That Was The Show That Was: Eagulls | Islington Assembly Hall, London | 19 May

Hotly tipped UK five Eagulls took the stage at London's Islington Academy Halls Thursday night looking every bit a part of Britain's noteworthy post-punk lineage. Fronter George Mitchell had outfitted his gaunt frame in black slacks and tucked white shirt; sonically, the Leeds-spawned act's performance felt similarly lacking in color. Roughly splitting the set list between 2014's stirring eponymous long player and this year's moodier and more atmospheric Ullages, Eagulls presented various interpretations of the hopelessness peddled by forebears including The Cure some three decades ago. While the Cure comparison intrigues, such comparisons carry expectations, and Eagulls seem to still be working out whether to embrace or elude these expectations as it seeeks its place in the canon.

On opener "Lemontrees," Mr. Mitchell's vocals were a curiosity, and echoed the anguished yelp of Robert Smith. Yet later, when the quintet covered Human League's "Seconds," Mitchell struggled to achieve the expected nuance. Even so, he did make for an engaging focal point, bopping around the stage like a drunkard staggering home from the pub. This did little to distract from a problematic live mix, however. His vocal melodies often rhythmically followed the lead guitar lines, but the sound was so muddy the standout track "Euphoria" was largely indistinguishable from its neighbor on Ullages, "My Life In Rewind." On big choruses, Mitchell sounded overwrought, sometimes jarring. Elsewhere his slurred syllables were as blurred as the grainy visuals projected behind the band.

On its recordings, Eagulls deliver well-honed dynamics, but Thursday the band presented a persistent wall of sound that swallowed up some of the music's depth and texture. At best, the constant chug of guitars -– recalling now and again The Smiths' colossal anthem "How Soon Is Now" –- served to glamorize the despair that is a post-punk band's stock-in-trade, but the lack of dynamics weighed down the performance, particularly as Eagulls hit a succession of mid-tempo tracks mid-set. Tunes from the band's first LP fared much better, particularly the fevered "Yellow Eyes." As Mitchell sang "I can't see it," fans must have been inclined to believe him, as he wended his head around, eyes shut tightly. The rocker "Possessed" from the first LP is an ever-reliable set closer and Thursday night was no different, with Mitchell snarling the title atop guitars that buzzed and shimmered. Its impact on the crowd was clear, and the song's amplified ferocity was a reminder of what a fine live act Eagulls can be when it play to its strengths. Traams and 99 Watts opened. -- Theo Gorst, Special Correspondent

Eagulls: Facebook | Internets

30: The Cure's Standing On A Beach - The Singles

One of the larger milestones celebrated in the music press this week was the 27th anniversary of the release of The Cure's epochal classic Disintegration. A remarkable record, to be sure, and deserving of great praise. But we'd be remiss if we didn't mark in these electronic pages a different milestone, the release of the first The Cure record we ever owned, issued this day 30 years ago, a record that can rightfully be said to have played a part in spawning this publication. Wikipedia provides inconsistent information regarding its release date, stating in different places May 6 and May 19. As the former was actually a Tuesday, the then-traditional day of the week for new releases in the States, we're going with May 6. So happy anniversary, Standing On A Beach - The Singles.

The facts of our first exposure to The Cure are increasingly remote, but we distinctly recall seeing the video for "Let's Go To Bed" in our grandparents' basement (they had one of those old-ass cable boxes with the three tiers of oblong buttons that was attached to the teevee with a cord like an astronaut to spacecraft). The catchy, curious song was blessed with steady MTV rotation, likely as much because of director Tim Pope's intriguing, egg-smashing, back-painting video as the fine pop song-craft. We suppose MTV might have played other singles between LGTB's release in '82 and that of the singles and b-sides compilation Standing On A Beach in early May of '86, but we can't recall seeing another Cure video until the re-release of the titanic indie pop tune "Boys Don't Cry" as a single to herald the issuance of said hits comp. Not that we were really looking. Until Diamond Dave left Van Halen in mid-'85, our focus was very, very heavily tilted toward metal.

Yes, we understand that a singles-and-b-sides comp doesn't qualify under certain purist definitions of a proper record. To a certain extent we even share in that bias. But the record. Oh, how the record blew our mind when a cherished childhood friend popped the Standing On A Beach cassette into a Sony Sports Boombox (remember the yellow jawn with the rubberized, sand-proof buttons?) during a trip that spring and pushed play. It was during a camping-type outing, and there was plenty of fun to be had, but all we wanted to do all day was get back to the tape deck and press play again and again. At the time in '86, at the tender age of 12, we knew not of the terms "indie rock," maybe not even "college rock," so we recall the aforementioned friend arguing that The Cure could be lumped under the dubious descriptor "soft hardcore." Which sounds ridiculous now, as even then we had some understanding of contemporary punk and new wave, but that should give a sense of how the breadth and depth of Standing On A Beach left us awe-struck and grasping for ways to describe it.

With the release of Standing On A Beach, The Cure became the band that first fired the synapses that still fuel our music obsession. The record was a revelation: setting aside all of the singles that didn't crack MTV, let alone garner commercial radio airplay (for the latter, that was pretty much all of them), listening to Standing On A Beach triggered a tantalizing, even troubling thought: if all of these b-sides are so excellent, then what else is MTV, commercial radio, Rolling Stone and Spin keeping from us? What else were the gatekeepers -- the lamestream media, if you will -- not telling us about? The answer, as we're certain all of this blog's readers know, was quite a lot. And so we began searching, digging more deeply, and in the process became the music fan we are today.

It's worth noting that Standing On A Beach was released in a number of configurations across as many formats, and that the cassette was the greatest of them all, as it contained all of the b-sides and certain exclusive mixes. Wikipedia does a good job of breaking all of that down, but the greater point is that those b-sides were exceptionally hard to track down in the pre-Internet era for those of us who wore out the tape. Might an announcement be in the offing, of a double-LP reissue of Standing On A Beach? Frankly, we expected that for Record Store Day, and were disappointed that it didn't materialize. And we expect that was the last meaningful window for the release of such a thing. At the next five-divisible anniversary, Gen X-ers that comprise much of the likely market for such a trinket will be that much further removed, the present vinyl resurgence may have vaporized. Sure, the Join The Dots compilation largely obviated the need for such a reissue, but the comp is sort of overkill, innit? And, of course, not on vinyl. In all of its iterations, Standing On A Beach was manageable, the discrete era it addressed particularly meaningful, and it's our feeling that a vinyl reissue of the original cassette version of Standing On A Beach would be splendid. But it seems like it will not be.

