NEW RELEASES
Murcof
Donna Regina
Celebration
Andrew Hill
Early Man
Danger Doom
ADULT.
Lambchop
Mehanata: New York Gypsymania
Audion
Don Cherry
Fireball
The Move
The Rakes

Back to Black (Various)
Tom Verlaine
Deerhoof
DJ Baby G (Mix CD)

ALSO AVAILABLE
Koushik (Tour Only Mix CD)
The Clientele
Mouse on Mars (Live)
Explosions in the Sky (Reissue)
Dirty Three
Cale, Conrad, Maclise, Young, Zazeela
Magnolia Electric Co.

"Rostro"

"Reflejo"

Leaf Records brings us Murcof's second full-length, Remembranza. Slow-building tones, much like soundtrack music, come into focus through digital techniques. Similar to the work of fellow labelmates Susumu Yokota, Efterklang and Colleen, Murcof's (aka Fernando Corona) compositions are minimal yet rich tapestries of prepared sounds; classical treatments are fleshed out with the addition of stringed instruments (piano, cello, guitar, violin, acoustic bass). Corona opens the parameter for sound to breathe, interrupt, slow down, and sustain itself, or simply form a subdued groove, all in calm beauty. Reminiscent of the work of Vladislav Delay, Thomas Brinkmann, William Basinski, Fennesz, Basic Channel (without the dub overtones) and Morr Music's pop ambient releases, however, possessing a restrained approach, this is one of those records for a late night when "music" is too intrusive and distracting. Fans of any of the above mentioned, or anyone interested in electro-acoustic-digital-classical fusion that's good, should listen close. The birth of Mexican minimal-ambient-techno? I'm sure he's not alone, but it's about time. File under beautiful music. [DG]

"Secrets"

"Mirame, Miraba"

Donna Regina ("Lady Regina") has a new one on Karaoke Kalk called Slow Killer, and they're back onto the catchiness that they tapped into with their classic full-length Northern Classic. (No pun intended.) Consider Slow Killer the German electronic equivalent to Broadcast's new one, Tender Buttons: both albums are full of electronically generated sounds, but manage to keep the focus on the uncommonly strong quality of the songs, with their melodic flow, uniqueness of sounds and their arrangement. Again, as with Northern Classic, the vocals are the perfect mix of cute and "totally aware of its own cuteness" (i.e. clever) that is disarmingly charming. (Sample the simple and unquestionable wisdom of a line such as: "En-emy, No-En-emy / Don't let them creep-inside of me.") Regina Janssen is Vice President of the post-Astrud Gilberto vocalist club. I was always a bit bummed that I didn't get to review Northern Classic (I was on vacation). Now I get to make up for it with this one...cool.

The quality of this album becomes obvious at the very start of track one, "Little Baby," with its brushed snare drum, synth, lap steel and Janssen's sweet and quirky vocals. "End of September" has an "American doo wop sung by a German woman" feel that is so aware of the fact that the concept is wrong that it works, as it confidently morphs into something that is obviously right. The distant synthesized drum kit sound and synthesized guitar add charm and mood despite their plasticity. Slow Killer comes across a lot like a band this time around and the change is as effective as it is welcome. All the sampledelic, post-Portishead (moody, sweet sampled strings, and simple, killer looped minimal hip-hop beats) done in a modern German style (dubby, warm atmosphere full of unique sounds) with charming pop qualities are there but done in a way that sounds a bit more natural (listen to track four, "Secrets," with its wah-wah guitars and sampled maraca sounds).

I have to mention here that all the acoustic instrument sounds don't sound tacked on like a lot of indie-fied folktronic records. Donna Regina know how to write a song, play their instruments and put it all together. If these songs were simply done in a classic Donna Regina style without the twangy acoustic references it would be good; the additional layer of minimal dusty country (what?) actually makes it better! It's so well done! A killer album for anyone into the basic qualities of the first Lali Puna, Broadcast, classic Stereolab, the K. Kalk label in general, and even Portishead, but is ready and willing to get a whole lot more in the bargain. [SM]

"Foxes"

"Holiday"

Every so often a rock record comes along that makes me sit up straighter, tap my foot a little harder, and it becomes a...Celebration. This offering gets my vote for sleeper hit of 2005. Where to start? Well first, the thing that struck me was the vocal gymnastics of lead singer Katrina Ford (formerly of the Jaks and Love Life). If you're wondering what happened to the female vocal stylings of Vivian Goldman, Slits, Neneh Cherry circa Rip Rig & Panic, and even Shocking Blue, this is where it's at. You'll also hear touchstones like Grace Slick, the Swans' Jarboe, Rosie Cuckston of Pram, and even a goth version of Josephine Foster with the lungs of a possessed cabaret singer.

