february 13, 2015

in this week's update


Father John Misty
Universal Togetherness Band
Punk 45 (Cleveland & Akron Volumes)
Thurston Moore & John Moloney
Radio Vietnam
Antony & Yoko 10"
Yoko Ono & John Zorn 10"
Sherwood & Pinch


The Districts
Flashback Magazine #6
The Notwist (Shrink LP Back in Print)
Shinichi Atobe (Now on LP)
Gigi Masin (Now on CD)
Joan Bibiloni (Now on CD)
Shintaro Sakamoto T-shirts (Back in Stock)




1000 Dean St. Crown Heights, Brooklyn
Facebook Event Page

The Brooklyn *mini* Flea Record Fair returns to the Flea's indoor space at 1000 Dean Street in Crown Heights, Brooklyn for the second of two weekends of vinyl browsing. Other Music will be there both this Saturday and Sunday, along with Cakeshop / Capeshok, Ben Gebhart (Sunday only), Glorious Grooves, Halcyon the Shop, HPRS Records, Orivious Records, Partisan / Knitting Factory Records (Saturday only), Raelian Raecords, Sepiatone, Unbreakable Records and Z/Z Records. We hope to see you!

SATURDAY: Orivious Records (12:15-1pm), LOOPITA (1-2pm), Anna Bond + J Keyes (2-3pm),  Clay Wilson + Celeste (3-4pm), Greg Winter (4-4:45), Amanda Chouette + Greg Thomas (4:45-5:30pm)

SUNDAY: Mimetic Lomax (12-12:45), Ben Gebhardt (12:45-1:30pm), Demby Bros (1:30pm-2:15pm), Brendan Biggins (2:15-3pm), Alex Stimmel (3-3:45pm), Gerald Hammill (3:45-4:30pm), Felix Leiter (4:30-5:15pm)



Brooklyn Masonic Temple: 317 Clermont Ave #4, Brooklyn
More Info Here

On Friday, February 20, (Le) Poisson Rouge will be hosting a very special performance at the Brooklyn Masonic Temple from one-of-a-kind singer-songwriter and composer Kishi Bashi, who will be joined by a string quartet making for a night that is sure to be wonderfully weird and magical. Email for your chance to win two spots on the guest list.



Terminal 5: 610 W. 56th St. NYC

Ariel Pink returns to New York City on Wednesday, February 25, performing at Terminal 5 in support of his latest demented pop album, pom pom, with Jack Name opening! Other Music is giving away a pair of tickets and for your chance to win, email


this week's update

I Love You, Honeybear
(Sub Pop)

It's usually the breakup album where things get messy. Truths are told, souls get bared, stories are straightened, names called out. From song to song, the troubadour is at turns apologetic or indignant, sobbing, "It was all my fault!" or screaming, "Glad to be rid of you!" The breakup album is the broken mirror and the spilled wine, the calamitous extinguishing of the flame. But on I Love You, Honeybear, J. Tillman posits that falling into love is far messier and more chaotic than falling out of it. This loose and sweeping record is a celebration and chronicle of his wife, filmmaker Emma Elizabeth Tillman: their initial attraction, their marriage, their arguments, their telepathy, their sex life, their private notes to each other, their discord and, ultimately, their harmony. It's a surprisingly naked record for Tillman, whose Father John Misty persona as a drifting, enigmatic playboy dominated 2012's Fear Fun, often overshadowing any real emotion in the songs. On that album, Tillman's hip swiveling, Most-Interesting-Man-in-the-World routine gave his literary lyrics and stately, orchestrated pop arrangements a theatrical quality. Onstage and in spirit, the tales of Laurel Canyon debauchery and hangover guilt recalled early Scott Walker in its melodrama and Serge Gainsbourg in its frank sexuality, down to the pencil-thin suits and unbuttoned collars.