Let's have an upbeat ending to this overlong celebration, though. The Cure are touring this summer, 33 shows in 26 North American cities as well as festival dates and a show in New Zealand. The legendary act plays a long-sold out show in Boston June 16. Might they perform the compilation on the tour? Not likely. But either way we have the music, and we've posted YouTube videos below for you to enjoy which recreate Standing On A Beach. Try to hear it all like it's May of '86 again. Thanks for reading.

The Cure: Facebook | Internerds

Today's Hotness: What Moon Things, Family Video

>> Last week brought the first official new sounds from What Moon Things since the trio moved from upstate New York down to Brooklyn, the compelling darkwave number "Party Down The Street." Sure, there was the nice short stack of spacey jams casually and digitally released at the end of 2015 entitled, well, Space Jams, which fans shouldn't overlook and which also offers some indication as to which label might release the three's planned sophomore full-length. For sheer drama and major hookage, "Party Down The Street" -- which will likely feature on said forthcoming LP -- can't be beat. The song's arrangement comfortably sprawls through breathy verses (that exhale apparent reverse reverb), and anthemic, noisier sections where guitars swirl over the song's mechanical rhythm track. In said verses, Mr. Harms' vocals are impressionistic and emotive, but when he bellows "my face lit up like a question mark" the narrative focuses and the song catches fire. It also doesn't hurt that "Party Down The Street" echoes not just a little vintage and celebrated sounds from bands including The Cure. The tune closes with a tasteful, downbeat denouement, pulsing kick and boxy electro-snare into a roomy reverb while guitars slowly unwind the melody. No release date or title for What Moon Things' next record have been announced, but the band is presently on tour and we expect fans are hearing some new songs out there in the rock clubs of the American South as the Things venture to and from the annual SXSW music confabulation (Arkanas tonight! Full tour dates below). Hot Grits released What Moon Things' self-titled debut full-length in June 2014 as a vinyl 12", CD and digital download; that LP is presently in its second pressing. Stream "Party Down The Street" via the Soundcloud embed below.

3/10 -- Maxine's -- Hot Springs, AR
3/11 -- Denton 35 FEST -- Denton, TX
3/14 - 3/20 -- SXSW -- Austin, TX
3/21 -- Gasa Gasa -- New Orleans, LA
3/23 -- Blind Mule -- Mobile, AL
3/24 -- TV Land -- Tallahassee, FL
3/25 -- 1904 -- Jacksonville, FL
3/27 -- Will's Pub -- Orlando, FL
3/28 -- Tin Roof -- Charleston, SC
3/29 -- Brookland Tavern -- Columbia, SC
4/1 -- Slingshot FEST -- Athens, GA
4/4 -- The Camel -- Richmond, VA
4/6 -- Songbyrd Cafe -- Washington, DC
4/7 -- Old Mogul Theatre -- Montclair, NJ



>> The persistence of bass player jokes is one of those modern mysteries. After all, examples of notably talented bass players that can write songs aren't all that hard to come by: there's that McCartney guy, that Tweedy guy, and locally in Boston, just off the top of our head and only picking one, there's Jenny Mudari from Feral Jenny and Bent Shapes (whose album release show is tonight in Allston Rock City, doncha know?). As it turns out, Clicky Clicky faves Fog Lake have a talented, songwriting bass player as well. Her name is Jen King, and her project Family Video last month issued an understated but fierce set of indie pop songs called Places To Sleep. Sure, the St. John's, Newfoundland-based act's music isn't as deeply haunting as that of Fog Lake, but it is similarly affecting and occasionally even as downcast. Family Video's 11-song set features scruffy, guitar-centric songs that bash and pop through spare arrangements and echo in places the confessional songwriting of Liz Phair and the fizzing verve of Tiger Trap. Asymmetrical opener "You In The Night" morosely plods through pretty, chiming verses in the first 90 seconds, but soars for the final two minutes on the strength of spiraling, melodic lead guitar and steady synth tones. The cracking album highlight "My Sister's House" showcases buoyant bass playing and glistening guitar jangle, and escalates into a proper rave-up spangled by an urgent quarter-note cadence on the snare in its final third. "Winter Shadow" -- as well as its more poignant, delicate, acoustic iteration "Winter Shadow (Revisited)" -- presents Ms. King voicing the unguarded, forthright request "won't somebody smack me and make me feel realize..." The song's emotional heft compounds as its lyrics cast in different directions for deliverance from loneliness (it also references listening to the radio, which always gets songwriters a check-plus from Clicky Clicky's executive editor). Places To Sleep was recorded to and mixed on a four-track machine, and Fog Lake's Aaron Powell contributed synth to three cuts and vocals to the tune "Empty Bed;" he's also mentioned in the song "Aaron In The Basement." Family Video self-released Places To Sleep to the wilds of the Internerds Feb. 16. Stream the entire collection via the embed below and click through the purchase it as a paywhutchyalike download.

Regolith A2E3: Sean Tracy Presents Dye's Alone

Did you feel like we left you hanging? We apologize for the delay, but a bunch of real-life stuff got in the way of our publishing this, the final installment of Sean Tracy's plunge down the time-sensitive cataracts in the songwriting challenge barrel we here at Clicky Clicky call Regolith. We think you are going to agree it was worth the wait, however. We are very pleased to be able to present to you today the fruits of Mr. Tracy's labor, which he is attributing to his project Dye (which, of course, we first told you about here in A2E1). It's an EP titled Alone, a particularly fitting moniker, as Dye typically includes Tracy's cohort Sam, but here of course, per Regolith rules, does not. The Alone EP contains five concise compositions touting gauzy rhythm guitars, gently perforating leads and bass work, a warm low end and spectral vocals. The short collection is shot through with a sedately stunned vibe, not unlike that of The Cure's 17 Seconds, but its compositions are more densely populated by guitars, hinting at Tracy's love of C86 and shoegaze sounds. Alone is eminently listenable, and while in the interview below Tracy expresses dismay at the quantity of material he was able to complete in 30 days, there is no questioning its quality. The EP is streaming at the Clicky Clicky Bandcamp page and also embedded at the foot of this post. Read and listen on. -- L. Tiburon Pacifico

Clicky Clicky: So how did it go? Do you consider the results a personal success? A failure?