Now on to the music: From the pounding opener, "War," the roof gets torn off (and stays off) over the next ten songs. By the third track, I started to wonder what it was about the sound, production techniques, and grooves that had gotten me all excited. The credits revealed the obvious: the man sitting behind the engineering console (as well as guitar and synth) is David Andrew Sitek--the common link between Yeah, Yeah, Yeahs and TV on the Radio. If you were to put these two energetic, emotional, and enthusiastic groups together you'll get close to the sound at hand. A swirling mix of keys, drums, percussion and guitar, the lyrics interweave political overtones with elements of love and create a whirlpool of emotion, seduction and power that matches the arrangements.

Also on board are TV on the Radio's Tunde, Kyp, and Jaleel handling some supporting vocals, as well as Martin Pena and Stewart Bogie, part of Antibalas' tasty horn section. But even with all the guests, Celebration is essentially the product of mastermind Sean Antanaitis, who handles the organ, piano, accordion, Theremin, guitars, guitorgan(?), and percussion, and is assisted by drummer/percussionist David Bergander. It's not everyday that I'm blow away by a rock record (yeah I said it again). Dark, moody, and, above all, soulful, if TVOTR rocked your world this may be the next step. One of my top tens of the year, no doubt. [DG]

ANDREW HILL
Andrew!
(Blue Note)

"The Griots"

"Le Serpent Qui Dance"

Listeners with experience reading critical theory already have a head start on this record because, as anyone in said position already knows, such works ask twice as many questions as they actually answer. The same can be said for the music of Andrew Hill. The general mood on this LP is one of dissonant reflection, but not at the expense of casual listenability. Likewise, the solos probe and search, but never far enough to break your last two wine glasses. I guess I mean to say that Andrew! achieves a lofty goal, in that it can easily be described as an avant-garde jazz session without…how should I put it…going there. Rather than spazzing out or delving into free improvisation, Hill, as he was wont to do during his Blue Note era, takes the high road, creating a web of pan-tonal threads that, when viewed from afar, are actually quite grounded in their approach. The fact that vibist Bobby Hutcherson was on hand has more than a little to do with this since vibes, no matter how they're played, have a mellow, calming effect on almost any record. It is also worth mentioning that, Arkestra member, John Gilmore puts in an appearance here, proving (yet again) that, despite the lunacy sometimes heard in his discography, Sun Ra knew what he was doing all along.

Interesting that Don Heckman's original liner notes posit the question: will the public ever catch up to the music of Andrew Hill, like they had begun to do with Thelonious Monk at the time of this record's initial release in 1964? I say this not because Hill's, or even Monk's records, fly off today's shelves. Let's face it, jazz comprises about as much of the world's annual CD sales as the second Violent Femmes record--which I love, by the way. What makes Heckman's line of question timely is the fact that nearly every Blue Note reissue series in the past five years can count an Andrew Hill release among its titles. This is a good thing, of course, and I can only hope that it's the result of an increased recognition of his talents because Hill is easily among the music's most significant composers and improvisers. That his aesthetic can accurately be described as somber might make this a listen dependent upon a particular mood, but that occasion deserves these sounds. [BB]

"Death Is the Answer"

"Contra"

Strange excitement and curiosity hovered, walking en route to the Hole to check the first official Early Man gig in early 2004. Crawling across the main artery that is Houston Street, into the heart of the Lower East Side art-scum circus will cloud your peripherals with everything and anything strange anyway, through the high cholesterol thoroughfares running amuck with self-made freaks, D stat celebrities, alcoholics, and General Manhattanites alike--where every artist asshole has their own neoteric tee-shirt boutique and debauchery is exploited into a po-mo performance piece, most likely to appear as the next Vice Magazine "DO." This is what the two former Columbus expatriates have been calling home for a long while, though within their own veins is a blood running fervidly thick with conviction, poising them objectively against this backdrop of manufactured cool and carving out their own territory with backboned persistence and determination. That show lent a hand in proving that attitude righteously, as the band's thundering shitstorm converted a motley legion of followers by the time the bar was sapped of all its brews.

