Previewage: You're Jovian Returns With Sparkling Pop "Revelations," Tour Hits O'Brien's Pub June 6

From an outsider's perspective anyway, You're Jovian feels like an intermittent project, so it is cause for much rejoicing when the Virginia Beach, VA shoegaze four surfaces. Although the band led by fronter and guitarist Elliot Malvas seems to come and go, it makes up for its ephemeral nature by routinely recording incredible songs. Over the weekend the latest iteration of the quartet (which has been together since November) took to the airwaves of Norfolk, VA's WODU for a live session. There You're Jovian premiered new tunes "Ball And Chain," "Pieces" and "Endless Possibilities;" that latter tune echoes in a pleasant way the sound of early Lilys circa the bootleg The Station Tapes, for those of you keeping score at home. One new number you didn't hear was the uptempo and bright gem "Revelations," which is, well, revelatory, and available now as a digital single on Bandcamp courtesy of the good people of Funny/Not Funny Records. It rides a cycling 12-string lick supporting sentimental lyrics and tasteful backing "ooohs" and "las." The chorus has a massive but soft hook, and then, suddenly, the song ends -- all too soon. The cleaner, more "pop" production feels like a fresh path for You're Jovian, and perhaps nods to anglophile influences held dear by Mr. Malvas, who told WODU the band is working on writing more constructed music that a live ensemble can really get behind.

Sadly, based on other remarks during the radio session, the band isn't playing "Revelations" on this tour, but there is other new music to be heard, although the only way you can acquire it -- for now -- is to go to a show. Fortunately, a very rare tour kicks off tonight, and those able to see the band rock should be able to get their hands on a new show-only cassette titled Singles. You're Jovian performs at O'Brien's Pub in Boston's Allston Rock City neighborhood Monday (that's June 6) with The Guilloteenagers and Motto; you can buy tickets ahead right here. Fans not in Boston, or even fans in Boston, should try to be in New York the prior night, as You're Jovian is slated to perform there with with colossal Clicky Clicky faves Infinity Girl. In unrelated, Post-Tour But Still A Big Deal Show News, You're Jovian will open Kurt Vile & The Violators' July 25 show at The NorVA in Norfolk, VA. Hot, right? Stream "Revelations" via the embed below, and be ready to stream it several more times right after that: it's that good.

You're Jovian: Bandcamp | Facebook | Soundcloud



06.02 -- The Blind -- Virginia Beach, VA
06.03 -- Tea Bazaar -- Charlottesville, VA
06.04 -- Paradise Lost -- New Brunswick, NJ
06.05 -- Shea Stadium -- Brooklyn, NY
06.06 -- O'Briens Pub -- Boston, MA
06.07 -- Kung Fu Necktie -- Philadelphia, PA
06.08 -- TBA -- Washington, D.C.
06.09 -- Golden Pony -- Harrisonburg, VA
06.10 -- Charlie's American Cafe -- Norfolk, VA

Previously:
Today's Hotness: You're Jovian
Today's Hotness: You're Jovian

Clicky Clicky Music's Top Albums of 2015: Jay Edition

Well, here we are at the end of a terrific year in music. Seriously -- not a lot of haters hatin' right now, are there? Not that we ever countenance such nonsense. Our annual refrain is that if you didn't hear any new music that knocked your socks off in a given year, that's on you (to paraphrase Mr. Lydon). 2016 doesn't look like it will disappoint, either. Below we name 10 albums from this year that we deem indispensable. But first a brief aside: one meaningful measure of just how excellent a year it was for music is to take stock of those records that fell just short of making our list. Ten acts whose terrific records and extended plays rated very high at Clicky Clicky HQ, but which ultimately didn't garner a slot, are All Dogs, Courtney Barnett, William Basinski, Beach Slang, Bedroom Eyes, Bully, Coaches, Palehound and BandFFs Speedy Ortiz, and Thin Lips. With that as context, our 10 favorites, the anointed ones, are listed and linked below. Before you dive in, we'd like to offer sincere thanks to you and all of our readers for whiling away the hours in our electronic pages this year. And special thanks to writers Edward Charlton and Dillon Riley, champions each, who help move Clicky Clicky forward year in and year out -- thanks doods. See you all in 2016.

1. Funeral Advantage -- Body Is Dead -- The Native Sound [buy]

We often return to Carrie Brownstein's quote in this 2011 interview, in which she says "'The reason [a given band is] not The Clash is not necessarily because they're not The Clash, but because I don't need them as much as I needed Joe Strummer in 1990.' The way you need and relate to music changes." And we bring that up now because one of the primary reasons we love Funeral Advantage's flawless debut long-player Body Is Dead is that it was exactly what we needed during a particularly stressful time. This is not to discount the understated beauty that permeates every song of the record; indeed, we applauded a number of the songs from Body Is Dead here and here as the summer days waned. Body Is Dead hits an aural sweet spot first charted by New Order and then idly circled by M83. The record has an internal consistency, terrific pacing, very appealing melodies, and significant emotional weight, all of which make it the kind of record you can listen to on repeat for hours on end. Which we did.



2. Infinity Girl -- Harm -- Topshelf Records [buy]

We lived with Harm for so long before it came out that (true story) we jokingly threatened one of the band members when we learned that the album running order we had grown accustomed to would not be the running order of the commercial release. Infinity Girl from its earliest days has consistently made the kind of music to which Clicky Clicky readily and strongly bonds, and Harm is no exception. This is evidenced in part by our selection of the banger "Dirty Sun" as our top song of 2015, but the fact is Harm is so much more than that song. Every tune pulls its weight, and as a set Harm highlights the increased influence on the band of both post-punk sounds and the stronger role of lead guitarist Kyle Oppenheimer as a songwriter. The record is darker and harder than prior efforts, something its title suggests, but it is also Infinity Girl's strongest collection song for song, which renders it indispensable. We're very excited to hear what the foursome does next.



3. Spectres -- Dying -- Sonic Cathedral [buy]

We came across an adjective at some point earlier this year and grew very excited, because 1) we are nerds and 2) we realized it fit into a single word a sentiment that we usually expended many more to describe. The word is "uncompromising," and while many of our favorite records could be described as such, among our favorite albums of 2015 the descriptor best suits Spectres' dark and dense triumph Dying. The record is rife with squalling, brawling guitars that scrape against the stereo field, and the band's wanton and hedonistic embrace of noise is refreshing. But as is characteristic of the key proponents of the approach -- and we're thinking of Sonic Youth here -- it is Spectres' deft control of same that makes its music so thrilling. Dying is tidy when it needs to be, and arty when it wants to be, but never strays so far from the music's psych-blues foundation as to lose focus. The sinister record's seething and brooding so very potent, the cacophony so euphoric, and all of the above makes Dying among the best records of 2015.



4. Krill -- A Distant Fist Unclenching -- Exploding In Sound [buy]

It's hard to write about this record without a sense of disappointment; not because the promise of Krill was unfulfilled, but because fronter Jonah Furman's inward exploration was among the most meaningful exercises in indie rock; how and whether it will continue still seems undetermined (although Mr. Furman has been playing solo shows in recent months). Instead of viewing it through the lens of the threesome's dissolution, it is fairer to consider A Distant Fist Unclenching a rock record, and in that context it is very easy to celebrate, as guitarist Aaron Ratoff's imaginative arrays of notes and incisive chordal assaults, Mr. Furman's elastic and curious bass playing and Ian Becker's drumming make the trio's ensemble playing incredibly exciting. And with such terrific songs with which to work out its weirdness, A Distant Fist Unclenching is both gratifying and unstoppable. Sure, that the band perceived no next logical step beyond this one is sad. But there is something thrilling in the band's willingness to walk away without diluting its power one iota. A Distant Fist Unclenching is the straight dope.



