FEATURED NEW RELEASES
Ike Yard
Friends
Georgia Anne Muldrow
Tortoise
Broadcast
Larry Murray
Mountain Goats
Jason Molina
J Dilla
Nouvelle Vague
Eric Bachmann
Pajo
Ratatat
OutKast
Laura Lee
Hugh Masekela
The Eyes
The Flies
Neil Hamburger
The Hellers
Amy Millan
Big L

DOMESTIC
Sachiko Kanenobu

ALSO AVAILABLE
Kompakt Total 7
Frequency
The Triffids
Cursive
Mono

PRE-ORDERS
Junior Boys
The Rapture
TV on the Radio
Yo La Tengo
OOIOO
Xiu Xiu
Magnolia Electric Co.



COMPLETE LIST OF THIS WEEK'S NEW ARRIVALS

IKE YARD
1980-1982 Collected
(Acute)

"Night After Night"

"NCR"

Seminal Sheffield band Cabaret Voltaire was named after the Dada performance night curated by Hugo Ball and his wife Emmy. Obscure NY band Ike Yard (complete early recordings now unearthed by the hidden gem hunting Acute label) was named after the record shop in A Clockwork Orange. Both groups shared a penchant for dubbed out, urban, subterranean art pulse, and during the same post-punk time period. The difference between the two lies, at least partially, in the names. Early on, Cabaret Voltaire had more of a barely-there, lofty, esoteric vibe while, throughout their recorded output, Ike Yard's was an unmistakable sexual throb that had a darker, slightly meatier but no-less-sophisticated sound. Also, while Cabaret Voltaire was greatly influenced by early hip-hop, Ike Yard, who actually sounded a lot less like early hip-hop, actually had direct connections, their drummer, Stuart "Dominatrix Sleeps Tonight" Argabright, making tracks on the side with Rammellzee in the Death Comet Crew. Ask Stuart, he's got a million stories.

Now forget the hip-hop influence for a second. Yes, DAF and an overall German New Wave influence (the stripped-down groove of Malaria or Liaisons Dangereuses) is in there. The influence of first generation Krautrock (Can, Neu!, etc.) is also in there, and keeps the aforementioned "sex throb" in the pocket and expansive. But what I'm not hearing anyone talk about is the minimal Birthday Party-like rhythm section: minimal scrapes a la Roland S. Howard, a propulsive Kraut version of bass a la Tracy Pew, and the well-timed crashes of a restrained Phil Calvert/Mick Harvey. I never really dreamed of a band sounding like Birthday Voltaire, especially a dubby, minimal Krautrock version, but if anything comes close, this is it and it works. Replace the drunken cabaret (no pun) style of Birthday Party with the dubby exploration of Krautrock and Neu Deutsche Welle and there you have it. Even the primal essence of Swans, undoubtedly a product of the then essential Lower East Side survival tactics, is evident in an understated way without being at all macho. A collection of tracks utilizing sounds that you're used to hearing in a smoked-out synth art jam way that actually ends up grabbing you by the face and jerking your head around with some authority. A band that would have been as fitting on Zick Zack as Factory (who they recorded an LP for, tracks included here), now they're just as fitting on Acute. We needed this. Essential New York Underground tracks. [SM]

FRIENDS
Fragile
(Acme Gramophone)

"A Tale of Your Life"

"Memories"

GEORGIA ANNE MULDROW
Olesi: Fragments of an Earth
(Stones Throw)

"New Orleans"

"Wheels"

So far, it's been a great year for new soul music. One of the names to come up, now for a second time, is the young, gifted black producer, emcee and vocalist, Georgia Anne Muldrow. Following her warm and elastic teaser EP, Worthnothings, comes her full-length debut on Stones Throw, Olesi: Fragments of an Earth. The album is an introspective, refreshing nugget of where things may be headed, or it may turn out to be another outsider record that is too good and pure to be appreciated in this current state of neo soul. I have to admit that upon first listen I wasn't quite sure how I felt about it. I wasn't even sure who it was intended for. Was it inspirational hip-hop for young black girls? Conscious hip-hop for sensitive guys? Well, the one thing I did know was that I couldn't get the music out of my head. Beginning with a beautiful ode to New Orleans, over 20 tracks Muldrow paints a picture of liberation, self-empowerment, love, beauty and knowledge like no one around. Think of Bahamadia, Lauryn Hill, or Jill Scott's little sister brought up on Madlib, J-Dilla, A Tribe Called Quest, and Dudley Perkins (who's Muldrow's real life boyfriend), listening to Abbey Lincoln, June Tyson, and Chaka Khan records. Yeah, there's a lot going on in these short sonic messages for someone of her age (barely in her twenties). Muldrow's taken the torch of the past two decades of hip-hop and blended it with her unique jazz-influenced vocal style, yet when she needs to rap, she does so in a style that's truly her own. You can't deny the talent or ambition illustrated here. Jazzy without being clichéd, think of hip-hop channeled thought the spiritual mindset of the daughter of jazz musicians. A wonderful, thought-provoking, and fresh album that gets better with every listen. If you put forth effort, you may just get the message. [DG]

