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   January 23, 2008  
       
   

 

 

     
 
  UPCOMING OTHER MUSIC INSTORES
We are pleased to announce a couple of new additions to our ongoing in-store series. Next Wednesday, January 30 at 8PM, we are honored to host a rare solo performance from Toumani Diabate, the Malian Kora prodigy who for more than 20 years has both preserved the traditions of his native music, and pushed the boundaries, most recently appearing on Bjork's latest album. Diabate's solo performances are riveting, and this should be an amazing opportunity to see this legend up close and personal.

Also, on Thursday, February 21 at 8PM, we are thrilled to be hosting Swedish chanteuse Victoria Bergsman and Taken By Trees for their U.S. debut performance. Bergsman has been a longtime favorite at the shop, from her tenure in the Concretes, to her cameo on Peter Bjorn & John's breakthrough single "Young Folks," and Taken By Trees Rough Trade debut from last year is a joy, if a melancholy one. Please join us for these great free performances in the shop, and be a part of our ongoing "Live at Other Music" film series.
 
         
   
       
   
         
 
FEATURED NEW RELEASES
Cat Power
Times New Viking
Rings
Faust / Nurse With Wound
Magnetic Fields
Black Mountain
Disoc Not Disco Vol. 3 (Various)
Bodies of Water
Blood on the Walll
Wayfaring Strangers: Guitar Soli
Evangelicals
Kuniharu Akiyama
Aphrodite's Child
Super Furry Animals
Stack Waddy
Hello, Blue Roses
Bokar Rimpoche
Bachdenkel
Papagayo: Spanish Sunshine Pop
Dr. Boogie Presents Bob Hite Rarities
 
Sol
Vernon Elliott Ensemble
Burning Witch

ALSO AVAILABLE
Jack Penate

DOMESTIC PRESSING
Takehisa Kosugi
Gerard Manset

FEATURED DIGITAL DOWNLOADS
Nemeth (OM Digital Exclusive)
Cornelius
The Battle of Land and Sea
Peter Thomas
John Cage
Biber: Violin Sonatas

COMPLETE LIST OF THIS WEEK'S NEW ARRIVALS

 
         
   
   
   
   
   
       
   
 
 
JAN Sun 20 Mon 21 Tues 22 Wed 23 Thurs 24 Fri 25 Sat 26



  WIN TICKETS TO ONE STEP BEYOND AT THE AMERICAN MUSEUM OF NATURAL HISTORY

Featuring: COOL KIDS, KID SISTER & A-TRAK (FOOL'S GOLD/KANYE WEST)

FRIDAY, JANUARY 25 - 9PM to 1AM
$20 - Price includes admission to the Space Show and a free return visit to the Museum

Buy tickets in advance at www.amnh.org, or in person at Other Music and at the door.

Other Music has two pairs of tickets to give away to this great party. To enter, email tickets@othermusic.com and please leave your daytime phone number. The two winners will be notified on Thursday, January 24th.

American Museum of Natural History, The Rose Center for Earth and Space: Enter at the 81st Street entrance, right off Central Park West


 
   
   
   
   
   
       
   

 

 

     
 

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  CAT POWER
Jukebox
(Matador)

"New York"
"Lost Someone"

It ain't rare these days to attend a sold-out show at Town Hall headlined by this Georgia-born singer-songwriter and bear witness to obnoxious audience members' cries of "Cat, Cat!" However, since her infamous early performances of the '90s, it has been evident that Chan Marshall has never purported to be the "be-all, end-all" of music, unlike so many of her single-named contemporaries.

Instead, on Jukebox, her second album composed primarily of covers, Marshall eagerly pays tribute to some of the Western world's most cherished singers, including Joni Mitchell, Billie Holiday, Frank Sinatra, Bob Dylan, Hank Williams, and Janis Joplin. In contrast to 2000's The Covers Record, a strictly solo effort in which she accompanied herself only with piano or guitar, these 10 renditions follow the fleshed-out, deluxe production aesthetic of the artist's previous studio release, The Greatest. This time around, however, Marshall has hand-picked a group of musicians fittingly dubbed the "Dirty Delta Blues," with members representing bands such as Dirty Three, Delta 72, and the Jon Spencer Blues Explosion.