Love hasn't softened Tillman, exactly, but "husband" is a frame that he finally feels comfortable fitting into. During the album's title track, on top of a dramatic honky-tonk shuffle that swells into a bombastic orgy of strings, he perfectly espouses how insane it feels to be consumed by love while the world around you seemingly flushes itself away. He doesn't throw his earthy voice as much on this record, delivering pointed and direct lyrics like "Everything is doomed and nothing will be spared/But I love you honeybear" with confidence instead of bravado. It's also perfectly in keeping with Tillman's wry sense of humor to compose a song about communicating through FaceTime or Skype ("True Affection") with simple drum machines, Rototom samples, and clicky-clacky, squiggly throwback cyber-sounds. At his most self-reflective, Tillman also proves that he can entertainingly wrestle with his public persona as a festival-friendly, swaggering sex symbol on "Nothing Good Ever Happens at the Goddamn Thirsty Crow." I resisted this dude for so long, but Fear Fun caught me pleasantly by surprise a year ago with its invocations of Randy Newman, Harry Nilsson, and especially Smash Records-era Scott Walker. I Love You, Honeybear carries over the strings and orchestral tinsel from his previous album, but dials them back a bit, and dials up the honest emotion, in a move that reflects the discarding of a few of his public masks. [MS]

$12.99 CD ON SALE
$19.99 2LP

Snakes and Ladders
(Big Dada)

Since 2004, this London-born grime producer and MC has been delivering a steady stream of full-lengths, compilations, and mix-tapes through labels big and small (XL, Big Dada, Warner Bros, and Virgin, alongside his own and other local imprints). Snakes and Ladders finds Wiley back on the label he seems most suited for, Big Dada, and while he still puts out more club-oriented songs through WB, he has returned to the indie underground for this album, his tenth-or-so release. Regardless of his thick accent and quirky style, he has numerous crossover hits in the UK under his belt; his songs are never less than radio worthy, and his style never purely bedroom/headphone musings. I've always had an affinity for Wiley's brand of UK hip-hop as his tracks are consistently soulful and futuristic, his delivery skillfully charming -- a little quirky with a bit of pop, often brilliant, usually fun, and always authentic and original. Through the years his vocal style has grown tighter, more fluid, and elastic, with a very British yet undeniably urban flow, speedy delivery, and a nice entanglement of street slang, industry frustration, flamboyant boasting, empowering mottos, patois, and British b-boy machismo, all with little to no profanity. He's been a noted producer and voice within the grime scene, influential in the transition from grime's roots in pirate radio to more mainstream collaborations working their way into the fabric of popular British music (the same thing has happened in the US with the influence of trap and EDM into pop and R&B).

Wiley has grown into a well-formed UK chart personality, a now long-lasting elder (at 36!) among London's hip-hop scene, and with Snakes and Ladders he sounds assured, both tight and loose, intelligent and worldly, effortlessly delivering lines with a speed and articulation that is so rare these days on either side of the Atlantic. He's been riding fast-paced and bass-fueled electronic rhythms for over a decade now, sounding like a complete natural and a notch above some of the solid guest vocalists here, including JME, Cam'ron, Problem, and Chip. His deep voice has matured and is well learned with nothing to prove. Wiley seems comfortable just making enjoyable tunes that are catchy, imaginatively produced, and offer a solid example of hip-hop from outside America. His narrative seems more complete this round, where previous albums felt at times unbalanced between great and awkward.

Taking a backseat in the production role, the fresh and vibrant, low-riding sci-fi rhythms come from mostly new names with a few tracks produced by Terror Danjah, Footsie, Zdot, and Skepta. The fusion of vocal grime and dubstep with the darker melodic atmosphere of trap and bass adds to the energy and completes the overall impact. Here it plays like a true hip-hop album, with his voice being the main thread that ties the motifs from the various producers (though all the tracks were recorded at his Igloo studios) together into a solid piece of work. Album standout is the 11-minute record-closing medley "Snakes & Ladders (Part Two)," where Wiley strings together four separate songs that outline his rise from the council estates to the top of the scene: "I was raised by the streets, now I raise the streets." Recently, the genre has been splintering and developing the more melodic instrumental side, dropping the beats along with vocals altogether. Wiley's Snakes and Ladders, however, is a refreshing reminder of the roots to what is traditionally known as grime, the marriage of bass, beats, and speedy accented vocals resulting in a solid, although not flawless, example of where the genre and the man stand in 2015. Arguably Wiley is the best British MC around (not including MF DOOM or Slick Rick). [DG]

