How can you ever define a week in full? How can you put a singular price or come up with some kind of clever, all encompassing catch-all that can ever sum up or satisfy the meaning of a week in pop culture that will have any degree of relevance? These are the questions that keep some of us up late at night, wondering what it all meant and continues to mean and the bearing it may present in our own day to day lives. But this was the week that was all "Control"-Big Sean-Kendrick Lamar-Jay Electronica everything, RiFF RAFF's Kendrick verse response with "Ballin' Outta Control", Disclosure now wants to work with Kendrick, Katy Perry versus Lady Gaga release wars, Coolio exchanging rights to songs for a new found culinary career, the "Blurred Lines" of ripoff between Robin Thicke, Pharrell, and T.I. versus Marvin Gaye's estate/Bridgeport Music/Funkadelic, Foxygen pulls the plug on their FYF gig citing injuries to Sam France, Miguel got a D.U.I., and big ups to Martin Hannett's assistant Julia Adamson for her discovering and saving historical master tapes from Joy Division/New Order. We will leave you to your own deductions and reductions, because this week we had the opportunity to enjoy music, conversations, media, video and exclusives with the following set of great musicians who have been making our little worlds so much better-in no particular order.

(photo courtesy of Kenza Chaouai)

The diamond crate creator and beatsmith, 14KT dropped his Lincoln Lux (Test Drive EP) for a spin around the block in a ride made in Michigan. "Crystal Figurines" shines from these manipulated noise abstracts before coursing through some high end sportster-synths that move like million dollar display cases that show off the brand new sedan of the future. In a manner that fellow like minded producers like Lee Bannon and Alchemist work with is a type of production that incorporates narrative qualities of structural arcs; "Figurines" moves to its own story regiment before being met by the transitional sample point that samples a classic commercial, "introducing the Lincoln Luxury that was designed to move". This cues the "Lincoln Lux" that keeps it pushing fanning synth-spit shine chrome that breezes off the lot and to the sickest getaways imaginable. The romantic samples heard on the previous cut "Lux" get carried over into the romantic evening trip interiors of "Rosey Posey", before returning to his more abstract spaces of the emotion that create chopped rhythm framework and divided movements on the fatigue fighter, "No Sleep (The Sound of Stress)".  KT's album Nickel & Dimed will be available September 3 from the Mello Music Group, but stick around while we kick it with the man behind the wheels of steel himself.

14KT was kind enough to give us the view from behind the decks, sharing thoughts on hip-hop royalty, and working with the dopest emcees around.

Many producers have an old school, found groove sound, what inspires your own futuristic atmospheres?

My inspiration changes from time to time, but as of right, most of my inspiration is drawn from looking at what I've personally accomplished already sonically and attempting to create in a style that I haven't before. I think it's easier to think of where to go next if you just focus on what you haven't touched on before. This could mean using a different method to produce or even different sounds.

What do you find yourself listening to when your not recording and mixing beats?

I go through phases of what I listen to all the time. Right now, I've actually been listening to a lot of jazz records. Artists like Yusef Lateef, Johnny Hammond, Pharoah Sanders, and Chick Corea. Basically I listen to a bunch of geniuses.

What was your instrumental ethos in constructing Nickel and Dimed?

It was a combination of a few things. The title initially stemmed from a frustration that built up inside me as a producer/beat maker existing within the standards of the world. There's a deeper spiritual meaning, that doesn't really have much to do with the actual music on the album though. The music is pretty much me giving you my talent, what I enjoy doing, along with underlining statements and messages. The concept actually lies simply in the action of me releasing the album. Watch what happens to it.

Do you craft your productions after the featured rhyme styles of Black Milk, MED, Blu, Kokane, etc?

For this project I didn't do that. The music was actually done before I got the features on the album. However, when I wanted to get features, I knew exactly which tracks that I could hear each artist on, except for the record I did with Blu. I wanted to hear Blu on that type of record because it kind of forced Blu to rap with a different emotion that most people are not accustomed to hearing from Blu. It came out dope too!

Thoughts on the cut "Crown" and the perceptions of royalty in the hip hop circuits?

I really think Black Milk summed it up best in the hook "Look around, everybody tryna blow and hold the crown".