TORTOISE
A Lazarus Taxon
(Thrill Jockey)

"Gamera"

"Madison Area"

As per its namesake, the very nature of Tortoise, it seems, is to surprise the listener with so much more than we bargained for, to lumber slowly into our consciousness and then thrill with flashes of passion and warm blood beneath that cold hard shell. While the heyday of the "post-rock" movement that the group spearheaded has come and gone, and the temptation to tag the band with the more far-reaching, and decidedly less intriguing "jazz-rock" or "progressive" moniker is always tempting, they have yet to disappoint, with consistently deep and wonderful albums, live performances and collaborations that set them apart and ahead of any restricting genre. This new budget-priced triple-CD and single-DVD set collects most of the group's rarest, most sought-after, and often most rewarding tracks in one convenient package, giving an excellent overview of the band's non-LP efforts since it hatched in the sand 15 years ago.

Tortoise is an unconventional band: indie rockers obsessed with jazz, dub and electronica, and with the skills to back up their passions with ideas and vision and playing and production. This collection tries to harness their diversity, from remixes of their own music (including "Rhythms, Resolutions and Clusters," the limited full-length of remixes of their debut album, including a never released bonus cut by Mike Watt and Kira that was omitted from the original due to technical difficulties, and their rare Japanese bonus tracks and deleted 12-inch mixes by the likes of Autechre and Nobukazu Takemura), remixes the group did for other artists (including Yo La Tengo's "Autumn Sweater"), and a plethora of deleted 7-inch, 12-inch and compilation tracks, like the much sought-after "Gamera" EP on Duophonic, several Red Hot compilation tracks, and their surprising submission for the 1995 A Means to an End Joy Division tribute album.

All this and much more is included in 33 tracks spread over three CDs, and the DVD, with six films and videos and 12 beautifully shot live performances, plus a poster gallery documenting the group's world travels. While this set is a definite bow to the fans who have been paying a premium for much of this stuff, the music can stand on its own, even after all these years. A Lazarus Taxon could as easily serve as an introduction to Tortoise, as it can a summation of a challenging career. Wonderfully though, it is most likely neither, but just a brief resting point on the Tortoise's slow and steady quest. A quest for what, I think only time will tell. [JM]

BROADCAST
Future Crayon
(Warp)

"Illmunination"

"Still Feels Like Tears"

Broadcast return with a collection of previously released singles and compilation tracks, with lots of instrumentals and some alternate versions tacked on as well. The band's more experimental side is showcased here, with many of the songs being outtakes from Haha Sound. Over 70-minutes long, Future Crayon is tailored for the true Broadcast lover which, very similar to obsessive Stereolab fans, seems to be many, myself included. There aren't a lot of surprises for anyone who's familiar with the band; however, there is plenty to be enjoyed. For those of you who haven't sampled Broadcast's retro-future take on Joseph Byrd productions and '60s-inspired psychedelic soundtracks, by way of the buzz and purr of analog synths and, of course, singer Trish Keenan's dreamy melodies, start with one of their proper full-lengths, be it The Noise Made by People, Haha Sound, or Tender Buttons. Sure enough, you'll be hooked and soon visiting Future Crayon for more. [DG]

LARRY MURRAY
Sweet Country Suite
(Fallout)

"Headed for the Country"

"Out to Sea"

In the late 1960s, Hearts and Flowers made two incredible albums that perfectly fused Southern California country-rock with mellow Donovan-esque psychedelic folk. Band leader Larry Murray had been active in the LA country scene early on and over the years he'd played in several bands with Chris Hillman of the Byrds and the Flying Burrito Brothers. After the demise of Heart and Flowers, Murray recorded this solo album in 1970 and then moved on to write songs for Johnny Cash's television shows and specials. Murray rounded up a huge list of collaborators for the record, including fellow singer-songwriter J.D. Souther and Gib Guilbeau of the pioneering country-rock band Nashville West. Several of the songs have a really nice gospel vibe that's beautifully complemented by a trio of female soul singers. In a lot of ways Sweet Country Suite sounds almost like a third Hearts and Flowers album, so if you're a fan of that group you'll definitely want to check this out. [RH]

