September 24, 2009

		FEATURED NEW RELEASES The Big Pink Yura Yura Teikoku Rain Machine Volcano Choir LCD Soundsytem Betty Davis Tropical Funk Experience (Various) Far East Family Band Karuna Khyal Flaming Tunes Times New Viking Girls Disrupt Jahdan Blakkamoore Mum Pastels / Tenniscoats The Durutti Column Box Set The Liverpool Scene   Shadow Music of Thailand Siamese Soul 2 Monotonix Joakim Gary Numan ALSO AVAILABLE The Pains of Being Pure at Heart EP The Double (Limited LP) Le Loup Castanets Basement Jaxx Vic Chesnutt The Hidden Cameras Islands Nicolay - Shibuya City Lights 2 Cold Cave (Cremations on Vinyl) Follow us on Twitter: http://twitter.com/othermusic

		SEP Sun 20 Mon 21 Tues 22 Wed 23 Thurs 24 Fri 25 Sat 26   WIN TICKETS TO GONZALES AT JOE'S PUB Gonzales plays that piano, he talks. He raps, complains and sometimes waffles... He's playing two shows in New York City this Friday night, where he'll be performing new material, surreal interpretations of classic covers and interesting human experiences...in the intimacy of Joe's Pub. And that's not even mentioning special guest Jamie Lidell. Other Music has two pairs of tickets to give away to the first show (9:30PM). Just email enter@othermusic.com to put your name in the hat and we'll notify two winners Friday morning. Good Luck! FRIDAY, SEPTEMBER 25 JOE'S PUB: 425 Lafayette Street NYC

		OCT Sun 27 Mon 28 Tues 29 Wed 30 Thurs 01 Fri 02 Sat 03   TICKET GIVE AWAY TO THE BUNKER The next installment of the Bunker is not to be missed, when this great monthly techno/house party will be celebrating the connection between Detroit and New York City dance music in the front room, featuring: BMG (Interdimensional Transmissions, Ectomorph | Detroit) with Sal P. (Liquid Liquid, DFA | NYC), Mike "Agent X" Clark (Planet E, Strictly Beatdown | Detroit) with Leroy Burgess (Salsoul, NIA | NYC), Mike Servito (Ghostly | Brooklyn via Detroit) and Secrets (Blank Artists, Secret Mixes/Fixes | Detroit/Brooklyn). In the backroom, resident DJs Spinoza and Derek Plaslaiko will be welcoming Pär Grindvik (Stockholm LTD, Drumcode | Berlin) and October (Caravan, Perspectiv | Bristol) on the 1s and 2s. We've got two pairs of tickets to give away to this great party. To enter, send an email to giveaway@othermusic.com, and we'll notify the two winners on Monday, September 28th. FRIDAY, OCTOBER 2 PUBLIC ASSEMBLY: 70 North 6th Street (between Wythe and Kent) Williamsburg, Brooklyn

		OCT Sun 04 Mon 05 Tues 06 Wed 07 Thurs 08 Fri 09 Sat 10   WIN TICKETS TO OS MUTANTES AT WEBSTER HALL On Thursday, October 8th, Brazilian legends Os Mutantes return to New York City, performing at Webster Hall! Featuring band founder Sergio Dias and original drummer Dinho Leme, the group will be playing a mix of their tropicalia classics with new songs off their first album in four decades, Haih Or Amortecedor, out now on Anti- Records. To enter for a pair of tickets, send an email to tickets@othermusic.com. We'll be picking two names on Monday, September 28th. THURSDAY, OCTOBER 8 WEBSTER HALL: 125 East 11th St. NYC ANTI- SAMPLER STREAMING ON OTHERMUSIC.COM You can also hear a song off Os Mutantes' new album on the Anti- Fall 2009 Sampler which we're currently streaming on our mailorder web site's News page, along with tracks from Swell Season Neko Case, Islands, Rain Machine and lots more.

		OCT Sun 18 Mon 19 Tues 20 Wed 21 Thurs 22 Fri 23 Sat 24   UPCOMING EL PERRO DEL MAR IN-STORE Sweden's El Perror Del Mar will be playing a free in-store at Other Music on Tuesday evening, October 20th, celebrating the release of her great new album, Love Is Not Pop, which comes out that same day on Control Group/TCG. TUESDAY, OCTOBER 20 @ 8PM OTHER MUSIC: 15 East 4th Street NYC Free Admission / Limited Capacity

		$13.99 CD $21.99 LP 180 Gram   THE BIG PINK A Brief History of Love (4AD) "Dominos" "A Brief History of Love" All too often critics (and I'm not excluding myself, here) will bandy about lazy artist comparisons as if they were going out of fashion. Sounds a little bit electronic? How about dropping Aphex Twin's name in there. Real songs? Well we've got the Beatles, Dylan and the Stones for that. Born in the early 80s and make indie music? Chances are you loved a bit of that jangly stuff everyone's talking about, let's drop a couple of C86 references and be done with it. Occasionally though, these comparisons are deserved, and when listening to recent 4AD hype-signing the Big Pink, comparisons seem inescapable. Verve (pre 'The') instantly clicked thanks to singer Robbie Furze's Ashcroft-esque whines, then as the thick, noisy electronic drums of "Too Young to Love" flickered to life, it's My Bloody Valentine (whose ex-producer Alan Moulder mixed the album) who sprung to mind. All this through the noisy fug of Jesus and Mary Chain and Echo and the Bunnymen, and while usually I'd try not to drop quite so many influences in one go, just take a listen and you'll know exactly what I mean. Don't, however, for one second assume that this is a bad thing; as you may have read in whatever hipster blog/zine or other you swear by, the Big Pink are really rather good, and managing to kick it confidently while simultaneously harnessing such regal influences is quite some achievement. Luckily, Furze's dulcet tones never warble quite as much as Ashcroft's, the rolling electrical beats never echo quite like MBV's did and that doomed, dark mood that envelopes the album just isn't really exactly the same as Echo and the Bunnymen's; this is the Big Pink's album, and even if you've heard all of the aforementioned bands it's still a record well worth diving into. The pretty dreaminess of the title track, the chunky single "Dominos," the harsh post-shoegaze of "Too Young to Love," they're all proof that the duo manages to transcend the criticism that is leveled at them and simply write great songs. Maybe there's truth in the hype after all. [JT]

