NEW RELEASES 2015 WEEK # 26 JUNE 30, 2015

JUNE 30, 2015 (WEEK #26)

1.    ART DEPARTMENT-“FABRIC 82” [SERIES] (6/30)

2.    FAILURE-“THE HEART IS A MONSTER” (6/30) ('Thematically we ve moved from the outer space of Fantastic Planet to inner space', said guitar/bass player Greg Edwards of Failure's new album, the band's first full-length since 1996, The Heart Is A Monster. 'From the dislocation of one's identity to the complete erasing of it by sleep and dreams. I think we've used instrumentation in the service of mood and emotion to an even greater degree than on our previous records'. The band returned from a 17-year hiatus in early 2014 with a single Los Angeles date planned. The show sold out in seconds, which led to a North American tour, including a run of dates with Tool and appearances at Riot Fest, Fun Fun Fun and Cinquanta, and eventually back to the studio. In a recent interview with Noisey, singer/guitar/bass player Ken Andrews admits by the time the band announced their first live outing, he, Edwards and drummer Kellii Scott were already working on new music, saying 'One thing that Greg and I agreed on very early on, is that we did not want to reform for just one or two nostalgia tours. We wanted to come back as a full functioning musical force and creatively pick up where we left off with Fantastic Planet. That meant we needed to start experimenting in the studio first, which we did in late 2013. After a few months, we came to the conclusion that we were having a good time and that we liked the results, and that we thought the results were definitely Failure. We've been chipping away at a new album this whole time.' In that same article, Andrews and Edwards said that their approach to writing and recording Fantastic Planet and The Heart Is A Monster have been similar, saying 'The songs on Fantastic Planet appear more or less in the order that we wrote them... when, we do a song now, we write it and record it soup-to-nuts without moving to another song... It takes longer, but it makes more sense for us artistically to explore a song completely before you move on'. 'Trying to follow up Fantastic Planet was a bit daunting', said Andrews, who mixed The Heart Is A Monster with the band acting as producers. 'We've pushed the bar upward again, but at the same time, we've kept the signature sound of the band intact'.  Failure's SXSW performance, about which Yahoo Music said 'the beloved cult band... thrilled a practically openly weeping crowd of superfans' was the trio's first live performance since wrapping production on The Heart is A Monster, included the new song Hot Traveler, which Entertainment Weekly said 'had every bit the sonic thickness, rhythmic thump, and melodic bite as favorites like Another Space Song and Heliotropic'. Failure formed in Los Angeles in the early 90s, releasing Comfort, their debut album, in 1992 via Slash Records. Magnified followed in the spring of 1994 with the band's final offering, Fantastic Planet, released in 1996. Fantastic Planet earned a perfect 5-star score from Alternative Press with the magazine saying the album 'was able to breathe life into the corpse of contemporary, guitar-driven rock', adding that the band 'was willing to stretch the definition of both their instruments and their songs'. The 17-track album is considered one of the era's most influential and enduring rock records. Over the years, Failure has become known as a band's band whose songs have been covered by such diverse artists as A Perfect Circle ( The Nurse Who Loved Me ) and Paramore ( Stuck On You ). Tool/A Perfect Circle singer Maynard James Keenan said, 'Failure has been a huge inspiration to me. They say amateurs borrow and professionals steal. Well over the years this pro has robbed those poor saps blind'.)

3.    BRYAN FERRY-JAPANESE EDITION REISSUES OF 6 OR MORE OLDER ALBUMS!

4.    FLESH EATERS-“NO QUESTIONS ASKED” [MONO RECORDS REISSUED LP] (6/30) ("Before the nihilistic hardcore of Black Flag and wasteland blues of the Gun Club was the void. And from that void crept forth a schoolteacher named CHRIS DESJARDINS who in the fall of 1977 was about to simplify his name to CHRIS D. and start one of the most complicated and uncompromising bands ever to emerge from Los Angeles. He had charisma and connections and an irresistible vision, and he recruited members of X, WALL OF VOODOO, THE CONTROLLERS, THE SCREAMERS, THE FLYBOYS and THE PLUGZ--a rotating roster of future punk legends who'd split time from their own bands to become THE FLESH EATERS. By the summer of 1980, the Flesh Eaters had left scorch marks across their genre and their generation both, releasing the debut 'Disintegration Nation' 7", a compilation called Tooth And Nail and a first annihilating full-length called No Questions Asked that critic Richard Meltzer called 'goddam genius.' In the Flesh Eaters, murder ballads and cut-up Burroughs-ian imagery and wrecked-in-the-head rock 'n' roll were boiled and bled into one terrifying thing by people whopractically invented West Coast punk, and who at the direction of Chris D. were now inventing something else. Now Mono Records releases this deluxe LP version of No Questions Asked with complete bonus tracks including the 'Disintegration Nation' 7", the three tracks from the Tooth and Nail and never-before-on-vinyl demos restored at Chris D.'s direction--all material unavailable in the U.S. since its original release, and the definitive reissue of the last great lost L.A. punk band"--Chris Zeigler)

