Today's Hotness: Fennesz/O'Rourke, Cold Pumas, Sneeze, Flout

>> This reviewer is an expert on neither the vast, sprawling output of Tokyo-based Jim O'Rourke (long a mainstay of both Chicago and New York's experimental and avante garde scenes) nor the stirring oeuvre of Vienna's electronic sound sculptor Christian Fennesz, but he is certain of one thing: these artists deservedly command massive respect from a devoted global following. But even novitiates will find appealing the melodic warp and textured weft of the duo's forthcoming Editions Mego set, It's Hard For Me To Say I'm Sorry. The two-track collection, due June 24, spans an LP and captures the familiar signatures of each composers as the sides unfold. Based on the preview excerpt -- a generous six minutes extracted from the amorous "I Just Want You To Stay" -- the unfolding occurs at a slow, Steve Reich-ian pace. The tune's soft churning reveals endlessly delayed melody lines, otherworldly, convulsing synthesizers and a guitar sound that resembles industrial sawing. The sum of the parts calls to mind peers in the contemporary ambient electronic artists such as Tim Hecker, particularly his Virgins album, as well as the gifted stable of artists that annually populates Kompakt's compelling Pop Ambient series. "I Just Want You To Stay" largely floats throughout the excerpt, a whorl of melodies cinematic and futuristic. At least for O'Rourke, the song could signal exciting new territory for the endlessly restless and creative compositional mind to explore. Editions Mego is offering It's Hard For Me To Say I'm Sorry as a vinyl LP, CD or digital download; pre-orders are already available right here. Stream the excerpt of "I Just Want You To Stay" via the embed below. -- Edward Charlton



>> Despite having been released four years ago, love for Brighton, England quartet Cold Pumas' debut long-player Persistent Malaise endures, and quite strongly in certain strata of the American undercosm. This reviewer has noted the continued inclusion of Malaise shoulda-been hits "Fog Cutter" and "Sherry Island" on late-night Portland house party playlists, alongside related efforts of Cold Pumas fronter Dan Reeves and his label Faux Discx. It was heartening to learn earlier this spring that the band are still at it, apparently further tweaking its mechanized noise-pop for a pending Faux Discx and Gringo Records release The Hanging Valley. Due July 1, the set includes nine new tracks; based on two fetching preview tunes, the group remains faithful to its favored motorik rhythms and wistful bummer-pop. Leading preview single "A Change of Course" is strikingly more dense and melodic than what we've come to expect from the band; it takes the two-chord pull formula of earlier tunes such as "Sherry Island" and compacts it to fit a sub-three-minute pop framework that echoes the more shoegazey side of early Deerhunter. It may very well be the best thing the Brighton combo has released (to date). Second single "Fugue States" stretches into a longer runtime, and employs open, ringing chords alongside a rambling, Ian Curtis-styled deadpan that reminds listeners that Cold Pumas know their classic gloomy post-punk inside and out. Based on these two rich samples, Clicky Clicky can only expect that the forthcoming The Hanging Valley will be as timeless and tasteful as its predecessor. Faux Discx is offering the record in a limited edition of 1,000 vinyl LPs (half of them black, half of them an undisclosed color), as well on CDs and as a digital download. Pre-order the set right here, and stream both preview tracks via the embeds below. -- Edward Charlton





>> Sneeze effectively predicted the au courant grunge-rock house-show wave currently gripping swathes of the American underground with its releases dating back to 2011, and now the celebrated Boston power trio stands at the ready to cement its O.G. status with a forthcoming new EP, Rot. The short set arrives this fall -- yes, way off in the distance on September 23 -- via Glory Kid Records, which also released the three's excoriating slay-fest Wilt in 2014. Rot's lead single "Food" doesn't deviate far from the act's established, thrashy punk-pop template, but its more lively feel and chunky, bristling distortion and feedback connects its efforts at least spiritually with those of some of the genre's current DIY stars, including Oakland's mighty Happy Diving. Indeed, the humid, overdriven guitar production and ever-crashing cymbals that are the hallmark of Happy Diving producer Jack Shirley and his Atomic Garden studio are prominent here, although for Sneeze the sound was realized by Western Mass.-based, hit-making engineer Justin Pizzoferrato -- known for his work with everyone from Dinosaur Jr. to Parquet Courts to Kindling. So the vim, hooks and production of "Food" makes it a pit-ready bomb of a tune that packs enough smarts and chugging melodrama in its brief minutes to drive the crowd to the merch table, where they'll hopefully be lucky enough to get their hands on one of the only 300 LPs being pressed (200 to traditional black media and another 100 to transparent black; the set will also be available as a digital download). Pre-order Rot from Glory Kid right here. -- Edward Charlton