Many of the songs on Jukebox flow seamlessly into each other -- an attribute once hailed as one of the most experimental and disorienting aspects of Marshall's captivating, stripped down live performances -- except here, with rare exceptions, the album sounds polished, celebratory, and truly veteran.

Arguably the most powerful demonstration of Marshall's interpretive skills comes on her low, smoky-voiced rendition of "Silver Stallion," written by Lee Clayton and popularized over a decade later as the first single of all-star group the Highwaymen (Johnny Cash, Willie Nelson, Waylon Jennings, and Kris Kristofferson). Marshall's desolate, wistful reworking of this jangly country rock ballad will satisfy early fans of her soulful solo endeavors; her sparse approach and confidential tone elevates the minor '90s hit to folky timelessness.

Also formidable is Marshall's reworking of "Metal Heart," one of two original songs planted on Jukebox. Ten years after its recorded debut on Moon Pix, her sophomore release for Matador, Marshall has uprooted the song, with its improvisational, bluesy electric guitar, and resurrected it against bolder, more mature piano chords. Even with collaborative additions, Marshall remains at the helm, wringing out a version that is darker than ever and culminates in an emotionally transparent, show-stopping conclusion. "Metal Heart" indicates that Marshall is at last capable of commanding, and rightfully upstaging, a full band.

For a limited time, both CD and vinyl versions of Jukebox will include a five-song bonus disc of covers by Patsy Cline, Moby Grape, Nick Cave, Roberta Flack, and the Hot Boys. [KS]
 
         
   
   

 

 

     
 

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  TIMES NEW VIKING
Rip It Off
(Matador)

"Teen Drama"
"Another Day"

With Rip It Off, their third album and first for the Matador label, Times New Viking take their short, lo-fi, feedback-driven bursts of pop music up a notch. Yes, Matador probably gave them a bigger budget, but all in all this record is NOISY, and that is just the way that I like it. Still, underneath all the treble and feedback are near perfect pop songs. The first single, "(My Head)," is amazing and if it weren't for the dual male/female vocals, one would swear that this is a lost song from Pavement's Slay Tracks. One of Rip It Off's longer tunes, "The Wait" clocks in at just over two-and-a-half minutes, and is also a lo-fi anthem live. "Drop Out" could easily be compared to an early Beat Happening or Kicking Giant cut, and even though it is only one-minute-and-four-seconds long, it is better written and catchier than most indie rock around today. It is a given that TNV take their cues from the sonic terrorists and DIY stalwarts of the late-'80s and early-'90s, names such as Pavement, Guided by Voices, Wingtip Sloat, Sebadoh...the list goes on. They also share a DIY aesthetic with today's bands like No Age, Jay Reatard, and Psychedelic Horseshit, and by the way, Times New Viking have released the first great record of the year! For a while there I forgot that the best pop songs clock in at under two minutes. Thanks Times New Viking for re-instilling my faith in the Tascam four-track. [JS]
 
         
   
   

 

 

     
 

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  RINGS
Black Habit
(Paw Tracks)

"LL Right Peace"
"Double Thanks"

Once known as First Nation, Rings is the trio of Nina Mehta, Abby Portner and Kate Rosko, who rightfully describe themselves as "circular patchworked tranced feminist compositions." It's a sphere of sound made of tribal drumming, jagged and cyclical guitar, sparse piano, and layers of vocals. Upon first listen to Black Habit, all the not-quite-forgotten lineage of women's voice and personality comes rushing back with some moments being reminiscent of post-punk bands like the Raincoats, the Slits, Young Marble Giants, Rip Rig & Panic, and more recently Pram, all without using a bass line. It's a slight pop, choral, avant-melange that's far from angular; more twisty and wide, it swirls. These three young women are quite original in what they do and honestly pleasing to discover in their own right. One member is a kin of Animal Collective's Avey Tare, and similarly there's a full moon vibrancy that lurks about. There's also a pureness to Rings' approach and -- to their achievement -- the trio is able to appear simple, bare and open, with a soft-handed sense of control and childlike drama; but it never feels silly. Rings' secret seems to be in their ability to create innocence where nothing seems forced or calculated, and this draws you in. They explore joy and sadness, wonderment and confrontation all with a subtle beauty that weaves through the atmosphere of the music. Overall things feel more post-punk than freak folk, and better because of it, thanks to their sense of minimalism and the sparse yet present rhythm. Recorded and co-produced by Kria Brekken (formerly of Mum), Black Habit is the most interesting new release I've heard so far this year. [DG]
 
         
   
   
   
   

 

 

     
 

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  FAUST / NURSE WITH WOUND
Disconnected
(Art Errorist)

"Lass Mich"
"Tu m'entends?"

