October 2, 2014

other music events


OCTOBER 2, 9, 16 & 23

Union Pool: 484 Union Ave. Brooklyn 
Facebook Event Page

Underground music icon Jim White (Dirty Three, Cat Power, Nick Cave, Will Oldham) and acclaimed Cretan folk musician George Xylouris have come together for an exciting new project known as Xylouris White. Their debut album Goats, produced by Fugazi's Guy Picciotto, is being released October 14 on Other Music Recording Co., with the duo performing dates throughout the East Coast and Midwest during that month, which includes a Thursday night residency in Brooklyn at Union Pool: 10/2 with Sleepy Doug Shaw, 10/9 with Big Brave, 10/16 with Bo Ningen! On the final night of their residency, Thursday, 10/23, Xylouris White will be headlining Other Music's CMJ Showcase at Union Pool, with labelmates Invisible Familiars along with our two newest signings: 75 Dollar Bill and Tall Tales & the Silver Lining. Mark your calendar!

Also, don't miss Invisible Familiars, whose debut album will be released on Other Music Recording Co. this winter. The group is performing in Brooklyn at Glasslands this Friday, October 3, along with People Get Ready and Dave Harrington One Heart Trio. Invisible Familiars' latest single, "Clever Devil," is available now. Check it out on Soundcloud, where you can also stream the exclusive B-Side, "Digger's Invitation." Head over to Other Music Recording Co.'s Tour Page for a complete listing of dates for all of our artists.



Free Admission | Limited Capacity

This Friday, California's Peaking Lights are bringing their spacey dub-pop excursions to Other Music, via a special in-store performance at 9 p.m. The duo will be celebrating the release of their forthcoming album, Cosmic Logic (out the following October 7 on Weird World/Domino), and we'll be selling an exclusive limited edition version at the event!



Other Music: 15 E. 4th St. New York, NY

Come by the store this Saturday at 5 p.m. to hear Flying Lotus' much anticipated new album, You're Dead!, in full and pre-order the record out 10/7 on Warp Records. There will also be a limited quantity of art cards with album character designs by Shintaro Kago exclusively available at this listening event.



Other Music: 15 E. 4th St. New York, NY

Radiohead’s Philip Selway is releasing his sophomore solo full-length, Weatherhouse, this Tuesday on Bella Union, and it’s a gorgeous set of orchestrated, autumnal pop that arrives in perfect time for the changing leaves and falling temperatures. He’ll be stopping by Other Music on Wednesday, October 8 from 5:30 to 6:00 p.m., and customers who purchase the CD or LP from us will have a chance to meet to Philip and get their album signed.

in this week's update


Francis Bebey
Tin Man
Lee Gamble
Lower Plenty
The Juan MacLean
Hudson Mohawke
The Bats (US band)
Bob Carpenter


Z (Bernard Szajner)
Electric Youth
Sam Amidon


Lloyd Cole


Arthur Russell




Output: 74 Wythe Ave. Brooklyn, NY

The Bunker returns to Output this Saturday, with another killer line-up featuring live sets from KiNK, Atom TM (whose new Ground Loop EP is out now on The Bunker New York label), and Tin Man (featured below in this week's Update), along with resident Bryan Kasenic appearing in the main room. Over in the adjacent Panther Room, Jeffrey Sfire, Mike Servito and Wrecked are DJing, while DJ Olive and Escape Art will be in the Stilton House. Yes, it's another night that electronic music fans won't want to miss and we've got a pair of tickets to give away to one lucky winner. Email for your chance to win.



Rumsey Playfield at Central Park: New York, NY

Following this spring's sold-out shows at BAM and the Barbican Center in London and after playing festivals all around Europe this summer, the "Atomic Bomb! Who is William Onyeabor?" show will return to New York City this Saturday for a rare appearance at the Modern Sky Festival in Central Park. This performance will be part of the worldwide Luaka Bop birthday party (with the label celebrating 25 years in NYC and the world!!) -- expect the best plate spinners and dog show you've ever seen -- and a fantastic lineup of artists and special guests performing the futuristic Afro-funk of William Onyeabor. Email for your chance to win a pair of passes!



