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   August 20, 2008  
       
   
         
 
FEATURED NEW RELEASES
Arica
Wolfgang Voigt
Never Ever Land (Various)
The Walkmen
Kompakt Total 9 (Various)
Lindstrom
The Peace
Stereolab
The Mohawks
Mulatu
Death Vessel
Lykke Li
The Fiery Furnaces
Model 500
Teiji Ito
 

Ra Ra Riot
Nathaniel Mayer

ALSO AVAILABLE
Wax Poetics (Issue #30)
DFA Presents Supersoul
Notwave (Rong/DFA compilation)
Moondoggies
Jim O'Rourke
Music Tapes
Human Highway

BACK IN PRINT
Debris LP


All of this week's new arrivals.

 
         
   
   
   
   
   
       
   
 
 
AUG Sun 17 Mon 18 Tues 19 Wed 20 Thurs 21 Fri 22 Sat 23






  WIN TICKETS TO THE BUNKER FEAT: AKUFEN
This Friday, the Bunker welcomes one of the best-known names in micro-house, Akufen. The Montreal producer incorporates found sounds, random radio static, and other weird noises into his music, giving it an instantly recognizable sound. This will be the fourth year in a row that he's been a guest DJ at the party, every time absolutely memorable. Joining Akufen will be residents Spinoza and Derek Plaslaiko. Other Music has two pairs of tickets to give away and all you need to do to enter is send an email to giveaway@othermusic.com. We'll notify the two winners this Friday morning.

FRIDAY, AUGUST 22
The Bunker at Public Assembly: 70 North 6th Street Williamsburg, Brooklyn

 
   
   
 
 
AUG Sun 17 Mon 18 Tues 19 Wed 20 Thurs 21 Fri 22 Sat 23




  BAILTER SPACE TICKET GIVE AWAY
When our friends over at Bowery Presents asked us if we'd like to give away tickets to this Saturday's Bailter Space show, we signed on with no hesitation. While it's been more than a couple of years since we last heard from these noisy New Zealanders (arguably the loudest band associated with Flying Nun), just the mere thought of their wonderfully dense, atmospheric rock is enough to make the ears start ringing, and we mean that in the best possible way. We've got two pairs of tickets to the night, and you can enter by emailing contest@othermusic.com. Winners will be notified on Friday.

SATURDAY, AUGUST 23
BOWERY BALLROOM: 6 Delancey Street NYC

 
   
   
 
 
AUG Sun 17 Mon 18 Tues 19 Wed 20 Thurs 21 Fri 22 Sat 23
AUG Sun 24 Mon 25 Tues 26 Wed 27 Thurs 28 Fri 29 Sat 30
SEP Sun 31 Mon 01 Tues 02 Wed 03 Thurs 04 Fri 05 Sat 06

Junior Boys


  WIN TICKETS TO THE BEACH PARTY
Yes, it's only a matter of weeks before the summer breeze that makes us feel fine takes a chilly turn, but it's not too late to come out to one of the last few installments of this year's Beach Party on Long Island City's Water Taxi Beach. The line-up has been solid all season, with guests like Moodymann, I:Cube and Rich Medina joining residents Justin Carter, DJ Probus, and Todd Makinen, and they're going to end the summer with a bang. This Saturday, the crew welcomes Efdemin (Berlin, Dial), and then a week later they'll be throwing a Spectral Night with Osborne, Ryan Elliott and Marcel Wave a/k/a Tanner Ross of Freerange and Dirtybird (Detroit, Boston). Closing out the summer weekly, the Junior Boys will DJ the final Beach Party of the year on Saturday, September 6. We've got one pair of tickets to give away to each night. Just send an email to giveaway@othermusic.com, and please list the date you'd like to enter for.