JASON MOLINA
Let Me Go, Let Me Go, Let Me Go
(Secretly Canadian)

"It's Easier Now"

"Get Out, Get Out, Get Out"

Songs: Ohia and Magnolia Electric Co. front man Jason Molina drops his second solo full-length, packaged, like his previous release, as an LP with a "free bonus CD" of the same material slipped inside the sleeve. Molina seems to be paying homage to Woody Guthrie with the black and white cover photo, but the record is far more personal than political, just a man in his garage trying to sing away his loneliness. Molina has said that this record came together in just a few days, as he secluded himself in his studio, with a goal of exploring some themes and emotions too raw to realize with one of his rock bands. To quote: "So in a way, these are meditations on depression, waiting, dislocation, separation, doubt, fear, loneliness…the usual from me…but here, if I did not see redemption or even a glimmer of hope." Despite this warning, the record is not pure pain but, as with Neil Young's powerful solo work, it has an intimacy and honesty and raw beauty that is palpable. Alone with his piano and guitar, Molina explores many of the similar themes and sounds that have made his groups favorites around these parts, but without the ballast of a rhythm section and the prying eyes of his bandmates, he allows himself to let go emotionally, to fine result. [JM]

MOUNTAIN GOATS
Get Lonely
(4AD)

"In the Hidden Places"

"Maybe Spout Wings"

John Darnielle is a mystery to me. I can't think of another artist who hit their creative and commercial apex, seemingly coming out of nowhere after more than a decade of modestly putting out stuff music fetishists will spend a lifetime eBaying over. He also apparently is a pretty huge Geto Boys enthusiast. Who knew. No matter what your take on Darnielle's polarizing blend of hyper-detailed lyricism, un-intimidating folksy arrangements, and passive-aggressive, always melodic yelping, The Sunset Tree was pretty f**king brilliant. And it had the sales to prove it. It's no wonder in the year since that record hit the iPods, Darnielle has become something of a gifted, cult father figure to legions of mild-mannered elitist, middle class misfits. First of all he looks like he could be the majority of his listeners' fathers, and two, he writes wildly accessible, instantly relatable bedroom anthems. He's emo, and yet he couldn't sound less emo if he tried.

With the Mountain Goats' new album, Get Lonely, he's tried. It's a stunning and somewhat unexpectedly quiet follow-up. Pretty tame, when you consider the galvanizing frantic live wire Darnielle is when he's up on stage. On Get Lonely, he has never sounded more resigned, more, dare I say, hushed? And it suits him fine. After all, the ballads have always been some of the Goats' finest material, so it's no surprise here that Lonely highlights like "Half Dead," "Woke Up New" and the title track are some of his best tunes, hands down. I'm sure people will say Get Lonely is the logical follow-up to a volatile juggernaut of a record like The Sunset Tree (which chronicled Darnielle's troubled relationship with his stepfather). However, to me, there is nothing obvious about Get Lonely; it's the sound of a songwriter going his own way, stepping out of his comfort zone, and not resting on the laurels of success no matter how well earned. Bravo. [HG]

J DILLA
The Shining
(BBE)

"E = mc2 (featuring Common)"

"Love (featuring Pharoahe Monch)"

Earlier this year, we all shared in the both the joy and tragedy of James "J Dilla" Yancey's short and vibrant life, the producer passing just days after the release of his masterpiece, Donuts. Dilla left behind tons of unfinished tracks and even a few full albums, and now, in true post-millennium style, his musical legacy will continue to grow. With the completion of his posthumously-released The Shining, we witness firsthand his influence and wide-reaching connections. Producer and drummer Karriem Riggins (Erykah Badu, Common, D' Angelo) has taken a seat at the mixing board, enlisting an A-list of talent to pay tribute and spit a verse. Names like Pharoahe Monch, Common, Busta Rhymes, MED, Dwele, Black Thought, Madlib, and D' Angelo, among others, put a new school, hip-hop vocal bent to Jay Dee's raw and magnetic original productions. [DG]

NOUVELLE VAGUE
Bande a Part
(Luaka Bop)

"Dancing with Myself"

"Blue Monday"

