JULY 17, 2014

special announcement



Every Saturday Afternoon through August 30
Union Pool: 484 Union Ave. Brooklyn
Facebook Event Invite | Free Admission

Other Music is thrilled to be co-presenting this FREE weekly party with Union Pool, which takes place every Saturday afternoon through August 30th in the iconic Brooklyn bar's big backyard. This weekend is another solid bill, featuring Obits, Biblical and Sun Ladders!! Then next Saturday, July 26, Panache & New York Night Train are throwing a great party with Jonathan Toubin, Baxx SiSi's, the Mystery Lights, DJ Vashti Windish, plus a live set from a secret special guest. As always, every Saturday afternoon will be complete with brunch options from El Diablo Tacos and drink specials that will include offerings from Brooklyn Brewery, Jameson Black Barrel, & Kelvin Natural Slush Co. More details are listed on the Facebook event page with more bands to be announced soon.



Ace Hotel New York: 20 W. 29th St. NYC

Other Music's summer Monday residency returns to New York City's Ace Hotel and goes through to the end of August! During these next few months, you'll find a different member of our staff DJing their favorite records and countless varieties of music inside the gorgeous lobby bar every Monday evening from 8 p.m. to midnight. We hope you'll come and join us as we shake off these dog days! Andreas Knutsen is behind the decks this coming Monday, July 21, and then Clay Wilson on July 28.

in this week's update


Sébastien Tellier
Cocteau Twins
Taylor McFerrin
Turn to Crime
Reigning Sound
Coloured Balls
Theo Parrish
Even Tuell


The Clean
My Brightest Diamond
Secret Cities
Sound of Siam Volume 2
Horse Meat Disco IV
Wire Issue #366


Last Kind Words (Variious)




Le Poisson Rouge: 158 Bleecker St. NYC

Andy Turner and Ed Handley have been working together as Plaid for over 25 years, and in support of their excellent new album, Reachy Prints, out now on Warp, the groundbreaking electronic duo will be performing tomorrow night at NYC's Le Poisson Rouge. Other Music is giving away a pair of tickets and you can enter to win by emailing We'll notify the winner in the morning.



Prospect Park Bandshell: 9th Street & Prospect Park West, Brooklyn NY

Neutral Milk Hotel finally returned to the live stage last year, performing around the world to countless fans, most of whom had never seen the band during their initial run. With only two proper NMH full-lengths released during the '90s, Jeff Mangum is now regarded as one of indie rock's most influential and loved songwriters, and next week, his group will be performing two nights at Celebrate Brooklyn in Prospect Park, with fellow Elephant 6'ers Circulatory System opening. Tuesday's show is sold out and the following evening is about to as well. We've got a pair of tickets to the Wednesday performance, and to enter for your chance to win, email



Town Hall: 123 W. 43rd St. NYC

Speaking of influential songwriters, Mark Kozelek is one of our generation's very finest. His sixth full-length as Sun Kil Moon, the recently released Benji, is yet another high-water mark in a long career with many peaks, and next Thursday, Kozelek will be performing at New York City's legendary Town Hall. Other Music is giving away a pair of tickets to this very special evening, and for your chance to win, email



Mercury Lounge: 217 E. Houston St. NYC

The Brighton-based Wytches have been casting a spell over lots of fans in their native UK and abroad, with their awesome live shows and self-described psychedelic surf/doom sound. The trio is hitting the Mercury Lounge stage next Thursday with Monograms as support, and we're giving away a pair of tickets! Email for your chance to win.

this week's update

(Record Makers)

French singer, songwriter, multi-instrumentalist, and producer Sébastien Tellier has established in his 14-year career an impressive discography of ambitious, witty, and intelligent albums both vocal and instrumental. He began as an offbeat hybrid of one-man pop maestros like Todd Rundgren or Michel Polnareff, and the lush, romantic orchestral majesty of composer/arrangers like Jean-Claude Vannier, Michel Colombier, and Burt Bacharach. His eighth full-length, L'Aventura, is both his most ambitious, most surprising, and even most consistent and moving statement yet. Tellier traveled to Brazil and was moved by the culture, people, and of course, music of Rio. But instead of coming back and recording a typical, predictable album of loungey bossa nova make-out music (which actually opens the record with a wink and a nudge), he's effectively tapped into the melancholic, beautiful feeling of nostalgia that the Brazilians refer to as saudade with breathtaking results.

