February 13, 2014

upcoming events at other music



Free Admission | Limited Capacity

To celebrate the release of Hotel Valentine, their first new album in 15 years, Cibo Matto will be stopping by the store tomorrow for a Valentine's Day celebration and signing before their sold out show at Le Poisson Rouge later that night. Come on by and share the love with Cibo Matto, and pick up their new record! (Facebook invite.)



Free Admission | Limited Capacity

Jessica Pratt's stunning self-titled 2012 LP is a huge favorite at the store, and her live shows are simply mesmerizing. We are thrilled to be hosting an all-too-rare appearance from this California-based songwriter in a special Saturday night performance. (Facebook invite.)

in this week's update


Sun Kil Moon
Cibo Matto
Cashmere Cat
Speedy Ortiz
Orange Juice (4 CD Reissues)


Punk 45 Volume 2 (Various)
Broken Bells
Future Islands 7"


Bruce Haack


Krzysztof Komeda (Rosemary's Baby LP)




Le Poisson Rouge: 158 Bleecker St. NYC

Angel Olsen is just days away from releasing her second full-length (and Jagjaguwar debut), Burning Your Fire for No Witness, and the songs we've heard thus far are pointing to a breakout record for this singer/songwriter and occasional Will Oldham collaborator. On Thursday, February 20, she'll be performing in New York at Le Poisson Rouge, with Cian Nugent and Jaye Bartell opening the night. We're giving away a pair of tickets and for your chance to win, email

Other Music is also giving away a pair of tickets to see an exclusive solo performance at Union Pool the night before (Wednesday, February 19) from Cian Nugent, whose recently released Born with the Caul has turned many on to this great Dublin guitar heavyweight. It's a solid bill, with David Grubbs and Bloom opening the night. Email for your chance to win.



DiMenna Center for Classical Music: 450 W. 37 St. NYC

On Friday, February 28, the DiMenna Center for Classical Music will host the premiere screening of Essie Jain's album/film, All Became Golden -- the gorgeous documentary directed by our good friend Natalie Johns of Dig for Fire. Following the showing, the British singer/songwriter will be performing with members of the Orchestra of St. Luke's in the very same space that this album and film were made. There is no doubt that this will be an unforgettable evening, and Other Music is giving away a pair of passes to the event. To enter for your chance to win, email

this week's update

(Caldo Verde)

Sun Kil Moon's latest, Benji, feels like the definitive statement many have been waiting for from singer-songwriter Mark Kozelek, whose workmanlike approach, relentless touring schedule and accessibility to recording facilities has given fans a steady flow of new material without the undeniable classic album we've all known Kozelek was capable of. 2012's Among the Leaves was an excellent collection of songs about, well... not much: a meditation on the monotony of "the road," encounters with women, burning out, and the few real wonders of life still worth holding tight to. Yet it was wrought with an unforeseen sense of irony, dark humor and creative flippancy, something we've never really turned to the Red House Painters' dude's back catalog for. It threw everyone for a loop as we, the fans, were forced to consider a different side to an artist we all thought we knew intimately. And furthermore, the EPs and full-lengths leading up to this new one, including a confusing collaboration with the Album Leaf, and an "off the top of my head" vocal cameo on an otherwise bland Desertshore LP, have also been guinea pigs to this form of public creative process. This is not to say these albums didn't have their merits -- and if one took the time to piece together a 'best of' the last two years of Mark Kozelek's recorded output it'd still blow most modern music out of the water -- but it certainly has left diehards wondering whether or not he's "still got it." And the answer? A definitive YES.  [RN] Continue Reading

$15.99 CDX2

Hotel Valentine

Oh man, I never thought I'd see this day! One of my favorite bands returns after a 15-year hiatus to deliver an album that nods to both their classic, defining statement, and to subtly shift that statement's sound into something that's simultaneously very much of the era from which it was birthed and into the more contemporary cultural collusions that it helped make more widely acceptable and influential. No, I'm not talking about My Bloody Valentine, but rather Cibo Matto; Hotel Valentine is their first new full-length since 1999's Stereotype A, and has quickly slotted itself firmly into my personal shortlist of 2014's best records.

