The Other Music Update

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	July 27, 2012

		OS MUTANTES IN-STORE PERFORMANCE CANCELED We're sad to announce that Os Mutantes' upcoming appearances in New York at Brooklyn's The Well this Saturday and at Other Music on Monday have been canceled due to an illness. We do wish the band member a speedy recovery and hope to reschedule the Other Music in-store performance for a future date.


	FEATURED NEW RELEASES Getatchew Mekuria & The Ex Purity Ring Cooly G Ariel Pink's Haunted Graffiti 12" Paperclip People Slug Guts Thin Lizzy LP Om Sugar (Deluxe Reissues) Holograms Jeremiah Jae Blo		ALSO AVAILABLE Laetitia Sadier Erika Spring 12" EP Cinematic Orchestra Presents... Three Mile Pilot EP AVAILABLE ON VINYL Lee Hazlewood Lego Feet Follow us on Facebook: facebook.com/othermusicnyc Follow us on Twitter: twitter.com/othermusic

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		WIN PASSES TO "SHUT UP AND PLAY THE HITS" Following three sold-out screenings, Dylan Southern and Will Lovelace's LCD Soundsystem documentary -- featuring the band's legendary final performance at Madison Square Garden intercut with an intimate interview with James Murphy -- will be showing at New York's IFC Center for an exclusive weeklong engagement beginning tonight, Friday, July 27 through August 2. Other Music is giving away two pairs of passes to this evening's 9:55 p.m. screening courtesy of Oscilloscope, so enter right away by emailing giveaway@othermusic.com. We'll notify the two winners via email at 1 p.m. this afternoon. Look for Shut Up and Play the Hits out October 9 on Blu-Ray and DVD -- a three-disc set featuring the documentary as well as the entire MSG concert, filmed by Spike Jonze and Lance Bangs. FRIDAY, JULY 27 IFC CENTER: 323 Sixth Ave at W. 3rd St. NYC

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		WIN TICKETS TO RIOT FEST, BROOKLYN! Chicago's annual punk extravaganza Riot Fest is spreading its wings, and this year it'll be staging events in Brooklyn, Toronto and Dallas as well as three big days in the Windy City. We've got two pairs of tickets to give away to the Brooklyn edition, taking place on September 8 at the Williamsburg Park. The line-up is solid with something for punk lovers of any and all stripes, featuring Gogol Bordello, Descendents, Hot Water Music, the Bronx, Screaming Females, the Menzingers, and Larry and His Flask. To enter to win, just toss your name in cyber hat by emailing tickets@othermusic.com. SATURDAY, SEPTEMBER 8 WILLIAMSBURG PARK: 50 Kent Ave & N. 12th St., BKLN The Lacoste L!ve Concert Series is presented by the Open Space Alliance for North Brooklyn

		EYEBEAM x OTHER MUSIC CURATED SELECTIONS Chelsea's Eyebeam Art + Technology Center kicks off the summer with an artful selection of vinyl and CD selections curated by Other Music and displayed in the Bookstore Gallery. This project runs in tandem with Eyebeam artist-in-residence Brian House's "Quotidian Record" installation (on display July 12-August 12), showcasing a limited edition LP that features a continuous year of his personal location-tracking data which compresses 365 days to 365 rotations, while mapping habitual places to harmonic relationships. Stop by Tuesday-Saturday, noon to 6 p.m., where you can also view "Surface Tension: The Future of Water Exhibition" and Heather Dewey-Hagborg's "Stranger Visions." EYEBEAM ART & TECHNOLOGY CENTER: 540 W. 21st Street, NYC