I have to share my first experience with this record. Disconnected was on our store stereo one morning with the CD cover sitting atop the small "Now Playing" shelf by the checkout counter. The text on the kitschy '90s-meets-'60s album cover, with the bloody surrealist film still of a woman, deceptively seemed to read Faust/NII, not Faust/NWW. By the time the first song reached the seven-minute mark I was thinking, "When the hell did Faust and Dalek start making Krautrock inspired tracks?" I was bummed because I was liking it and was just waiting for some funky trumpets to come in and ruin it at any minute. Slowly but surely I just started to feel queasy. Queasiness turned into genuine discomfort. By track three, almost paranoia. It was too early in the day to be listening to this. To make a long story a little shorter, I finally found out that it was Faust and NURSE WITH WOUND. Not Faust the experimental hip-hop producer... "Ohhhhhhhh, DUH!" With that realization, my discomfort disappeared and I opened my ears to all the queasy, nerve-grinding sounds that I expect to hear from these guys. I felt much better.

The best thing about this record is that it plays out like a true collaboration; there isn't a moment where just one group is hogging the airspace. The rhythmic universe of Faust gets fleshed out and made even more dynamic with the sampled sounds of NWW. The pace is natural and open with sudden interjections here and there and a constant flow of visceral sound. "Lass Mich" features Faust's patented cavernous drums. "Disconnected" brings in that eerie NWW atmosphere that grabs your attention and never lets go despite its ambient qualities. "It Will Take Time" uses a loop of two widely arcing drones and a loose bass string to clean out the inside of your skull.

You can't really find two groups of guys who earned their beards like Faust or Nurse With Wound, two studio envelope-pushers of different generations that just can't stop and won't stop. Faust can't stop collaging it up like there's no tomorrow and Nurse with Wound won't stop producing DNA-altering samples that dig deep into your nervous system one minute and then suck you into a vacuum the next. Together they've made an album that is somehow unsettling and calm at the same time. Fans of either band will dig this one. A successful experiment. [SM]
 
         
   
   

 

 

     
 

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  MAGNETIC FIELDS
Distortion
(Nonesuch)

"Too Drunk to Dream"
"Old Fools"

With nine releases from the Magnetic Fields in twice as many years, Distortion is a welcome answer to the prayers of young and old alike. Rarely do folks of all makes and models so overwhelmingly unite behind a pop group at Other Music, but it seems that no one can resist snatching this record up before they leave the shop! While expectant smiles abound, few such enthusiasts readily plunge into conversation about their favorite Magnetic Fields song; most likely because -- whether this band has seen you through the blissfully good memories, then the inevitable heartbroken and self-deprecating ones, and finally the therapeutic and validating ones -- forming a deep bond with the Magnetic Fields' music, for many fans, means getting personal.

The new album's title of Distortion implies that the heavy electric guitar fuzz prominent on every track will be the record's backbone, and although it is a unifying aspect, feeding a slower pace and a more straight-up rock structure, the feedback and indulgent solos do not alter or overwhelm the Magnetic Fields' distinct sound. Their twinkling, layered sixties pop songs still bubble over with absurd lyrics; here, about passionately axe-murdering judgmental, coked-out California girls, and a nun who fantasizes about becoming a porn star because of "getting to spend every day in bed."