Tellier composed L'Aventura as a reimagining of his childhood, and that heartfelt earnestness is one of this record's strengths. He shifts somewhat away from the ironic and at times off-putting humor of his past albums for a suite of songs that blend gorgeous, sweeping orchestral string sections (conducted by none other than Brazilian arranger and composer Arthur Verocai) with thick beds of clattering samba percussion and gently propulsive bossa nova guitars. The record's tropical rainforest is further colored by brightly hued synth melodies, a bit of 1970s sci-fi wizardry (piloted by synth legend Jean-Michel Jarre, no less!), and some sharp, on-point lyricism. It's to Tellier's credit that these songs never sound overstuffed or bloated; in fact, these are some of his most catchy, beautiful compositions, and the eclectic sound palette only enhances their majesty.

I've had L'Aventura in constant rotation since its initial vinyl release weeks back, and it's not only one of my summer soundtracks this season, it also stands as a frontrunner for one of my favorite albums of 2014. Fans of the French pop heavyweights like Serge Gainsbourg, Polnareff, Vannier, contemporary heads like Air, not to mention Brazilian orchestral-pop masterpieces like the Lo Borges and Verocai LPs, would be wise to grip this ASAP. It's Tellier's finest hour, and one of the year's most beautiful records. Absolute highest recommendation, folks. [IQ]

$16.99 CD
$36.99 2LP

Upright Behavior

Adam Schatz's music sometimes sounds like a mad dash through the man's overflowing mind, bursting at the seams with both ideas and raw emotion, exploring myriad musical avenues while always keeping his heart pointing homeward. For Schatz's second album as Landlady, he sucks up influences from a diverse, heady group of artists and ends up with his own distinct sound, an earthy art rock that places his intensely passionate and brainy personality in the midst of a powerful, percussive guitar band in the lineage of NYC icons from Talking Heads to TV on the Radio to Dirty Projectors. Upright Behavior is a mature album lyrically as well as musically, exploring themes of family, responsibility and mortality with thoughtful emotion, but Shatz's core strength is in how he approaches sophisticated themes with a sweaty open-hearted honesty that is pure rock and roll, and couches indelible pop hooks in sometimes complicated arrangements.

Although an artist's day job does not always reflect anything on their craft, Shatz's complicated CV says a lot; he's been recording and touring with Man Man for a while now, and guests in numerous other varied projects, including playing sax on Vampire Weekend's number one album last year, as well as being an active jazz promoter, preservationist and player himself. Upright Behavior adds together all of those influences, along with a million others from across the crowded urban landscape, then one by one chips them all away, until what is left is a distinct and powerful performance by a singular artist. [JM]

$10.99 CD ON SALE
$16.99 LP

(XL Recordings)

The past couple of years have seen a large aesthetic nod from contemporary pop, funk, and R&B music makers toward an under-sung golden age of 1980s soul music where the terms "quiet storm" and "boogie" were king. I, for one, have been fully enthused by this resurgence of slowly percolating, smooth, and sultry yet deep and bumping tracks, and if it sounds like vintage Sade or Loose Ends, well then, even better. UK collective Jungle have shown quite a bit of promise thanks to a few singles and some fiery live appearances, and their eponymous debut album further delivers the goods. They take a number of deep dance-floor sounds -- minimal British Hustle disco strut, slow-burning quiet storm jazzy shuffle, and a liberal dose of synthesized electro boogie -- and they craft a collection of songs that are smooth in the center with slightly rough and raw edges. The vocals are thick with male falsetto, adding some sensitivity amongst the strut, and the group definitely knows their shit enough to nail the vibe while updating it just enough to sound contemporary -- there are moments where Jungle comes across as a fantasy fusion of TV on the Radio and Imagination, and Pharrell.

