September 16, 2010

		FEATURED NEW RELEASES Prince Rama The Walkmen El Guincho Califia: Songs of Lee Hazlewood Oval Black Mountain Junip Autre Ne Veut Superchunk Grinderman Interpol The Drums Blonde Redhead Lee Perry Dungen Islaja Sam Prekop The Black Angels   The Vaselines Mavis Staples Dark Matter (Various Artists) Those Attractive Magnets Wildbirds & Peacedrums ALSO AVAILABLE Future Islands (Remix 12") Superpitcher Les Savy Fav Crocodiles Chromeo Plastikman Danny Krivit Venetian Snares Jason Simon Buke and Gass Weezer Follow us on Facebook: facebook.com/othermusicnyc Follow us on Twitter: twitter.com/othermusic

		SEP Sun 12 Mon 13 Tues 14 Wed 15 Thurs 16 Fri 17 Sat 18   WIN TICKETS TO DEBO BAND AT JOE'S PUB The Debo Band are an 11-piece Ethio-groove collective from the Boston area who explore the unique sounds that once filled the dance clubs of 1970s Ethiopia. With a great new single out on Electric Cowbell, this Friday they'll be performing at Joe's Pub along with Fendika, a musical ensemble led by Ethiopia's top dancer, Melaku Belay. Sure to be a very special night, Other Music has two pairs of tickets to give away, and to enter just email giveaway@othermusic.com. We'll notify the two winners on Friday morning. FRIDAY, SEPTEMBER 17 JOE'S PUB: 425 Lafayette Street NYC

		SEP Sun 12 Mon 13 Tues 14 Wed 15 Thurs 16 Fri 17 Sat 18   ELF POWER TICKET GIVE-AWAY Elf Power have just released a new album (the self-titled full-length dedicated to their longtime collaborator Vic Chesnutt, who passed away last year) and will be performing at Brooklyn's Rock Spot this Friday. The group will be opening the show with a screening of the Major Organ and the Adding Machine film, a super-psychedelic film made by the Elephant 6 Collective featuring Kevin Barnes, Jeff Mangum, and Elf Power's Andrew Reiger amongst other E6 members. We've got a pair of tickets to give away; just enter by emailing tickets@othermusic.com and we'll notify the winner this Friday morning. FRIDAY, SEPTEMBER 17 THE ROCK SHOP: 249 Fourth Avenue, Brooklyn

		SEP Sun 19 Mon 20 Tues 21 Wed 22 Thurs 23 Fri 24 Sat 25   Sun 26 Mon 27 Tues 28 Wed 29 Thurs 30 Fri 01 Sat 02 OCT Sun 03 Mon 04 Tues 05 Wed 06 Thurs 07 Fri 08 Sat 09 Dave Sitek/Maximum Balloon   UPCOMING EVENTS AT OTHER MUSIC SUPERCHUNK IN-STORE PERFORMANCE Sunday, September 19 @ 1PM Acoustic performance supporting their great new album, Majesty Shredding MAXIMUM BALLOON (DAVE SITEK) DJ SET & SIGNING Monday, September 27 @ 8PM TVOTR's Dave Sitek has a new project and will be stopping by OM to spin some tunes and meet fans TIM KASHER (CURSIVE) IN-STORE PERFORMANCE Tuesday, October 5 @ 8PM Celebrating the release of his debut solo album, The Game of Monogamy OTHER MUSIC: 15 East 4th Street NYC All Events Free & All Ages | Limited Capacity

		SEP Sun 19 Mon 20 Tues 21 Wed 22 Thurs 23 Fri 24 Sat 25   BROOKLYN FLEA SUPERSTAR DJ RECORD FAIR Brookln Flea's third annual Superstar DJ Record Fair is coming this Sunday, September 19, to the vault at Skylight One Hanson. Once again there'll be 30-plus vendors including Other Music's own Mikey IQ and Bert Queiroz, as well as DFA Records, ESP-Disk, Halcyon, Record Grouch, Wax Poetics and many more who will all be parting with their bloated collection. And for some extra fun, Brooklyn Flea will be bringing back the Buy That Record game where the vendor DJs for 20 minutes, with every song they play for sale on the spot! SUNDAY, SEPTEMBER 19 SKYLIGHT ONE HANSON: One Hanson Place, Brooklyn

		Many of our customers have been enjoying the ease of texting their orders with their mobile phone. To take advantage of this option with the items listed below, go to subports.com where you can create your free Subports account. Afterwards, just text the corresponding subcode listed underneath each item to 767825.

		$13.99 CD $14.99 LP+MP3 $9.99 MP3   PRINCE RAMA Shadow Temple (Paw Tracks) "Om Namo Shivaya" "Raghapati" The latest signing to Animal Collective's Paw Tracks label, Prince Rama are young kids with deep roots and big beats. Shadow Temple, which is actually their third full-length, is filled with exuberant sonic leaps, bring-the-house-down tribal drumming, and ecstatic Hare Krishna chants ("Satt Nam" and "Om Mane Padme Hum" are both song titles and lyrics). Their music is undeniably psychedelic and truly spiritual; the now Brooklyn-based trio began on a Krishna farm in Florida and matured in art school in Boston, so the mixture of religion as art and art as religion feels real and natural, not calculated. The three members (Michael Collins and sisters Taraka and Nimai Larson) create a sonic experience more possessed than merely haunting, which feels reminiscent of the early, more experimental work of AC but also tribal bands like BIG A little a, Gang Gang Dance, or Forest Swords. Production (and percussion) from Avey Tare and Deakin helps bring Shadow Temple into new-school Amon Duul territory, building deep psychedelic grooves of drums, synths, guitars and effects; vocals are buried in the mix, to create the sense of distance and space. Cheerful trippiness paired with real emotion abounds, as with the song "Raghupati," which feels more like a late-'60s spiritual gathering than anything contemporary. That's the most impressive element of this album and Prince Rama in general; all the pounding and chanting feels purposeful and authentic, not merely like kids banging on cans. If you dare step into their transitory realm, magical things could happen -- be warned. [DG] Order CD by Texting "omcdprinceshadow" to 767825 Order LP by Texting "omlpprinceshadow" to 767825