5. Fog Lake -- Victoria Park -- Orchid Tapes [buy]

Haunting and heartbroken, Fog Lake's wondrous Victoria Park feels like standing on the shore and watching helplessly as a ship inexorably sinks below the surface. The vivid yet nostalgic long-player is the handiwork of a one-man chamber-pop project helmed by St. John's, Newfoundland's Aaron Powell. Built up from somewhat androgynous vocals, sturdy piano chords, and sweeping drones that spread across the stereo field like plush carpet, the set is wistful and dreamy and endlessly listenable. And while Orchid Tapes had an incredible year (remember that Katie Dey record?), we'd be hard pressed to rate one of its other releases higher than Fog Lake's textural and engaging tour de force.



6. Stove -- Is Stupider -- Exploding In Sound [buy]

The music of Stove so closely resembles the music we came of age with (Dinosaur Jr., Lemonheads) that we are helpless not to love it. Not that it doesn't have its own arresting personality (by which we mean mastermind Steve Harlett's personality), but even Mr. Harlett's wry and dry wit echoes that of legendary losercore proponent Lou Barlow. Even so, ultimately it is the incredible songs that kept this album in heavy, heavy rotation as soon as Is Stupider was released: not the least of which is the yearning "Wet Food," which is about as perfect a song as any guitar band released in 2015. And maybe 2014, too. Is Stupider keeps on giving, all the way across its 40 minutes. Let it.



7. Hop Along -- Painted Shut -- Saddle Creek [buy]

Hop Along's titanic sophomore set is vivid and electric, filled with spiky guitar work that colors the jagged emotions pronounced by fronter Frances Quinlan, the most captivating singer in indie rock right now. On this record the band introduces as second guitarist former Algernon Cadwallader dude Joe Reinhart (whose label Hot Green issued the first Hop Along LP), and his playing applies crucial new dimensions to Ms. Quinlan and company's music. We turned on to the record later in the year than we should have, and the more we listen the more we believe it should rate even higher on our year-end list. Painted Shut is truly special, endlessly listenable, and a sure sign that Hop Along is making epochal music.



8. Dogs On Acid -- Dogs On Acid -- Jade Tree [buy]

As with Stove's LP mentioned supra, we are extraordinarily predisposed to like this record because of the big guitars and big melodies. It doesn't hurt that this band ALSO includes former members of the mighty Algernon Cadwallader, also mentioned above. Dogs On Acid is a guitar-pop record of the first order, just terrific songwriting that is gracious with the melodies but respectful of the listener's smarts. Big primary color melodies are painted over swinging rhythms and sparkling and imaginative guitar playing, and these conspire to take what at its base is pop-punk music and elevate it to an art form. Perhaps more than any of the other releases on our list, this record is just flat-out and universally enjoyable, the kind of thing you could put in the tape deck of your parents' car with little fear of repercussions. Maybe? Change your life.



9. Colleen -- Captain Of None -- Thrill Jockey [buy]

Otherworldly, thoughtful and textured, Captain Of None overflows with an optimistic belief in the transformative power of music. The set marries mastermind Cécile Schott's adherence to electroacoustics with her deep-rooted love for dub reggae. And while the pairing might seem like a stretch, there is nothing about the mysteriously beautiful Captain Of None that feels forced or anxious. Fluid looping, pensive vocals, and patient pacing make the set the most meditative of all of our year-end favorites. We were delighted to see a follow-up was initially coming along relatively quickly, and although Ms. Schott recently shared that she has had a difficult year that slowed her process on her planned new collection, its seems a new set will be along before too long. Even so, we've still got plenty of dreams to dream along to Captain Of None before we get antsy for new sounds. Highly recommended.



10. Swings -- Sugarwater -- Exploding In Sound [buy]

The marvelous and impressionistic slowcore of the D.C.-based unit Swings is terrifically appealing; it trades in impressively controlled dynamics, rhythms that fluidly flex and contract, and slippery, indeterminate vocals that provide a foil for both. The band's sophomore set Sugarwater feels especially confident, given the performers' relative youth. There is no casting about, no stylistic shots in the dark that indicate Swings yet questions its artful approach to subdued post-punk. The confidence also manifests in nifty production choices, like the autotune on the vocals on the standout preview track "Tiles," or the delicious shell resonance on the snare drum in "Blood On Seersucker," whose title belies the carefree moments provided in the tune's verses. It is not terribly often we encounter a band so young yet so smart, and Sugarwater is all the better because of Swings' fresh approach to songwriting.

Clicky Clicky Music's Top Songs of 2015: Jay Edition

2015 was surely an incredible year for music, with each week delivering exciting new sounds from all corners. Clicky Clicky devoted most of its electronic column inches to acts hailing from the U.S. (and particularly our hometown of Boston) and the U.K., but also featured acts from Australia, France and Portugal, and probably other places we're forgetting. This year, favorite songs were a little more difficult to select than over the past decade that we've been doing this, in part because of the vast amount of great things to choose from (how is there not a Beach Slang or Stove song on this list? Shit is competitive, yo...), and also because we spent a lot of time seeking out records that don't necessarily reveal themselves all at once, records that establish and maintain their own peculiar universe of meaning. Even so, it is most often the case that our favorites immediately rise to the top, and that's true of more than half of the songs below. Some of our favorite records were sleepers, and some songs they contained were more insidious in their efforts to dominate our consciousness and subconscious.

So while the Infinity Girl track below was immediately addicting and we've listened to it scores of times, the Colleen track and others like it snuck up on us, suddenly and surprisingly dropping into our brain out of our mouth during a quiet dog walk or long commutes in the car. No matter how they got there, all 10 songs listed below are a part of us now, and we'll always associate them with 2015. We hope you enjoy them as much as we do. Keep an eye open for our year-end albums list, which will be along sometime in the run-up to Christmas, but in the meantime we invite you to rock out to Clicky Clicky Music Blog's Top Songs of 2015: Jay Edition, either a la carte via the individual embeds below, or via this both handy and dandy Sporkify playlist (which sadly but necessarily omits the cracking Hard Left track, which is presently unavailable via the service). We salute the bands below, and we thank you, dear reader, for passing the year with us. There's a lot coming up from Clicky Clicky in 2016, so remain vigilant.

1. Infinity Girl -- "Dirty Sun" -- Harm [buy]

"Dirty Sun" emerges from noise and feedback and then swells into shape on the back of Mitch Stewart's driving bass melody, which is truly the secret sauce of this, Infinity Girl's most potent pop moment since the towering "Please Forget" that featured on the band's 2012 debut Stop Being On My Side. "Dirty Sun" is even more vibrant, its crackling pace providing an irresistible pull that never betrays the listener. The Brooklyn foursome's characteristically colossal guitars and fronter Nolan Eley's cool vocal acquit themselves wonderfully, and it is the latter that supplies the strongest, if most understated, hook. Mr. Eley's narrative of a love going off the rails effectively captures the teetering feeling where romance goes from intoxicating to irreparable. That the band can make it all sound so arresting is a testament to the pop smarts that help make Infinity Girl one of today's most exciting indie acts.

"...you said you were OK, but I don't buy it, you used to get excited..."



2. Funeral Advantage -- "Gardensong" -- Body Is Dead [buy]

It's soothing and fantastic, and appointed with glistening guitars. It's dense but light, basks in airy reverbs and touts curiously affecting robot-voiced verses. It's "Gardensong," and it stands out like a crown jewel even on one of the year's standout records, the Boston dream-pop heroes' debut long-player. Fronter Tyler Kershaw's vocals are heavily veiled within the song's dreamy, trance-like state, but enough of them bob above the steady waves of crystalline, delayed guitars and the surprisingly crispy beat to indicate affairs of the heart are at issue. A glance at the lyrics reveals lovers at an impasse, a place where the thing that they both want is not the right thing. The still sweetness of that resignation is nearly as fetching as the song's melody, which is gently arrayed along layered guitars and bass whose sounds seem to stretch to a sunny horizon, despite Mr. Kershaw's downcast lyrics.