Sean Tracy: It went all right. I feel pretty good about it, but there a ton of things that I wanted to do over [or] add. I wrote 12 songs and I'm turning in four-and-a-half, so...

CC: What were the biggest challenges and frustrations?

ST: The biggest challenge was definitely recording the vocals. Personally, I'm not someone who is much of a creative writer, so writing lyrics is typically something I dread/dislike very much. Just getting the time to record them was hard enough, but then getting vocal takes that I actually felt good about was a different story.

CC: How were you able to work around or overcome these challenges?

ST: I'd say the second thing is closer to what happened. I pretty much had to write stuff as I recorded it, and even while I typically do that, I would still have [other] ideas that were literally more thought-out than I had for this project. At the end, I had gotten to the point where I was having to write vocals/lyrics and guitar parts at the same time.

CC: What song do you think came out the best?

ST: That's a hard question, probably "17." I spent the most time on it, and gave it the most thought out of any of them. To me, it seems like kind of a weird one, but I was really happy with how the instrumentals came out, if nothing else.

CC: What song or songs do you wish you'd had more time to work on? Do you see yourself re-doing any songs in the future, in any of your bands?

ST: The song I wish I had more time to work on was "Ripped." Lots I wanted to try out for that one that I just didn't have time for. And... maybe? Not in the immediate future.

CC: Are there any songs you did for this project that you couldn't re-create live?

ST: I guess the answer to that is, um, all of them, at least not without at least 3 other people to play them with me...

CC: If there was one person or piece of equipment you could have brought in for the project, who or what would that have been?

ST: If i could work with anyone else I'd probably have to say my friend Sam Glassberg, who I used to be in a band with. I feel like we could probably have written a full album if that were the case.

CC: Did you learn anything about how you write and record music? What specific or quantifiable lesson, if any, did you learn that will help you in the future?

ST: I've learned that I tend to be pretty spontaneous, and that sometimes I have a hard time being my own editor. I guess that's why working with others is beneficial. Having multiple points of view is probably for the best.

CC: If you could travel into the future and speak with the next Regolith participant, what one piece of advice would you give them?

ST: Store all your project files in the cloud forever (I just lost my external HDD and my Macbook, within two weeks of each other. Still trying to get over that).

Normally here we'd tease the next Regolith artist-in-her-or-his-own-residence, but at this point we are still hammering down start dates and batting orders for some prospective participants. In the meantime, get cozy with Alone, and keep an eye out for news about the release of the debut full-length from Chandeliers, which Tracy referenced in A2E1. Chandeliers play a very hot bill in Boston June 7 at O'Brien's, along with Idiot Genes, Flat Swamp and Strange Mangers. We last saw Tracy performing with Bedroom Eyes at the incredible Soccer Mom record release show early this month (which, incidentally, seems like 1,000 years ago now), but Tracy has since left that band.

Previously:
Regolith A2E2: Sean Tracy Writes Songs Under The Gun
Regolith A2E1: Sean Tracy Is A Songwriter
Regolith A1E3: Reuben Bettsak Presents Emerald Comets' Inside Dream Room
Regolith A1E2: Reuben Bettsak Writing Songs Under The Gun
Regolith A1E1: Reuben Bettsak Is A Songwriter
Introducing... Regolith

Review: Los Campesinos! | No Blues

Attentive readers will notice that, for all the plaudits we've bestowed upon what we'll call the modern Los Campesinos! catalog, we've not actually reviewed said records. That lack of critical attention is inversely related to the great esteem in which we hold the records in question. Part of our absence of engagement with the long players Hello Sadness and Romance Is Boring -- each among our favorite records of 2011 and 2010, respectively -- is certainly related to lack of time, to be sure. But there is a larger reason: the aforementioned albums, as well as the we-refuse-to-call-it-an-album album We Are Beautiful, We Are Doomed, represent a sort of critical absolute; to a certain extent, if not flat-out perfection, they are certainly a benchmark against which all other records released in those years are measured. The Cardiff-based indie rock act's clever orchestration, terrifically sophisticated lyrics, impassioned performances, sweeping dynamics and powerful and palpable emotional impact, well, very few do it as well, and it would be hard to convince us that anyone does it better.

Even so, while it is a remarkable and bracing collection worthy of similar consideration and accolades, none of the above is the first thing we think of when we listen to Los Campesinos!' latest collection No Blues. What we think about most often is that we can't believe the record almost didn't get made. Indeed, tucked into the band bio distributed to the press is the startling revelation that Los Campesinos! nearly called it a day prior to the making of No Blues. To whit, here's a quote attributed to guitarist Tom Campesinos!: "We'd spent a lot of time in the months leading up to recording deciding if we should continue with the band at all." This is a bottomless bummer, as it underscores that a day will come when there is no band called Los Campesinos! Not a surprise, sure, bands come and go, but the realization provides an additional slant to the lyrics "we all know we're gonna die, we're a speck of dust..." from the chanted chorus of the No Blues album cut "A Portrait Of The Trequartista As A Young Man." Of course, that lyric is probably about some English footballer, which is another reason we've historically been reluctant to analyze Gareth Campesinos!' lyrics in the "modern" era, as interviews repeatedly indicate -- and the aforementioned band bio emphasizes -- that his lyrics are just as likely to be about sport (OMG did MTV really use the phrase "bro down" in relation to Los Camp... ugh -- Ed.) than affairs of the heart. Indeed, the swaying ballad "Glue Me" includes the line "I'm diving into headers, put this pretty face where the boots are flying in," and, of course, "we connected like a Yeboah volley."