Some allude to metal as a prototype of what kids initially listen to at a young age, as a "first culture" means of identification. And I'd say it's no coincidence that the band's anthropological name hints at this primal instinct to rock. Another thing seems apparent, that many artists are answering to the music they perhaps first loved, rendering their now-sound to echo that authentic sentiment of unabashed fun and reckless youth, paving way for a brazen return to ROCK. So perhaps you can say that Early Man is playing the music that's always been in their heads. And that's blistering, crazed rock like you haven't heard since, perhaps, the British Metal heyday. Shutting down the whimsical theatrics of the Darkness with (way better) style and powerfully talented song-writing and instrumentation, fully realizing the not-quite-there sardonically conducted orchestrations of the Fucking Champs, and breathing new life into embraced old faves such as Motorhead and Black Sabbath. Early Man DELIVER: a charged, concentrated dosage of chaos that's ingeniously stripped to a blazing every-song-is-a-shredder anthem-album. I can't stress how much this record rules, Closing In is Early Man's awesome debut on Matador, also hanging out in HEAVY rotation next to hard rockers and proggers, Boris, Pearls & Brass, and Circle, yet dangerously more accessible in the most constructive way--perhaps there is no such thing as a guilty pleasure. One of the tightest and most energetic listens of the year. [MT]

"The Mask"

"Crosshairs"

All right, I have to admit that I was a bit skeptical of all the hoopla that started mid-summer about Danger Doom, the collaboration between MF Doom and Dangermouse. Not that either's talent is weakening, both are still at the top of their game (check Doom's song on Gorillaz's Demon Days.) What set me off, though, was the prospect of incorporating sounds and voices from the Adult Swim cartoon and puppet series. I guess since the majority of rappers these days are also fathers, they must spend a lot of quality time watching animated entertainment on the airwaves. However, any hesitation is washed away upon first listen. First of all, Doom sounds excellent, contentedly on point, funny, and a virtuoso of wordplay/double-meaning-inspired imagery, rhyming Janeane Garofalo with "sloppy afro," or "taste like chicken/waste no time like the bassline kicking." Dangermouse, post-Gorillaz, sounds like he's found the perfect vocalist for his soulful sampledelic beats--check "Mince Meat" or "Bada Bing." And yes, the voices of the characters from Aqua Teen Hunger Force, Space Ghost, and various others from that cable station are incorporated and add great humor to the project. The real life personalities of Ghostface, Talib Kweli, and Cee-lo stop by, adding appropriate and refreshing verse and chorus. This sits up there with the Madvillain and latest Quasimoto albums. An efficient and apparently effortless exercise in musical imagination, it's better than I expected, and funny as hell. Definitely Doom's best this year, and it makes me want to watch the shows as well. A perfect concept album. [DG]

"Bad Ideas"

"Still Waiting"

It's interesting to see what different directions the artists so intrinsically linked to the whole electroclash scene are taking since the so-called movement evaporated. Last week, we heard from Ladytron, who have since exchanged much of their sparkling synth-pop detachment for a warm injection of sparkling shoegazey guitars; this week ADULT. brings us their latest. Not counting their Resuscitation singles collection, Gimmie Trouble is the husband/wife team's second full-length, and compared to their earlier works, their electro-fied art-punk has never been as raw. The duo have since added tour guitarist Samuel Consiglio (who also played on their recent D.U.M.E. EP), yet their sound is far more streamlined. Unlike previous glossier efforts, ADULT. go for something darker and more urgent, reminiscent more than ever of early-'80s art-wavers Malaria, as Nicola Kuperus shrieks and wails over primitive drum machines, monochromatic synthesizers and mechanic-pulse whirrs. [GH]

"Prepared"

"Women"

Lambchop may be characterized by their swirling piano, lush string orchestration and leader Kurt Wagner's sublime, rootsy songwriting and deep, world-weary singing, but they are best known, perhaps, for a breakaway British hit that they had a few years ago with a dance-y remix that Zero 7 did on their irrepressible Up With People. This new EP is ostensibly a collaboration with Hands Off Cuba, but in reality it's another remix project, featuring one new 'Chop track and three cut-ups arranged and assembled by the Nashville electronic duo. HOC, though, are not making dance music or pop music, but rather Warp Records-style abstract electronica, and their skittery rhythms are nicely complimented by the rich sampledelic sounds they can pull from Lambchop's orchestration. The end result is one great new Lambchop piece and three lovely instrumental abstractions that are warm, melodic and inviting, but in the end may not find their target amongst Lambchop's less open-minded fans. [JM]

