February 6, 2014

other music events



Free Admission | Limited Capacity

This Saturday, February 8, Wayne Coyne will be stopping by Other Music from 11 a.m. to 1 p.m. with an extremely limited, 30th anniversary edition of his band's earliest release, 1984's The Flaming Lips 1st EP! We'll have this for sale at the shop and he'll be signing it for fans. The green vinyl 12" comes housed with a specially made solid chocolate skull and includes a gold coin that is redeemable as admission to any gig headlined by the Flaming Lips. (Facebook invite.)



Free Admission | Limited Capacity

Speedy Ortiz had a big year in 2013 with the release of their great Major Arcana album, and they are stopping by Other Music to celebrate their follow-up on Carpark, the Real Hair EP, with a special in-store performance. Come by for a free show, pick up the new EP, and hang with the band before they leave on their European tour. (Facebook invite.)



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 for a Valentine's Day celebration and signing before their sold out show at Le Poisson Rouge later that night. Come share the love with Cibo Matto and pick up the new album next week, Friday February 14, 6 p.m. (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, February 22, 9 p.m. (Facebook invite.)

in this week's update


Juan Wauters
Leisure Muffin
Yong Yong
Lee Bannon
Marissa Nadler
Krzysztof Komeda
Shoes This High
Selda (Two reissues on LP & CD)
Cortex (Three LP reissues)
Sampha 7"


Pop Ambient 2014 (Various)
The Soft Moon (Limited 7")


Patrick Cowley (LP back in print & now available on CD)




85 N. 4th St. Brooklyn, NY | 10am-6pm

This Saturday, February 8th and Sunday, February 9th, Other Music will be heading to Brooklyn to participate in a special-pint sized edition of the Brooklyn Flea Record Fair! The fair, which is usually held every May and October outside at the East River State Park (the next one is confirmed for May 10th -- mark your calendars!) is taking things indoors for the weekend with 10-plus record labels and collectors set up inside the Flea's Winter Market alongside 175 vendors from the Brooklyn Flea and Smorgasburg. You can find all this goodness inside their spectacular -- not to mention warm -- space at 85 N. 4th St. between Wythe and Berry on the 2nd floor. The fair will go from 10am-6pm both days and is a free event. Check out their Facebook page  for the full vendor listing, and here's the DJ schedule:

SATURDAY 12-1pm Moldymann (Call the Doctor) | 1-1:45pm DJ Demby | 1:45-2:30pm DJ Sportcoat (eMusic/Universal Melody) | 2:30-3:15pm Steve McGuirl (Prince Rupert's Drops) | 3:15-4pm Justin Miller (HAKT) | 4-4:45pm Andy Bodes/Capeshok | 4:45-5:45pm Ning Nong

SUNDAY 12-12:45pm Amanda Chouette | 12:45-1:30pm James S (Orivious) | 1:30-2:15pm DJ Gregorious (HPRS) | 2:15-3:00pm KrisDFA | 3:00-3:45pm Pam (Other Music) | 3:45-4:30pm Gerald Hammill (Other Music)



Glasslands: 289 Kent Ave. Brooklyn

Marissa Nadler just released her wonderful new album, July, on Sacred Bones (the record is reviewed in this week's Update), and this Saturday will be celebrating with an early performance at Glasslands along with Zach Cale and Amen Dunes. We're giving away a pair of tickets and you can enter for your chance to win by emailing
(Facebook invite.)



Highline Ballroom: 431 W. 16th St. New York, NY

With the new Autumn Defense album, Fifth, under their belts, this longtime project of Wilco's John Stirratt and Patrick Sansone are making a special appearance this coming Tuesday night at New York City's Highline Ballroom. Other Music has a pair of tickets to see the band, and to enter for your chance to win, just email

this week's update

N.A.P. North American Poetry
(Captured Tracks)

When the Beets first arrived on the scene in the late 2000s they were an anomaly; perfectly rehearsed yet fully fried, the band's garage pop drew on many classic and well-worn influences, but were unmistakably their own thing. DIY messthetics and international '60s rock influences were rolled together into a Ramones-ian cocktail of pure energy and Queens, NY pride. Juan Wauters, the main singer and songwriter in that group, always had a knack for hooks and a deep groove in his step, and on his first solo effort, he offers so much more than even his biggest fans might have expected. His guitar work is excellent and his lyrics mine the absurd and beautiful, while taking a more personal approach, all delivered with a cracked, nasally delivery that is part Spanish-American and wholeheartedly "broken."