		$13.99 CD $14.99 LP+MP3   THE WALKMEN Lisbon (Fat Possum) "Angela Surf City" "Lisbon" So the Walkmen, astounding in their longevity, in their ability to rebirth themselves in the flames of old pianos, new cities, and straight-up tenacity where other bands might have folded, have yet to make an album that all of their fans can agree on. Their debut was too long; its follow-up Bows + Arrows was too jarring in its shift between rockers and mopers. A Hundred Miles Off, which came next, was a bit too intense for some, while You & Me a bit too straitlaced for others. As for their album-length cover-to-cover retelling of Harry Nilsson's Pussy Cats, well, it was what it was. But with Lisbon, the balance has been struck, and a new plateau of creativity and personal electricity has been reached. It's their most accomplished record, the result of a decade and change, the end product of belief and hard work, and the results are soaring, scathing, and mind-blowingly great. Hamilton Leithauser's vocal sparks have been re-ignited, and never has the band (who've come a long, long way since most of them started off in Jonathan Fire*Eater) seemed so confident in their own sound. A massive accomplishment, these twelve songs are as surprising as they are memorable, pushing the twanging, straining "antique rock b/w lullaby" formula these guys all but developed and owned into skyscraping heights. If for any reason you dropped the script on the Walkmen, Lisbon is exactly where you need to pick it back up, a powerful and heart-rending statement of all that they are. [DM] Order CD by Texting "omcdwalkmenlisbon" to 767825 Order LP by Texting "omlpwalkmenlisbon" to 767825

		$13.99 CD $9.99 MP3   EL GUINCHO Pop Negro (XL) "Bombay" "Ghetto Facil" The debut from Barcelona's El Guincho (Pablo Diaz-Reixa), 2008's Alegranza, became one of those releases that caused a lil' frenzy around the shop; customers and staff alike couldn't get enough of it. For better or worse, Diaz-Reixa's music drew many comparisons to that of Panda Bear's much-loved Person Pitch, and whatever you think of those sort of (lazy) descriptors, no doubt Alegranza assembled a similarly intoxicating collage of world pop, indie, Tropicalia, and soul. Now comes El Guincho's anticipated follow-up, Pop Negro, which is another thrilling journey along the beaches and coastlines of South America, under the spell of the best pop from the '80s and '90s. The production constructs a heavy screen of samples, percussion, guitars and beats, yet there is a less chaotic atmosphere than on his debut, with a welcoming mix of traditional instruments and modern production techniques, while the mood here contains the sunny vibes of much world pop. Pop Negro has less of a one-man-band/bedroom d.i.y. feel, and is less in your face than before, resulting in something that's more accessible. He seems to have found a nice balance of wild carnival frenzy, emotive vocal delivery, and his trancey, loopy, cyclical rhythm tracks. Lots of big handclaps, flavorful poly-rhythmic grooves, and bright vocals form the basic ingredients to his mixture, yet the results are so much more. Here are a few (not-so-lazy) descriptors: a track like "FM Tan Sexy" feels like a Spanish cover of Wham! done by Ariel Pink and Tough Alliance, produced by Roska and Timbaland, and "Muerte Midi" sounds like a Tropicalia/dubstep mix of Hall & Oates. Another jam, "(Chica-Oh) Drims," is reminiscent of John McEntire-produced Stereolab, with dual vocals dancing around a highlife-like guitar line, chimes and bells, splashy cymbals, and steady bass. El Guincho has a talent for blending and layering genres, cultures, and sounds in a way that can be disorienting, and can sometimes be alienating; to be honest, his debut at times gave me a headache, yet this release feels easier to digest. There's lots of ways to approach the music of El Guincho, and from every angle, you hear something new. [DG] Order CD by Texting "omcdelpop" to 767825

		$18.99 CD   VARIOUS ARTISTS Califia: The Songs of Lee Hazlewood (Ace) "Need All the Help I Can Get" Suzi Jane Hokom "The Girl on Death Row" Lee Hazlewood with Duane Eddy & His Orchestra Ace Records has a reputation for giving good compilation, but this time the pleasure's so good that I think I'm pregnant (ewwwwww, gross -ed.). The newest volume in their excellent songwriter series focuses on OM-favorite Lee Hazlewood, and wow, I say without hyperbole that this is one of the crown jewels in not only this series, but possibly in Ace's entire discography a well. Drawing upon rarities, fan faves, and a few unreleased gems, Califia: The Songs of Lee Hazlewood focuses on Lee's mid-1950s beginnings through to his prime late-'60s period; certified heavies like Nancy Sinatra, BB King, Duane Eddy, and Dusty Springfield all are included alongside prime cuts by frequent Hazlewood collaborators like Al Casey, Suzi Jane Hokom, and Dino, Desi & Billy. There's an eclectic display of styles featured here, from Eddy's twangin' electric country and Sanford Clark's rockabilly to swinging beat group and proto-boy-band sounds by the likes of the Hondas, the Wildcats, and Dino, Desi & Billy; dance craze numbers like Wrecking Crew drummer Hal Blaine's excellent "The Dip," dirty R&B/doo-wop tunes like The Sharps' "Have Love, Will Travel" and the Darlenes' "(I'm Afraid) You'll Hurt Me," and oodles of sassy go-go girl stompers like Hokom's "Need All the Help I Can Get," and Ann-Margret's walloping "You Turned My Head Around." Also included are a handful of Lee-sung rarities like "The Girl on Death Row," his second single as a solo performer and the first taste of his Billy Strange-produced 1960s psychedelic country-pop period, and title track "Califia," a duet with Hokom that paves the way for the material on Cowboy in Sweden. The other mind-bending rarity included here is a previously unreleased girl-group soul take on "These Boots Were Made for Walkin'" from 1966 by Rose & the Heavenly Tones, a group featuring Vet Stewart (kid sister of Sly) who went on to greater infamy releasing a handful of classic 45s as Little Sister. For the big fans, please note that there is almost no overlap with the extra material featured on Rhino Handmade's Strung Out on Something New set, which focused only on Lee's Reprise Records career. All in all, this set is overflowing with top-quality tunes by one of America's greatest songwriters; if you were already a fan, YOU NEED THIS, trust me. If you're new to Lee and his unique take on life, love, and liberty, this is a pretty great place to start -- every song bleeds with his razor sharp wit, his way with a hook, and his rebellious drifter attitude, which took him from Oklahoma to Texas to Los Angeles to Sweden and beyond. Hazlewood was a true American maverick, and if you needed any more proof that his underrated genius deserves wider, greater recognition, well... here it is. Absolute highest recommendation. [IQ] Order CD by Texting "omcdvariouscalifia" to 767825

