me think of no wave guitar players from the late-'70s and early-'80s, which would be about when he picked the instrument up. But where their notes were let loose in pursuit of artful posturing, Owens' loud angular strumming screams nothing but the utmost conviction unto the Lord. His voice is as deeply soulful as you'd expect it to be after singing gospel for 40-years. Many of these tracks were culled from gospel radio programs he appeared on in Alabama over the last few years. Strikingly original, Owens is an amazing discovery who certainly deserves to be heard well beyond whatever radius those radio signals are able to reach. [MK]