Nouvelle Vague's debut album was one of those rare occurrences when a covers concept actually provides the listener with interesting new takes on old songs. It was an exercise in applying a fresh spin on two forms of music (punk and bossa nova) that have historically suffered from nostalgic posturing from many an artist in the past. With this album, we see the band applying the "if it ain't broke" philosophy, sticking with the mellow covers of old punk/new wave tunes formula. This time around, however, they branch out a bit more stylistically from the bossa template with overall positive results. Their torchy, string-drenched take on Heaven 17's "Let Me Go" and the spooky orchestrated version of "Bela Lugosi's Dead" benefit nicely from a bigger recording budget. The cabaret versions of "Dancing with Myself" and "Heart of Glass" are interesting experiments, but they don't completely satisfy. Then again, it's pretty hard to make those wedding reception floor burners sound relevant again. But overall, I think Nouvelle Vague are at their best when they keep it simple, fragile and barebones, as evidenced by their lovely version of the Buzzcocks' "Ever Fallen in Love." [DH]

ERIC BACHMANN
To the Races
(Saddle Creek)

"Carrboro Woman"

"So Long, Savannah"

When I first got word that Eric Bachmann (of Crooked Fingers and Archers of Loaf fame) had reinvented himself once again and recorded a solo acoustic record, I started foaming at the mouth. Bachmann is one of my all time favorite indie songwriters. In my mind he is right up there with your Elliott Smith's and Steven Malkmus's. He is one of a kind, always pushing himself in new directions and with To the Races, his first solo record for Saddle Creek, he practically goes it alone. Most of the record is just Bachmann and his guitar. He wrote these songs in the back of a van and in various hotel rooms while on tour, and they are sparse and desolate, both sad and uplifting at the same time. I saw him play at Maxwell's during this tour and it was just Bachmann and his guitar on stage, pouring his heart out for the silent and amazed audience. His set featured many of the songs on this album; they blew me away then and even more so now that I have listened to the record.

I've had this album for a few weeks now, played it everyday, and I am still not sick of any of the tracks. "Carrboro Woman" is easily the best song that I have heard all year. It is the perfect loner anthem with Bachmann pouring his heart out to a woman, only to tell her that he can't be with her in the end. "Lonesome Warrior" is another stunner, with multi-tracked vocals, finger-picked guitars and his soothing, deep croon; it mesmerizes me each time it comes on. On "So Long, Savannah," Bachmann's guitar playing channels many of the American roots greats he so admires, and whether he is singing an ode to a person or a place is left up to one's imagination, but either way, this track is a heartbreaker. I have said this time and time again; Eric Bachmann is easily one of the best songwriters of our generation. His music makes you think, his songs make you feel, and he has once again delivered one of my favorite albums of the year. If you buy one singer/songwriter release this year, let it be To the Races, you will definitely not regret it. [JS]

PAJO
1968
(Drag City)

"Who's That Knocking"

"We Get Along, Mostly"

Begin the Elliott Smith references…now. Damn, does former post-rock acolyte/current sad boy crooner, David Pajo's new one, 1968, sound very Figure 8 to me. The guitars are all fuzzy and huge, seven chords and mercurial minor melodies, Spector-worshipping pop anthems with lyrics about alienation and "restoring your will to live again" and battling disease too. But look, at least, here's a guy who legitimately does the whole Elliott Smith thing really well. 1968 is an exceptional listen. In lieu of his modest, "look Ma, I recorded this whole thing on my PowerBook" debut, 1968 is lush, studio polished and meticulous. Funny that he called this album 1968 though, as the whole affair sounds pretty '70s to me in that All Things Must Pass meets Jim O'Rourke in 2002 sort of way. Which all would mean nothing if the songs weren't as outstanding as they are. The sparkling, minor-key arpeggios that drive "Foolish King" could put a smile on an entire Zach Braff army, and "We Get Along Mostly" is 1968's showstopper -- a stadium-sized rocker with an introspective heart and thick harmony drenched vocals. It's as good as "Wah Wah," or at least "The Ballad of Big Nothing." [HG]

RATATAT
Classics
(XL)

"Lex"

"Montanita"

I'm going to refrain from saying anything about the title of this album, because…well, come on. But that doesn't mean I don't like it. It is good, and if you dug this duo's interesting take on the electro disco sound of their debut, you should like this as well, although there's less emphasis on disco here, and the beats seem a lot more hip-hop inspired. (If you picked up their limited edition hip-hop remix CD from a couple of summers ago, then expect a bit more of that sound, beat-wise.) The twin guitar leads are still here, and the melodies are more engaging the second time around, but it's fleshed out with touches of organ, acoustic guitar and the production is dreamier sounding. All in all, it's a fine record to take you into the hazy days of late-summer and early-fall. Fans of Postal Service, Air, Zero 7 and the like should take note. [DH]

OUTKAST
Idlewild
(La Face)

"Mighty O"

"Hollywood Divorce"