5.    BOO HEWERDINE-“OPEN” (6/30) (2015 release from the acclaimed singer/songwriter. Open is a beautiful album collecting unreleased recordings made during sessions at Britannia Row Studios in 2003. Amongst Hewerdine's 'found sounds' from an afternoon looking through boxes are early versions of two of his classic songs ('Muddy Water' and 'Geography') that six years later would appear on the much loved God Bless The Pretty Things album. Open also gives fans a chance to hear delicate acoustic studio recordings of concert favorites such as 'Microfilm' and 'Name'. Further proof it were needed, that Boo Hewerdine ranks amongst the very best English songwriters working today.)

6.    IT HUGS BACK-“SLOW WAVE” (6/30) 

7.    JEFF THE BROTHERHOOD / COLLEEN GREEN-“LAMC NO. 15 7” SINGLE” (6/30) (*****The fifteenth edition in Famous Class' LAMC split series featuring an unreleased A-side track from one of the label's favorite band's, backed with a B-side track from a lesser-known artist handpicked by the A-side group. The series gets its name from the epic Less Artists More Condos concerts that the late ARIEL PANERO threw in New York, showcasing amazing bands in some strange and unique venues. Ariel's driving force was a desire to get the bands he believed in the recognition he felt they deserved. This series simply tries to honor that idea. Features JEFF THE BROTHERHOOD's "A Dog," backed with COLLEEN GREEN's "Hellraiser.")

8.    LA PRIEST-“INJI” (6/30) (Inji is the debut solo album by Sam Dust, AKA LA Priest. Across its ten audaciously imaginative tracks Inji reasserts Dust as a truly idiosyncratic voice in British music, applying the same eclectic and absurd spirit of his previous band, the beloved Late of the Pier, to ever more nuanced and affecting songwriting and composition. From the obscene space-age stadium rock guitar solo of "Oino" to "Learning To Love", the record's gargantuan prog-house centrepiece, Inji confounds and delights in equal measure and at every turn. For fans of: Tame Impala, Daft Punk, Unknown Mortal Orchestra)

9.    LAST DAYS OF APRIL-“SEA OF CLOUDS” (6/24) (Since their formation in 1996, Swedish band Last Days of April has enriched the world with their enchanting indie pop. Their ninth album, Sea of Clouds, follows a series of outstanding releases. And yet the ninth studio album by this Stockholm band -- based around the songwriter Karl Larsson -- sounds so much more deliberate, mature, and balanced than ever before, while continuing the band's hunt for the timelessly beautiful Swedish pop song, in a snow flurry between Neil Young and The Lemonheads. The result is a wonderful long-player, and the group's most authentic and grounded work so far. This is surely due to the restrained instrumentation of the nine pieces. The songs are carried by acoustic guitar and piano, as well as by gently propulsive drum rhythms and immersive, reverberant guitars. It all comes together to underline Larsson's delicate, crystal-clear vocals in the most grandiose fashion. Sea of Clouds impresses with its shimmering melancholy and alternates between quiet, reverent numbers ("Sea of Clouds" and "Oh Well") and sprawling, guitar-propelled songs like "The Thunder and Storm." In between, there are charming and simply captivating pop songs/compositions (opener "The Artist" or "Everybody Knows") that have the character of classic Last Days of April hits. The pieces are always catchy, inviting the listener to dream, sometimes even to dance. In contrast to its predecessors, for Sea of Clouds the band dispensed with digital technology while recording and captured the entire album live to tape in just two and a half days, relying exclusively on analog equipment and recording without overdubs. Without countless synthesizer and guitar tracks that would create a glossy sheen, Sea of Clouds is somewhat purified and cleansed compared to previous albums such as If You Lose It (2004) or Might As Well Live (2007). The purely analog form of the recordings can only be realized in a handful of studios in Sweden or even throughout Europe. Last Days of April chose to work in the legendary Atlantis Studios in Stockholm, where bands such as ABBA or The Cardigans once cavorted. Immediately upon hearing the first few bars of the opening track "The Artist," it becomes clear that this was the perfect decision. After decades of touring around the globe, Last Days of April have delivered their strongest and truest work to date. Simply a beautiful piece of music, for faithful fans and the newly converted.)