It's a killer debut, and while they haven't quite perfected their aesthetic yet -- the seams do still occasionally show, and the vocalists could stand to offer a pinch of diversity in their delivery -- there's no doubt that this is a promising start to what could prove to be a strong and deep career. If you dig the likes of anything from the aforementioned classics by Loose Ends, Gwen Guthrie, Hi-Tension, or Imagination, not to mention newer groups like Quadron, Rhye, Jessie Ware, or Dam-Funk, this is most likely going to whet your whistle. Dig this quiet storm and feel its thunder. [IQ]

$12.99 CD ON SALE
$19.99 LP

Blue Bell Knoll

Truly a cause for celebration, this is the first vinyl reissue of Cocteau Twins' Blue Bell Knoll since it was released in 1988. While the record certainly bears some similarities to 1990's Heaven or Las Vegas (due for reissue in a few weeks), it is ultimately a smoother affair. However, one edgier element, and noticeable difference, is that this is the last album on which Elizabeth Fraser sings in a way that makes words sound as if they are in other, possibly imaginary, languages. That said, one of their great strengths is in how their music still carries the emotional weight of someone pouring their heart out in plain English. Anyone with even a passing interest in the more smeary, dreamy ends of the pop spectrum shouldn't be without this. [NN]

$19.99 LP

Early Riser

Taylor McFerrin, son of Bobby, releases his awaited debut album for the Brainfeeder label, and from the beginning Early Riser is a warm, pastoral mix of hazy electronic textures and live jazzy instrumentation with soulful vocals. Nearly six years in the making, the record was pieced together while he worked as a music teacher in Brooklyn. This collection showcases McFerrin's dexterous playing and arrangements, as he performs on bass, drums, Fender Rhodes, guitar, synth and programming throughout, with assistance from Cesar Camargo Mariano, Robert Glasper, Thundercat, and Jason Fraticelli. At the start of the recording process, McFerrin intended the album to be built around his own vocals, but in the end he collaborated freely, and his voice is only credited on two tracks. The other vocals come from a group of like-minded artists: RYAT, Nai Palm (Hiatus Kaiyote), Emily King, and his father. He has an ear for arrangements that fit right in with labels mates Teebs and Flying Lotus, yet McFerrin creates a nice balance between warm vocal-based songs and jazzy experimentation, and the resulting album feels tailor-made for the label. Fans of the current wave of electroacoustic soul a la Little Dragon, Bonobo, Sampha, Jhene Aiko, or the soulful side of Brainfeeder, let this be your next laidback and jazzy downtempo lullaby. [DG]

$14.99 CD
$24.99 2LP

Can't Love
(Mugg & Bopp)

From the 2010 demise of Motor City lovin' garage rockers Awesome Color comes the newest project from Derek Stanton, who releases his first proper full-length leading the Detroit-based trio Turn to Crime. Initially formed as a one-man-band with a guitar in one hand and a synth and sampler in the other, Stanton shed much of the ferocity of his previous group, and rather than kick out the jams he turned inward. His earliest Bandcamp and CD-R released bedroom recordings as Turn to Crime documented a wide degree of experimentation, with Stanton delivering a laidback sneer atop pulsing sequencers one minute, and then finding the exact intersection between the Stooges and Spacemen 3 the next. Not quite outsider pop, there was still a nice detached intimacy to these recordings which carries through to this full-length. Can't Love, however, shows a more cohesive side to Turn to Crime, eschewing the occasional off-kilter synth-pop detours of those first recordings and expanding upon the more avant fringes of his scuzzed-up rock.