I felt him when he said that. You know, when I think of kingship, from my knowledge, most kings were appointed based on inheritance or even elected by the people in a sense. However, since there's no rules in hip-hop nowadays, everybody just feels like if they CLAIM to be King, then they ARE a King. Now Hip-hop is full of King claimers, instead of artists just focusing on their craft, being dope, and letting God and the people appoint them with the crown instead.

Get a listen to 14KT's "Crown (feat. Black Milk, MED)"

BLSHS, bust out the rainbow neon blush courtesy of Houston, TX trio of Rick Carruth, Michelle Miears, and Chris Gore with their synth lazer zapping "Just Wait". You may remember them from Neon Lips, and now with their debut EP, Abstract Desires slated for release on Synth Records later this year, Michelle sends out vocal signals carried by Chris and Rick's arrangements that give life to the great new wave cult soundtrack that waited all these years to finally be spring to life. Despite the many 80s references that everyone and I have been throwing around, nothing here is crystallized in stone like Michelle's prayer of, "A fate I hope you haven’t sealed". With Houston known for it's epicenter of influential hip-hop, BLSHS breaks the time capsule with a familiar cadre that bounces between the analogous gear that could have been easily over-produced but the 3 combine a cosmetic aural elixir that smears the scattered concrete pebbles into a patient pointed sign to tomorrow and now. "Hang tight just wait around for me, but while you’re here, stand back, I need some space, hang tight just wait around, we’ll see, if you can stand the time it takes".

Chris got in touch with us and entertained our bad 80s jokes and dishes out the dirt on their upcoming album Abstract Desires.

The DeLorean transportation to 1985, and how do the 3 of you make it happen?

The trick with time travel is finding a midi interface that can handle the 1.21 Jigawatts needed to power the synths and the 808s at the same time.

We want to know all the dirt and all the goodness in the works from Abstract Desires.

We have an EP worth of songs that we've been playing live, but we decided to spend a month just writing for Abstract Desires. We are about two weeks in and it is going great. The new stuff so far seems a little faster, darker and more minimal than the songs we are playing live. Rick recently got the push and Ableton really nailed it! It is inspiring to work on. Michelle has started recording vocals for a few of the new tracks. We are super excited about the direction they are going.

Behind the scenes thoughts on the album in production?

‘Just Wait’ is one of the first songs we wrote together from the ground up as BLSHS. It came together very naturally. We worked remotely, sending files all over the internet at first. It may seem strange, but that was pretty normal for us. Having only started writing songs, we decided to start playing out, which led to us spending a lot of time working together in the same small studio. We synced immediately, and as soon as our first show was over we re-tracked the synths and vocals for "Just Wait" to have more energy.

Thoughts on the making of the synth dream soundtrack theme to "Just Wait", influences, inspirations, back stories of interest?

We are so hooked on this X priest X - Samurai track right now; I can't really remember what we were into when writing "Just Wait".

Bonfires premieres their new track "Future Lives", that sends the focuses on the things that matter now and may not be around in the great tomorrow after. Brought together by a shared sense of duress during a European backpacking trip, P.T. Fischer from LA, Johan Sommarfint and Artur Knutson from Helsingborg, Sweden and Paris, France's Jean Ancelet brough a creative cathartic focus through song writing. As Jean tried to make sense over his parent's divorce, Johan and Artur were mourning the loss of a childhood friend and P.T. was getting over a bad break up; but through the "if our lives are worth living" mantra they stir the type of dominating pop that takes hold of life with both hand with well arranged, and well built hooks to support the life affirming streaming banners of amplified ambiance for amphitheaters, anywhere. Bonfires' album Future Lives is available now via Bandcamp.

Along with debuting their title track today, we talked with P.T. Fischer about the band's constructive manners of cross country courses of communications, childhood memories, personal reflections, and revelations.

Coming from such disparate places as LA, Helsingborg and Paris; what methods do you use to collaborate musically across foreign waters? 

I think people rub off on each other much more than they want to admit. Everyone is so proud of being an individual nowadays that they forget how a special person can shift you without even you knowing it. You find yourself talking like them, playing like them, or even changing how you do things because you can feel your reflection in them. I guess what I’m trying to say is that I forget that we're from different places.

And if you're just talking logistics: the internet.

Through cathartic commiseration through grief, how does collaborating on such spirit raising anthems help you find release and resolve?