"...so if you’re not there then I'm not there / so just close your eyes..."



3. Dogs On Acid -- "Let The Bombs Fall Off" -- Dogs On Acid [buy]

Love can bring you down, but "Let The Bombs Off" feels like a celebration, despite the desperate times conveyed in its lyrics. Perhaps we can attribute that to the singular imaginary Philadelphia that exists in our head and heart; collectively, the city's indie rockers seem to have historically colored their lovelorn sentiments with a certain determination to live on -- it's just part and parcel of the city's DNA. Indeed, on "Let The Bombs Fall Off" Dogs On Acid fronter Peter Helmis (ex-Algernon Cadwalader) sings of wishing he was a widow ("'cause then I'd know that you're not coming back") and crashing his dream car ("just to see you shake"), but with a delivery that is more determined that dour. The song's chugging rhythm, deliciously chunky bass and bright guitar work don't take a backseat to the vocals, however. The splashes of bending guitar in the chorus recall the heyday of the absolutely brilliant Meneguar, but truly every second of the tune is paved gutter-to-gutter with hooks.

"...blowing up my whole vicinity / I'm learning to stop worrying..."



4. Fog Lake -- "Dog Years" -- Victoria Park [buy]

This song is absolutely devastating, and in our estimation is the most devastating song of 2015. "Dog Years" is a bottomlessly poignant chamber-pop ballad from Canadian outfit Fog Lake; its whispered vocals carry a patina of menace limned by droning strings that unspool across a bed of watery piano chords. The narrator sings from a place of desolation, but the song's understated but haunting melody hints at the possibility of salvation, especially as a curtain of angelic keys swallows the song. Whether or not deliverance is ever achieved is as much as mystery as how it could have been achieved, but the understated melodrama of "Dog Years" is nonetheless perfect, and makes for a terrifically affecting piece of work.

"...haven't you heard / I know everything / I've heard angels calling me..."



5. Swings -- "Tiles" -- Sugarwater [buy]

At its best the curious music of Swings presents terrifically appealing shards of forgotten dreams, and "Tiles" is certainly the D.C. trio at its best. The song feels extracted from fleeting waking moments, when your subconscious rapidly falls away just as it reveals some deeper truth with its fading mirror. At least, that's as good an explanation as any for what is going on here, as fronter Jamie Finucane's elastic vocals are notoriously unparsible, much in the way Elizabeth Fraser's were in the front end of the Cocteau Twins catalogue. The skeletal pulse of "Tiles"'s arrangement and its cycling, ascending, straightforward melody erected from bass and guitar quarter notes set a sturdy table for Mr. Finucane's lyrics, which almost wink as they don apparent (if not actual) vocoder, change shape as vampire does to bat, and flitter off into a mysterious firmament that is distinctly the band's own.

"...one hundred percentaaaaaa WHAT THE FUCK IS HE SINGING I DON'T EVEN KNOW..."



6. Hard Left -- "Kicking It Off" -- We Are Hard Left [buy]

As social challenges have mounted during this century, it has been persistently disappointing that indie rock has not responded in kind with calls to arms, with ideas, with possible leadership toward meaningful joint solutions. You might be asking, well, why should they? To which Clicky Clicky says, why shouldn't they? Instead, macro political issues were largely ignored -- and we are not the better for it. It's an idea we discussed with comrades Mike and Tim from Hard Left here last spring, around the time of the release of the Oakland-based quartet's cracking full-length debut. Album highlight "Kicking It Off" is both exhortation and affirmation, a vow to act, and we're hopeful that it can be a model to the wider independent music community, that eventually the song will be perceived as the tip of the spear. Hard Left here delivers an uplifting, energizing banger descended straight from the day of Joe Strummer and The Clash, big fuzzy guitars, vocals that testify, beats that bang. Heed the call. Start today.

"...making do with what we didn't choose..."



7. All Dogs -- "Flowers" -- Kicking Every Day [buy]

There is magic in big guitars and steady harmonies and yearning sentiments: it's an age-old recipe, to be sure, but one that still can yield spine-tingling results when applied by skilled songwriters and performers. Columbus, Ohio four All Dogs certainly capture the lightning in the bottle here with "Flowers," although it is difficult to pick just one track from the band's terrific long-playing debut Kicking Every Day. Here the band seems to strongly channel classic Superchunk, but it is fronter Maryn Jones' charming, poignant vocal that is impossible to ignore. At fewer than 140 seconds in length, this song perhaps more than any other on our list likely keeps fans' fingers poised just above the play button and ready for another go, as 5, 10 and 20 listens just isn't enough. Gold.

"...our bodies are longing for things you don't know..."



8. Colleen -- "This Hammer Breaks" -- Captain Of None [buy]

Hand percussion like heavy steady rain (perhaps struck off her favored instrument, the viola de gamba), and quietly chanted vocals that layer and diffract, render Colleen's "This Hammer Breaks" eery and enchanting, much like the rest of her excellent 2015 set Captain Of None. The record explored mastermind Cécile Schott's love of dub reggae music, which is reflected her in the delays and reverbs that push and pull on the percussion and vocals here. The second half of the composition dives deeply into a polyrhythm and cleverly leverages production elements to render something mysterious and maximal from relatively minimal instrumentation. Squeaky, spacey tones overtake the songs and pulse through the final minute of "This Hammer Breaks," and it seems as if the entire composition is sucked down a drain at its close, adding to and not detracting from a truly mesmerizing listen.

"...you never know what's in the heart..."



9. Krill -- "Phantom" -- A Distant Fist Unclenching [buy]

It turns out Krill in one very real sense is not forever. And we had a hard time choosing just which tune from its 2015 swan song represented the whole of the band for Clicky Clicky. A strong argument could be made that "It Ends" hosts a multiplicity of meanings that make it a strong proxy for the set. But Krill has always been about the investigation, and so ultimately we chose the song that opens, rather than closes, A Distant Fist Unclenching as one of our favorite songs of the year. The song's rocking middle third, with bashing percussion and fronter Jonah Furman's exercised vocal, is especially engaging, but it is the song's understated coda -- and Mr. Furman's incisive questions that plumb the parameters of one's internal and external lives -- that is startlingly thrilling in its bare truth.

"...what is the proper orientation of the world to me? and does it have to be to me..."



10. Spectres -- "Blood In The Cups" -- Dying [buy]

Albums this purposefully dark can feel campy, but there is no wink and nod to be found on Spectres' stunning full-length Dying (winks and nods seem reserved for the band's videos and social media posts, which are regularly deliciously funny and irreverent). While still boasting the Bristol, England-based foursome's characteristic, Sonic Youth-indebted aural assault, "Blood In The Cups" is among the set's most melodic compositions, and its balance of beauty and firepower is terrifically compelling. Spectres' greatest skill is conjuring visceral moodscapes with its music, and "Blood In The Cups" exemplifies this, stretching anxiously but languorously across almost eight minutes with a psych-blues derived sound that recalls LA's The Warlocks. With its pulsing bass, spectral vocals, and maelstroms of guitar, "Blood In The Cups" presents a perfect storm, while highlighting Spectres' terrific vision and control.

"...aaaaaaaaaaaaaaaaaaaaaaa..."

