Another whirled, another whirled, another whirled world music thread 2007

I was impressed with some old Xavier Cugat mambo music on vinyl being played on WPFW Friday night that I liked. I just figured Cugat was real loungy, but some of the cuts played had zip and soul to 'em.

I need to listen more to a Sarah Tavares cd I was sent. She's a Cape Verdian Portueguese vocalist who is starting a US tour this month.

As for Sarah Tavares who I mentioned upthread a little, well she has her moments but her Balance cd is a bit inconsistent. Sometimes she comes across in a light soft way like a Brazilian chanteuse, other times her voice is sultry and kinda pop, and on a few cuts she's either folky or using a nearly spoken-word approach. She's playing for free Tuesday night 1-23 at the Kennedy Center in DC at 6. I might give her a shot live if i can get off work early.

The K. Ctr. had Marcel Khalife for free on his Caress tour. That was a nice show. Have you ever seen him live, RS?

:( I really like Soro. I like Moffou too actually.

-- the table is the table (meltingglacier...), January 6th, 2007. (treesessplode) (later) (link)

dude is fuckin awesome.

Phazm – Antebellum Death ‘N Roll (Osmose Productions)
(Various) – What’s Happening In Pernambuca: New Sounds From The Brazilian Northeast (Luaka Bop)
Melechesh – Emissaries (Osmose Productions)

Phazm are post-Noir Desir decadent French perv-metal. Melechesh are middle-eastern-inflected Jerusalem death metal. The Luaka Bop comp is post-Chico Science Brazilian mangue-beat rock en portuguese.

Also spent too much time already trying to get into Kassin+2's Futurama, also on Luaka Bop and also from Brazil, but within only one track, the seemingly Jorge Ben-inspired "Ponto Final," that would've been good enough to fit on that Pernambuca comp. There are a couple other sambas with nice relaxing melodies I guess, but mainly they strike me as a fairly timid art band, pretty mediocre. I noticed a few days ago on some other ILM thread that some indie rocker named the album (or some other album by them?) #3 in his 2006 top 10, weird. Apparently people compare them to Os Mutantes and stuff like that, but to be honest Os Mutantes have never killed me.

i'll probably still enjoy the show, i'm sure.

I liked the Sara Tavares record okay; her voice reminded me of Natalia Lafourcade's. I haven't listened to that Pernambuco record yet, but I need to. I wasn't as impressed by Phazm as other people around here have been - I liked the Death Breath album a lot more.

I don't know, I guess the ending is a little unusual.

but as always ymmv.

I know. I don't hear this stuff as that incredibly strange either. (Not that I would necessarily like it more if it were avant-garde and strange.) But you did say ymmv.

Looks like this came out in 2005, so much for whirled 2007.

I wouldn't say that. This thread is pretty open-ended (not least because I don't want to have to get into an argument over what counts as "world music," partly because I don't care and partly because I wouldn't want to try to argue it around here). I was actually trying to come up with a substitute for "world music" in the thread title, but I gave up and thought if I went silly, that would make it easier to get away with using the term.

For the record I like the "whirled" thread title.

http://ec2.images-amazon.com/images/P/B000HT2J94.01._SS400_SCLZZZZZZZ_V59714698_.jpg

Al Tarab (Muscat Oud Festival)

which I'm hoping is going to be a sort of oud holy grail. It comes with a rather thick booklet.

Dear friends in the media,

Tinariwen, the poet guitarists from the southern Sahara, are organizing a number of press trips to their home in the Southern Sahara in January 2007. These trips are destined to give the media an extra special insight into desert life and music. The trips are orientated around two very important cultural events: The Festival in the Desert in Essakane, from January 11-13, and the Camel Fair in Tessalit, from January 17-19. The Festival in the Desert already has a global reputation that speaks for itself. Tessalit is an oasis near the Algerian border where most of the founding members of Tinariwen originally come from. Apart from these events, journalists will be able to spend time with Tinariwen, speak to individual musicians, and meet various cultural and political leaders who can explain the background to the group in detail. From the attached day by day schedule:
• These trips will involve quite a bit of time driving on ‘pistes’, which can be bumpy and uncomfortable.
• Accommodation will either be in traditional Touareg tents, in local homes or under the stars. However the space, the peace and the excellent desert skills of Tinariwen, make sleeping the bush almost luxurious. Trip no 4 will involve some nights of hotel in Tamanrasset.
• Tinariwen will be performing at the Festival in the Desert and at the Camel Fair in Tessalit.
• DESPITE ALL EFFORTS, THE DESERT CAN BE AN UNCERTAIN PLACE. The itineraries given above are a guide, but are subject to change without notice. We will make every effort to stick to them, but cannot be held responsible if something outside our control forces us to change plans.

