Broken Flowersis an independent film by director Jim Jarmusch. The main role was written for Bill Murray, who is a superlative and well established actor. Murray, who plays the role of Don Johnston, finds himself alone once his girlfriend leaves him. Having wealth from a successful career, Don feels empty and often sits alone with a bottle of Moët & Chandon. One day he finds that a pink letter has been mailed to him by someone who claims that Don is the father of her son. Don gives the letter to his neighbor, Wilson, who fancies activities that deal with deciphering codes and playing detective. Wilson finds much interest in the letter, unlike Don. He finally gets Don to agree to make a list of all the names of his former girlfriends and their addresses and find out which one of them had his child. Not to spoil this brilliant film, Don goes through a journey that will leave you speechless. The soundtrack to this film reflects the plotline perfectly as it includes various genres including classical, rock, metal, reggae, and Ethiopian music.
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 REFRESH THE BLOOD For this week, it’s more new blood for your ears. More odd stuff, different things, bizarre tunes, annoying but catchy hooks, riffs that overstay their welcome, cheesy production, and anything that makes you feel slimy all over after you listen to it (but in the best possible way.)
This week’s playlist for all your private devotions, private lives, and private times, is the best kind of early house/techno. I know, I know, you’ve been there AND come back, maybe not always for the better (those long evenings and cold showers in the morning…)
But sometimes, its okay to go back, and visit an old friend…
1. Bizarre Inc. – Love in Motion
2. Plastic Mode – Baja Imperial
3. Larabell – I Can’t Stop
4. Eon – Fear: The Mindkiller
5. Steve Silk Hurley – The World is Love
6. ClubHouse – Deep in My Heart
7. Nightmares on Wax – A Case of Funk
8. QUANDO QUANGO – Love in Tempo
9. Frankie Knuckles – You got the love
10. Stopp – I’m Hungry
11. Alden Tyrell – What Your Eyes Can Do
-Robben Muñoz
 Katie Buono - Down By the Riverside Every week, WOBC compiles a list of the top 30 new albums played on air that week and sends it to CMJ, where it factors into the College Radio Top 200 Lists. These albums represent the general vibes of the station each week, so click on an artist to check out their music and see what all the buzz is about~
1 KATIE BUONO Down by the Riverside
2 GRIMES Visions
3 LEE FIELDS AND THE EXPRESSIONS Faithful Man
4 CLOUD NOTHINGS Attack On Memory
5 HUNX Hairdresser Blues
6 NITE JEWEL One Second Of Love
7 BLINK 182 Neighborhoods
8 CHEER ACCIDENT No Ifs, Ands Or Dogs
9 OBERHOFER Time Capsules II
10 ANDREW BIRD Break It Yourself
11 MAGNETIC FIELDS Love At The Bottom Of The Sea
12 PERFUME GENIUS Put Your Back N 2 It
13 TOPS Tender Opposites
14 LOWER DENS Twin-Hand Movement
15 LANA DEL REY Born To Die
16 AIR Le Voyage Dans La Lune
17 WILEY Evolve Or Be Extinct
18 TENNIS Young And Old
19 SHARON VAN ETTEN Tramp
20 PORCELAIN RAFT Strange Weekend
21 LA SERA “Break My Heart” [Single]
22 M83 Hurry Up, We’re Dreaming
23 CHARLOTTE GAINSBOURG Stage Whisper
24 FEIST Metals
25 MESHELL NDEGEOCELLO Weather
26 TY SEGALL Singles 2007-2010
27 FRANKIE ROSE Interstellar
28 DIRTY PROJECTORS AND BJORK Mount Wittenberg Orca
29 OF MONTREAL Paralytic Stalks
30 SLEIGH BELLS Reign Of Terror
Kyp Malone of the independent rock band, TV on the Radio, worked on a project that was unexpected and released this as his solo album, Rain Machine, in 2009. Malone uses elements from the musical style of TV on the Radio, and incorporates his own ideas and thoughts much more in depth on his solo effort. He explores many of the sounds and themes that were found on releases of his previous projects. Malone played almost every instrument on this record, making it an interesting listen to what he wants to convey in his music. This record is different from any of his previous efforts in that it infuses acoustic sounds into the music rather than relying heavily on electric guitars.