Today's Hotness: Coaches, Du Vide, Big Nice

>> It's been some time since we last heard from shoegaze luminaries Coaches, but that's little surprise. In our interview a year ago with band mastermind Brady Custis, he said Coaches works slowly and methodically. Add to the mix that the band in the past year relocated to Brooklyn and changed up the lineup (for example, drumming duties are now executed by Infinity Girl cannoneer Seb Modak), and one gets a sense of how the quintet has filled its days. But at long last it has announced it is releasing Shush, a dynamic, dynamite and highly textured EP of big-guitar post-punk, later this month. The four-song set explodes out of the gate with back-to-back thrillers. First comes the feedback-spangled, fuzz-bass fueled rocker "That Not This;" the tune starts smart and gets smarter, injecting hard rhythmic changes that culminate in a muscular groove. This is followed by the first preview track from the short set, "Elizabeth Warren," which is refreshingly what one hopes it will be: a raging rocker detailing an infatuation with the wonderful and wise U.S. Senator from the great Commonwealth of Massachusetts. It's safe to say this is the only song you will hear that says longingly of Warren, "Elizabeth, the trouble is you're for the people but I'm just one person." The more subdued but no less engaging "Blond Cop," which alternates between slinky and roaring, and the relatively ambient gloomer "Death Etiquette," round out the EP, and these tunes are similarly strong. And so while Shush is a late entrant in 2015, it surely counts among the best EPs of the year. The increasingly crucial Disposable America label releases the set in a limited edition of 100 pink or yellow cassettes Dec. 11, and you can pe-order a copy right here. Coaches fêtes the release of the EP at the recently announced Noise For Toys II, a Toys For Tots benefit house show in Allston Rock City Dec. 12. The bill also features Western Mass. 'gaze heavyweights Kindling, Boston's rising demigods Elizabeth Colour Wheel, and Gold Muse, the new project featuring members of Soccer Mom, Earthquake Party! and Swirlies. For venue details, ask a punk; in the meantime, go buy a new, unwrapped present for a kid, as that is the preferred entry fee to the big, big rock show. Stream the aforementioned "That Not This" and "Elizabeth Warren" via the Bandcamp embed below. We last wrote about Coaches a year ago here, when we got a look around the band's rehearsal space for our Show Us Yours feature.



>> We're very taken with the gentlemanly pop sound of Boston trio Du Vide. Indeed, not since the heyday of local legends Pants Yell! have we been so hopeful about the state of the city's indie pop. The threesome's recently released sophomore EP Clutter features three accomplished compositions that exhibit terrific playing and songcraft. Opener "The Hell It Is" blends elements of slowcore and coctail jazz drumming and guitar work with introverted, downcast vocals whose vibe suggests Chet Baker and Sam Prekop, while being more sonically akin to those of Conor Oberst. The song hits a firm crescendo and is carried off by one big guitar chord. The succeeding tune "A Sharp Inhale" ups the rock quotient at first, but then vacillates between explosive and delicate moments, highlighted by big emotive singing at one extreme and velvet soft drumming at the other. The pretty, acoustic ballad "Word Vomit" provides the EP's final word, where somewhat morose lyrics share space with thoughtfully layered guitars. The lyrics are particularly strong, grabbing the listener with elongated vowels and presenting some small truth writ large: "it's been a long weekend, a long night so far..." According to this recent Facebook post, Du Vide is nearly finished recording a debut long-player, which we're very keen to hear. The band's next live appearance will be Jan. 6 at Arlene's Grocery in Manhattan, but we've got it on pretty good authority that you'll be able to see the band live not long after that back in Boston, so stay tuned. Clutter was released to the wilds of the Interpants as a digital download Nov. 2; stream the entire thing via the Bandcamp embed below, and click through to download it for any price. Du Vide's prior EP In Hiding was issued as a digital download in May, and the band has also released two digital singles, all of which we'd rate as crucial.



>> Bradford Krieger is a number of things: one-time talent booker at River Gods, operator of Hanging Horse Studios in Norwood, Mass. (where he has recorded hitmakers of the day including Dirty Dishes, IAN and Horse Jumper of Love), and now those of you keeping score at home can also mark Mr. Krieger down as the man behind Big Nice. That a studio guy would also make music is little surprise; that his apparent first outing so deftly packs great detail (such as the vocal harmonies in the Flaming Lips-echoing tune "Upwards," or the backwards stick strikes of "Vino") into relatively spare arrangements is quite noteworthy. The aforementioned tunes feature on a recently released short stack simply titled EP1, which was released to the wilds of the Internerds as a digital download Nov. 4. Krieger coaxes some very nifty sounds, but tastefully downplays them: the second minute of the jaunty instrumental "Vino" builds upwwards from a sturdy 12-string melody line, then throws octave pedal into a knot of particularly slippery guitars. The gently swinging "Ta Dum" underscores the EPs fresh, snappy vibe, bashing and popping its way toward a series of chords played on an organ that meander away like one affected by dementia. Closer "Moss" is not only the most conventional tune of the set, but also its highlight: not bad for a casual strummer that clocks a mere 87 seconds. Stream the entire kebab via the Bandcamp embed below, and click through to download for any price. And keep your fingers crossed that Big Nice eventually manifests itself as a live entity. We'll be waiting.

Infinity Girl, Kindling, Elizabeth Colour Wheel, Big Eater | Out Of The Blue Too | 8 Nov.

Just look at this goddamn show tonight.

Infinity Girl: Bandcamp | Facebook
Kindling: Bandcamp | Facebook | Internerds
Elizabeth Colour Wheel: Bandcamp | Facebook
Big Eater: Bandcamp | Facebook

Review: Infinity Girl | Harm

Reverent adherence to a musical aesthetic in the absence of terrific songwriting makes for forgettable music. It's a truism that separates the propped-up sounds of otherwise accomplished stylists from music on ephiphany-inducing records such as Harm, the towering sophomore LP from Brooklyn shoegaze titans Infinity Girl. The erstwhile Boston quartet has in the past remarkably conjured sounds reflecting a deep respect for the holy trinity of shoegaze, but were it not for Infinity Girl's inspired songcraft and the emotional immediacy of its songs, no one would be listening, and we certainly wouldn't be (figuratively) talking. However, it is not just the great songwriting that distinguishes Harm, but also the act's willingness to shed certain of shoegaze's characteristic sonic skin and experiment with weirder, harder and more compact sounds. The result is a breakout record, a modern classic.

Harm's 11 songs evidence the band's ability to make expansive, urbane music, while incorporating a classic punk urbanness and economy. Inspired at least in part by the band's shift in fits and starts southward, the record is darker, grappling with alienation and anxiety along with the expected heartache ("I'm kind of an introvert and find that I have a difficult relationship with the world and people that are close to me," fronter and guitarist Nolan Eley told Interview earlier this summer). The bending, fuzz-bass-fueled opener "Hesse" gives the album a feeling of beginning en medias res, which perhaps approximates the feeling of arriving in Brooklyn during the gestation of the record. While the sound and vibe is definitely darker, the record is certainly not all doom and gloom. The colossal -- colossal -- hit "Dirty Sun" is an addicting, upbeat rocker, despite its recitation of love gone wrong ("...navigate your arms, they are crossed, like they always are..."). And there is joy in the quick pulse and subsequent stilted thrash of "Heavy." Another important piece of Harm is the growing role of lead guitarist Kyle Oppenheimer as a songwriter and vocalist; his arresting and sweet "Young," in particular, teeters at the edge of an innocence lost, his desperate, broken-winged vocal in the final 40 seconds will raise the hair on the back of one's neck.

