Unknown Mortal Orchestra

[Fat Possum, June 21]

Yes, UMO's debut sits under the gauzy-dream-pop umbrella, but life's a little better with a buzz. Blurry, distant vocals bleed into the guitar before the driving beat of a drum sharply stops the whole thing from getting too messy. “Jello and Juggernauts” is all mellow yellow; a bouncy '60s energy permeates “How Can You Luv Me.” But the shimmery guitar cutting through the thick reverb of fuzzy vocals and distorted drums on “Little Blu House” feels right now.


McCartney II

[MPL, available now]

Even in the heyday of the '60s, Paul quickly got tired of all the “cute Beatle/guy who wrote sappy anthem 'Yesterday'” business and started playing with sound collages, coked-up rave-ups and working artsy words such as “pataphysical” into pop ditties. But in 1980, after uneasily conquering mainstream ears all over again with Wings, Paul got really weird. Here's “Frozen Jap,” “Temporary Secretary” and the rest, remastered and in all their wacky, synthy glory. Also reissued: 1970's McCartney, the chill-out masterpiece that broke up the Beatles.


Twist Your Soul: The Definitive Collection

[History Records, available now]

Last year brought a same-titled two-CD compilation of the Contortionist's best work from 1978 to 2007, but this vinyl edition of the first disc is the essential item. Professional and amateur DJs into no wave, funk, disco, punk, etc., should welcome having “Contort Yourself,” “Sax Maniac” and the James Brown covers all in one neat package. And, as everyone knows, no Yule set is complete without “Christmas With Satan.” Get it.


Goodbye Bread

[Drag City, June 21]

Fresh off Ty Rex, featuring a selection of T. Rex covers, 23-year-old Laguna Beach native Ty Segall delivers his fourth LP. Segall's last full-length, Melted, leaned toward a mix of Sid Barrett and Jay Reatard, with its fat guitar tone and flangey vox; Goodbye Bread, however, is still psych-garage with a little more psych than garage. Sure, songs like “The Floor” and “California Commercial” are swift and frenzied, but most of the tracks are infused with a weighty melancholia.

LA Weekly