		$17.99 CD $19.99 LPx2+MP3 $15.99 MP3   OVAL O (Thrill Jockey) Preview Songs on Other Music's Download Store It has been close to a decade since Markus Popp, one of the groundbreaking figures in experimental electronic music of the modern era, delivered a new Oval album. But it is clear from first listen that the downtime was spent hard at work, as Popp has spun the Oval sound in a new direction on O, and longtime fans will be thrilled and surprised by much of what they hear. The basic tone is familiar, a warm yet prickly ambience that seems to pervade all of Popp's productions. Yet this new one, rather than relying on electronic glitches and strict machine logic, is built (believe it or not) on actual instruments. Drums, guitars, keyboards (and their computer-equivalents) were tapped and strummed and plucked and poked to form the basis of much of what we hear. At times the results can almost hit a groove -- more shocking on paper than it is on record, as even Oval's most abstract leanings have often found some kind of oddball rhythm, and the grooves here are as shifty and fluid as any of his glitchy electronics. The drums, which appear early-on in the double album's astonishing 70 tracks and gradually fade as the record progresses, are somewhat reminiscent of label-mate Tortoises rolling rhythms, or soaring free jazz explorations, creating motion with negative space more than kick/snare military precision. And the overall sound, while full of clear-toned string harmonics and other easy-to-digest instrument washes, still has the patented Popp randomized beauty that has made each Oval album so endlessly intriguing. There is really not much more to say; this is another forward-thinking, brain-tickling masterpiece from one of the true artists of the genre. [JM] Order CD by Texting "omcdovalo" to 767825 Order LP by Texting "omlpovalo" to 767825

		$14.99 CD $9.99 MP3   BLACK MOUNTAIN Wilderness Heart (Jagjaguwar) "Hair Song" "Wilderness Heart" After touching on every conceivable subgenre that classic rock 'n roll has to offer, Black Mountain have finally done what they were called here to do and made a record that is the perfect balance of Deep Purple and Judas Priest. For as much as I liked In the Future, some of the tracks had a tendency to let their longwinded running times and stately ambition bog the proceedings, threatening to take the album down like a lead zeppelin. No such hang-ups here, as nearly all of the ten tracks hover around the four-minute mark, making for an incredibly succinct listen. This one comes out of the gates kicking, with the one-two punch of "The Hair Song" and "Old Fangs" -- a Zeppelinesque folk-rock paean to, well, flowing follicles, and an organ-led chugger that could have come straight off Machine Head. This initial push sets up an ebb and flow that propels the album, alternating suites of balls-to-the-wall rockers with a handful of more meditative, folkier numbers that offer respite from the shred-a-thon that otherwise dominates the album. Black Mountain have never made a secret of their influences, wearing them proudly, and along with the usual suspects (Sabbath still looms large), an affinity for Welsh proto-metal band Budgie makes itself known in the hard-riffing marathons and hairpin breaks that prove to be some of the album's most durable qualities. There's no question that this was a pivotal album for the band -- one that could have easily seen them sail further off into the horizon of an epic yawn, so it's a great relief to hear them reel it in to make an assertive and forceful record that leaves us hungry for more instead of simply exhausted. Sometimes when the pressure's on, the only way to relieve it's to keep turning up the heat. Well-played. [JTr] Order CD by Texting "omcdblackwilderness" to 767825

		$15.99 CD   JUNIP Fields (Mute) "Sweet & Bitter" "In Every Direction" Thanks in part to the solo success of Junip member Jose Gonzalez, it's taken ten years (and two EPs) to get to Fields, the band's first full-length album. And it sounds like the wait did the band some good. Along with Gonzalez, childhood friend Elias Araya (drums) and Tobias Winterkorn (keyboards) round out the trio, bringing a slow-building, urgent folk sound that adds muscle to Gonzalez's oh-so-mellow vibe. Gonzalez's warm, soft vocals that drew fans to his solo records pervade the album, while Araya's drums and Winterkorn's keys both sharpen and fuzz-out its atmosphere. Though I tend to shy away from dropping the "psychedelic" catchword on every hazy record I hear, the album's kaleidoscopic yet architectural cover art from Swedish artist Fredrick Soderberg seems chosen to evoke that mood; its watercolors could easily be mistaken for classic Krautrock imagery. Vintage keyboards help with the '60s and '70s sounds, inserting some subtle analog electronic flourishes by kicking off with woolly chords after the acoustic guitar introduction on "In Every Direction," and grooving toward the end of "Sweet & Bitter." Those looking for the mellow strum and delicate picking from Gonzalez's albums will find the familiar on "Without You" and "To the Grain," but those nimble fingers only lay the groundwork for the whole vessel that makes a grandiose Spiritualized-meets-Aphrodite's Child sendoff on the last track, "Tide." Guaranteed there is something else to get lost in with every play -- repeated listens recommended! [LG] Order CD by Texting "omcdjunipfields" to 767825

		$17.99 LP $9.99 MP3   AUTRE NE VEUT Autre Ne Veut (Olde English Spelling Bee) Preview Songs on Other Music's Download Store I've always been a fan of white-boy soul attempts to merge emotion with beats and swagger, a la Scritt Politti or A Certain Ratio, so it's nice to hear current names like Panda Bear, Ariel Pink and Toro Y Moi continuing this tradition. Now add Autre Ne Veut to the list, whose self-titled debut is an intoxicating concoction of swishy, hazy indie-electronic pop; his sweet-n-bitter falsetto and ear for rhythmic programming, mixed with an overall off-the-cup vibe, makes for one of the freshest records I've heard all year. Similar to female contemporaries Nite Jewel and Pearl Harbor, his sound could be best described as an opened time capsule containing '80s synth pop and '90s urban radio jams, all sonically reshaped through the technological advancements of the '00s -- a soft center of fragile intimacy, covered in a subtle low-fi sheen of spacious dubstep and R&B flavoring, all with a slightly skewed and queer bent. The albums mixer, Chris Coady (Delorean, Beach House), does a nice job at making all of the odd elements somehow feel accessible. It's an original and engaging release that sparks lots of reference points, yet is special because of the way these elements are not so much copied as they are absorbed and re-envisioned in a youthful and unabashedly emotional release of energy -- a brilliant indie-pop album that remembers not only Prince but also John Hughes, being both sexy and sappy (which is not a diss, btw). From ANV's use of restraint to the colorful simplicity of his music, nothing is predictable, making for one of those special moments in indie rock when an artist emerges on the scene and actually lives up to the early blog hype. I've been listening to this on repeat since the day I first heard it, and it still holds up. I really can't say enough good stuff about this debut; it's definitely going to be the sleeper hit on many year-end lists. But don't wait until then, pick this up now and bask in Autre Ne Veut's nouveau, weirdo pop radiance. [DG] Order LP by Texting "omlpautreautre" to 767825