$15.99 CD
$27.99 2LP

(Souffle Continu)

A totally screwed-up "outsider" album from French avant-shredders Semool. Dating back to 1969, these two sides were way ahead of their time -- as was much of the cult Futura label's output, with most releases landing firmly on the mighty NWW list of essential weirdo music. Essais is a series of twisted vignettes, almost entirely instrumental. Chock full of gnarled playing, muffled vocal fragments, tape whirling, guitar noodling and feedback loops, this album is sure to appeal to a certain type of music fan whose appreciation for the anti, occult side of things reigns supreme. Much of the record reminds me of Jandek's catalogue, with twanging atonal guitar dominating over the majority of the songs, but strange messy instrumentation is added as the album ecstatically tumbles along.

"Essai 1" is a psychedelic onslaught of what sounds like four or five separate guitar tracks intertwining then unraveling, with heady, disorienting panning shifting the music from right to left over and over again. "Essai 2" uses pitch-shifted incidental music running backwards through a tape delay to woozy, hypnotic effect. "Essai 3" finger taps a doom-laden riff on electric guitar, almost approximating a deeply deconstructed Black Sabbath, and pairs the motif with tortured violin reminiscent of Lee Rockey. Eleven 'Essais' in total, prepared piano, found sound, and even acid-fried "jamming" add to the overall appeal of this completely psychotic listening experience. An obvious reference would be The Faust Tapes, but also obscure Japanese group Karuna Khyal, amateur French prog like ZNR or even the Red Krayola at their most experimental. Absolute highest recommendation for all fans of private press, sound collage, deconstructed folk, art rock and the blues. [RN]


Universal Togetherness Band
(Numero Group)

As a label with an illustrious reputation for unearthing undiscovered and forgotten gems, the Numero Group has done it again with the release of this eponymous Universal Togetherness Band LP, assembled from long-forgotten master tapes from a late-'70s Chicago party band that were recorded by audio engineering students at Chicago's Columbia College. How exactly this funk-disco-new wave-fusion act managed to coerce five semesters of studio time out of the school is unclear, but the freedom of seemingly unlimited studio time was not squandered by the group, and this belated debut album, mixed by the Phenomenal Handclap Band's Sean Marquand, pushed boundaries, and is truly something special.

By combining the elaborate arrangements of fusion with Latin and Caribbean rhythms filtered through the straightforward groove of disco, the group brought together myriad influences, but sound fresh and original throughout. The percussive piano chords on "My Sentiment" and the funky bass line on "Once in a Lifetime" completely embodied both the ubiquitous sound of late-'70s chart-topping hits as well as the complexity of artists like the Mahavishnu Orchestra. The Universal Togetherness Band recorded songs that are uniquely timeless in their own right. With a distinctive blend of new wave, disco and fusion, this forgotten group's LP is long overdue, and reaches the outer boundaries and eccentric side of funk while maintaining an impeccable sense for pop melody. A definite must have for fans of Earth, Wind & Fire, Stevie Wonder, and Funkadelic. [HW]

$14.99 CD
$19.99 LP

Punk 45: Extermination Nights in the Sixth City - Cleveland, Ohio
(Soul Jazz)

The initial two volumes in Soul Jazz's Punk 45 series were both solid, if a bit redundant. While the material was all worthy of inclusion, many with a history in the scene thought that a lot of it had already been very well documented, and there were very few surprises to be had. That may very well be true; as with many fine Soul Jazz collections in a variety of genres, if you have dedicated your musical life to the genre (in this case KBD punk), those comps were not really for you. However, the third installment, dedicated to proto-punk, was quite a bit deeper, and these two regional volumes are definitely a lot more interesting for fans of all stripes.