10. THE LOVER SPEAKS-“THE LOVER SPEAKS” [EXPANDED EDITION] (6/30) (Now, for the first time ever, the gorgeous, debut album by THE Lover Speaks has been digitally remastered and expanded. Released in 1986, the British duo of David Freeman and Joseph Hughes recorded their self-titled, debut album in Los Angeles with legendary producer Jimmy Iovine (Simple Minds, Stevie Nicks, Pretenders, Eurythmics, Alison Moyet, U2, Tom Petty). The album has been long out-of-print. The original CD is nearly impossible to find and sells for staggering amounts of money when it turns up online. This expanded edition features 18 tracks including the original 10-track album alongside six bonus tracks that have never appeared on CD before.)

11. MATT POND PA-“THE STATE OF GOLD” (6/30)

12. MOTOPONY-“WELCOME YOU” (6/23) (Motopony was formed In 2009 with the meeting of songwriter Daniel Blue and co-producer Buddy Ross, drummer Forrest Mauvais, and guitarist Brantley Cady. The band was named for Daniel s appreciation for the spiritual duality of the physical and digital, with moto -the representing side - and the pony - the animal. Originally based in Tacoma, WA, it wasn t long before they relocated to Seattle. They began playing shows locally in 2009 and soon were scooped up by the label Tiny Ogre and released their first self-titled record in 2010. With guitarist Mike Notter added to the mix, the band toured on the record nationwide. After finishing a string of tours around the album, they took time to write dozens of songs and reformed with Ross and Cady leaving and new members Nate Daley, Andrew Butler and Terry Mattson joining the band. In 2014 the EP Idle Beauty was released on Eone Music/Fast Plastic and the band did a three month international tour last fall which took them to the UK, India and included a stop in London to record an acoustic EP in Abbey Road Studios with producer Rob Cass. Motopony's new full length - Welcome You - was recorded at Bear Creek in Seattle by producer Mike McCarthy (Spoon, Heartless Bastards. Trail of Dead) and mixed in London by Guy Massey (Radiohead, Spritualized, The Libertines). Welcome You will be released on Eone Music/Fast Plastic on June 23.)

13. THE ORANGE HUMBLE BAND-“DEPRESSING BEAUTY” (6/30)

14. REFUSED-“FREEDOM” (6/29) (Refused came to an end in front of 50 kids at a basement show in a Virginia college town in 1998, just as their release of the same year, The Shape of Punk to Come, was taking its first steps toward becoming an acknowledged classic and a massive influence on a generation of bands. Refused Are Fucking Dead! became the slogan, as kids discovered Shape and its breakout track New Noise only to find their new heroes disbanded. Refused are f***ing alive! After a 2012 invitation to reform for the Coachella festival, Refused followed its first shows in 15 years with a triumphant tour, as every kid who had discovered them after death came out to see them reborn. Freedom is the first album in almost 20 years, on Epitaph/Burning Heart, the label that released The Shape of Punk to Come all those years ago. Freedom explodes out of the speakers with opening track Elektra, as frontman Dennis Lyxzen s throat-shredding declaration that nothing has changed catapults Refused into the 21st century. If Shape blasted apart the constraints of the punk and hardcore worlds with which Refused had long been associated, Freedom goes a step further by incorporating the wide-ranging influences that have shaped each band members personal tastes. Produced by Nick Launay (Gang Of Four, Public Image Ltd., Nick Cave, Arcade Fire) with additional work by fellow Swede and longtime Refused fan Shellback, Freedom is not just a follow-up to Shape, but a living breathing snapshot of a band, alive, now. It s not a reunion anymore, Lyxzen insists. This is one of the most radical things we ve ever done, both musically and lyrically.)

15. SIGHTINGS-“AMUSERS AND PUZZLERS” (6/9) (Received a 7.5 rating from Pitchfork. After the release of their well-received ninth studio album, Terribly Well, and their successful month long European tour in 2013, SIGHTINGS did the unexpected and quietly disbanded without notice or explanation. More than 15 years in the trenches and making a mess throughout New York City, the band made more of a polarizing impact to formalized underground music that most of their peers. Sightings would have been a national treasure if the whole country was laid to waste in Armageddon. During the sessions that birthed Terribly Well, a complimentary album was recorded in tandem which, while not intended to be their final statement, produced the jaded epilogue from the mouth of experimental rock's most lasting monolith. Amusers and Puzzlers is the schizophrenic culmination of their brand of damaged rock. Isolated noise patterns shifted from MARK MORGAN's unorthodox guitar patterns sewn up from his nervous, scattered vocal phrasing. RICHARD HOFFMAN's stampede-like momentum on bass slammed against JON LOCKIE's drum triggers made the past couple decades crash into itself. Limited to 500 copies with cover art/design by BILL NACE (Body/Head).)