But -- quite obviously, yes -- what makes Los Campesinos!' music succeed is what makes all music succeed: how it is perceived and received by the listener (whether or not that listener knows who Tony Yeboah is). They just happen to succeed more readily, as they stand head and shoulders above the majority of their contemporaries. Despite operating at that elevated level and making "serious albums" -- whatever that means -- for the last five years, the sextet remains remarkably deft at crafting singles as potent as the fizzing, lighter fare with which it made its mark. No Blues' singles are the undeniable anthem "Avocado, Baby" and the bubbling, mid-tempo gem "What Death Leaves Behind." Many songs could claim highlight status on No Blues, as strong as it is, but perhaps the most obvious single would have been "Cemetery Gaits," which both puns on a Smiths classic and builds a droning, synth-spangled verse from a guitar part that recalls The Cure's absolutely crushing "To Wish Impossible Things." The album closes with the fittingly final-sounding "Selling Rope (Swan Dive To Estuary)," an uptempo confessional that is remarkably bright and cheery given the events described and the troubling, irksome possibility: might this be the last recorded song we hear from Los Campesinos? In terms of theme, it reminds of Frightened Rabbit's devastating "Floating In The Forth," with its imagery of flinging one's self into a body of water to end things. "Selling Rope" seems to describe a suicide ignored: "there's no ticker-tape, no golden gate, no carnival and no parade, just one, one for sorrow." We're hopeful that the excellence of No Blues gains whatever recognition and success is necessary to ensure that Los Campesinos! doesn't slip from our figurative grasp, and into a sea whose bottom is already littered with the wrecks of countless rock bands. Because losing Los Campesinos! would hurt to a degree not inverse to the deep joy its music has brought us.





Los Campesinos!: Tumblr | Facebook | Soundcloud

U.S. Tour Dates:
01.21 -- Boston, MA -- Paradise Rock Club (w/SPEEDY ORTIZ for fuck's sake)
01.22 -- New York, NY -- Irving Plaza (w/ SPEEDY AGAIN, egads)
01.23 -- Washington, D.C. -- 9:30 Club
01.25 -- Chicago, IL -- Metro

Selected Prior Los Campesinos! Coverage:
Los Campesinos! Fifth Album No Blues Due Oct. 29
Be Prepared: Los Campesinos! | Hello Sadness | 14 Nov.
Los Campesinos!/Johnny Foreigner 2010 US Tour Announcement
YouTube Rodeo: Johnny Foreigner, Gareth "In The Bullring"
Today's Hotness: Los Campesinos!

Today's Hotness: Edelweiss, Chestnut Road, The Weaks

>> Honestly, we were worried about these guys. We turned on to Edelweiss in 2011 and wrote about them here; the band caught our attention not only because the five-piece was making well-articulated, modern post-punk, but also because they were slugging it out in a Northeastern Pennsylvania town we'd been through now and again back in the day. They were also startlingly young (with an average age, at the time, of 16). Sure, Edelweiss' sound was markedly influenced by first-iteration Bloc Party, but it was, well, well-articulated. But just as Bloc Party did after Silent Alarm, Edelweiss after its 2011 EP Pre-Columbians seemed poised to focus on more dance-oriented music (we made this judgment based on some YouTube videos or something; memory fails...). And this concerned us, because, well, we like guitar-pop. So it is with much relief that we can report that Edelweiss is back with a new -- and still guitar-oriented -- EP that is even more compelling than Pre-Columbians. The new collection is titled Honduras, and it features four fresh-feeling dance-punk jams that speak to the quintet's increased focus, experimentalism and confidence as a songwriting unit. The obvious centerpiece of the set is "Withering Heights," a version of which was previously released on a Japan-only self-titled LP Edelweiss released via the Bullion label in 2012. The song alternates loping and lightning-fast guitar licks laid over airy synths and a consistent, gauzy barrage of hi-hat and crash cymbal. It is perhaps the most conventional track on the EP, and the EP's most exciting tune isn't even listed. Indeed, Honduras includes a hidden track attached to the tail of closer "Midas;" the acoustic ballad suggests Edelweiss is open to even broader influences (such as classic English folk) that point to more exciting possibilities. We're loathe to emphasize again the relative youth of the guys in Edelweiss, because it should not matter (as we said two years ago), but the band clearly has both a lot of potential and a lot of time to do something with it. We'll be listening. Stream all of Honduras via the Bandcamp embed below.



>> When we last left Toulouse, France-based Chestnut Road, the punk-pop notables had populated the flip of a recent split with Varsity Drag with some cracking numbers including a cover of Lemonheads' "Falling." We wrote about that split here in January, and we saw some Facebook photos recently suggesting that a supply of the record has finally made its way to the States. In the meantime, Chestnut Road has kept busy putting together yet another split single due out Aug. 26, this one with Birmingham, England-based post-hardcore outfit New Alaska. One of Chestnut Road's contributions to that new split, a pummelling rocker called "Trust," pleasantly echoes the energy and emotion and big friggin' guitars of '90s feel-bad geniuses Jawbreaker and Garden Variety (particularly this one). In addition to "Trust," Chestnut Road's side includes the number "Shell;" New Alaska's side contains the cuts "Caustic," "White Walls" and "Black Bones." The split is being sold in a limited edition of 300 vinyl 7" discs. The songs are being pressed into translucent red media, and these will be available in one of four different-colored sleeves (black, blue, green, red). Brassneck Records will issue the disc exclusively in a green sleeve, while Speedowax Records will use a blue sleeve. It's anybody's guess what a red or black sleeve means or who might be selling them (could it be...), but just go ahead and pre-order the thing from Brassneck right here, why don't you? Then stream "Trust" -- which is not a 7 Seconds or The Cure cover, we should point out -- via the Bandcamp embed below.



>> While you were sitting around watching "Sharknado" off your DVR again, Evan Bernard and his shape-shifting The Weaks project turned out more melodic indie gold in the form of the 85-second gem "Hey Karma." For this digital single the Philadelphia-based concern finds Mr. Bernard abetted by Chris Baglivo (guitar, vocals), Nick Fanelli (drums), Tim Jordan (bass) and Cat Park (vocals). The number perpetuates a power-pop bounce beneath neatly harmonized vocals, and leaves just enough room after a bridge and in the final 10 seconds for a second concise (but rocking) guitar solo that takes the song right into a proverbial brick wall. As admirable as the song is for its brevity, it is what IS here that makes the song so easy to listen to over and over (in that way, as well as with the flowing melodies and upbeat vibe, the tune reminds us a lot of Philly's Radiator Hospital). Indeed, The Weaks get an impressive amount of stuff done in the short space of time, and we're eager for the next installment the long-running project will offer (whatever it is). Most recently, The Weaks appeared on Clicky Clicky's Lilys tribute compilation And I Forgot A Long Time Ago How You Feel, which you can stream and download and whatever right here. Stream or download "Hey Karma" via the Bandcamp embed below.