I guess anyone can cast votes.

>> ...kind of reminds me of the old prog. band Caravan...

I had never heard of them, but this intrigued me to click the link, and damned if they DON'T sound like some crazy cross between Hermeto Pascoal and Hatfield and the North. This is why I love ILX!

Sunday November 4th---The National Folklore Dance Troop of Egypt & Umm Kulthoum Orchestra at the University of Maryland, College Park Clarice Smith Performing Arts Center www.claricesmithcenter.umd.edu

I think I may take my boy to Tinariwen with Vieux Farka Toure but not the above (Sunday night homework and stuff). I have not found time to research the above (yet). Caetano Veloso is gonna be in DC Sunday night also.

Umm Kulthoum Orchestra

But no Umm Kulthoum. :(

I'd rather watch her videos on youtube, I think, as I was just doing on my lunch break.

<a href="http://www.cduniverse.com/productinfo.asp?pid=7492557&cart=624831337&BAB=M>;Wu Fei - Distant Youth (with Fred Frith)</a>. Could be the Chinese classical/chill-out free improv (actually I'm not sure there's much improv here) CD of the year.

More here: http://www.myspace.com/feifeifei

This is good: http://www.youtube.com/watch?v=RQF11B0XcG4

That The Roots of Chica: Pyschedelic Cumbias From Peru reissue that Rockist Scientist mentioned upthread is indeed pretty awesome, and, as he predicted, not especially pyschedelic, despite some occasional, say, proto-psych organ parts. Favorite songs so far are by Los Destellos (extremely funky drum parts in "A Patricia"), Juaneco Y Su Combo (Chakachas "Jungle Fever"-style girl sex gasps in "Vacilanda Con Ayahuesca"), Los Hijos Del Sol (totally silly, with oi oi oi gang shouts in one song and hey hey hey gang shouts in another song), Los Miros (almost a polka), Los Diablos Rojos (crazy laughing guy). Guitars in some of the songs sound very African to me, but maybe that's just a cumbia thing. I am fairly cumbia illiterate, as it were.

Also really loving Parole Italiane, which is a decade-old (released 1997) compilation of Italian hip-hop on Trikont Records out of Germany. Favorite track is probably "Fight the Faida" by Frankie Hi NRG -- just sounds really tough, and namedrops Sodom and Gomorrah, and samples Sly Stone, and has goofy boinging sounds in its beat. There's also a real middle eastern bent (in "Spigoli Di Luce" by AK-47) and/or reggae dancehall bent (in "Cierco Tempo" by 99 Posse) to a lot of it, but I get the idea that's pretty common in romance-language Euro-rap (i.e., French stuff I've heard). (Cover actually says "Hip-hop/ Ragga / Rap," and after all this time I'm still not entirely clear on what exactly "ragga" is, but I'm pretty sure reggae is an element of its recipe.)

There is a really nice record in my possession by drummer Sean Noonan and his group Brewed by Noon. It is called Stories to Tell and has a great West African/Celtic vibe and some shredding work from Marc Ribot all over it.

I don't know that album, but I do know and like the self-titled album on Xcellar Records, which does not seem to feature Marc Ribot on it, and which I've always thought of as some kind of world-harmelodic fusion type thing, maybe along the lines of certain records that Ronald Shannon Jackson made in the late '80s, though I'm guessing Art Ensemble of Chicago feature somewhere in there influence-wise as well. Its cdbaby page says it came out in 2005, and compares it to "Prime Time joined by Fela Kuti and Bill Frisell, then remixed by Bill Laswell," so either I'm not far off or I fell for their hype:

http://cdbaby.com/cd/brewed

xhuxk, belated apologies for going off at you on one of those P&J poll threads (I can't find it now). I really was: sleep-deprive, over-caffeinated, angry about things happening at work, and fighting off a sinus infection, at the time. (And if you don't know the thread I'm talking about, it may be just as well.)