		$14.99 CD $18.99 LP $9.99 MP3   SUPERCHUNK Majesty Shredding (Merge) Preview Songs on Other Music's Download Store Superchunk's comeback album (they never broke up, but it's been close to a decade since the last new full-length) couldn't have dropped at a better time. Merge Records, the label started in 1989 by Mac McCaughan and Laura Ballance to release their own music, is now among the most successful indies in history (and with a Billboard #1 by the Arcade Fire just a few weeks ago). They have been proven RIGHT time and again, and as such, Majesty Shredding is as fitting a victory lap as one could hope for. Eschewing the sadness and introspection which clouded their last two albums, Hello Hawk and Here's to Shutting Up, the band has used time as a distancing measure, and in the interest of all their fans, has crafted a frantic return to the power/pop/punk glories that Superchunk all but abandoned after 1995's Here's Where the Strings Come In. Rather than mope around, they've taken a cue from Ted Leo and the Pharmacists, reveling in their 40s and wearing their age as a badge of ass-kicking honor. The singles and EPs that have fallen out of the band in the past year are represented here, with material that easily matches their energy and drive ("Crossed Wires" in particular is one helluva song). McCaughan still hits the high notes, the guitar of Jim Wilbur still pierces the eardrums with sonic frenzy, Laura still bounces all over on bass, and Jon Wurster (as well known now for his work in comedy, opposite WFMU's Tom Scharpling, and a series of high-profile recording and touring gigs) continues to pound away on the drums. Songs are front-forward and the tempos generally stay in the "ridiculously fast" range, with the occasional ballad to even things out (of these, "Rosemarie" even makes a knowing nod to the Replacements' "Bastards of Young"). Everything is as it should be -- this is a record the band could have made 15 years ago, but that they really needed to make now. It'll reaffirm things for the believers, and writes another assured, shook-up chapter in their story. [DM] Order CD by Texting "omcdsuperchunkmajesty" to 767825

		$14.99 CD   GRINDERMAN 2 (Anti-) "Palaces of Montezuma" "Evil!" Nick Cave, Warren Ellis, Martyn Casey and Jim Sclavunos return to Grinderman for an even noisier, dirtier, messier and more dirgeful bout with misogyny, fear and self-loathing. With production from post-punk legend Nick Launay (who worked with Cave's Birthday Party way back when, along with many other greats), Grinderman 2 epitomizes the ever-elusive dirt blues genre. Looking back over the years, few bands can put together a whole album of unfettered, raw blues-rock without growing redundant or sounding like Eric Burdon, or worse, Blues Hammer. The Stooges were the progenitors of the field. Doo Rag, the former heavyweight champs of the dirt blues genre, landed a member in a mental hospital. The Jon Spencer Blues Explosion had a few good years at it, Delta 72 touched on it, and the White Stripes can play it at their rowdy best. Nick Cave and Grinderman, however, have claimed the sound and are burning through it until there is nothing left. The cover art of the record matches Cave's lyrics so well that it deserves mention here; the photograph is of a wolf bearing its teeth in a finely decorated room with marble floors. Whether he is denouncing a woman as a heathen child, reflecting on love as murder, or wringing a pathetically obsessive ballad, Cave sings songs undomesticated, uncivilized and unforgiving -- but he always looks sharp and sounds so cool doing it. These tales work because Cave so willingly flips from dirt to wit to toilet humor, and the tunes are as likely to make you cringe as smirk. One reason Grinderman albums are so exciting, and what sets them apart from Bad Seeds records, is that Cave takes lead electric guitar which harkens back to the raw energy of the Birthday Party and his rugged and rough playing. Cave achieves the allusive sound harnessed by early blues musicians plugged in for the first time; he unleashes squalls and wails that continuously border on out of control before falling right back in sync with Ellis' stringed rhythms and melodies. Grinderman 2 has three responses to 2007's inimitable "No Pussy Blues," in "Mickey Mouse and the Goodbye Man," "Worm Tamer" and "Evil!" and that is quite a feat. This is quickly becoming one of my favorite records of the year -- and I feel a little dirty because of it. [BCa] Order CD by Texting "omcdgrinderman2" to 767825

		$12.99 CD $15.99 LP+MP3 $19.99 LPx2+MP3 $9.99 MP3   INTERPOL Interpol (Matador) "Summer Well" "Baricade" Interpol hasn't changed much. And yet they have. There has been a lot of talk about these guys returning to Matador, and returning to their "classic" sound, which many felt had been abandoned during the band's brief flirtation with corporate rock, and their self-titled fourth album delivers on some of that promise, but packs a few surprises as well. As per the advance hype, Interpol fittingly files in with the mood and pace of their debut album -- mostly mid-tempo brooding melodies that snake through guitar reverberations and dramatic lyrics. Piano, keyboards and strings still play their parts, accenting this dreamy offering, but newness glimmers toward the end of the album in its unexplored corners; "Try It On" opens with a bit of experimentation, with a repetitious piano melody picked up by a whistler(!). Percussion kicks it up with an almost danceable beat, followed by vocals, slowing building into Daniel Kessler's signature guitar tremolo. The underlying piano melody changes slightly, leaving room for skittering electronics that percolate straight into the next song, "All of the Ways," which then morphs into its next life of bleak undulating guitars and punctuating synth washes. So in the end, Interpol have managed to have it both ways, delivering a powerful, sweeping album that should appeal to fans of Turn on the Bright Lights and the band's other early recordings, yet refuses to get mired in pure revivalism [LG] Order CD by Texting "omcdinterpolinterpol" to 767825 Order LP by Texting "omlpinterpolinterpol" to 767825 Order Deluxe 2LP by Texting "omlpinterpoldeluxe" to 767825

		$10.99 CD $16.99 LP+MP3   THE DRUMS The Drums (Downtown) "Best Friend" MP3 Clip How cool was it to see the Drums on the BBC chat show Friday Night with Jonathan Ross? Pretty cool. Our four favorite Brooklyn waifs killed it, performing the leadoff track from their full-length, "Best Friend." That track encapsulates most of what the Drums' songs are all about: bouncy rhythms, lean and catchy guitar lines, and lyrics that are both winsome and melancholic. "You were my best friend/And then you died/How will I survive survive survive survive?" On their EPs, the 1980s almost seemed to come too easily to them, to the point where even the moments that they cop from other bands (like "Don't Be a Jerk Johnny," which directly rips from the Cure's "Close to Me" and "Just Like Heaven") felt like original, natural extensions of themselves. But the debut zips straight through from start to end, a gem of a record that never fails to uplift. [MS] CANVAS PRINT GIVE-AWAY! Enter to win a canvas print of the Drums' new album cover by emailing enter@othermusic.com. (Entrants should be local to the NYC region, as the winner will have to pick up the prize in person at Other Music.) Order CD by Texting "omcddrumsdrums" to 767825 Order LP by Texting "omlpdrumsdrums" to 767825