There’s always a moment when you write a song where it finally works. Where the idea comes through and it's been in your head for so long and you know it's supposed to sound a certain way, and then all of the sudden, it finally does! And you can feel it wash over you. Kind of like when you've had that really long day, and you finally have the hottest most perfect shower and you know you have a whiskey/glass of wine waiting for you.

With these songs, these feelings just seemed to happen at a time where we all really needed them.

And the idea that these songs might be considered "spirit raising" genuinely made me smile just now. Thank you.

Like the chorus line 'when it's all said and done', where do you all find that these "Future Lives" live and exist?

All of these future lives exist parallel and into eternity with the ones we live now. You write the story of how your life is going to go. How your job is going to go. How you and your love are going to be ten years from now. And each time you open your eyes in the morning, those future lives change too. And each day they grow and spawn others or dwindle and die off. But the future lives seem as real as the ones we actually live. and you mourn them just as bad when they're gone.

Why does some of the best creative work in the world stem from rising above life's wreckages?

I don't know if I've ever risen above a wreckage- crawled out belly scraping the ground, maybe? But I think when you're at a low point, you're forced to focus. Some people are better at gathering those perspectives. Stretching themselves out. For instance, some people inherently understand that no matter their life circumstances, they are fundamentally unchanged.

For me, the more upset I feel, the more I need to find some way to get that energy into something else. "Hours" was, ironically, written in minutes on one of the lowest days of my life. It sounded really close to how it does now, and I remember playing and singing and for those moments being happy that I wasn't thinking about anything else.

Whenever there's a tragedy in the world, there seems to be people ready to rally to the cause. It might be the single greatest quality of us. Maybe in a small, and unimportant, way, all the creative work we do is just our way of rallying.

Does your name Bonfires pertain to the art of burning off the weight of worries?

It might have more to me being obsessed with fire. To this day, if there's one near me I can't look at anything else.

My mom's a Buddhist, and after my grandma died when I was young, our whole family had to wear these white, pajama-like garments to all of the funeral ceremonies for a year after the death. At the end of the year, we met at the temple for a final ceremony. My uncle, the eldest son of the family, collected the garments and burnt them to signify the end of our mourning. Monks chanted in Vietnamese, and we were supposed to be happy.

In a completely unrelated true story, I once nearly burnt down my parents house. I started by lighting tiny wisps of toilet paper and laughing to myself as they hit the water with a sizzle. Then I got greedy and tried the whole roll. I screamed at the top of my lungs as the flames soared towards the drapes, barely managing to shut the lid and smother the fire, charring the toilet seat in the process. 

Actually never mind what I just said. Let’s just stick with the first paragraph.

Also the second paragraph may or may not have been last week.

With it having been a while since we gave an award for Best New Band Name, this week is goes to Top Less Gay Love Tekno Party, or TLGLTP for short. The Scotland by Canada group is comprised of, Mike Shindler, Donné Torr, Benny Schütze, Sean Tyson, Ian Bevis, Kevin Fairbairn, and Lucas Hamilton, who continue toward current indie pop movement of making elaborate and vest anthems that come from places of the sentimental and sincere. Tender hearts are in danger in the bittersweet chamber string orchestral flourishing of instruments and love sick lyrics like, "I want to see those eyes, that you gave me that night, so inquisitive, so inquisitive". The most beautiful thing is the band's mode of standing up for the protection of the heart from being taken for granted, where the 7 piece sends out a wind sailing song to protect the inner sanctum of humankind's core safety and center.

We had a chance to exchange cables via long-distance with the TLGLTP, who gave us an elaborate recipe for what they are all about.

How did you guys all band together initially?

Mike and I started the band in 2006 in Glasgow, Scotland. After writing a bunch of material in Scotland in our dingy little kitchen, we went our separate ways and finally re-united in 2009 in Vancouver, Canada. It was then that we started recruiting some other magical humans to gig and record with us. Now there are 7 of us and it’s crazy bunch of fun.

Where, and how, and why did you all put together a moniker like Top Less Gay Love Tekno Party?

There are two versions of this story - one includes a donkey, some glitter and a bottle of champagne and the other version includes a life-long love affair and appreciation for Germany and their heroic deejay Boyz Noise.

Is it in anyway a provocation to jog the preconceived notions your audience might have about top-less behaviors, gay love, and techno music parties? Perhaps a challenging of the stagnated norms of the squares?