		$14.99 CD   YURA YURA TEIKOKU Hollow Me / Beautiful (DFA) "Ohayo Mada Yaro" "The Boat" Although they've been bona fide superstars in their home country of Japan for quite some time now, it was only a few years ago that long-running psych trio Yura Yura Teikoku even began to register as a blip on the American radar. Their gorgeously melodic, yet still sweetly gnarled music has slowly been seeping into the Western consciousness of late, care of a couple releases on the Mesh-Key label, and their insanely well-reviewed first series of U.S. gigs. Following some three years after the domestic release of Sweet Spot comes Hollow Me/Beautiful, their first for the DFA's Death from Abroad sub-label, a disc that compiles both their tenth studio album (released in 2007 on Sony Japan), and the EP that preceded it. The tracks that make up Hollow Me take a rather sharp detour from the billowy clouds of guitar-soaked bliss for which the band had become known, opening with the precise tremolo loops and ultra smooth sax lines that permeate "Ohayo Mada Yaro." The focus on the new stuff is on minimal, almost mechanistic Kraut-y rhythms and an exceedingly spacious use of guitar and bass. Tracks like "Listless Dreams" and "Beautiful" (both of which are also here in more straightforward form from the included EP versions) approach an almost dub-like sense of spatial coordination, locking in on percussion that slowly ebbs and flows throughout, while bass and simple guitar lines are deployed strategically, making sure never to crowd the mix. In a way, it almost sounds like Yura Yura Teikoku spent the past couple of years absorbing more post-punk than psych rock, and that more than shows in the jittery pulse and trembling guitars of "Sweet Surrender." Ultimately, Hollow Me/Beautiful might not be the album Yura Yura Teikoku's new American fans were expecting, but that doesn't detract from its strange allure, and is a fine chapter for a band deep into their own long and twisted journey. [MC]

		$15.99 CD   RAIN MACHINE Rain Machine (Anti-) "Give Blood" "Hold You Holy" The solo project from TV on the Radio's Kyp Malone finally sees the light of day. Rain Machine is the sound of a man and his music. Though his distinctive voice is unmistakably connected to his work with TV on the Radio, here it feels like he's pulled the plug. Stripped of the thickly layered electronic sound of band mate Dave Sitek's dense production and the often-cluttered arrangements that TVOTR can conjure, here Malone is bare, raw and open, letting his words and range lead the way. Feeling more intimate and homegrown, Malone brings together elements of folk, blues, bluegrass, gospel, and rock-not-rock (post or indie), with a slight experimental edge. There is a loose, let-the-cards-fall-where-they-may approach that, more than any other band, calls to mind the ramshackle elegance of Red Red Meat's best. Definitely not filled with the hands in the air energy of TVOTR, and maybe better for it, this one could be the sleeper hit of the fall. [DG]

		$14.99 CD $15.99 LP w/MP3 $9.99 MP3   VOLCANO CHOIR Unmap (Jagjaguwar) Preview Songs on Other Music's Download Store Now this is what I like to see, indie rock reaching across the aisle to embrace the values system of late '90s hip-hop. Remember the days when a rapper would break, then actually make good on his promise to bring the 'hood up with him? Never mind that it was 2000 by the time Nas got around to putting out the QB's Finest album, and that it came in the midst of a mid-career identity crisis, it was the PRINCIPLE that mattered. Nas had made it, and he came back to give his foot soldiers in the streets some love! The same family loyalty holds here for Bon Iver's Justin Vernon, as he admirably uses his indie celebrity to hoist up the Midwest on his shoulders, showcasing the talents of some long-suffering brethren in Milwaukee's Collections of Colonies of Bees. Volcano Choir is the result of this effort, and a rare bird in the world of collaboration albums, in that it seemingly adds up perfectly to the sum of its parts in a way that behooves both sides. Collections of Colonies of Bees have been almost-single-handedly holding down Midwestern art/post-rock in the 21st century, erecting a shed out back of the house that Gastr Del Sol built, and that Joan of Arc tried their best to blow down. Five years ago this kind of thing would have been yawned out of the room, even WITH a figurehead like Vernon's presence, but right now, in the thrall of a gorgeous fall afternoon, it sounds just about right. So what if the Bon isn't actually singing anything half the time? It's his instantly distinguishable, unique voice and delivery that elevates this above a decent Tarentel album, and actually improves on his forbearers at times. Vernon's layered chorus of vocals and questionable enunciation suits the looping acoustic guitars and droning, hypnotic landscapes in a way that managed to elude many of his peers. Whereas Gastr Del Sol or Joan of Arc would insert vocals in a sing-spoken recitation of oblique strategies, Vernon's float over the mix in an ambient, spectral fashion, serving as another coloring to a captivating, Impressionistic painting. If this all sounds a bit too heady for all the Bon Iver fans out there, it's not. Rest assured, this is far from a self-indulgent slog through the corridors of sterile academia. After all, For Emma, Forever Ago came out of hermetic time spent in the wilderness. Volcano Choir is simply what happens when he takes a few friends with him. [JTr]

		$12.99 CD $9.99 MP3   LCD SOUNDSYSTEM 45:33 Remixes (DFA) Prins Thomas Diskomiks Pilooski Remix Back in 2006, Nike commissioned a simple DJ workout mix from LCD Soundsystem that would be offered exclusively as a download, aimed at joggers hoping for a cool soundtrack. But James Murphy, being the eager overachiever, instead created a 45 minute original piece inspired by Manuel Gottsching's proto-techno masterpiece E2-E4. It was an extraordinary long-form exploration of squelchy disco funk that was able to capture the spirit of E2-E4 without mimicry. It was eventually released as a proper CD and LP, indexed as eight sections of a suite rather than a single track, and for this remix album Murphy asked eight of his favorite producers to take a pass at a section, and the results are strong. Respected NYC DJ/producers Runaway contribute a slow-building, Kraut-disco mix, and Prince Language presents a tasteful roller-boogie funk shuffle mix. But Theo Parrish steals the show with his murky, jazz-funk post-disco/boogie/everything reworking. Choppy synth lines herk and jerk over a lazy 4/4 kick and stretch out over ten minutes behind a repeating vocal refrain, slowed down to a smoked-out crawl. It's one of the best things Theo has done in years and is one of this year's "must hear" tunes. Throw in great solid mixes form OM faves Trus'Me, Pilooski and Prins Thomas and you've got a banger from top to bottom. [DH]