I guess it was around Stankonia that my love affair with Outkast was cemented. Sure, I had heard their singles on the radio, but after that moment, seeing Andre 3000 and Big Boi in front of an altered U.S. flag, I was hooked. They've remained one of the most original, innovative, and just plain fun (and funny) groups over the past decade-and-a-half. Outkast's new adventure, Idlewild (which is also an accompanying soundtrack to their film of the same name), is set in a fictional past-present of the South. Filled with juke joints, speakeasys, ragtime, swing, and their trademark fusion of hip-hop, funk and soul, the record seems to be the story of love found, questioned, flirted with, divorced, and, well, simply enjoyed. What's most surprising (and enjoyably engaging) this time around, however, is their careful, carefree, and effortlessly oddball arrangements and production techniques. The incorporation of the sound and feeling of the roaring '20s and '30s fits flawlessly into their stank funk formula. Imagine if Prince's Parade soundtrack to Under the Cherry Moon was set in the hills of Georgia instead of France.

What's now also become a trademark for the duo, who seem to have established a wonderful musical marriage of convenience, is that they rarely appear on the same song together. Though not as drastic of a move as Speakerboxxx / The Love Below (where they offered two completely separate albums packaged together), here they've given one another enough room and encouragement to let each do as they please, and it fits together like the two sides of a coin. A prime example would be the song "Call the Law" (sung by Big Boi's protege, Janelle Monae); it's the perfect blend of swing, jazz, dancehall, and something that's all together new (forget Christina Aguilera). It seems like Andre 3000 and Big Boi take a similar theme and then each do their own version of it; and both of them get choice moments to shine. Case in point would be the first singles of the album. The lead off, "Mighty O," finds the duo referencing Cab Calloway. And then there's "Morris Brown," Big Boi's song with Sleepy Brown and Scar, produced by Andre 3000, who also sings the chorus. The third single is Andre's full-on blues guitar lead, "Idlewild Blues," one of the best things he's done since "Hey Ya" (though not as immediate). Outkast sound refreshed, secure and, as always, you can tell that they are having a good time and sharing some of the fun with guests like Snoop Dogg, Macy Gray, Lil Wayne and Killer Mike. While the accompanying film may not be Snakes on a Plane, I'm sure that it will be just as entertaining as the record. Outkast are still one of the most forward-thinking and fun groups around. [DG]

LAURA LEE
The Chess Collection
(Universal)

"Another Man's Woman"

"Love More Than Pride"

A few years ago, at a place of previous employment, a few shaggy, squat dudes strolled in. Their PR lady introduced them as The Division of Laura Lee. While I had no clue as to who they were (this was before their album came out stateside), I was fully aware of Ms. Lee. Recording for Chess back in the day, she may have been hidden in Etta James's shadow at the time, but those who came across her strong, sassy pipes were hooked from the start. Headstrong without coming across as a "feminist," Lee spoke her mind about relationships over the tough backing of Rick Hall and his FAME Studio sessionmen. Soulful and gritty, she also had a sly (even randy) sense of humor, which comes across on this handy, much-needed anthology of her sides, featuring such choice cuts as: "Dirty Man," "Wanted: Lover, No Experience Necessary," and "Uptight Good Man." [AB]

VARIOUS ARTISTS
Hugh Masekela Presents the Chisa Years 1965-1975
(Universal)

"Afro Beat Blues" Ojah with Hugh Masekela

"Witch Doctor" Baranta with Miatta Fahinbulleh

This is an excellent collection of rhythmic Afro-soul from one of the first major "world music" artists. Although Chisa as a concept was already in motion during Masekela's stint in New York in the early-'60s, it wasn't until the enormous success of his "Grazing in the Grass" that the label actually materialized. The idea was to create a home for this new kind of African soul music. The sound is a lot more jazz-inspired, of course, and more traditionally African sounding than you would probably expect. The playing is absolutely first rate, as American musicians like Joe Sample and Wilton Felder are playing alongside prominent African musicians, and what they produced sounded like none other at that time. Fela was definitely listening! The album also features cuts from OM fave Letta Mbulu, as well as killer unreleased gems. Fans of any kind of African funk will be pleased with this one. [DH]

THE EYES
Arrival of the Eyes
(Acme Gramophone)

"Man with Money"

"Please Don't Cry"

Years ago, I sold the one Eyes 45 I owned so I could pay rent, but hearing this collection again makes me wish I'd slept on the street that month. On the surface, the Eyes might look like your average British '60s mod combo, with their pop art outfits, feather cuts, and obligatory Rolling Stones and Beatles covers. But the execution is what sets them apart from the petty contenders, with singer Terry Nolder's self-assured, sometimes snotty, sometimes casually cocksure vocal delivery and the raw, clanging-like-trashcan-lids guitar sound combined with the band's ability to write incredibly catchy melodies.