Miho Hatori and Yuka Honda have each mapped out a wide range of works in the decade and a half since Cibo first stepped aside, from solo albums exploring Brazilian song forms and electronic synthesis to collaborations with rappers, avant-garde composers, and master musicians... in essence, taking the core ingredients of what made their 1996 debut, Viva! La Woman, such a surprising and endearing listen, and simply amplifying them into greater focus. Viva! was a hugely groundbreaking record whose influence really only comes into focus via contemporary hindsight; two strong, independent women from another country took their multiculti omnivorous cultural diets and used them to build a homegrown world that fused golden age hip-hop, classic Ellingtonian jazz, a bit of DIY punk attitude, and the European jet-setting romanticism of Fellini into one of the most pure and undiluted documents of Lower East Side NYC living, foreshadowing pop culture's open embrace of exotic influence and showcasing one of New York City's most vital lifelines. [IQ] Continue Reading

$12.99 CD
$16.99 LP+MP3

Wedding Bells EP
(Lucky Me)

Norwegian producer/DJ Magnus August Hoiberg first surfaced on account of his highly unconventional remixes of big names like Lana Del Rey, 2 Chainz, Miguel and Jeremih (as well as, perhaps, his lovely pseudonym Cashmere Cat). These edits featured nearly all the components of trap and house music, transforming these songs made famous by such big names into irresistible, amorphous pieces of art-pop. Hoiberg filled the tracks with fast techno snare, voice warps, and staccato plucking that resembled a type of East Asian instrumentation. With only one official release in the past two years, Cashmere Cat is back and more focused than ever. Wedding Bells really draws to question whether Hoiberg can accurately call himself a dance producer; whereas on all of his previous work, there have been mini-raves and some kind of heavy percussion to toughen the dainty tracks, here, the sound stays pretty delicate and unassuming. In place of drops, there are twangy harp solos and distorted chimes. Opener "With Me," which features some choppy synths and banging, is as heated as the EP gets. But even there, the melodic piano undertones maintain a feeling of serenity, layered in between the commotion. The entire 12" feels most like an epic ballad, filled with hip-hop luxury and classical beauty. There is more emphasis on reverberated, natural instruments on this work, with many hints of brass and woodwind that fit perfectly into the theme of ornate splendor. It seems as though Cashmere Cat has truly refined his style on this EP, repeating and expanding the successful elements from his initial remixes into original pieces that demonstrate the depth of his ability as both a producer and a maestro. Be sure to get your hands on a copy of this 12" if you'd like to dive into the shiny, meticulous work of a house-producer-gone-composer, whose bizarrely elegant trap will indubitably wow you. [MM]

$12.99 12"


To call the late British underground producer Bryn Jones prolific would be a tremendous understatement. As Muslimgauze, Jones released a multitude of material, which took the shape of a constant, ever-expanding stream of tapes, CDs, LPs, singles, EPs, and box sets, a collection that has been revealed as ever more extensive since his untimely passing in 1999. With labels such as Staalplaat continuing to bring forth unreleased archival material that is every bit as exceptional in musical vision and conceptual consistency as the recordings that saw daylight during his lifetime, it remains somewhat challenging to find a proper entry point into this immensely cryptic and hard-to-find oeuvre. Luckily, the most recent, excellent reissues of classic Staalplaat recordings provide such unique opportunity.

For those unfamiliar with the master, Muslimgauze stands for a singular brand of electronica in which found Middle Eastern sounds merge with noise and oftentimes incredibly funky but nevertheless completely messed-up, overdriven beats. Inspired by conflicts in the Middle East, and often vehemently taking sides with such contested groups as the PLO and Hezbollah, Jones heavily politicized his music simply through the act of naming his tracks and album titles. Although the engagement with his subject matter was sincere, it remained at all times veiled behind a kind of introspective exoticism, as Jones actually never set foot in the Middle East, nor was he part of any of the organizations he supported from a distance.

A certain reflective mood is masterfully displayed on Drugsherpa, which was Staalplaat's very first official Muslimgauze release on mini-CD back in 1994, and which finds Jones in a less directly political mode. Twenty minutes long, the title track is a hypnotic, ever-shifting piece of noirish electronic music that sounds as fresh today as it did two decades ago. It's quite striking to detect the influence of this track on the great Shackleton (who has repeatedly declared himself a huge fan), and listening to Drugsherpa just confirms, rather impressively, how far ahead of the game Jones really was during the mid 1990s. The rest of the tracks of this now expanded, hour-long album consist of remixes of other Muslimgauze material that was found on the same tape, and on which Jones re-contextualizes, dubs out, echoes, or simply extracts previously heard music and sounds. But the real highlight remains the title track, which slowly builds towards mind-bending momentum before fragmenting in gloriously shattering pieces. [NVT]