No problem, Rockist -- I've definitely had my post-insamniac too-much-coffee buried-by-work nasal-congested moments of my own this year. So I relate!

Btw that Parole Italiane Italo-rap comp actually starts with a brief track of what I assume is traditional Middle Eastern music of some sort, listed as "Zezi (trad.)" on the cover. Which reminds me that Continental European (and maybe to some extent British too) hip-hop is largely supposed to be the province of immigrants, or so I think I've read somewhere once. "Devo Avere Una Casa..." by Assalti Frontali is another good track--rock guitars!

Hmmm: http://www.watchtower.org/ao/rq/article_03.htm

Did a little mini e-mail interview with Vieux Farka Toure and am excited about seeing him along with Tinariwen live in DC Thursday (same time as the Latin Grammys on tv). I love hearing Malian style guitar, kora, and ngoni. VF Toure is not yet making anyone forget his dad (a few cuts on the cd feature both of them recorded shortly before Ali Farka died from cancer) but the cd is nice enough mostly traditional stuff(I like the dub reggae influenced cut alot).

This probably doesn't belong on this thread (given that it's an all English-language album), but has anybody here heard Look Directly Into the Sun: China Pop 2007? It's a surprisingly western sounding post-punk collection of eighteen Beijing(?)-based bands—not exactly Wanna Buy a Bridge great, but pretty interesting nonetheless.

A couple of Chinese postpunk bands put out records in the US this year: Rebuilding The Rights Of Statues (great) and Lonely China Day (just okay).

This guy from Baltimore who has been collecting old 78s of music from around the world is doing a quick tour in support of the dust to digital cd he compiled. I haven't heard it yet. He's gonna be in Nov 18 2007 8:00P at
Harvest Records Asheville, North Carolina
Nov 19 2007 7:00P
George Washington University - Marvin Center Washington
Nov 21 2007 8:00P
Big Jar Books Philadelphia, Pennsylvania
Nov 23 2007 8:00P
Twisted Village Cambridge, Massachusetts
Nov 24 2007 8:00P
Time-Lag Portland
Nov 25 2007 8:00P
51 3rd St Troy, New York
Nov 26 2007 7:30P
Eat Records Greenpoint, Brooklyn, New York

Ian Nagoski lecture and sound presentation: "The Black Mirror: Ethnic Music on 78rpm recordings, 1918-1955"

Ian will be playing selections from his forthcoming compilation CD "The Black Mirror" to be released on the Dust to Digital label. Great unheard sounds and lost history revealed! More info below!

78 enthusiast and owner of the True Vine Record Shop in Baltimore, Maryland, Ian Nagoski will be playing and talking about music from all over the world from the first half of the 20th century to celebrate the release of a collection entitled "The Black Mirror".To be issued on November 20th by the esteemed Dust to Digital label, Mr. Nagoski's collection of 78 recordings come from around the world, have never before been reissued,and span the years 1918-1955. Please join us and hear long forgotten music from Syria, Bali, Scotland, Thailand, Ukraine, China, Camaroon, India, Turkey, Germany, Spain, Vietnam, Yugoslavia, Japan, Poland, Greece, Java, Portugal, Laos, Sweden and Burma.

http://www.dust-digital.com
http://www.myspace.com/theblackmirror

yeah, there's going to be a box on DTD coming out in January compiled by the Climax Golden Twins w/a bunch of global (particularly Asian) stuff on it as well. looking forward to that; the stuff I've heard from it is pretty awesome.

New Rahim AlHaj CD (with blurb from Bill Frisell):

http://cdbaby.com/cd/rahimalhaj5

This sounds (based on audio clips) like it's going to be extremely good.

I would order this immediately if I weren't back to not buying anything extraneous.

http://www.youtube.com/watch?v=6bLK20PXpRE

I like this song.

I like this song.

I'm sorry.

Keep your pity.

I just figured that Anthony Hamiilton's "Can't Let Go" is the song it sounds like.

Actually it sounds like something Robin Thicke would do.

100% Romantico! But yea it's r'n'b flavored.

I'm listening to Cafe Tacuba whom I saw last night, the Roots of Chica: Pyschedelic Cumbias From Peru, and Youssou N'Dour (whom I am seeing tomorrow night).