The cream of the crop are the songs that made up the Eyes' first two 45s; the "I Can't Explain"-ish opening bars of "I'm Rowed Out," the cool swagger of "When the Night Falls," and the humor and utter insanity of "My Degeneration" (complete with coffee metaphors as sexual innuendo) make for an unrivaled 1-2-3 mod pop knockout punch. Show me two back-to-back '60s pop singles that are better than these and I will own up. The rest of Arrival of... is made up the band's two other 1966 singles, including a rip-roaring version of the Everly Brothers' "Man with Money," demos and outtakes, and tracks from a Stones tribute album the band record as the Pupils (Eyes. Pupils. Get it!?), featuring a version of "Not Fade Away" that destroys Jagger & co's take.

Arrival of the Eyes is a perfect document of a band that burned brightly much too briefly, and it makes me want to ride a scooter, wear perfectly tailored suits, and pop some...forget it, I'll leave that up to you kids. For the rest of us, this is some of the finest music the mid-'60s had to offer. Highest recommendation. [AK]

THE FLIES
Complete Collection 1965-1968
(Acme Gramophone)

"(I'm Not Your) Stepping Stone"

"Tired of Waiting for You"

We all know how the pie of '60s British Invasion rock has been divided up, the majority of which went to the Beatles, the Stones, the Who; smaller pieces to the Kinks, the Animals, etc.; slivers to folks like the Pretty Things, the Small Faces, the Troggs, and the like; and crumbs to just about all the rest. In the case of the Flies, they were fighting with at least three other bands in late '66 -- the Monkees, Paul Revere and the Raiders, and the Liverpool Five -- for a piece of one song: "(I'm Not Your) Stepping Stone." History shows that they didn't win that particular battle, but upon first listen, it's hard to wonder why the Flies didn't just go kick the crap out of those other groups. These guys climbed inside that particular tune and busted it open with hammers and fists, leaving its still-beating heart to wind down to "Wild Thing" pace before they jab their feet into it. It's one of the meanest of-its-own-era reconstruction of any song I can think of, and furthermore, it was released almost simultaneously with the Monkees' hit version. How's that for being ahead of the times?

Complete Collection gathers a scattered history of the Flies, from its debut movements as teenage popsters the In-Sect, to their Move-esque psychedelic groove nadir, "The Magic Train" (uh, bad title to stack against the similarly-vibed "Magic Bus" by the Who). Included are the band's four singles, cut for Decca, RCA, and CBS, three In-Sect album cuts, and a brace of demos, the last of which finds the group developing a flexible psych-pop environment that could close in for a somewhat baroque Status Quo/Idle Race tea party moments and proto-glam bubblegum whimsy in one flash, and blow out brightly in others to accommodate mod-sized dancefloor pounders. This ability to emulate anticipated band members' repositioning into Gun, Bulldog Breed, and T2, as hard psych met the blues and formed the roots of metallic and progressive rock. But that "Stepping Stone" cover … man, if only they could have stayed in that direction … whoa, the '70s might have happened a bit earlier. [DM]

NEIL HAMBURGER
The World's Funnyman
(Drag City)

America's most disturbing comic has blessed us all with a commemorative DVD, highlighting his triumphant festival and club tour of Australia. Hallelluugh!! If you act now, you get to see Neil Hamburger tell horrible jokes about Courtney Love and get a drink or two thrown in his face by angry club patrons. But wait there's more! You'll also get to see the video to Neil's horrific and ill-advised foray into rap music, "Seven Elevens," and a pathetic Canadian made-for-public-access documentary about the "man" behind this pile of sh*t he calls a career. What can I say? Andy Kaufman's dumb spiritual brother just might be a living genius. If you agree, pick this up, put it in your DVD player, swallow a Zoloft, chase it with some vodka, and enjoy life for a change you manic depressive f*ck!! By the way, this is gonna be in my top 10 of '06. [DH]

THE HELLERS
Singers, Talkers, Players, Swingers & Doers
(Fallout)

"Take 46"

"The Mist of Time"

Beatdiggers and sampleheads, listen up! Here's a long-awaited CD reissue by the Hellers album from 1968. The Hellers was a studio project by jingle composer Hugh Heller and arranger extraordinaire Dick Hamilton (with some assistance by Robert Moog, whose imprint on the project is indelible), and it's a pretty wacked-out and fascinating affair. Singers, Talkers, Players, Swingers & Doers is a magic mixture of Moog experiments, Curt Boettcher-esque sunshine pop, spoken word, and children's music, and it's a goldmine for samples if you're that way inclined. Comes with informative liners that make some sense of the madness contained within. [AK]