	$16.99 CD		GETATCHEW MEKURIA & THE EX Y'Anbessaw Tezeta (Terp) "Tezeta" "Yegna Mushera" Getatchew Mekuria is an Ethiopian saxophone and clarinet player with a rich musical history; many Western ears know his music via an excellent series of collections in the Ethiopiques series, and perhaps most recently via his ripping collaborations with Dutch punks the Ex, particularly on their Moa Anbessa album. The Ex and Mekuria played a wicked concert a few years back here in NYC as part of Lincoln Center's Out of Doors series, and they've come together once again to make one final album at Mekuria's request, as these are said to be his last recordings ever. Where Moa Anbessa was a wild, brick-smashing fusion of the Ex's anarchist punk dynamism and Mekuria's Ethiopian soul jazz mastery, on Y'Anbessaw Tezeta, they take an altogether different approach; unlike the first collaboration, this is an entirely instrumental affair and rooted more in the soulful, spiritual side of Ethiopian jazz styles. What makes this outing so special, though, is the jagged angularity that the Ex injects into the arrangements, playing a bit like an Ethiopian take on Rip Rig + Panic's post-punk jazz funk anarchy. It's absolutely delightful, and Mekuria sounds as robust and fiery as ever, augmented by an extended orchestra of guests that include clarinetist Xavier Charles, Chicago reedsman Ken Vandermark, and members of the infamous Dutch free jazz group the Instant Composers Pool Orchestra. As if this weren't enough, there is also a bonus disc included with tracks which feature Mekuria collaborating in concert with the full ICP Orchestra, a handful of live cuts from Mekuria's extensive tours with the Ex, a lovely solo piece, and two vintage cuts of classic Mekuria playing with Ethiopian bands in the early 1960s. The whole package is a lovely, touching tribute to the man's brilliance, topped off by a thick booklet featuring some history, loads of photos both vintage and contemporary, and testimonials from many of the players who have been fortunate enough to share the stage and studio with this master musician. This is rock-solid, excellent contemporary Ethiopian music, most highly recommended to anyone who has been digging Mulatu Astatke's recent return to recording, not to mention those who just want some solid, soulful grooves with a bit of rough edges in all the right places. [IQ]


	$13.99 CD $16.99 LP+MP3 $9.99 MP3		PURITY RING Shrines (4AD) "Crawlersout" "Ungirthed" The debut album from Purity Ring finally comes to fruition more than a year after the Canadian duo first appeared on the music blog radar with "Ungirthed." Theirs was a big, buzz-worthy blip on the screen for sure, with the track utilizing all of the earmarks of witch house -- from the swelling neon-hued synths and swooshing bass to the skittering hip-hop rhythms -- in new pop ways thanks to the pristine, child-like soprano of Megan James. It also happened to be the first song that these longtime friends had ever written together with Corin Roddick making beats during downtime in a tour van with his former band (Gobble Gobble) and emailing his productions cross country to Halifax, where James would add her melodies and then send back to Roddick to tweak some more. The rest, you could say, is history with Roddick finally settling in Montreal and the duo continuing this long-distance collaboration, only finding themselves working under the same roof when putting the final touches on the record. Sticking closely to the same chopped-and-screwed atmosphere and occasionally Auto-Tuned ghost-child vocals of their handful of singles that trickled out over the web this past year (all included here), Purity Ring has crafted an impressive first album. Taken in as a concentrated 38-minute dose, the two distinct personalities of the band really come into full focus here, with Roddick's woozy digital production juxtaposed against the more corporeal obsessions of his music partner's lyrics pulled from her personal journals; during album highlight "Fineshrine," James' playful pleas for her lover to "cut open my sternum and pull my little ribs around you" is as creepy as it is sensual. It's all the more fitting that Shrines would find release on 4AD, with the ethereal leanings of Cocteau Twins and His Name Is Alive shimmering through the luminous synths and stuttering trap-rap beats. Still, one can't help but wonder what Purity Ring's next move will be following the exciting year or two that now faces them. While the group has deservedly sidestepped the shelf-life of witch house, chill wave, et al. with these strangely alluring, well-crafted pop songs, there's an even bigger bag of tricks waiting to be opened and we can't wait for them to dig in. In the meantime, anyone who's enjoyed recent albums from label mate Grimes to Clams Casino to Balam Acab to Washed Out, pick up Shrines without hesitation. [GH]