		$16.99 CD $9.99 MP3   BETTY DAVIS Is It Love or Desire (Light in the Attic) Preview Songs on Other Music's Download Store If Betty Davis' primal scream of a singing voice had not proven to be so completely inimitable, if I was not so painfully aware of the black hole that great art can fall into when it becomes entangled in the ways of big business, I would not believe that this thrilling, classic album was real; I'd call it a rip-off, a put-on, a bit of label hocus-pocus (like the pair of decidedly sub-par "albums" released from Davis' unremarkable 1979 sessions). It is real, and it's amazing. Unbeknownst to myself, or almost any of the filthy funk diva's many fans around the world, in 1976, soon after the release of her stunning Island Record's debut Nasty Gal and at the height of her prowess, Davis and her band were secluded in a rural Louisiana recording studio for more than a month, where Davis completed her fourth and final album. For more than 30 years, it sat in silence. Now, it sings, and wails, and moans again. As a young fashion model in New York in the mid-'60s, the singer ran with the cutting edge of black musicians from Sly Stone to Jimi Hendrix to Miles Davis, whom she married in '68. Miles himself says that Betty played a significant role in the development of his groundbreaking electric sound of the period, but the young fireplug was just too wild for the jazz genius (it's also been said that an affair with Hendrix contributed to the breakup), and Betty moved to London, where she began writing the songs that made it onto her self-titled 1973 debut. Everything that made Davis' music breathtaking and beautiful -- her raw, outspoken, often shocking lyrical content, her tough-as-nails funk grooves, and her blistering vocal delivery -- also ensured that she would be marginalized in the tame pop market of the time. But nonetheless, the singer's genius was undeniable, and improbably, after two albums on Michael Lang's (of Woodstock festival fame) Just Sunshine label, Chris Blackwell spirited Davis away to Island. The circumstances that led to her being subsequently dropped from the label, and this thrilling album landing in limbo for more than three decades, is still a mystery. The most likely explanation is the most mundane and utterly frustrating: money. Sometime after finishing the record (artwork and all, a great cover shot of Davis as a sultry good-girl, wearing a demure Sunday outfit, but showing her thigh-highs and sucking a finger), Davis was dropped, and if we know Betty, she didn't go quietly, and gave Blackwell and company no reason to further cooperate with her. The studio was never paid for the recording, nobody who would have been interested could afford to buy them out, and the masters were given up for dead. I imagine that's how it happened; so it goes. This bit of unsavory history behind us, what can I say about the record? Self-produced, recorded with the same core band from Nasty Gal, I can say that it is every bit as intense and soulful as any of Davis' best work, a heavy, grinding, howling album of sex, wine and deep deep worries that fueled this iconoclast from the beginning, that made her spit blood and fire and ultimately marginalized her art for all these years. I'm not sure I need to say more. If you love Betty Davis, you need this record, and if you don't know her, you need it too. I'm going to let Betty speak for herself, and I do wish she could send you off on a high happy note, but she was way too real to bullshit about something as messed up as art (almost) quashed by commerce. From "Stars Starve, You Know:" "Ain't no business like show business, that's why we stay broke all the time. We need some money, oh hey-hey Island...I just might do myself in I said, I'm thinking about bringing one of them record producers in cuz I'm broke...Cover up my legs and drop my pen, well I ain't covering up nothin', so play the record again, ugh." [JM]

		$14.99 CD   VARIOUS ARTISTS Tropical Funk Experience (Nascente) "Let Me Get Stones" Boo and the Tru Tones "Back Home" Andre Tanker and the Mansa Musa Drummers Just in time for summer's end, we get this monster collection of funk jams with heavy island vibes by Sofrito, one of my favorite new labels on the scene issuing 12"s of KILLER grooves from Africa, the tropics, and elsewhere. This compilation features twenty rock-solid stompers from Barbados, Trinidad, Jamaica, and Dominica, and holy hell, it's PHENOMENAL. Recorded from 1968-75, the set nicely balances the native elements of the tunes' hometowns while retaining a heavy American funk bounce and groove; as the album progresses, the sounds get deeper and heavier into the rootsier forms. We start with a handful of cuts overflowing with wah-wah chicken-scratch guitars straight out of a blaxploitation film, and slowly move deeper into the rootsier modes of influence, with cuts utilizing steelband drums, heavy tribal beats, and even some highlife/rumba guitars. From there, we slowly get back on the good foot, albeit with a heavier bounce and a sweatier brow. Highlights on this all killer, no filler disc include Boo & the Tru-Tones' "Let Me Get Stoned," Richard Stoute's "Vehicle," Jablonski's awesome take on the classic "Soul Makossa," Andre Tanker and the Mansa Musa Drummers' "Back Home," and Gay Flamingoes Steelband's EPIC 10-minute "Black Man's Cry." If you regularly groove to the countless Numero Group compilations, or any of the countless other rare groove records which always feature two or three killers and 45 more minutes of average filler, scope this -- it's the real deal. If you've been digging the recent reissues (and IQ faves) by the Mighty Sparrow, Esso Trinidad Steel Band, or any of my Afro Jam picks, you'd be wise to pick this up. It's time to get sweaty in the autumn equinox!! Highest recommendation!! [IQ]

		$17.99 CD   FAR EAST FAMILY BAND Nipponjin - Limited Edition (Phoenix) "Undiscovered North Land" "Mystery of Northern Space" If Julian Cope's slim 1995 opus Krautrocksampler played a significant role in informing a new audience about seminal German albums of the heavy (and heady) 70s, his more recent (2007) Japrocksampler, an exploration of similarly inclined artists from 50s-70s Japan, may do the same thing for the land of the rising sun. Though his taste for stoned blues riffage can occasionally obscure his judgment, Cope's knowledge is nothing to scoff at. He places Far East Family Band's Nipponjin high on his list of great Japanese psychedelic albums. Recorded by Klaus Schulze, Nipponjin is in fact a Vertigo-sponsored English language version of the group's earlier album The Cave Down to Earth. Stylistically, the influence of Pink Floyd, Agitation Free and Tangerine Dream figure in prominently. Slow moving fades, widescreen analog synthesizer drones, field recordings of meadows, the rushing of rivers -- all manner of spaced-out ephemera blend in and out of extended jams with plenty of swirling organ and echoing guitar leads that pay a clear homage to post-Syd / pre-Dark Side Floyd. Needless to say, there are lovely peaks and valleys. Don't let the occasional appearance of a pan flute deter you! Yes, though the group harbored three future New Age stars (the most familiar being Kitaro), Nipponjin finds the group well this side of psychedelic. Fans of the pastoral side of Flower Travellin' Band take note. Recommended! [AGe]