I will take this as a compliment, though your question can be read as a complicated way of asking us if we are challenging heteronormative norms by having a name like we do and putting on shows like we have. So to answer - yes we are challenging everything that people assume of us and the name.

Mike and I started this band to create music that enables people to lose themselves in the music. Our band is committed to making music and putting on performances that create a space in which people drop their guards and have a good time regardless of gender and sexual orientation. As a result our shows have grown into a series of beautiful moments where everyone is fully present, free from their personal constraints and losing themselves in dance and celebration. Because there is a tiny tiny bit of tongue and cheek and self deprecation that runs thru all of it - it also allows us and our fans to not take anything too seriously or rather we are serious about ensuring that everyone is having the time of their lives.

Tell us how the Scotland by Canada sound has impacted, affected and enrich your sound?

In Glasgow we found that the music scene was much more in tune with the flourishing art scene. Everything was interconnected and less pretentious. Because of this we’ve always worked with different visual artists that inform our music as much as our lyrics do. Also the Glasgow scene was very electro at the time which obviously shaped the beginnings of what we wanted to sound like.

What are the ingredients for a TLGLTP track, live show, and some behind the stories on your upcoming self-titled debut?

Woah, big question. Here’s the recipe for everything.

    1 part glitter
    2 parts aloe vera gel
    1 Jurassic park theme song hummed not sung
    1 home studio that has the most terrifying old ceiling fan that threatens to decapitate us all during the summer
    1 hello-kitty pink guitar
    1 green man-kini with a space man patch
    1 German
    2 drummers in short shorts
    1 obsession with old analog synthesizers
    1 summer spent watching Eurovision
    1 horse head
    1 inflatable 7 foot orca
    1 inflatable 6 foot blow up penis called “Captain Pecker”
    3 trips to Berlin
    Lots of naps
    8 parts love
    7 parts sexy time
    3 lazer sounds

Top Less Gay Love Tekno Party's self-titled will be available September 3. Listen to their sexed-up, spirited cut "Robin" here.

Tropic Harbour is the pier jump off point into the project of Edmonton, Alberta's Mark Berg, where sound is expressed through degrees and variants of earnest splendor. "Golden Rays" is a clever little slice of bedroom rock brought to the waterside for sanctuary and solace alone with the sea lions and roaming thoughts. The underlying percussion programming and synth organization points toward an even larger remix sea, but there is something astute, studied in a global sense of understanding how and why so many artists attempt to capture the potency of sun rays in a glass jar; otherwise known as a recording piece of still art. As thoughts of ethereal lovers dressed in their afternoon's finest glance over your gaze, the line that stays with you through those ghost haunting keys is the hapless romanticism of, "when I close my eyes, your image is there, printed on the back of my eyelids".

While floating off the dock of Tropic Harbour, Mark talked with us on the art of "trying to capture that perfect moment in a perfect setting", notes on the process and announced the upcoming single, "Colour" dropping September 1.

Where, how, and what were the conditions and story behind your creation of Tropic Harbour?

Well last summer I began recording ideas at home just to have some sort of artistic outlet. I found it extremely therapeutic to work on music where I had complete control so that became my routine every morning. I would piece together musical ideas until they started sounding cohesive, and eventually that led to a few finished demos.  The fact that I could have a project that I could call my own was very appealing to me so I decided to give it a name.

I find music that resonates the most with me will take me to another head space where I feel completely at peace and Tropic Harbour became the name for that concept. It’s my ideal place for creativity, somewhere secluded in a warm climate.

What recording tricks do you use for the project to create those lush holiday haze sounds?

I’m not sure I use a certain recording trick. I think experimentation is the key until you find a sound that you can call your own. There’s nothing worse than using some uninspired preset. I like hazy dream-like sounds that take you somewhere else and living in Edmonton that somewhere else has always been toward the coast, which probably contributes to the holiday vibe. 

Other than that I hired a trusted friend to do the final mixes for me.  He is on the same wavelength as me musically so I knew he could help me bring out the sound I was going for.

What are some of the challenges to creating such beautiful, personal, bedroom penned indie pop?

Trying to get over being a perfectionist and knowing when a song is finished. You can always play around with a song forever trying new arrangements or new instrumentation until the song sounds like mush to you. Writing music on your own time is a blessing and a curse because you have the freedom to play around with it but you lose the immediacy sometimes and forget to let the song carry itself.