The two-step sing-along "Too Drunk to Dream" is the most blissed-out pop nugget on Distortion. It commences with band founder Stephin Merritt singing a cappella about the alternate realities of the "sober" versus the "shittfaced" -- then, like a geyser erupting, huge drum sounds, reverb-choked guitars and back-up singers blast off in what could be an ecstatic soundtrack to love at first sight, amusingly oblivious in its support of Merritt's bitter, seductive croon of, "I gotta get too drunk to dream because I only dream of you." If you're in New York, don't miss the rare chance to see the Magnetic Fields live at Town Hall in late February! [KS]
 
         
   
   

 

 

     
 

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  BLACK MOUNTAIN
In the Future
(Jagjaguwar)

"Stormy High"
"Stay Free"

Black Mountain managed to score legions of sweaty, bearded fans with their 2005 debut by seamlessly fusing the disparate, yet similarly lauded early-'70s sounds of hard rock and druggy experimental folk. Where so many of today's current crop of aspiring metal gods can't help but come off as pop-Sabbath-lite, more tribute than triumph, and modern freak-folkers have a tendency to play the druggy hippie card to near-comedic effect, Black Mountain have always succeeded at (shameless) appropriation by getting deeper into the grooves, avoiding shallow cliches, and keeping a cloak of mystery about themselves throughout. And In the Future, the band's second full-length will only serve to solidify Black Mountain's position as one of the more satisfying purveyors of stoner-rock of the modern era (the weed is better now, why aren't the bands... wait, is THAT why?!).

From the first notes of the album opener "Stormy High," it's clear that Black Mountain are back, and better than ever, as they casually show off their arsenal of secret weapons: fuzzed-out guitar riffs, in-the-pocket powerhouse drumming, warm, inventive organ grooves, and relaxed, simmering vocals (both Stephen McBean and Amber Webber have natural, expressive rock-and-roll singing voices that can caress and castrate with equal aplomb). And the band keeps things fresh by continually mixing up their sound, careening from headbangers to ballads to extended prog-rock grooves, all with a heavy, heady sense of foreboding that holds together much of the best rock music out there. In the Future proves without a shadow of a doubt that there is a bright, if somewhat gloomy future in store for Black Mountain, and they have already delivered what is sure to be one of the more enjoyable albums of '08. [JM]
 
         
   
   

 

 

     
 

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  VARIOUS ARTISTS
Disco Not Disco Vol. 3 1974 to 1986
(Strut)

"Launderette" Vivien Goldman
"Binary" Kazino

During its all-too-brief initial heyday, the Strut label managed more than its share of quality releases. None of those, however, were as impeccably compiled, carefully considered, and relentlessly funky as both volumes of Disco Not Disco, a series aimed at resuscitating a host of late 1970s/early 1980s underground disco classics. Focusing on everything from Arthur Russell and Material to the Clash and the Steve Miller Band, both installments were pretty essential in kickstarting a renewed interest in leftfield dance around the turn of the century. Sadly, Strut went belly-up in 2003, taking with it any hope of seeing subsequent volumes of this great series.

That is, of course, until now. In a fairly unexpected move, Strut announced its imminent revival at the end of 2007, with its first new title in four years being another installment of Disco Not Disco. Picking up where the first two discs left off, this latest compilation once again seeks to shine a light on some lesser-known dance classics. This time out, a number of post-punk/no wave standbys get the nod, with both James White & the Blacks funkdafied "Contort Yourself" and the Delta 5's slicing "Mind Your Own Business" making appearances. Elsewhere a neat, pulsing remix of Quando Quango's "Love Tempo" bounces along, while the electro throb of Liasons Dangereuses' "Los Ninos del Parque" threatens to menace the dance floor towards the end of the collection. Packed end-to-end with cuts both familiar and yet-to-be discovered, this new volume of Disco Not Disco is both a welcome return for the Strut label, and an impressive continuation of an already great series. [MC]
 
         
   
   

 

 

     
 

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  BODIES OF WATER
Ears Will Pop and Eyes Will Blink
(Secretly Canadian)

"Our Friends Appear Like the Dawn"
"Here Comes My Hand"

Bodies of Water's debut album was self-released by the band last summer to a fair amount of web rumblings and accolades, generally citing a similar hodge-podge of ambitious, vaguely spiritual taste-makers as sonic inspiration, from Arcade Fire to Polyphonic Spree to Danielson Family. Now picked up by Secretly Canadian, Ears Will Pop and Eyes Will Blink is poised to be seen and heard, perhaps with a pop and a blink, by a much wider audience. Their sound is full-bodied and inspirational (both musically and lyrically), built around the layered voices of BOW's four main members (boy-girl boy-girl, like the good lord intended), and a batch of wordy, soaring, lovingly twisted songs of faith and devotion and passions both earthly and divine.