		$17.99 CD   KARUNA KHYAL Alomoni 1985 - Limited Edition (Phoenix) Side A Side B What to tell you about Karuna Khyal's Alomoni 1985? Well, here goes: There's a sepia-tinged picture of a housewife twice the size of the Manhattan skyline trapped in a clear bubble on the front cover and a portrait of a midget couple on the back. The album is comprised of two side-long tracks way past the 20 minute mark. And... that's about all the information there is to glean about the group. A ridiculously obscure underground release on the clandestine Voice Records from Japan in the mid-70s (the veritable Dark Ages, it would seem), Alomoni 1985 is thankfully back in print again and nicely re-mastered (different than the version that we were selling a few years back), as more brains need to get scrambled by this. Some sonic touchstones remain: Faust, Can, Guru Guru, Beefheart. It's post-blues skronk, yet the rhythms are all handheld -- bells, tambourines, bongos, and shakers -- and from there, all bets are off as Karuna Khyal veers into some truly alien territory, with lots of tape f**kery and whatnot. Imagine Endless Boogie morphing into No-Neck Blues Band at their most primal, before melting down into Can's Ege Bamyasi, and you're about five minutes into its mesmerizing, choogling mess. A masterpiece of WTF? [AB]

		$17.99 CD   FLAMING TUNES Flaming Tunes (Life and Living Records) "A to B" "Golden Age" Oh my goodness! YES!! We finally have a LONG overdue reissue of Flaming Tunes, the somewhat mythical solo release by This Heat member Gareth Williams (in collaboration with his close friend Mary Currie) from 1985. Recorded after This Heat's dissolution (and often erroneously regarded over the years as TH's last recordings on many bootlegs -- often to Williams's displeasure), Flaming Tunes was an attempt to deliberately move away from the somewhat harsh intensity of This Heat's recordings, while still holding on to the working methods he often used while serving in that group. Williams was the notorious "non-musician" wild card of the band, and it has been said by many, including the group's other two members, that Gareth was the heart of the This Heat, giving them an unpredictable edge which manifested itself into some of their most powerful recordings. One of Williams' main inspirations during the making of Flaming Tunes was an extended trip and study in India after This Heat disbanded; the trip had a profound impact on his life subsequently -- he converted to Hinduism and would, in turn, go on to write the first published volume of The Rough Guide to India. The songs he created for this release breathe with relaxed, open-minded awareness, touching upon raga, minimalist composition, English folk traditions, and the sort of distinct song portraits created by Brian Eno on records like Before & After Science and Another Green World. The tunes are heavily, hypnotically rhythmic yet lack the heavy propulsion of This Heat's freight train poly-rhythms. Many of the songs are centered around fulcrums of repeating piano or guitar figures, and feature Williams' soft vocals and dub-like recording effects. The album is a tad lo-fi -- it was recorded on cassette at home, after all -- nevertheless, it possesses a power and beauty that is quite moving. Fans of the aforementioned artists, not to mention Robert Wyatt, Jandek, and the whole huge crop of homemade, home-recorded experimentalists should do themselves a favor and check this out. While This Heat tackled heavy political issues and the adversaries that schemed them, Flaming Tunes -- much like the other post This Heat project, Camberwell Now -- dealt with a much greater conflict: that of the self, of living day-to-day with the internal struggles of everyday life and self-introspection. While Williams sadly died of cancer in 2001, this reissue celebrates his life as an intensely creative individual who left too soon. [IQ]

		$13.99 CD $15.99 LP w/MP3   TIMES NEW VIKING Born Again Revisted (Matador) "Martin Luther King Day" "No Time, No Hope" With their brand-new Matador full-length, Columbus' heroes of hiss Times New Viking deliver jangling, overdriven pop cacophony. But instead of sounding crude or hyper-staticky, the tracks on Born Again Revisited shimmer and sizzle with energy; in other words, Adam, Beth and Jared get it right, again. Aesthetics aside, though, at the core of this band's sound are great, unforgettable songs. When last year's Rip It Off was released, the melodies cemented themselves in your subconscious. Born Again Revisited takes a bit longer to worm its way into your head, but tracks like "No Time, No Hope" and "These Days" showcase trebly hooks like you wouldn't believe. "These Days" is especially great; Beth's simple vocal line rides over the mid-tempo crackle of guitar and drums and organ, and the result is nostalgic, shiver inducing pop magic. Of course, TNV are still more than capable of raucous discord; "I Smell Bubblegum" and "(No) Sympathy" conjure up a tongue-in-cheek brashness that is reminiscent of Swell Maps or early Pavement. And as long as I'm comparing, Times New Viking can readily be likened to fellow Siltbreeze/Matador Ohio act Guided By Voices because, yes, their songs are of the catchiest-possible variety, but they want you to dig for them. The group is also frequently lumped together with their lo/no-fi contemporaries, and, admittedly, they do share a penchant for blown-out amps with bands such as Sic Alps and Psychedelic Horseshit. All in all, though, Times New Viking have successfully cultivated an instantly pleasing, instantly recognizable sound that is all their own, and Born Again Revisited shows it off nicely. [JK]

		$13.99 CD $15.99 LP w/MP3   GIRLS Album (True Panther) "Lust for Life" "Hellhole Ratrace" Remember pizzas and bottles of wine, smoking on the beach, and holding hands? Remember that boy in that band who played in your best friend's basement? The San Francisco duo Girls do, and their debut record proves that they're just as haunted by the good times as we are. Album is a joyous, blissed-out affirmation of stumbling indie rock and hooky, hazy California pop-punk, but it's also a nostalgic, filthy-mouthed swan song that mourns the end of summer, and not caring, and youth in general. Named, perhaps, as an ode to girls, the group is made up of scruffy boys who seem to find endless fun in playing an out-of-tune electric guitar, or putting on a goofy voice and singing "I've got a high school crush on a California girl, a cool guitar and a bag of marijuana oh yeah!" But despite the (joyfully) sophomoric lyrics and seemingly half-hearted production, what propels Girls above the other SoCal riffraff is their obsessive attention to texture, albeit not quite a traditional approach; the guitars sound like they've been dunked into a community swimming pool, and the vocals squawk at you from the speakers above a 7-11 parking lot. Girls, like The Drums on this coast, purposely strive for a lo-fidelity highness that cops from fifty years of rock and roll history, from the Chuck Berry look-a-like "Big Bag" to the Pink Floyd-inspired space cadet cadences of "Lauren Marie," and top the whole delicious endeavor off with the kind of kiss-off-c'mere attitude that never fails to thrill. Highly recommended. [MS]

