This is exactly what it sounds like, and what it sounds like is awesome. The first entry into this series turned up quietly and mysteriously last week, but it didn’t take long before people sussed out the folks responsible. Apparently, this is the brainchild of people affiliated with the Minneapolis hip-hop crew Doomtree, which is not at all surprising given Doomtree member P.O.S.‘s straight-up quoting of Fugazi on his outstanding (and underrated) Never Better.

And so, with no further backstory, Wugazi, a mashup of 36 Chambers-era Wu-Tang with classic Fugazi songs. They’ve been releasing a new song each week. If I were you, I’d keep this page bookmarked.

As we head into the 4th of July weekend with firecrackers in one hand and a frosty six-pack in the other, the eMusic staff thought we’d help soundtrack your next barbecue by offering some of our favorite reissues and best-of compilations — revolutionary records, if you will — for just $4.99 or less. As the old adage goes, there’s something for everyone here, from the minor-keyed moodiness of Joy Division, the Smiths and the Cure to the sucker-punch riffs of the Stooges, Black Sabbath and Pantera.

Tom Waits and Aphex Twin even emerged from hiding to share a pair of old fan favorites.

Let’s get into it then, shall we?

On August 30, Zach Condon — better known by his birth name, Beirut —will release The Rip Tide, a concept record about two former army buddies who open a detective agency on an L.A. Pier. A record this ambitious requires support, and support he will, with a string of dates stretching well into the fall. You can psych yourself up for The Rip Tide by listening to its first single, “East Harlem,” below. Tour dates after the jump.

Beirut – East Harlem by Revolver USA

Thu. June 30 — London, UK @ Hyde Park w/ Arcade Fire
Sun. July 3 — St. Gallen, Switzerland @ St. Gallen Fest
Tue. July 5 — Ferrara, Italy @ Costello PIazza
Thu. July 7 — Republic of Serbia @ Exit Festival
Sat. July 9 — Slovakia @ Pohoda
Tue. July 12 — Arles, France @ Arles Fest
Thu. July 14 — Meco, Portugal @ Super Bock Super Rock
Sat. July 16 — Valencia, Spain @ Benicassim Festival
Mon. July 18 — Lyon, France @ Les Nuits de Fourviere
Wed. July 20 — Nyon, Switzerland @ Paleo Festival
Fri. July 29 — Portland, ME @ State Theater
Sun. July 31 — Montreal, QC @ Osheaga
Tue. Aug. 2 –Toronto, ON @ The Phoenix
Thu. Aug. 4 –Toronto, ON @ The Phoenix w/ Owen Pallett
Fri. Aug. 5 — Sun. Aug. 7 – Chicago, IL @ Lollapalooza
Wed. Aug. 10 — Vancouver, BC @ Commodore
Fri. Aug. 12 — Portland, OR @ Crystal Ballroom
Sun. Aug. 14 — San Francisco, CA @ Outside Lands
Fri. Sep. 2 — Dorset, UK @ End of Road Festival
Sun. Sep. 4 — Stradbally, Ireland @ Electric Picnic
Tue. Sep. 6 — Manchester, UK @ Manchester Academy
Thu. Sep. 8 — Amsterdamn, Netherlands @ Paradiso
Mon. Sep. 12 — Paris, France @ Olympia
Wed. Sep. 14 — Brussels, Belgium @ AB
Fri. Sep. 16 — London, UK @ Brixton Academy
Wed. Sep. 21 – New York, NY @ Terminal 5
Thu. Sep. 22 – New York, NY @ Terminal 5
Wed. Sep. 28 – Denver, CO @ Fillmore Auditorium
Tue. Oct. 4 – Los Angeles, CA @ Greek Theatre
Sun. Oct. 9 – St. Louis, MO @ The Pageant
Tue. Oct. 11 – Royal Oak, MI @ Royal Oak Music Hall
Tue. Oct. 25 – Richmond, VA @ The National
Thu. Oct. 27 – Atlanta, GA @ Variety Playhouse
Sat. Oct. 29 – Austin, TX @ Stubbs Waller Creek
Fri. Nov. 11 – Cincinnati, OH @ Bogarts
Sun. Nov. 13 – Philadelphia, PA @ Electric Factory

It seems like just yesterday Chelsea Wolfe was releasing her stark solo debut, The Grime and the Glow, on the mysterious New York label Pendu. That title was no accident: the album was split between dense, overcast tracks that nestled Wolfe’s voice deep beneath strange waves of sound and tracks that purred and cooed slowly and only slightly ominously.