"Doli Goca" Zagnut Cirkus

"Agada" Guignol

There is something swelling in New York's seedy underbelly that's soon going to surge and saturate all five boroughs in a gloriously glutinous vodka mess. It's the lust-for-life musical chaos that is red-hot-rampageous down at that local Bulgarian Bar.... what? Cabaret punk, bushy brass bands, heaving accordions, wylin' flamenco-freak-outs, boozin' Balkan dancehall and blast-beat darabuka break-jams: the authentic sounds of a post-Berlin-wall-culture-fuck-clash Euro-phenomena channeled into everyday New York, posited healthily alongside reggaeton and any other valid newfangled nexus that serves as movement, progressive voice, and diversity. The fast-forward multifarious collective from the 'Eastern Bloc' and beyond, spearheaded by Joro-Boro and Eugene Hutz of Gogol Bordello, pluralistically exhale out of a trans-cultural osmosis of East meets West, romantically fusing the abundant expressions of a relevant past into a shifting matrix of the now-sound of today's wayward cultural bents. That is, an unorthodox real-deal identity stamp to destroy and forge through all barriers that are politikal, social, and musical. This is some serious guerilla muzik, possessing "universal rebel soul," put in Hutz's own words. The compilation is quick to follow Gogol Bordello's latest Gypsy Punks record, a paralleled artifactual blowup of raw live-energy bombastics captured by Steve Albini...an element definitely present on this collection of tunes, with amazing instrumentation and a well-pieced-and-produced style. Where was that gypsy dance-party explosion again?! Mehanata--and you're invited. [MT]

"Kisses"

"T.B."

I made the mistake of writing off the early Audion 12-inches I heard as just Matthew Dear with added hypnotic clubby techno elements. Now that I'm hearing the album, Suckfish, I see that there is more to these tracks: this shit is funky and GOOD! The overall feel is something akin to 'Indie-Detroit." Now, with me, the meaning of the term "indie" fluctuates between a good thing and a "lame version of…" Here, it's a good thing: Audion tracks have a Detroit synth-hypnotic feel and that bit of 'jack' in the beat but without the "sci-fi, black futurist" thing--it has bit more of a melodic pop to it. (Check out track 2, "Your Place or Mine.") "T*tty F*ck" (ahem…) immediately comes across as a poppier Dan Bell, with a nice bouncy jack to it, plus the robotic, piston loop--Jeah! The club-jammin' "Kisses" single is included too. Nice melodic, ass-cup of an album. [SM]

DON CHERRY
Where Is Brooklyn?
(Blue Note)

"Awake Nu"

"The Thing"

Blue Note dragged their feet on this one for years, deciding instead to issue Cherry's two prior sessions (Complete Communion and Symphony for Improvisers), despite the fact that the latter had already come out on CD once before. Similarly puzzling was the decision to prioritize records featuring somewhat intimidating 20-minute, side-long suites as the only two tracks. (Not exactly the best way to win over the casual free jazz buyer.) Whatever. The important thing is that it's available now because this is a really enjoyable record, especially if you're still on the fence about Pharaoh Sanders. Some people, after all, find those Impulse dates a little tedious--nine hundred percussion tracks being the main deal-breaker there--but this is a quartet setting akin to the great Atlantic records by Ornette, which means you won't feel embarrassed to rock it when you get to a stoplight with the windows down. As you might expect, pulling in the compositional reigns means the guys get down to the business of improvising in relatively short order. For this reason, one might compare the heads on Where is Brooklyn? to those heard on any number of ESP or BYG/Actuel sessions, in that they seem to serve a more utilitarian function than one upon which a great deal was stylistically dependent. In other words, spontaneous interaction is the name of the game here, with Cherry on cornet throughout and Sanders trading off between tenor sax and piccolo. Expect rock-solid performances from the rhythm section of Henry Grimes and Ed Blackwell, as well as a bluesier Pharaoh Sanders than you're probably used to hearing if, again, you're more familiar with his Impulse work (and, consequently, the sound of your roommate telling you to turn that hippie bullshit down). [BB]

FIREBALL
Blessed Be
(High Roller Society)

"Arsonist"

