In celebration of the band's 30th anniversary, Yo La Tengo have announced a reissue of their 1993 Matador LP Painful. It's called Extra Painful and is out December 2 on the same label, in 2xLP and 2xCD formats. These deluxe editions of the record will include demos, unreleased studio takes, live acoustic recordings, and other related tracks. The "Shaker" single will also be reissued on 7" vinyl (included with the 2xLP). See the tracklistings here.
The reissued is packaged with the first YLT Gazette newsletter in 14 years, liner notes by the band and "semi-trusted advisers," photos, ephemera, a remake of the band's original "band-aid" sticker and more.

On the Matablog, the band's Ira Kaplan says, "Anyone who ever said they liked our older records more than Painful, I just told them they’re wrong."
Those who pre-order the CD or LP versions (and answer a trivia question) will be entered to win tickets to one of Yo La Tengo's upcoming 30th Anniversary gigs at Town Hall in New York (see their tour dates, below), plus copies of all the the band's in-print LPs. The band also has a few dates lined up in which they'll perform a live soundtrack to Sam Green's film The Love Song of R. Buckminster Fuller.

After tenures in overlooked '90s outfits like Ednaswap and Failure, the members of Los Angeles' Autolux joined forces. The fruits of their labor have yielded Future Perfect, an album that triumphs as it defies expectations. Meshing the guitar blur of the shoegazer movement (Lush, My Bloody Valentine, Pale Saints) with traces of indie rock royalty (Sonic Youth, Ivy), it's hardly what you might expect producer T-Bone Burnett to stand behind. But the trio excels as it thumbs its nose at the new wave revival movement of the early 21st century via the hypnotic "Sugarless," the lilting and riff-sturdy "Trigger," and the menacing whirl of "Blanket." If the aforementioned numbers highlight Greg Edwards' guitar antics and bassist/vocalist Eugene Goreshter's twee vocal approach, the band's secret weapon is drummer Carla Azar, who is not just skilled behind the kit. Azar's pipes sound eerily similar to Kim Deal's Pixies efforts on "Angry Candy" and "Here Comes Everybody," which are arguably the band's finest moments.

Matthew Caws and Juliana Hatfield may have been musicians who first made names for themselves in the 1990s, but both have proven to be enduring figures in the indie rock scene over the years.
Caws’ Nada Surf continues to record and tour frequently and are still making brilliant music, while those who saw Hatfield with Evan Dando on their Australian tour a while back will attest to the fact the Blake Babies, Juliana Hatfield Three and Some Girls member still has plenty to offer.
Now these two artists team up to become Minor Alps and their debut LP Get There is available from this Friday onwards. It’s not just the shared vocals, but also the shared songwriting duties that makes this such a unique record that offers something a little different to what we’re used to from both artists, while not entirely forsaking their considerable talents.

The story begins with a man on high. He is an old man, a warrior, and the guardian to the gates of a city. Two miles below his mountainous perch, he observes a dojo, where a group of young men train night and day. Eventually, the old man expects a challenger to emerge. He hopes for the day of his destruction, for this is the cycle of life.
Finally the doors fly open and three young men burst forth to challenge the old master. The first man is quick, but not strong enough. The second is quick, and strong, but not wise enough. The third stands tall, and overtakes the master. The Changing of the Guard has at long last been achieved.
But then the old man wakes up. He looks down at the dojo and realizes he’s been daydreaming. The dojo below exists, but everyone in training is yet a child. By the time they grow old enough to challenge the old man, he has disappeared.
This is, in essence, both a true story and a carefully constructed musical daydream, one that will further unfold in May of 2015, in a brazen release from young Los Angeles jazz giant, composer, and bandleader Kamasi Washington. The Epic is unlike anything jazz has seen, and not just because it emanates from the boundary-defying Brainfeeder, which isn’t so much a label in the traditional sense as it is an unfurling experiment conducted by the underground producer Flying Lotus who has featured Washington on his albums Cosmogramma and You’re Dead!.
The Epic is a 172-minute, three-volume set that includes a 32-piece orchestra, a 20-person choir, and 17 songs overlaid with a compositional score written by Washington. Pulsing underneath is an otherworldly ten-piece band, each member of which is individually regarded as among the best young musicians on the planet – including bassist Thundercat and his brother, drummer Ronald Bruner Jr., bassist (yes, there are two) Miles Mosley, drummer Tony Austin (of course there are two), keyboard player Brandon Coleman, pianist Cameron Graves, and trombonist Ryan Porter. Patrice Quinn’s ethereal vocals round out the ensemble.
The band are all from Los Angeles, mostly South Central, and its members – who call themselves variously “The Next Step” and the “The West Coast Get Down” – have been congregating since they were barely teenagers in a backyard shack in Inglewood. Washington, 32, has known Bruner since he was two. The rest met, at various stages, by the time they were in high school. The hours they have put into the music, playing together and practicing alone, total cumulatively in the tens of thousands.
“Nothing compares to these guys,” says Barbara Sealy, the former West Coast director of the Thelonious Monk Institute of Jazz, who has championed Kamasi and his compatriots from the beginning. “I challenge any group to go out on stage with them and see if they can keep up with it… Kamasi is at the top of his game, and only getting better.” “These young guys,” the rapper Common says, “remind me of why I love music.”
And the story The Epic tells, without words but rather through some combination of magic, mastery, and sheer force of imagination, is the story of Kamasi Washington and the Next Step and their collective mission: to remove jazz from the shelf of relics and make it new, unexpected, and dangerous again. They seek to both honour and alter tradition: as The Epic’s opening track announces, they are the “Changing of the Guard”. The sound can be felt like flames, sometimes waving in the coziness of a fireplace, in other moments sweeping everything around like a backdraft. But Kamasi is always in control of the burning.
“He just plays the craziest shit, man. I mean, everything — the past, present, the future,” Flying Lotus says, whose family lineage includes one of Washington’s direct musical forebears, John Coltrane. “It’s hard to find unique voices in this music. Especially in jazz, more so lately, everybody is trying to do the same shit. I don’t want to hear ‘My Favorite Things’ anymore… What I am hearing is a leader among artists.”