$18.99 CD

Tandoor Dog

If Drugsherpa features Muslimgauze at its most introspective, then Tandoor Dog must be its extroverted and intricately groove-oriented counterpart. Don't expect any slickness here; this is probably some of the most distorted groovemaking you will ever come across. Opening track "Aurum Franc Insense Ul Myrrh" sets the tone with a funky, distortion-flavored breakbeat that constantly shifts in and out of the aural spectrum, as layers of deconstructed Middle Eastern samples and patterns override it. The great news is that everything that follows sounds equally ill and deliciously fucked up! Originally released in 1997 and now extended with three bonus tracks, this is vintage Muslimgauze at its most memorable, an unstoppable, ever-agitating groove machine, at all times ready to bombard its listeners with an abundance of focused stimuli that even today doesn't know its equal in absorbed yet adventurous music-making.

As the story behind Muslimgauze remains largely unwritten, Bryn Jones will continue to exist as one of the most elusive figures of the electronic music and noise underground. With this recently re-invigorated archive series, of which these two releases are perhaps the most immediately striking ones, you can do yourself a huge favor and start uncovering some of that mystery. But, make sure to act fast: each release is limited to a mere 500 copies! [NVT]

$18.99 CD

Real Hair EP

Following a breakthrough year in the press and the clubs, Speedy Ortiz's return to the studio finds the indie-rock revivalists refining their late-'90s sounds with producer Paul Q. Kolderie, whose work back in the day with bands like Pixies and Radiohead did a lot to establish the crunchy guitar textures and sweet pop melodicism that this group trucks in. After months of touring, and with Kolderie on the boards, these songs are thicker, more powerful and head banging, while Sadie Dupuis' vocals are both sweeter and more cutting. And while Dupuis is the main focus of this band, with a lithe voice and smartly emotional songwriting, it's clearer than ever that this is a real collaborative effort -- Dupuis and Matt Robidoux's guitars careen off each other like pure electricity, and the rhythm section is loose and powerful. Just a short four-song blast of Speedy Ortiz to tide you over, but still a must-have for any fan of last year's excellent Major Arcana, this is a poppier and more powerful version of a sound you already know and love. [JM]

$10.99 12"+MP3

Sun Structures
(Fat Possum)

The recent onslaught of hoopla surrounding the 50th anniversary of the Beatles conquering America makes it impossible to miss that their once-shocking sound has become part of the very fabric of our culture. And while younger listeners can't even imagine a time when harmony-laden, jangly psychedelic pop was revolutionary, somewhat shockingly, a band like Temples can revisit the well-worn Beatles/Byrds signifiers and still deliver genuine heart-swelling excitement and joy, with every two-chord verse, acid-soaked riff and sweet, sweaty harmony. Very British and willfully retro, from their hair to their gear to their plate reverb, if Temples were not so good at offering substantial hooks and rich, surprising pop turns throughout their three-minute gems, you might get stuck in their time warp, but as it is, Sun Structures glides by on sepia-tinged light waves. Temples' songs are just as referential as those of Foxygen, but the band's approach is less unhinged and slicker, paying homage to their heroes with straightforward choruses that get stuck in your head after one listen, and while they add a touch of '90s Britpop to their British Invasion sound (yes, Noel Gallagher is a big fan of the band), the group's debut album, as well as their crushed velvet attitude, are strictly late-'60s vintage. Many musical styles seem to come around in cycles, but Temples prove why certain bedrock sounds never go away. [CL]

$13.99 CD

You Can't Hide Your Love Forever

Orange Juice were one of the most clever, witty, and soulful groups to rise out of punk's commercial burnout, and their records remain thoroughly enjoyable and relevant today. Surprisingly devoid of the dated production techniques that ran amok across much of pop music in the 1980s, this band, quite simply, is one of the most important forefathers of what you could call "modern indie" music. Their evolution across four LPs from scrappy, world-weary yet culturally savvy kids recording barbed-wire pop to refined, polished craftsmen is remarkable; blending the jangle of the Byrds, the razor-sharp intensity of the Buzzcocks, and the disco-soul throb of Chic, these albums explore a number of different sounds, with each tied together by Edwyn Collins' multilayered witticisms, filled with self-deprecation, in-the-know cultural winks, and a voice that remains wholly inimitable and instantly recognizable after 30 years. Many people swear by Orange Juice's early singles recorded for the Scottish Postcard label and often give short shrift to the rest of the group's catalogue. That's a damn shame, because in my opinion, OJ really found their wings in the higher production budgets of the Polydor years. Each of their studio albums, much like the Talking Heads, represent pieces of a larger puzzle, where the band finds its roots in rhythm.