16. THE VELVET TEEN-“ALL IS ILLUSORY” (6/30) (Nine years since the last full length from The Velvet Teen and the band has written what could arguably be their best record yet. All Is Illusory was mixed by Steve Choi of the RX Bandits exemplifies the bands use of driving guitars, exceptionally technical drumming and lyrics by Judah Nagler that will make the listener question reality.)

17. NEIL YOUNG & THE PROMISE OF THE REAL-“THE MONSANTO YEARS” (6/30)

NEW RELEASES 2015 WEEK # 25 JUNE 23, 2015

JUNE 23, 2015 (WEEK # 25)

1.    THE ACORN-“VIEUX LOUP” (6/23) 

2.    ALCOHOLIC FAITH MISSION-“ORBITOR” (6/24) 

3.    ALPINE-“YUCK” (6/23)

4.    AM & SHAWN LEE-“OUTLINES” (6/23)

5.    MEG BAIRD-“DON’T WEIGH DOWN THE LIGHT” (6/23) (2015 solo release from the San Francisco-based singer/songwriter best known for her work with Espers. Don't Weigh Down the Light is her first album since 2011's Seasons On Earth, and it arrives alive with mystery and color-buoyed by a voice that's a warm, mesmerizing call across time. Like Meg's previous LPs (and much of Espers output,) the foundation of Don't Weigh Down the Light is her lyrical, precise, and propulsive fingerstyle guitar work and a voice that moves from soaring and tender to soothing and spellbinding. A voice that more than a few have likened to folk's greatest female voices: Sandy Denny, Jacqui McShee, and Shirley Collins. Meg Baird's last decade would be remarkable by any artist's standards. She co-founded and recorded three albums with Espers-one of the most distinctive and hypnotic bands of the century's first decade. She recorded two solo LPs for Drag City - Dear Companion and Seasons on Earth. She also collaborated with Will Oldham, Kurt Vile, Sharon Van Etten, and Steve Gunn and toured with the legendary Bert Jansch. And while it's been four years since her last release, the days since have been anything but restful. She played drums and recorded with Philadelphia cave punks Watery Love, and toured with Michael Chapman, Michael Hurley, Vile, Cass McCombs, Hiss Golden Messenger, and Lambchop. And after more than a decade as a fixture in Philadelphia's boiling-over musical scene, Meg moved west to San Francisco where she joined forces (as drummer and lead vocalist) with members of Comets on Fire and Assemble Head to form the moody and thunderous Heron Oblivion. She also wrote and recorded Don't Weigh Down the Light.)

6.    BIOSPHERE-“MICROGRAVITY” [REMASTERED / EXPANDED EDITION] (6/23) (A remastered version of Biosphere's debut album Microgravity on double CD with a bonus album of previously unreleased tracks. From Wikipedia: "Geir Jenssen began releasing his music as Biosphere on obscure Norwegian compilation albums. His first Biosphere releases were the 12-inch single The Fairy Tale and the album Microgravity, both of which were rejected by SSR as unmarketable. Microgravity was released in 1991 on the Norwegian label Origo Sound, and saw wider release via the R&S Records subsidiary Apollo in 1992, to much critical acclaim." All tracks written and produced by Geir Jenssen. All tracks on CD2 and sides E-F are previously unreleased. Recorded in Skippergata 42, Tromsø, Norway, between 1990 and 1991. Mastered by Stefan Betke. Artwork by Philip Marshall.)

7.    BIRDSTRIKING-“BIRDSTRIKING” (6/23)

8.    THE CAIRO GANG-“GOES MISSING” (6/23) (2015 release from the indie band led by Emmett Kelly. There is no sweeter cry than a cry of love, and no greater love than a love of music. Like mercury through our clutching fingers, it is here and gone and spikes the blood like poison-and the Cairo knows, he's flown all 'round this world, sewin' seams and sowin' seeds in the name of that most rare, that sweet, and on the wind, melody. When he Goes Missing, bet on it-that with guitar in hand and cry from deep in his chest, he's in search of a place to beat his feet, and play the music again. Playing with other artists over the years, Emmett Kelly has exhibited an encompassing approach to music which lends flexibility to The Cairo Gang's song-style. He's a harmony singer of supreme skill, bringing not only a sweet and supple voice but also a tremendous sympathy to the singing of it (as anyone who's caught Cairo onstage with the Bonnie 'Prince' will ever know). Now a couple albums and tapes and singles and things into it he's making streamlined music for the ears, constructing with a heavy hand in order to have a heavy impact with more than just sounds, but songs, and beaming them in on bright bolts of sunshine so as to be valued by our walnut-sized pleasure centers. Goes Missing isn't just an awesome, awesome-sounding record of guitar pop that rocks, of songs sweetly hung with candified hooks; also it's a new report from the side of the road.)