Giving the record the headphones treatment quickly brings into focus that the delays and reverbs that are the stock in trade of the classic shoegaze sound have been significantly tamped down. The meaner, more sculpted textures Infinity Girl presents make Harm its most sophisticated record to date, and this is perhaps nowhere more apparent than on the amazing "Locklaun." After a stuttering opening, the tune's huge sonic surges recall Nine Inch Nails' brutalist excoriation "Wish" or even certain ridiculously loud Jon Spencer guitar solos. Sebastian Modak's drumming here and across the record is caffeinated to the point of punchy, emphasizing the post-punk heart beating here. And so Harm is a next-level record that has literally taken the band to the next level. The band revealed in late spring that it had signed with San Diego-based emo powerhouse Topshelf Records for the release, which streeted Friday. With Harm, Infinity Girl has released not only a truly great record, but a defining noise-pop record, on par with monumental releases from its original Boston base of operations including Swirlies' Blonder Tongue Audio Baton and Drop Nineteens' epochal Delaware.

Harm is available on black, grey marble and clear with "black smoke" 12" vinyl -- available a la carte or as a 3-LP bundle -- and digital download; order your copy from Topshelf Records right here. Infinity Girl fête the release of Harm with two big, big rock shows, including one Sept. 5 in Boston at Great Scott with psych-rockers The New Highway Hymnal, Fiddlehead, and the highly touted Gold Muse, who we believe will be at long last making their live debut. For those of you keeping score at home, Gold Muse consists of former members of Soccer Mom, Justin Lally from pop savants Earthquake Party! (whose long, long anticipated debut long-player seems to have finally been completed), and Deb Warfield, who has logged time with scad of acts including the aforementioned Swirlies and Broken River Prophet. Additional Infinity Girl shows include the Brooklyn release show at Shea Stadium Wednesday and a date Sept. 29 at Palisades, also in Brooklyn. We've heard chatter that there will be a formal tour before the end of the year, so keep your eyes trained to the trusty Internet, where all things will be revealed unto you. Stream three preview singles from Harm via the SoundCloud embeds below, or click here to stream the whole banana over at Billbored.

Infinity Girl: Bandcamp | Facebook | Internerds | Soundcloud







Prior Infinity Girl Coverage:
That Was The Show That Was: Infinity Girl, Lubec, Guillermo Sexo, Havania Whaal | Great Scott | 9 July
Topshelf Signs Infinity Girl, Titanic Sophomore LP Harm Due Aug. 28, Hear First Single "Firehead" Now
Clicky Clicky Music Blog's Top Albums Of 2012: Jay Edition
That Was The Show That Was: Infinity Girl EP Release Show With New Highway Hymnal, Speedy Ortiz and Soccer Mom | TT The Bear's | 5 Dec.
That Was The Show That Was: Clicky Clicky Community Servings Benefit Show Thank Yous And Wrap-Up
Today's Hotness: Infinity Girl
Review: Infinity Girl | Just Like Lovers EP
Forever Now: The Infinity Girl Interview
Review: Infinity Girl | Stop Being On My Side

That Was The Show That Was: Infinity Girl, Lubec, Guillermo Sexo, Havania Whaal | Great Scott | 9 July

We're going to remember this one for a long time. Not only was this big, big, big rock show Thursday night our first-ever IRL meeting with a very old and good friend, it was also our first time seeing Clicky Clicky fave Lubec and now-Clicky Clicky fave Havania Whaal. Our good friends in Guillermo Sexo were reliably spectacular, and shoegaze heroes Infinity Girl were just heroic. Great show, five stars, would recommend seeing again.

But of course there's more to it than that. Openers and Oregonites Havania Whaal was probably the least-known quantity for most folks in Boston -- locale of the first night of HW's tour with BandFF's Lubec -- and a number of folks sidled up to us to remark at how the trio impressed. The band opted for more uptempo and immediate material for its live set, which somewhat played down the band's characteristic darkwave flavor, but revealed in aural glimpses some of the band's more classic influences in Versus and Unrest. Official Show Saviors Guillermo Sexo backlined the entire night with their gear, but perhaps bigger contribution was its amazing set, which was richly textured and firmly dreamy. The band's stock in trade is atmospheric and moody psych-rock, which we've written about here in these electronic pages for years, but even after a decade Guillero Sexo is finding new tricks up their collective and proverbial sleeve. Its set was heavily tilted toward brand-new material, and the second song out of the gate was a stunner, uplifting and transcendant in a way we have not yet heard the band do it. We are eager to hear what comes next; a video for the new-ish tune "Graffiti Skies" is about to be unleashed, so keep your eyes open for that.

Lubec was simply tremendous, a constantly crescendoing miracle of dream-pop, its three players and their playing both perfectly aligned and balanced. The Portland three has played with a second guitarist previously, and we were wondering if we'd miss that element in the mix, but fronter Eddie Charlton's guitar work, keyboardist Caroline Jackson's work holding down the low and and spangling the upper register, and Matt Dressen's sturdy drumming complement each other in a remarkably graceful way. Lubec played the three songs from its hotly anticipated "Concentration" single (which will be out on vinyl and cassette via Like Young and Touchy Feely, respectively) as well as hits from its 2014 masterpiece The Thrall [review]. Finally, Infinity Girl delivered a powerful reminder of just what got these guys signed to Topshelf Records earlier this year. Its dynamic set included classics including "Please Forget" as well as its latest single, but we were particularly thrilled to hear them play what will surely be a monster hit, the uptempo and blurry instant classic "Dirty Sun." Trust us: the song is massive, like Top 10 all-time-favorite-songs massive. Infinity Girl will be back in Boston in early September playing a release show with totes sick support for its tremendous sophomore set Harm, which will be issued by Topshelf Aug. 17 [details].

Lubec and Havania Whaal's tour jogged to the left for a show in Worcester, Mass. Friday and blazed through Brooklyn just this afternoon, and from here on out they are heading due south toward Jacksonville, playing dates en route with Clicky Clicky faves Golden Gurls and Swings. The remaining tour dates are posted at the bottom of this item. We suppose this is as good a place as any to note that Golden Gurls seem to be brushing off the cobwebs and becoming more active again. The Baltimore trio loosed to the wilds of the Internerds late last month a short stack of demos called, unsurprisingly, New Old Demos [link], and we have it on good authority the band has new material in the works, so keep an ear on Baltimore. Well, not all of Baltimore, pretty much just them and a few others, yeh?

Big thanks go to Carl, Jesse and Dan at Great Scott, as without their support there'd have been no show and that would have been super-sad. Now is probably an opportune time to mention that this Clicky Clicky Presents thing is sort of happening, and will continue to happen, and we're planning a bunch of first-rate rock events straight through into the new year, which year will include a certain blog's 10th anniversary, based on the most reliable metric of measuring such things. Anyway, keep your gaze trained on this page, our Facebook dojo and Twitter outpost. You'll be glad you did. Now why don't you go grab another beer and stream the songs below?

Infinity Girl: Bandcamp | Facebook
Lubec: Bandcamp | Facebook
Guillermo Sexo: Bandcamp | Facebook
Havania Whaal: Facebook | Internerds









Lubec / Havania Whaal Tour Dates:
07.12 -- Philadelphia PA -- Bourbon & Branch
07.13 -- Baltimore MD -- Reverb
07.14 -- Washington, DC -- The Pinch
07.15 -- Norfolk, VA -- The Taphouse
07.16 -- Raleigh, NC -- Prisma Video
07.17 -- Asheville, NC -- Mothlight
07.18 -- Athens GA -- Flicker Bar
07.19 -- Jacksonville FL -- Burro Bar w/ Round Eye

Clicky Clicky Presents: Infinity Girl, Lubec, Guillermo Sexo, HavaniaWhaal | Great Scott, Boston | 9 July

We promised an official announcement weeks ago when the date gelled, but, well, we've been busy, you've been busy, Mercury was in retrograde, etc. But here we are, with the big, big official announcement of our second Clicky Clicky Presents event (if you count the Together series as one thing) of 2015: July 9. Great Scott rock club in Boston. Infinity Girl. Lubec. Guillermo Sexo. Havania Whaal.