Wauters grew up in Uruguay, and the influence of international pop, both historical and contemporary, is heard across the album. The first single, "Water," is an off-kilter pop hit with a beautiful finger-picked guitar part, and a poetic flurry of lyrics musing on life and the alternate reality, ending on an existential high note that feels like three perfect songs mashed into one. Later in the record, Spanish-language tunes like "Escucho Mucho" can't help but remind the listener of forgotten guitar gods Antonio Smith, Mateo, or even Caetano Veloso at his most direct -- think "London, London." It's a great album that still has a lot of the energy of his past records while showing remarkable maturity. A total breath of fresh air to start this year off right! [RN]

$13.99 CD
$15.99 LP

(The Bunker New York)

Bryan Kasenic has been a long-standing icon of vitality in New York's underground electronic music community; with his long-running parties, DJ nights, and live events under The Bunker name, he has been one of the few heavyweight activists in keeping quality electronic music active as a live/social entity in NYC, and he's now extending that commitment into releasing music via The Bunker New York record imprint.

The label's inaugural release is, quite frankly, an absolute stunner; I've played this EP on repeat for over a week straight now, and its beauty and depth hasn't wavered or swayed in the slightest. Leisure Muffin is the working name of producer Michael Hopkins, and over the course of these three hypnotic tracks, he manages to fuse together the squelch of Chicago acid techno with cosmic acid-tinged German Krautrock. Centerpiece "In Wearable Hertz" revolves around spiraling synthesizer arpeggios and a slow moving low-end pulse, as a solo violin weaves its way through and around the synthetic landscape. The flipside ushers in a more sinister atmosphere, with kinetic, snapping steppers dub moves and a bit of Basic Channel vapor wafting in the air; Hopkins's textural palette here is at once warmly familiar, yet utilized in collusions that sound wholly fresh and visceral, exercising both the brain and the ass simultaneously. This is going to be a label to watch, and they've kicked things off with one of the strongest slices of local electronic music I've heard in ages. Copies are limited, so be wise and DO NOT SLEEP!! [IQ]

This Saturday, celebrate the first release on the new Bunker New York label: Leisure Muffin 001! Along with a live set from Leisure Muffin, Basic Channel heavyweight Moritz Von Oswald, Legowelt (live) and Bunker residents Bryan Kasenic and Mike Servito will be playing in Output while over in the Panther Room you can catch DJ sets from Honey Soundsystem and Wrecked. To enter for your chance to win a pair of passes, email

Saturday, February 8
Output: 74 Wythe Ave.  Brooklyn

$12.99 12"

Dark Was the Night
(Endless Flight)

If you've kept track of the various mixes and overall activity of the Optimo DJs -- Glasgow's JG Twitch and Jonnie Wilkes, some of the finest and most creative selectors and mixers of our time -- you know that their reach extends far beyond that of your typical club DJ, that they have a combined, adhesive wisdom that allows them to place tracks into contexts you couldn't have imagined before, that their adventure is as educational as you want it to be, and as fun as you can allow yourself to have it. Once again, the duo comes correct with a massive mix, which has a big tell in the title. This is a dark one, indeed, albeit incredibly aggressive and alluring like few other mixes in recent history. How many longform collections of big-room acid house and crushing percussive darkness do you know of that start out with a track by Grouper? Makes sense, right? How many break the spell of the dance with circuit-bent noise by Hecker and tribal massacres by Nurse W/ Wound? How many seamless transitions can you expect to hear between dubstep and club-ready synth wave? Not many, but all that and more can be found here. Best to put this on with the lights out, wearing headphones, and see where Optimo will take you -- and if you'll be the same once it's over. [DM]

$17.99 CD

Greatest It's
(Night School)

Portuguese duo Yong Yong follow up their hotly tipped debut LP, Love, with this new full-length, and those of you who dig the creepy, haunted sci-fi pop mutations of groups like the Residents, Hype Williams, and the Ghost Box stable should check this little vinyl gremlin out ASAP. Greatest It's is filled with uneasy textures, warped synth melodies, clanging and rattling rhythms, and above all else, a playfulness that winks at pop, hip-hop, and R&B song forms whilst never fully committing to any of them. The album plays like a beat tape soaked in syrup, hissing, warbling, and snapping as keyboards melt and disintegrate into vaporous air. Voices flit in and out of the mix, often cut up and/or pitch shifted beyond recognition, but the record is predominantly an instrumental affair. It's a bit more "together" than many peers wading in similar waters, but I wouldn't go so far as to call it "cohesive" unless the intent was a total brainfuck. This is exactly the sort of album I wish the Residents would be making today, placing a winking, smirking art school impishness into the veins of contemporary urban pop culture, and Yong Yong are to be commended for pulling it off admirably. [IQ]

