Right now that's my favorite line on Tim Barry's new album 40 Miler. You can hear it in the title track:

Seattle garage-psych trio Night Beats have a new song, titled "Messiah," on a split 7” with Costa Mesa, California’s TRMRS, which came out May 22 on Volcom Entertainment/Resurrection Records. “Messiah” stealthily creeps into earshot like a distant cousin of Doc Pomus' ominous R&B number "Lonely Avenue," with sporadic outbursts of razor-wire guitar snarl and lupine vox ferocity.

You can purchase the single here.

Seattle's own Beat Connection just released a single from their upcoming album, The Palace Garden. The song is called "The Palace Garden, 4am" and it sounds like a warm summer day (which is especially appreciated on a not-so-warm, not-so-summer day like today).

I've been listening to this single almost nonstop for the last week. (That's why my descriptions of everything else have been so off, guys!) The apocalypse-dawn lyrics kill:

Night of the long knives
Where life is cheaper than a dollar store sale at half price
Fukushima rap
Thyroid need potassium iodine

Or:

Just because you lead a just life and been thoroughly Romanized
Through a false sense of reasoning developed a sense of morality out of a lie
You've been tricked
Like a frontside heel flip to nose grind

Thing is, the download came with three mixes, and just when I was starting to think that remixes are total bullshit vanity/PR projects (many are), I can't get off the two for this song.

Bigg Jus - Black Roses (Bigg Jus & El-P's Brooklyn Heatwave Mix)

Bigg Jus - Black Roses (Thavius Beck's Los Angeles Beautiful Weather Mix)

To me, the album cut (embedded above) is the least good, although overall Machines that Make Civilization Fun basically smokes. That said, I usually go straight for the Bigg Jus & El-P's Brooklyn Heatwave Mix or Thavius Beck's Los Angeles Beautiful Weather Mix. The former's got that hooky descending bass line that tumbles right down into the beat, but the latter got that sinister synth grind that compliments those sinister-event horizon lyrics so well. Listen to all three and vote below.

• P.S.F.
• Yura Yura Teikoku ("Kingdom") appears on this volume

For years now, I've been getting my new release information from the Other Music newsletter (and yes, I've been to their East Village shop, as well, although it's been over a decade). So I was pleased to hear that they'd started their own imprint in conjunction with Fat Possum. Since releasing the Ex Cops' hazy single, "You Are a Lion, I Am a Lamb," they've been prepping the solo debut from singer/multi-instrumentalist Shintaro Sakamoto. The first song, a tropicalia-infused affair, rides in on a wave of tambourine, hand claps, and sweet-voiced lovelies who sound like they must surely be wearing miniskirts and go-go boots.

As the leader of Yura Yura Teikoku, Sakamoto has recorded for P.S.F. (Tokyo Flashback) and DFA (Hollow Me/Beautiful). The Other Music description of his first full-length has me eager to hear more, "Most of the songs are built around Sakamoto’s hypnotic electric-bass grooves (he learned to play for these recordings), a crisp drum set and bubbling percussion, layered with dreamy guitars and vintage synthesizers, and topped by meticulously arranged female vocal harmonies, horns, and Sakamoto's own languid yet deeply expressive lead vocals."

Listen to Ex Cops' Galaxie 500-reminiscent B-side "The Millionaire" below.

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Redefine magazine has a track available for streaming/download by Midday Veil off their forthcoming, Randall Dunn-produced album (they’re still searching for a label to put it out). One of the noisiest and most chaotic tracks in Midday Veil’s canon, “Choreia” boldly ventures into prog-rock territory. While Chris Pollina’s manic, oddly metered drums and Jayson Kochan’s staunch bass figure (think Paul McCartney’s in “Tomorrow Never Knows”) lend the song extreme gravity, David Golightly’s keyboards, Timm Mason’s guitar, Emily Pothast’s distant, valiant vocals thrust the high end skyward. As a result, “Choreia” builds incredible tension and drama, and it results in an interesting departure for the Seattle psych-rock group.

You can listen to “Choreia” here. Midday Veil's next show is June 8 at Black Lodge; it's the release party for their INTEGRATRON cassette and for Swahili's self-titled LP, both of which are coming out on the Translinguistic Other label.

You have to give them your flack e-mail address:

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• Drag City Records

The first track leaked from Six Organs of Admittance’s Ascent (out Aug. 21 on Drag City), “Waswasa” sounds closer in spirit to leader Ben Chasny’s other band, Comets on Fire, than it does to 6O’s more typical troubadouristic folkadelia. “Waswasa” wastes no time launching a blazing, power-chord fusilade and no-nonsense hard-rock drumming. The head of Holy Mountain Records (Six Organs’ former label) compared the track to AC/DC, and there’s some truth to that. This is the most meat-and-potatoes slab of rock that former Seattle denizen Chasny has laid down under the Six Organs handle.

Listen to “Waswasa” here and read the press release after the cut.

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The band says: "It's not exactly the sun-bleached summer soundtrack people anxiously await from bands around this time of year, but if you like a little spook with your carefree love making and lazy river floats, then this one will treat you well."

Who doesn't love a little bit of spookiness in their sunshine? It's all about balance. Here, hear:

There isn't enough coffee in the world to energize me as much as this song does after just a listen or two:

Over on Pitchfork, Stranger Genius award winners the Intelligence have leaked the first song from their new album, Everybody's Got It Easy But Me (out June 19 on In the Red; the track also appears on a split 7" with Kelley Stoltz). “(They Found Me in the Back of) the Galaxy” is pretty straightforward and accessible for Lars Finberg and company; it’s instantly sing-along-able, concise, and contains some of the punchiest, glam-rockingest drumming in their 13-year career while retaining their familiar shake-appeal, surf-rock riffing. After seven listens, I conclude that the ominous coda with the eerie organ drone is the song’s highlight.

Listen to it here.