Trans-Pecos: 915 Wyckoff Ave. Ridgewood, Queens

Come join Matana Roberts for the first of her three-night residency at Trans-Pecos this Sunday to workshop and play out new conceptual material in the works for her on-going Coin Coin series, which blends together cut-throat NYC improvisation, in-your-face experimentalism, and free jazz/anti jazz narrative in exploring topics of American history that she is forever obsessed with. Bring your instrument and come hang early if you want to improvise and participate! Other Music is offering a pair of passes to each night of the residency: Sunday, 10/5 with Knuckle Under opening at 9:15 PM; Sunday, 10/19 with Shayna Dulberger at 9:15 PM and the Ava Mendoza Group featuring Daniel Carter (reeds/horns), Max Johnson (contrabass), Brian Chase (drums) at 10:30 PM; and Sunday, 11/2 with Amirtha Kidambi at 9:30 PM and Jeff Tobias' Sunwatchers at 10:30 PM. Email for your chance to win a pair of tickets to one of these night's of Matana's residency; be sure to list the show you're hoping to see.

this week's update

Psychedelic Sanza
(Born Bad)

Cameroonian writer, artist and musician Francis Bebey has more of his lovely, homegrown, ethereal yet earthy music compiled by the Born Bad label following 2012's excellent African Electronic Music collection. Where that compilation focused upon Bebey's experiments with synthesizers and drum machine technology, Psychedelic Sanza spotlights his work with the African thumb piano, creating an almost inverse portrait of the one painted via the Electronic comp. The songs collected here are built around multilayered, polyrhythmic patterns of thumb piano melodies, minimal percussion, and Bebey's haunting, otherworldly vocals. He brings a ghostly, spectral quality to this music that belies the sanza's reputation as a "primitive" instrument, instead using its buzzing harmonics to craft a sound world that, even amongst the many recordings based around the use of the instrument in Bebey's wake, still remain unique and truly special. Imagine, if possible, a sort of dream-pop or shoegaze ancestor derived from the African bush; these are thick clouds of sound, made up of interlocking layers that tumble and intertwine in ways that parallel the methods used by swarms of contemporary producers, yet this was recorded live by one man, multi-tracking himself into an ensemble of quiet comfort but estimable power. Bebey has long been a storewide favorite here at Other Music, and this collection brings together some of his most beautiful and beloved work. I cannot recommend this set more highly. [IQ]

$27.99 2LP

(Acid Test)

Whereas the most memorable Tin Man records have an unquestionable epic, well crafted, and meticulously structured flow, they are simultaneously anchored in a deep, somewhat elusive conceptual statement about acid house. On his previous album, Neo Neo Acid, we saw him explore the genre as a mausoleum-like entity (with suggestive track titles such as "Museum of Acid" and "Manifesto Acid"), while reinvigorating the template with an unmatched virtuoso flair. Pushing the melodic and harmonic possibilities of the otherwise detached yet intoxicating TB-303 to its utmost limits, Tin Man turns the most blissful dancefloor moments into weepy, sentimental grooves that explore ever-more subtle graduations in ingeniously built rhythmic structures.

On Ode, his new full-length, he sets forth to explore post-rave moments of dystopian lethargy and exhausted joy, but ultimately ends up resulting equally atmospherically flavored as on its predecessor. Driven by much tougher kicks and often injected with dub techno and EBM motifs, Tin Man ads depth, warmth, and complexity to the often-weary acid formula. Forget the somewhat forced conceptual framing. Tracks like "Depleted Serotonin," "Memorophilia," and "Ode," explore a timeless feel and decisively skewed psychedelia, which ultimately produces the most rewarding results. Whereas the pop-prism of the (bonus) vocal tracks sounds somewhat redundant to this reviewer's ears, the main, instrumental part of Ode adds an impressive chapter to the meticulously structured Tin Man spectrum. [NVT]