Review: Weekend | Jinx

With its 2010 debut Sports, noise-rock trio Weekend ably assimilated a lengthy and recognizable post-punk heritage into its sound in a manner that made an indelible impression. The album was an apparent success for Slumberland Records, and a high point among a teeming morass of contemporary loud guitar offerings, in no small part because of the clear vision and songwriting acumen the act, fronted by Shaun Durkan, brought to the table. Of course, the success of Sports was abetted by strong singles including the delay-flecked "End Times," but Weekend's unpretentious approach also made them easy to support. With that success, fans could reasonably have anticipated the sophomore collection Jinx, which was released by Slumberland Tuesday, would be consistent with the now-Brooklyn-based act's established, loud parameters. Instead, the new record continues a retreat from the noisier post-punk of the formative first LP, a retreat that began on the brilliant 2011 EP Red. As the distortion ebbs, the band reveals what may be its most vital trait: it simply refuses to do the same thing twice.

On the new full length we hear Weekend evolving beyond a dark, chaotic and Joy Division-inspired posture to embrace a cleaner, leaner sensibility that echoes the early-'80s entries from The Cure, New Order and Bauhaus. Opener "Mirror" trades heavily on clean, metallic bass, mechanical rhythms, a carefully architected superstructure of reverbed vocals, edgeless synths and distant guitars. It is as if the now-Brooklyn-based act has shed a rough husk comprised of jittery nerves, guitar distortion and feedback, to free a more controlled, refined darkwave core. This evolution is again apparent on the anthemic, hip-shaking bliss-out "July," in which Abe Pedroza's industrial drum clatter establishes a moody but upbeat platform for Mr. Durkan's natural, unimposing voice and guitarist Kevin Johnson's sleeper melody lines. The chorus breathlessly escapes a couple suspenseful introductory minutes to blossom into a technicolor array of airy vocals and guitar; Durkan's celebratory repetition of the tune's title is the icing on the icing on the icing... "It's Alright" swaggers with a towering electronic strut that delightfully evokes the macho guitar-techno fusion of The Jesus And Mary Chain circa 1988's brilliant single "Sidewalking" and the sexy chug of MBV's "Drive It All Over Me." "Just Drive" resuscitates some of the punkier vim of Sports, but updated production refines the lacerating distortion to marshal a gentler attack. The initial single "Sirens" remains Jinx's most gratifying composition, with its reliably, dance-ready tempo, detached vocals and softly modulating melody calling to mind the stone-cold 1983 classic from Thompson Twins, "If You Were Here."

The degree of control over the sonics of Jinx -- and the calculated quality it lends to certain of the material -- may be the aspect of the record that critics ultimately chew over most; it surprisingly engenders a sound that seems more tailored for arenas (complete with a less dour audience and a greater sense of ecstasy), as opposed to a dark basement or cold warehouse. But whether that is the aspiration or not, it is hard to care too much about the window dressing when the meat of the record -- its songs -- are so well-realized, taut and enjoyable. Jinx is available now from Slumberland on yellow vinyl, CD and digital download. Make your choice wisely right here. The trio will perform two release shows in California starting with a show in the band's former hometown of San Francisco tomorrow, and will tour the new record in earnest beginning with a date in Pittsburgh Sept. 4. All live dates are posted right here; Boston-based readers should make a note of the October 23 date at Church Of Boston with Disappears and Nothing. -- Edward Charlton

Weekend: Facebook | Internerds | Tumblr

Today's Hotness: Bored Nothing, Kigo



>> Sounding as laid-back and natural as when your humble scribe first listened to it in his underwear, the latest release from Melbourne, Australia's slacktastic Bored Nothing captured that relaxed mindset, and man, was it perfect for the occasion. The self-released, four-song Thanks For The Mammaries EP (not the wording that we expect many use on Mother's Day) collects a set of warm, fuzzy lo-fi rock tunes that tout just enough strange tones and warbling to recreate for listeners the bedroom in which it was recorded. Bored Nothing is a vehicle largely driven by a fellow named Fergus Miller, who has been releasing music under the Bored Nothing moniker for about three years. The songs from this latest EP are the sort that travel with you during the day -- never forcing themselves in, but always eager to provide the right frame of reference for your thoughts. The two strongest cuts, "Just Because" and "Dial Tone Blues," showcase the disparate soft and loud aspects of the project. The former is a tape-machine acoustic lament that is achingly beautiful in its clunking rhythm and loping chord structure. It needs little more than a repeated chorus to work its charm. "Dial Tone Blues" is a more surfy, guitar-pop number that layers clean electric guitars and a helping of reverb over Miller's slight falsetto. The result is a mellow bouncer that echoes efforts of bands like Real Estate or even Further (circa their great, under-appreciated lo-fi statement Grimes Golden). The biggest appeal of Thanks For The Mammaries is in the approach: its charm could be compared to that of the self-titled third Velvet Underground album, where the closeted mix of rock elements works more as a lullaby than an alarm. Go ahead and get cozy. Stream the EP via the embed below and click through to download it gratis. Bored Nothing also contributed a tune to the recent Audio Antihero compilation we wrote about here last month, so take some time to revisit the Homerically titled strummer "Black Snuff Pouch And Scuffed Mood Ring (Original Version Recorded While I Was Writing It, Through My Laptop Speaker While I Was Watching 'Castaway' With Tom Hanks On TV, Which By The Way, Did Not Make Much Of An Impression On Me)" right here. As for the future of Bored Nothing, it sounds like the band is taking some time off to write a new record after a flurry of recent live dates, so Mammaries will have to occupy you for the foreseeable future. -- Edward Charlton



