NEW RELEASES
Mike Wexler
John Tejada & Arian Leviste
Simon Finn
Vetiver
Traffic Sound
Roll Deep
Pernice Brothers
The Merry-Go-Round
Jason Forrest
Slow Dazzle
Skullflower

Mark Stewart
Joy Zipper
Nick Castro
Phosphorescent
Benzos
Ammoncontact
Watts 103rd Street Rhythm Band

ALSO AVAILABLE
The Believer (McSweeney's Magazine with CD Compilation)

"Meridian, Meridian"

"Tropic of Gemini"

Anticipated five-song debut EP from young songwriter Mike Wexler, a much buzzed about addition to New York's ever burgeoning new folk scene who just last week held a sold out Tonic crowd in rapt attention. Possessing prodigious songwriting skills and a voice as idiosyncratic--though certainly less precocious--as his contemporaries Banhart and Newsom, Wexler is easily poised to be one of the next big underground stars. His songs possess a real tender off-handed casualness, they feel comfortable and lived-in without being merely revisionist, which is no mean feat in this day and age. Charles and Jordi from the Occasion lend Wexler just the right amount of subtle backing (i.e. piano rolls, a small tinge of acid-inflected electric guitar) to further enhance his tunes' encroaching epicness. Here's hoping that his full-length will be as effortlessly graceful as this outstanding debut. [MK]

"Forgotten Fly Girl"

"Triad Jack"

Oh man. With Back for Basics, John Tejada and Arian Leviste have delivered an album of neo-classic techno and house sounds that pretty much ignore the jazzy techno-house of the '90s. Check out the speak 'n' spell (Kraftwerk) house of "Word Problems" and the Detroit mooncar highway of "Patterns." Nice bounce and jazz-less compared to previous collaborative efforts from these guys (check "Triad Jack"). It's refreshing to hear these classic sounds done in a modern, deep style that just rides along, not trying too hard. Imagine Stewart Walker making tracks with more 'Ass' and less 'Artiness'. Classic without being 'Rave-y', deep without being sleepy. [SM]

"Walkie Talkie"

"Wanted You"

Simon Finn has rendered a collection of newly recorded songs after nearly 35 years since the release of Pass the Distance, the unequivocal psych-folk masterpiece originally released on UK's Mushroom label and later reissued by enthusiast and influential descendent David Tibet (of Current 93) on his Durtro imprint. An incredibly distinguished musician, Simon Finn stood disparate and slightly offbeat to latent peers such as Syd Barrett, Tom Rapp, Duncan Browne and the singer-songwriter side of the ESP label--carving out a unique alcove as an outsider folk artist. Uncanny narratives and softly-strummed to maniacally raging acoustic guitar were woven into haunting passages by the multi-talented David Toop, who added dimension with swirling organs and drums. Those who have sought after and embraced Pass the Distance, will surely welcome Magic Moments as a continuous yet unique accompaniment. Also residing on Durtro, Magic Moments expands with a slightly more organic, roughhewn edge that leaves behind much of the wildly fantastical, obsessively revelatory religious imagery. Finn yields delicately brooding, more emotionally pervasive pieces that vividly illustrates himself as the indignant protagonist wrought in both imaginative and real-life accounts of love, empathy, alienation, and struggle. Simon Finn's captivating songs and words continue to resonate timelessly and brilliantly. [MT]

"Been So Long"

Vying for the title as Busiest Man in Rock, Andy Cabic (who is also a member of white funk ensemble Tussle and sometimes part of Devendra Banhart's touring band) is hard at work recording the second Vetiver full-length, but has taken time out to release this EP to hold us over. Following in the shimmering folk-pop footsteps of last year's self-titled debut, Between contains two new home recordings (the beautifully melancholic "Been So Long" and "Busted," where Cabic invents drum-machine country), a cover of Lindsey Buckingham's "Save Me a Place," and a couple of live radio recordings. While the EP, which I'm assuming was released in support of Vetiver's UK tour with Micah Hinson and Currituck County, is very much a tease and leaves one yearning for more, it also effortlessly holds up on its own.
[AK]