$17.99 CD
$27.99 2LP


British producer and sound artist Lee Gamble has seen his profile rise swiftly in recent years thanks to a number of challenging electronic records issued on the Pan imprint. His new full-length is set to be the most high-profile release not only for Gamble, but for the label as well. A long, sprawling epic of vaporous ambient washes and cage-rattling, bass-throbbing rhythm workouts, Koch sees him refining and almost perfecting the approaches displayed on his previous records, successfully combining the contrasting facets of his sonic personality into a more cohesive statement that proves to be one of 2014's strongest, most powerful electronic albums. There are visceral, pumping nods to industrial warehouse techno, thick clouds of ethereal neon gas, and numerous fine-detailed sculptures of microscopic sound design, fit to please fans of everything from the Downwards/Modern Love/Blackest Ever Black set to the more thumping electronic cubist soul of Actress and Moiré. My only gripe with the record is that it's a bit TOO sprawling in its length; its power ends up causing occasional fatigue about three-quarters through. All the same, I'd rather have too much of a good thing than an overlong piece of middling beats, and Koch is without question all killer, no filler... it's just perhaps more potent in small doses. Either way, it proves a strong contender for many individuals' Best of 2014 lists, myself included. Don't sleep on this one, folks, it's a stunner. [IQ]

$17.99 CD
$28.99 2LP

(Mexican Summer)

Like many of the current crop of Australian underground bands, the folks in Lower Plenty all do time in other groups. You'll find members moonlighting in Deaf Wish as well as the Focus, and Al Montfort puts most to shame by being in somewhere around seven or eight bands simultaneously (Total Control, UV Race, Straightjacket Nation, Dick Diver and a few others I can't remember right now). That might sound like code for side project or non-essential to some, but that couldn't be farther from the truth. Lower Plenty, named for a suburb of Melbourne, has a sound that is markedly distinct from everyone's "other" bands and is worthy of your attention. Self-described as "suburban country music," they play a loose and often ramshackle left-field version of country music that is infused with a late-night aura. Album opener "Waiting on a Tram" sets the tone, sounding like the moment when you stand up and realize you've had a drink or two too many and you still have to make your way home. The record flows nicely with a mix of off-kilter country and kitchen table cacophony that makes for one of the best nightcap albums in recent memory. [DMa]

$10.99 CD

Mean Love

Sudanese born, Brooklyn-based Ahmed Gallab spent years as a session musician before being signed to DFA under his stage name of Sinkane. He contributed percussion arrangements to the likes of Caribou, of Montreal, Born Ruffians and Yeasayer, all whilst developing his own records on the side. His most recent LP, Mean Love, is an amalgamation of the styles and genres that Gallab has clearly dabbled in before, from Krautrock, to reggae, to funk, to straight-up indie pop. The record kicks off with "How We Be," a Curtis Mayfield-inspired track that's decorated with DFA-friendly synths not to mention a subtle Afrobeat vibe bubbling underneath the proceedings. The following "New Name" brings that Nigerian funk influence to the forefront, and by the time the horn riffs blast their way through the chorus, the song has taken flight. In contrast, the melodies on display here are delicate and usually falsetto voiced, which nicely counterbalances the weightier rhythm. Elsewhere, "Hold Tight" chugs forward like a more organic Blood Orange track, with Gallab's breathy, soulful croon of "you want me/come get me" being downright chilling, while throughout "Gallery Boys" the mournful sigh of a lap steel cuts through the song's dubby, lovers rock feel. There are definitely some unexpected musical fusions happening throughout Mean Love, and while they don't always mesh seamlessly, when they do, the results are as refreshing as they are effortless. [CM]