You Can't Hide Your Love Forever is where the group starts to lock into their fusion of West Coast USA guitar jangle with Chic-inspired East Coast USA funk and soul bass lines, augmented by regal Memphis horns, gospel-tinged backup vocals, and handclaps all over the damn place. Frontman Edwyn Collins' sharp, self-deprecating, hopeless romantic lyrics anchor a strong, catchy set of songs that bridge the gap between their shambolic, ramshackle early singles for the Postcard label and the more assured pop mastery of the Polydor LPs. Anyone unfamiliar with the group who's ever listened to and enjoyed albums by the Smiths, Belle and Sebastian, or the Wedding Present -- to name just a few of the great bands who've carried the torch Orange Juice once held high -- should do themselves a good deed and investigate one of the most criminally underrated pop records ever. [IQ]

$9.99 CD

Rip It Up

Rip It Up was the group's second full-length, and my personal favorite, combining Collins's razor-sharp lyrical wit with the jangle of the first album and a more pronounced groove, inspired by the disco and soul music of America and Africa. Newly recruited Zimbabwean drummer Zeke Manyika's playing is essential here; his tight, in-the-pocket drumming is one of the record's key ingredients that take Orange Juice away from their charming, stumblingly shambolic roots and fully into confident pop craftsmanship. As much as those early Postcard singles (collected on The Glasgow School) are so beloved, I tend to be a black sheep in my unabashed love of this album as the group's defining moment. Rip It Up is flawless to me; it has a bit of everything that made the band one of the best of the era, and one of my favorites still. The record deserves the same classic status given to the Talking Heads' Remain in Light, as it has the same amount of intelligence, funk, and feeling, while displaying even more heart and a touch less of detached "art." To these ears, it's perfect in its slightly awkward fusions, and represents all of the hubris and honest devotion that made the post-punk era's classic recordings so vital in their warts-n-all dedication. [IQ]

$9.99 CD

Texas Fever

1984's Texas Fever is technically an EP, though its more fleeting length actually provides a greater impact, as this would prove to be one of the most radical and key releases in the group's discography. By this point Orange Juice had dissention in its ranks, and guitarist Malcolm Ross (formerly of Josef K) and bassist David McClymont would soon jump ship during this EP's recording, leaving only frontman Edwyn Collins and drummer/vocalist Zeke Manyika. The two of them would prove a dynamic duo, though, as Texas Fever amplifies the groove and solidifies the band's mastery of what would in retrospect be known as the "new pop" sound of the mid 1980s. Opener "Bridge" is one of Orange Juice's most essential tracks, riding a tight beat and one of Collins's best vocal performances, it paves the road ahead for what would be the group's swan song and arguably finest pop hour. [IQ]

$9.99 CD

The Orange Juice

Opening with the skittering soul of "Lean Period," The Orange Juice is pure pop and for all intents and purposes, Edwyn Collins' first solo album; the entire record is just he and drummer Manyika working with producer Dennis Bovell on a series of breezy, reflective songs that bridge the gap between OJ and the more relaxed laments of Hope and Despair, Collins' first proper solo release. The Orange Juice has long received an unfair short shrift in the band's discography, and that's a damned shame, as it remains one of Collins' finest pop statements, up there with "A Girl Like You" and the Gorgeous George album as some of his boldest songwriting and production examples. This is Collins at the height of his powers, running on a full tank with guns blazing; his lyrics have never been sharper, the music has never shined with brighter sparkle, and the grooves have never been tighter and more propulsive. While it might not be the best starting point for the band, it's without a doubt Orange Juice's most consistent album, and is perhaps the record with the most replay value. [IQ]

$9.99 CD

The Age of Fracture
(Tough Love)

This London quartet has moved beyond the sharp post-punk angles of their 2011 debut, easing the tempos, less agitated yet no less emotional, creating a slinky synth-pop sound that hearkens to moody, groovy classics from New Order, Depeche Mode or Peter Gabriel while never coming off as backward-looking or derivative. "Winter '98" sets the tone for The Age of Fracture, the ambient chatter of a late-night party giving way to swooning synth strings, a hypnotic four-on-the-floor kick and sizzling hi-hats, and Jack Cleverly melodically speak-singing in French; it's a rare blend of braininess and slinky soulfulness that truly works. The ease with which Cleverly can slip into a foreign tongue or the thoughtfulness he demonstrates in speaking about politics both personal and global are somehow reflected in the band's sound, with understated, ticklish synth riffs and pulsing rhythms that show both dexterity and deep restraint, while never losing their primal pull. It makes for artful, sweetly melancholy, shimmering pop beauty. [CL]