9.    EVAN CAMINITI-“MERIDIAN” (6/23)

10. KEN CAMDEN-“DREAM MEMORY” (6/23)

11. CAYUCAS-“DANCING AT THE BLUEE LAGOON” (6/23)

12. CLASS ACTRESS-“MOVIES” (6/23)

13. CREEPOID-“CEMETERY HIGHRISE” (6/23)

14. CROOKERS-“SIXTEEN CHAPEL” (6/23)

15. DE LUX-“GENERATION” (6/23)

16. DESAPARECIDOS-“PAYOLA” (6/23) (More than a decade after putting out their first album, Desaparecidos return with a follow-up that breathes new life into their brutal fusion of protest music and punk. Though the band never truly parted ways, vocalist/guitarist Conor Oberst, guitarist Denver Dalley, keyboardist Ian McElroy, bassist/vocalist Landon Hedges, and drummer Matt Baum have spent much of the past 13 years pursuing other ambitions (including Oberst’s work as a solo artist and Bright Eyes frontman). Fueling their Epitaph Records debut Payola with the same spirit of unrest that propelled 2002’s Read Music/Speak Spanish, Desaparecidos now match that passion with a fuller, more furious sound and gut-punching commentary on everything from immigration reform and the healthcare debate to gun control and Wall Street bailouts. With its title capturing what McElroy calls “these endless examples of what’s wrong with the whole money culture happening in America today,” Payola was co-produced by the band and their longtime collaborator Mike Mogis (First Aid Kit, The Faint, Man Man). Recorded in several bursts over the past few years at ARC Studios in Omaha, the album’s 14 tracks pack a barrage of outcry and insight into each sharply crafted lyric while storming forward with a ferocious energy. And in their implausibly melodic blend of blistering riffs, lead-heavy rhythms, and savage vocal work, Desaparecidos reveal a bottled-up intensity that suggests a band whose chemistry’s stronger than ever before. “It wasn’t like we were trying to recapture some former glory,” says Oberst of Desaparecidos’ long-planned reunion in the studio. “It was like we had to do this, and we had to do it now.” ) 

17. DAVE DOUGLAS-“HIGH RISK” (6/23) 

18. EVERYTHING EVERYTHING-“GET TO HEAVEN” [DELUXE EDITION 2-CD] (6/23)

19. FIST CITY-“EVERYTHING IS A MESS” (6/23)

20. FLORENCE + THE MACHINE-“HOW BIG, HOW BLUE, HOW BEAUTIFUL: (INSTRUMENTALS)” (6/23) 

21. FUNKSTORUNG-“FUNKSTORUNG” (6/23) (German duo Funkstörung return from a ten-year break following their 2005 album The Return to the Acid Planet with their fourth album, arriving like a twisted Janus-head on a perfectly toned body. It's everything you've expected from glitch-hop's inventors and everything you have not. For those eagerly waiting for Funkstörung to deliver a new electronic innovation, like they did with their first record: this time they did not. Instead they do what they do best and take up the path they started to carve with Disconnected in 2004: luscious pop songs with heavy backbones and illustrious guests adding heartfelt vocals to a bed of fizzing basslines. It is a very vocal album, with guest singers on nearly every song, but they don't dominate the sound; they simply contribute to a fresh Funkstörung that has ripened a bit and been seasoned with a hell of a lot of flavor. Some of the voices on Funkstörung have been part of the family for a while; some of them, like Jamie Lidell, are new collaborators. But whether with old friends or newfound partners, each track on the album gets to the heart of electronic pop. As a whole, Funkstörung seems so well-balanced it's ready to be an instant classic. Its sunny vibes would go as well with a fine wine in front of a fireplace as with a plastic cup of beer and rubber boots at a muddy festival. Instead of concentrating on glitches and breaks, the two producers have put their effort into nurturing every sound to perfection; one can feel that nothing has been rushed, and each detail is in the right place. As Funkstörung put it, the album is about "evolution not revolution." Highlights include "Laid Out," featuring Anothr with a hook so big even your granny you won't get it out of her head for a week; and "So Simple," the collaborative effort with Lidell, whose smooth soul-crooning fits the chrome-glistening hip-hop beat like a velvet glove. The album also features contributions from Audego, Taprikk Sweezee, ADI, and Jay-Jay Johanson. Funkstörung comes in a beautiful sleeve designed by lauded graphic artists Zeitguised and Sebastian Onufszak.)