		$17.99 CD   DISRUPT Bass Has Left the Building (Jahtari) "Impossible Mission III" "Sega Beats" If you've ever wondered what dub reggae would sound like if rendered almost entirely from an 8-bit chip, then Disrupt is here to provide like the great Jah himself. The peerless Werk imprint were responsible for laying waste to Brit dancefloors with Foundation Bit, but here the German producer goes it alone on his own humorously-monikered Jahtari label. Those familiar with his previous album will know what to expect, and the formula hasn't changed much. Disrupt still has a fetish for early 80s Jamaican digi-dub, but he's tightened up his production and dropped the bass that little bit lower. From the comical photo mash-up on the front cover to the occasionally hilarious track titles, the mood of the album is less than serious, a far cry from most dub-wise music these days (hello dubstep) -- but the album never descends into the comedy-music black hole. Occasionally the tracks even position themselves as worthy adversaries to dubstep's bass-weight dominance, and fans of Hyperdub's Quarta 330 (as well as other purveyors of quality chiptunes) should find a lot here to wobble their subwoofers. [JT]

		$14.99 CD   JAHDAN BLAKKAMOORE Buzzrock Warrior (Golddust) "Broken in Brooklyn" "Earthshaking" Vocalist Jahdan Blakkamoore enters the digital-dub/electric-reggae arena with his debut album, Buzzrock Warrior. Having worked with Major Lazer, Modeselektor, DJ/Rupture, and Matt Shadetek, amongst others, he knows his way around a twisted, bouncing, reverberating musical landscape better than most. Heavily processed and driving rhythms lead the way for Blakkamoore's rough-edged vocal styling. Political, social, aggressive, and tense, Blakkamoore is obviously not interested in creating empty dance music. He first gained attention with a guest verse on Smif-N-Wessun's "Sound Bwoy Burial," and here he aims to keep that hard-edged Brooklyn swagger in full effect across an array of heavy, pulsing backdrops. Not for the lightweight, this one is rough and ready. [DG]

		$14.99 CD $9.99 MP3   MUM Sing Along to Songs You Don't Know (Euphono) "Kay Ray Ku Ku Ko Kex" "A River Don't Stop to Breathe" Amid a bed of plucked strings, Múm's latest record opens with a hushed female voice, begging an important question of her lover: "If I were a fish, and you were a seashell, would you marry me anyway? Would you have my babies?" That question succinctly sums up the Icelandic experimental group Múm, who have been crafting woozy, stark, beautiful songs about dichotomy and disconnect for more than ten years. Originally inspired by cutting-edge electronica, their music incorporates a schizophrenic selection of instruments such as violas, orchestral drums, bells, guitars, synthesizers, effects pedals, glitch machines, and an array of gorgeous voices; the results are nearly always transcendental and unexpected. Múm's low volume belies the intensity of each song's emotional drama, which can be especially painful if you were ever the fish to an unresponsive seashell. Sing Along to Songs You Don't Know is Múm's most intricate album to date; the crisp, sprightly interplay between acoustic guitars, vibraphones, and electronic gadgets creates a churning, wholly organic texture that blankets the entire record. Listen for the intentional melodic dissonance and playful percussion on "A River Don't Stop to Breathe" that simultaneously lifts the song yet imbues the chorus with extra dread. Drink in the twinkling electronic soundscape of "Sing Along" as the bass and tom toms build tension that resolves in a glitchy little dance party that does indeed make you want to sing along. I would liken this kind of experimentation to Grandaddy's excellent Just Like the Fambly Cat, and in a loose way, to Bradford Cox's Atlas Sound project. There are a lot of artists attempting to reconcile acoustic instruments and sensibilities with the possibilities and new horizons of electronic music making. But Mum stands apart in their ability to translate that musical conflict to the heartstrings, as well as the harp strings. [MS]

		$14.99 LP $9.99 MP3   THE MANTLES The Mantles (Siltbreeze) Preview Songs on Other Music's Download Store San Fran garage psychers the Mantles have thus far managed a couple of great EPs that document their approach of sounds both paisley and Kiwi, birthing a handful of excellent little tunes in the process. With a bit of help from former Gris Gris main man Greg Ashley, the Mantles return now for their self-titled debut long-player for the Siltbreeze label, an all-too-brief set of ten tracks that evidences a quartet with a genuine knack for balancing out compact layers of gristle and grace in their songs. Channeling a psychedelic spirit that carries across multiple generations, songs like "Don't Lie" and "Burden" balance out an almost Byrds-ian chime with enough grit to make the pieces sound like they could have been birthed after a Dream Syndicate (think Steve Wynn) practice a couple decades ago. Of course, none of this is to suggest that these four are mere re-hashers -- more frantic tracks like "Yesterday's Gone" and the more plaintive "Samantha" manage to take those classic influences that shine so brightly through and bring them up to speed enough to blare comfortably against any of their modern garage punk contemporaries. A nice and thoroughly unassuming debut, The Mantles is definitely a keeper, sure to delight fans of classic jangle and modern distortion alike. [MC]

		$13.99 CD $9.99 MP3   PASTELS /TENNISCOATS Two Sunsets (Domino) Preview Songs on Other Music's Download Store It's hardly surprising to see these two bands sharing studio time; C86 survivors Pastels have been gorging themselves on twinkly Japanese indie-pop for the last few years, so it was always more of a "when" than an "if." Tenniscoats, possibly the most accessible of the Tokyo set, have been slowly but surely making their presence known with stunning releases on Room40 and Hapna, but it is likely to be this high profile collaboration (on Domino no less), which garners them the most attention to date. Their soft instrumental plucks and hushed tones are perfectly matched against Pastels' 7"-primed twee-pop, but surprisingly the songs are never forcedly marched into the C86 idiom. Rather, the bands allow their twin sets of influences to bubble and flow through the hazy, low-light sounds which might occasionally border on the cute but never too knowingly. Two Sunsets is actually a welcome antidote to the oft-tedious C86 revivalists who seem to plague the underbelly of the scene at the moment. Rather than take the key colors of that sound and reframe it for a hip '00s Brooklyn dance party, Pastels and Tenniscoats simply bring to mind the nostalgia, warmth and good nature of a scene that simply doesn't exist any more, whilst not totally residing in the past. The widescreen focus of the Pastels' last records isn't lost here either, but Two Sunsets never gets overly experimental, always tempered by Tenniscoats' good-natured songwriting skill. A softly spoken record, one which isn't likely to be hyped into high heaven or shouted about from rooftops, but one you should ignore at your peril. Beautiful. [JT]