The latest sets are both from two concurrent but pretty different mid/late-'70s scenes located less than 50 miles from each other in the wonderfully weird state of Ohio. The Cleveland volume, Extermination Nights in the Sixth City is, overall, a bit more frantic and high-energy rock 'n' roll. Starting things off with the Pagans, who I'd rate as the single best US punk band if you were to undertake such a foolish endeavor, is always a great idea. "Street Where Nobody Lives" is one of three Pagans songs here, all of them perfect. Not that there isn't weirdness too, as next up are Dave E.'s (from electric eels) Jazz Destroyers. Dave's nasal whine is one of punk's all time great voices. He always sounds so..."agitated."

Jon Savage's liner notes make sure to emphasize that this scene was not very big and far from commercially successful, so it isn't surprising that a lot of these bands share members or are related in some way or another. Most of the folks here exist in the ranks or immediate orbit of the Pagans, electric eels, and Pere Ubu/Rocket from the Tombs. Only the Human Switchboard seem to escape the co-mingling. Their excellent, garage punk track "No!" was actually released on the Akron Clone label (more on that in a moment.) From the first track to the last, though, it is so solid that I can't find fault in the least. When the album ends with Rocket from the Tombs' anthem "Life Stinks," which is rawer and more rocking than the later Pere Ubu version, I'm ready to start it at the beginning again. [DMa]

$22.99 CD
$29.99 2LP

Punk 45: Burn Rubber City, Burn - Akron, Ohio
(Soul Jazz)

Akron is located just a bit southeast of Cleveland, and for a while it was a vital enough city to exist in its own right. However, the decline of the rubber industry in the 1970s decimated the town and it's still a ghost of its former self. Cleveland is also about 15 miles from Kent State University, where the National Guard's shooting of students involved in the May of 1970 protests had a huge effect on a lot of the artists involved here; a couple of them were even present at the tragic event. DEVO's Jerry Casale states: "On that day DEVO was born." Kent State was always a very left-leaning school, and the shootings ultimately made it even a bit more so, and that influence is felt on Burn Rubber City, Burn! It is more eclectic than the Cleveland volume, encompassing early DEVO, the high-energy rock of the Bizarros, the Rubber City Rebels and Hammer Damage, the post-punk of Chi-Pig, the nascent new wave of the Waitresses and Jane Aire, and the general art-school weirdness of Denis Defrange, Tin Huey and Ralph Carney, finally ending with the endless boogie of 15 60 75 (a/k/a the Numbers Band).

The liner notes to both the Cleveland and Akron volumes give context and meaning to the theme laid out in the subtitles, Punk and the Decline of the Mid-West, focusing more on the cultural events of the time and place than pressing sizes and recording dates. Overall that is a really good choice, as a bit of background color goes a long way for anyone who didn't live through this the first time. It takes away the "collector scum" sheen that can permeate these compilations and lets you focus on the music and the environment that it came from -- all great things, and ample evidence that the wider reach of a label like Soul Jazz can be used for the best of purposes: spreading great music to the masses. [DMa]

$22.99 CD
$29.99 2LP

Full Bleed
(Northern Spy)

The latest live-to-tape collaboration between pop-noise guitar icon Thurston Moore and drummer John Moloney, best known for his work with Sunburned Hand of the Man, combines improvised jazz, noise, and bone-crushing metal riffage into one of the more satisfying slices of skronk Moore has delivered in more than a minute. It never exactly gets quiet, but Full Bleed is quite a bit more nuanced than the title might suggest, allowing Moloney's varied playing -- alternately open and free, and full-bore ballistic -- to define the shifting tone of the nine tracks here, as Moore's pedal-stomping waxes and wanes on various degrees of sonic overload. This is a pretty basic formula that Moore and Moloney have been exploring, both as a duo and in myriad other combinations and collaborations, for many moons now, but it is no less visceral and engaging -- actually, this record is clear evidence that Full Bleed is one of those flavors that undeniably deepens with age. [JM]

$13.99 CD
$18.99 LP

Radio Vietnam
(Sublime Frequencies)

Assembled by artist, musician, and esteemed anthologist Mark Gergis, Radio Vietnam is the latest installment in Sublime Frequencies’ ongoing series of locale-specific radio collages. It features AM and FM broadcasts pulled from the ether in Hanoi and Ho Chi Minh City between December 2013 and November 2014. There is something inherently odd about listening to these recordings on CD, never meant to be captured or duplicated in such a format, let alone be experienced as a finished audio product. Some of the best chapters in this series simply convince with ingenuity and bravura, such as the Radio Java episode, whose perplexing musical interludes are overflowing with a wicked creativity. Or the much-lauded Radio Niger compilation, which featured local DJ’s bringing a stunning improvisational flair to the fore and often creating dizzying avant cut-ups.