	$17.99 CD $25.99 LPx2 $9.99 MP3		COOLY G Playin' Me (Hyperdub) "He Said I Said" "Landscapes" (Feat. Sinbad) Merrisa Campbell (a/k/a Cooly G) is arguably the hidden missile on the Hyperdub roster, and her anticipated debut full-length, Playin' Me, hits the mark spot on. Since 2008, the South London-based producer has turned her own Dub Organizer imprint from a CD-R series to a full-fledged label, seeing her tracks included in mixes by Kode9, Martyn and Brackles. Cooly G's sound can best be described as R&B-infused digi-dub, enhanced with funky, bassy minimal house and broken dubstep. Her cuts swing, sway, bounce and chat you up like a Ciara song, yet they have a deeper, richer, warmer and moodier outcome. Tight and taut rhythm tracks are sparsely filled with just the right amount of emotion and sensuality -- from her singing synths to her singing voice. Each song builds on or reduces her signature sound palette, moving from scattering snares and toms, percolating digital percussion, thumping low end and dubby synth chords, but it's her vocal presence that keeps the album focused, grounded and close. She clearly understands the less-is-more philosophy and applies it well throughout. While first writing complete lyrics for her minimal yet full-bodied programming, she then takes out most of the lines, leaving only repeated choruses or refrains, adding just enough of herself to make it personal, but leaving a lot space to make the appeal universal. Across the album it also becomes apparent that she really understands R&B's coolness. Unlike many contemporaries dabbling in the genre, Cooly G isn't strictly trying to make an R&B or house song; she creates tracks that clearly and assertively fuse the two in a way that feels completely unforced and quite natural. If you've been at least intrigued by the slew of female electronic artist stepping into the light, such as Maria Minerva, LA Vampires, Fay, Laurel Halo, and even Nite Jewel to some extent, then check Cooly G, as she shifts the focus from an indie/experimental artist flirting with soul and beats to a solid dance producer who knows how to effectively use her voice. Definitely in my year's "Best So Far" list and whole-heartedly recommended. Playin' me? For sure! [DG]


	$9.99 12" $1.11 MP3		ARIEL PINK'S HAUNTED GRAFFITI & DAM-FUNK Baby (4AD) Preview Songs on Other Music's Download Store Strange as it seems, 2012 seems to be the year for teenage loggers Donnie & Joe Emerson, who back in 1979 privately pressed up their lone record Dreamin' Wild. It sat unheard for decades, but this year alone has seen a deluxe reissue of the album on the Light in the Attic label as well as two covers. The first was courtesy of the Hype Williams duo and the second comes courtesy of Ariel Pink and Dam Funk. It's the first single from Ariel's anticipated new album, Mature Themes, and damn, this is some sublime blue-eyed soul as rendered by Pink and Funk. They keep the innocent, earnest spirit of the original intact, tease out a bit more of its subliminal doo-wop moments, and wrap it up into one of 2012's dreamiest pop moments. [AB]


	$17.99 CD		PAPERCLIP PEOPLE The Secret Tapes of Dr. Eich (Planet E) Carl Craig's seminal Detroit house/electro album The Secret Tapes of Dr. Eich, released in 1996 under his Paperclip People alias and sadly out of print for years now, has just been reissued in a banging remaster with snazzy new cover art. The album displays a full spectrum of dirty, gritty tunes, filled with throbbing synth sequences, oscillating waveforms, clattering percussive breaks, and some rock-hard, snapping house rhythms. He throws down classics that sample the likes of the Flying Lizards and Liquid Liquid, paying tribute to the post-punk/new wave "dance grooves meet punk attitude" aesthetic that this project updates and modernizes with aplomb and delight. The album also houses some of Craig's most classic tracks, among them "Steam" (based around a sample of Flying Lizards' "Steam Away" from their lesser-known second album), "Clear and Present," which takes the sound of Kraftwerk and updates it for the Trax Records set, and the epic "Throw," which recently received a wild cover version by LCD Soundsystem, often a highlight of that band's live shows and subject to a split 12" with Craig's original. (We happen to currently have copies of that split 12" in stock now!) The album is an obvious tribute to the romance of dancing, with its sampled tributes to past dancefloor classics, and its sharp, witty usage of lovelorn disco string samples disconnected from their original context and placed as memoirs of a lost era amidst the grittier, harder rhythms constructed here. This is absolute essential listening for dance heads, and the new remaster sounds wonderful. I'm so psyched to have this classic album back on our shelves, and if this sounds like it's up your alley, I urge you to grab it, because this is an allegedly limited edition. Absolute highest recommendation on this one, folks! [IQ]