		$79.99 CDx6   THE DURUTTI COLUMN Four Factory Records (Kooky) The first four albums by the Durutti Column, one of the first (and in my opinion, one of the best) bands to release records on influential label Factory Records, have just been collected in a wonderful, limited edition 6CD box set. Durutti Column were always a bit different than their peers on Factory throughout the years -- centered around talented guitarist Vini Reilly (perhaps best known to some of OM's less Factory-obsessed readers as the guitarist on Morrissey's Viva Hate album) and his hypnotic, gentle, minimalistic guitar patterns, often played through deep echoplex effects and heavy reverberation. The band's first album, Return of the Durutti Column, is in essence a collaboration between Reilly and producer Martin Hannett -- Reilly weaves his guitar like thread through the fabric of Hannett's electronically treated soundscapes and drum machine patterns, creating one of the most stunning pieces of embroidery ever laid to tape. The record, to this day, still sounds unlike anything else being created by his Manchester peers in the post punk/new wave/whatever scenes, and its release in 1980 (housed in a sleeve made of sandpaper!!) was a stunning arrival to be certain. For the follow-up, Reilly recruited percussionist Bruce Mitchell and together the duo made LC in 1981, which featured 10 songs and for the first time on handful of tracks, Reilly's untrained, hesitant vocals. One of the record's songs, "The Missing Boy," was an elegy to Reilly's recently departed friend Ian Curtis of Joy Division, and the rest feature an almost telepathic interplay between Reilly and Mitchell, who complement one another's aesthetics perfectly. This record is, in my opinion, 41 of the greatest minutes ever released by Factory Records in its entire discography. The opening "Prayer" of the group's third album, Another Setting, introduces a broader instrumental palette -- piano, strings and woodwinds -- which would be explored and utilized in much greater detail on the band's next album. The rest of Another Setting, though, is mostly Reilly and Mitchell working their magic again through 11 pieces which feel like a logical extension of LC's textures. It's still phenomenal, but feels like the younger brother of its predecessor. That was about to change, though, with the arrival of Without Mercy in 1984, on which the duo of Reilly and Mitchell is augmented by piano, strings, and woodwinds. The album's lone composition, divided into two record sides, is an absolutely gorgeous piece of dream, and remains one of Reilly's brightest moments. The album touches upon the sort of modern chamber/classical music being released on the Crepuscule label by the likes of Wim Mertens and the solo projects of members of Tuxedomoon, but infused with the majesty of Reilly's guitar. The box also includes two CDs of rare tracks, split into studio and live volumes. The live CD is really great, and while the studio CD has plenty to offer, I'm a little bummed out on the decision to not include the related EP and single tracks by the band for each record -- Reilly often released one-off records for Crepuscule and Factory Benelux as stopgaps in between albums, and they would be quite welcome in the confines of the box set. Nevertheless, this collection is brimming with beautiful, engaging music from one of my favorite bands. These records have been unavailable for quite a few years on CD now, and this box fills a large hole in the history of a scene still being pillaged for inspiration today. The set is limited and (hand) numbered -- only 1175 copies of this set were produced, so if you're digging it, don't sleep. If you need any further praise, let me say this: I'll take five minutes of the Durutti Column over an album of Joy Division, Section 25, or Happy Mondays any day of the week. Absolutely essential listening. [IQ]

		$24.99 CDx2   THE LIVERPOOL SCENE The Amazing Adventures of... (Esoteric) "Wildwest" "Baby" A truly wonderful two-and-a-half hour collection of the Liverpool Scene's collected works, an unlikely group of 1960s underground poets influenced by pop music, Allen Ginsberg, surrealism, and the French Symbolists, who went ahead and had a go at forming a band. Nominally headed by poet/painter Adrian Henri, the group counted John Peel as their biggest fan and supporter, and he produced the first of their four LPs, and frequently hosted the band on his legendary radio show. However, despite an appearance at the Isle of Wight festival and a tour opening for Led Zeppelin, the Liverpool Scene were never really more than a cult interest. Which is too bad. Now normally there's nothing I find more embarrassing than some chap reciting his verse to beatnik jazz-rock bongo stylings, but that's not exactly what's going on here, as Henri's delivery and lyrics are pretty well integrated with the music and almost seem like an English take on what Captain Beefheart was up to at the time, combined with the skewed folk lyricism of a Kevin Coyne or Roy Harper perhaps. And if you told me that Mark E. Smith, Billy Childish, and Arab Strap don't have these records in their collections, I simply wouldn't believe you. There's a diverse range of sounds across these two discs, super arrhythmic jammers, full-on Zeppelin-esque boogie rock, a wee bit of skronky psychedelic free-jazz, the most tender of folk-ballads, and yes, the occasional gentle bongo backing the dulcet tones of Henri's speak-singing voice. It's an amazing '60s counter-culture document that you can curl up to with an old issue of OZ magazine, and one of the best reissues of the year in my book. [MK]

		$15.99 CD   VARIOUS ARTISTS Shadow Music of Thailand (Sublime Frequencies) "Luk Tung Klong Yao" The Sun of PM "Lao Kratob Mai" Johnny Guitar As the Nuggets crew heads to the left coast on their great new Where the Action Is! Los Angeles Nuggets 1965-1968 set, the freaks at Sublime Frequencies issue another, slightly broader take on the fuzzed-out sound of the period. The CD issue of Sublime Frequencies' Shadow Music of Thailand LP covers plenty of ground in one compilation. These 1960s Thai guitar-pop groups run the gamut, ingesting funk, surf, garage, psychedelic, and soul, adding their own international flair, and spitting out a joyful, exotic take on a familiar theme. If there is a dominant sound amidst the diversity, it's the ringing, fuzzy electric organs that provide the backbone to most of these recordings, and the dominant takeaway are the melodies whirling around your head for the rest of your day. I've had this LP in rotation for about a year, and the cuts continue to grow on me; from the Dick Dale meets James Brown funk of "Luk Tung Klong" to the insanely catchy organ line on "Cho Cho Chan" (which I tossed on many a mixtape last year), this compilation features a phenomenal collection of jams. Definitely recommended for fans of Nuggets, early American soul, '60s global grooves, chicha music, highlife, and surf rock. And this all sounds great on the new CD mastering. [BCa]