I know I'm a little late to this party, but this stuff killed me this year:

http://youtube.com/watch?v=xTXzQ9UDOM0

Os Mutantes live album is freakin' excellent. Also loving the Calle 13, but that's on another thread.

Onda Tropical has this link to this page that has a reggae cover of Eddie Palmieri's "Mi Sonsito": http://www.myspace.com/ticklah

Cool. Unperson Phil should definately check out Palmieri live if he has not yet done so. I think he'd like him.

Youssou N'Dour and band were fantastic Monday night and I'm liking most of his new cd. Live he did not do any of his crossover songs, just wailed up and down the scales in Wolof and sometimes in French. His percussionists were marvelous as well. Senegalese rhythms are not as straightforward as some from Congo to my ears, but they reward listeners once you get into them.

Got the new Soundway 2CD comp Nigeria Special: Modern Highlife, Afro-Sounds & Nigerian Blues 1970-76 in today's mail. Looking forward to blaring that over the next four days off work.

I posted this to the cumbia thread, but didn't get any response, so I'm posting again. It's a cumbia mix in a sort of "chopped and screwed" style that dates back to the 60's. Anyway, it's pitched down. It has its moments:

http://www.wordthecat.com/images/sonido_martines_-_las_Rebajadas_van_a_brooklin.mp3

(You may have to cut and paste that, the board doesn't seem to like that url.)

I think I read that this DJ also had a hand in that Roots of Chicha compilation.

I had to cut and paste it so I could hear it. I like the twangy roots feel of the music, but not the half-speed chopped and screwed vocals

Yeah, been living all this stuff and hedza have been recognizing for a bit now.

Diplo mix of all cumbia :
http://maddecent.com/blog/?p=198

Quantic Mix of cumbia :
http://www.waxpoetics.com/quanticmix.mp3

haha. been digging this stuff, not living it, although i wouldn't mind one of the chicas on those record sleeves !

I like the Afrosound cover of "Soul Makossa" on the Wax Poetics Quantic mix. Es platanos as someone blogged.

I like the twangy roots feel of the music, but not the half-speed chopped and screwed vocals

I'm afraid I have to agree with you about the vocals.

Seen that Dee Dee Bridgewater goes to Mali cd Red Earth on a couple of best of polls---Great concept, but I was not wowed by the cd or the live show.

I like the Malians but Bridgewater is not my fave jazzy vocalist

Excerpts from a DJ Neva e-mail thing I get:

Dear friends and colleagues,

Henrietta (Weiss) Yurchenco - considered by many to be the "mother" of American ethnomusicologists - passed away last night.

I met Henrietta in 1975, my second semester at City College of NY, when I signed up for one of her classes in the music department. She immediately became my mentor and role model, and I can say without hesitation that because of her I became an ethnomusicologist and radio producer and cultural activist.

For more than 15 years I worked alongside Henrietta as her confidant, editor, research assistant and field recording engineer on trips to Colombia, Mexico and Spain. I also had the most special honor of co-writing the first draft of her memoirs, "Around the World in 80 Years" (Music Research Institute), as well as numerous scholarly articles and research papers.

When we celebrated her 91st birthday last March, we all felt certain Henrietta would make it to at least 100. But during the year, her health began to decline and then became much worse in the past few weeks.

I invite you to meet her through her work: http://www.henriettayurchenco.com/. Peace, love and blessings to all,
Neva

"DJ Neva" E. Wartell

Does anyone know more about what's going on with the murder of all these Mexican singers? It sounds like somehow different singers have become associated with different organized crime groups, and then end up being targeted by other crime families as symbols of their enemies. Or something like that. (I posted another article before on the Grammys thread, I think it was.)

2 more grupera singers slain in Mexico

By Héctor Tobar, Los Angeles Times Staff Writer
December 4, 2007

MEXICO CITY -- Authorities recovered the strangled body of a popular grupera singer Monday, just two days after the slaying of another grupera singer in her hospital bed, officials said.

Sergio Gomez, lead singer for the group K-Paz de la Sierra, had been kidnapped in the southern state of Michoacan late Saturday and had been missing for two days before officials found his body. Zayda Peña was killed in her hospital bed in the border city of Matamoros on Saturday, hours after surviving an assault.

At least seven other performers of the grupera genre, a form of folk music that blends norteno and tropical rhythms, have been killed over the last 18 months. Some groups in the genre sing songs associated with drug-trafficking, but Gomez and Peña are better known as singers of romantic ballads.