	$13.99 CD $15.99 LP $9.99 MP3		SLUG GUTS Playin' in Time with the Deadbeat (Sacred Bones) "Moving Heat" "Stranglin' You Too" I feel like I just smoked a carton of Marlboro Reds, downed three pints of Jim Beam, and snorted a few lines of tar. Yet I've never felt better. Slug Guts share the same traits as fellow Aussies Lubricated Goat, King Snake Roost, and Venom P. Stinger; it's music built on nihilism and veins pumped full of wet, black heat. Playin' in Time with the Deadbeat has elements of authentic danger that seem to be missing from rock 'n' roll these days, when most dudes would rather be putting on a pair of slippers and wrapping themselves in Grandma's blanket. The guitars clang like they're being played with monkey wrenches and the drums sound like trashcan lids, while vocalist Jimi Kritzler howls his way through twelve dark tales of violence and reckless desperation. Fans of early Birthday Party should be into this but that's selling it kinda short. Number one band. [AK]


	180 Gram $25.99 LP		THIN LIZZY Thin Lizzy (Light in the Attic) "Ray-Gun" "Eire" There are some who (correctly) believe that the key to finding the fountain of youth for rock music, and true inspiration for rock musicians, lies in stepping backwards, in trying to pick up the script wherever it was dropped, to find the strength and perfection of past bands that were just trying to see what would stick, and actually making it happen. We live in a time far enough removed from the existence of the groups and their antics that we can appreciate their works for nothing more than what they are. General scarcity aside, that's why you see copies of the first Thin Lizzy record on the walls of record stores instead of in the bins. Light in the Attic attempts to remedy that with a straight reissue of this seldom-heard gem. It took almost eight years for Thin Lizzy to find any sort of payoff in their music, but they existed during an era when record labels would front the bill for album after album of musicians sorting out where they were at the time, and each record is a look into where they were at that stage in their development -- which, in the case of Thin Lizzy, was always as moving as it was thrilling. Thin Lizzy was one of the few groups that succeeded in getting stuck, thanks to worldwide exposure over galvanized, mid-'70s hits like "Jailbreak" and "The Boys Are Back in Town," songs that are still being caned through the edict of classic rock playlists on the radio, all over the world, every day. The band they became was still trying to figure it out in 1971, upon the release of their first full-length, but they show remarkable depth and a pop sensibility that would underscore every one of their works to follow. Iconic lead singer/bassist Phil Lynott and drummer Brian Downey were the only constants in the Dublin group at the time of this release. Before they helped to popularize the twin lead guitar stance that would all but open the door for the New Wave of British Heavy Metal, they were a power trio, rounded out by guitarist Eric Bell. The three made an album worthy of notice -- steeped in the then-modern era of rock, blues, folk and progressive rock that has aged terrifically. Tracks like "Ray-Gun" recall Hendrix at his funkiest, and "Return of the Father's Son" rocks with an intensity and complexity that grabs you by the sides of your head and shakes it really, really hard. Others like "Honesty Is No Excuse" take the Mellotron out for a walk, while "Look What the Wind Blew In" would inform the hard guitar pop-rock the band would become known for in the years to follow. Unlike the dozens of groups that were given the chance to try out some grand album-based experiment in the early '70s, Thin Lizzy was already showing a well-formed sound and a charisma that would carry them, limping, towards both success and tragedy. If you just know their singles, or don't know them at all, it's time to get acquainted from the beginning -- theirs is one of the most satisfying catalogues of rock music in history, and it all begins here. [DM]


