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Nightmare Ending is the first proper Eluvium album released since 2010's Similes, the unexpectedly vocal-heavy ambient-pop record that simultaneously delighted and confounded longtime fans. But the Nightmare Ending story actually began years earlier, as it was intended to be the follow-up to the watershed album, Copia. Conceived as a way of helping loosen his selfimposed ideals of perfection, Cooper labeled each Nightmare Ending track as either a "dream," or an "imperfection" ? a way of differentiating the philosophical concept of "dream vs. reality," couched in the more tangible technical distinctions of "flawless vs. flawed." With each progressive listen those differences naturally challenged themselves, and without relying on the standardized perfection protocol, Cooper became increasingly reluctant to release any of it. He shelved it, and pursued Similes instead. But Nightmare Ending wouldn't go away; it lingered in the back of his mind, the abandoned fruits of a truly worthwhile and noble journey towards a less creatively constraining mindset. Cooper returned to it with renewed vigor, writing and recording in a blur of time that spanned several years, ending with a pair of inspired collaborations with Mark T. Smith of longtime friends and label mates, Explosions In The Sky ("Envenom Mettle," closing Disc 1)and Ira Kaplan of Yo La Tengo ("Happiness," closing Disc 2). The result is a body of work that encompasses everything remarkable about past Eluvium albums, executed more powerfully and poignant than ever before.

Like his best and most iconic works, the magic of William Basinski?s new album, Nocturnes, is in the glacial, inevitable decay of something beautiful. Tape loops of prepared piano ? composed and recorded more than 30 years ago ? reflecting, refracting, and disintegrating into a haunting sentimental haze, like losing a vivid memory to the natural deterioration of time. Nocturnes is two sprawling new works, begun in 1979 and completed in 2012. It is Basinski?s first new studio release in nearly four years.

Celebrating their 10th year as one of independent music?s most substantive bands, Louisville?s Coliseum return with their fourth full-length, the stunning Sister Faith, to be released on April 30 on Temporary Residence Ltd. Expanding on the anthemic direction the trio veered toward on 2010?s highly acclaimed House With a Curse, Sister Faith?s 13 songs are the most dynamic and immediately captivating of the band?s career, bristling with galvanizing melodies at the collision point between punk and noise-rock. The first album to be recorded in producer J. Robbins? recently relocated Magpie Cage Studios, Sister Faith is also the first Coliseum recording to feature new bassist, Kayhan Vaziri, in addition to contributions from some of the groups? closest friends and musical peers: Wata of Boris, J. Robbins (Jawbox, Burning Airlines), and Jason Loewenstein (Sebadoh, The Fiery Furnaces), Jason Farrell (Swiz, Bluetip) all make small but memorable contributions.

Multi-instrumentalist and sci-fi prog-rock explorer A.E. Paterra returns with his second proper fulllength as Majeure. Following closely on the heels of his beloved but scarcely limited split album with fellow Zombi cohort Steve Moore, Solar Maximum expands on the cinematic, atmospheric vision alluded by his 2010 debut album, Timespan. Once again composing, performing, and producing the entire album, Paterra broadens the Majeure cosmos with an increased focus on moody synths and an almost inhuman level of patience in the payoff. Drawing influence from 70scelestial film scores, ambient krautrock, and dexterous vintage prog-rock, Solar Maximum trades in the cosmic disco of Timespan for a more spacious and ominous feel that lives up to its ambiguously ambitious title.