		$12.99 CD $15.99 CD Deluxe Edition $9.99 MP3   BLONDE REDHEAD Penny Sparkle (4AD) "Here Sometimes" "My Plants Are Dead" Blonde Redhead must have been spending some serious hang-time at Vampire Freaks and the Korova Milk Bar when making this record, because damn, I can feel the black nail polish coating my fingers as I listen to this. BR have always been a band who've emerged with new sonic inspirations peppered throughout each successive album, but on Penny Sparkle, the change is drastic and somewhat startling. Working with Fever Ray producers Van Rivers and the Subliminal Kid and enlisting Alan Moulder back at the mixing desk, this album shimmers with cold synth textures, snapping, crackling beats, and ethereal vocalese, with the guitar work sounding like ripples in a pool of quicksilver. They're offering up their most overtly "4AD"-sounding record yet, with a bit of Creation Records shoegazer moments thrown in for good measure, with sonic nods to everyone from My Bloody Valentine and Slowdive to the aforementioned Fever Ray, and even a bit of Cocteau Twins. The songs are dark but lush, bathing in hues of deep blues, purples, and yes, blacks, dripping with sensuality and atmosphere. The sonic tension that the band had perfected over their years of interplay is, however, altogether missing here, sometimes to the record's detriment -- at times a few of the songs seem like they rely too much on the autopilot of programming when they could use a bit of a kick in the ass. Instead, the tension on Penny Sparkle is purely, emotionally private; this is a record of bedroom laments and bathroom mirror confessionals. I just wish that the album were a bit less "perfect" -- for every shimmer and sigh, I'd love to hear a splash and a cry. This sounds like a transitional album to me, but it's a damn good one; it's an album of late-night make-out music, of stylistic role play that often works and sometimes falls a bit flat, but if you've enjoyed the last two full-lengths, there's plenty of meat on which to chew here. Come to this one ready for subtle flirtations rather than quick ratifications, and you'll appreciate the subtle, sensual pleasures that Penny Sparkle has to offer. [IQ] Order CD by Texting "omcdblondepenny" to 767825 Order Deluxe CD by Texting "omcdblondedeluxe" to 767825

		$16.99 CD $9.99 MP3   LEE PERRY Sound System Scratch (Pressure Sounds) "Dub Plate Pressure" Lee 'Scratch' Perry "Root Train Number Two" Junior Murvin & the Upsetters OOF, uh, I mean, umm... What??? Seriously, what a great state of delight and confusion my old poor brain has been subjected to while listening to Pressure Sounds' ABSOLUTELY BONKERS new collection of Lee 'Scratch' Perry's long lost dub plates, spanning his peak creative period of 1973-1979. There's just some supremely mind-scrambling music to be found here, being mostly one-off Black Ark Studio remixes of classic rhythms where Perry literally took it to the limit. That's not to say it doesn't groove, it does, and relentlessly, but between the parting clouds of pulse, clatter and phase, it's like you can almost physically catch a glimpse of the unspooling of the man's creative genius before your very eyes. Since these mixes were specifically cut to be played at sound system parties, they afforded Perry a prime opportunity to let loose without any real commercial consideration. Due to the fragile nature of these unique dub plates, the sound quality can somewhat vary throughout, but there's never less than a near mystical level of clarity on display. One of the huge highlights of this set is the track "Chim Cherie," which is surely one of the most unique reggae songs I've ever heard, being a play on the classic "Billie Jean" rhythm, which chugs along with an almost minimal insistence, all primitive drum machine and consciousness warping effects. Surely one of the five or six greatest collections of Lee Perry's music ever put together, and up towards the very top of Pressure Sounds' tremendous catalogue as well, and about as essential a body of work as you'll likely find all year. [MK] Order CD by Texting "omcdleesound" to 767825

		$12.99 CD   DUNGEN Skit I Allt (Mexican Summer) "Min enda vän" "Barnen Undrar" Six albums in, and Sweden's premier psych-pop resurgent Dungen are back at it, crafting their music that could have blossomed at any point between 1969 and 1973, but never did. Skit I Allt (translation: "f**k it all") is the group's most laidback, yet panoramic effort to date, a serene, instantly memorable, and wondrous collection of psych/folk/jazz-oriented mood swings almost specifically tailored with crate diggers and breakbeat hounds in mind. Bandleader Gustav Ejstes has been on a path to mellow things out a bit from their breakout success (2003's Ta Det Lugnt, an Other Music fave from way back), giving way to peaceful, plangent melodies, built on crack musicianship and a dramatic flourish that extends beyond their non-English lyrics. In Dungen's case, the music has always had to speak for itself, and with Skit I Allt, that's no exception -- opener "Vara Snabb" builds tension with racing percussion, speedy bass picking, and fuzz guitar, but chooses the flute as its lead instrument, suffusing a tense instrumental with blissful calm. Likewise, "Min Anda Van" follows it up with inspired soul claps, but instead leans in on the piano, gentle guitar and Ejstes' angelic vocals. The melodic perfection of the title track, and the Skye Records-influenced restfulness of "Nasta Sommar" bring about both their recent past and the enjoyments of the present. Guitarist Reine Fiske gets plenty of moments in the spotlight -- his tone and control of the Stratocaster is unmatched in their class of music -- and the palette from which he gets to express himself is widened ever further, with beautiful backing vocals, analog synth percolation, and a highly skilled, controlled rhythm section that can match his and Ejstes' dizzying ambitions. As perfect a soundtrack to watching the leaves change this year as could be hoped for, Skit I Allt comes as NYC's hottest summer on record draws to a close; this couldn't be a more appropriate metaphor for music that's not just exciting, but willfully challenging of its own attitude and past. If any of the above descriptions make it seem as if the new Dungen record is at odds with itself, rest assured that the ideas and means of execution are still unparalleled. The band is now writing songs which work against a clash of mentalities, still retaining the familiar qualities and successes of their past but looking forward. Ejstes simply refuses to make the same record twice, and given the specific scope and timeframe of their influences, that's something that becomes more and more difficult with each release. Dungen gladly steps up to any challenges or challengers, and since there's few if any of the latter present in contemporary music, they are content to push themselves. [DM] Order CD by Texting "omcddungenskit" to 767825