$19.99 LP

Alternate / Endings
(Ninja Tune)

As the jungle revival marches on, the latest update comes from American producer Lee Bannon. His 2012 debut album, Fantastic Plastic, found him on the California-based Plug Research label, and leaned more on his collaboration with rappers and soulful IDM reminiscent of Madlib or Flying Lotus. Bannon then cemented a name for himself by producing tracks on Joey Bada$$'s 1999 mixtape, also from 2012. Now with his debut on Ninja Tune, he ditches hip-hop in favor of the speedy and tumbling rhythms of jungle. Alternate/Ending shows Bannon quite comfortable in the rolling drums, snappy snares, and thick bass lines, accenting his tracks with vocal snippets and synth washes. Punchy and funky, his tracks are less glitchy than might be expected from the genre; his productions feel more soulful than technical overall. Like Burial, he grabs dialogue from film and pitch shifts vocals to serve as intros and/or breakdowns, yet his style is brighter and more fun. He covers a lot bases throughout the 61 minutes, with tracks like "Prime/Decent" or "Phoebe Cates" feeling more classic than new school. At times his skills at recreating jungle seems more authentic than his hip-hop productions. All and all this is a great update of a once-lost and marginalized genre. If you felt like Special Request's Soul Music was just the doctor ordered, Lee Bannon provides the remedy for your follow-up visit. So glad to have the genre back, and an American finally doing it some noteworthy service. [DG]

$14.99 CD 
$22.99 LPx2+MP3

(Sacred Bones)

Marissa Nadler moves to the Sacred Bones label for the release of what may be her most beautiful and accomplished album yet, July. Recorded with a killer group of collaborators that includes piano and synth work by Steve Moore, guitars by Phil Wandscher (Whiskeytown and Jesse Sykes & the Sweet Hereafter), and string arrangements by composer Eyvind Kang, these eleven songs bring Nadler's woozy, shadowed dream-pop balladry into the sharpest focus she's ever displayed on record. While there's always been a craft and detail to her previous albums, July's lush noir romanticism and sensual ache emphasize the strengths in Nadler's songwriting without being overbearing and maudlin. It also proves to be one of the most beautiful releases in Sacred Bones' catalogue, showing a new side of the label's already rich, diverse roster while remaining an aesthetically logical addition. These are haunting, lovely siren songs made to soothe like an aural balm; fans of the likes of Mazzy Star, Opal, Bill Callahan, and even Stevie Nicks' more subdued lamentations will find much to love here. Nadler's crafted a subtle but grand statement that shines brightly, blanketed in the rich tapestries of her collaborators. [IQ]

$13.99 CD
$15.99 LP

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

Straight to Hell

Some of you have been slow to re-board the New Zealand Reissue Train for reasons perfectly understandable: can't get into the psychedelic pop sounds, sounds like rain, same people play in all the bands, this all happened years ago/half a world away/what's it got to do with me?, etc. For that last one, you're on your own, but if you've been holding out for something truly dangerous from the back pages of Kiwi musicology, Shoes This High is the group for you. Existing for a pinch between 1980-81, the only truly comparable band in the country, in terms of sheer intensity, would have been the Gordons (who I'm sure Shoes This High broke multiple stages with), but while that group was focused on a more long-term, weightier burn, Shoes This High -- vocalist S. Brent Hayward, guitarist Kevin Hawkins, bassist Christopher Plummer and drummer Jessica Walker -- were more content to stick and move, steal your wallet, stab you in between the ribs and slap you about.

All they ever committed to vinyl is a single four-song EP, but Straight to Hell issues for the first time a long-lost live set delivered by the band in its prime (and tacks on the 7" tracks for comparison as a digital download). All but one of the songs in the set were ever heard by audiences outside of New Zealand in some truly reckless venues. Punk is still in the air, but there are two other big components of their sound: the Fall, who by way of a brief snippet at the beginning of "Shouting Eat Sh*t" they must've been familiar with, and the Contortions, who unless any copies of No New York made their way across their borders, they couldn't have possibly known about. The guitar work and vocals here are absolutely vicious, frothing-mouthed and violent, introducing far-flung tenets of no-wave brutality to the punters, and the rhythm section anchors everything down in the maelstrom of slashing noise and invective hurled off by the rest of the band. Despite what you might pre-conceive a nearly 35-year-old live tape might sound like, Straight to Hell captures this group with brightness and clarity, at peak psychosis. If you were looking for a band that could rip your hair out from 7000 miles away, this here would be the one. [DM]

$16.99 LP

Vurulduk Ey Halkim Unutma Bizi
(Pharaway Sounds)

