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. Last Updated: 07/27/2016

Sexadelic Rides Again

Gert Wilden & Orchestra Schulmadchen Report

(Crippled Dick Hot Wax Records)

This is the long-awaited follow-up to last year's sensational "Vampyros Lesbos" -- an album of "sexadelic" music from German art-porno movies of the 1960s. As is usual for "second albums," it doesn't quite match the predecessor, although it covers exactly the same area. The music and the arrangements on this record veer too much toward banal "easy-listening." But it is still rather amusing.

Megapolis Groza V Derevne (General)

One of the best in the newer breed of Moscow rock bands, Oleg Nesterov's quartet has came up with an incredible album. The most striking thing is that although it is sund entirely in Russian, it doesn't really sound Russian -- the group has managed to avoid all the clich?s of both Russian cheapo bubble-gum pop music and gloomy Russian rock. The music owes something to folk, jazz, and "new wave" -- but it adds up to more than the sum of these parts. The album was both recorded and mixed in Germany -- perhaps this is one of the reasons it feels so fresh and different. Whatever the reasons, it's a winner.

Bjork Telegram (One little Indian)

Here's a novelty concept for you: a full-length album of remixes of songs from a previous album, "Post," which was released more than a year ago. Maybe they should have just called this "Post, Take 2." Surprisingly, the album is in some ways more satisfying than the original. A number of the remixes -- by musicians ranging from the classical Brodsky Quartet to Brazilian jazz arranger Deodato -- are really adventurous and a vast improvement on the originals. Still, I have some doubts about the concept itself: Just imagine thousands of artists starting to release remixed versions of their old albums. Can you imagine "Dark Side of the Moon" reworked in trip-hop style or "Never Mind the Bollocks" remixed in a hardcore techno version"? Let's hope it never happens.

The Grassy Knoll Positive (Nettwerk/Autilles)

The second album from this Californian instrumental quartet moves them further into unknown territory. If the classic crossover music of the 1970s was a fusion between jazz and rock, then Knoll's brassy style is perhaps most easily categorized as a fusion between acid jazz and acid rock. The music is hard and harsh, like in rock, but trippy, like in, well, acid, and yet played with jazzy sophistication. It may sound a little weird but one thing's for sure: It's a unique blend.