SATURDAY, AUGUST 23: EFDEMIN
SATURDAY, AUGUST 30: SPECTRAL NIGHT
SATURDAY, SEPTEMBER 6: JUNIOR BOYS DJ SET

BEACH PARTY @ WATER TAXI BEACH: 2nd Street and Borden Avenue Long Island City, Queens

 
   
   
 
 
SEP Sun 07 Mon 08 Tues 09 Wed 10 Thurs 11 Fri 12 Sat 13



  WIN TICKETS TO GOLDFRAPP
Following their sold out performance at the Beacon Theatre earlier this year, Goldfrapp return to New York for a special appearance on Friday, September 12 at Radio City Hall, in support of their latest album, Seventh Tree. The historic stage is sure to be an amazing backdrop guaranteed to make the duo's theatrical show all the more spellbinding. Goldfrapp will be joined by special guest Martha Wainwright who opens the night. Other Music has one pair of tickets to give away! To enter, email tickets@othermusic.com. We'll be notifying the winner on Monday, August 25th.

FRIDAY, SEPTEMBER 12 @ 8PM
RADIO CITY MUSIC HALL 1260 Avenue of the Americas NYC
Click Here to purchase tickets

 
   
   
   
   
   
       
   

 

 

     
 

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  ARICA
Heaven
(Arica)

"Heaven"
"Thorn"

Some ten or twelve years ago, a friend and I got wind of a jazz record sale to be held early one morning at a mall in the suburbs outside of Kansas City. Of course we arrived at what seemed to be the crack of dawn to wait in line, and when the organizer of the sale finally arrived we kindly proffered to volunteer and help him set up the tables, subsequently staggering and weaving from the storage room as we attempted to simultaneously carry boxes while frantically flipping through them. As I recall, there was little left to be had by the time the sale was to officially begin after the glorious haul we had just made, and we subsequently decamped to my friends home for a lazy afternoon of listening and letting the magnitude of the day's treasure sink in. We listened to any number of records that day that made an indelible impression, but the album that was the most enigmatic wasn't exactly a jazz record per se at all, it was a profoundly mysterious LP with little in the way of information by a group called Arica.

The story of how the music on the Arica LPs, for there are at least three or four, exactly came to be is still yet to be written; rarely has such incredible music been so un-Googleable. What I can tell you, and what seems to be at least fairly common knowledge, is that Arica is a human potential movement founded at some point in the sixties by a Bolivian mystic named Oscar Ichazo, that endeavors to undertake the "definitive analysis of the human mind and the achievement of pristine enlightenment." A shaman introduced Ichazo to pyschotropic drugs such as ayahuasca while still a teenager, which instigated a life-long interest in hidden knowledge. He began formulating his quasi-Gurdjieffian system in the mid-fifties, and in 1968 made true believers of an influential group of initiates in the desert of northern Chile, including several Americans that came back to the States spreading the gospel, as it were. There was a period of rapid growth with workshops being formed to explore the kinesthetic movements that Ichazo believed would aid deep concentration. Drugs such as LSD and cocaine were apparently also used as aids towards higher development, and a group of Aricans including Ichazo were even sent to train the cast of Alejandro Jodorowsky's underground masterpiece Holy Mountain. They were based out of the Essex Hotel here in New York, and apparently had a shop that sold pamphlets and privately pressed LPs, the music supposedly being an aid to meditative states and to do calisthenics to. The record we're reviewing, Heaven, somewhat inexplicably came out on Michael Lang's Polydor subsidiary label Just Sunshine, best known for releasing such Other Music favorites like Betty Davis, Karen Dalton, and the Voices of East Harlem. As with Scientology, Arica no doubt attracted their fair share of musicians, actors, and other arty-farty types, and it is to be assumed that a fairly deep pool of talent was convened to bring this remarkable document into existence.