"Golden Rays" beam sunlight from places of memory, and missing former loves left aside and behind, what's the story behind the song's bright beacons of light ?

It’s about trying to capture that perfect moment in a perfect setting. The image of rays of light references a recent trip I took to Kauai with my girlfriend and has been influenced by time I spent living in Australia.

What are you listening to these days that is really catching your ear?

Well today I just picked up the new Minks record Tides End and love the pop hooks littered throughout it. Other than that I would say the Ducktails album The Flower Lane is killer, and finally I would have to mention Rhye. That guy’s falsetto just melts me and the album Women has some of the most soothing tracks ever.

Releases in the works from Tropic Harbour we should be looking out for?

Yup, I am releasing my second track September 1 entitled “Colour” along with a music video which is being made by a talented friend of mine. I plan to release that track on a 7” alongside Golden Rays and will be figuring out the release date for that after getting a live band together.

The Visibiles, the project of San Francisco musician Justin Goldman and friends debuts his nature's path traveling ballad, "Clarendon Hill". Listen to a song that makes up it's own structure and has a real feel of travelling by field, pasture, stream and forest with a sometimes power walking and other times running energy. This song rocks like a real power growler, a real grower and a walker where Justin's voice evokes an air like Marc Bolan's progeny steeped in the Tyrannasaurus Rex mod-psych-hobbit rock days. Running by hill and passing glittering streams, Justin sings;  "What is this I'm standing on, the precipice of Clarendon Hills". Here the trees and natural elements whirl around him like the sun in lyrics and measures that run like the motion of feet treading through foothills. Joined by his crack team Pascal Garneau on guitars, Robert Jakubs on drums, Dashiell Worfolk on keys with Matt Swanson bass carefully create a sound that runs the singer-songwriter gamut of modernism that evokes the message of falling free. "I don't have a hold on you, there's no me, there's no you". Goldman and company extol the virtues of recognizing the autonomy in what could be the best relationship or a love affair gone on to long and on the fritz. The Visibles vinyl, self-titled album will be available September 10 via Bandcamp with an San Francisco release show at The Rickshaw Stop, September 6.

Getting closer portrait of "Clarendon Hills", hiking like reflections and more, Justin shares some real Bay Area stories and inside look with some up close visbility in the world of The Visibiles.

So let's start by the name, the unique way by which you arrange your sound has this feel of almost walking up, and then running down San Francisco hills and sidewalks, as much as it could be the wild hills and headlands of Marin. What is it about the concept and incorporation of an almost natural, organic folk-evolved manner of sweeping visuals and visions, into the music of The Visibles?

When I was first writing this, I was in the car driving home in Marin County. It was a beautiful afternoon with a blue sky and the hills were glowing green, and I was suddenly overcome with a feeling that triggered a memory of standing on Ogden Avenue in Illinois on the edge of a town I grew up near, Clarendon Hills. (I did love Twin Peaks a lot, though!) I was driving home to meet my girlfriend at the time I had this memory, and the first verse was a reference to the perfect feeling of everything emotionally coming together, the almost overwhelmingly good feeling of nostalgia mixed with the excitement of seeing my lady, and a reference to my Illinois roots. Tornado weather makes the clouds blue and the sky green, but I was standing in the middle with everything revolving perfectly around me.

The story behind recording "Clarendon Hills", and other songs, and any inspirations, influences, stories, anecdotes, memories, visions worth sharing?

The other verses were about these things along with a bit of a story that I had heard growing up about a bank robbery that happened in Clarendon Hills. I made myself one of the thieves at the end with "as long as you're not on the take." As if the reason I didn't have a hold on "my girl" was that she might be receiving government bribes to turn me in. The actual reason "I don't have a hold on" her was that no one really has a hold on anyone, and this particular woman was very elusive and could never be held down by anything. She was very flighty and almost phantom-like. Which was too bad for her and for me. Pascal was asking me what the song was about before I had a chorus beside "poor me, poor you". He then came up with the line, "I don't have a hold on you," which brought it all together.

When we were recording the song in our studio in San Rafael, I kept getting a scratchy throat, and Pascal kept pointing out how I sounded like Bill Clinton. We could have put together a full version of me as Bill Clinton singing the song. There might even be a version of that floating around somewhere.