"Tibet's Suzettes"

"Marabunta"

If I were to just say that Traffic Sound were one of Peru's greatest rock bands in the days of their existence (c. 68-71), you'd probably say fair enough. But I'm here to argue that the case could be made that they were one of the greatest rock bands going in those days, period. And I must say, it's an utter shame you haven't heard of 'em. The boys in Traffic Sound must have studied the catalogs of the Kinks, Stones, Zeppelin, Hendrix, the entirety of West Coast folk rock, etc., better than nearly anybody back then. And while I may just be at a point in my life where I think the entirety of both Nuggets box sets would sound better with all Latin rhythms, Traffic Sound made some undeniably kick-ass rock and roll that would have been enormously influential had it ever actually been heard in the States or England. Combining a Latin groove with an original synthesis of all the groups listed above, over their four brilliant albums, Traffic Sound in their brief life span managed to become one of the most popular rock groups in South America due to touring. Probably the only thing keeping them from even more international success was the troubled political situation at home. Traffic Sound gave a serious Incan consciousness to the admittedly Anglo form in which they were working, with lyrics (usually in English) that took stock of and responded to the milieu in which they lived, whether it be the political turmoil of the day or the counter cultural fascination with the possibilities to be discovered through the assistance of hallucinogenic drugs. [MK]

"Show You"

"Be Careful"

The genre currently known as grime (a younger, distant British cousin to US bling culture) has sometimes been hard to digest, with its rapid fire MCs and dirty, choppy, bleeping rhythms. However, the new full-length from Wiley's Roll Deep Crew smoothes out the underground UK sound and prepares it for the international charts, as the Crew appears influenced by top US exports such as Jay-Z, 50 Cent, Lil Jon, Timbaland, and Kanye West. Though In at the Deep End is a collaborative album (with different producers, MCs, and vocalists), it's full of Wiley's trademark ice cold chimes, cymbals, snaps and claps, twisting bass lines, and sub-bass tones, yet the production here is more layered and shiny, and has a stronger soulful strand than his solo album or his production work for Dizzee Rascal. Nearly every track has a different combination of UK talent, with lots of female choruses amidst the fevered rapping. Despite its apparent US influence, the album has a strong and undeniable British flavor, and whenever the Brits attempt to copy the blueprint of whatever is happening musically in the US, the overall tone still sounds original and creates something different in the process. Every track here isn't a banger but when the edgy and off-kilter urban production works, married with the inner-city thoughts and dreams of young Britain, it's exciting and as fresh as when you heard Missy and Timbaland for the first time, yet feels a bit deeper and more underground. If you like the Run the Road comp, M.I.A., Dizzee, Roots Manuva, Streets, and even So Solid Crew, this is essential listening. A hip-hop-urban-grime fusion floating within the sub-genres and sometimes combing all of them and rising above names. Cheers! [DG]

"There Goes the Sun"

"Saddest Quo"

Joe Pernice has a bit of a country-rock pedigree still holding over from his days in the Scud Mountain Boys, and although there is more than a touch of the Byrds on the new one from his longtime mainstay, Pernice Brothers, Joe now makes lovely, melancholy and beautiful pop, straight up. Three chords of strummed guitars, a splash of pedal steel, the tap-tap of the drums, and Pernice's subdued yet soaring vocal melodies. There is warmth to their recordings, and an unabashed love of a sweet melody and a catchy hook that lends an almost nostalgic, early-'70s feel to their records. Another great one from a great band. [JM]

"Pardon Me"

"Time Will Show the Wiser"

The only album by the Merry-Go-Round, released in 1967, is one of the most treasured and most frequently played pieces of vinyl in my collection, and it's shocking to me that no label has ever bothered to release it on CD until now. Emitt Rhodes may not be anywhere near as well known today as he ought to be, but he has nonetheless developed a rather dedicated following thanks in part to the inclusion of his song "Lullaby" on the soundtrack to Wes Anderson's The Royal Tenenbaums. While his 1970 self-titled solo album has been reissued on CD a couple of different times, until now the only widely available song by his band the Merry-Go-Round has been the single "Live" from the first Nuggets box set. Some of you will also recognize the song "Time Will Show the Wiser," which was covered by Fairport Convention on their first album.