For a collection of music built around the poignant inevitability of decay, there has been a great many hopeful and inspired words devoted to William Basinski's The Disintegration Loops: stunning, ethereal, majestic, transfixing, life-affirming? and for good reason. From its 20-year gestation period to its infamously fateful completion, The Disintegration Loops is one of the most powerful manifestations of the inevitable cycle of life ever committed to tape, even as it documents the inevitable decay of all that is committed to tape. The very passage of time is its most effective instrument. To mark the 10-year anniversary of its original release ? and its forthcoming induction into the 9/11 Memorial Museum this year ? Temporary Residence Ltd. is honored to collaborate with William Basinski in presenting The Disintegration Loops in a fashion truly befitting a library of music with such a lasting legacy. This massive limited-edition box set contains all four historic volumes, plus a pair of stunning live orchestral performances from theMetropolitan Museum of Art, and the 54th Venice Biennale, both previously unreleased. Remastered from the original recordings and pressed onto 100% virgin vinyl for the first and only time, this exquisite box set also includes all of the remastered recordings on 5 CDs, the extremelyrare 63-minute The Disintegration Loops film on DVD, and a 144-page full-color coffee table book featuring rare photos taken during the making of The Disintegration Loops, and liner notes by Basinski, Antony, David Tibet of Current 93, Ronen Givony of the Wordless Music Series, andMichael Shulan, Creative Director of the National September 11 Memorial Museum. The Disintegration Loops has never appeared on vinyl, and will never appear so again outside of this sincerely special, painstakingly beautiful collection.

Melbourne, Australia's most enigmatic trio return with a brain-bending slice of bleak mantra-rock that only they can make inexplicably addictive. Coupled with two new jams are a pair of remixes from like-minded friends and world-renowned artists Justin K Broadrick (Jesu, Godflesh), andFactory Floor (DFA). Picking up where they left off on last year's sensational Little Joy, "Wrapped Coast" is tribal post-punk clatter at its finest, like a slightly deranged bastard spawn of Boredoms and Mission of Burma. The beat has clear nods to late night dance and debauchery, making Factory Floor's "The Michael Cliffe House Remix" a logical extension of the original. Four songs pushing a half hour in length on a limited-edition vinyl 12" ? this is how My Disco do. This vinyl-only release is strictly limited to 1,000 copies, and includes a free MP3 download code featuring a bonus alternate remix by Justin K Broadrick.

On one hand, their fifth album, Information Retrieved, is the logical and accessible realization of a sound Pinback have been developing and refining for over a decade. However, that consistency that we've taken for granted is what makes Information Retrieved such a euphoric surprise; their finest and most fully realized album, a dozen years deep into a career that includes bona fide modern classics like "Good To Sea" and Summer In Abaddon. Simply put, this is better than we ever could have expected. They could have coasted on automatic pilot to another lauded albumthat likely would have made it onto plenty of year-end lists, but instead they shot the moon, and the result is a major triumph. The touchstones are still there: Zach Smith's stunningly unique bass guitar acrobatics driving both rhythm and melody in lock-step unison; the incredibleimmediacy of Rob Crow's voice that could make a phone book sound compelling; and the musical and lyrical interplay between the two of them that made Pinback so special in the first place. The difference now is their exquisite control over dynamics and a greater emotionalresonance throughout. It's the most complete and soulful Pinback album by a fair distance, the finest moment in the career of a band whose unfettered brilliance we've come to count on, but will never again take for granted.

When Jerry Fuchs joined Maserati in 2004, he initiated a complete overhaul of the group: old songs were dropped, tempos were drastically sped up, and the budding psych-rock impulses of guitarists Coley Dennis and Matt Cherry were given room to grow. Beginning with the electrifying inventions For The New Season, Maserati were a better, faster, stronger beast. That spirit shines bright on Maserati VII, their first album conceived since Fuchs' passing. Maserati has an uncanny ability to toggle time back and forth between the past, present, and future ? often in the span of one song. On Maserati VII, they're grounded and driven by new drummer Mike Albanese (Cinemechanica), whose dexterity and stamina prove a perfect fit for Maserati's trademark relentless, driving rhythms and epic song lengths, anchored by bass badass, Chris "Coach" McNeal. Maserati VII perfectly captures the essence and evolution of Maserati as face-melting, bone-rattling, ass-shaking Moroder Metal.