The music is dense and organic, with rock instrumentation buttressed by strings, horns, keyboards and those voices, harmonizing, weaving rhythmic counterpoints and counter-melodies, or just raising the roof in unison. The results are strangely embracing and alluring, comparable perhaps to the feeling I get on summer Sundays, sitting in my back yard, listening to the Baptist gospel singers in full swing at the lovely brick church that looms over our block; I may not believe in all of the tenets of their faith, but hearing those voices join together still fills me with unadulterated joy. Add to the list of simple pleasures smart, hook-filled songwriting, adventuresome arrangements and emotional vocalists who are as powerful as soloists as they are in the chorus, and you have a great album that lurked on quite a few best-of lists in '07, and should be seeing even more in '08. [JM]
 
         
   
   

 

 

     
 

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  BLOOD ON THE WALL
Liferz
(The Social Registry)

As someone who's been praying morning, noon, and night for a Brooklyn punk revival, I can comfortably call the return of Brooklyn-based trio Blood on the Wall nothing short of heroic. After a brief silence, wonder-siblings Courtney and Brad Shanks plus drummer Miggy Littleton (White Magic, Ida) whiplash back to life and slap down a catchy-as-hell, arresting indie-garage-rock ace. With pleasure, BOTW's third release Liferz will rip you from your daily sleepwalk and have you screaming along as the Shanks' duke it out with yelps and shrieks; on "Go Go Go" and "Turn Around and Shut Up," Courtney's wild groans even edge into Karen O's most abrasive territory (appropriately, the Yeah Yeah Yeahs were BOTW's tourmates in 2006). Blood on the Wall's latest is the new year's answer to all who postulated that the most thirst-quenching American records of last year were by good-time DIY rock duos No Age and Magik Markers. Clocking in under 30 minutes, this full-length is crammed full of the most punk-ass, ball-busting, hook-ridden, mosh-inciting jams to come out of the feverish Brooklyn underground since Japanther exploded. There are critics who slap BOTW with the "Pavement / Sonic Youth revival" label -- and parts of the album are gritty and gorgeously indie rock straight down to their guts -- but tracks "The X" and "Turn Around and Shut Up" are so blatantly high-energy punk rock that you're gonna be as riled up as if they were Husker Du or Minor Threat. It won't be long before you're flashing a huge smile at one of their super short live shows, not giving a shit that you're missing some of the teeth you came in with. (Preview song clips on Other Music Digital.) [KS]
 
         
   
   

 

 

     
 

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  VARIOUS ARTISTS
Wayfaring Strangers: Guitar Soli
(Numero)

For their first installment in the Wayfaring Strangers series of lesser known folk gems, the Numero Group shone a spotlight on the ladies of and around Laurel Canyon, those women who took as a starting point the music of Joni Mitchell for their own inspired excursions. Back now with the series' second volume, the focus shifts this time to the men, highlighting fourteen different solo acoustic buskers whose most immediate influences come from the Takoma school of guitar virtuosity. Steeped in the likes of Fahey, Kottke, Lang, and Basho, each track on this album presents another man's take on an overarching aesthetic that still remains influential to this very day.

Save for composer Richard Crandell (who checks in here with the excellently dark "Diagonal") and William Eaton (a recent beneficiary of an Em Records reissue, whose gorgeous, overtone-drenched "Untitled" turns up in the second half of the comp), all of these tracks come from the little-heard and decidedly less known. Listening in on tracks like "Sailor's Dream," an intricately melodic jaunt from Wisconsinite Scott Witte, or "One Forty Eight," a deeply haunted blues care of Canadian Dwayne Cannan, it's a wonder these guys never quite made it to the endless name-check status of their iconic guitar influences. Hopefully this compilation will go a ways towards rectifying that, as any one of these fourteen men could have been a folk legend in their own right if only given the opportunity. (Preview song clips on Other Music Digital.) [MC]
 
         
   
   

 

 

     
 

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  EVANGELICALS
The Evening Descends
(Dead Oceans)

"The Evening Descends"
"Bellawood"