What can you tell us the recording of your self-titled album being released proper on vinyl September 6? Any strange, peculiar behind the board tales or Bay Area stories worth noting?

The album was like the Winchester Mystery House. We just kept adding and revising and rerecording. The release date kept being pushed back, and we finally had to keep telling each other 'no' when someone wanted to change another thing. I think Bob, Pascal, and I had all moved to different places in the Bay Area by the time we finally finished.

We wanted to release it in a tangible format, and CDs are somewhat dead. It seems most people only buy CDs when they're buying home recordings from struggling musicians! The choices were between vinyl and cassette tape. We decided all three of us having and enjoying records and the way they sound, we would press vinyl. There's something about it, the feel, the sound, and the look, that makes it much more substantial and real. Also, it sounds fantastic. We're lucky to be in the SF Bay where there are so many places to get records and so many people who listen to them. The timing of the release actually turned out to be perfect, because there are a lot of great bands based in SF coming out right now. We're excited to be part of that.

What can you tell us the recording of your self-titled album being released proper on vinyl September 6? Any strange, peculiar behind the board tales or Bay Area stories worth noting?

The band's creative process usually works like this: I have a background in hallucinogens and over emotionality which works really well for being a songwriter! I write a song and bring it to Pascal who has great musicianship and sensibilities. He and I rework the song into something unique and accessible enough. Then Bob gets it and lays down his "ferocious" and creative foundation. (His drumming has been referred to in print multiple times as ferocious, so why not go with it.) This is then given to the band as a whole, and we all work it into a Visibles song. The band geographically spans from Sonoma county to San Francisco, with some of us having lived as far east as Lodi and Oakland and as far South as Foster City and Menlo Park, so we have things that we picked up from all over the Bay Area and its surroundings.

What does the concept of visibility mean to The Visibles?

Visibility is something we strive for, both seeing everything in a new way and being seen. I'd love to say that I don't care about being seen, but I'm an entertainer. There's nothing better than being on-stage and having everyone in the audience engaged with us. We want to be seen, but we never want to be anything other than ourselves (no soul selling). Being the ones who are seen naturally, The Visibles, is the dream.

Following up their 2011 debut release Open Season, YAWN brings strictly Summer vibrations with pianos that try to keep up with the whimsical lyrics of "baby when you call I can run in the sun, fly through the trees and crawl through the mud just for you", on their brand new loosie, "Summer Heat". Feel real here with this assemblage that manages to pack the spirit of the sun of the seasons compacted in one hot track for you, loved ones, family, and friends.

Get a look at the Montserrat Lombard video for "Pagliaccio" involving a creepy clown, from Barbarossa's Memphis Industries album, Bloodlines.

Portland loves Lovers are sending out their latest album, A Friend in the World, on September 24 courtesy of Badman Recording Co.  Get into their marching heart chord connected pop, a la "The Modern Art Museum of the Modern Kiss Goodbye" performed live at SeedCo Studios in Lawrence, KS before an enthusiastic crowd of 'omgz' and shrill shrieks.

If you like it then you better put it a ring on it on Brianna Lea Pruett's heart burning single, "No Diamond Ring" from her upcoming album Gypsy Bells available October 1 Canyon Records.

"Give me noise, give me more, give me something to explore", sings out London quartet Hejira on their new single "‘Litmus Test’". With the single available on the Accidental label on September 16, the organic tribal treatment from producer Matthew Herbert makes this track a criteria defining test of it's own composition that strives to be it's best and offers, "nothing more and nothing less".

The other week we introduced you to Detroit's Clear Soul Forces, and were lucky enought to have a little roudtable sesh with the crew. With their album Gold PP7's available September 17 from Fat Beats Records, kick it and kibitz further with the Force's own, L.A.Z. in the following video.

I will be as bold as to say that Lady Lazarus's February released All My Love in Half Light was one of our most beloved releases from 2013's opening ceremony rites, Milena Martinovic directs the earth to sea voyaging pop that explores splendors places of new customs and new feelings. Here the ships passage from the long views across the Atlantic, granting sea ways into the discovery of those unfamiliar and enchanted lands.

Dizzy Wright brings that smart rascal rhetoric on his mad-posi cut, "World Peace" off the upcoming The Golden Age mixtape available on August 19 from Funk Volume. Spitting some real knowledge, this tape is up there with some of 2013's most anticipated.