Following a short, droning organ intro, the album-opening title track (reprised from the aforementioned earlier sessions) finds Stanton declaring, "I don't want good times, I don't like sunshine, I can't love," atop spindly guitars and a chugging beat that mimics the hypnotizing rhythm of an old steam-powered factory. Tracks like "Sunday's Cool" and "Forgiveness," the latter masquerading as a Velvet Underground outtake, follow a similar path, while the reflective "Pine Box" floats like an amorphous grey cloud billowing from a crumbling Detroit smokestack. The 10-and-a-half minute-long instrumental closer, "I Can't Not Love," is where Turn to Crime fully stretch out, calling to mind a lo-fi Sonic Youth replicating the majestic Krautrock of La Dusseldorf, with layers of byzantine guitar cresting over a motorik beat and eventually collapsing into a maelstrom of steel-stringed plucks and pings. None of Turn to Crime's influences may be new but like his previous band, Stanton knows how to push beyond mere imitation and what he does here is truly personal and of his own. This is much more visceral than Awesome Color, but spend a few listens and Can't Love will be hard not to. [GH]

$7.99 CD
$17.99 LP


For years, Greg Cartwright has consistently shown himself to be one of the most talented songwriters of our era, and it is about time that people took notice. And with his band's move from the legendary In the Red label to indie powerhouse Merge Records, hopefully more folks will. For better or worse, the Reigning Sound and Greg's other groups (Oblivians and Compulsive Gamblers) have always been considered garage rock, and while it is often an apt description of their fuzzed-out sound, it is also one that doesn't fully convey the classic songwriting and subtle brilliance that Greg so often deploys. With thirty years as a musician, the man has absorbed so much music of all genres and his ability to draw on all of it and reconfigure it into songs that are equal parts new and old, crafting comfortable sounding records that you'll want to listen to for years to come, is a feat so much harder than you'd imagine.

Reigning Sound LPs have tended to be a bit erratic; Too Much Guitar certainly lived up to its name and Time Bomb High School was separated into a loud side and a quieter side. The mood here is, overall, more restrained than they have been since their 2001 debut, Break Up, Break Down, backing off on the distortion and leaving room for the songs to breathe. The record starts with "North Cackalacky Girl" which has a cool, insistent riff and fuzzed-out organ, and lyrically a slight tip of the hat to the Revlons' obscure NYC punk classic, "The Way You Touch My Hand." From there the mood and tempo shift down a bit with the melancholy "Never Coming Home," and with a few exceptions it keeps more to the somber side of the fence. Recorded in Brooklyn at the Daptone studio and mixed in Memphis with Doug Easley, Shattered sounds beautiful, full and clear without any sort of modern sheen. It works especially well for a song like "Starting New" that sounds so much like a classic mid-period Stax hit that you'll be checking the credits to see if it is (spoiler alert: it's a Cartwright original).

It might be a bit too early to tell where I would rate this among other Reigning Sound LPs, but I have crushed hard on all of their records and this one is certainly no exception, as I've listened to Shattered almost exclusively over the past week and a half. If you are into rock music (Byrds, Dylan with the Band, Nuggets, etc.), R&B (classic Stax/Volt as well obscurities too), and classic country, and you aren't already excited about this album, you should drop everything and get yourself a copy right now. [DMa]

$13.99 CD
$18.99 LP+MP3

Heavy Metal Kid

Yeah yeah -- foretellers of punk rock and kings of sunburnt extendo Australian yob-rock, the Coloured Balls, simply on the strength of their 1973 debut Ball Power, might've been a teensy bit presumptuous naming that album's follow-up Heavy Metal Kid. Heavy metal this ... well, this ain't, and there's no way to get around it. Then again, that band Heavy Metal Kids from the UK around this same time, well, they weren't either. The change of meaning in this signifier is worth noticing, because at this point, few were really in the full throes of metal, unless they were complete devotees of Sabbath, the nascent Judas Priest, or could otherwise cobble together the disparate signposts from 1974 that would ultimately define the genre in the years to come. Kinda how like there were no words for "punk rock" circa Ball Power, and people just went nuts to the velocity and ferocity of the rock Lobby Loyde and his boys were delivering. As evidenced through the recorded documentation of Australia's yearly Sunbury outdoor music festivals, Loyde and compatriots like Billy Thorpe and the Aztecs laid down a firm commitment to bring rock music back to its roots, and drive it into a burning building in the process, playing the music with more speed and intensity than people had ever known.