$11.99 CD ON SALE
$14.99 LP

In a Dream

Has it really been five years since the Juan MacLean's last full-length, The Future Will Come? You can't accuse the duo of resting on their laurels, however, as bandleader John "The Juan" MacLean has kept quite busy DJing, producing, and turning out remixes. Nancy Whang hasn't had much free time either, wrapping up her duties in LCD Soundsytem during their final days, guesting on friends and labelmates' records, and plenty of DJ gigs herself. (Did you catch her set last weekend at the Brooklyn Flea Record Fair?) That said, a half-a-decade is a pretty long stretch between albums, especially in this era of music fan ADD, but from the very start of In a Dream, you know that the Juan MacLean are ready for their return. Record opener "A Place Called Space" launches off the band's sprawling 2008 dance anthem "Happy House," but here replace the Chicago house piano lines with retro synth stabs a la The Warriors OST, and a sinewy Italo disco pulse complete with Miami Vice guitars riffing atop. Even if the decade-or-so stylistic leap which follows by way of the infectious '90s house pop of "Love Stops Here" might be a bit jarring, the placement of the track makes it clear that In a Dream is going to be the duo's most accessible album to date.

Taking only a couple of lead vocal turns, MacLean focuses on his songwriter/producer role, letting the sass and swagger of Whang's voice carry the bulk of this record. And while much of In a Dream is more than club ready, its selection unfolds in the way a solid dance-pop album should, respecting both the format and listener's expectations of a long-player. Not surprising, this is the same tactic that DFA boss James Murphy used with his LCD Soundsystem full-lengths, and like Murphy, MacLean isn't shy about wearing his leftfield influences on his sleeve either. It's no more apparent than in "Running Back to You," which pays tribute to the Steve Miller Band's side-long "Macho City," Xeroxing this Paradise Garage classic's spacious bass and drum groove and distilling it into a more economical seven-minute cosmic-funk slow-burner -- one of just many highlights here. No, the Juan MacLean probably won't be selling out Madison Square Garden anytime too soon but In a Dream, along with the anticipated debut full-length from Museum of Love (which features LCD's Pat Mahoney and TJM associate Jee Day), prove that DFA and its current roster are far, far from losing their edge. [GH]

$11.99 CD ON SALE
$22.99 2LP


Chimes, Hudson Mohawke's first solo release since 2011, is a three-song display of the Scottish producer's evolution after several years working behind the scenes making tracks for everyone from Kanye to Drake to Pusha T and Björk. The regal maximalism that we saw most overtly with his Lunice collaboration, TNGHT, arrives less than a minute into the first cut, but doesn't stay long. Pounding trumpets and vigorous bass set the foundation for Mohawke's specialty move on the title track here, the drop. Surrounding the chorus, though, is a relatively calm framework; Mohawke works with simple beats and blips, contrasting his tendency to inflate and explode each second of his tracks.

The next two songs are even less characteristic of traditional HudMo: the miniscule "Brainwave" includes one shimmering loop backed by choral vocals that feel much more ethereal than royal; there's neither an eruption nor an ounce of distortion. "King Kong Beaver" follows, featuring a bit more structure, but similarly lacking a fully-fledged POW! It's sparkly and bass-light, but can fill up a room with resounding percussion. Excluding maybe the EP's title track, Chimes is not a party soundtrack. Mohawke, like fellow Brit producers Rustie and Jamie xx, seems to be anticipating (and arguably initializing) a stray from the overblown industrialism of 2010s electronica, with these three songs being his first piece of evidence. While it doesn't display HudMo's most robust work, this EP certainly marks a valuable watershed in his career. [MM]

$13.99 12"

Demo 5:26:84
(Mind Cure)

Cutting right to the chase, the big point of interest for most here is the fact that Pulitzer Prize winning author Michael Chabon is the vocalist. That said, I find these four songs to be great no matter who is yelping away on them, and if those folks that are moved by Chabon's presence also end up with an amazing and vital piece of American post-punk history as well, then everyone wins.