>> When we last wrote of Warwick, New York home recorder Flout last year, we noted mastermind John DeRosso's skillful embrace of atypical production techniques and the way they enhanced the lo-fi project's charm. That same charm marks his recently released collection Norman Doors, a terrific and understated set that surreptitiously slipped onto Bandcamp with eleven more tracks of beautiful, and beautifully intimate, indie pop. Amazingly, Norman Doors was recorded throughout DeRosso's parent's house on an iPhone 6, yet the songs sound as great as ever, and feature as many overdubs and coincidental quirks as Flout's fantastic 2014 debut, Gims. Early track "Safelight" opens with present and confident vocal lines -- the first intriguing line is "I want a broken windshield" -- before masterful harmony lines shepherd a brief, electric sunshine-pop section replete with a toy synth line that soon collapses under its own communion. Like many of DeRosso's compositions, the success of the piece often rests in its ability to hold back, never outstaying its welcome. "Seven*Five" charts an opposite course, allowing itself time to open up with warm electric palm muting, drums and the laments of an unfolding relationship. "17M" further limns what DeRosso does so well. Beginning with fragile acoustic guitar and soft vocals and with the hiss of the room in the background, the song inevitably erupts into a Guided By Voices-inspired rocker that marries thick and chunky power chords with a simple, flute-like synth and dueling leads. Vibrant closer and set highlight "R.E.A." further illuminates DeRosso's range -- the blazing tambourine, ringing acoustics and smooth, watery vocals prove that Flout needs nothing more than a $100 device and an affordable carrier to capture his minimal pop world in the magic of his bedroom. Norman Doors is available to download for any price right here, and we highly recommend it. -- Edward Charlton

That Was The Show That Was: The Dirty Nil with Greys, Sneeze, Blessed State | O'Brien's Pub | 20 Aug.

[PHOTO: The Dirty Nil by Dillon Riley] Nothing like a good redemption story, yeah? Wednesday night's Canadian-guitar-slinger-heavy lineup at O'Brien's in Allston Rock City featured Ontario garage rockers The Dirty Nil, who were in town with tourmates/province-mates Greys. Not that either act in particular need redemption, but after a burger-flavored disaster in February, The Dirty Nil surely must have been grateful to finally bring the rock to Boston. We can report that the rock in question was brought, and most steadfastly. The good guys win!

Just this week The Dirty Nil unleashed a two-sided, 7" piece of media via Fat Wreck Chords, and the platter offers a tidy summation of the trio's quick-hit sound. Layers of thick, fuzzy chords and chunky bass lines surround frenetic, short-burst drum fills, while fronter Luke Bentham's unpolished vocals erratically swell into full-throated screams. The Nil deployed both new tunes Wednesday, with A-side "Cinnamon" even eliciting a bit of a sing-a-long among the crowd during its infectious chorus. Elsewhere, the band blasted through some hardcore-influenced and newer (at least to these ears) tunes, as well as few numbers from its scattered short-form oeuvre. The song that struck hardest was "Wrestle You To Hüsker Dü," whose in-the-pocket groove afforded Mr. Bentham the opportunity to let loose with some rock-star stage heroics. Bonus points go to bass player Dave Nardi and his impassioned anti-Tasty Burger rant and related "Fuck Tasty Burger" chant. Not that we wish the burger vendor any ill will, but we do like to see rabble being roused now and then. We've embedded both "Cinnamon" and its flip "Guided By Vices" below, and fans can purchase the 7" or MP3s of same from Fat Wreck Chords right here.

Carpark Records signees Greys closed out the show with its own brand of hyperkinetic post-hardcore fury. Playing tunes mostly from its recently released and blistering debut LP If Anything, the quartet did an immaculate job of replicating the tumescent, near-claustrophobic sound of the record on O'Brien's relatively small stage. Greys wasted no time getting to the should-be-hits, jumping from the buzz-sawing "Use Your Delusion" straight into its fireball LP-opener "Guy Picciotto" and then "Pretty Grim" without missing a beat. Other tunes from the record meshed nicely led up to a well-timed and well-received cover of Mission Of Burma's colossal rocker "That's How I Escaped My Certain Fate," making for a thrilling end to an excellent night of music. Carpark issued If Anything in June, and would be quite pleased to sell you a copy in one or more of a variety of formats that can be considered right here.

