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NO OTHER love little reissue labels that put the music first and worry about sales afterwards. No Other adores psychedelia, garage, folk and country-rock, progressive, funky rock, orchestral pop, hard-rock, ’70s powerpop, soul and funk, chamber pop... and magazines and books that DON'T (always) put The Beatles on the cover!!! No Other is fanatical about quirky cinema, animation and music and culture documentaries. NO OTHER will also work with whatever you throw at us... Nothing is beyond us. Please email for rates.

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On this site are scans and screen grabs of the reviews that No Other have gained their clients. Click on each to view full size.


Wednesday, 29 June 2011

Giorgio Tuma, Pop Junkie review



Around this time last year I got obsessed with the Magic Theatre album London Town http://popjunkietv.posterous.com/?sort=&search=magic%20theatre . I couldn't get through a day without hearing its gorgeous melodies and majestic orchesteral flourishes. Summer evenings in 2011 could well belong to the Italian Giorgio Tuma whose new album In The Morning We'll Meet turned up on Spotify the other day.

In many ways it has a lot in commoun with The Magic Theatre album. They are both hugely ambitous, display a deep love of 60s pop, soft rock and classy easy listening and are a perfect accompaniment to a quiet summery evening.

Giorgio's album, which he has created with a rollcall of collaborators, is a little more laid back and absorbs a wider array of influences. The spectre of Brian Wilson hangs over several of the tracks while the short orchestrated pieces nod at Ennio Morricone and Michel Legrand. There are touches of Tropicalia and a couple of the songs, like lead track New Fabled Stories, hint at Moon Safari era Air. I am also reminded of Marden Hill, whose quirky, easy Euro instrumentals were one of the best things that El Records released in the 80s.

The best part is that as it moves from female vocal to short jazzy instrumental and on to more strident male vocal it still hangs together so beautifully.

Tuesday, 28 June 2011

Buzzin' Music / Giorgio Tuma and Space Escapade review

Elefant Records release albums from the pick of European Pop

Vic Templar - Sunday 26.06.11, 09:21am

Giorgio Tuma - In The Morning We’ll Meet

Giorgio Tuma - In The Morning We’ll Meet

Giorgio Tuma – In The Morning We’ll Meet

Two years on from his amazing debut (My Vocalese Fun Fair) Italian pop genius Giorgio Tuma unveils his 16-track follow up on his Spanish label with songs in English.

Apologies, I’m writing like you’re in on the secret, but I get the feeling you’re not. Not for much longer, however, for I am about to induct you into the Giorgio Tuma fan club. What can I say? That he’s the biggest talent to emerge in sun-drenched pop since Brian Wilson, John Phillips, Burt Bacharach or Herb Alpert last wrote a decent tune?

Maybe I’m building him up too much? Maybe you should just take a listen in front of a mirror so you can watch your jaw slacken with wonder that someone is still out there writing delicious gentle melodic pop with orchestral arrangements and vocal harmonies that would have done Mr Bacharach & Mr David proud.

One listen is enough to sense that In The Morning We’ll Meet is every bit as good as the debut. Half-a-dozen listens, however, fail to throw up an absolute stand-out in the way that ‘Let’s Make the Stevens Cake’ or ‘Astroland by Bus’ leapt out of the debut. A criticism of sorts, but it all holds together as a coherent wistful work of aural art, just even more languid, ethereal and beautiful that the previous disc.

I’ll go for ‘An Enchanting Blue’ or ‘Oh Marc, Please, Let me Fly with my LV’ with its dreamy trumpet or ‘Innocenza Cetra’ and its gorgeous violins as the highlights. Timeless.

Very few labels can dare claim that they define a sound; Sun, Tamla-Motown, Stax, 2-Tone and Postcard form an elite crew. The good people at Elefant HQ in Madrid are building a damn good case for membership.

Various Artists – Space Escapade Unit 1 Destination: Pluto Sector 68 (Aventura Espacial)

Space Escapade Unit 1 is the latest of several pop picnics from their overflowing basket. Scouring Europe for the best in pop talent, an ability to commit sunshine to vinyl/tape would appear the common denominator whether the medium is power pop, shoe gaze, C86, Eurodisco or boy-girl Mamas & Papas-style pop. You’ll notice I keep using that word beginning with P. There’s no other word that’ll do. Elefant do Pop and do it very well.

I can’t pretend that I love it all; it’s just that the overall standard is very high. There will be several for you among the 44 track double-disc. I’ll take ‘Lloyd, I’m Ready to be Heartbroken’ by Camera Obscura (though would happily do without their cover of ‘Super Trouper’). Similarly, I really don’t care for the Eurodisco opener from La Casa Azul, but their ‘Bad Guys’, featuring Duglas T. Stewart on disc 2 is pretty dandy.

Fitness Forever (another group who made a great 2009 debut album), The School, Modular, The Carrots (a la Billie Davis – nice!), Serpentina, Nick Garrie, Ibon Errazkin, Les Tres Bien Ensemble and, of course, the assured sounds of Giorgio Tuma all grace the collection.

If none of those names mean anything to you, think of them as cousins of Broadcast, Air, Saint Etienne or Belle & Sebastian; nieces and nephews of the aforementioned 1960s chaps and chapesses.

It is worth mentioning too that all Elefant discs, in my experience, are beautifully designed and packaged. It’s important; it shows they care. Pretty delightful.