Well, if “Wasteland,” from her soon-to-be-released follow-up Apokalypsis, is any indication, the grime has won out. This is splendid, haunted house music: skin-crawling organ, distant ghostly clattering and Wolfe’s voice — pitch-bent and warped almost beyond recognition — mourning slowly and softly on top of it. It’s terrifically sinister, a fantastic omen of things to come.

Hear “Wasteland” here

Kissing Cousins-You Bring Me Down-Official Music Video from Kissing Cousins on Vimeo.

A few weeks ago, th LA band Kissing Cousins released their latest EP, Unfortunate End. Broadly speaking, the cousins traffic in the same kind of doomy, ’50s-inspired neo-garage as Dum Dum Girls and the Raveonettes, but there’s something about them that’s more haunting and unsettling. You can get a feel for that in this video for “You Bring Me Down,” which parodies the old WiP films, to slightly less disturbing effect.

Battles | Wall Street | A Take Away Show from La Blogotheque on Vimeo.

On June 7, Battles will end a four-year hiatus with the release of highly-anticipated second record Gloss Drop. So what’s the logical thing to do? Go to Paris with filmmaker Vincent Moon and record inside a room that looks, more or less, like an architectural take on a wedding cake. No snark intended! The room is gorgeous, and the song is as spiteful and crackling as any on Mirrored. Play this loud, and ready thyself for the return.

Last night at New York’s Bowery Ballroom there was a concert in celebration of the 10th Anniversary of Michael Azerrad’s seminal work on independent music, Our Band Could Be Your Life. And it was great. The concept was clever and worked perfectly: a who’s who of today’s indie all-stars (including eMusic Selects alums Yellow Ostrich!) performed 10-minute sets covering all of the bands in the book. Every set managed to be a little better than the one before it: Ted Leo performing Minor Threat backed by a tape machine, Titus Andronicus absolutely owning Replacements classics, Dirty Projectors tearing through Black Flag. But the absolute stunner of the night was St. Vincent, who pretty much became Big Black, completely leveling the room and causing about 500 jaws to collectively hit the ground. And I know we don’t have St. Vincent or Big Black on eMusic, but there are some things in life you just need to witness, regardless of limitations. This is one of those. After the jump you can watch a lower-video quality (but more punishing audio quality) version of both songs she performed.

UPDATE: Listen to every set from the show on NPR Music.

Guess what, guys? There’s a new Yuck song on the Internet. It’s called “Milkshake.” It is not the Kelis song “Milkshake.” I would make some stupid joke about “IT WOULD BE AWESOME IF IT WAS THO, RIGHT” but actually even trying to imagine what it might sound like makes my blood curdle in my veins. (I love Kelis’s “Milkshake.”) Love the fact that they worked in the audio of the Daniel Day-Lewis’s There Will Be Blood “I drink your milkshake!” speech in the outro, tho. Unexpected!

Via Stereogum.

Shook Down / Milkshake by Yuck

Well, here’s today’s Greatest Thing Ever. Just a few minutes ago, Nate Patrin — who writes for us as well as for a number of other places — brought to my attention via Twitter a collection of Scott Walker Remixes created by the London DJ Jim Sharp. Uh, so, these are amazing. He basically has given classic Walker songs like “The Plague” and “Montague Terrace (In Blue)” the full Danger Mouse treatment, girding them with a titanic backbeat and turning Walker into a hell of a hook man. I am blasting this as I type, infuriating everyone else in the eMusic Editorial Department. Tough luck, guys. Scott Walker will not be silenced by your need for courteous listening.

Infuriate your co-workers with the stream below. This is some seriously incredible shit.

Boy Child: Revisited EP by Championship Vinyl UK

BALKANS- ‘Troubled and Done’ from Frank Broyles on Vimeo.

One of yesterday’s pleasant surprises was the arrival of the debut by the Atlanta group Balkans. Don’t let the name fool you: there’s no ham-handed assimilation of world music going on here. Instead, Balkans traffic in stern, razor-sharp post-punk, bundling their songs in thick cables of guitar and topping them with Frankie Broyles’ stentorian howl. At times, they recall super-early Cure, (as in, Seventeen Seconds-era): bitter, pained, precise. That sense of minimalism is apparent in their super no-frills video for “Troubled and Done,” which finds the band delivering their rigid-but-hooky guitar-pop guilelessly, and against a green screen.