This Vietnamese edition straddles the subtle line between ethnographic curiosity and more trivial archival tendencies. It unmistakably features outstanding examples of folk, traditional, and pop music. However, its emphasis on anomalies on the Vietnamese ether, such as commercials, comic interludes, English language classes, and phoned-in karaoke sing-alongs, while undoubtedly entertaining, might not produce significant meaning beyond emphasizing the strangeness of the source material. The record on occasion comes suspiciously close to an exoticizing gesture, however self-consciously it features this idea. There’s an incredibly potent statement to be made about the convergence of governmental, independent, pirate, and corporate media in Vietnam buried underneath this compilation, but these complex issues don’t necessarily surface here. Nevertheless, this is still another solid collection of aural oddities. [NVT]

$15.99 CD

I Love You Earth

No doubt Yoko Ono is a divisive figure even outside of the Beatles-freak community -- any experimental artist with this sort of exposure better be making some waves, or they are not doing their job right. Even at 81, she is one of the more vital and consistently surprising artists around, and anyone who cares about "other" music has got to respect the octogenarian hell raiser; she has had pop hits, dance hits, and yet even now, she can produce one of the most primal screams I've ever heard. Every new Yoko Ono release demands attention, and this week she dropped a pair of gems, two limited 10" EP collaborations with a pair of artists as ambitious and indefinable as she is. (PLEASE NOTE THAT THERE ARE NO TRACK STREAMS FOR THESE RECORDS AT THE REQUEST OF THE ARTIST -- NO STREAMING, AND 100% OF THE PROCEEDS FROM BOTH 10" AND DOWNLOAD SALES GOES TO CHARITY.)

First up is Antony & Yoko, a pair of pop vocal tracks recorded with Antony Hegarty, with Doveman's spare and beautiful piano holding things together. Essentially, these two songs are Antony covering Ono, first "I Love You Earth," from Ono's 1985 anti-Reagan/Star Wars concept album Starpeace -- simple piano figures, with Antony and Ono trading verses before they get all tangled up at the end chorus. Track two, "I'm Going Away Smiling," features Antony and Doveman interpreting a song from Ono's 2009 LP Between My Head and the Sky. One-sided 10" with an original Ono etching on the flip. [JM]

$19.99 10"


The second gift from Yoko is Ono & John Zorn, a live freak-out with the downtown avant-jazz legend, an intense vocal and saxophone improvisation recorded at WNYC's Greene Space during a concert celebrating 25 years of David Garland's always-intriguing Spinning on Air program. These two NYC icons have only performed together a couple of times, and this is the only collaboration caught on tape. The track opens with a short sputter from Zorn before Ono lets loose with a fluttering caterwaul that is both fragile and powerful, and the two improvisers push each other higher and higher throughout until there is simply nowhere left to go. One part free jazz, two parts improvised noise, it's a thrilling ride, and the proceeds from this one go to support Zorn's storied L.E.S. performance space, the Stone. As with the Antony vinyl, it's a one-sided 10" with an original Ono etching on the flip. [JM]

$19.99 10"