>> Sure, Tame Impala undeniably has their dream-pop moments, but we honestly can't call to mind another contemporary Australian shoegaze act (without resorting to the Googles). Until now, that is, as we recently turned on to Kigo and the act's clipped, neon approach to the form. Comprised solely of one D.B. Pearce, Brisbane-based Kigo's latest EP, self-released in late May as a digital download under the title Some Other Place, beautifully explores some singular textures and monumental moments within a framework marked by maximum delay and distortion. The music is almost gothic; indeed, Kigo's compositions carry a certain dark element to them, calling to mind the music of mighty lovesliescrushing and their ecclesiastical tones. Closer "Washed" features a guitar lead that hints ever so briefly at The Cure's "Pictures Of You." But it is the song "I Won't (I Can't)" that is the highlight of Some Other Place. It is almost a love-letter to the blistering alien world that is My Bloody Valentine's "To Here Knows When." Glitchy drums flicker underneath dark, excoriating distortion, while soft whispering, cooing, and a pleasant, rising synth-flute line imbue the song with a gentle humanity, even eroticism. Some Other Place furthers the great shoegaze and dream-pop conversation, one which newer bands keep current and relevant as each endeavors to put its unique stamp on the revered sound and style. Kigo does all of this, and from a country where -- at least from an outsider vantage point -- this sort of thing is a little more rare and precious. Stream the EP via the embed below and click through to download it for whatever you'd like to pay for it. And then get ready for more, as an update to Kigo's Facebook teepee from last week indicates that a new EP is already being written. Thereafter the pace of releases may slow, as Pearce considers writing a full-length collection. -- Edward Charlton

Today's Hotness: Eros And The Eschaton, Amity Beach, Weekend



>> [Photo Credit: Lemon Photography] Late last year a friendly label rep turned us on to the Eros And The Eschaton, a North Carolina-based couple making serene dream pop presented in some charming video clips like this arresting one for "You Know I Do," and this one for "Lately (I've Been Wondering"). Fast-forward to earlier this month and, lo and behold, it was announced that the duo -- Kate Perdoni and Adam Hawkins, who met in Omaha but settled in Greensboro when their van broke down in the central Carolina city -- have now signed to the above-referenced label. And so Eros And The Eschaton's full-length debut Home Address For Civil War will be issued by Bar/None Aug. 13. The bigger surprise is the huge, bold sound of the record's preview single "Heaven Inside." A calm center remains, in the form of the duo's airy vocal harmonies, but the remarkably dense musical accompaniment eschews the subdued sound of the band's self-released, 2012 singles and instead throbs with energy while a vast wall of melodic guitar and white-out percussion smear across the fore of the stereo field. The result is one of the most stirring shoegaze tracks of 2013, just the kind of thing Clicky Clicky is always on the look-out for. Eros And The Eschaton are supporting the 10-track release with a substantial tour in September including an appearance at the annual Hopscotch confabulation in Raleigh, but as of yet there is no date for the duo's live return to the Boston area (its area debut was at Precinct in late spring). To whet your appetite for the release, we've embedded the thriller "Heaven Inside" for your listening pleasure below; pre-order Home Address For Civil War from Bar/None right here.



>> It's been a surprisingly long time since we were last rocked by the fresh-faced indie pop of Amity Beach, whose late 2011 digital single knocked our socks off. The Ontario-based quintet returned at long last this month with pop gold in the form of a new digital single, "Sunday Nights To Infinity" b/w "Avalanches." The pair of songs, released via Bandcamp June 10, are taken from the act's planned debut long-player Bonfire Etiquette. Both tunes are driven by bright, tight guitars. Fizzing tempos push melodies across deft arrangements in a manner that recalls the remarkable pop of veteran Delaware indie pop heroes Spinto Band. "Sunday Nights To Infinity" overflows with lyrics bursting with romantic optimism and nostalgia underscored by tinkling piano embellishments. "Avalanches" runs with a similarly irresistible formula, but is notable for bright horns bolstering the soaring chorus. We can't find a release date for Bonfire Etiquette, and it would be a shame if it were not released in time for the set to be a go-to summer jam that this intoxicating single suggests it will be. Then again, that slightest of bites of nostalgia and loss in "Sunday Nights To Infinity" and "Avalanches" may be even more potent once summer begins to fade. Stream both tunes via the embed below, and keep an eye on Clicky Clicky for news about Bonfire Etiquette.



>>So maybe you live under a rock, or just have a terrible memory, and so you aren't aware of the excellent second preview single from Weekend's forthcoming long-player, a song called "It's Alright." Well, we've embedded it below along with the new album's killer lead track "Mirror," because you need to be up-to-speed on the latest, greatest thing from Slumberland, a label that has been just on fire these last couple of years. "It's Alright" is taken from Weekend's Jinx, which will be issued July 23, and the tune in its earliest moments sounds like a brilliant The Cure outtake circa 1983's "The Walk" 12". However, it is fronter Shaun Durkan's booming but gentle vocals, the song's Keith Levene-styled guitar playing and a big swinging beat that dominate the tune. Pre-order Jinx from Slumberland now on 45RPM, colored-media double 12" or CD. The now Brooklyn-based post-punk foursome play at Church in Boston Oct. 23, and you can bet that's gonna sell out faster than you can say, well, just about anything.

Reach Out For Me, And Hold Me Tight, Hold That Memory: On R.E.M. Being Important

Others will no doubt write more more eloquently and more passionately elsewhere about the demise of R.E.M., the band that pretty much defined "college rock," back when that was a term of art. But we didn't feel right letting this day pass without some remarks about the importance, at least to this blog's executive editor, of R.E.M. in the Grand Scheme Of Things. There are countless Important Records, but we all have those "formative" (to borrow a term from Mr. Searles) records, and along with The Cure's Standing On A Beach cassette and The Smiths' Strangeways Here We Come, R.E.M.'s Document stands out as one of those. It was a record that not only opened our ears to new sounds, but that also was a flag jabbed in the bloated gut-flab of classic rock that said to other music fans, "this is who I am." Document was an important parameter that cordoned off our subset of a subset; it situated us -- you and me, because, let's face it... right? -- in a place. Sure, we were skeptical at first of Green, R.E.M.'s first major label release, but we loved it soon enough, and it still sounds like stifling hot early August nights with nothing to do, particularly "You Are The Everything" and "The Wrong Child." And we went to the record store the day Out Of Time was released, during lunch period. And Automatic For The People was so monumentally good, it was one of the first things we agreed on with our roommate college freshman year, and we played the record every night on our four-speakered monster stereo when we'd turn in.