		$17.99 CD   ISLAJA Keraaminen Paa (Fonal) "Joku Toi Radion" "Otakun Uhkaus" The fourth album from one of our favorite Finnish artists strikes out in a decidedly different direction from her previous efforts. Rather than remain beholden to the icy folk music she's embodied previously, Merja Kokkonen draws heavily from electronica this go-round (which isn't so surprising if you've caught her live performances with everyone from Skaters to Animal Collective), which finds her deploying samplers to dizzying effect. In addition to the squalls and loops, her voice is more centered this time as well, and the always-sumptuous Fonal packaging even comes with English translations of all the songs so that you can better grasp Kokkonen's singular vision and craft. [AB] Order CD by Texting "omcdislajakeraaminen" to 767825

		$14.99 CD $15.99 LP+MP3 $9.99 MP3   SAM PREKOP Old Punch Card (Thrill Jockey) "Knitting Needles" "A Places" Sea and Cake frontman Sam Prekop throws a delightful curveball with his newest solo album. Rather than giving listeners another collection of breezy, jazz-informed Afro-bossa song stylings, on Old Punch Card he's awash in the sounds of old modular synthesizers and nothing else -- no beats, no guitars, and no lyrics. It's wonderful. He touches upon the hallmarks of early electronic music pioneers like Delia Derbyshire, Raymond Scott and Pierre Henry whilst refraining from actually sounding like any of them; his experience as a painter even shows, as his use of texture and color is what keeps these experiments interesting and listenable. He travels from static and drone to more percussive blipped-out territory, coaxing melodies when you least expect them to appear; everything flows with organic ebb and flow despite the rather startling transitions between sounds and textures -- it's obvious that this record was a labor of love for Prekop, a record of sounds that strike his fancy in ways that his previous work could not. It's not a pop record for certain, and it may not be to the liking of many Sea and Cake fans or those who groove quietly on Sunday mornings to Prekop's two previous solo albums, but fans of experimental electronic music, musique concrete, and even the current crop of Oneohtrix/Emeralds analog fetishism will find much to enjoy here. It's also a nice gateway drug for those of you who are perhaps new to these sounds and want to take a curious dip. With Old Punch Card, Prekop gives further evidence that he's a restlessly inventive artist with the desire to expand his vocabulary; I highly recommend curious listeners to follow suit and expand theirs a bit as well. [IQ] Order CD by Texting "omcdsamold" to 767825

		$9.99 CD   THE BLACK ANGELS Phosphene Dream (Blue Horizon) "Bad Vibrations" "The Sniper" The third album from Austin psych-rockers the Black Angels arrives as the debut release on a label that surely will prick a few ears regardless of the band's history. Blue Horizon is the new imprint of powerhouse industry legends Seymour Stein and Richard Gottehrer, who together founded Sire Productions more than 40 years ago, which morphed into Sire Records, and alone and together, as songwriters, producers or A&R, they have been intimately involved in the careers of everyone from Blondie, the Ramones, Talking Heads, and the Smiths, to Madonna, the Go-Go's, the Pretenders and even Ice-T, and so many more. So what do you get when you pair a droney, sludgy bad trip with a pair of hugely successful pop moguls? A Phosphene Dream, I suppose. The Black Angels' established mix of influences are all still in full effect here; Barrett and the Elevators and Spacemen 3 and VU and Nuggets waft from this band on clouds of pot smoke and sheets of bad acid, a dark, ominous, biker-flick version of the psych revolution. But no doubt this is the group's most refined effort to date, with more variety and more depth than their one-chord productions are known for. They reign in their most abstract leanings, keeping these tracks short and direct, but in other ways the band spreads their wings, exploring varied directions with a few rockers, a few freakouts, a few droners and a handful of their favorite sludgefests. I'm not sure if Black Angels are ready to write a new chapter in the chart-topping history of Stein and Gottehrer, but with Alex Mass' powerful vocals (part Shocking Blue's Mariska Veres, part Neil Young), and the dense swirl of Christian Bland and Nate Ryan's guitars over a churning rhythm section and a ream of vintage organs, they can surely soundtrack your next few trips, good, bad, or far far away. [JM] Order CD by Texting "omcdblackphosphene" to 767825

		$13.99 CD   THE VASELINES Sex with an X (Sub Pop) "Sex with an X" "I Hate the '80s" The release of Sex with an X, the first proper album in twenty years from Kurt Cobain's "most favorite songwriters in the whole world," proves that the group's second spring reawakening is nearly as good as their first. Admittedly, it might be tough for Vaselines diehards to get behind something as strange as a new record after all those years singing along with the old ones. A lot of the pride of being a fan of Eugene Kelly and Frances McKee's quirky songwriting was the fact that even after Nirvana's Unplugged in New York, their cover of "Molly's Lips" at the Reading Festival in 1991, and a comprehensive compilation from Sub Pop in 1992, the Vaselines remained an unassuming (and decidedly split-up) Glasgow band with a handful of brilliant songs and a fervent legion of fans. A good portion of that fervent legion went on to form their own bands, which makes this new record fit in nicely with today's steady output of slightly psychedelic, minimal pop songs. Like Teenage Fanclub, the Vaselines excel at making the most out of a lot less; simple chords and a tinny distorted guitar or a bleating Casio synth are the meat and potatoes of the songs, but it's the garnish on top that makes tunes like "Ruined," "The Devil's Inside Me," and "I Hate the '80s" such delicious ear candy: the light-footed vocal interplay between Kelly and McKee, and a preoccupation with the strangeness of sex and the vocabulary of lust. There aren't many others who can get away with lines like "Feels so good it must be bad for me/let's do it again," "Put your lips on me/give me mouth to mouth/touch me with some feeling," or "I'll take you on again." Dig the way that sex and lust are compared to gastronomic gluttony on "Overweight but Over You," or the amazing middle finger that the group gives to the beloved 1980s: "What do you know? You weren't there/It wasn't all Duran Duran Duran Duran/I hate the eighties cause the eighties were shit." I'll gladly clamor for more new material from the Vaselines if it all comes out sounding as good as Sex with an X. [MS] Order CD by Texting "omcdvaselinessex" to 767825