Evangelicals' first full-length, So Gone, received a lot of Flaming Lips comparisons, no doubt partly due to location since both bands hail from Oklahoma. Sure enough, this young trio drank the rainbow-hued waters flowing from the magic fountain of Wayne and Co, but in doing so, also bested the Lips at their own game with a debut record that was much more adventurous than the veteran psych-rocker's most recent effort. Two years later, their sophomore album The Evening Descends finds the Norman, OK group refining their take on modern psychedelia by opening up to a wider range of influences and sounds. It's immediately apparent on the title track that kicks off the record; its first two minutes slowly unfold, with layers of Beach Boy harmonies and singer Josh Jones' high warble -- think one part Tim Booth (James) and one part Dan Bejar, -- carried by dual-panned guitars, harp and strings ping-ponging from speaker to speaker and finally revving into a bouncy funk only to descend back into melancholic bliss. Songs like "Midnight Vignette" glide by at an unusually fast tempo for music of this sort, with Technicolor production playing as an important role as the voice, harmonies and instruments -- strange synthesizer arpeggiations and washes of reverb seemingly coming out of nowhere and disappearing as quickly as they came. "Skeleton Man" is about as cinematic as music of this sort can get, zigzagging between spacious, poppy whimsy and the macabre, at one point a ghostly choir of voices reminiscent of Gyorgy Ligeti's 2001: A Space Odyssey soundtrack almost burying the instruments and melody. In most hands these ADD detours would be too overwhelming, and frankly un-listenable for pop music, but for Evangelicals, these twists and turns are as much of a hook to the song as a chorus. Though on paper Flaming Lips, Mercury Rev and Elephant 6 references may seem appropriate, there's a bombastic, ambitious approach that seems very much of this decade, deservedly placing Evangelicals right alongside acts like Arcade Fire and Broken Social Scene. [GH]
 
         
   
   

 

 

     
 

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  KUNIHARU AKIYAMA
Obscure Tape Music of Japan 6
(Omega Point)

The sixth in the Omega Point label's series of lost tape works from the Japanese avant-garde, this volume collects the tape and electronic music of Kunihara Akiyama, who, by most accounts, was one of the cultural pillars of modern Japanese avant-garde music. Critic, musician and organizer, Akiyama was the founder of the Jikken-Koubou Experimental workshop -- a group that counted composers Toru Takemitsu and Joji Yuasa among its members -- and an early and active supporter of many western composers, including John Cage, the Fluxus movement, Harry Partch and many others who he either corresponded with or helped bring to Japan. Akiyama's electronic compositions have an immersive, environmental quality to them and were often conceived of as sound sculptures intended to interact with architectural and theatrical elements. The a-rhythmic pulsations of "Environmental Mechanical Orchestra (1966)" is a perfect example of this, its hypnotic minimal throb the result of ambient sounds being processed thru a David Tudor-worthy maze of tape recorders, microphones, steel wires and plate reverb. The other two pieces on this collection, "Demonstration of Nissei Theater (1963)" and "Music for H. Bomb (1971)," are classic examples of musique concrete's conception of sounds as objects, electronically alterable in a seemingly infinite variety of ways. Very nice four-panel gatefold packaging, in a limited edition of 500 copies. A standout volume in a consistently intriguing series. [CC]
 
         
   
   

 

 

     
 

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  APHRODITE'S CHILD
It's Five O'Clock
(World Psychedelia)

"It's Five O'Clock"
"Good Time So Fine"

We at Other Music are pretty open about our love and respect for Vangelis' solo work and his '60s pop group Aphrodite's Child. While this might surprise some, anybody who has listened to these albums with an open mind will probably come away a fan. They may not have gotten much critical praise at the time, but they were immensely popular in Europe and, truth be told, they probably made some of the best European psych-pop of their era. Five O'Clock, the trio's second release, is one of their best efforts.