Folk chanteuse, pop icon, and undeniable hero of the Turkish protest movements of the 1970s and '80s, Selda is a singular female presence in the male-dominated Anadolu psych scene. She might also be its most remarkable proponent, with her pure, high-pitched vocals giving shape to an otherworldly form of protest singing, in which sociopolitical commentary is interspersed with dazzlingly poetic metaphors. Passionately vocalizing the rights of the Turkish people, her 1976 debut album Selda (which was reissued by Andy Votel's Finders Keepers label in 2006) made her extremely popular, but also closely watched by the government who regarded the record as a dangerous call to arms. The result was uninterrupted harassment by the authorities, and after the 1980 Turkish coup d'état, Selda was jailed three times while her passport was seized, a period through which the singer would continue to release LPs with the same anger, urgency, and musical dedication as before. Pharaway Sounds has now reissued Selda's second and fourth albums, and it's with 1976's Vurulduk Ey Halkim Unutma Bizi that we hear her continuing the formula that she so brilliantly established on her debut, with folk elements rendered psychedelic through layers of thick fuzz, whizzing synthesizers, and baffling flute explorations. [NVT]

$17.99 CD
$26.99 LP

(Pharaway Sounds)

The real surprise, however, is Selda, her 1979 album which bears the same title as her first. "Galdi Galdi" opens the record with a dizzying salvo of the ancient Anatolian Saz, after which we hear her sing in vibrant and clear fashion with a choir fully emphasizing her words. Released at a time when modern Turkey was at its most politically polarized, the mood is desperate but trance-like, with mostly acoustic instrumentation determinedly pushed forward by intricate rhythmic patterns and a stash of reverb. Later on in the record, subtle electronic elements are added. The effect is invigorating, to say the least, and, together with Erkin Koray's Elektronik Türküler and Baris Manço's 2023, this is one of the most electrifying statements of the Turkish psychedelic movement.

Pharaway Sounds has done a great job in reissuing these albums, but for all the emphasis on Selda's unique vocals and the immediacy of her lyrical talents expressed in the liner notes, the depths of her poetic and political sensibilities remain hard to grasp without a decent translation of the lyrics. Unless you are lucky enough to understand Turkish, you are left with the breathtaking, highly original sounds of these records to convince you of her case. Perhaps it's enough to be captivated by the music, but with some effort, a huge amount of context could have been provided to us, foreign fans. That's only a minor critique, though. The music is as essential as it gets! [NVT]

$17.99 CD
$26.99 LP

Troupeau Bleu
(Trad Vibe)

Oh my god, YES!! Cortex, one of my absolute FAVORITE French soul-jazz groups whose discography blended instrumental dexterity with a beautiful melodic ear and some deeply swinging grooves, see their entire catalogue beautifully reissued on vinyl for fresh heads to get obsessed. The band's sounds have been heavily sampled and plundered for beats over the years by producers like Madlib, Dilla, MF Doom, Rick Ross, and countless others, yet the records stand on their own legs just fine.

Fusing complex jazz arrangements, deeply funky polyrhythms, dreamy female vocals, and a tropical breeziness throughout, Cortex's 1975 debut, Troupeau Bleu, is a masterpiece of soulful jazz-funk, balancing heavy duty indestructibility with a weightlessness that blends bossa nova breeze, the tuneful melodicism of Vince Guaraldi's best work, and some deep urban soul akin to Herbie Hancock's Mwandishi and Head Hunters era. It's the kind of album you can throw on at brunch and just keep jamming into the evening; its multifaceted palette and instrumental sophistication unfolds new discoveries after repeated listens, and has become one of my absolute favorite records over the years. [IQ]

$26.99 LP

Vol. 2
(Trad Vibe)

1977's Volume 2 moves into a more instrumental jazz-funk fusion vibe, coming off a bit like Weather Report or late-period Soft Machine moonlighting at a Caribbean resort disco, but with heavier emphasis on leader Alain Mion's dizzying, dexterous keyboard work. The band gets into some frenetic tempos at times, too, making this a sprightly, upbeat soundtrack for spring and summer block parties. Chicken-scratch funk guitars, shuffling drum beats, and some kicking horns all up the party factor, and if you dig the sounds of Gilles Peterson's British jazz-funk collections, you'll love what's going on here. [IQ]

$22.99 LP

(Trad Vibe)

1978's Pourquoi is like a deep soul combination of the previous two Cortex albums; Mion takes over the singing, and his percolating Moog, clavinet, and electric piano work bubbles underneath his cool but soulful vocals, sounding like a Francophone lovechild of Robert Wyatt and Steve Winwood. It's totally killer, more synth-heavy, and a lot tighter rhythmically, rocking some serious disco-funk grooves that absolutely BURN.