		$15.99 CD   MAVIS STAPLES You Are Not Alone (Anti-) "I Belong to the Band" "We're Gonna Make It" Just to be clear from the outset, I'm rooting for You Are Not Alone, Mavis Staples' new Anti release following on 2007's fine freedom songs collection We'll Never Turn Back. As a Negress, certain things are sacred -- like Mavis Staples (and deservedly so). Thus, while I find the pairing with Wilco's Jeff Tweedy -- her Chi-Town "homeboy" -- curious at best, the Voice remains a thing of wonder. Wilco's Loft is far from Muscle Shoals in more than miles -- still, the retention of her road band and invitation to the undersung Kelly Hogan is most welcome. The title track is rather unworthy of the icon, but the selections from Miz Mavis' late father Roebuck "Pops" Staples' songbook and good ol' Traditional overcome. She keeps the roll in the rock throughout Allen Toussaint's "Last Train." And her take on Randy Newman's "Losing You" reinforces her graceful way with a ballad. Believe it or not, I have encountered far too many supposed music / roots fans in recent years who, for instance, decry the Staples Singers' appearance in The Last Waltz as the worst part of the film. If you can be counted in this number or are unaware of the Civil Rights legend's myriad contributions to sound and culture, start here and keep on digging back to the 1950s. Covering the Reverend Gary Davis' "I Belong to the Band" almost seems redundant here. All ye need know on Earth: Mavis Staples, hallowed be Her name. [KCH] Order CD by Texting "omcdmavisyou" to 767825

		$18.99 CDx2   VARIOUS ARTISTS Dark Matter: Multiverse 2004-2009 (Dark Matter) "Purple City" Joker & Ginz "Pop Pop" Vex'd So here's the deal, Dark Matter is the comp, Multiverse is the studio and dubstep is the genre. In the world of electronic music, it's hard to pinpoint the beginnings of the various movements and mutations in rhythm, yet it's safe to say that these sounds started coming together around 2004; Dark Matter opens in that year with Vex'd's "Lion," and then chronicles this particular evolution in bass science right through to the present. The Bristol-based Multiverse studio has been the birthplace and communal space for a steady stream of local producers, and the comp features notable tracks from Joker, Skream, Pinch and many more, ranged like a timeline across two CDs. From the primitive and skeletal to the bombastic and brutal, the various sounds and moods of this eventually world-encapsulating subgenre are featured. In the midst of a constantly expanding soundscape, the Multiverse studio has been an essential landmark in the current state of Bristol beats. If you've been a fan, then many of the tracks or at least names will be familiar. If are just curious, this may in fact be a difficult entry point, despite the long list of essential names. Dark Matter is not for the light hearted; get your subwoofer ready, this is heavy stuff. [DG] Order 2CD by Texting "omcdvariousdark" to 767825

		$17.99 LP   THOSE ATTRACTIVE MAGNETS Electromagnetic Pulse (Dark Entries) "We Fade Into (Secret Silence) "Nightlife" Rescued from obscurity, the Dark Entries imprint delivers us Electromagnetic Pulse, a compilation of tracks from the awkwardly-named early-'80s British synth group Those Attractive Magnets. Having only released one 7" back in '83 to little fanfare (and even smaller distribution), this LP compiles those tracks along with seven other recordings from this largely unknown outfit. Like so many other synth bands of the era, Those Attractive Magnets were greatly influenced by both Kraftwerk's synthetic take on pop as well as Gary Numan's late-'70s contributions to the genre, and it really shows on these recordings; on first listen this could be generic synth-pop, but these tracks really contain a hidden complexity and demonstrate the band's understanding of pop structure. There is an interesting play here between an amateur-ish, DIY aesthetic and a more commercial synth-pop sound (think early Depeche Mode, Visage, OMD, Soft Cell or the Human League -- Rikk Quay's croon on these tracks would have complemented any of those bands). The album traverses a wide range of synth sounds, from the dancefloor killer "Nightlife" off the original 7" to more contemplative, forlorn tracks such as "Radio Weeps, Television Cries" and "Venus." All in all, another stellar reissue from Dark Entries. [CPa] Order LP by Texting "omlpthoseelectromagnetic" to 767825

		$13.99 CD   WILDBIRDS & PEACEDRUMS Rivers (TCG) "Bleed Like There Was No Other Flood" "The Drop" Wildbirds & Peacedrums have built their career from straddling the increasingly porous boundaries demarcating spartan minimalism from grandiose pop leanings in modern music. Rivers, their latest entry into this ongoing conversation sets up an intriguing dichotomy, dividing the album into two distinct halves. The first, Retina, while by no means big in a classic pop sense, is nonetheless epic in its ambition and execution. Recorded in a church and incorporating the 12-piece Schola Cantorum Reykjavik Chamber Choir throughout, these five tracks have a correspondingly hushed feel, as if, after taking a midnight forest stroll into the heart of darkness you emerge into a clearing which just happens to be the site of an ancient Icelandic ritual, incantations reverberating off frozen walls of ice and stone. As effective as this bundle of tracks is, the back half, Iris, contains some of the group's most arresting and tuneful moments. Recorded by up-and-coming electronic producer, Ben Frost (who some of you may remember from his stunning By the Throat album from earlier this year), these songs feature a steel drum used as the backbone that the melodic thrust of these tracks are built on. Consisting of a skeletal arrangement of steel drum, drum set, and Mariam Wallentin's commanding and soulful voice, these tracks sound way bigger than they should, approximating the cathartic release of their recent live sets; a spectacular exorcism that will unquestionably convert any remaining fence-sitters. Do yourself a favor and don't miss them when they return to the U.S. for a string of dates this fall. [JTr] Order CD by Texting "omcdwildbirdsrivers" to 767825

		$9.99 12"   FUTURE ISLANDS Post Office Wave Chapel (Free Danger) This 12" remix EP brings together a lot of heavies from the current indie scene who rework Future Islands' gauzy dance pop songs. The results are excellent, with contributions from Pictureplane, Javelin, Moss of Aura (featuring No Age), and a gorgeous remix from Jones, featuring Beach House's Victoria LeGrand who steals the show contributing a hiccupy drum beat and vocals. With screen-printed and hand-numbered copies limited to 500, this excellent EP is sure to sell out lightning fast. Order CD by Texting "omcdfuturepost" to 767825

		$15.99 CD $12.99 MP3   SUPERPITCHER Kilimanjaro (Kompakt) "Country Boy" "Who Stole the Sun" Six years and numerous remixes and singles since his debut full-length Here Comes Love, Superpitcher finally drops his second solo album. While his lush, after-hours tech-pop is naturally informed by the sound of micro-house, schaffel and minimal techno, Kilimanjaro is nonetheless a stylistically diverse set of new songs, the producer moving through electro-disco, digi-dub and sultry club thumpers, with his signature nervy-hushed sing-speak floating atop. Full review next week. Order CD by Texting "omcdsuperpitcherkilimanjaro" to 767825