The record finds Aphrodite's Child stretching past their Euro-roots, incorporating bits of Sly Stone-style funk and American country rock into their sound and coming up with something that can be best described as Procol Harum meets the Bee Gees. I know that sounds like a hard sell, but THAT is the genius of Aphrodite's Child. They make it all work and make it sound good. Demis Roussos' melodramatic vocals on "Let Me Love Let Me Live," "Annabelle" and the title track all come dangerously close to cheesy, but Vangelis' thick keyboard work and layered studio trickery makes his voice sound deep, causing you to punch the air, rather than somebody's face. You said you wanted a break? Well "Funky Mary" and "Air" are some of the best examples of psych-funk -- the latter track having been a staple of Andy Votel, DJ Shadow and Cut Chemist's sets for years. In any case, this is another welcome reissue that we're carrying and a fine introduction to one of my favorite bands from the sixties. It's what we at OM would call a "mega jam". [DH]
 
         
   
   

 

 

     
 

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  SUPER FURRY ANIMALS
Hey Venus
(Rough Trade)

"Run Away"
"Suckers!"

In 15 years, these Welsh legends have covered a variety of issues and musical influences, from politics to sentimental subjects via their psychedelic, electro-pop style. According to Gruff Rhys, Hey Venus! was named after the goddess of time, its narrative style influenced by Robert Graves' The White Goddess. A concept record of sorts, the album tells the story of a small town girl's move to the big city, the songwriting moving through psychological and mythical themes. "Run Away (This Song Is Based on a True Story Which Would Be Fine If It Wasn't Autobiographical)" is a touching number with the narrator wearing their heart firmly on their sleeve; but the allegories become more mysterious on tracks like "Show Your Hand." These enchanting songs are endearingly honest, and inviting enough to make you want to sing along from start to finish. With plenty of catchy pop nuggets, Technicolor psychedelia, Beach Boys-isms and a subtle dose of '70s prog, Hey Venus! is guaranteed to whisk your busy day away! [KP]
 
         
   
   

 

 

     
 

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  STACKWADDY
Bugger Off
(Cherry Red)

"Rosalyn"
"Reposession Boogie"

I've never been a fan of the English music press and their rampant hyperbole, but all bets are off when it comes to the second Stackwaddy album. Originally released moments after the band called it a day in 1972 on John Peel's Dandelion label, Bugger Off! is the definitive statement in British thug R&B mayhem. From the first notes of album opener "Rosalyn" you know you're in for quite a ride and when the vocals come in (Singer John Knail sounds like he just came from an all night Captain Beefhart impersonation contest at his local pub) you know the ride's gonna be a good one. It would seem that writing songs was almost an afterthought with only three of the original album's tracks composed by the band but that certainly isn't a bad thing as they lay it down so thick and heavy they succeed by sheer excess. Really, this is one of the most extreme recorded moments of the 1970s or any other decade and it should not be missed.

This new CD version also includes a long lost John Peel session from 1972 and the track from the Dandelion sampler. That's a lot of Stackwaddy and it's just about as dumb and fun as rock 'n' roll should be. [DMa]
 
         
   
   

 

 

     
 

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  HELLO, BLUE ROSES
The Portrait Is Finished and I Have Failed to Capture Your Beauty
(Locust)

For most, the initial draw to this release will be Destroyer/New Pornographers/Swan Lake's Dan Bejar's involvement, and while he plays most of the instruments and handles the backing vocals, it's his real life romantic partner Sydney Vermont's album through and through. The Portrait Is Finished was reportedly written during a visit to Spain, Bejar and Vermont taking a break from their respective music and art careers, and as such, there's an almost off-the-cuff feel to these 14 tracks. The late-'60s folk vibe to the majority of these songs are perfect for Vermont's airy melodies, which bring to mind a number of singers, from Linda Perhacs to Mia Doi Todd and, as the press sheet suggests, Kate Bush. Bejar colors the soft strums of her six-string and the Aquarian accents of her flute with a ragged guitar chord here and there, with his distinctive voice (which is more tame here than on most of his releases) being the perfect support. And while The Portrait Is Finished isn't as instantly gratifying as a New Pornographers record, or gratifyingly as cryptic as Destroyer's discography, it doesn't take long for the record to really grow on you. It's not without a few immediate ear-grabbers either. "My Shadow Falls" takes its cue from '80s pop, the song gently coasting along a heartbeat pulse as layers of synthesizers slowly build underneath a lovely shared melody between Vermont and Bejar, while the folk-rock of "St. Angela" picks up the pace with a full band in tow, not to mention a stripped-down cover of Kevin Ayer's "Hymn" in which a lone guitar and flute accompany their voices. One can hope that these two will find time from their busy schedules to make another trip to Spain with guitars in hand, and send us another musical postcard. [GH]
 