In 1992 Louisville, KY was home to a unique and diverse punk rock scene that was fast becoming a highly influential underground mecca, and for every Slint and Rodan there were a half dozen brilliant and forward-thinking bands that went virtually unnoticed ? most of whom were guilty of more than a little self-sabotage. Plenty of cities across the world have these kinds of musicians, the ones who are cherished in worn-out mixtapes and increasingly unbelievable stories of historic local live shows. The Telephone Man were one of those, and one of the best ones to ever fall through the cracks of Louisville music history. With a maturity and level of execution that betrayed their youthful age, they were the missing link between the introverted slow burn of Slint, the angular aggression of Bitch Magnet, and the emotional expressiveness of early 90s DC punk. It was a unique combination at the time, and twenty years later sounds downright prescient. Less than 75% of this collection ever saw the light of day, and even that was limited almost exclusively to short-run handmade cassettes passed around at live shows and sold at local record stores. Though its members would move on to more notable endeavors ? guitarist/singer Matthew Ronay is now a world-renowned artist based in NYC, while others continued to pursue music in a diverse array of bands, including Guilt, Ink & Dagger, The Metroschifter and Weird Weeds ? this beautifully remastered anthology fills in a little-known but enlightening piece of the legendary Louisville music puzzle.

Formed in London in 2011, Ultraísta is a multimedia trio founded on a mutual love of Afrobeat, electronic and dance music, visual art, and tequila. Its members are vocalist/artist Laura Bettinson, and multi-instrumentalist producers Nigel Godrich and Joey Waronker (whose collective resumes read like a guide to groundbreaking and culturally influential modern music). Their eponymous debut album is 10 tracks of highly infectious, exquisitelycrafted electronic kraut-pop. Favoring mantras over traditional choruses and distilling their compositions to the barest essentials, they possess the kind of masterful control over the pure anatomy of a pop song that only comes from having played a significant role in redefining the pop song in the 21st century. We've already said more than they probably wish we had. This album is superb.

For My Parents is the new album by MONO, the Japanese quartet who ? over the course of half a dozen albums in twice as many years ? has followed their own muse, and in the process have become "one of the most distinctive bands of the 21st century." They are an instrumental rock band whose melodies have grown increasingly lyrical, with increasingly transcendent execution. There is no doubting a MONO song when you hear it, and no denying their uncanny ability to feel perfectly at home in both pristine symphony halls and dirty rock clubs. In the way that only MONO can, For My Parents obliterates that divide, showcasing a sensitivity and maturity that simultaneously acknowledges where they came from, and where they're going. The songwriting is sharper, the dynamics are subtler, and the production is stunning. For the recording, the band once again enlisted The Wordless Music Orchestra for support, and the collaboration has never sounded stronger. The unique combination of soul-stirring melodies, cinematic East-meets-West arrangements, and firm command of elusive emotional intangibles is what makes MONO so...well, so MONO.

Well, we didn't expect this! After a 3-year hiatus following what we assumed was their swan song ? the sprawling double-album, Growing ? San Diego's Sleeping People return with this hypnotic fever-dream of a 12". Following the departure of guitarist Amber Coffman (who left to pursue herother group, The Dirty Projectors, full-time), Sleeping People's core group ? guitarist Kasey Boekholt, bassist Kenseth Thibideau, and drummer Brandon Relf ? reunited with original guitarist, the nimble-fingered Joileah Thalmann. The Sleeping People trademarks are all here: angular, dissonant riffs, mind-bending counterpoint guitar interplay, and grooving, stop/start dynamics. The major evolution here is the hefty amount of patience and primal repetition; each song unfolds over many minutes, revealing something new with repeated listens. In other words, it sounds like what you would expect from a band that draws equal inspiration from Yes, Steve Reich, and Tool.

Following the release of Verdugo Hills ? the second album from Caroline, the Japanese electronic-pop songstress and Mice Parade alum ? a slew of her peers graciously answered our calls for remixes and reinterpretations of every song from the acclaimed album. Not surprisingly, the results are more successful and less ephemeral than most remix albums ? a testament not only to the ingenuity of the various remixers on deck, but also Caroline?s weightless, angelic vocals which transcend even the most jarring sonic manipulations. Along with Caroline?s bandmates in Mice Parade, remixers include: Eluvium, Manual, Dntel, Dead Waiter, Lumia, Her Space Holiday, Rory Vallis, Dan Lippel, and JNH. Additionally, the album comes with a free MP3 download code that includes a bonus remix by Doug Scharin of Mice Parade/Codeine/June of 44 fame.