Es correcto! That's just 10 days hence. And these bands have stuff going on. Shoegaze titans Infinity Girl recently announced they had signed with Topshelf Records, and its sophomore album Harm will be released in August. The Brooklyn four's first preview single made a splash on the Internerds, and we can assure readers that any other preview singles -- should they come along -- will also blow minds. Portland, OR dream-pop gigantes Lubec are prepping a new vinyl and cassette release featuring the tunes "Concentration" and, as the embed below illustrates, "Many Worlds." Boston psych-pop stalwarts Guillermo Sexo launched early this month a very, very cool video for its new tune "Graffiti Sky," which is the first taste of its forthcoming sixth long-player Eclipse, due this fall, likely on the Midriff Records imprint. And Havania Whaal just loosed to the wilds of the Interpants an engaging, moody concept record titled 13 A.D. And not only does this particular bill epitomize the descriptor "stacked," it is the first night of Lubec and Havania Whaal's East Coast tour, which will dreamily blitzkrieg venues from Boston to Jacksonville over the course of 10 big nights; full tour dates are right here. Look for posters trumpeting the Boston date around town now, designed by Lubec drummer Matt Dressen and now situated in your general vicinity and visual field courtesy of the skilled hands of Staff Writer Dillon Riley.

There is a Facebook event page for the Boston date, as well, and we encourage you to hit this link and pledge your allegiance now so we know you are coming. And tickets! Buy tickets, tickets for you, tickets for your roommate, tickets for you mom. We'd like that, as the more tickets you buy, the more faith the nice people at Great Scott have in us when we pitch bills in the future. While you wait for the big day to arrive, soak up some sounds from the four bands on the bill via the various embeds below. They will complete you.

Infinity Girl: Bandcamp | Facebook | Soundcloud

Lubec: Bandcamp | Facebook | Soundcloud

Guillermo Sexo: Bandcamp | Facebook | Soundcloud

Havania Whaal: Bandcamp | Facebook | Soundcloud

THAT TICKET LINK AGAIN.

Topshelf Signs Infinity Girl, Titanic Sophomore LP Harm Due Aug. 28, Hear First Single "Firehead" Now

At long last, emo powerhouse Topshelf Records finally disclosed today that it has signed shoegaze heroes Infinity Girl, and will release the quartet's stunning sophomore set Harm in August. As a wise man once wrote, Infinity Girl is an American guitar band forged in the crucible of the Boston underground and now based in Brooklyn, New York. The act emerged in 2012 with a startlingly whole and reverent shoegaze sound on its debut full length, Stop Being On My Side, a set that was equal parts haunting melody and ear-bleeding power; we reviewed the collection here and ran what is likely the band's first interview right here in July 2012. An EP, Just Like Lovers, followed in late 2012 [review] and again propounded the foursome's refreshing proclivity for bending classic song forms toward its will to experiment. More recently the band has taken its music to a darker and more dynamic place informed by both classic post-punk sounds and an increasingly formidable ability to meld noise and hooks in exciting, surprising ways, as fans will note when Harm is released Aug. 28. The set will be available as a vinyl 12" (pressed to three different colors of media and available in a 3LP bundle for insane completists) and digital download, and you can pre-order your copy right here. Which we recommend you do, as we can tell you with confidence that Harm will surely be one of the best records you hear this year.

We have a first preview tune to consider: "Firehead" opens with a pulsing loop of guitar, and is quickly pushed toward fronter Nolan Eley's watery vocal by Mitch Stewart's fuzz bass. The song was premiered on Stereogum earlier, and you can hear it by clicking right here. As terrific as the song is, it is not alone: Harm is all killer and no filler, and we look forward to cheering the likely stream of subsequent singles as we head toward the release date. For now, stream "Firehead" via the embed below. Very attentive fans might have noticed a live Infinity Girl set from February at Shea Stadium was posted earlier this year, which not only includes an iteration of "Firehead," but also versions of additional tunes fans could reasonably expect to find on Harm: the towering and smeared instant classic "Dirty Sun" and the bludgeoning, MBV-tastic rager "Hesse." You can stream live versions of those tunes (as well as a selection of Infinity Girl classics) via the embed below. Fans in Boston: mark down July 9 in your date books, as Infinity Girl will be headlining a show that night at Great Scott that will also feature psych-rock veterans Guillermo Sexo, as well as two acts from Portland, Ore. who are kicking off their East Coast tour: Clicky Clicky faves Lubec and Havania Whaal. Full show details are right here; buy those tickets now, and then buy more tickets for your tickets to give out to their ticket friends. In tangential news, San Diego-based Topshelf announced yesterday it had signed west coast indie punks Happy Diving, and will release that act's single "So Bunted" b/w "My Zone" July 17. Happy Diving's previous release, the terrific Big World LP, was released by Father/Daughter Records in 2014 and we reviewed it right here.

Infinity Girl: Bandcamp | Facebook | Internerds | Soundcloud



Prior Infinity Girl Coverage:
Clicky Clicky Music Blog's Top Albums Of 2012: Jay Edition
That Was The Show That Was: Infinity Girl EP Release Show With New Highway Hymnal, Speedy Ortiz and Soccer Mom | TT The Bear's | 5 Dec.
That Was The Show That Was: Clicky Clicky Community Servings Benefit Show Thank Yous And Wrap-Up
Today's Hotness: Infinity Girl
Review: Infinity Girl | Just Like Lovers EP
Forever Now: The Infinity Girl Interview
Review: Infinity Girl | Stop Being On My Side

Today's Hotness: Lowlands, Melt

>> The music of French label Beko Disques, best known as a purveyor of tasteful, weekly digital releases, has already graced these electronic pages a number of times, as evidenced by these pieces about The Bilinda Butchers and Mooncreatures, among others. The label shows no signs of slowing down, and in 2015 continues to conduct quality research into the dreamier neighborhoods of post-punk, largely at the intersections of faraway ambient and relatively immediate pop sounds. Which is also an apt description of the newest release from New Zealand's mysterious Lowlands. Coming in the wake of other shorter releases on Beko, the new, self-titled set presents a pastiche of Korg synths, acoustic guitars, and even a "Tibetan singing bowl." That alone should be enough to indicate that Lowlands -- which, according to its Bandcamp page, paradoxically makes its music "on a hill across from a city" -- takes its sound very seriously. Opener "Rift Valley" commences with an eerie, delayed clamor (could be that singing bowl?) before layers of crisp and spacey guitars mingle with cool spoke-sung vocals, affecting a sonic posture not unlike that of '90s legends Flying Saucer Attack. The succeeding tune, album highlight "Winter 1_Space Beyond Space," is proof positive that Lowlands can slyly insert a great traditional pop song within the warp and weft of its ambient drone. The song's sunny, bouncy bass guitar, whooshing digital synth waves and a boyish, upbeat vocal echoes the pep of The Shins, which is hardly the first singing touchstone one associates with ambient fare, thus making it a pleasant surprise. "You Are The One" immerses slinky '80s heartland rock vibes in endless reverb, and underscores that Lowlands is just as interested in experimenting with genre as they are with its apparently endless arsenal of electro-gadgetry. Finally, just in case the listener got too comfortable within the album's placid sound forest, Lowlands launch into "Today’s Revelation," a relatively clean slice of new-wavey pop replete with brittle post-punk guitars; the tune sound like something that could have been found on Minks' excellent, rainy Captured Tracks debut By The Hedge. In sum, Lowlands' record represents another Beko homerun, and strengthens our belief that there is actually a wealth of diversity within the world of ambient dream-pop, and plenty of unique ideas yet to be mined. A cassette version of the release sold out in mere weeks, but the record is still available as a digital download for any price via the Bandcamp embed below. -- Edward Charlton