In the very good A/V Club interview with members of Wild Flag last week, Carrie Brownstein offers the most succinct and elegant example of something we've struggled to describe for some time, namely one's changing relationship to music over the course of one's lifetime. Ms. Brownstein said, in part, "The reason [a new band one encounters 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." We're probably doing a shitty job of explaining this, and of setting up Brownstein's comment to explain how we feel about R.E.M. But what we think is important to note is that no matter how an R.E.M. fan feels about everything that happened after Automatic For The People, that can't dilute the staggering importance of the right records at the right time. Our older friends can and do inevitably point to earlier R.E.M. records, but coming of age with Document, Green, Out Of Time and Automatic For The People as the soundtrack was a pretty fucking fortunate thing to be able to do. Thanks R.E.M.

Go to Bradley's Almanac and grab the recording of R.E.M.'s final area performance, June 13, 2008.

Review: Dananananaykroyd | There Is A Way [album stream]

Brash, fiery, overdriven and weird, Dananananaykroyd's sophomore full-length brilliantly capitalizes on the Glaswegian sextet's strengths. The exuberant aggro-pop is here (the early promo song "Muscle Memory" would actually chart, if the world were just), the ludicrously energetic performances are here, and Ross Robinson's production is as perfectly realized as we could have hoped. Hyperactive as ever and not afraid to take unhinged vocals directly to 11, Dananananaykroyd somehow also sounds particularly focused on There Is A Way. Whether that is a product of the soul-searching that led to the band's recent independence (it left Best Before Records after the release of its debut Hey Everyone! and this new collection was released on the band's new label Pizza College), or the influence of Mr. Robinson, really doesn't matter.

What matters is the pop-leaning material ("Reboot," "Muscle Memory") explodes with the sort of energy that we would more readily ascribe to Metallica's Kill 'Em All. When Dananananaykroyd gets heavy the delivery is pleasurably brutal (as in the Fugazi-in-space brawler "All Us Authors"). There Is A Way is not all about the attack and weight, however: the six lads have some new tricks up their sleeves as well, which becomes apparent as soon as the band launches into the surprisingly potent, whipsaw funk of "Think & Feel." The tune not only adds a degree of rhythmic swing (and the pre-chorus that begins at :30 zanily includes the lyrics "Dananananana, Dananananana" -- we love when bands slyly reference themselves), but the band notably expands its sonic palate by incorporating dense, chaotic, skronking horns in the close. Elsewhere, the final 20 seconds of "Apostrophe" beautifully swirl away from the triumphant last lyric into a pool of feedback. Opener "Reboot" commences with a piano chord before being overtaken by a motorik rhythm.

The performances and Mr. Robinson's production are precise; even Mr. Robinson's addition of new sonic dimensions (via reverbed elements in the higher octaves, skull-beating drums and generally crispy crunchy guitar ju-jitsu) to Dananananaykroyd's characteristic sound adds clarity, not clutter. We must admit being a bit anxious to hear what Mr. Robinson would do with Dananananaykroyd, as we expressed here in April. On the one hand, the so-called "Godfather of Nu Metal" had worked on that one really flat-sounding recent The Cure record; but on the other hand he had produced At The Drive-In's legendary Relationship Of Command LP. Fortunately for everyone involved, There Is A Way is beautifully rendered and more readily favors the latter; it's hard to consider the record anything other than an unqualified success. There Is A Way was released June 13 and you can buy it in various formats from the band right here. The band's prior full length Hey Everyone! was one of our favorite records of 2009. Dananananaykroyd is currently neck-deep in the UK summer festival circuit, and in the fall it embarks on a UK tour; full tour dates are listed here.

Dananananaykroyd: Interzizzles | Facebook | YouTube | Soundcloud

Dananananaykroyd - There Is A Way

Today's Hotness: Johnny Foreigner, Adebisi Shank, Dananananaykroyd

>> Oh the things we've wanted to tell you of late. We're going to start making up for lost time right now. Like, did you know that the planned single from Birmingham, England-based noise pop titans Johnny Foreigner is no longer a single but an EP? We hope you did, because it was a limited edition physical release, a CD affixed to a frisbee, for God's sake. The thing sold out in fewer than 24 hours, there having been only 250 on offer. Fans can still buy the MP3s from Alcopop! right here, which label -- along with kindred operation Big Scary Monsters and upstart phenomenon Audio Antihero -- sits firmly among the only labels worth a damn anymore. The Johnny Foreigner EP is titled Certain Songs Are Cursed, and it contains four tracks: "What Drummers Get," "Twin Sisterzz," "Johnny Foreigner vs. You (Cursed Version)," and "Certain Songs." We've heard the EP, it's characteristically brilliant. The official release date is 18 April. Two of the tracks are already streaming on Soundcloud, and you need to hear them, so hitch your wagon to the streams embedded below. Something else we missed: Johnny Foreigner have compiled all of their b-sides released from 2008 through 2010 under the title European Disco - Collected B​-​sides and Remixes, 2008​-2010 and they are being sold at Bandcamp for five pounds. Which is nothing -- the song "I Heard, He Ties Up Cats" alone is worth five pounds. So if for some inexplicable reason you've not been obsessively collecting Johnny Foreigner songs since 2007 like we have, well, here's your chance to (try to) catch up.

What Drummers Get by Johnny Foreigner

Johnny Foreigner Vs You (Cursed Version) by Johnny Foreigner

>> This is also true: Northern Ireland-based spazzcore savants Adebisi Shank's transcendent -- transcendent, we said -- second record This Is The Second Album Of A Band Called Adebisi Shank was released worldwide last month by the ever-tasteful Sargent House label (you know the label, they also picked up the Maps & Atlases record and released that way back?). The collection was previously released last June by Big Scary Monsters in the UK. As we quipped elsewhere, the record is every single record you wished Trans Am had released after its tour de force Surrender To The Night. The most mind-blowing track on the Adebisi Shank record is the impenetrably titled "(-_-)," but the entire thing is wonderful. Free music, you say? Sure. Here's track three from This Is The Second Album Of A Band Called Adebisi Shank, "Ghenki Shank." It's got more of a later Trans Am vibe (read: vocoder).