Local superfuzz maestros Sneeze batted second slinging tunes off its powerful sophomore LP Wilt as well as a handful of yet-to-be recorded tunes slated for a forthcoming release which the trio claimed would be in the public sphere in "a year or two." The more we listen, the better Wilt sounds, and the same can be said for each live show we catch from the trio; buy Wilt from Glory Kid right here. Rising Western Mass. punx Blessed State -- which features at least one former member of erstwhile progressive beard-core foursome They And Their Children -- opened the night with tunes taken from its well-received debut full-length Head Space, which can be purchased here. -- Dillon Riley

That Was The Show That Was: Amanda X with Sneeze and Dylan Ewan & The Sulk Scouts | O'Brien's | May 19

You may recall that a year ago we sang the praises of the massively fecund Philly indie pop scene in our review of Radiator Hospital's life-affirming Something Wild long-player [review]. Given the fact that our executive editor grew up in the 215, this publication aspires to stay abreast of what is what in the Philly musical underground, and there is definitely a lot of "what" surrounding that city's garage rock three-piece Amanda X. Fronted by guitarist Cat Park, the act proffers a potent strain of hook-heavy punk not far removed from that of erstwhile Philadelphians Swearin'. The most affecting Amanda X songs pit Park's vocals against those of bassist Kat Bean, a pairing that creates strained, distant and almost subversive harmonies.

The trio performed a week ago at O'Brien's in Allston Rock City, billed behind local noise-pop titans Sneeze. We're given to understand that the fellows in Sneeze helped the Philadelphians get on the bill, but we expect Amanda X's star will only continue to rise, and they won't need much in the way of help scoring gigs in the future. Primarily playing tunes from its forthcoming, Jeff Zeigler-recorded debut record Amnesia for the storied Philly label Siltbreeze (which has released notable records for a quarter century from bands including Bardo Pond, The Dead C and Temple Of Bon Matin), Amanda X pressed a fully-realized, confident sound, a sound that carried an even sharper edge, as the date was at the tail-end of the band's now-wrapped strand of North American tour dates. Scattered shows this summer take the threesome to ports of call including NYC's Rough Trade outlet store/concert space June 13 with Tweens and Marnie Stern; Amanda X is also already booked to play Philly's Underground Arts Sept. 11 with legendary Japanese indie institution Shonen Knife.

Not to be overlooked is the fact that Sneeze also have a new full-length on deck; the Justin Pizzoferrato'd (yeah, dude gets his own verb at this point) Wilt will be issued next month on Glory Kid. Based on a brace of thrilling preview tracks, which we've posted below, the set will be a doozy (pre-order here if you know what is good for you). For its set a week ago, Sneeze delivered its characteristically thick, sludgy riffs and shouty, pained vocals, both underpinned by a sturdy melodic sense. The trio plays O'Brien's again next month for the Wilt release show, an evening that also features the ridiculously great Ovlov; full details for that event are right here. That show presently appears to be Sneeze's only engagement of the summer, but our spidey sense tells us there will be much rocking to be done once Wilt actually drops. BUFU Records affiliate Dylan Ewen & The Sulk Scouts opened with its goofball take on retro-leaning girl-group pop and beachy surf music. Sources tell us future Ewen dates include a pair of house shows in late June, so ask a punk for details. -- Dillon Riley

Amanda X: Bandcamp | Facebook | Tumblr | Twitterz

Today's Hotness: Screaming Maldini, Burning Alms, Palehound

>> The curious hints that popped up this past week did little to prepare us for the massive return of Sheffield, England-based ultrapop savants Screaming Maldini, whose new, Afropop-tinged tune "Soweto" is as strong a single as the sextet has ever released. The chorus is so uplifting and potent that it completely absconds with the second half of "Soweto," elevating without pause on the strength of the thumping 7/4 tempo and the jaw-dropping vocal arrangements and harmonies. Singer Gina Walters is at her most formidable and enchanting in the song's final moments, playing off the singing of Maldini mastermind Nick Cox to turn in a performance that tops even her singing on the last great Maldini single, 2012's "Summer Somewhere." The visual promotion of the single, we should note, is rather enticing, suggesting some sort of espionage or archeological theme. While no full-length has been announced, the single art labels "Soweto" as "3/12," which we'd venture means three of 12 of something, yeah? A photo on the Screaming Maldini Facebook appears to be a bill of lading of some sort from "The Maldini Institute," with the subhead "Miscellaneum Of Wonders." Could the latter be the title of a forthcoming collection? We shall keep our fingers crossed. Screaming Maldini is set to embark on a small strand of UK house shows in February. Its self-titled debut LP was issued a year ago by HipHipHip in France and we reviewed it right here. Stream "Soweto," and then stream it again and again, via the Bandcamp embed below.