22. HELM-“OLYMPIC MESS” (6/23) (London-based experimentalist Luke Younger (aka Helm) returns to PAN with Olympic Mess, a record born of destructive practice, competing desires, and troubled optimism. Where his previous effort, 2014's The Hollow Organ (PAN 050EP), dealt in dense, distressed sonics, Olympic Mess is Younger responding to a period spent engaged with loop-based industrial music, dub techno, and balearic disco. These musical references, all of which can induce hypnotic states and feelings of euphoria, inform ten evocative aural landscapes that unfurl over the course of an hour and act almost as a counterpoint to the turmoil that spawned them. "It's about exploring a perverse desire to pull the rug from under yourself, and the struggle to achieve a healthy equilibrium between one's personal and artistic lives," Younger says. "Dealing with the problematic consequences of pushing your own limits, forming and dissolving relationships, transient lifestyles, physical and mental exhaustion, excess, and other kinds of personal chaos." Crafted using an array of heavily processed samples, found sound, and electroacoustics, personal conflict manifests in "I Exist in a Fog" and "Outerzone 2015," in which visceral noise disintegrates into veiled, ambient strata. The disquieting crescendos of "The Evening in Reverse" and "Fluid Cloak" offer no such relief, while the title-track and "Don't Lick the Jacket" are mineral, multilayered abstractions twisting around a brittle pulse. Following a period of extensive touring throughout the States and Europe, which included 20 dates in support of Danish punk group Iceage, Olympic Mess was recorded in London, New York, and Berlin by Sean Ragon, Luke Younger, and John Hannon. The album is mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin. It features photography by Kim Thue and artwork by Bill Kouligas.)

23. RICKIE LEE JONES-“THE OTHER SIDE OF DESIRE” (6/23)

24. LINDEN-“REST AND BE THANKFUL” (6/23)

25. THE ORB-“MOONBUILDING 2703 AD” (6/23) (Iconic electronic music pioneers The Orb return to Kompakt with Moonbuilding 2703 AD, another major slice of psychedelic synth bliss, obscure loops, and deep ambient textures tossed in swinging breakbeats and powerful basslines. Installing a forward momentum rather unusual for a genre-defying project like this, the latest effort from masterminds Alex Paterson and Thomas Fehlmann follows their 2005 album success on Kompakt, the cheekily named Okie Dokie It's The Orb On Kompakt (KOMP 045CD/KOM 128LP) -- as well as several contributions to Kompakt's Speicher and Pop Ambient series -- but, more importantly, it finds the legendary duo at the peak of its creativity, ringing in another essential phase in what can only be called a groundbreaking career. True to form, Moonbuilding 2703 AD features a small track list, but turns each one of its four cuts into a mini-epic in its own right. Opener "God's Mirrorball" hits the ground floating, employing a handful of cozy statics to great effect before finally discharging into an intricate mosaic of atmospheric, melodic sketches and gripping rhythms. With a hypnotic runtime of more than 14 minutes, it immediately establishes a blueprint for the other album tracks to follow, perfectly illustrating the vast extent of the artists' vision and their impressive skills in luring in listeners -- welcome to The Orb's sonic labyrinth, where nothing is what it seems and the unexpected waits just around the corner. Likewise, follow-up track "Moonscapes 2703 BC" presents itself as a uniquely versatile affair sitting comfortably between ambient flourishes and beat-driven focus, holding as many twists and turns as a caper movie, but carefully grounding every single one of its cliffhangers in its impeccable flow. With a runtime of approximately nine minutes, "Lunar Caves" is the shortest jam of the bunch -- and also the most ethereal, keeping its rhythmic content to a bare, pulse-like minimum and opting for enticing, freewheeling synth textures instead. Album closer and title cut "Moonbuilding 2703 AD" introduces a surprisingly jazzy vibe mingling rather well with the wealth of electronic tricks up its sleeve -- even indulging in abrasive bass sweeps and a breathtaking multitude of different rhythm sections constantly switching places. It's a fitting closing act for a full-length as multifaceted as this, as idiosyncratic as possible and as muscular as needed. Cover design by iconic graphic wizards The Designers Republic.)