Late Night Endless

Update readers probably need no introduction to Adrian Sherwood, a schooled producer and remixer from London whose influential work spans over 40 years. As well, many of our subscribers are certainly familiar with Rob "Pinch" Ellis, who has been continuing Bristol's legacy of bass and dub to great effect. With roots spread across the UK dub scene, these two masters have joined together to bridge the generation gap, Late Night Endless being their 10-track collaborative album. The pair first partnered on the Recovery Time EP (a set of remixes of cuts from Sherwood's 2012 LP, Survival & Resistance), which grew into a DJ night, and has now morphed into a studio project, with this latest effort jointly released on both producers' fabled imprints: Sherwood's On-U Sound and Pinch's Tectonic. Like many of Sherwood's productions, the tracks are littered with vocal samples; across the album, the duo explores and crafts a cross-section of dub-infected rhythms, with bits of vocals throughout pulled from the On-U stable of talent, including Bim Sherman, Lee "Scratch" Perry, Congo Natty, the Congos, Bernard Fowler, Skip McDonald, Daddy Freddy, Prince Far I, along with a few new voices and sampled dialogue.

From industrial digital dub, dreamy female-led downtempo, weighty dubstep, and rolling tribal rhythms, to smoky rooms and cavernous strobe-lit warehouse spaces, they seem to touch down on all things dubby, dark, and often very danceable. Overall, Late Night Endless is heavy on the big and bassy, pounding and thick soundscapes in the first half, and then mellows and eases into a more relaxed atmosphere by the end. A standout moment comes at the close with the Bim Sherman-voiced "Run Them Away," where contemporary bass aesthetics meets classic reggae vibes effortlessly. The duo covers a lot of ground with each song reflecting the personality of both producers. I always enjoy the work of Sherwood and Ellis, and while there is a lot to love here, the truth is I might like them a bit more on their own than I do as joined forces. That said, it's a fine example of passing the baton as well as giving due respect, and the record is filled with some nice moments. Fans of either producer, artists like the Bug, Shackleton, Tackhead, or DJ/rupture, this is in that vein: dub fusion for the world's dance floor. [DG]

$15.99 CD
$22.99 2LP

also available

A Flourish and a Spoil
(Fat Possum)

The second album from the Districts is a solid follow-up to last year's Telephone, which established this young Lancaster, PA quartet as a band to watch. A Flourish and a Spoil finds the group honing their song craft by taking a more direct approach to their tunes, all the while carrying the post-punk/garage-rock torch that bands like the Walkmen, Strokes, and Vines picked up a decade or so ago. Not groundbreaking but a great set, reminding us that the kids are alright.

$13.99 CD
$13.99 LP+MP3

Issue No. 6

"Issue #6 of Flashback, Winter 2014. Edited by Richard Morton Jack (co-founder of Sunbeam Records and editor of the Galactic Rambleand Endless Trip books), it features writing from some of the world's leading pop music authorities. In this issue: Sam Gopal: The full story of the British underground enigma. Despite recording frustratingly little, this groundbreaking Malaysian tabla virtuoso had a powerful impact on London's late '60s underground rock scene. Richard Morton Jack tells his remarkable tale in full for the first time. Jukebox: Cathedral's Lee Dorrian on 12 tracks that have inspired him. Album By Album: The renowned producer and bassist Tony Reeves revisits several of his productions and performances. TeenSet: The story behind this pioneering 1960s American rock magazine. First Person: The reclusive singer-songwriter Bill Fay offers some rare insights into his unique music. Aardvark: At long last, the taxonomy of this elusive British progressive beast. The David: The remarkable tale of these precocious Californian teens. Margo Guryan: A detailed interview with the singer-songwriter behind 1968's wondrous Take a Picture album. James Williamson: An in-depth audience with the legendary Stooges guitarist. Jimmy Page: His fullest ever interview about The Yardbirds, unseen since early 1969. International Albums: Forty intriguing LPs from the furthest reaches of the rock world. Spinal Tap: A rare reprint of Polymer Records' 1984 Smell the Glove press kit. Crying to Be Heard: Dick Hamilton's sole album -- the most enjoyable Dylan imitation of the 1960s. Reviews: Thorough coverage of recent CDs, LPs, and books, taking in household names (Bob Dylan, George Harrison, Small Faces), cult heroes (The Artwoods, Soft Machine, Marc Brierley), and ultra-obscurities (Min Bul, Tickawinda, Hot Knives), with exclusive Q&As about certain items under review."


vinyl back in print

(Outer Battery)

Back in print on blue splatter vinyl, 1998's Shrink marked an important transition for this German band, who trade the post-hardcore and punk influences of their earliest records for a beautiful melancholy mix of post-rock and indie-pop, complemented by bubbling digital textures. While this would prove to be a hint at the majestic things to come with their follow-up, 2002's Neon Golden, Shrink is a wonderful album in itself and great to have it available again on vinyl.