While hard pressed to compare it to anything exactly, you'd be in the approximate neighborhood if you were to imagine a meeting between Ash Ra Tempel and the most cosmically meditative sounds of Sun Ra. Deeply weird, yet compulsively listenable and other-worldly, this music creeps along with singular purpose to the ringing of silver bells and bass cushions. Oscar Ichazo and the Arica Institute are still active, and these are handmade CD-Rs recently reissued by the society. We have a limited supply and they take awhile to restock so act fast as they come with our highest recommendation. [MK]
 
         
   
   

 

 

     
 

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  WOLFGANG VOIGT
Gas Book
(Raster-Noton)

"Das Moor"
"November 89"

A revealing collection of outtakes in two mediums, the eagerly anticipated Gas book from Raster-Noton has finally reached our shores! Though the gas money to do so may have jacked up the price -- $46.99 for a softcover book with CD -- hardcore Gas fans will find this essential. This nicely printed, gallery monograph/A-4 sized book houses a tipped-in CD in the back cover. The horizontal text seems to suggest we take it all in sideways/widescreen style and even urges us to treat the pages like a "flip-book;" each spread consists of a plain black page on the left and a full-bleed image on the right. Not to spoil the surprise, but the images are essentially outtakes and details from Wolfgang Voigt's photos used for his Gas album art that begins primarily in cinematic black and white that eventually jumps into colors of red, blue, yellow and green of the later record covers. The extended black and white "passage" of the beginning makes the color-splash of the end almost shocking.

The 50-plus-minute, excellently sequenced five-track CD includes some of the most special Gas recordings available -- early '90s, pre-album recordings that are a beautiful contrast to the recent boxset reissue. Instead of a pronounced bass/almost dancefloor feel, or even a more clinical ambient sound as would be expected from Gas' earliest recordings, these are largely amorphous, larger scale (spacewise), even more beatless tracks that have all the grand, huge, ambient, freeform Wagner-esque intensity of Zaubergerg, Koenigsforst and Oktember combined (check "Das Moor")! For uninterrupted "viewing" pleasure, the tracks are even linked together without pauses in between. Tracks entitled "November 89" and "Nah Und Fern" are quite unlike the versions heard on the Total series and "Nah Und Fern" 12-inch EP respectively. Again, they are huger, beatless soundscapes. The old man on acid in the woods that Voigt uses to describe this special project is definitely forgetting his name at this point. The final cut, "Tal 90" is a gorgeous, sunshine-spilling piece with blooming chords and glistening strings/digital clicks. It's the kind of track that will either inspire you to "rewind!" to its beginning or just have you starting the entire disc over again. Essential music! [SM]

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  VARIOUS ARTISTS
Never Ever Land: 83 Texan Nuggets from International Artists
(Recall)

"Fire Engine" The 13th Floor Elevators
"Professor Black" Lost and Found

A timely arrival for me as I just finished Bill Drummond's excellent 13th Floor Elevators book not long ago. One of the only complaints about the book I had was that there wasn't much info about the International Artists label that didn't directly relate to the Elevators releases. You didn't really get the impression that they had much else going on besides Roky & crew and maybe the Red Crayola. Then you start getting into this compilation and you've got the Chayns, Lost and Found, Bubble Puppy, Endle St. Cloud, the Golden Dawn (whose Elevators worship is so over the top that it has to be heard) and you realize that obviously that was not the case because even if you exclude the Elevators tracks, the first two discs here are pretty much as solid as the best of the best '60s comps out there. The third disc is a lot more esoteric but does a pretty good job in giving a fuller picture of the label as a whole and while you might not find yourself playing it straight through like the first two CDs it has some essential stuff to be sure. It's all packed in a nice little box with a great booklet that includes a label overview, info on the bands, a great interview with IA employee (and the man responsible for a lot of the commercial success that the Elevators and IA had) Lelan Rogers and a complete label discography. The only way I'd let you off the hook for not buying this is if you've already got the bulk of the first two discs. Otherwise it is essential. [DMa]
 
         
   
   
   
   
   
   

 

 

     
 

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  THE WALKMEN
You & Me
(Gigantic)

"In the New Year"
"Four Provinces"