Heavy Metal Kid sees Loyde and his, um, Balls having scaled the peaks of the form (trust me, you won't find the Summer Jam LP from the '73 concert, but Aztec's CD reissue of Ball Power conveniently included bonus track "G.O.D." -- that's "Guitar Overdose," where for 15-plus minutes Loyde and Co. induce heart attacks to whomever was left standing at 4:30 A.M.) and cresting slightly downwards, into the comfort and familiarity of something more akin to pub rock. That's not to say that they don't totally floor it on the title track or "Back to You" or "Just Because"; it's that this time, there was more room for the occasional ballad, more opportunities to expose the roots of rock & roll for the cause of celebration instead of arson. Word also has it that this was near the time the band would call it a day, in objection to the nascent skinhead movement that was proliferating across the continent, a movement that the group may have inadvertently egged on. Either way, you need rock, rock needs you, and Heavy Metal Kid is by almost any account one hell of a delivery mechanism. [DM]

$25.99 LP

Footwork EP
(Sound Signature)

A different take on a footwork track, not another bass/loop-heavy sample-fest, this is Theo's version of footwork. It's a vocal, bass, hi-hat and finger-snap affair that steps and creeps its way forward in a way like the now classic "Feel Free to Be Who You Need to Be." The bass and hi-hat groove forward in spurts (almost sounding like tuba grunts) while the vocals groove alongside: "Let/Me/See/Your/Foot-work..." Though traditional contemporary footwork tracks tend to have higher energy, this cut has a more sputtering, laid-black groove. Perhaps the beautifully shot video featuring lone dancers in barren Detroit street and factory-scapes is the clue; to add a sense of history to match the Detroit landscape setting, Parrish chose dancers for his video who represent a slightly older demographic -- definitely not the kind that would be found on an energy drink commercial, but perfect to give a sense of time and solemnity to the music. B-side "Tympanic Warfare" has a similar feel but injects a gorgeous piano melody that glides along the top of the track. It's the first Sound Signature EP for Theo in a minute, and this one comes correct on the quality and playability. (Full picture sleeve featuring a still from the video.) [SM]

$12.99 12"

Xero / Down
(Wild Oats)

Reissue 12" of "Xero"/"Down" (a/k/a Wild Oats 6 -- we carried the original blue vinyl edition but it disappeared FAST), with a BONUS 7" ("Our Love" b/w "Donz Critique") that was previously available only as an ultra-limited, exclusive release to THREE Detroit shops.  The soulful A-side, "Xero," is full of lazy cowbells, claps and timbales, but it's the raw, looping disco-soul club jam, "Down," on the flip that makes for that perfect afterhours basement party moment. This 12" is in the "DJ tool secret weapon" dept., while the bonus 7" is more of the hit jam. "Our Love" is worth the price of admission, with its snappy beat, creeping bass line and hazy vocals. It has the amazing distinction of sounding great both in the basement or on the beach, while 7" B-side "Donz Critique" sounds like a sped-up Prince track, with beats that could very well be sampled from "When Doves Cry" set in a stop-start pop style with sputtering lyric bits over the top. Wild Oats is already sold out so good luck when this batch is gone! [SM]

$22.99 12"+ 7"

Longing Way

This Workshop label co-head knows how to make a long, winding (and literally trippy) voyage of a track, and we've been waiting to get some of these ever since the first pressing sold out instantly. It's all deep and heady with that trademark dash of quirkiness that's always offset by overall earthy warmth. The long B-side track comes off like Farben in a more stoned, drifting and casual mood. A blurred piano stab and drone hum in the distance, along with percussion which double times as data spurts and handclaps, giving it that off-kilter yet human ambience Tuell always achieves. But A-1, "Precious Cloud," is the undeniable, tear-inducing beauty here, with such longing in the plaintive, lilting piano notes! Overall an amazing combination of stony warmth and worn/raw/familiar texture. [SM]

$15.99 12"

Rock Konducta
(Madlib Invazion)

Our main man from Oxnard, CA, Madlib refashions his Beat Konducta series with this latest installment, Rock Konducta Parts 1 & 2. Following his collaboration with Freddie Gibbs and the ensuing instrumental version (which is probably more enjoyable in the long run), Madlib returns to his sprawling psychedelic collage sound, in this case with some rocky roots. Across more than 50 tracks, none over three minutes (CD version is a two-disc set, while the vinyl is split into separate volumes), he digs through the rock section of his collection and I'm guessing garage sale and bargain bins across the world.