$18.99 LP

now on lp

Butterfly Effect
(Demdike Stare)

Released by Demdike Stare, this first full-length by the elusive Japanese producer Shinichi Atobe follows his quite legendary Ship-Scope 12" that appeared via Basic Channel's Chain Reaction subsidiary back in 2001. Thirteen years have passed since that initial enigmatic EP, and on this new album Atobe remains equally shrouded in mystery. As the story behind the producer will most probably remain unknown, we should welcome this wonderfully packaged new release and focus on the splendid music it contains. And what a delight it is! As a proper album, Butterfly Effect is somewhat fractured and jagged in the best way imaginable, meaning it offers a quite adventurous ride through its creator's often eccentric and daring sonic universe.

Opening with "Free Access Zone 1," a brief, slowly building sketch, the 12-minute-long "Butterfly Effect" is a lusciously contemplative piano house track in the finest DJ Sprinkles tradition. Imagine the latter's sound universe without its implicit political content, which is also rendered a bit more clinical in nature, until suddenly a deliciously off-kilter, overriding beat starts inserting itself onto the otherwise seamlessly floating music. What happens next is quite hard to describe. Delivering hypnotic textural structures that constantly override or undo whatever was built up before, cuts like "Bonus Break" and "Waste Land 2" present abstract listening experiences that hark back to experimental 1960s film soundtracks. Offering bizarre, phased-out drones accompanied by unusual string and synth arrangements, these tracks' rather unusual glitches offer a highly immersive sound world.

Every once in a while a deliciously offbeat deep house track emerges from the rubble, such as "Free Access Zone 2" and the perplexingly deep "Free Access Zone 5," after which things start inevitably crumbling down again. What's left to say about this vividly sequenced, timeless release? If you dig marvelous, outcast electronic music by people as varied as Aphex Twin, Actress, or Terre Thaemlitz, you should get this as fast as you can! [NVT]

$26.99 2LP

now on cd

Talk to the Sea
(Music from Memory)

This collection of deep, soothing, somber electronic minimalism by Italian composer Gigi Masin has astonished nearly all who've heard it. Masin's deeply emotive and hypnotic soundscapes tie together strands found in works as diverse as the lush environments of Brian Eno, the compositional majesty of Roedelius, the melancholic soul-pop of the Blue Nile, and even the elegiac drone loops of William Basinski. Masin's work stands on its own, though, offering a fresh interpretation of the darker, more emotional side of ambient music. That this compilation spans the course of nearly 20 years and yet still flows and commands one's attention as though it were an album proper speaks even more of its power.

$22.99 CD

El Sur
(Music from Memory)

Mallorcan musician Joan Bibiloni's career goes back to his teenage years when he released his first single, and then in his 20s formed Spanish prog-rock bands Zebra and Euterpe. It was with these acts in which he met Pepe Milan and soon formed the duo Milan & Bibiloni. In 1982, he launched the Blau label with the mission of introducing the world to the unknown musicians from across the Balearic Islands. It was also during this time that Bibiloni would begin utilizing synthesizers, drum machines and tape loops in his own work. Culled from five albums, El Sur documents many of these electronic excursions, moving from Balearic boogie to more dreamy and atmospheric tropes, all with a distinct and lovey tropical vibe.

18.99 CD
$21.99 LP

back in stock

Let's Dance Raw T-Shirt
(Other Music Recording Co.)

 Let's Dance Raw t-shirts are back in stock. The hunter green shirt features Shintaro Sakamoto's post-apocalyptic cover painting of skeleton-Sakamoto-san playing lap steel amongst the mushroom clouds, with the album title in bold block letters on the back. They look awesome, if we do say so ourselves, so get 'em while you can!

$19.99 S, M, L, XL


the big picture