	$14.99 CD $21.99 LPx2		OM Advaitic Songs (Drag City) "Gethsemane" "State of Non-Return" Duo Om (Sleep's Al Cisneros and, most recently, Emil Amos of Holy Sons and Grails) does a lot with very little. Their brand of churning doom-chant, often mesmerizing in its relentlessness and low end, is instrumentally sparse -- just drums, bass, and vocals. The group's latest, and second for Drag City, Advaitic Songs, finds them doing a lot with a little more. Still intact are Om's trademark cymbal-centric grooves, their mantric bass riffs, and Cisneros oft-esoteric lyrics. But, as hinted at on 2009's God Is Good, the duo's starkness sometimes benefits from a little accompaniment and ornamentation. Advaitic Songs is the next step, a graceful and surprisingly tender continuation. With the help of some guest vocalists and instrumentalists, including Robert A.A. Lowe, a/k/a Lichens, the five tracks herein reach hypnotic heights; layers of new sound grant the band a fullness unrealized on previous releases. Much of the record is accentuated rhythmically with tabla, which brings Om's already Eastern aesthetic to new heights. The secret weapon, though, is cello -- fear not, Om purists, it's used in the most tastefully heavy way possible. On "State of Non-Return," the album's head-banger, cello accentuates and mirrors the growling bass hook, adding another flavor to the low end. The song then digresses into numinous cello/violin interplay, all the while maintaining a deep chug. Tamboura -- an Indian instrument reminiscent of the sitar -- makes an appearance on "Gethsemane" and "Sinai," deepening the duo's already guttural drone. "Sinai" also gets a Lichens-treatment from Lowe; the track is bookended by a lone ethereal wash, a single-note drone that recalls Phil Niblock's work in its tenacity and spectral waver. And "Haqq al-Yaqin" features an acoustic guitar; here, Om takes their cue from Six Organs of Admittance. A lavish and complex album, Advaitic Songs finds the band growing in an exciting direction. [JK]


	$17.99 CDx3 $25.99 LPx2+MP3 $15.99 MP3 Copper Blue + Bonus Tracks $3.99 MP3 Beaster EP $15.99 CDx2 $19.99 LP+MP3 $15.99 MP3 File Under: Easy Listening + Bonus Tracks		SUGAR Copper Blue / Beaster - Deluxe Edition (Merge) Preview Songs on Other Music's Download Store SUGAR File Under: Easy Listening - Deluxe Edition (Merge) Preview Songs on Other Music's Download Store If any '90s band deserves to get the reissue treatment, these two albums from Sugar are at the top of the list. Bob Mould cemented his legacy early on in the 1980s with Husker Du, a band that arguably paved the way for alt-rock icons from Pixies to Nirvana and all that followed, and who crashed and burned as they made the transition from putting records out on the iconic indie SST to the major leagues of Warner Bros. Mould would go on to record a pair of great, critically acclaimed (but somewhat ignored) solo albums before triumphantly re-emerging some five years after the Huskers' break-up with a new band called Sugar, featuring bassist Dave Barbe (Mercyland) on bass and Malcolm Travis (Human Sexual Response) on drums. Listening in hindsight, Sugar's Copper Blue from 1992 is a perfect encapsulation of indie rock of the time done right: from the thick layers of fuzz-guitar power chords to the propulsive rhythm section, to Mould's effortlessly hook-filled, telltale melodies. Tracks like "Good Idea" is the catchiest song the Pixies never wrote (and perhaps a little playful come-uppance) while the jangly '60s pop yearn of "If I Can't Change Your Mind," which quickly became a staple on college and modern rock radio (not to mention MTV's Alternative Nation), and the anthemic "Helpless" are just a few of the highlights from an album that is filled with nothing but. A year later, the aptly titled Beaster EP (included here on the Copper Blue reissue) would appear, a more noisy, frantic six-song set culled from the Copper Blue sessions that no doubt pleased some old Husker Du fans who might have been dismayed with Mould's softening of the edges. Released in 1994, File Under: Easy Listening was far from what its title suggested, though it swung back to the poppier side of the spectrum and also ended up being Sugar's swansong. The record, however, displayed the widest scope of Mould's songwriting to date, from the nose-diving My Bloody Valentine-inspired guitars in "Gift" that open the album to the jaunty sing-along alt-rock of "Your Favorite Thing" to the searching mid-tempo chug of "Explode and Make Up." Some 20 years later, Bob Mould has been revisiting his Sugar days again, performing Copper Blue live with Jason Narducy (bass) and Jon Wurster (drums) -- Brooklynites, mark September 7th on your calendar! The timing of these two nicely re-mastered deluxe reissues couldn't be better then, and Merge has done an incredible job with both, loading the Copper Blue CD set with two bonus discs featuring the aforementioned Beaster EP plus B-sides, a full concert recording from 1992 at Chicago's Cabaret Metro, and a 40-page booklet with band interviews. (The double-LP version includes vinyl pressings of Copper Blue and Beaster, plus downloads of both records, as well as the B-sides and concert.) File Under: Easy Listening has been given a pretty great treatment as well, reissued as a 2-CD set featuring the full album, B-sides, a complete live show from 1994 and a 32-page booklet with band interviews. (The LP version contains the full album, as well as downloads of the complete record, B-sides and 1994 show.) Sugar's discography may have been limited, but the quality of the material that Mould and his band produced during this short amount of time still sounds great. Enough said -- file both of these under essential listening! [GH]