>> Birmingham, England noise-pop luminaries Burning Alms Friday released to the wilds of the Interzizzles a second taster from its long-awaited debut full-length, In Sequence. The bracing brace of songs, "So Unreal" b/w "The Pastoral," highlight the opposing forces that pull at Burning Alms' songwriting, as "So Unreal" bashes and pops through 150 or so thrilling seconds of Swervedriver-styled guitars and punching percusion, while the acoustic ballad "The Pastoral" embraces its titular adjective, establishing a gentle, waltz-timed reverie with more subdued vocals and quiet dynamics during an even more brief 100 seconds. The tunes -- which the band describes as being part of a two-track EP, despite the fact that there is nothing "extended play" here -- are available as a paid digital download or stream via Bandcamp and Soundcloud. Within and without the context of the band and its related projects (Calories and Sunshine Frisbee Laserbeam), "So Unreal" and "The Pastoral" are compelling listening, and make us all the more eager to hear In Sequence. In December we wrote here about "Matadors," the blunt and aggressive first single from the pending collection. No specific release date or other information about In Sequence has been proferred by the band (which, as we've previously reported, consists of John Robert Biggs and Thomas Whitfield with former Sunset Cinema Club guy and recording-engineer-to-the-stars Dom James), although the trio maintains it will be issued in 2014. This Facebook status indicates a release is moving one step closer, as the set is presently being mastered. Watch a video for "So Unreal" right here, and stream or download both tunes via the Bandcamp embed below.



>> We're as surprised as you to find that we haven't yet turned our attention to young indie rock concern Palehound. The act began as the vehicle for the music of one Ellen Kempner, a sorta protégé of Speedy Ortiz's Sadie Dupuis (Kempner = Eminem, Sadie = Dre). For her initial release, Palehound's entirely charming Bent Nail EP issued by Exploding In Sound in October, Ms. Kempner was abetted by the label's de facto in-house production due of Julian Fader and Carlos Hernandez. Palehound's whole deal snowballed all fall, with the addition of three new players (say hello to Mssrs. Lombardi, Kupperberg and Scherer on bass, drums and guitar, respectively) and the blogosphere spheorizing about what made this wonderful little band and songs like "Pet Carrot" and "I Get Clean" tick. Come now this four-piece iteration of the presently Yonkers-based Palehound, who issue via EIS Feb. 25 the Kitchen 7", the band's first recordings as, well, a band. The top side of the platter touts the tune "Holiest," with "Pay No Mind" on the flip. "Holiest," as we blurbed on Facebook, is a swaying gem with a terrific cascading hook that showcases well the new four-piece configuration of the hotly tipped band. Palehound plays a smattering of dates in New York and Philadelphia this month before embarking on their first U.S. tour, during which the 'hound makes the obligatory pilgrimage to Mecca. Sorry, not Mecca, Austin, they'll go to Austin for the annual SXSW music confabulation. We can expect another 7" after the release of Kitchen, at least according to this CMJ interview from November. But let us live not in the future, but in the now, a point in your life in which if you have enough time to read these words, you certainly have the time to click the button on the embed below and stream "Holiest." It's a fine rock song that we believe you will like.

Dirty Dishes, Ghost Box Orchestra, Grass Is Green, Speedy Ortiz | Great Scott, Boston | 22 Aug.

So Wednesday we advise you catch the killer bill listed above, featuring the baked-on grit of Dirty Dishes, the "Best Psych/Experimental Act"-acclaimed Ghost Box Orchestra, the auditory pugilism of progressive post-punkers Grass Is Green, and the slithering, angular pop greatness of Speedy Ortiz. It's one in an enlarging series of ridiculously good bills that Boston seems to conjure with almost embarrassing ease these days. Not content to rock you just Wednesday, Jesse from Grass Is Green and Alex from Dirty Dishes will be rocking under the banner of their new side project Big Putts Friday at O'Brien's, along with Speedy Ortiz yet again (if Sadie from Speedy wasn't so conversant on the topic of ancient coffee shops and burrito places in Northampton, we'd have a hard time believing she isn't actually based in Boston. But we digress...) as well as Ovlov, Sneeze and Neur.

But anyway, back to Wednesday, Great Scott's got the goods, get over there and enjoy these late summer nights as they start to drink themselves away one by one. Below are some things you will be fortunate to hear, starting with the Dirty Dishes tune "Blur," the closing cut from the quartet's The Most Tarnished Birds EP that was released on CD in March (the whole thing is for sale on Bandcamp here). We haven't any idea what is in Ghost Box Orchestra's live set these days, but we find the slowly cycling groove of the quintet's 2011 Spring Tour Tape (now sold out) to be entrancing; latch on to the 14-minute nod of the B-side via the second Bandcamp embed below. Grass Is Green's 2012 release Ronson continues to move us, particularly the melodic spazz of the album-closing instrumental "Ruffleball," which we played during the March New Music Night at River Gods way back when; hear the number -- which will draw you in with whammy pedal acrobatics but will make you love it with the gentle salvo of horns at the close -- via the embed below. As for Speedy Ortiz, we recommend listening to it all, and have already done so in a number of places, including here and here.