The Walkmen's fifth studio album, You and Me, finds the New York band reborn. In 2006, the group took a departure from their customary sound for a remake of Harry Nilsson's Pussy Cats and, to a certain extent, on the following album A Hundred Miles Off via overworked Dylan pastiches, misplaced horns and slicker sounds. On You and Me, the group reverts back to the trademarks of an earlier Walkmen and the sound that defined their debut: darker, loopy guitar riffs, moody, heavier bass, offbeat drumming and strained, attention-grabbing vocals. Of course, You and Me is not as harsh or as immediate as 2002's Everyone Who Pretended to Be Like Me Is Gone, but here we find the band successfully developing and evolving their hallmark sound. Beginning with a tentative and more exotic "Donde Esta La Playa," by the time the Walkmen crank up to the fourth track, "In the New Year," it's clear that the group hasn't lost the ability to craft music that deserves to be noticed. Focusing on the theme of travel throughout, Hamilton Leithauser, whose vocals are now a perfect combination of Dylan and his own individuality, soaks each track with nostalgia as each song resonates both literally and figuratively to create some pretty great musical moments. Yes, the topics of discussion are simple and have been done before, but when done with the confidence and grace displayed here, the Walkmen never come off as hackneyed. Returning to and refining older concepts to create stronger, beautiful tracks, on You and Me, the Walkmen are the best version of themselves. Best of 2008 material. [PG]
 
         
   
   

 

 

     
 

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  VARIOUS ARTISTS
Kompakt Total 9
(Kompakt)

"With Wings" Thomas Fehlmann
"Hey Hotties!" Supermayer

The latest installment of Kompakt's annual Total sampler is a special affair, marking ten years as a record label and fifteen years as a store. Not to overlook this accomplishment, the good people at Kompakt packaged some of this past year's best as well as a few rare delights onto a double-disc CD, or triple LP, and are throwing a huge party to celebrate. Some big players on the compilation include Supermayer, Superpitcher, Gui Boratto, Thomas Fehlmann, Kaito, and SCSI9; while everyone on this set is a well established DJ in the minimal techno fields, that lineup sells itself. Kompakt remains one of the leading German electronic and weird sounds labels around, and each year these compilations serve as a kind of reminder of the Cologne label's fortitude for those of us not on top of the latest 12"s released in house music every month. From club-based dance hits, to ambient minimalism and headphone anthems, Total 9 spans all things great about German house. I can remember being introduced to Kompakt through one of their Pop Ambient releases a number of years ago, and being enthralled by the otherworldly beats and spaced out-sounds breathing life into an electronic world I had started growing away from. So Total 9 is an exciting release for many reasons, the least of which are to hear what is going on today, how it's being done, and why Kompakt will remain on the forefront for many years to come. [BC]
 
         
   
   

 

 

     
 

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  LINDSTROM
Where You Go I Go Too
(Smalltown Supersound)

"Where You Go I Go Too"
"The Long Way Home"

We've been big fans of the space disco sound for years and have closely followed the moves of Norwegian producer Hans-Peter Lindstrom. Be it his epic remixes of LCD Soundsystem and the Juan Maclean, his duo with fellow producer Prins Thomas, his own collection of singles, not to mention his new project with Solale, there's been an exhilarating consistency to the work. But even with keeping tabs on the man's myriad of projects, we're shocked by what amounts to his debut album. We knew he could do epic slices of spacey dancefloor stuff, but he burst right through the envelope here, aiming for pure bliss and transcendence on his half-hour title track. Strains of John Carpenter and Giorgio Moroder's soundtrack work appear, but the whole outstrips the sum of its parts. From there, Lindstrom mixes anxious synths with field recordings, more Balearic strains, and grandiose disco maneuvers, the results being one of 2008's most rewarding (and perhaps polarizing) albums. Highly recommended. [AB]
 
         
   
   

 

 

     
 

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  THE PEACE
Black Power
(Groovie)

"Peaceful Man"
"This Is the Time Now"

Groovie Records brings us a limited reissue (500 copies!) of the Peace's Black Power LP, a much-sought-after Zambian Afro-rock nugget from the mid-1970s. Recorded in the Zambian copper-belt, Black Power was released to deaf ears in its motherland, and now thanks to feverish blogging culture amongst rabid psych heads, we get this diamond-in-the-rough reissue, albeit for a short while. Not much is known about this killer of an album, but what you NEED to know is this: if you're a fan of recent records like African Scream Contest, the recent Chrissy Zebby Tembo reissue, or the African volume of the Love, Peace, & Poetry series, you're definitely going to want this monster. Fuzz guitars, miniature Sabbath-esque dirges, and the usual rock-solid grooves mingle with socially conscious lyrics and the odd Afro Ozzy-esque vocals of frontman Ted "Jagari" Makombe. The CD's definitely mastered from a less-than-stellar vinyl copy of the record, but when the music's of this quality, a little snap, crackle, and pop never hurt anyone, did it? Dig in -- recommended! [IQ]
 