	$10.99 CD $12.99 LP+MP3 $9.99 MP3		HOLOGRAMS Holograms (Captured Tracks) "Orpheo" "ABC City" As the story goes, Holograms are a quartet who slave away at a Stockholm factory by day, and then play together on whatever cheap instruments they can afford by night. Some aspects of the tale might be questionable, but the music certainly is not. Holograms are a fine example of modern punk: lo-fi, angular, fast, and melodic. "Monolith" kicks off the album with a slow bass line, but quickly progresses into an angry anthem for concrete urban living during Stockholm's cold, grey winters. Vintage synth riffs accompany gritty, choppy guitars throughout "Chasing My Mind" and "ABC City," making these two tracks more than dancefloor- and single-worthy, while their frustrated punk aesthetic and stocky instrument progression comes through most on "Memories of Sweat," "Stress" and "Fever." Closing track "You Are Ancient (Sweden's Pride)" is the band's sarcastic opinion of 'false pride' in Sweden's heritage, on which they sing "Even though it's dark it won't last forever/ Hearts of stone, love for the summer/ Sweden's pride." Rough life or not, Holograms' musical outlet has spawned a brilliant album of the "we-don't-give-a-damn" solid punk aesthetic we've all been itching for. Thanks, Sweden. [ACo]


	$14.99 CD		JEREMIAH JAE Raw Money Raps (Brainfeeder) "Greetings" (Feat. Tre) "Money and Food" Formerly based in Chicago and now living in Los Angeles, rapper Jeremiah Jae's story is like an ad for social networking. Having released a ton of mix-tapes (notably one where he raps over Dilla's famed Donuts album), EPs (including one from his former group, Young Black Preachers -- great name!) and other oddities, his tracks eventually fell upon the ears of Flying Lotus. And while his official debut album is for the Brainfeeder label, it kinda feels like it should be on Stones Throw -- but whatever. Jae's technique is similar to Madlib or MF Doom in that he freaks samples into a psychedelic sound bomb, with an avant slant to his productions that would make James Pants a little jealous. Raw Money Raps is filled with dizzying amounts of left-of-center yet funky samples, overdubbed vocals, and snappy beats. Smoky, hazy, dusty and murky, Jae moves from rapping to speaking, reciting and singing, and even ultimately chanting like he has a split personality from song to song. The result is visual, occasionally claustrophobic, heady and dense. The album plays out like many of his mix-tapes, with a lot of interludes and dialogue all creating a mise-en-scène similar to walking through the hole in the wall that leads to John Malkovich's head. Though this album will surely appeal to fans of Danny Brown, Main Attrakionz, and Jneiro Jarel, in some ways Jeremiah Jae still feels more like an outsider, being entirely self-produced except for the track "Cat Fight," which features FlyLo behind the console. I'll admit it's taken a few listens, but I'm starting to see the appeal and why it's on Brainfeeder -- a raw and rugged slow-burner for sure. [DG]