>> The world lost a powerful force in aggressive dream-pop when Boston's Soccer Mom called it quits last year. That band's singular pairing of contemporary, house-show bombast and clean-toned, forward-thinking shoegaze (a la Swirlies circa They Spent Their Wild Youthful Days in the Glittering World of the Salons -- another Boston landmark, of course) filled this reviewer with both pride and awe. Imagine, then, our joy at identifying another act chasing a similar, noble aesthetic. We speak of New Jersey quartet Melt, whose recent powerful, glistening demo "Change" dazzles with its quiet urgency and rich melodicism. On the tune, the quartet – about which we presently know little besides the fact that the band has played shows in Boston and Brooklyn – alternate between a spectral, jangling verse and a post-hardcore half-time stomp during the chorus. That verse of "Change" stuns as well, doubling the watery guitar lines by the second measure, and creating a real six-string tango that crisscrosses over the sighing male vocals like shoelaces. The Swirlies connection (which we admit is nebulous, it's all just really just great music, right?) manifests in the root notes of the bass in that section. Here, starting with a B-flat major chord, the foursome elevates to a C minor before the bass unexpectedly drops to an A natural major during the third root. A restless bump halfway through is delightfully disorienting, and the odd nature of the chord choice leads the listener to reconsider their own melodic logic, which is a fun takeaway. Moreover, it makes the case that Melt can be counted among outfits such as Swirlies that aren’t afraid to nurture a subtly exploratory compositional spirit while still bringing the straight up rawk. If this already well-mixed recording is what Melt considers a demo, we sincerely hope that their first official material will remind listeners of why expansive bands like these are so important in the first place. Snag "Change” for a buck via the Bandcamp embed below, which of course you should also stream the tune early and often. Speaking of Soccer Mom, the band reunites for one last cacaphonous hurrah at the end of the month: it says goodbye May 29 at Great Scott in Boston. The night also includes sets from Infinity Girl, Chandos and Coaches, and complete deets and a ticket link are available for viewing right here. Swirlies, of course, have also just announced a series of summer dates with a very compelling line-up, and those tour dates can be inspected right here. Now if only Melt good get an opening slot or two on some of those east coast dates... -- Edward Charlton

Together With Together: Clicky Clicky Presents Two Nights of Abstract Electronics And Indie Rock May 12+14

As a long time admirer of one of the driving forces behind it, we could be none more pleased to announce Clicky Clicky has partnered with the annual Together festival to bring abstract electronics and indie rock to adventurous listeners next month. Whether it be serendipity or silliness, we somehow have ended up presenting not one but two nights of programming during the five-year-old festival's seven-day run this year. First up, on Tuesday, May 12, Together and Clicky Clicky present folktronica/collage duo Skinny Bones and abstract electronic improviser Dinnersss (a/k/a producer Jimmy Hughes) at Lilypad in Cambridge's fashionable Inman Square. That night of programming is enough to raise pulses out there among the cognoscenti, but we've got yet more bunnies up our pant leg: on Thursday May 14 we present at the very same venue contemporary 'gaze greats Strange Mangers, Bostonian Virginia De Las Pozas' charming and other-worldy electronic project Couples Counseling the creaky and haunting strummery of trio Horse Jumper of Love, and a very, very special performance from slowcore giants (and recent Kill Rock Stars signing) New Dog. The Tuesday show is all ages, a 10PM start, and will cost you five American dollars, while Thursday jumps off at 8:30, is all ages, and will cost eight American dollars; Together festival passholders can walk in like royalty and not have to gesture toward their billfolds at all.

We would need many hands to count up all the reasons to be excited about these musical programs, but let us just drop a few here. The music on Skinny Bones' 2014 debut Noise Floor feels as unbounded as the work of Syd Barrett, but as deeply personal as the harrowing and beautiful music of Bad History Month. Dinnersss' recent and entrancing modular synth reverie "Mise En Place" (embedded below) is evocative head music and among the most exciting electronic music we've heard coming out of Boston in this decade. Equally enticing are the electronic sounds of Couples Counseling, which at times seems to provide Boston's most on-point, contemporary response to Nuno Cannavarro's classic 1988 masterwork Plux Quba Horse Jumper of Love's recent EP Ur Real Life Dress builds up a slow and dusty, lower-case-g gothic head of steam and hits a groove on closer "Nose Bleeder," all of which makes us excited for the trio's forthcoming full-length. That live set from New Dog? It's a warm-up for the act's forthcoming European tour, and may very well be the band's first show as a duo: former Soccer Mom kit-minder Justin Kehoe now backs fronter and former Travels/Metal Hearts principal Anar Badalov. The band's new set Classic Ballroom Dances is out June 2, and June 6 the pair kicks off a couple weeks of dates in Germany, Czech Republic and Belgium. Strange Mangers topline Thursday night, bringing with it the big-guitars/big melodies sound that Clicky Clicky devotes most of its time to championing. Strange Mangers had a big 2014, releasing a terrific and haunting EP Return Eternal as well as an entirely arresting comp of older material, and we are expecting big things from the act in 2015 as well.

It is worth noting these two shows -- Facebook Event Page 1; Facebook Event Page 2; pledge your allegiance now -- represent the first efforts of this blog's nascent Clicky Clicky Presents arm. Clicky Clicky Presents is already planning sick bills every other month for the rest of the year and into 2016. We will certainly keep you apprised of these future goings on, but for those curious about what we've got planned, here's a hint and another and another and another about what we're planning or July. But for now let's stay focused on the short term, and the many auditory delights the Together festival has in store for us. Sure, our bills are great, but be sure to scrutinize the entire schedule: there is a ton of hot, hot stuff going on. Don't sleep on it.

TUESDAY, MAY 12 >>





THURSDAY, MAY 14 >>

Review: Winter | Supreme Blue Dream

Samira Winter and Nolan Eley's rich musical partnership tomorrow returns at long last, and as promised, with the release of the pair's wholly charming first dream-pop long-player, Supreme Blue Dream. While the set is being released under the Winter b(r)and name, Ms. Winter relentlessly gigs with a fresh cohort of players now that she has relocated from Boston to Los Angeles, and even Mr. Eley no longer calls Boston home (although he remains on the east coast). None of that change, however, and none of the 2,800 miles that now separates the erstwhile bandmates, has disrupted the duo's facility for casting classic pop hooks in inventive dream-pop settings.

Ms. Winter's seemingly effortless and pleasantly pure songwriting is not new to Clicky Clicky readers, no matter the alias. And she doesn't dramatically change up her game on Supreme Blue Dream. Here she is consistently arresting as a vocalist, particularly on the album highlight "Some Kind Of Surprise." She lifts the boundlessly romantic ballad up and up with a committed performance, elongating her vowels as if she knows each breath makes the song more and more buoyant. Her final line "I'm just sitting lonely looking into nowhere waiting for some kind of surprise" hangs in the air as the accompaniment drops away, equal parts vulnerable and ready to take a risk.

The songwriter/producer dynamic is considered a commercial-radio pop phenomenon, and is less prevalent (or at least less visible) in indie pop. But given the perfectly synthesized results in evidence here and stretching back to the debut Winter EP, we're game to hear more of it. While this may change now that she has assembled a band on the left coast, Ms. Winter typically works with producers; her sparkling solo set Tudo Azul from last summer was produced by Rodrigo Lemos in Brazil, for example.