Along comes this vinyl-only EP which proves that D-I-Y is absolutely alive and kicking ass in Brooklyn. Yeah, it never died, but Fireball's debut is one of the most raw and rocking recordings that I've heard in a while. Seriously, the lo-fi production is so electrified that I keep expecting my stereo's power cable to arc. Syncopated guitars churn and squeal like a factory's saw-wheel, while drums caked in thick-as-molasses reverb plod through the glorious din, with occasional unexpected accoutrements like psychedelic slide-whistle solos. Fireball's biggest strength, however, is in Jennifer Black's elastic-voiced singing. Four songs long, the EP conjures up images of some sort of strange meeting between Bikini Kill, Fuzzbox, the Shaggs and Amon Duul II in the garage. These five girls (one of which is former OM staffer Lisa Garrett) even kick off side-two with of cover of the latter's "Archangels Thunderbird" for chrissake. Only 500 pressed, get it while it's hot. [GH]

THE MOVE
Message from the Country
(EMI Import)

"Message from the Country"

"No Time"

Remastered from the newly discovered original tapes, Message from the Country might be the Move's best album. And if it isn't better than the more well-known Shazam, then it's at least as good. This was the group's last album, released in 1971, and it was recorded simultaneously with the first album by the Electric Light Orchestra with the same core lineup of Roy Wood, Jeff Lynne, and Bev Bevan, but without ELO's extravagant orchestral overdubs. Many of Jeff Lynne's songs on Message from the Country are quirky and fun like the stuff on Todd Rundgren's first couple of solo albums (particularly Something/Anything?), and with ambitiously odd vocal arrangements in the spirit of the Bee Gees' early psychedelic pop period. The bulk of the Roy Wood compositions are a little less whimsical and more rocking, with a great foot-stomping proto-glam feel. Then there's a country song led by drummer Bev Bevan, doing a full-on Johnny Cash impersonation. The band members all comment in the liner notes that the recording sessions for the album were silly and fun, which definitely comes across when you listen to the finished product. The non-album singles "Tonight," "Chinatown," and "California Man" are included as bonus tracks, along with their respective b-sides; one of these, "Do Ya," was re-recorded by ELO in 1976, but this original version is way crazier and about 1,000 times better. There are some alternate takes of the album cuts on this reissue, too. If you like Sweet, Slade, Be Bop Deluxe, 10cc, or Mott the Hoople, you will be floored by this incredible record. [RH]

"Retreat"

After a string of releases in the UK, the Rakes finally get to tell their stories of working life/pub life and Saturday night/Sunday morning to a US audience. Retreat is five short, sharp bursts of post-not-post punk (and a remix you may or may not want to steer clear of), and while the title track is all dance beat and fists in the air, the real gems are the old singles, here disguised as B-sides. On "Strasbourg," singer and cleverly gifted lyricist Alan Donohoe tells an escapist tale of the former East Germany in full on cockney, and "22 Grand Job" is a 9-to-5 lament in which Joy Division dress up as cocky South Londoners. All in all, the Rakes, with their kitchen sink leanings, land closer to irreverence of Art Brut than…well, the rest of the British upstarts. That said, this comes highly recommended to fans of Bloc Party who like to do more than get wasted on Sparks, as well. [AK]

"Celestial Blues" Andy Bey

"Ghetto: Misfortunes Wealth" 24-Carat Black

Kicking off with Andy Bey's soul classic "Celestial Blues," this new compilation from Lo Recordings brings the scene Back to Black. Featuring a heaping dose of introspective '70s soul music, inspired by the political, streetwise, savvy, sexy, and problematic life of Black Americans, Back to Black is more of a subtle and subdued collection, but not lacking in quality or charm compared to any Soul Jazz release. Cymande, Eugene McDaniels, 24-Carat Black, Harry Mudie and King Tubby, Lloyd Williams, Nikki Giovanni, Lost Generation, Mary Lou Williams, and Doug Hammond are all represented. This collection is a little more commercial or obvious at times, but all the tracks are right on, and the ones you don't know expand the overall scope of this release (like the two selections pulled from a Folkways recording of '50s and '60s street gangs). This is a great earthy selection showcasing black music in various formations: jazz, soul, funk, reggae, Afro-funk, and the spoken word. Another one for the crate diggers, or simply those that like their soul music a little moody and with a message. Includes insightful liner notes by author-scholar Kodwo Eshun. [DG]

"Those Harbor Lights"

"Old Car"

Thrill Jockey reissues Tom Verlaine's most recent solo album (which dates back to 1992), and if you're not familiar, it might not be what you'd expect from the Television guitar man. Warm and Cool is entirely instrumental and mostly improvised, with the guitar often playing vocal melodies. The album spans genres with full confidence, from jazz to blues to surf to experimental to imaginary David Lynch soundtracks, but Warm and Cool's defining feature is its meandering, understated beauty. Comes with eight bonus tracks recorded later in Verlaine's career. Tidbit for enthusiasts: Television's Billy Ficca plays drums on the album. [AK]