Madlib puts his off-the-cuff editing skills to fine use, chopping and looping bits of rock jams, layering and overdubbing his own playing and programming with a hefty dose of vintage radio broadcasts, stand-up comedy, and infomercials weaved in. The samples are obscure, lots of foreign stuff I imagine, full of riffs that are just out of memory's reach -- the only one I knew was a pitched-up re-edit of Gary Numan. Soul, reggae, hip-hop, Indian and Brazilian tracks, it seems like no music is off limits for the Beat Konducta, and here is another genre thrown in the blender. He spans decades, mainly the 1960s-'80s, and it feels like channel surfing with a dozen screens. It makes sense overall and is another showcase of the wacky mind and skillful hands of the creator, yet at times reminds me of another Cali psych-hop producer, Gaslamp Killer.

As usual with his Konducta series, this is equal parts heady and often funny sound collage mixed with loopy banging beats. If you do some editing and create a playlist, then you can find the perfect version. It's a lot of material, and some of the interludes wear thin on repeated listens, yet there's an almost endless supply of gems to be found throughout. [DG]

$19.99 2CD


SND, the Sheffield-based duo of Mark Fell and Mat Steel, emerged at a crucial juncture in electronic dance music. It was the late '90s and electronica -- bigger, bolder and more accessible than ever before -- was perched at the edge of the pop charts. Sidestepping the more populist strains of the "arena rave" set, SND took inspiration from the conceptual interventions of artists like Thomas Brinkmann (Soul Center) and Wolfgang Voigt (Gas, Mike Ink, Studio 1), the hybridized dub techno of Basic Channel, and the swingy, syncopated rhythmic DNA of early UK garage. Tplay, the group's debut EP, arrived in 1998 as a mysterious 12". Released in a generic gray sleeve with a rubberstamped telephone number as the sole contact info, the stark, almost totemic vinyl object -- not to mention the sublimely minimal music contained within -- garnered the attention of German experimental imprint Mille Plateaux, who signed the duo on for three classic full-length albums. Newly reissued for 2014, and expanded with five unreleased bonus tracks, the music on Tplay continues to feel outside of time yet altogether futuristic. Anchored to a foundation of gently modulating FM chords and distorted, low-end throbs, contrasted with higher register percussive elements that seem to mimic the compulsive syncopations of 2-step garage, the enveloping, hypnotic sounds are simultaneously utilitarian and tranquil, evocative of the gentle thrum of computer operating systems or a distant, outdoor rave. [DS]

$27.99 2LP

also available


Merge reissues the Clean's quintessential Anthology on vinyl! Originally released in 2003 on two CDs, this quadruple LP set features a career-spanning selection of the Kilgour Bros & Co.'s music, from band staple "Tally Ho!" to favorites like "Anything Could Happen," "Beatnick," "Billy Two" and "Getting Older," to early EPs Boodle Boodle Boodle and Great Sounds Great (featured in their entirety), along with cuts off of late-'80s/'90s albums Vehicle, Modern Rock, and Unknown Country, plus some great single-only rarities. Tally ho indeed!!

$44.99 4LP+MP3

None More Than You
(Asthmatic Kitty)

A teaser for Shara Worden's new album this fall, the None More Than You 12" stands tall on its own it and should tide over even the most rabid My Brightest Diamond fans for a couple more months. This features two versions of the swooning "Dreaming Awake," the album version with Colin Stetson remixed here by Son Lux, the other take culled from a guerrilla orchestral session with Mason Jar Music at an abandoned Yonkers power plant (watch an amazing film of the session here, including the police crackdown). Add to this a trio of unreleased tracks from film scores and orchestral collaborations, and you have a great record that only whets our appetite for the forthcoming album.

