Polvo Polvo

Ahí Nos Vemos Paisanos (Para Adoloridos) is the 2018 compact disc by Los Rancheros Del Rio Maule. This was released by Tekyla.

The 2016 compilation Venezuela 70: Cosmic Visions of a Latin American Earth: Venezuelan Experimental Rock in the 1970s is a fairly self-explanatory title that offers a delightfully heady cross-section of psychedelic and experimental rock that emerged out of Venezuela during that prolific decade. Buoyed by Venezuela's abundant and (at the time) highly valuated oil reserves, a progressive art culture thrived from the '60s through the early '80s.

'El Mirador' features gossamer vocals from Guatemalan singer-songwriter Gaby Moreno, while Spanish rocker Jairo Zavala brings his signature bravado to 'Cumbia Peninsula'. By working with friends and recurring collaborators, Calexico also highlights the unique social and linguistic intersections at the US-Mexico border and the magnificent possibilities of a borderless world.

Pop, Latin, and R&B hits are given a 60s makeover on this collection.

Velocity Girl formed in 1989 or so at the University of Maryland outside Washington DC, and shortly thereafter settled on the lasting lineup of guitarist Archie Moore (Black Tambourine), guitarist Brian Nelson (Black Tambourine), drummer Jim Spellman (Starry Eyes, Foxhall Stacks, High Back Chairs, Julie Ocean, Piper Club), bassist Kelly Riles (Starry Eyes), and singer Sarah Shannon (Starry Eyes, The Not Its). The band combined English-inspired noisy shoegaze fuzz with scrappy US indie rock and classic ‘60s-style pop songwriting. A killer single on Slumberland and non-stop touring grabbed the attention of the indie-rock cognoscenti of the day, and, following a heated courtship involving both dinner AND dessert, Velocity Girl signed a contract on a car hood in Hoboken, New Jersey, making Sub Pop their home.

Merge continues its 20th anniversary festivities with a comp of non-label artists– Bright Eyes, Shins, New Pornos– covering songs from its catalog.
Merge Records doesn't look its age. Originally formed as an outlet for Superchunk material, the Durham, N.C.-based label has grown into an indie institution, but only gradually– year by year, release by release. It never allied itself with a scene or a sound, so the mind doesn't automatically tether it to a specific place or time, the way Sub Pop, despite its strong roster this decade, will be most closely associated with Seattle in the late 1980s and early 90s. So it's hard to believe Merge is already 20 years old, an occasion the label is marking with a big birthday bash– the five-day XX Merge fest in July– and a subscription-only series of commemorative retrospectives and remixes. Perhaps the most intriguing party favor is Score! Twenty Years of Merge Records: The Covers, a choppy but oddly endearing compilation that enlists 20 non-Merge acts to cover Merge songs.

The Sacramento duo’s 2002 debut album might be the platonic ideal of math rock, but its real joy lies in the way it seems to escape the bounds of logic altogether.

Velocity Girl formed in 1989 or so at the University of Maryland outside Washington DC, and shortly thereafter settled on the lasting lineup of guitarist Archie Moore (Black Tambourine), guitarist Brian Nelson (Black Tambourine), drummer Jim Spellman (Starry Eyes, Foxhall Stacks, High Back Chairs, Julie Ocean, Piper Club), bassist Kelly Riles (Starry Eyes), and singer Sarah Shannon (Starry Eyes, The Not Its). The band combined English-inspired noisy shoegaze fuzz with scrappy US indie rock and classic ‘60s-style pop songwriting. A killer single on Slumberland and non-stop touring grabbed the attention of the indie-rock cognoscenti of the day, and, following a heated courtship involving both dinner AND dessert, Velocity Girl signed a contract on a car hood in Hoboken, New Jersey, making Sub Pop their home.