		$15.99 CD   VARIOUS ARTISTS Siamese Soul: Thai Pop Spectacular 2 (Sublime Frequencies) While the folks at Sublime Frequencies appear to make it a cakewalk to find great pop tunes from the kingdom of Siam, having recently traveled there myself, I can safely say it is not that easy. Bubblegummy treacle abounds in the stores, so the thought of finding such raw, funky, uncanny pop slices amid such dreck is nigh on impossible. Thankfully, Alan Bishop and Mark Gergis come back with the good shit time and time again. On this comp, astounding examples of Thai jazz and roots funk are set next to more regional styles like Luk Thung. Horns and electric organs shadow the melodies of the traditional khaen. Song topics touch on everything from karmic payback for killing animals, to drinking your wife's breast milk, to pining for traditional Isan food dishes while living in Bangkok. But can "Bong Ja Bong" really be about smoking paraphernalia? [AB]

		$13.99 CD $16.99 LP   MONOTONIX Where Were You When It Happened? (Drag City) "Flesh and Blood" "Something Has Dried" That album title isn't a rhetorical question; Monotonix are seriously asking you why they had to go and make a record for all those squares who didn't come to see them live. By now, I'm sure, you are well aware of how devastating this band is on stage. But not really on stage, per se. Monotonix are more democratic than that. Because if they were confined to a stage, only the first couple rows of fans would get drenched with the contents of the nearest garbage can, or spit on, or smashed in the head with a flying kick drum. By situating themselves in the dead center of a crowd, these three Israeli gladiators ensure that all those gathered get a taste of... well, them. Everyone at a Monotonix show is required, by way of purchasing admission, to throw down on the bloodbath circus that's half Led Zeppelin and Sabbath riffs, half theater of depravity. On record, the riffs are powerful, the grooves are heavy as lead and these guys chum out a crushing indie rock take on hard rock abandon. The band is obviously proficient and well schooled in the finer points of heavy metal and thrash. It's a game effort, and it works because they're playful as hell; the best songs are the ones that take you by surprise. "Set Me Free" dives away from the sludge formula and takes full advantage of a four-on-the-floor dance groove and an orgasmic/hilarious Nick Cave-meets-Robert Plant vocal delivery from singer Lee "Ha Haziz" Elvis. They're a cheeky bunch (so cheeky that there's a fucking drum solo in the second half of "As Noise"), but in the end Monotonix may have done themselves in by delivering such a devastating live show that their records can't really match up. Maybe the next release should be a live DVD that features professional audio but is composed entirely of shaky fan YouTube videos splattered with beer and banana peels. What do you say, guys? Oh God, no! Please, not into the garbage can! It was just a suggestion...auggghhhh! [MS]

		$13.99 CD   JOAKIM Milky Ways (K7) "Back to Wilderness" "Spiders" It's almost too easy to classify Joakim's third album Milky Ways as "space-disco." Yes it's slow, there are elements of disco and it has a mischievous title sure to bring to mind images of the great black void (maybe), but Joakim has always been a little more far-reaching than this. Anyone who's seen him DJ knows it's hard to pin this Frenchman to one genre; a usual set will glide through rock and roll, prog, psych, electro, techno and much more before zeroing in on "space disco" and Milky Ways is similarly haphazard. It's almost offensive to call a DJ or artist "eclectic" these days, but Joakim harnesses his eclecticism marvelously well to arrive on a coherent selection of tracks that hints at his scope without losing the listener in referential record nerd pornography. Tracks such as current single "Spiders" drops intergalactic Schulze-patented synth arpeggios over a shuffling beat and a gloriously acidic bassline, but it's the indie vocal that reveals his sense of humor and spiky taste. Elsewhere, "Travel in Vain" begins as Neu!-lite before melting into an almost Tubeway Army-esque synthetic pop epic. A nerdy indie-disco labor of love, there is the sense that you're listening to songs from someone who is genuinely excited by the music he plays, and in these cynical times to hear someone who still cares is always a pleasure. [JT]

		$17.99 CDx2   GARY NUMAN The Pleasure Principle - 30th Anniversary Edition (Beggars Banquet) "M.E." "Cars (Demo Version)" Don't hate, people -- you know you've gotten down and dirty in a club at least once in your life to the sound of Gary Numan's "Cars." Simply put, Numan's 1979 album The Pleasure Principle (from which "Cars" is taken) is a killer. Few albums before or after have so successfully fused synthetic robotics with deeply human unease of everyday life. This record paved the way for more mainstream acceptance of the burgeoning synthpop, new romantic, and even coldwave scenes, and showed in full neon color how effectively synth technology could be sculpted and programmed into tight pop structures. The album is chock full of hooks, the songs are catchy without sacrificing their integrity or intensity, and the record often rides grooves of taut, agitated tension. There's a reason the track "Films" was included on one of the earliest volumes of Ultimate Breaks & Beats; it's been sampled countless times over and has even been covered by Wu-Tang mastermind RZA. This 30th Anniversary edition(!!) comes with a disc of rare demos, outtakes (including a badass Satie cover!), and B-sides (hi there, "Random," nice to see you), including what is essentially an alternate, more raw version of the album that sounds like a contemporary release on Sacred Bones. Indeed, this record's sacred bones have been picked over by many a current synth fetishist, and this new remaster brings all of its details back in full-blown glory. Give in to the Pleasure. [IQ]

		$6.99 CD $6.99 MP3   THE PAINS OF BEING PURE AT HEART Higher Than the Stars EP (Slumberland) Preview Songs on Other Music's Download Store The Pains of Being Pure at Heart's new EP is yet another instantly pleasing collection of driving, tight dream-pop gems. The title track that kicks off the set is one of the band's catchiest songs to date, guitars jangling away amidst sugary synths and a breathy bittersweet melody. And from there, things keep getting better, from a two-minute blast of fuzz-pop ("103") to the shoegaze bliss of "Falling Over" and the more guitar-driven, Britpop influenced "Twins." Ending with a bonus remix of "Higher Than the Stars" done fittingly by St. Etienne and Lord Spank (available on the CD and Download versions of the EP -- Download includes three additional remixes), Pains of Being Pure at Heart prove they are more than just twee pop revivalists.

		$12.99 LP   THE DOUBLE The Double (Thimbleful) "Keep the Veil in Place" "Bang and Whimper" Remember these guys? After a superb debut album on Catsup Plate (Palm Fronds) and what was supposed to be the breakout follow-up on Matador, NY's the Double just kinda faded, unjustifiably, into obscurity. Fast forward a few years, and here we find them trimmed down to a trio, taut and focused but with the same playful urge to experiment. Swirling pop (some not unlike the Walkmen) meets contemplative quite moments and everything in between. We're not sure the Double even exist anymore; if not, it's a shame, but this is some note to go out on. LP only, limited to 500.