	$17.99 CD $24.99 LP		BLO Step Three (Hot Casa) Nigerian rock band Blo has had its debut album reissued a number of times since its initial release in 1973, and tracks from its follow-up Phase II have surfaced on compilations, but on 1975's Step Three, the trio discarded most of the notions from their psychedelic past, and moved into a more comfortable position. This record is made up of six longer excursions into tight, kinetic funk, with a telegraphic rhythmic imperative and super-informed playing, influenced by groups like Mandrill, Headhunters-era Herbie Hancock, and the JB's. It's a lot more polished than many of the African records that have been reissued in recent years, much to the band's benefit. Coils of electric guitar skitter over insistent bass, groovin' drumming, Moog blasts, and a horn section that included members of Fela's band. This record never lets up, from tracks where vocalist Berkely Ike Jones reveals the imprimatur behind his machismo, to ratcheted-up proto-disco dancefloor burners like "Hot Chase," the group skillfully welding regional influences to Westernized urban sounds. Moreover, this is one hell of an album, and fans of funk and African music would do well to check it out. [DM]


	$14.99 CD $17.99 LP		LAETITIA SADIER Silencio (Drag City) Though Stereolab has been on indefinite hiatus for three years now, Laetitia Sadier has continued recording and performing, also retiring her longtime side project Monade and focusing on what's proving to be a fruitful solo career. While 2010's The Trip was a gorgeous yet sobering record which found Sadier dealing with the loss of her sister and confronting mortality, its follow-up, Silencio, is oft politically charged, even when compared to the Marxist undertones that frequently bubbled below the surface of the 'Lab's gurgling Moogs and organ drones. Still, her velvety French-accented melodies ensure that her intimate observations and protests are more evocative and heartfelt than simply pissed off; far more organic than anything that "the Groop" ever released, the lush arrangements here are sophisticated, jazzy and yes, loungey, in other words perfectly befitting Sadier's timeless voice.


	$8.99 12" $4.99 MP3		ERIKA SPRING Erika Spring EP (Cascine) Preview Songs on Other Music's Download Store This debut five-song solo EP from Au Revoir Simone's Erika Spring finds her stepping away from the autumnal, Casio-driven electro of her main group and embracing a weightier and dare we say more accessible form of dreamy pop music, certainly in part thanks to the denser production from Violens' Jorge Elbrecht. Make no mistake, though, this is Spring's outing with her distinctive breathy voice sounding more confident than ever as her yearning melodies cut through a lush tapestry of keyboards and beats. Bonus points for a great cover of the Eurythmics' "When Tomorrow Comes."


	$14.99 CD $22.99 LPx2+MP3 $9.99 MP3		THE CINEMATIC ORCHESTRA PRESENT In Motion #1 (Ninja Tune) Preview Songs on Other Music's Download Store Not really a proper Cinematic Orchestra album, but certainly an intriguing extension of composer/multi-instrumentalist/programmer Jason Swinscoe's longstanding exploration of the intersection between film and sound. Here, Swinscoe has invited his favorite producers and musicians (including Tom Chant, Dorian Concept, Grey Reverend, and Austin Peralta) to create pieces inspired by old, influential avant-garde films, along with three new tracks from the Cinematic Orchestra. The contributions from all involved are varied, from minimalist jazz-fusion to stunning broad sweeps of piano and strings.


	$9.99 CD $16.99 LP+MP3 $4.99 MP3		THREE MILE PILOT Maps (Temporary Residence) Preview Songs on Other Music's Download Store After a decade-long hiatus, Three Mile Pilot appeared back on the scene in 2010 with The Inevitable Past Is the Future Forgotten, a surprising return from this '90s indie rock band who had been put on the backburner due to the recording and touring commitments of Pall Jenkins and Armistead Burkwell Smith IV's more popular side projects (Black Heart Procession and Pinback, respectively). While that comeback album found 3MP essentially picking up where they left off in the late-'90s, this new five-song EP is a much more inspired set. Brooding indie-art-rock that owes as much to Bauhaus and Nick Cave as BHP and Pinback while never collapsing under its own weight.