Cults-members Madeline Follin and Brian Oblivion are returning with Static, this October 15 and we got your listen with "I Can Hardly Make You Mine" where their sound gets a little clearer, Madeline's vocal's a little poppier with Oblivion keeping things somewhat hazy in the mix.

Give it up for UK mix-master James Welch, making some arcade machine beats as Seams, prepping the album debut Quarters for September 16 from Full Time Hobby. Take a holiday into the b/w universes, and explorations of all things circular, molecular, from nature, and from syntheses and more visualizations items in the video for, "Rilo".

Please big it up for Chi-town with Kajsa's "Try Try Again (House Mix)" as you dive into some unreal retro-future-classic off Kill Yourself Dancing: The Story of Sunset Record Inc. Chicago 1985-89, now slated for release September 17 Stateside and September 16 in EU from Still Music.

Check out the bathroom altercations of amour and whatnot through the intrusive surveillance viewer in the Lance Arnao edited video for The Icarus Line's "No Money Music" off of their fifth released disc, Slave Vows.

Get happy, get excited with SWF's invigorating 'Spirit of Summer 2013' inspired video for "Black & Golden", directed by Ben Dickinson, and produced by Ghost Robot. The beach-side conquering-god-like-antics are what sell the song as you and ride to the tide of the song's title verse. Kick it the sand and watch what might be your favorite song and video to rock beneath the sweltering beams of sun. The SWF full-length Let it Be Told will be available October 8 on Mecca Lecca.

Graveyard Lovers will bring their 6-feet-under visions from beneath the earth to the surface with their album Dreamers on September 17; but bring a big heart and an even larger, and louder appetite with their cut, "Love and Hunger". Beyond those big stage guitars and hungry as hell vocals, these guys could be the new big scrappy-but-refined-big time rockers that are crashing through every Fall festival you may be planning on attending.

Also if you need a new street racing anthem, might we recommend, Stevie Stone's new cut "2 Birds 1 Stone" with a video that has some kind of coordinated shoulder shaking dance moves and continues 2013's wave of automobile idolatry. Get the single via iTunes.

Roach Gigz and Iamsu! got me turned up and lifted today with "It's Lit", with an assist from Robert O. Mojica and Rey Castill on the visual component to show us how they be doing it up in the Bay, in that East leaning-up and coming rap upper crest style. Hear the latest from the Bay's prime prankster on his Roachy Balboa III tape.

Listen to the sparse, healing and subsonic atmosphere of A Winged Victory for the Sullen, with "Ti Prego Memory Man" off Ghostly's upcoming second in their SMM compilations series with Opiate which includes the talents of Simon Scott, Noveller, EN, Celer, Black Swan, Jim Haynes, Fieldhead & Pjusk, and more. Get into those new audio realms less traveled now.

Rubblebucket sent a collection pail of dance pop hyper-drive with "Save Charlie" that commemorates their signing to Communion Records, and playing their September touring showcase Communion Presents. Vocalist and sax commander Kalmia Traver creates the sound of 10,000 selfies sound scored to remix ready stem plat du jour.

Then Ghost Wave strummed by with their bit of pure kiwi gold on,"Orb", ahead of their upcoming Ages album available August 27 from Flying Nun Records in partnership with Captured Tracks. We firmly believe that this should be a New Zealand holiday. Petition away and listen now, indie rock daydream believers.

Colored Emotions is available now from Domino Records, as Night Moves keep those late night smooth but slippery-70s sensation vibing on the Isaac Gale and David Jensen-directed video for  “Country Queen”. The move grooves with the night, but there is plenty of weirdness for all to indulge their sense in.

Pillars & Tongues dropped a few pointers with the single 'Points Of Light' from their End-dances LP available September 17 from the dedicated souls at Empty Cellar Records. Catch their free gig at The Chicago Cultural Center September 20 with Santah before playing upcoming dates later this fall with Angel Olsen.

Get glassy eyed, nod your head and just shred along to Ha Ha Tonka's title track "Lessons", off their upcoming album available September 24 from Bloodshot Records.

Watch The Dodos' Yours Truly Video and performance of "The Ocean" with Magik Orchestra, off of their album Carrier available August 27 with a bit North American Tour planned for Fall. Sway to the strings like lost ships at sea together again.