Recorded while Emitt Rhodes and co-founder Gary Kato were still in high school, the Merry-Go-Round's album sounds quite a bit like the Beatles' albums from the same time period, specifically Rubber Soul and Revolver. The Merry-Go-Round LP might not have been as technically innovative as either of those albums, but the songs are of the same caliber and Emitt's voice is strongly reminiscent of Paul McCartney's. Also on the CD is Emitt's A&M solo album The American Dream, which is great but not quite as good as his first two Dunhill solo albums. There are also a couple of Merry-Go-Round rarities, the highlight of which is definitely the hidden track at the end of the disc, a great cover of "California Girls" from the band's performance on a 1968 Herb Alpert & The Tijuana Brass TV special. Listen, Listen is a phenomenal release; if you enjoy listening to any pop music from the '60s then this will most almost definitely become one of your new all-time favorites. [RH]

"The Work Ahead of Us"

Since the Lady Fantasy EP from Jason Forrest (aka Donna Summer/'cock rock disco' originator) is a four-track EP of songs entirely different from each other, it is necessary to do a track by track breakdown. Track one is a climbing classical music cum soundtrack intro that swells at the end with some washes of distorted guitar. Track two is more what we expect from Forrest: cut-up arena rock keys with arena kit drums and cymbal splashes, into machine gun rock drums and wild xylophones and snares, back to arena keys and drums and ending with a looped, slow bass drum hit with a twanging guitar note in the distance. Track three is a Prince-inspired pop-soul-IDM song with disembodied female vocals. The final track begins with jumping, tinny Maharaja/Harem-dance harpsichord melodies that jump (all of the songs 'jump' from section to section) into a Neu! melody with an electronic break beat (huh?), then gets even more schizophrenic. Funny as in 'funny-weird' and 'funny-ha-ha'. [SM]

"Fleur de Lie"

"The Prosecution Rests"

For a quick moment while listening to the Eno-esque keyboard drone floating under Shannon McCardle's breathy twang in "Fleur de Lie"--the first track off this Mendoza Line offshoot's debut album--I thought I might have come up with a catchy lead sentence for the review: Slow Dazzle puts the "folk" in "folktronica." On second thought, not exactly. With the inclusion of this trembling synthesizer line and some nice backward guitar effects, the song still wouldn't fit in Other Music's Electronica section, but it's a lot more produced than what I'd expect from Mendoza Line members McCardle and Timothy Bracy. Joined by Elk City's Peter Langland-Hassan, who handles the production and much of the instrumentation, the fact that this trio is named after a mid-'70s John Cale record hints that they're expanding their musical horizons a little, but overall it's not really a leftfield turn.

The View From the Floor echoes Mendoza Line's more dreamy, hushed moments, with 32-minutes of heartbreak, slightly skewed narratives and some strange romantic twists. Not surprising, the songs are steeped in the tradition of another romantically linked couple, Richard and Linda Thompson, with shades of Velvet Underground and Leonard Cohen, but the modern production brings these classic influences up to date. The trio turns a cover of Cohen's "Anthem" into some sort of country-tinged ballad for the 21st century, juxtaposing light, jangly guitar and McArdle's airy, melancholic voice--which sounds more than ever like Hope Sandoval--against the easy, unchanging rhythm of a drum machine and some eerie atmospherics. I suspect that Slow Dazzle was more than likely a project for two lovers and their friend to blow off some steam and try out some new sounds, but The View From the Floor is the Mendoza Line album that I've been waiting for. [GH]