AMY MILLAN
Honey from the Tombs
(Arts & Crafts)

"Losin You"

"Skinny Boy"

You may not know Amy Millan by name, but indie fans will probably recognize her sparkling voice from Stars songs, not to mention Canadian powerhouse Broken Social Scene. Having already proven herself a versatile singer, I can't say I was totally surprised to hear Millan embracing her inner country muse when I popped in this disc, however, Honey from the Tombs is definitely a contrast from what most of us are familiar with. These are older songs that Millan wrote during her pre-Stars days when she was barely into her twenties. Back then, she was sharing a house with a few members of Canadian bluegrass ensemble Crazy Strings, who also play a supporting role on this record. It makes sense that the Montreal singer would want to revisit these intimate selections, especially at a time when we're seeing indie rockers like Rilo Kiley's Jenny Lewis successfully exploring Americana. That's not to imply Honey from the Tombs is a straight-up country record. While Millan's lyrics are filled with images of broken hearts, loneliness, and a couple whiskey references, almost every hushed moment of acoustic guitar strumming and finger-picking is counterbalanced by some rollicking, and even a few lushly produced pop songs, with musical back-up from various friends in Do Make Say Think, Stars, Metric and Broken Social Scene. A pleasantly diverse offering, it's nice to find an artist unashamed to share a piece of their young, creative past with their fans of the present. [GH]

BIG L
The Archives 1996-2000
(Corleone)

"Deadly Combination"

"Still Here"

Street-exclusive collection of late rapper Big L's demos, B-sides, remixes, acapellas, and rarities. L had touches of the panic in his voice and delivery that are shared with some other leftfield heads like Ghostface or Freeway, but his game was strictly major-league, with R&B-looped anthems like "Hit It" that prove that he was in the same class as Jay-Z when it came to combining polish with unstoppable flows. Included here are several superior versions to what was released on his posthumous album The Big Picture, retaining top-shelf production by Hi-Tek, Pete Rock, DJ Premier, and D.I.T.C., along with one of the most unlikely tracks ever created, "Deadly Combination," teaming L with Biggie and 2Pac. Pac goes first. Overall, these are some stunning, at times blisteringly hard tracks from back when NYC was on top all over. We gotta bring that back. [DM]

SACHIKO KANENOBU
Misora
(Chapter Music)

We ran this great record as an expensive Japanese import back in July. Unbeknownst to us, there was a domestic version in the works with liner notes and song lyrics in English, along with rare photos and reminiscences by Sachiko herself about the making of the album and how the writer Philip K. Dick was a fan who ended up producing a single for her(!?!). One of my favorite records of the year, now with a more humane price. Here's what we said about it earlier...

Sachiko Kanenobu came out of Japan's late-'60s underground folk scene. Her debut solo album, Misora, was originally released on Underground Record Club, the first Japanese 'indie' label which put out folk and rock albums between the late-'60s and mid-'70s, many of which are now considered to be classics. Unlike assumed Japanese folk stereotypes of the period, such as protest songs or pathetic male confessions from a tatami mat, Sachiko sounds crystalline and soothing when she sings about the sky, birds, etc., and occasionally seems to evoke some unknown force larger than herself. The similarity between her vocal style and Joni Mitchell's has often been pointed out, but it may also be palpable in the album's seemingly straightforwardness with an urbane sensibility, owing much to Haruomi Hosono (ex-Apryl Fool/Happy End/YMO) as the album's producer, and to the musicians on the record which include Shigeru Suzuki and Tatsuo Hayashi, who would later form Tin Pan Alley, a band that would become an enormous influence upon later J-rock and pop music. Their subtly unconventional approach defies simple categorization as 'folk.' [YZ]

VARIOUS ARTISTS
Kompakt Total 7
(Kompakt)

"Grey Skies to Blue" Kontrast

"Like You" Gui Boratto

The latest installment in the "Total" series from Cologne's trailblazing techno label, Kompakt! Features an all-star roster, including Justus Kohncke, Triola, Michael Mayer, the Modernist, Koze, Thomas Fehlmann, Reinhard Voigt, Mikkel Metal, and many more.

FREQUENCY
Frequency
(Thrill Jockey)

"Pitiful James"

Here's yet another stellar album showcasing the seemingly endless well of Chicago underground jazz musicians. Frequency is made up of flutist Nicole Mitchell, sax and clarinet man Edward Wilkerson, contra bass ace Harrison Bankhead, and master drummer Avreeayl Ra. It's a fascinating journey into darker, more spiritual territories of jazz. Come on, dig deeper.