For more informatioon visit the Elefant records website.

Giorgio Tuma review, Yorkshire Post

Tuesday, 21 June 2011

The Method get the thumbs up in Antimusic

Music to Blow Your Mind!

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Welcome to the Psychedelic Shack, the paisley palace where the incense is always burning and yes, we do feel like you do. Come on in, we've left the (Day-Glo) light on for you…

The Method
Dissidents & Dancers

See Monkey Do Monkey

The Method plays psychedelic garage rock like it's 1966, sometimes working a little Memphis soul into the sound as they do on "Your Humble Entertainers." Surf guitar lurks in the psychedelia of "Whip Around" and "Consider This Your Warning" is appropriately performed as ominous pyschobilly. "Dissidents & Dancers" could have been a radio hit back in the day, right alongside tracks like "Incense & Peppermints" and "Venus." Nothing here gets too wiggy but sitar-like guitar work on the Animals-esque closer "Habitual" adds an international feel to the already interdimensional. Singer Richie Hayes has a Richard Ashcroft-meets-Marty Balin voice that lends itself perfectly to psych sounds both vintage and modern, making him a good travel companion for right now.

http://www.antimusic.com/reviews/11/Music_to_Blow_Your_Mind!.shtml

Wednesday, 15 June 2011

New Band Of The Day: Ulysses - THE GUARDIAN!

guardian.co.uk home

Ulysses (No 1,043)
These 70s fetishists from Bath are on a mission to revive glam, mixing cheesy, infectious pop with kick-ass guitar solos
Paul Lester
Paul Lester

guardian.co.uk

Ulysses
Retro heaven ... Ulysses

Hometown: Bath.

The lineup: Luke Smyth (vocals, guitar), Jules Wells (bass, backing vocals), Jay Synclair (drums, backing vocals), Tom Sartoryal (guitars, percussion, backing vocals).

The background: Pop might be rife with retromaniacs, but even given the rampant plundering of the past, we can't recall many attempts to revive glam. But now here come Ulysses, a band rather fond of the stomping beats of the Chinnichap era, the "hey!"s and handclaps of the Sweet, Suzi Quatro, the Glitter Band et al.

We tell a lie. Almost 20 years ago, Lawrence Hayward from Creation indie janglers Felt launched Denim: more than a band, they were a project, designed as a wholesale rejection of the decade he'd just left (the anthemic closing track on their 1992 debut album Back in Denim was a seven-minute pop diatribe called I'm Against the 80s) and a celebration of the previous one, thereby proving Simon Reynolds's 20-year theory: that two decades provides sufficient distance for full-scale musical rehabilitation (hence the Teddy Boy revivalists in the 70s, the punk-funk revival of the noughties, etc). But what marked Denim out was that they were intent on reviving the uncool 70s: the pre-punk, pre-disco period of cheesy glam and naff Top of the Pops hits.

Well, Ulysses are like a harder, more metal Denim: Denim meet the Darkness, if you will. "We're a glam band influenced by Thin Lizzy," they say. "That means pop songs with a rock attitude and kick-ass guitar solos. We're not embarrassed to love rock. Thin Lizzy and Alice Cooper were a revelation. Having grown up thinking they were just 'bad metal' it was incredible to discover the depth to what they'd done." As for guitar solos, they wonder, "Shouldn't they kick a song into outer space?" For Ulysses, the 70s "is our natural home – it's the ultimate decade."

They even look the part, all beards and Jeff Lynne curls. But the period fetishism is really kept to the music, which is Darkness-style meta-metal with some of the tricksiness and tempo changes of another of their favourite 70s bands, 10cc – think a more stylised, 70s-obsessed Supergrass or Super Furry Animals. Their debut album, Everybody's Strange, opens with Eye on You, which samples, or recreates, the staccato guitar (or is it keyboard?) sound from the chorus to Bowie's Starman. The "hey"s are pure Glitter Band, the phased vocals reek of Roy Wood, while the guitar solo seems to have been learned from watching re-runs of the Old Grey Whistle Test circa 1971. It goes on a minute or so too long, another nicely authentic period detail, while the percussive coda is a bit Santana.

This sense of a condensed 70s runs throughout the album. Still has the bovver beat of Gary Glitter, some Brian May geetar and a tune catchy enough to have been a Chicory Tip B-side at least. It has the moronic infectiousness of all the best early-70s pop with the musicianly focus of rock – you can just picture the unironic orgiastic grimacing during the guitar solo. I Get High With Your Love is Deep Purple rifferama in excelsis, Won't Back Down is like Black Sabbath if they'd been signed to Mickie Most's RAK label, and Sometimes could be a cover version of a long-lost smash from one of those gloriously tacky Top of the Pops collections that Bob Stanley probably owns the full set of. Solid gold easy action and no mistake.

The buzz: "In another era Everybody's Strange would be a platinum-selling album and Ulysses would be packing stadiums" – AAA music.

The truth: We're not sure what's in the Bath water, but we'd like a dip.

Most likely to: Have mainstream appeal (if the music biz suddenly time-travelled back to 1972).

Least likely to: Go all stream-of-consciousness.

What to buy: Everybody's Strange is available to download from iTunes via Future Classic Rock Records in August.

File next to: Denim, Roy Wood, the Sweet, the Darkness.

Links: www.myspace.com/ulyssesgb.

Wednesday's new band: Emeli Sande.