"Orange Canyon Mind"

"Annihilating Angel"

Matthew Bower's sonic career has spanned over twenty some years, as an Overlord of sensatory obliterations and experimentations of all sorts: Total, Sunroof!, Vibracathedral Orchestra, and Skullflower--the latter engaging in a sort of cultish magnetism with their followers. UK's Skullflower expanded out of the Broken Flag Collective (Matthew Bower and friends), and out of their guitar fuzz-bath, Sabbath inspired beginnings into a more free-form entity, vectoring further out of typified rock conventions (but loosely grasping their proto-ventures in the heavy rock aesthetic) into an interdisciplinary canvas of acid musings, early industrial sounds, minimalistic compositions, and messy indie sounds (Butthole Surfers, Big Black). Skullflower's influential and comparative relations with artists like Godflesh and Dead C amongst many other prolific purveyors of the avant/noise/rock realm has depicted Bower as inexhaustibly ambitious, and Orange Canyon Mind is a testament to that vigor, though considerably spaced apart (aside from 2003's Exquisite Fucking Boredom) by several years from the last materialization of Skullflower.

Bower's latest imagery boasts of a sort of demonic, post-apocalyptic, Omega Man sickness and like an intense psycho-existential delving, Orange Canyon Mind deconstructs and erupts into a lofty agitation of hypnotic hallucinations that are drenched in feedback and pure amplified intensity. Mega FX guitars, wicked subharmonics, and swelling electric whirrs and howls stretch into an infinitude of everything alienating yet weirdly blissful, then propelling into a mystical transcendence. Maybe Aube, MSBR, Fushitsusha, Broadrick and Metal Machine-era Lou Reed are peers, but Bower has masterminded the Ultimate Sacred Mushroom Symphony. Or a coolly-crafted psychedelic piss-off high in acerbic content. Regardless, this Wizard's authority in all things aural is definitive and nothing short of brilliant. [MT]

"She is Beyond Good and Evil"

"Liberty City"

Kiss the Future spans the entire career of underground legend Mark Stewart, from his earliest avant-dub-punk days in the Pop Group (which he formed when he was 17!) to recent solo recordings. While listening to the compilation, handpicked by Stewart himself, you'll hear the fusion of a variety of underground and increasingly popular genres, from reggae and dub, via hip-hop and electro, to trip-hop and noise. During the early-'80s, he quickly established himself as an outsider within the post-punk community, as imaginative AND good male vocalists were hard to come by. His no-holds-barred approach to vocals and sonics has earned him an ever-expanding trail of fans for nearly three decades. Stewart is the missing link between unlikely combinations of followers and contemporaries, like !!! and Tricky, Lee Perry and the Liars, LCD Soundsystem and On-U Sound, Afrika Bambaataa and Andrew Weatherall, Sugarhill Gang and Primal Scream. He ran the gamut from New York and Jamaica to Bristol, England, often collaborating with producers Adrian Sherwood and Dennis Bovell. His post-Pop Group band the Maffia included Doug Wimbish, Skip MacDonald, and Keith Leblanc.

Kiss the Future gathers classic material from the Pop Group ("We Are All Prostitutes", "She Is Beyond Good and Evil"), as well as a few recent recordings (the Bug produced "Radio Freedom"), and unreleased material, attempting to tell a cohesive tale of the original man in the gas mask. His style is wild, energetic, dark, edgy, and not always an easy listen, but that is his charm; he made his noise gloriously listenable. Not unlike an extroverted and political Arthur Russell. One of my favorites is "Liberty City," where he tales the story of life in an unemployed, bleak, and supposedly free city, through various reverbs and delays, while a sweet Caribbean accented female chorus sings "Welcome to Liberty City..." in the background--all riding a steady, Adrian Sherwood produced dub-reggae track, complete with ghostly saxophones. Ahhhh...now if only Soul Jazz would release the original albums. Until then this should hold you over and (re)introduce you. [DG]