I use the term American post-punk because this band was obviously influenced by many of the UK post-punk groups, but at the same time these were kids raised on rock'n'roll, and it comes through in the way that they play: hard and loud. It also shows in their choices of cover songs -- this was a band that covered both the Fall and Bachman-Turner Overdrive. Some back story: four University of Pittsburgh friends formed the Bats in early 1984, and Chabon, who was hanging out while the group practiced, started improvising lyrics and seemed to be a good fit. He stuck around long enough to record these four songs as well as play a gig at Pittsburgh's legendary Electric Banana, which is included as a bonus on the digital download. Not long afterwards Chabon would head to the West Coast, but the Bats continued without him for another couple of years before bassist Lee Skirboll, a great writer as evidenced by the liner notes, also moved out west. Guitarist Ruth Ann Schmidt would fade from the scene, but drummer "Magee" and guitarist Sam Matthews have been active since in a number of crucial Pgh bands including the Crow Flies and currently in the devastatingly great Sicks. Mind Cure Records has been excavating some of Pittsburgh's lost musical treasures and this is among their best so far. [DMa]

$17.99 12" EP

Silent Passage
(No Quarter)

It was recorded in the early 1970s, but contract disputes with Warner Brothers kept Bob Carpenter's sole album from listener's ears for more than a decade. The gorgeous, rough-hewn Silent Passage was supposed to be his big break; he had fellow singer-songwriter boosters like Emmylou Harris and Billy Joe Shaver, and the album featured contributions from Harris, Little Feat's Lowell George, Ben Keith (known for his work with Neil Young) and Anne Murray. But the best-laid plans never came to fruition. Aside from a limited release in the 1980s, Silent Passage has been known only amongst record collectors, and finally, No Quarter's much-appreciated reissue makes it much easier to track down. Carpenter's gruff, passionate vocals and powerful tunes are matched nicely by producer Brian Ahern's sensitive arrangements, occasionally dropping in a string arrangement worthy of Bryter Later, but usually letting the songwriter's own spare style shine through. The LP has a dark, romantic and spiritual vibe that calls to mind Bill Fay and Van Morrison (maybe even Cat Stevens, if you can dig it). It may be Bob Carpenter's lone musical statement, but Silent Passage is well worth discovering. [TW]

$13.99 CD

also available

Visions of Dune
(InFiné Music)

Bernard Szajner a/k/a Z's Visions of Dune is reissued on vinyl for its first time via InFiné Music. Inspired by Frank Herbert's Dune trilogy, this cult classic from 1979 is highly regarded by many electronic aficionados. Constructed from tape loops of a borrowed Oberheim sequencer along with musician guests that include Magma's Clément Bailly and Klaus Blasquiz, and Gong's Hanny Rowe, these hypnotic, mysterious soundscapes could sit next to the works of Brian Eno, Klaus Schulze, and Tangerine Dream, with Szajner expanding the oft-foreboding tones into pulsating patterns and percussive, transportive excursions. Fans of the aforementioned as well as kosmische sounds, minimal wave, and the more experimental moments of Tiger Sushi's beloved French synth music comp So Young but So Cold -- which included a track from Szajner and also his duo, the (Hypothetical) Prophets -- need this.

$16.99 CD
$25.99 LP

(Secretly Canadian)

After releasing multiple singles, EPs and being featured on 2011's Drive soundtrack, Toronto's Electric Youth finally releases Innerworld as their debut full-length effort. Right off the top, the album feels like a nostalgic trip to the mid-'80s, with bright synth chords, stabbing bass lines, straightforward drum machines and arpeggiating leads. Bronwyn Griffin's lush vocals and catchy melodies cut through the songs seamlessly within the time-tested production and icy arrangements. While not straying away too much from the boundaries of synth-pop, highlights like "Innocence," "The Best Thing" and "The Real Hero" reflect the evocative, tranquil journey in store for the listener.

$12.99 CD ON SALE


Sam Amidon's excellent new full-length, Lily-O, unites delicate and textured productions with his guitar-centric songs, constantly moving between traditional banjo and fiddle arrangements into the more atmospheric side of folk music. Opulent and ambient guitar parts that are reminiscent of Bill Frisell continuously flood the album, carrying Amidon's music into broader and unexplored territories. The title track itself runs almost nine-minutes long, transitioning between Amidon's serenading melodies and dense, contemplative instrumentation.