         
   
   

 

 

     
 

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  STEREOLAB
Chemical Chords
(4AD)

"Silver Sands"
"Three Women"

Four years since their last proper album, Margerine Eclipse, Stereolab had been progressively whetting our collective appetite through the release of solid spin-off records and compilations up until the good news came that the Groop were to release a new full-length with stalwart label 4AD. It's definitely the same 'Lab sound that we've loved for years now, and no surprise that the funkily exotic, whimsical-'60s pop sound of the latter half of their career comes through more than the droning Kraut influences heard on early records like Peng! almost twenty years ago. The mood is slightly brighter here too, Chemical Chords containing some of the band's most delightfully accessible and organic songs to date, but without shedding any of their skewed sensibilities. With longtime collaborator Sean O'Hagan handling the string and brass charts, it seems that Stereolab found inspiration through new arrangements and recording techniques such as the sample-based laptop style of "Pop Molecule" or the Jobim homage "One Note Symphony." Nine albums and countless compilations later, chanteuse/Moog maven Laetitia Sadier and songsmith Tim Gane still exude palpable pleasure through their music. And while keeping the tracks concise on Chemical Chords, Stereolab has found a way to remain interesting, exciting, and yes, innovative in 2008, all the while making their legendary status seem effortless. [MG]
 
         
   
   

 

 

     
 

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  THE MOHAWKS
The Champ
(Pama)

"The Champ"
"Baby Hold On"

I've been known to pontificate at length about the genius of Alan Hawkshaw, the humble session man who engineered and played on many a funky library tune in his day, and is responsible for some of the best that the genre has to offer. One of the most famous offerings from "The Hawk" is this one-off funky organ instrumental record from the late '60s. This Hammond-led, Booker T. knock-off gave us one of the most ubiquitous riffs in all of hip-hop, via the title track. You may not have known the name of the song, but you probably sang along to the vocal refrain at some point in your life. The infectious call-and-organ response of "Champ! Do-do-do / Do-do-do / Do-do-do-do-do" has been a staple hip-hop break for 30 years and the rap group Onyx famously interpolated the riff for their hit "Slam." It surely is one of the most extraordinary early examples of funk music, and the tune still packs dance floors to this day. The rest of the album is a pretty solid collection of gritty organ-led instrumental soul, reminiscent of the Muscle Shoals and Stax sounds of the time, which includes a strong cover of "Sweet Soul Music" and the upbeat bouncer, "Baby Hold On." All fans of the Bar-Kays and the classic sounds of southern soul and funk take note. This one's a banger! [DH]
 
         
   
   

 

 

     
 

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  MULATU
Mulatu of Ethiopia
(Worthy)

"Mulatu"
"Munaye"

Primarily known for his prodigious talents as a vibraphonist and a multi-cultural composer and arranger, Ethiopian musician Mulatu Astatke has spent most of his life translating the knowledge and influences he's gained from some pretty diverse geographic locations to an unmistakably African palette. Though relatively recent collections like the Ethiopiques series and Jim Jarmusch's Broken Flowers soundtrack have helped introduce him to current generations and those who hadn't been keenly following the Ethiopian jazz scene for years beforehand, Astatke has been at work for decades now, collaborating with the likes of Duke Ellington from time to time, all while spearheading what's become known as Ethiojazz. This latest edition of Mulatu of Ethiopia resurrects a pretty classic side he originally cut in New York in the early 1970s, one that saw him marry his near-spiritual organ and vibraphone lines to deep funk backbeats that reverberated with a smoky pulse. Tracks like "Mulatu" and "Chifara" are the best examples here, bringing both limber grooves and playful, globetrotting sensibilities that incorporate not only Ethiopian timbres, but occasional nods to Latin rhythms and dub touches. It almost conjures up images of a less gone Sun Ra in parts, one drunk on soulful American funk that's rich with still otherworldly qualities. [MC]
 
