Mexican Summer Rock & Indie 29 Items

New Zealand via Paris/London pop sprite Connan Mockasin follows up the widely acclaimed oddball-psych of 2010’s Forever Dolphin Love. Caramel boasts a unique brand of mutated, lustrous soul that was almost wholly self-recorded over a month in a Tokyo hotel room. Described by Clash Music as “a true cosmonaut of inner space,” the new album explores different regions of Mockasin’s singular galaxy, guided by his truly adventurous songwriting that favors reconfigured pop structures with a skewed funk sensibility. If Caramel wasn’t enough, Mockasin has also been writing more material for Charlotte Gainsbourg after penning the exquisite “Out Of Touch” for the actress/singer’s 2012 mini-album, Stage Whisper. It’s another sign that Mockasin is going places, but at his own pace – just as Caramel suggests the process of melting and taking on a new shape, a new taste. That is the true sound of Connan Mockasin.

Los Angeles’s prodigal songwriting son Ariel Pink shares his eleventh studio album, Dedicated to Bobby Jameson, September 15.

The album’s title makes a direct and heartfelt reference to a real-life L.A. musician, long presumed dead, who resurfaced online in 2007 after 35 reclusive years to pen his autobiography and tragic life story in a series of blogs and YouTube tirades. “His book and life resonated with me to such a degree,” Pink states, “that I felt a need to dedicate my latest record to him.”

Dedicated to Bobby Jameson begins at the end and ends at the beginning. “We follow the protagonist through a battery of tests and milestones, the first of which sees him reborn into life out of death,” Pink explains, referencing the opening track “Time To Meet Your God.” “From there, he seesaws his way between the innocent love and the rock-solid edifice of childhood-worn trauma that together constitute his lifelong initiation into the realm of artifice and theatrical disposability.”

Calico Review' was recorded at the iconic Valentine Recording Studio, which gave the group access to historic recording equipment such as a 1964 Universal Audio 610 soundboard - the same board on which The Beach Boys recorded Pet Sounds. Now you know what to expect.

Thru Me Again is the secondrelease from Chilean trio La Hell Gang and their first with Mexican Summer. Hailing from Santiago, which plays host to an ever growing psychedelic scene (Holydrug Couple, Follakzoid, La Banda, etc), the band create a remote and wild brand of rock ‘n' roll. The eight tracks across Thru Me Again weave seamlessly, channeling heat, light and endless desert dunes. Despite the heavy context, there's a real clarity in the production, making the blistering guitar solos and mirage-like vocals all the more potent. Tracks like "Inside My Fall" and "Last Hit" recall bands like The Black Angels and BRMC, but some of the more lucid moments ("Sweet Dear", "So High") feel like a grittier Brightblack Morning Light. The soundtrack for your heat swept summer.

Think of it this way: Paint’s first album isn’t clean, but it’s very very clear. Sometimes the mess is the message.

For the third Marfa Myths release, Mexican Summer is proud to present seven all-new songs written and recorded by Stockholm's psychedelic masters Dungen and adventurous Brooklyn indie-folk pioneers Woods. As the Marfa Myths record series progresses, the spirit of the collaborations between the artists chosen - one a member of the Mexican Summer family, the other for which we share deep admiration - deepens as well.

Los Angeles’s prodigal songwriting son Ariel Pink shares his eleventh studio album, Dedicated to Bobby Jameson, September 15.

The album’s title makes a direct and heartfelt reference to a real-life L.A. musician, long presumed dead, who resurfaced online in 2007 after 35 reclusive years to pen his autobiography and tragic life story in a series of blogs and YouTube tirades. “His book and life resonated with me to such a degree,” Pink states, “that I felt a need to dedicate my latest record to him.”

Dedicated to Bobby Jameson begins at the end and ends at the beginning. “We follow the protagonist through a battery of tests and milestones, the first of which sees him reborn into life out of death,” Pink explains, referencing the opening track “Time To Meet Your God.” “From there, he seesaws his way between the innocent love and the rock-solid edifice of childhood-worn trauma that together constitute his lifelong initiation into the realm of artifice and theatrical disposability.”