		$11.99 CD $9.99 MP3   LES SAVY FAV Root for Ruin (Frenchkiss) "Appetites" "High and Unhinged" We have not heard a more propulsive and fiery opening song this year than "Appetites," from Les Savy Fav's fifth full-length album, Root for Ruin. The angular guitars scream, the drums slash forward mercilessly, frontman Tim Harrington growls menacingly, "Don't check under my fingernails tonight!" before copping a line from David Berman's songbook ("Punks in the Beerlight," specifically): "I love you to the max, I love you to the max!" It's a cool move, and a brilliant hook for the start of Les Savy Fav's poppiest record yet, which at times sounds like an especially manic Ted Leo, and at others, like Gang of Four on spectacular party drugs. Order CD by Texting "omcdlesroot" to 767825

		$12.99 CD   CROCODILES Sleep Forever (Fat Possum) "Sleep Forever" "Stoned to Death" Last year, Crocodiles' debut album, Summer of Hate, showed a band that had yet to shake its most obvious influence. Filled with allusions to the Jesus & Mary Chain, that album revealed a group that knew how to write a great hook like their idols, but had not fully formed their own identity. We're pleased to report that with Sleep Forever, Crocodiles have risen above their earlier mimicry, infusing their dark pop with latent psychedelic tendencies and lots of personality; Sleep Forever is bigger, showier, and more than your average fuzzy garage rock band. Order CD by Texting "omcdcrocodilessleep" to 767825

		$9.99 CD   CHROMEO Business Casual (Atlantic) If you were wondering whether Chromeo was going to preserve their sex-sells-attitude-meets-high-concept-lovers-disco when they jumped ship from Vice to Atlantic, you don't need to worry any longer. They're back, leggy keyboard stands and all, with more songs about late night loves lost and loves made, and it definitely rivals Dave Macklovitch and Patrick Gemayel's previous chart-busting effort, 2007's Fancy Footwork. The standout is the first single, "Don't Turn the Lights On," which neatly inverts the "Thriller" bassline and milks an awesome chorus: "Don't turn the lights on/'Cuz tonight I want to see you in the dark." It's tough to fault music that is so brash and confident in all of the right places, so we're not going to. Put your insecurities away, and fall in love again, if only "Night by Night." Order CD by Texting "omcdchromeobusiness" to 767825

		$12.99 CD   PLASTIKMAN Kompilation (Minus) Plastikman has been Ritchie Hawtin's career-defining nom de plume, and this career-spanning collection not only shows how the sound has changed and progressed, but moreover how well it all hangs together. This is not Hawtin's most furious, ballistic production. Instead, Plastikman was always about a more laidback approach; trippy, stretched out, acid-drenched and deep, and Minus has collected some of the most enduring, hypnotic tracks. Order CD by Texting "omcdplastikmankompilation" to 767825

		$14.99 CD   DANNY KRIVIT Edits By Mr K 2: Music of the Earth (Strut) It was 2003 when Strut released the first volume of edits from Mr. K, and seven years later, they have collected ten more of his game-changing cut-ups, this time with a less populist bent. This stuff is strictly underground, though no less engaging than his more mainstream productions. The unreleased version of Black Blood's "Chicano" may alone justify this whole set, but you will thrill to versions of Chairmen of the Board, Philly International, Fatback Band, rare Pleasure and more. Order CD by Texting "omcddannyedits" to 767825

		$14.99 CD $9.99 MP3   VENETIAN SNARES My So-Called Life (Timesig) Preview Songs on Other Music's Download Store Planet Mu have given Venetian Snares' Aaron Funk his own imprint, and to return the favor, he has delivered this dark, pounding new album. The production is as dense and delirious as anything Funk has done, mixing layers of sound and noise with microscopically manipulated rhythms. It is a deep and varied album that touches on many sounds and styles, and while it may rely a bit heavily on Funk's favorite "funny found-sound" dialogue snippets, the record is one of his best. Order CD by Texting "omcdvenetianmy" to 767825

		$13.99 CD $9.99 MP3   JASON SIMON Jason Simon (Tee Pee) Preview Songs on Other Music's Download Store As a founding member of the DC psychedelic band Dead Meadow, Jason Simon might seem out of place without a thousand pedals and woozy, electric atmospherics. But on this, his impressive first solo effort, he draws from battered Americana traditions and pushes his largely unaffected voice to the forefront. Simon makes the acoustic guitar the basis for most every song, and yet by sprinkling psych-rock flourishes throughout, carves an explicit connection from his Dead Meadow work to the present day. Order CD by Texting "omcdjasonjason" to 767825

		$13.99 CD   BUKE AND GASS Riposte (Brassland) The proper debut album from this Brooklyn duo we first heard when they played with the National and Doveman at our own High Violet Annex. The National's Dessner bothers signed the group to Brassland after stumbling into their riveting live show, which finds the pair playing a modified six-string baritone ukulele (or "Buke") and homemade guitar-bass (that would be "Gass"), plus a variety of odd foot-percussion. Despite the unusual instrumentation, innovative arrangements and sometimes mathematical precision, the songs here rock as often as they skronk, and Arone Dyer's powerful, melodic singing can evoke PJ Harvey as much as anyone. Order CD by Texting "omcdbukeriposte" to 767825

		$14.99 CD   WEEZER Hurley (Epitaph) It can be a little hard to get your head around Weezer 2010, what with songs written with Linda Perry, Ryan Adams, Semisonic's Dan Wilson and No Doubt's Tony Kanal, and a sound that straddles irony and sincerity with impossible to read motives, not to mention their new record being named after Lost character Hurley, with its cover featuring a snapshot of Jorge Garcia, the actor who plays him. But if you are still on this ride, this is actually one of the band's best efforts in quite awhile. Order CD by Texting "omcdweezerhurley" to 767825

		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 Burkeholder [BCa] Brian Cassidy [LG] Lisa Garrett [DG] Daniel Givens [KCH] Kandia Crazy Horse [IQ] Mikey IQ Jones [MK] Michael Klausman [JM] Josh Madell [DM] Doug Mosurock [CPa] Chris Pappas [MS] Michael Stasiak [JTr] Jon Treneff THANKS FOR READING - all of us at Other Music

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