         
   
   

 

 

     
 

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  DEATH VESSEL
Nothing Is Precious Enough for Us
(Sub Pop)

"Block My Eye"
"Bruno's Torso"

There is a slightly disarming, otherworldly quality to the music of Joel Thibodeau's Death Vessel, made stranger still because on paper the sound is pretty straightforward neo-folk, in the vein of other popular Sub Pop artists like Iron and Wine or Fleet Foxes. The most obvious reason would be Thibodeau's undeniably haunting soprano, not like Joanna Newsom's childlike warble, but a clear and strong, almost elfin voice. And while in many contexts, such an unusual voice could sink the ship, combined with lovely poetry and crisp production, airy fingerpicked tracks that weave in and out with the utmost grace, Nothing Is Precious Enough for Us is a truly original release. A great leap forward from 2005's interesting Stay Close that marks the emergence of a special artist. [JM]
 
         
   
   

 

 

     
 

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  LYKKE LI
Youth Novels
(Atlantic)

"Little Bit"
"Everybody but Me"

Following up on last year's Little Bit EP, Sweden's Lykke Li Zachrisson has released her debut full-length, Youth Novels, destined to garner attention from critics and fans alike. If it's not the fact that Bjorn Yttling of Peter Bjorn & John co-wrote every track with Zachrisson as well as handling the production duties, it's the formidable Zachrisson herself, whose voice, playful and idiosyncratic, stands out on its own. The tone is childish, but somehow Lykke Li manages to skirt the line of too cutesy by just a hair, lending her descriptors like unique and quirky instead of cheesy. Playing up her strengths, Zachrisson is able to use her vocals to create a modern pop record that successfully mixes and matches several different genres and styles; whether it is a hip-shaker like "Dance Dance Dance" or a more straightforward rock/pop tune like "Breaking It Up," Lykke Li is a chameleon, changing and fitting her vocals to each task. It's hard to pinpoint Lykke Li's sound and direction, as with each twist and turn of Youth Novels she refuses to be pigeonholed; instead, she experiments and showcases her ability to do it all and, almost always, it works to her favor. Refreshingly easy to listen to, Lykke Li is an artist to watch. [PG]
 
         
   
   

 

 

     
 

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  THE FIERY FURNACES
Remember
(Thrill Jockey)

"Don't Dance Her Down"
"Ex-Guru"

While the Fiery Furnaces have had veritable success recording studio albums, the band's life force is best represented by their live stage experience. For performances, prodigious siblings Matthew and Eleanor Friedberger retool and seamlessly amalgamate their recorded material to create medleys that often shift in tone, instrumentation, and even genre for the sake of explorative spectacle. Their new release, Remember speaks to these proceedings, as it is not only a live album, but an album culled from multiple tours between '05-'07. Material from all six of their albums are represented here on a 51 track barnstorm spread between two CDs and three vinyl records. The Fiery Furnaces' unique brand of art-rock has drawn comparisons to both Patti Smith and the Mars Volta, and their acrobatic DIY psychedelia translates wonderfully in concert, as some studio-born pretension that journalists have occasionally criticized is fazed out by proxy. If you're looking for a chance to catch up to the band that's been celebrated by everyone from David Byrne to Karl Lagerfeld, or you're already in the know, then Remember is a record you have to hear. [MG]
 
         
   
   

 

 

     
 

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  MODEL 500
Starlight
(Echospace)

Convextion Remix
Deepchord Remix

Killer deep, vast, dubbed-out classic from Model 500 (Juan Atkins/Cybotron) that originally came as a 12" with a Maurizio remix on the flip. This CD sports an LP's worth (10 tracks) of remixes by artists like Deepchord, Echospace and Convextion in a way that sounds like an album rather than a too-long EP. The track gets alternately stripped down and beefed up to a dizzying, high-quality variety of versions without straying too far from its Basic Channel-ish root sound. Worth mentioning is how some of the remixes manage to conjure up some strong, Detroit soul-tech elements that aren't as prevalent on the original. Solid. [SM]
 