$14.99 CD

back in stock


English singer/songwriter Lloyd Cole has long been a personal favorite; the three albums he made in the mid-1980s with his band the Commotions remain in my life's regular heavy rotation, as does his 1990 eponymous solo debut. He's had a long and fruitful career since then, evolving his sharp, witty, and sophisticated songwriting with tight, jangling hooks and lyrics brimming with multilayered nods to literary, cinematic, and musical works. The past ten-odd years have seen Cole at perhaps his most experimental, exploring everything from more DIY-minded one-man production operations in which he handles nearly all of the instrumentation himself, to a series of albums centered around a sound of more autumnal balladry, to even an album of keyboard- and synth-heavy instrumental pieces released in 2013 with Cluster's Hans-Joachim Roedelius (and available for sale here).

Standards is a stunning return to the sound of his early, formative years, bringing his career full-circle and delivering some of the catchiest, most sophisticated rock songs found in his discography. It's also a reunion of sorts for the band that recorded his 1990 solo debut, as he's joined throughout by a core group of drummer Fred Maher (perhaps best known to OM readers for his work with Scritti Politti, Bill Laswell's influential post-punk funk collectives Material and Massacre, and on Richard Hell & the Voidoids' Destiny Street album), bassist Matthew Sweet, and Commotions keyboardist Blair Cowan. The presence of deceased guitarist Robert Quine, also a longtime member of Cole's solo ensemble, is sadly missed here, and while one can't help but wonder what his excellent playing might've added to the stellar work already on display, they collectively bring a swift, tight muscularity and a lithe fluidity to these excellent songs that makes Cole's cool confidence all the more striking; the album's sound recalls to these ears everything from Dylan to Felt's classic swansong Me and a Monkey on the Moon, with a rich, literary lyricism and soulful heart that Cole's classic work has also held.

To call this a return to form is a bit of a slight toward the consistency of Cole's impressive discography, but this is certainly among the greatest albums the man has made, easily ranking up there with his aforementioned finest hours. Longtime fans will find MUCH to love here, and if you're new to Cole's work, this ranks up there with Rattlesnakes and the 1990 solo debut as one of the best (and admittedly more easily obtainable) entry points into the man's discography that you'll hear. [IQ]

$14.99 CD
$24.99 LP+CD

available on vinyl

World of Echo

If any album encapsulates what we consider to be "other music," Arthur Russell's masterpiece, World of Echo, would be the one. Needless to say, we're thrilled to have the vinyl version back on our shelves, nicely remastered on double LP. Here's what we wrote about World of Echo in 2004 when it was first reissued by Audika:

A customer once asked me if World of Echo was a dub album. I answered yes, but not in the popular meaning. Although Arthur Russell sits next to King Tubby in the echo chamber of heaven, it has nothing to do with reggae. Russell was obsessed with water, often riding the ferry back and forth from Manhattan to Staten Island while listening to the various versions and sketches of his personal diary in musical form. Here, he creates his own aquatic world where waves of sound and voice float and ripple into the atmosphere, doubling and tripling itself into a dusk-reflected pond of emotion and double-hidden meanings. Originally released in 1986, World of Echo is the ultimate solo album with Russell accompanying himself on his faithful cello and providing hand percussion. The sonic world that his lonesome body generates is astounding. He whispers, sighs, cries, speaks and sings story-like sound poetry atop his bowing, plucking, thumping and sliding cello, all filtered through his subtle use of echo and delay boxes.

Russell creates rhythms and sounds that morph the worlds of classical, minimalism, folk and spoken word into a submerged ruby-tinted looking glass. Think of a hallucinatory personal musical history where the wandering spirits of unique vocalist like Robert Wyatt, Jandek or Antony sing with Terry Riley, John Cage or Steve Reich, diving head first into purposefully deconstructed yet very human musique concrète. His words sculpt images of love, hope, faith, humor, beauty, intimacy and longing. I'm holding back a little, wanting to paint a proper picture of what's at hand but not wanting to give away the secret. World of Echo is hard to describe in words, but the magic is best felt when listened to loud and in the dark with candles burning and a loved one, or alone with headphones. Go ahead. Dive in, the water's just right. Essential. [DG]

$15.99 CD
$31.99 2LP

the big picture