$13.99 CD
$16.99 LP

also available

Punk 45 Volume 2
(Soul Jazz)

Soul Jazz follows up the killer American band-focused first volume of Punk 45 with an equally great new installment. This time the late-'70s/early-'80s UK scene is highlighted with 24 punk and post-punk tracks that range from essential classics to uber rarities, and trace the rise of British DIY and independent music and culture. CD includes a thick, oversized booklet with detailed liners, photos and biographies of each band, and the limited edition double-gatefold LP comes with full sleeve notes. Groups featured include: the Users, Johnny Moped, Mekons, Disturbed, Killjoys, Televison Personalities, the Lines, Swell Maps, the Nerves, Josef K, the Shapes, the Prefects and many more.

$21.99 CDx2
$28.99 LPx2

After the Disco

The dream team of former Shins frontman James Mercer and Brian Burton (a/k/a Danger Mouse) offer their second full-length together as Broken Bells. Though still centered on lush, electronic-tinged productions and Mercer's soaring yet bittersweet melodies, the duo offer a few more upbeat tracks here than on their eponymous debut from 2010, with influences like disco, new wave and '80s-era pop nicely balanced against the record's more reflective moments. If you're feeling lucky, email for a chance to win a limited LP test pressing of After the Disco! We'll be picking the winner on Friday.

$14.99 CD
$25.99 LP+MP3

Seasons (Waiting on You) b/w One Day

New single from this beloved, arty synth-pop trio who've found a new home on the 4AD label, and in late March will be releasing their follow-up to 2011's excellent On the Water. If the anthemic swoon of "Seasons (Waiting on You)" is any indicator, the forthcoming Singles will be Future Islands' much-deserved breakthrough.

$6.99 7"

limited vinyl pressing

The Electric Lucifer

Now available on vinyl, Bruce Haack's seminal 1970 acid opus, The Electric Lucifer. As far as electronic psychedelic music goes, this (along with White Noise's An Electric Storm) is its high point, with tracks like "Electric to Me Turn" sounding like a bizarre and absolutely incredible marriage of Raymond Scott and Syd Barrett. Limited pressing of 500 copies, on 180 gram vinyl.

$27.99 LP

back in stock

Rosemary's Baby OST

Krzysztof Komeda's chilling score for Roman Polanski's unforgettable 1968 satanic thriller Rosemary's Baby is as iconic as the Vidal Sassoon haircut Mia Farrow sported during most of the film, or the harrowing look on her face when she first lays eyes on her newborn demon child. A celebrated Polish jazz musician who was trained as an ear, nose, and throat specialist, Komeda made a name for himself as the preeminent composer of the internationally influential Polish Film School, and later as the preferred collaborator of Polanski until Komeda's untimely death in 1969. Komeda's brand of detached yet elegant jazz was particularly well-suited to the modern sensibilities of young Polish filmmakers in the late 1950s, a period marked by increasing post-Stalinist liberalization in the socialist country. However, it was in his fruitful collaborations with Polanski, as well as other international film commissions, that he fully developed his compositional style, which became unsurpassed in soundtrack scoring.

Seemingly effortless and often composed directly to the images, Komeda used his skills as a wintered jazz musician to produce a sound that was at once light, rhythmic, and angular. On the much-celebrated soundtrack for Rosemary's Baby, we hear him playfully switching between orchestral music, jazz, psychedelia, lounge music, and undeniably creepy lullabies. The atmosphere is eerie-oftentimes downright scary-especially throughout the passages of satanic ritual chanting. Perhaps Komeda's biggest innovation here lies in the ingenious ways in which he repeatedly blurs the lines between the filmic and the musical text, especially in the inverted choral sections where specific elements from the film effectively feed into the soundtrack to unnerving effect. At such delightful demonic moments, Komeda leaves all of the more recent hauntologists way behind, many of whom are undoubtedly indebted to the Polish master without ever really approaching his brilliant innovations.

Waxwork claims this to be the definitive, final presentation of the soundtrack, but with a number of diverging versions released over the years that all feature slightly different tracklists, it's hard to take this claim as absolute truth. What is undisputed, however, is that the score has never sounded better. Remixed and remastered from the original master tapes, as well as featuring new liner notes, reproductions of film stills, and newly designed artwork, this is a triumph in audio/visual production. Don't miss out on this one, and go watch the film if you haven't already! [NVT]

$31.99 LP

the big picture