	$25.99 LPx2 $16.99 CD $9.99 MP3		LEE HAZLEWOOD The LHI Years: Singles Nudes & Backsides 1968-71 (Light in the Attic) "The Bed" "Victims of the Night" Light in the Attic inaugurates what is said to be an in-depth reissue program of maverick American songwriter/producer/provocateur Lee Hazlewood's LHI record label with this excellent compilation of album tracks, rare single cuts, duets, and even a previously unreleased track never before compiled. Dedicated Update readers know that I'm a big Hazlewood fan who owns quite a bit of vintage Lee vinyl, and the man's work has been a storewide favorite since our inception back in 1995; needless to say, this already gets two thumbs up, but let's talk about the specifics that both the casual fan AND the diehards need to know. Quite a bit of Lee's catalogue was reissued by Sonic Youth drummer Steve Shelley's Smells Like Records label back in the late '90s/early 2000s, but those reissues have gone long out of print (often fetching heavy prices themselves), and while many of those reissues were sourced from clean vinyl copies (albeit with Hazlewood's involvement), Light in the Attic is working from the original master tapes, and these tracks have never sounded better! I'll admit, I was a bit disappointed that this collection features a fair amount of album cuts, as I worried about the "double dip" factor that will occur when LITA reissues the albums in full; I've got to say, though, that around two-thirds of the set is drawn from rare single releases, not to mention the previously unheard "I Just Learned to Run," a fantastic mellow groover from 1969 that rides gently tense strings above a seesawing back porch country-blues beat. Elsewhere, they dip into classic tunes from albums like Cowboy in Sweden, The Cowboy and the Lady, and Requiem for an Almost Lady to flesh out this essential portrait of one of America's greatest songwriters. Top marks also go to the hilarious sleeve design, which balances sex and 'stache with equal measure, and the excellent, touching liner notes provided by Hazlewood associate Wyndham Wallace; altogether, it makes for one hell of an intro to what looks to be one of Light in the Attic's crowning achievements as a label, and easily one of the best reissues of 2012 thus far. It's a great place for neophytes to begin what will prove to be a long journey down a twisted road, and it's filled with enough to satisfy all but the most fervent, fanatical collectors. All I can say aside from that is that I can hardly wait to see what they've dug up for the LHI material released AFTER 1971, as there are some serious doozies in that part of the catalogue! You know what comes next, folks: Highest Recommendation! [IQ]


	$21.99 LPx2 $15.99 CD		LEGO FEET Lego Feet (Skam) Part 1 Part 3 Rob Brown and Sean Booth have produced the bulk of their music as either Gescom or Autechre, but their first and most sought after EP had the name Lego Feet attached to it. Twenty years after its release, Skam has finally reissued what remains one of the duo's very best records. Originally composed of two side-long tracks without a clear index, here we get the original music plus two additional pieces, all molded from industrial textures, hip-hop breakbeats, computer melodies and fragmented audio that skips and leaps in the way that tape collage usually does. Anyone disappointed by Autechre's output over the last ten years will be elated to hear this; whiffs of Incunabula and Amber are abundant, as are danceable rhythms, big bass lines, and strong melodies. That's not to say this is like a techno version of Rob and Sean's early output, but there are some seriously funky moments spread across all four songs, and anyone happy with their colder, harder sound from the 2000s will be pleased to hear flashes of their future abstraction in these productions too. Booth and Brown make excellent use of sudden edits and dizzying cuts, and at times they splice themselves closer to the algorithm than to the dancefloor -- either way, it's exciting to finally hear where and how Autechre got started. Literally everything that made Ae among the most loved of the '90s-era IDM groups is present, from the soulful synth lines to the frazzled rhythms and the hypnotic loops. There's a reason fans have shelled out close to $300 for a copy of the original vinyl. This is undeniably essential music, whether you're an Autechre fanboy like me or not. [LS]


	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 [ACo] Anastasia Crisis [DG] Daniel Givens [GH] Gerald Hammill [IQ] Mikey IQ Jones [JK] Jacob Kaplan [AK] Andreas Knutsen [DM] Doug Mosurock [LS] Lucas Schleicher THANKS FOR READING - all of us at Other Music

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