         
   
   

 

 

     
 

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  BOKAR RIMPOCHE
Sacred Chants and Tibetan Rituals
(Sub Rosa)

"Prise de refuge par Lama Tcheupel"
"L'offrande du Tsok"

Recorded at a monastery in the Indian Himalayas somewhere between Bhutan and Nepal, Sacred Chants and Tibetan Rituals from the Monastery of Mirik is a collection of recordings made by the late, great Tibetan Buddhist Master, Bokar Rimpoche. Like many of the spiritual figures of Tibetan Buddhism, Bokar Rimpoche fled Tibet in 1959 and lived out the rest of his years in North India. In the early 2000s he agreed to allow French documentary filmmaker Guy Maezelle to make the biographical film Bokar Rimpoche: Maitre de Meditation to which this album corresponds. The material gathered for this album -- much of which was recorded by Bokar Rimpoche himself -- varies from intimate meditative prayers performed solo or by a small group of monks to field recordings of the Himalayan mountain atmosphere to the raucous Mahakala Ceremony, a 25 minute recording of a ritual complete with thundering drums, an ensemble of massive Tibetan trumpets, oboes, and group chanting. Taken as a whole, the album presents an intriguing, multi-faceted view of Tibetan monastic life; the daily, solitary moments of prayer, interpersonal transmissions of knowledge from older monks to younger, and complex group rituals are all well represented. The recordings have a clear, immediate presence to them that makes the spiritual atmosphere of this record all the more engrossing. [CC]
 
         
   
   

 

 

     
 

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  BACHDENKEL
Lemmings
(Ork Records)

"An Appointment with the Master"
"Donna"

Bachdenkel developed out of the ashes of the Birmingham psychedelic rock group The U (Don't) No Who, who had a deal with the Beatles' Apple Corps publishing company but never recorded a full-length album of their own. Bachdenkel featured two members of that group, but their compositions weren't much at all like The U (Don't) No Who's sugary two-minute pop songs, one of which is included on this disc as a bonus track. Bachdenkel had a much heavier sound and played long, sprawling multi-part song-suites that built to loud crescendos of drums, organ, and fuzzy electric guitar. The group's evolution may have been the result of repeated listens to King Crimson's first album. That record apparently made quite an impression on them, and you can certainly hear it in some of the vocal performances and the searing Robert Fripp-style multi-tracked guitar solos. But the unmistakable influence of Lennon & McCartney thankfully remained apparent on songs like "Long Time Living," which could almost be mistaken for a Plastic Ono Band outtake. Lemmings is an early example of progressive rock, but thankfully Bachdenkel took their cues from great bands like Traffic, the Move, and Mighty Baby, rather than some of the many other progressive bands whose music hasn't aged quite as well. [RH]
 
         
   
   

 

 

     
 

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  VARIOUS ARTISTS
Papagayo: Spanish Sunshine Pop
(Toytown)

"Sunshine Boy" Licia
"Pedire" Parabola

Delightful 24-track compilation of Spanish soft pop and popsike from the late 60s/early 70s here, reminiscent of the great Fading Yellow and Circus Days series. Lush, orchestrated compositions that more often than not remind of Curt Boettcher's Sagittarius and Millennium combos (Los Yetis even take on Sagittarius' "My World Fell Down"), and are chockfull of harmonizing, harpsichords, mellotron and trippy studio effects. Tons of unknown names, including yeh yeh girl Licia, Nuvevos Horizontes, Voces Amigas, Daniel Velazquez (who do a killer Cyrkle cover), Angeles, Reaccion, Les Extremes, David & Sonia, and many more. A nice antidote to all the heavy psych reissues we've been bombarded with over the last few years, and if you're looking to replace the doom and gloom with a little sunshine, here's a perfect opportunity. [AK]
 
         
   
   

 

 

     
 

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  VARIOUS ARTISTS
Dr. Boogie Presents Rarities from the Bob Hite Vaults
(Sub Rosa)