Peña, 28, headed the group Zayda y Los Culpables (Zayda and the Guilty Ones). She was first shot Friday night in a Matamoros hotel, along with two other people: a friend and the hotel manager. The others died at the scene.

With a gunshot wound to the back, Peña was taken to a hospital. She underwent surgery, then was taken to a room in the intensive-care unit. An assailant entered the room and shot her twice in the face, killing her, according to news reports.

Gomez had just performed with his group in Morelia, the capital of Michoacan, when he disappeared. The day before, he had received phone calls warning him not to appear at the concert, according to news reports. Gomez redoubled his security and performed anyway.

After leaving the concert, Gomez was kidnapped along with two businessmen who were later released.

Mexico's business, political and cultural elite have long been targeted by kidnappers, mainly for financial gain. Among the most notable were the 2002 kidnappings of two sisters of the actress Thalia: Both were released after a ransom was paid. In 2005, Soccer coach Ruben Omar Romano was kidnapped but rescued by police. And just last month, several Mexican federal senators received phone calls saying their relatives had been kidnapped.

Gomez's body was found on a highway some six miles outside Morelia, authorities said Monday. He had been strangled, and there were several burn marks on his body. His family and associates apparently had not received any demand for ransom.

The motive for Peña's killing had not been determined, authorities said.

One of her biggest hits was the song "Tiro de Gracia" (Coup de Grace"). Some media outlets suggested Monday that the song referred to an execution, although its lyrics describe nothing more violent than a failed relationship.

Still, the public manner of Peña's death -- reminiscent of many other assassinations in recent years -- suggested that organized crime might be involved.

The most notable killing of a musician attributed to organized crime was the November 2006 assassination in Reynosa of Valentin Elizalde, known as the Golden Rooster. Elizalde sang narcocorrido ballads that were often taken up as anthems by the so-called Sinaloa Cartel of drug traffickers and its leader, Joaquin "Shorty" Guzman.

Trigo Figueroa, a singer, also was killed after a concert in Reynosa in August 2006. In December 2006, Javier Morales Gomez of the band Los Implacables del Norte was shot to death in a Michoacan park.

And in February, gunmen shot to death four members of the musical group Banda Fugaz after they performed in Michoacan.

hec✧✧✧.to✧✧✧@lati✧✧✧.c✧✧

Cecilia Sanchez of the Times Mexico City bureau contributed to this report.

This was the other article (which I found by accident while searching for reggateon news):

Murdered singers among Grammy noms
BY JOSE MORENO
DAILY NEWS STAFF WRITER

Friday, December 7th 2007, 4:00 AM

The late Sergio Gómez, lead singer of the norteño band K-Paz de la Sierra.
Two Mexican singers killed over the last year — including one this week — are among the nominees for the Grammy Awards announced yesterday.

Sergio Gómez, the lead singer of the top-selling group K-Paz de la Sierra, was tortured and strangled Sunday in Morelia, a city in the western state of Michoacan.

His “Conquistando Corazones” (Conquering Hearts) got a nod for Best Banda Album. Valentín Elizalde, who was murdered in November of last year, was nominated in the same category for “Lobo Domesticado.” (Domesticated Wolf).

Both deaths are part of a recent wave of organized crime violence terrorizing entertainers in Mexico.

Although not known for songs glamorizing the drug business, Gómez had reportedly received death threats by drug cartels urging him not to appear in Michoacan, a hot bed of the drug trade.

“I couldn’t believe it,” said Puerto Rican reggaetón star Daddy Yankee who played with K-Paz last July in Mexico City. “It hurt me so much.”

“I immediately prayed for his him, his family and the people of Mexico,” added Yankee who was nominated yesterday for Best Urban Album.

Gómez’s manager, who is also named Sergio Gómez, said the singer had no ties to drug gangs.

The murders has singers worrying that they may become targets by becoming identified with one or another of Mexico’s warring drug gangs.

“What can I say? We are dismayed about this. I mean, we are all in the same boat,” said Javier Díaz, representative of Los Tucanes del Norte, a popular group that often poses with assault rifles to promote its songs and violence-filled videos.

After leaving the concert Sunday, Gómez was intercepted by 10 Chevrolet Suburbans. His body turned up on a rural roadside with signs of strangulation and severe bruising on the thorax and abdomen as well as burns on the legs.