All of these albums have been remastered from the original tapes and come packaged in lovely tip-on repro sleeves; originals fetch insane prices, and if any of this floats your boat, I'd encourage you to grip them post-haste as these are limited reissues. [IQ]

$22.99 LP

Too Much b/w Happens
(Young Turks)

The last few years have been good for Sampha Sisay; following his breakout work as a live vocalist for SBTRKT and talked-about covers of label mates the xx, he released his own EP, Dual, on Young Turks, worked with Lil Silva and landed a spot on Solange's Saint Heron compilation, and had a genuine pop hit singing on Drake's "Too Much." This new 7" features his original solo version of "Too Much" along with a new song, "Happens." Sampha's brand of soul brings to mind the piano- and vocal-driven side of James Blake, yet also the sincere and emotive spirit of Stevie Wonder. Much like the mood of his EP, this features rich piano playing with passionate songwriting, while his multi-tracked melodies create a web of soaring, unpretentious emotions. Here Sampha once again proves that warmth outweighs vocal gymnastics, and that he is one of the top voices working in the new school R&B arena. [DG]

$6.99 7"

also available

Pop Ambient 2014

Kompakt's essential annual returns, with some classic names intact: Ulf Lohman is back after six years; Jorg Berger brings back his late-'90s incarnation as the Bionaut; there are great tracks from Thomas Fehlman, Wolfgang Voight (including a GAS remix of the Field), a Kraut electronics all-star freakout with Cologne Tape, and much more. Always worth your time, 2014 is no exception.

$15.99 CD
$21.99 LP+CD

The Green EP

Sort of an extended single from Bibio's Silver Wilkinson full-length from last year, this EP is built around that album's "Dye the Water Green," with five new tracks constructed from unreleased archives from the sessions. Delivers the patented (yet always morphing) Bibio funky, freaky folk grooves.

$15.99 12" EP

Feel b/w Hunger
(Self Release)

Here are two new songs from Bay Area cold wave miners the Soft Moon. The a-side, "Feel," has everything a fan could want -- crushing drum machine, a squiggly, driving bass line with whirling synth accents -- but with main man Luis Vasquez's vocals sounding clearer and more searing than ever. The b-side, "Hunger," is more in the vein of an arty drone track, but equally worthwhile. Originally self-released by the band and made as a tour-only 7" for their current European tour which includes dates opening for Depeche Mode, this limited edition single won't be around long. Grab one while we've got 'em!

$5.99 7"

Overheated b/w Gold Leaves
(Sacred Bones)

Regarding that name, Melbourne duo Prolife call themselves an "anti-suicide" band, which is an ethos that we're sure everyone can all get behind. But this Slug Guts spin-off sounds remarkably pro-Suicide (the group, that is) on this stark, throbbing single. Dark, gothy and intense, it's unsettling in all the best ways.

$5.99 7"

Instant Alpha
(Ed Banger)

Fifteen years into a pretty high-profile career as a producer, DJ and artist, long-time Ed Banger associate Feadz finally drops his debut LP. It's a fun, freewheeling album that draws on hip-hop, electro, house, footwork, baile funk and a lot more, yet still maintains a sharp personality all its own.

$17.99 CD
$26.99 LP+CD

back in stock

School Days
(Dark Entries)

Best known for pioneering the Hi-NRG sound and launching the career of Sylvester, Patrick Cowley is an undeniable disco legend. Yet for all we know of Cowley as a disco producer and DJ, it wasn't until recent that his experimental leanings really began to emerge. The always reliable Dark Entries imprint teamed up with the Honey Soundsystem party collective to shed a little more light on a lesser-known side of the man, via this 2LP collection of his gorgeous, game-changing soundtracks for gay porn films made between 1973 and 1981. Far from the schmaltzy wah-wah that one associates with '70s adult films and his own brand of high-powered disco (there's only one disco cut in this set), Cowley's work here is more akin to the space-aged synthscapes of German kosmische artists like Klaus Schulze or Manuel Göttsching, but with an understated groove that is most certainly the Megatron Man. Deep, sensual, and bubbling with a languid dreaminess, this is Cowley's disco music stripped to its core: warm, skeletal beats, percolating synths, and a keen sense of melody that must have worked perfectly in their original erotic context. One of the strongest archival finds of the past year, those with even a passing interest in cosmic music, disco, proto-techno, or fans of cosmic disco of a more recent vintage (Chromatics, Glass Candy, the Drive soundtrack, et al.) need this! [CPa]

$11.99 CD
$24.99 LP

the big picture