         
   
   

 

 

     
 

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  TEIJI ITO
Watermill
(Tzadik)

"Spring"
"Winter Epilogue"

Watermill was controversial when it debuted at the New York City Ballet in 1972. The audience either hated or loved it, a familiar response to the avant-garde. Released for the first time on CD, this is as progressive now as it was four decades ago. Ito's tradition of drawing out influences from around the world continues in Watermill through Japanese instrumentation, traditional rhythms of indigenous Americans, and Buddhist mantras and meditative practices from Tibet to Japan. The piece is as unnerving as it is calming. "Summer" pierces the silence of the season with whistles to emulate crickets and birds while droning at a disquieting frequency. In fact, "Summer" is so tedious at times, that the heat of the season feels tangible, and the anticipation for closure is only abated by fear of what severity the following movement, "Nightmare," could bring. After the dog-barking angularity of "Nightmare," "Autumn" is an absolutely gorgeous minimalist piece with koto and zither plucking and floating on the flute's autumnal atmosphere; the harvesting scene completed by irreplaceable composition. The dull "cracks" and "thuds" characterize winter as the ballet closes, and the focus on earth's regenerative cycles ends in a frigid and unforgiving epilogue.

The ballet is a tour de force combining the abundant talents of Jerome Robbin's choreography with Teiji Ito's progressive arrangement. As successful in aural accompaniment as it is in movement, the score holds its own as a gut-wrenching yet delicate composition. Watermill originates from where Robbins had a retreat home in the country. Away from the city, he would often spend time focusing on the earth and his surroundings. The concept of the ballet grows from the silence that remains constant through all seasons, and the sounds that unite all cultures in the cycles of nature. So the flutes are at times blowing winds, whistles and gongs can be drones as well as punctuation, and percussion mimics the sounds of branches and leaves falling. Overall, the piece elicits many poignant and contemplative feelings, and is a wonderful reminder of the masterful compositions by Teiji Ito. [BC]
 
         
   
   

 

 

     
 

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  RA RA RIOT
Rhumb Line
(Barsuk)

"Each Year"
"Oh, La"

Haunted by the death of their drummer, John Ryan Pike, Ra Ra Riot's fantastic debut album is a life-affirming eulogy to their friend and collaborator. Pike tragically drowned off the coast of Massachusetts last summer after a gig, and not surprisingly The Rhumb Line contains water imagery and references to dreaming and sleeping that serve as metaphors for the life/death cycle present on this existential record. It starts strong with "Ghost Under Rocks," a lament to ruined dreams that highlights the distaff orchestra section of Alexandra Lawn on cello and Rebecca Zeller on violin -- one of the reasons they have been compared to the Arcade Fire. Halfway through, the listener finds "Dying Is Fine," which borrows (plagiarizes?) lines from an E. E. Cummings poem by the same name. The band takes a serious subject, death, and makes a poppy, mesmerizing single out of it -- a feat any English professor would applaud. Having sat through a few English Lit classes in my time, many of their lyrics smack of a university pedigree. Shocked was I to learn that the band met while attending Syracuse University, formed in 2006 and quickly graduated to CMJ, SXSW and touring with Art Brut. They released an eponymous six-song EP in early 2007, half of which is included here. My only complaint with Ra Ra Riot is their at-times pretentious use of SAT words. It really feels like college again, when using a dictionary to look up definitions of words I've never heard of (maunder means "to move or act aimlessly or vaguely"). Lead singer Wes Miles needs to learn not to take himself so seriously, but he's only 23 so it's understandable. He accomplishes this later on the 80s-influenced synth track "Too Too Fast" and a cover of Kate Bush's surreal "Suspended in Gaffa," a rabbit hole of a waltz about seeing god that fits right in with the feel of album. The good news is that the band has conquered this fear of apathy with this allegorical album. [TL]
 
         
   
   

 

 

     
 

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