"Go Tell the World"

"World Doesn't Care"

This Long Island duo waste no time in following up their much-delayed sophomore record, and turns one in just in time for the summer heat. For those expecting to hear more of their sleepy, idiosyncratic shroom-kissed pop duets might be a bit surprised by this one. The droopy keyboard effects, primitive drum programming and acoustic guitars have been upgraded to punchy electric guitars, Wurlitzers and bright live drumming. The harmonies are still there and there's still a bit of a hazy feeling to it, but it's definitely more upbeat. The references are less Jesus & Mary Chain and more '70s AM pop ("Jackie Blue", "Moonlight Feels Right"). If you're a fan of their previous work there's nothing disappointing here, and if you aren't familiar with this band but enjoy Luna, Velvet Underground, Sophia Coppola movies and herbal ecstasy, this just may be your new favorite band. [DH]

"Sun Song"

"Won't You Sing to Me"

Nick Castro and his music collective, known as the Poison Tree, offer another interpretation of the folk revival that has been taking America by storm, with such kindred spirits as PG Six, Vetiver, Mike Wexler, Six Organs of Admittance, as well as Espers and Josephine Foster (who both participate on Further From Grace), spearheading that movement. Of course, each one of these musicians approaches the four letter word with a different style and a different signature touch, and Castro has also concocted a signature sound to make his sophomore album unique.

The Poison Tree serves as his secret weapon: a delightful quintet that creates a sound one would imagine coming from a pack of roaming gypsies, with strong and simple percussion, exotic horns and flutes, and a string section that weave in and out, echoing both misery and jubilation. Castro's skills on the piano, organ, guitar, mijwiz, and even whistles are equally as impressive. The album is layered so elaborately and exquisitely with a cacophony of instruments, that when the actual verses do occur something is left to be desired. His lyrics are pleasant, but not nearly as charismatic or whimsical as the sound of the gypsies cavorting in the distance. [AC]

"Not a Heel"

"South (Of America)"

After a full-length release in 2003 and last year's The Weight of Fleight EP, Phosphorescent (aka Athens, GA native Matthew Houck) appears to have come into its ramshackle own with Aw Come Aw Wry. The reference points have always appeared obvious (Will Oldham, Wilco, and... perhaps Tom Waits?) but this time Houck has taken a looser and more freeflowing approach, with songs ranging from boisterous, lovelorn Southern laments (see "Dead Heart" and "Lost Name") to spiritual choir and brass sermons ("I Am a Full Grown Man" and "Endless Pt. 2"). When Houck attempts the latter, he comes across as a folky American version of Jason Pierce of Spiritualized, and somehow it all works. More Charlie Tweddle than Luc Ferrari, Houck rounds out the album with a 19-minute open window field recording of another rainy and thunderous night in Georgia. For fans of aforementioned artists, and contemporaries such as Neutral Milk Hotel and My Morning Jacket. [AK]

"It's Amiable"

"All the King's Men"

Chances are, if you're one of our New York readers you've either caught Benzos live, or at very least seen their name advertised in the music listings of the Village Voice and other local publications, performing with the likes of Blonde Redhead, Phoenix and TV on the Radio. In many ways, the diverse stylistic range of bands that they've been warming the stage for reflects the broad scope of sounds that this five-piece assimilates into their own music. Admittedly, it's a breath of fresh air to find a NYC band that's not tied to any of the post-punk, psych-folk or new weird-America scenes. Their debut album, Morning Stanzas, is an impressive slice of post-Radiohead rock. While not really trying to sound like Thom Yorke and co., the group's songs are epic, but not overly dramatic, at times reminding me of Britain's Doves. Vocalists Christian Celaya and Michael Ortega tastefully sculpt and trade emotive, Jeff Buckley-inspired melodies over a dynamic musicscape of crescendoing guitars, keys and modern production. Nothing really surprising, but surprisingly good. [GH]

"New Birth"