THE TRIFFIDS
Born Sandy Devotional
(Domino)

"Born Sandy Devotional"

Domino's reissue mission continues with the Triffids Born Sandy Devotional, a classic slice of Australian pop that ranks right up there with the finest work of the Go-Betweens, Hunters & Collectors, and the Moodists. Originally released 20 years ago, the album comes with nine bonus tracks and a thick booklet. Recommended to anyone into perfect, orchestrated pop.

CURSIVE
Happy Hollow
(Saddle Creek)

"Flag and Family"

New concept album about a fictional small town by Omaha's elder statesmen of emo, Happy Hollow is a slight departure in sound by Cursive, as the cello has been replaced by a horn section. But fret not, Tim Kasher delivers his trademark punky pop hooks and stories of teenage wastelands, and the odd anti-war testament.

MONO
One Step More and You Die
(Temporary)

"A Speeding Car"

Reissue of their 2002 masterpiece, One Step More and You Die set the bar way high back in the day, and sounds just as overwhelmingly pummeling today. Masters of the loud/quiet atmospherics, Mono is perhaps the best band, along with Mogwai, to ever take a stab at filling the void of Slint.

September 12th is shaping up to be a big day for new releases. Below are just a few albums that we are particularly excited about and are able to offer to you as pre-orders. If your order does contain a mix of currently available merchandise and pre-orders, we will ship out the items that are in stock now, and hold the pre-order items until the time of their release for a small additional shipping charge. If you would like to avoid the extra postage charge, you can request for the entire order to be held until the date that the pre-orders ship by typing the word "HOLD" in front of your name (e.g. HOLD John Doe) in the the shipping address section when you place your order.

JUNIOR BOYS
So This Is Goodbye
(Domino)

"In the Morning"

The Junior Boys' latest is nothing less than an electro-pop classic! Masterfully restrained electronic arrangements leave plenty of space for Jeremy Greenspan's beautiful, yearning melodies to carry the songs.

THE RAPTURE
Pieces of the People We Love
(Universal)

With production from Ewan Pearson, Paul Epworth and Danger Mouse, you know the Rapture's second full-length is going to be funkier than ever, twisting through hands-in-the-air dance anthems and a little psychedelic sunshine.

TV ON THE RADIO
Return to Cookie Mountain
(Interscope)

"Playhouses"

Another great record from one of Brooklyn's most original bands. Once again, TV on the Radio masterfully walks the line between pop and experimental music, incorporating elements of rock, jazz, soul, gospel and electronica with a little help from guest vocalist (and number one fan) David Bowie! Features three bonus tracks not included on the import.

YO LA TENGO
I Am Not Afraid of You and I Will Beat Your Ass
(Matador)

Pre-order Yo La Tengo's forthcoming album, I Am Not Afraid of You and I Will Beat Your Ass, and you will be automatically registered to receive some extra YLT goodness, courtesy of Matador. Within a few days after you place your order, you'll receive an e-mail with directions on how to access their Season Pass Web site via a unique coupon code. Every few weeks, this site will be updated with exclusive bonus material. Go to the News Section of our Web site for details.

OOIOO
Taiga
(Thrill Jockey)

"Uja"

Yoshimi and co. return with a new album full of rhythmic excursions. The nature-inspired Taiga explores vast sonic landscapes, shifting from Krautrock grooves to folky meditation, while vocals range from bird calls to wild shrieks.

XIU XIU
The Air Force
(5RC)

"PJ in the Streets"

Produced by Deerhoof's Greg Saunier, Xiu Xiu's latest album is their most focused yet. With a less-is-more approach, Jamie Stewart's misanthropic confessionals have never been this up close and hair-raising.

MAGNOLIA ELECTRIC CO.
Fading Trails
(Secretly Canadian)

"Lonesome Valley"

Fading Trails culls together songs recorded by Jason Molina under his given name, as well as his Magnolia Electric Co. and Songs: Ohia monikers, into one impeccably cohesive and personal set.

THIS WEEK'S CONTRIBUTORS

[AB] Adrian Burkholder
[DG] Daniel Givens
[HG] Hartley Goldstein
[GH] Gerald Hammill
[DH] Duane Harriott
[RH] Rob Hatch-Miller
[MK] Michael Klausman
[AK] Andreas Knutsen
[JM] Josh Madell
[DM] Doug Mosurock
[SM] Scott Mou
[JS] Jeremy Sponder
[YZ] Yuzo

THANKS FOR READING
- all of us at Other Music