Simon Raymonde + Stephanie Dosen

Garden City Movement is an electronic indie pop band based in Tel Aviv, Israel that formed in 2013. The band consists of Roi Avital (Vocals, Keyboards, Guitar), Joe Saar (Guitar, Sampler, Keyboards) and Johnny Sharoni (Vocals, Sampler, Percussion). They have released two EP's under the label BLDG5 Records and one under The Vinyl Factory and BLDG5 Records.

Onelinedrawing is Jonah Matranga, singer/songwriter of New End Original and former singer/songwriter of Far. Visitor continues his explorations into private music making that sounds as if you're in the artist's bedroom witnessing a personalized performance made from voice, guitar, bass, feedback and found sounds. 11 tracks. Digipak.

Other Lives is comprised of Josh Onstott, Jonathon Mooney and Jesse Tabish. Rituals is a pure encapsulation of the band's relentless drive for precision. The trio relocated to Portland, Oregon from their hometown of Stillwater, Oklahoma to record the album. Tabish says the relocation had a direct influence that can be heard through Rituals.
"There was a spirit of change," Tabish offers. "We had done [2011's second LP] Tamer Animals, which was very close to us and about our home. So the next record was about the spontaneity of travel and being isolated. For the first times in our lives we were moving off on our own away from our families and kind of coming into our own. I wanted the songs to reflect that new spirit."
"This one was a real journey," Tabish says of the 18 months spent writing more than 60 songs for Rituals, a constant creative outlet for the relentless sonic architect amid a rigorous few years of touring their debut album. "It was a long time spent searching for a new identity," the soft-spoken singer continues of the writing process, "still trying to retain the past of our musical palate but also really trying to stretch ourselves into a new type of music." The album was produced by Mooney, Tabish and Joey Waronker (Eels, Atoms for Peace, Beck, etc.).
While Rituals marks a new chapter in Other Lives' story, it's also a continuation of a decade-plus passage. "I feel really lucky to be able to have a band and people around me that have been so supportive and we've stuck together all these years and still don't hate each other," Tabish says. "All three of us are like brothers. I don't think that will ever go away. I loved those kids then and I love them now. There's that mutual feeling. If I want to go have a beer with anyone it would be those two guys. That kind of says something."

Deerhunter Announce New Album Fading Frontier and Share "Snakeskin" Music Video

Screaming Females will release their sixth studio album, Rose Mountain, on February 24th via Don Giovanni Records. Serving as the follow-up to 2012’s Ugly, as well as this year’s Live at the Hideout, the new album spans 10 tracks and was produced by Matt Bayles (The Sword, Mastodon). That’s the album art above, which reminds this writer of Majora’s Mask.
Already the New Jersey punk rockers have previewed the release with “Wishing Well”, which was first unveiled as a 7-inch just last month. To accompany today’s announcement, they’ve shared the proper lead single, “Ripe”. Unlike its more accessible, mid-tempo predecessor, “Ripe” finds the Scremales chugging along at full force. Swirling together bits of crusty punk, booming metal, and more melodic hardcore, the trio’s forged a lean, mean anthem with little more than some static guitars, verbose percussion, and Marissa Paternoster’s visceral crooning.