"It Started as a Remix for Elvin"

After releasing material on Plug Research, Eastern Development and Soul Jazz, California's Ammoncontact (Carlos Nino and Fabian Ammon) have found a new home on Ninja Tune. This tasty mini-album of minimal jams fits firmly in the vein of fellow Cali residents and beat makers such as Daedelus, Sa-Ra, and Madlib. Like the music of Madlib's DJ Rels or Yesterday's New Quintet projects, Theo Parrish's Parallel Dimensions, or the production work of 9th Wonder and J-Dilla, New Birth offers stripped down and jazzy fusions that combine elements of house, jazz, hip-hop, and groove. Though the overall feel is rooted in instrumental hip-hop, Ammoncontact mix live instrumentation with understated programming, sampling and African flavorings, shifting the rhythms and melodies subtly. Definitely in the laid back, sparse school of beat making reminiscent of Jan Jelinek's recent release as the Exposures. This is another reminder that IDM's not going away, it's just changing shape and becoming more organic, and is now less afraid of the dancefloor. [DG]

"Spreadin' Honey"

"Caesar's Palace"

Being a huge fan of some of their later tracks (especially the monster hit "Express Yourself"), I'm thrilled to see the Rhythm Band's 1967 debut finally available on CD. Charles Wright and company are generally seen as one of the true funk innovators, a precursor to many huge pop crossover acts such as Sly, War, etc. The story of their debut is an interesting one; in short, the ensemble that came to be known as the Watts 103rd Street Rhythm Band were really a loose ensemble of L.A. studio musicians who happened to be on the scene when Bill Cosby and his producer Fred Smith were knocking around looking for a band to back Cosby on his singing debut, a track called "Little Old Man." The song was a modest success, and the band went on to track a couple of albums with Cosby, and Warner Brothers also had Smith produce an album of the group on their own.

This is that album, with most of the originals co-written by Smith, featuring the playing of Wright, guitarist Mel Brown, and pianist James Carmichael, among others. The sound is joyful, jazzy, poppy funk with catchy, radio-friendly tracks, that are soulful and groovy without too much of the raw, driving emotion the group later became known for. Mostly instrumental covers of "Yellow Submarine" and "The Girl From Ipanema" will give you some idea of where the record was coming from. With wonderfully produced, laid-back funk with rollicking bass, great horn arrangements and swinging piano riffing, the album would be at home with the Blue Note Blue Break Beats series.

The group that recorded here never actually became a real touring band. Charles Wright took his Wright Sounds on the road to support the album, as well as the Cosby records, often augmented by several of the recording musicians, and due to the success of the records they wisely stuck with the 103rd Street Rhythm Band name. The live group's looser, deeper sound soon put Wright at odds with producer Smith, who stepped back and the group became officially known as Charles Wright and the Watts 103rd Street Rhythm Band. [JM]

"Decora" Spoon

Don't miss the music issue of The Believer, published by McSweeney's. Among the highlights are a feature on the Danielson Family by Rick Moody, Douglas Wolk's essay on the Fall, and an interview with Karen O by Sleater-Kinney's Carrie Brownstein. The magazine comes with a 17-track CD compilation featuring a diverse, who's-who list of artists covering their favorite songs. The Decemberists take on Joanna Newsom's "Bridges and Balloons," the Shins reinterpret Postal Service's "We Will Become Silhouettes," and Devendra Banhart sings "Fistful of Love" by Antony and the Johnsons. Other artists include Spoon, Vetiver, Josephine Foster, Ida, Espers, CocoRosie, and many more.

THIS WEEK'S CONTRIBUTORS

[AC] Amanda Colbenson
[DG] Daniel Givens
[GH] Gerald Hammill
[DH] Duane Harriott
[RH] Rob Hatch-Miller
[MK] Michael Klausman
[AK] Andreas Knutsen
[JM] Josh Madell
[SM] Scott Mou
[MT] Mahssa Taghinia



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