$13.99 12"

Walk Me Home

Though based, roughly speaking, in Fargo, ND, Walk Me Home is the first album Secret Cities has made all together in the same room, after the three teenaged friends were separated for several years, spread across the country. As such, maybe it's no surprise that this is the band's best and most direct release to date, stripping back some of the fuzz and clutter from their vintage psych-pop sound, leaving just a set of great songs and a lovely warm analog sound. Mellow and hook-filled, with great male/female lead vocals and simple orchestration.

$8.99 CD
$13.99 LP


This post-hardcore/post-punk/garage-rock duo has roots in West Palm Beach, which may explain a bit of their nihilism. But the boyhood friends live in Brooklyn now, and along with beautifully alliterative names, guitarist Chuka Chukuma and drummer Marcos Marchesani (of Surfer Blood and Weird Wives) have a solid debut EP out on new Portland label Bloodmoss. Heavy washes of guitar, muscular vocals that can be both melodic and shouty, and circular pounding rhythms, this is not really anything new, but that does not diminish its visceral power -- these guys deliver.

$11.99 CD ON SALE
$14.99 LP

Sound of Siam 2: Molam & Luk Thung 1970-1982

Soundway brings us another excellent collection of '70s-era songs from South East Asia, this set focusing on molam and luk thung music originating from the Isan region of Thailand. Spanning 1970-'79, The Sound of Siam Volume 2 documents the evolution of these genres as they moved from traditional acoustic sounds and into a magical fusion of East meets West, incorporating influences like surf, rock and soul, with artists using electric guitars and organ alongside instruments like the phin, khaen and sor. Like its predecessor, the 19 songs on Volume 2 are captivating, with many of these tracks almost lost to time and never before heard outside of Thailand until now.

$16.99 CD
$24.99 LP

Horse Meat Disco Volume IV

Horse Meat Disco bring us the fourth installment of their celebrated compilation series, the London DJ collective once again reaching deep into the crates for another killer mix of original and contemporary disco gems. Many tracks are getting their first ever reissue, including the tropical-flavored Italo of "Misaluba" from K.S.B., L'Amour's funky "Let's Make Love Tonight," and the undeniably catchy, kitschy disco of Rena's "I Love Your Beat (Play It Again Sam)." New, exclusive productions include "Getting to Know You" from Shahid Mustaf MC and a Horse Meat mix of Joey Negro's version of T.C. Curtis' "Candidate for Love."

$16.99 2CD
$25.99 2LP+2CD

Issue #366 August 2014
(Wire Magazine)

August 2014's Wire includes The Wire Tapper 35 CD compilation, described as "another cornucopia of occult delights." St. Vincent graces the cover of this latest issue, and also featured inside are: London producer Lee Gamble; Yorkshire electronic music purveyor Trevor Wishart; Invisible Jukebox with Moog pioneer Bernie Krause; veteran Krautrock guitarist Gunter Schickert and more!

$10.00 MG

back in print

Last Kind Words

Nice to see some of the earlier Mississippi titles coming back into print. Spanning 1926-1953, Last Kind Words is a collection of blues, gospel, early country and ballads, and like the label's best compilations, it plays out like a mixtape pressed up on vinyl and distributed through record stores and the mail. There are no liner notes, and aside from a full-color folk art painting of city life on the sleeve, there's an inherent amount of trust that you have to give these folks, who've gone through a wild stab at musical appreciation first, education second. You probably don't have too many friends with extensive early American music collections (then again, maybe you do) but by applseeding these releases into stores and mailboxes, the Mississippi crew in a sense organizes a small group of people to listen to and experience their offerings as a group, and bring themselves closer to one another in the process. In these spirit-deadening times, they provide sustenance for your well-being, a way to cope with the struggle. And right now, that's kind of what we need.

$14.99 LP

the big picture