26. PARLOUR TRICKS-“BROKEN HEARTS / BONES” (6/23)

27. PART TIME-“VIRGO’S MAZE” (6/23)

28. SON LUX-“BONES” (6/23) 

29. TERRANOVA-“RESTLESS” (6/23) (Returning to the full-length format after their acclaimed 2012 album Hotel Amour (KOMPAKT 095CD/KOM 248LP), open band project Terranova (aka DJ/producer duo Fetisch and &ME) presents Restless, a finely tuned succession of excitingly straightforward house bangers, a brilliant study in gravitational pull, and a smooth blend of instrumental and vocal tracks created with the help of old and new friends. Guests on Restless include Cath Coffey, Lydmor, Bon Homme, Stereo MCs, and Mandel Turner. Restless was recorded from November 2014 through January 2015 in Berlin bedrooms and mixed in Keinemusik's Wedding studio. Opener "Tell Me Why" wastes no time with elaborate countdowns or some ambient pad dragging-on; starting out with the characteristic vocals from Stereo MCs frontman Rob Birch, the track immediately cuts to the chase with its pronounced rhythm section and a simple but sturdy bass. NY house agent provocateur Mandel Turner makes an appearance on proto-futuristic strobe manifesto "Underverse," while singer Cath Coffey performs on uncanny valley national anthem "Twisted Souls," again deploying her unique brand of anarchist logotherapy after her appearance on Terranova's 2014 Headache EP (KOM 296EP). Bon Homme aka Tomas Høffding takes a stand on "Restless Summer," a top-notch reimagining of "Endless Summer" from the 2013 Painkiller EP (KOM 262EP) -- less campfire and more wormhole, his lyrics take on an urgency unheard in the parent track. He also appears on "Skin & Bones" in a flawless duet with partner in crime Lydmor. From the sequenced beauty of "Goldilocks" to the intuitive mayhem of "Watch Me," the album is a quest for the outer rim of club culture, looking for habitable exoplanets beyond the main floor. This is most clear on the appropriately named "Kepler 186f," both a tribute to NASA's iconic Kepler project and a thrilling amalgamation of pounding drums and sharp synth stabs. The CD version of this larger-than-terrestrial-life journey finds a suitable conclusion in "Uch? No Inu," translatable as "dog in space": it's Terranova's executive producer, driving force, and guest vocalist Rocco (the choc labrador) who takes center stage here, lending his lyrical musings to a highly energizing cut and wrapping up the riveting listening experience that is Restless. An ideal sonic companion for dancefloors, living rooms, and space pods alike. CD features two exclusive tracks: "Labrador" and "Uch? No Inu (feat. Roco).")

30. TOUGH AGE-“I GET THE FEELING CENTRAL” (6/23)

31. THE UNITS-“DIGITAL STIMULATION” (6/23)

32. WHITE POPPY-“NATURAL PHENOMENA” (6/23)

33. KATHRYN WILLIAMS-“HYPOXIA” (6/23) 

34. WOLF ALICE-“MY LOVE IS COOL” (6/23)  (London-based four-piece Wolf Alice will release their debut album entitled My Love Is Cool on June 23rdvia Dirty Hit / RCA Records. Produced by Mike Crossey (Arctic Monkeys, Foals, Black Keys), My Love Is Cool is a remarkable leap forward from the band's EP Creature Songs, released last year. Having already captured critical acclaim on their track and breakout video for "Moaning Lisa Smile" which was previously released in the UK, Wolf Alice is poised for global success. Following a breakthrough 2014 in the UK, Wolf Alice now have their sights set on the U.S. and are poised for an international takeover. They recently made their sold-out U.S. debuts in LA and NYC, stopped by KCRW's "Morning Becomes Eclectic" for their US radio debut and performed at SXSW this past March. Last year in the UK, the group appeared on the prestigious BBC Sound of 2015 long list, became the #4 most blogged artist of 2014 on Hype Machine, and won Best Breakthrough Artists at the UK Festival Awards. They were also named one of Billboard Magazine's Artists to Watch in 2015.)