Hundreds of people mourned Gómez Tuesday in his native Ciudad Hidalgo. About 200 more also gathered in Mexico City, where Gómez’s body was transported Tuesday night. People sang the group’s best-known songs and some cried holding flowers and photographs.

Another lesser-known singer, Zayda Pena, 28, was shot in a hospital in Matamoros Saturday, while recovering from a gunshot wound she received a day earlier.

Like Gómez, Pena had no known drug associations.

While Gómez was famous for his up-tempo “Pasito Duranguense” rhythm and Pena wrote more in the ballad-like “grupero” style, both essentially sang songs whose themes went little beyond love.

Earlier slayings involved musicians who sang about the criminal underworld. Elizalde, who was killed after performing across the border from McAllen, Texas, became popular with “To My Enemies,” a song frequently seen as a drug lord’s anthem.

Many musicians are now worried that becoming associated with a drug gang may be as easy as waiting for someone to use their song as the soundtrack to a homemade video.

“More than anything else, the point is that musicians make music, they don’t belong to any group,” said Diaz, the representatives of Los Tucanes. “Nobody has the right to take anybody else’s life.”

With Carlos Rodriguez Martorell, Associated Press

It sounds like somehow different singers have become associated with different organized crime groups, and then end up being targeted by other crime families as symbols of their enemies. Or something like that.

Actually, I'm not sure where I got that, maybe mis-rememmbering some things from the first article. Given organized crime is involved, I'm sure there could be lots of different explanations.

I always meant to read that Elijah Wald book "Narcocorrido: A Journey into the Music of Drugs, Guns, and Guerrillas." It might better explain what is going on.

This Shadia Best Of (which I think I mentioned before) definitely has some of the songs I know from a cassette or two of her work. Her stuff is a bit shlocky I suppose, and I can no longer listen to a lot of this type of Arabic popular music with the really thick violins coming in every few seconds, but I do like some of these songs enough to want this. It's good for certain moods. I think some of the songs themselves are actually pretty strong, especially melodically, and sometimes in their percussive passages.

http://www.maqam.com/shadia_arabicmusic1.html#Samples

And I do think she has a pretty good voice, although her damsel in distress mask (that's what it sounds like to me) is a little over the top sometimes.

I like some of the shlock too, like the electric keyboard on El Hob El Hakiki (on vol. 2: http://www.maqam.com/shadia_arabicmusic2.html#Samples), but I still have to be in the right mood for that sort of marginally psychedelic Egyptian cocktail music.

But yeah, these are cool and worth getting, and some of these songs have little pockets where percussion kicks in and they change direction in odd ways.

Front page of the Washington Post story-"The Savage Silencing of Mexico's Musicians"

http://www.washingtonpost.com/wp-dyn/content/article/2007/12/25/AR2007122501437.html

Thanks for pointing that out. It provides a lot more context.

This probably doesn't belong on this thread (given that it's an all English-language album), but has anybody here heard Look Directly Into the Sun: China Pop 2007? It's a surprisingly western sounding post-punk collection of eighteen Beijing(?)-based bands

So, has anyone heard it? I really like Carsick Cars and they're on it.

There's a copy at my office, because the upcoming issue of Global Rhythm (I no longer work there obviously, but the current editor is just one cubicle away) is all-China, and includes an interview with Martin Atkins about that disc and the DVD he released of his trip over there.

I got a pretty interesting thing in the mail the other day: Karl Hector & The Malcouns, Sahara Swing. It's a mix of jazz and North African/Egyptian rhythms and instruments, on Stone's Throw for some reason. I'm gonna be writing it up for The Wire.

Picked up two CDs at Target today before seeing Hellboy II (which sucked): Graciela Beltran's Una Reina En Hollywood (live with a full mariachi orchestra, plus six studio tracks also w/orchestra) and Julieta Venegas' MTV Unplugged, which features appearances by Mala Rodríguez, Marisa Monte, Gustavo Santaolalla, Juan Son, Jaques Morelenbaum, and Natalia Lafourcade playing all kinds of instruments in the large backing band (and she apparently did a lot of the arranging, too). I thought Natalia Lafourcade's two albums were great; I hope she puts something else out soon.

Rolling Sublime Whirled Music 2008 (a catch-all thread when you can't find another one that works)