"Running Thoughts"

"Spirit Dit Ties of No Tone"

Deerhoof seem to be returning to their post-rock roots on their eighth full-length. The Runners Four has an evident rocker sound replacing the more ambiguous delivery of their past few releases. Within the 20 songs, each two to four minutes in length, an array of influences can be sited--from free jazz to hardcore to bits of '60s psychedelic pop--yet none could really have been expected. Reg Saunier, Rob Fisk, and Satomi Matsuzaki have been playing together for 10 years now and they are totally allowed to meander through genres, taking what suits them onto the next recording. These new songs are catchy and lovable, proving Deerhoof's aptitude to be anything and whatever they want. [AC]

"Mi Deh Yah" / "The Call"

"For Me to Let You Know" / "Good Team"

Hailing from Dallas, TX, DJ Baby G has established himself on the southern scene as not only a hip-hop DJ/producer but also a recognized radio personality. His Mellow Vibes Lovers Rock Reggae Mix is just that, featuring choice selections of new and classic songs from the reggae genre, all with a slow-burning, mellow feel. From Capleton to Gregory Isaacs, and Buju Banton to Freddie McGregor, across 40 songs, toasters and singers trade off over the sweet rhythms. It's all sexy, smoky, and righteous. If you're exhausted by Soul Jazz's looting of the Studio One vaults or Dancehall's breakneck pace, this is territory that they have yet to fully tread. Mellow Vibes is a flawless blend of '80s synthesizers, falsetto vocals, subtle grooves, and synthetic and real drums coming together in a refreshing and bubbling mix of contemporary Jamaican and/or Brooklyn spirit (much of the mix mirrors the energy and spirit of Fulton Street, as well that of Kingston). Summer might be over but this will keep your nights hot. Check the blend of Junior Kelly's "Love So Nice" into Jah Mali's "For Me to Love You" into Honeycomb's "Good Team," it gets no sweeter. Another one for the lover in all of us. [DG]

Fresh off his U.S. tour with Four Tet, Koushik visited us the other day to drop off his own hot mix CD, which he was selling at the shows. These are extremely limited and will be gone faster than you can say "Stones Throw," so don't hesitate.

"Since K Got Over Me"

"Impossible"

London trio the Clientele delicately drop their follow-up to 2003's The Violet Hour. While they continue to follow the hazy, melancholic dream pop ways of their earlier releases, Strange Geometry also finds the band in a proper studio working with producer Brian O'Shaughnessy, as well as Louis Phillippe, who contributes a few string arrangements. (Full review next week.)

"Diskdusk"

Recorded during their 2004 world tour, and culled from almost 600 hours of tapes, Mouse on Mars' first ever live album features a career-spanning set of songs. Not many electronic acts can pull off a live album, but this disc manages to capture the energy and unpredictability of an MoM performance. Includes a bonus video for the track "Wipe That Sound."

"Snow and Lights"

Explosions in the Sky's long out-of-print (and extremely hard to find) first album finally sees proper reissue. Recorded in a two day session in January of 2000, until now this album had only been released in a limited run of 300 CD-Rs, the original copies now fetching upwards and over $200 on eBay. This reissue is remastered and features beautiful new artwork.

"Ever Since"

Australian chamber trio Dirty Three are back with another passionate, violin led romp through brooding songs and sonics. Throughout Cinder, the band infuses elements of folk, spaghetti westerns and lullabies into their classically influenced compositions, with a guest vocal appearance from Chan Marshall (aka Cat Power).

"Day of Niagra"

After much controversy, this important historical recording made by these avant-pioneers in 1965 finally saw the light of day some 35 years later, and then subsequently fell out of print in 2003. A few more copies have recently resurfaced, but in an extremely limited amount.

"Hard to Love a Man"

Brand new EP from former Songs: Ohia's Jason Molina and his latest band, Magnolia Electric Co. Five songs in all, the title track and the cover of Warren Zevon's "Werewolves of London" were recorded with Steve Albini at his Electrical Audio Studios.

THIS WEEK'S CONTRIBUTORS

[BB] Brandon Burke
[AC] Amanda Colbenson
[DG] Daniel Givens
[GH] Gerald Hammill
[RH] Rob Hatch-Miller
[AK] Andreas Knutsen
[JM] Josh Madell
[SM] Scott Mou
[MT] Mahssa Taghinia


THANKS FOR READING
- all of us at Other Music