Rain Machine – Smiling black face
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 The James and Susan Neumann Jazz Collection is the largest privately owned collection of jazz materials in the United States, and possibly the world. James Neumann, proprietor of the collection and an Oberlin Alumnus, decided last year to donate all of the materials to Oberlin. So far, the school has received about 45,000 vinyl LPs along with thousands of jazz periodicals and collectibles, which does not event amount to half of the entire collection. The recordings will not be available for students for some time, which is why WOBC has decided to give followers a regular taste of the collection’s rare gems. Disclaimer: Information and music posted are sourced from WOBC copies of albums also included in the Neumann Collection.
This week’s dig from the sea of Neuman’s jazz wax is Elvin Jones and Richard Davis’ Heavy Sounds, recorded and released in 1967 on the legendary Impulse! Records. Jones, who made his name as the drummer in John Coltrane’s Quartet of the mid- to late-fifties, and bassist Davis, who recorded with names as diverse as Eric Dolphy and Bruce Springsteen, are in top form on this exemplary hard-bop session. Jones and Davis are joined by tenor saxophonist Frank Foster and pianist Billy Greene on most of the tracks.
Overall, this record swings hard and gets weird just at the right moments. You can hear serious avant-garde intentions in the playing of Jones and Davis, but their music is still deeply rooted in jazz and blues traditions.
Elvin Jones and Richard Davis: “Summertime”
The record begins with a mid-tempo latin-swing rendition of Foster’s “Raunchy Rita”. This 11-minute, blues-drenched jam immediately confirms the album’s title; Jones’ groove layers dark rhythmic textures over Davis’ low-rounded bass tone, providing a heavy background for Foster to improvise with serious force. But perhaps the heaviest moments for this record come three tracks later on a 12-minute bass-drums duo version of “Summertime”, on which Jones takes an intense, pitch-oriented drum solo. Davis colors the track with exceptional bowing and subharmonic techniques, making for a highly unusual and improvisational journey through the classic Gershwin tune. Other highlights include Jones’ delta-blues style guitar playing on “Elvin’s Guitar Blues” (his first and only recorded performance on the instrument), and Foster’s heartbreaking lyricism on the Van Heusen ballad “Here’s That Rainy Day”, a welcome relief from the weight of the preceding tracks.
-Adam Hirsch
 FEELINGS An experiment: every week I’m gonna get some new blood for your ears; a playlist to get you through the rainy days of March/spring/whatever: bizarre collage pieces, everyone’s favorite Italo-disco, Moog grooves, weird video game music, and spoken word things.
This week its anything synth related, mixed in with some more recent but hard to find (yet not hard to find?) oddities. Seek them out; SEEK THE NEW BLOOD.
1. Gen Ken Montgomery – “Enchantment”
2. Telex – The Voice
3. les 5-4-3-2-1 – “Bond Street”
4. Laugh and Beats – “Laugh and Peace”
5. Vicious Pink – “Can’t You See”
6. Señor Coconut – Upper Mambo/Lower Funk
7. E Bello – “E Bello”
8. Zuntata – “Darius Gaiden: End Titles”
9. VC People – “Danse Macabre”
10. Haruomi Hosono – “GALAGA”
-Robben Munoz
 the most beautiful. Fantastic Plastic Machine – Black Dada
Fantastic Plastic Machine – LOVE is Psychedelic
Tomoyuki Tanaka, better known by his stage name FANTASTIC PLASTIC MACHINE (or FPM) was once a prominent electronic music artist in the late nineties, piggy-backing off the novelty music fad known as Shibuya-kei. Created singlehandedly by Pizzicato Five, Shibuya-kei was an ironic form of pop taking cues from swinging London, Burt Bacharach, Serge Gainsbourg, and every producer driven act in sixties Europe. It died almost as quickly as it appeared.
FPM chugged along, churning out two successful shibuya-kei style albums, his self-titled debut and Luxury, a sort of bizarre concept album about commercialism. Soon he shifted from quirky, retro-pop artist into super-DJ-mega-club-house-producer. beautiful. (period included!) released in 2001, vividly represents this change.
A sort of mish-mash of 70s pop and club-soul, beautiful. is a weirdly hyper-produced album. Absurd orchestral arrangements over a battery of cut-up samples, insane lyrics that are entirely non-sequitirs, thumping club beats, grating midi strings, and porn grooves dominate. Beginning with a weird vocal sample that intones, “I, AM BEAUTIFUL”, the album opener, beautiful days, sets the tone: a summery, up-tempo club song with cheesy strings played on a keyboard. A deep voiced man and woman sing about memories, childhood and other such nonsense. This continues consistently until they recite the word BEAUTIFUL ad nauseum. It’s so annoying that it becomes stunning.
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