35. THE WOODEN SKY-“LET’S BE READY” (6/23)

NEW RELEASES 2015 WEEK # 24 JUNE 16, 2015

JUNE 16, 2015 (WEEK # 24)

1.    KEN CAMDEN-“DREAM MEMORY” (6/16) (2015 release, the third album by guitarist Ken Camden. Dream Memory continues his explorations to seek out new techniques and sounds from the electric guitar. By utilizing both a steel slide and e-bow technique, Camden has moved into micro-tonal territory to bridge the textural gap between guitar and synthesizer while examining their inherent differences. The palette is further broadened by introducing an organic vocal sampling machine described as a Vocaltron. Much like a Mellotron, vocal samples (contributed by Emily Elhaj and Angel Olsen) are chromatically organized in half steps from the lowest note to the highest possible. Each set is specific to the contributor's range and each note is unedited to keep all original characteristics of that particular individual's voice. This organized organic information adds a contrast to the electric guitar and synthesizer arrangements on the album. The development of all of these systems gives Dream Memory a diversity throughout its tracks while maintaining an atmospheric bond that weaves the ideas into a thematic whole.)

2.    DONALD CUMMING-“OUT CALLS ONLY” (6/16) (LEAD SINGER OF THE VIRGINS DEBUT SOLO ALBUM)

3.    THE DREAM SYNDICATE-“THE DAYS OF WINE AND ROSES” [1981/2015 REISSUED EDITION] (6/16) (The Dream Syndicate’s debut album, The Days Of Wine And Roses, has long been considered a cornerstone release of the early ’80s Paisley Underground scene. However, it was more influential than that, and is one of indie-rock’s essentials. The original Steve Wynn/Karl Precoda/Kendra Smith/Dennis Duck line-up took seminal ’60s rock and filtered it through more modern sounds. In fact, it was Flesh Eaters’ front man Chris D., who produced The Days Of Wine And Roses, who got it released on Slash Records—one of the premier L.A. labels of the punk rock era. Despite its seminal status, The Days Of Wine And Roses has been out of print for the better part of a decade. With the rebirth of the band as a live/touring unit over the past two years, Omnivore Recordings has remastered and expanded this gem. Calling on the band’s long-time archivist Pat Thomas, the CD now contains a slew of never-before heard recordings that capture the first year of the classic Wynn/Precoda/Smith/Duck line up in all their lo-fi glory! Bonus tracks from previous editions have been replaced by rehearsal tapes that capture two songs that later turned up on Medicine Show, as well as four songs that no one has ever heard, including a nearly 10-minute Krautrock inspired jam! Long-time fans have often wondered what it would have sounded like had Kendra Smith stayed in the band for a second full-length album, now we have the answer— less ’70s FM rock, and far more Marquee Moon-era Television! A revamped booklet includes new notes that describe the source of the vintage recordings—plus fresh testimonies from their peers; members of the Rain Parade, The Long Ryders, Divine Weeks, and Sonic Youth weigh in about the first time they heard The Days Of Wine And Roses. This is a reissue that is essential for both fans who’ve already collected it all before and the new kids on the block—those discovering the soundtrack of ’80s college radio for the first time. We’ve experienced The Day Before Wine And Roses. Welcome to the new Days Of Wine And Roses.)

4.    TIM FOLJAHN-“FUCKING LOVE SONGS” (6/16) (FORMERLY TWO DOLLAR GUITAR) 

5.    FUCKED UP-“YEAR OF THE HARE” (6/16) 

6.    HEARTLESS BASTARDS-“RESTLESS ONES (6/16) 

7.    AMOS LEE-“LIVE AT RED ROCKS WITH THE COLORADO SYMPHONY” (6/16) 

8.    LEFTFIELD-“ALTERNATIVE LIGHT SOURCE” (6/16) 

9.    MARIBOU STATE-“PORTRAITS” (6/16)

10. MATES OF STATE-“YOU’RE GOING TO MAKE IT” [EP] (6/16)

11. PETER MURPHY-“REMIXES FROM ‘LION’” (6/16) 

12. OUTFIT-“SLOWNESS” (6/16) 

13. THE SILVER LAKE CHORUS-“THE SILVER LAKE CHORUS” (6/16) (THE SILVER LAKE CHORUS performs choral arrangements of indie music and exudes both the edgy, independent spirit of Silver Lake and the heart of community choral singing.
TSLC's upcoming album, produced by Aussie crooner Ben Lee, features rare and new tracks written exclusively for the chorus by the likes of Sia, Aimee Mann, The Bird and the Bee, Tegan and Sara, Ben Lee, The New Pornographers, Ben Gibbard (Death Cab for Cutie), John Roderick (The Long Winters), The Flaming Lips, and Justin Vernon (Bon Iver).)

14. THIRD EYE BLIND-“DOPAMINE” (6/16) 

15. TOAD THE WET SPROCKET-“ARCHITECT OF THE RUIN” (6/16) 

16. YUKON BLONDE-“ON BLONDE” (6/16)