Dakota Pollock and Weird Womb get extra grungy, and of course extra weird in their video for "Pale Piss" ahead of their upcoming album Ruined By The 90's available August 21, with an upcoming gig at the Cake Shop that same evening.

SZA drops some "Teen Spirit" produced by Wondagurl hot from working JAY Z'S "Crown" cut, from the Z EP, celebrating her signing to Top Dawg Entertainment.

Kicking it dub wise with the Red Bull Music Academy in New York, Pass The Gates brought together On-U Sound Records operator Adrian Sherwood upsetting the Upsetter himself,  Lee ‘Scratch’ Perry bringing his chanting and commanding stylee last May, and you can catch it all video wise here.

Chase Hudson and Sean Sullivan from Asheville, NC are 2PPM, who come at us with their third release to date with, Desert Country and Physics. Get cosmonautic into those jazz spheres and zones beyond time as you cascade between the mind expansion ambitions that mark the cycle from, "I" through "IV".

There is nothing and nobody getting buttered up here at all, on Butter The Children's video directed by Lyle Owerko for their single, "Spit It Out" from their upcoming True Crime EP available August 20 from Downtown Records. The chants and threats to get drunk without you come with the rough and ready, "thought I told you, hardly know you", that gives anyone with any consideration about entering into their tough alliance or business will be met with BTC's Brooklyn style of brunt force. Their record release show at 285 Kent will be the same day of release, August 20, where they will be joined by our friends, Field Mouse.

Ladi6 is straight out of New Zealand and brings the Jeedo cut "Slow Ride" that features Invincible from Detroit's Emergence Media, with production from Jeedo off the album Automatic available September 17. So slowly ride this cut that brings together the globe for a slow grinding cruise down the most kick back streets around.

Wymond Miles. "Passion Plays". New album, Cut Yourself Free is coming October 17 and the single "Passion Plays" drops on 7" September 17. Sacred Bones. Give thanks.

Because sometimes you want some real rock slop that delivers the bastard sons of Link Wray's ghost, you end up with grizzly gunners like "Bear" from Slim Wray's album Sack Lunch, available November 12.

Fresh from the press mills, is the latest emotional purgation from The Darcy's with "Muzzle Blast" ahead of their upcoming album Warring available September 17 from Arts & Crafts. The song presents the group's philosophy of swimming to the top to avoid the perils of the bottom feeders in a sound that presents them in their most majestic form to date.

Traverse through those Postal Service's  "Such Great Heights" from Joy Kills Sorrow who just dropped Wide Awake on Signature Sounds Recordings that's not exactly Mumford & Sons, but there's still plenty of acoustic strumming complete with banjo excesses. Benny Gibbs would be pumped, or maybe he would start beat boxing or add in those o.g. Dntel brought beepy-boops.

We don't have to tell you that Vex Ruffin's self-titled debut album will be available November 12 both digital and vinyl from Stones Throw and on beautiful cassette from Burger Records; but this week the dude straight decided to drop the Full Escape EP on us for your listening and downloading pleasure. Enjoy friends, and stay hungry.

A helping of taped-out goodness to keep your uber-chill summer spirit soaring like privileged sails, is Alligator Indian's new cut, "PUF//FIN" from their forthcoming, More Songs About Animals and TV EP, available September 17 from Bleeding Gold Records.

You know what time it is. FYF Fest, 2013, 2 days for the tenth annual bash of exceptional taste at Los Angeles Historic Park, August 24-25. Peep the above flyer for line-up details, while tickets are available here via FYF's Frontgate.

In closing I feel it is my duty to relay extracts from the latest dispatches from Exray's' Vessel XII, busy orbiting about and exploring the Outer Dimensions. I had written a variety of different drafts on how to convey what has been happening as of late with one of SF's most beloved explorers of the mind expanding spaces, terrains of place, time and artifactual sounds. We then figured it best just to give it to you from the artists themselves. The following is an excerpt from a recent cable sent from Jon Bernson at the commander's helm, sending transmissions of logbooks with new stardates, and the latest developments.

"...Now that the stage has been set, it's time to pull back the curtain: we've salvaged & reconstructed 20 minutes of narration from the XII logbook & posted these entries to our soundcloud page. Warning: these narratives contain actual fragments of the plotline. Our tumblr contains new images as well,..."

Listen to the first entry, "l o g b o o k _ I _ t r a n s p o r t a t i o n" here.