		$11.99 CD   LE LOUP Family (Hardly Art) There is no doubt that Baltimore's Le Loup have taken inspiration from hometown heroes Animal Collective; you can hear it in the swirling tribal rhythms, the sweet childlike melodies, the subtle blending of electronic and organic elements, and the joyful sense of experimentation that floats throughout their music. But their new one finds the band truly coming into their own, delivering a more cohesive, collaborative album than their fine Hardly Art debut, and refining all the best parts, from the intricate drumming to the finger-picked guitars. A great record, from a talented, original band.

		$14.99 CD $15.99 LP $9.99 MP3   CASTANETS Texas Rose, The Thaw & the Beasts (Asthmatic Kitty) Preview Songs on Other Music's Download Store There's always something dreamy, desolate and altogether heart wrenching about a Castanets record, and in that regard, Texas Rose, The Thaw & the Beasts is no different than earlier albums. But here we find Ray Raposa offering his most realized, most put together, and dare we say catchiest set of songs, and you can't help but want to join him in his wallow. Still beautifully sparse and creepy, there's a little more orchestration throughout not to mention the spacey synths that frequently join Raposa's cracked voice and apparition-like guitar strums. Should David Lynch every produce a spaghetti western set in the year 2050, one could easily imagine Texas Rose being the soundtrack.

		$15.99 CD   BASEMENT JAXX Scars (Ultra) The new one from this these elder statesmen of modern pop-house is as schizophrenic and madly enjoyable as anything the duo have delivered over the past 15 (or so) years. With a nice roster of A-List guests including Santigold and Yoko Ono, Scars absorbs all influences, from the expected to the impossible, takes the mess of it down to the basement, and cooks up something delicious.

		$24.99 LP+CD $9.99 MP3   VIC CHESNUTT At the Cut (Constellation) Preview Songs on Other Music's Download Store Vic Chesnutt's thirteenth full-length finds the Southern-borne singer-songwriter backed by throbbing, heavy instrumentation -- strings, overdriven bass, and guitar lines that, at moments, are nothing short of fiery. But make no mistake, At the Cut is still a bona fide Vic Chesnutt record, replete with subdued plucking and, of course, that voice in all of its weary assuredness riding on top of the mix. Fans of 2007's North Star Deserter will be very pleased.

		$14.99 CD $9.99 MP3   THE HIDDEN CAMERAS Origin: Orphan (Arts & Crafts) Preview Songs on Other Music's Download Store Joel Gibb delivers his most serene and serious album to date, which is not really saying all that much, as the Hidden Cameras are known for their wry, sexual humor and sense of fun as much as anything. But Gibb continues the refinement begun on 2006's Awoo, with a moody, almost dark album, yet never forsaking the hooks that make us sing along.

		$15.99 CD   ISLANDS Vapours (Aanti-) After the elaborate Arm's Way, Islands have somewhat scaled back the sound on their third album. Still rife with punchy Stax horns and soulful keyboard riffing, nonetheless the band (once again featuring Jaime Thompson, who took a break after the first album) takes a more economical approach here, and it serves them well.

		$12.99 CD   NICOLAY Shibuya - City Lights Vol. 2 (Hardboiled) Shibuya is a project of the Foreign Exchange's Nicolay (along with rapper Phonte), who was so inspired by a 2006 trip to Tokyo that he started a band about it! The sound is by no means overtly East Asian, blending '70's jazz and fusion with more modern fare like downtempo hip-hop and broken beat, but if a record is good (it is!), we won't quibble on the small points.

		$13.99 LP $15.99 CD $9.99 MP3   COLD CAVE Cremations (Hospital) "Always Someone" "Chrissie Sally" No doubt you've heard us gushing these past few months over Cold Cave's now out-of-print full-length, Love Comes Close. It seems that the stars have since aligned for the band and you'll be hearing plenty more about them in the months to come, so what better time to pick up on this LP pressing of early Cold Cave recordings, which we're sure won't be around for very long either. Here's what we wrote back in May when Cremations was first released on CD: Since giving up his status as a perennial hardcore insider, singer Wes Eisold has spent the past few years building an arsenal of synths and drum machines while moving away from the raw, throaty aggression that marked some of his earliest projects. As Cold Cave, Eisold's songwriting has blossomed as he's embraced a variety of permutations of synth pop and electronic music, ranging from the subtle hints of EBM that dotted his great Dais single from 2008, to the more overt nods at folks like Q Lazzarus on his latest tour 12" for the What's Your Rupture? label. But before Eisold began to perfect his sound over his last couple of releases, he spent a couple of years woodshedding, mapping out the boundaries of his new mode across a couple of vinyl and cassette-only releases. Cremations, his first disc for the Hospital Productions label, collects the majority of these, offering an interesting picture of an artist finding his voice in transition. Noiser and far more abrasive than anything Eisold has done recently, the collection opens up with the tracks from his recent Hospital 7", giving folks who missed out on the vinyl a chance to hear "Sex Ads" and "Always Someone" in all their distorted, blown-out (and yet still slyly melodic and rhythmic) glory. From there, the collection explores the tour-only Electronic Dreams cassette, a prickly set that peaks with the hypnotic, sunken crush of "Poison Berries" and the grim, propulsive "Gates." Also including his debut Coma Potion LP, Cremations highlights just how quickly Cold Cave has evolved from rather simple beginnings, unearthing a bunch of great songs as well in the process. [MC]

		PHONE ORDERS Phone orders are accepted at (212) 477-8150 (ext. #2, mailorder) Mon-Fri, Noon - 7pm EST EMAIL For general inquiries or other information please email sales@othermusic.com. Do not reply to this message. REMOVE This is an automated list. If you would like to be removed for any reason, please visit: digital.othermusic.com/subscribe.php   THIS WEEK'S CONTRIBUTORS [AB] Adrian Burkholder [BCa] Brian Cassidy [MC] Michael Crumsho [AGe] Alexis Georgopoulos [DG] Daniel Givens [DH] Duane Harriott [IQ] Mikey IQ Jones [JK] Jacob Kaplan [MK] Michael Klausman [JM] Josh Madell [MS] Michael Stasiak [JTr] Jonathan Treneff [JT] John Twells THANKS FOR READING - all of us at Other Music

Copyright 2009 Other Music

Newsletter Design Big Code