Eley, who Clicky Clicky readers know primarily from his work fronting Brooklyn's devastating shoegaze unit Infinity Girl, performed, recorded and mixed all of the music for Supreme Blue Dream's 10 songs. He chases solid, song-serving instincts that surprise without shocking, and excels in applying varied and thoughtful textures to -- and amplifying moments and moods in -- Ms. Winter's compositions. Supreme Blue Dream is introduced with a burbling, melodic jumble of synth tones that precipitously slips beneath swaying synth and guitar chords that are foundation of the solid opener "Someone Like You," and a similar electronic fantasia is presented in the deep-album cut "Don't Stay Away." "Crazy" bobs along on top of heavily distorted guitar chords and ringing feedback that echo the joyful cacaphony of The Magnetic Fields' delightful Distortion album. A perky, canned beat provides a particularly delicious foil for the sampled alto saxophone on "Strange Emotions," which is also appointed with curious voices lurking in the channels in its final moments. Similarly spectral sounds haunt the stereo field of the hypnotic, bilingual incantation "Like I Do." While their manifestations are relatively subtle given their even weighting in the mixes, Mr. Eley is similarly creative in his treatment of Ms. Winter's vocals, which were sung on the West Coast and sent through the Intertubes for Mr. Eley to integrate into the tracks.

Ms. Winter and Eley probably had no idea how much many of us would be needing this record right now (given the snowpocalypse) when they were making it. There is a sunshiney, estival ease to Supreme Blue Dream, a coolness that unsurprisingly persists throughout the Winter catalog. It is emphasized, perhaps, by the repetition of the word blue on Ms. Winter's two most recent outings (recall her aforementioned June 2014 EP is titled Tudo Azul). Supreme Blue Blue Dream will be released tomorrow by L.A.-based indie label Lolipop Records on vinyl, CD and cassette and as a digital download. Pre-orders were not offered and there is presently no way to buy the set on the Lolipop web site as far as we can tell, so we suggest checking back later in the week. While you wait, stream the swaying lead single "Someone Like You" via the Soundcloud embed below. The current band incarnation of Winter includes guitarist Matt Hogan, bassist Edward Breckenridge and drummer Christina Gaillard, and it embarks Wednesday on a tour down to and back from the annual South By Southwest corporate branding exercise. Full tour dates are listed below.

Winter: Bandcamp | Facebook | Instapants | Soundcloud



03.11 -- Santa Ana, CA -- Wayfarer
03.12 -- Phoenix, AZ -- Time Out
03.13 -- El Paso, TX -- Monarch
03.15 -- Marfa, TX -- Padres
03.16 -- San Antonio, TX -- 502
03.17 -- Austin, TX -- Hotel Vegas
03.18 -- Austin, TX -- Hotel Vegas
03.19 -- Austin, TX -- Whip-In
03.20 -- Austin, TX -- Reverb Records
03.22 -- Houstin, TX -- Walters
03.23 -- Dallas, TX -- Pariah Arts
03.24 -- Albequerque, NM -- Sisters
03.25 -- Flagstaff, AZ -- Firecreek Coffee
03.26 -- Las Vegas, NV -- Bunkhouse

Prior Winter Coverage:
Today's Hotness: Samira Winter
Today's Hotness: Samira Winter
Clicky Clicky's Choice: Our Abridged Version Of Samira Winter's Song A Day... Did You Know That's A Thing?
Today's Hotness: Winter
Today's Hotness: Winter
Premiere: Winter's Dreamy, Innocent "Bedroom Philosophies"
Today's Hotness: Winter

Today's Hotness: Soccer Mom, Screaming Maldini, Routine Involvements

>> Based on the math and the recurrent wringing of hands/gnashing of teeth about Facebook page views, roughly 95% of Clicky Clicky Facebook page readers missed our trumpeting there of last week's long-awaited announcement about the pending release of Soccer Mom's full-length debut. Which is quite a long sentence. But, indeed, this is finally, finally happening. The Boston shoegaze giants' titanic first long player is a self-titled, nine-song collection that will be released by 100m Records May 1 as an LP, CD and digital download. As for the music, Soccer Mom presents an impressively realized set of songs, songs that balance delicately the dueling guitars of co-fronters Dan Parlin and William Scales. Texture is a concept the band has championed for years, but the real stars of the new set are the finer melodies, and the distinct (but not stifling) framing these recordings provide (as opposed to the volatile maelstrom of the band's live performances). We don't want to say more than that, as we'll have a complete review of the full record in a few weeks. But it is coming, with all of its bad magic and transformative loss. Ardent fans will note that some of the new songs are already in the wild, with early versions of "No One Left" and "Hideaway Sands" appearing here at Foundwaves last summer, and today here, where "Sundown Syndrome" and "Orejas" were debuted by Allston Pudding. Soccer Mom's catalog to date also includes a vinyl single, the colossal 10" You Are Not Going To Heaven, and last year's desperate and desolate digital single "Brides" b/w "A Canoe Shy." There is as of yet no pre-order information for Soccer Mom, but we've seen evidence that physical copies of the record exist, so all in due time, my pretties... The record will be feted May 3 at Great Scott with a release show featuring the staggering slate of support acts Bedroom Eyes, Infinity Girl and Palehound. For now, how about taking a listen to The Mom's brilliant cover of Lilys' "Ginger," from last year's Clicky Clicky comp? It does a body good.



>> Sheffield, England-based indie pop geniuses Screaming Maldini have loosed to the wilds of the Interzizzles the third in its mysterious and apparently monthly series of free downloads, an effort now dubbed #monthlymaldiniXII. The latest track is the anxious, dreamy ballad "Abyssinia," in which singer Gina Maldini passionately entreats, fiercely fends off desperation. The tune is dark and dynamic, raising itself up from plodding piano chords onto the back of thumping percussion and gang vocals in the chorus. "Abyssinia" carries the sextet's characteristically deft arrangements and sophisticated harmonies, and draws on its familiar horns and key changes, but the compositional skill, a Maldini hallmark, makes the song feel newer and fresher, even among the act's impressive repertoire. Not only did Gina perform the lead vocal of the track, she also wrote and directed the video for the accompanying clip, which you can watch right here. Last month the sextet issued "Bearings," the second tune of #monthlymaldiniXII, which can still be heard right here. This month finds Screaming Maldini heading to Japan for the first time, to support the recent release into that market of the band's stirring self-titled full-length (which we reviewed here a year ago). Two tunes from Screaming Maldini charted in the Tokyo Hot 100, a very respectable achievement for the Sheffield six. We're holding out hope that at the end of the 12-month exercise that is #monthlymaldiniXII there is a physical release of some sort. Call us old-fashioned. And after you're done doing that, listen to "Abyssinia" via the Soundcloud embed below.



>> Is upstate New York having a moment? It's probably always having a moment, right? But, anyway, obv. now-act Perfect Pussy hails from Syracuse, noise-rock upstarts What Moon Things are poised to make a statement and break out of verdant New Paltz later this year, and now comes Routine Involvements, an act that cultivates hooky, crunchy guitar pop from its base of operations in Rochester. Let us consult a map: oh yes, there it is, physically even further west than Syracuse. But sonically -- at least based on the new song "Faux Affections" -- Routine Involvements are considerably more west. That is, if you want to go ahead and compare the four-year-old act (which was formerly known as Stereophone) -- as many likely will -- to Weezer circa the first two albums. The Rochester trio's latest effort is the Future Days EP, which will be released on cassette later this month by Dadstache Records. The six-song set includes the aforementioned "Faux Affections," which follows its chugging bass line and palm-muted guitars through several logical steps, none of which shock, but all of which add up to a bracing bit of scruffy pop. Choruses are big, alluring feedback pools across the floor of the second verse, calm if tense vocals explode along with the guitars in the final thirty seconds. It's a great song, and we're eager to hear more of them from this rock combo. At present there is no information about ordering Future Days at the Dadstache online storefront, but if you keep your eye on that there link we expect it is just a matter of time. For now, stream "Faux Affections" below.