Adebisi Shank -- "Ghenki Shank" -- The Is The Second Album Of A Band Called Adebisi Shank
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[buy This Is The Second Album Of A Band Called Adebisi Shank right here]

>> Oh yeah, so Dananananaykroyd are back. The always-quality Another Form Of Relief blog has all the details here, but we'll recount the highlights, which are these: the Glaswegian fight-pop standard bearers' forthcoming sophomore set is titled There Is A Way; There Is A Way is being released on the band's own label Pizza College June 13. According to Dananananaykroyd's Internet Home Page, There Is A Way has 11 tracks and was produced in California by Ross Robinson. Ross Robinson, at least at Wikipedia, is referred to as the "Godfather of Nu Metal." And yes, he is the guy who produced that really flat-sounding The Cure record from 2004. On the upside, Mr. Robinson produced At The Drive-In's towering swan song Relationship Of Command [this is one of the greatest late-night TV performances ever]. We'll be very interested to hear this thing. Hit the link to AFOR for an MP3 of the new track "E Numbers."

>> And have you heard the new Yuck b-side? It's called "Doctors In My Bed," it's the flip to a planned forthcoming single release for the the lead track from the London-based quartets phenomenal self-titled debut, which lead track is "Get Away," in case you didn't know. The "Get Away" single is slated for release in late April, during the band's upcoming U.S. tour that commences April 13 in Los Angeles, although said single is not listed on the Fat Possum site -- perhaps it is tour-only? Yuck, as we've been saying for months, will play Paradise Rock Club in Boston April 28, and Clicky Clicky will be there. As far as "Doctors In My Bed" goes, well, it may be the first Yuck song we've heard that we do not love. But they've put out so many awesome songs, you can't hold this one against them. It's not bad, it just lacks the sort of melodic magic we've learned to expect from the band. Just buy the single for the A-side, it's a scorcher.

Doctors In My Bed by Yuck

That Was The Show That Was: Varsity Drag, Soccermom | PA's Lounge

[UPDATED with Varsity Drag set list below] Varsity Drag's fiery Friday night headlining set at PA's Lounge was notable for a number of reasons. First, the Cambridge, Mass.-based indie punk stalwarts have maintained the edge to their live show that they brought back from their fall UK tour. Second, the band has apparently fully integrated charming cellist Aliah Rosenthal into its stage show, adding a surprising new dimension to songs we'd never heard him play on. And for fans afraid that the addition of electric cello can only portend ill, un-rocking things for Varsity Drag: fear not. Mr. Rosenthal most certainly rocks.

It was also notable that The Drag played not one of fronter Ben Deily's classic Lemonheads cuts. We suspect that says more about the depth and quality of the Varsity Drag catalog at this point than it does about Mr. Deily's affinity -- and the collective affinity of fans -- for the older tracks. And while our calls for "Ever" at the close of last night's set went unheeded, we were more than pleased with the final selection, Varsity Drag's infrequently aired, wholly gripping cover of The Cure's annihilating "Push" from 1985's The Head On The Door record. As part of its UK label's 20th anniversary Varsity Drag has also been working up and recording a cover of Ipanema's "White Cat In A Snowstorm." The Drag's live performance of the tune was searing, and we look forward to hearing the recording of the track. According to this recent interview Deily gave, Varsity Drag is planning an EP that will contain the Ipanema cover as well as four bonus tracks from the sessions for the band's superlative 2009 long-player Night Owls [review here].

Soccermom, who we profiled here earlier this month, were a revelation. The quartet's quietly determined stage presence belies its dense, visceral guitar attack. Indeed, the recordings we've heard that will grace Soccermom's forthcoming debut single only approximate the squawl and punch of the live renderings of Soccermom's compositions. The tracks on the single, "High On Dad" and "Bill Cosby In Glamorous Chains," bring to mind the relatively more controlled and architected sounds of Polvo. But Soccermom on stage through brute guitar force earn comparisons to the music of the earliest incarnation of Lilys (1991-1992) and even Rodan, although perhaps with less of the melodic sense of the former or the dynamic rhythms of the latter. We look forward to seeing these guys a lot more in the future. Soccermom is slated to play O'Brien's May 5 as part of the E.R. residency.

Varsity Drag: Internerds | Bandcamp | YouTube | Flickr
Soccermom: Internerds | MySpace | YouTube | Flickr

That Was The Show That Was: Dinosaur Jr. (Night 2) | Middle East

[Photo Credits: Michael Piantigini] When it is the mighty Dinosaur Jr. -- a Clicky Clicky Top 5 Band -- the second night of a sold-out two-night stand isn't "everything else." It's a celebration of beloved, ear-bleeding rockers, of losercore hits for riot nerrrrrrds (as the saying used to go), delivered with a visceral punch felt through the 30 or so rows of people that clustered in front of ourselves and KoomDogg as we made the scene almost-too-late but right on time. Opening with the gothic creeper "Bulbs of Passion" and "The Lung" back to back, even an even more reserved than usual J Mascis -- not much of a talker, that one -- couldn't dull the electric thrill of the reunited band's welcome re-return. Our colleague Mike Piantigini noted the exceptional versions of the originally "post-Lou" cuts "Thumb" and "Get Me" performed on Night 1, and we were again treated to the epic tracks. "Thumb," which percentage-wise is more guitar solo than song, was given a stirring reading, despite Mr. Mascis' almost comically dour demeanor.

Ostensively in the proverbial house to promote the trio's latest set of rockers, Farm, Dinosaur Jr. delivered a handful of new cuts, including the upbeat almost-anthems "Over It" [awesome video here] and album-opener "Pieces." The crowd predictably filled the brief pauses between tunes with enthusiastic applause, so Mascis' lack of interest in chatter didn't stick out. Bassist Lou Barlow -- who opened both evenings with his Lou Barlow and The Missing Men, and is promoting a record of his own that streets Tuesday -- was his usual animated self, announcing over and over and over that a particular classic cut that has just been performed had been recorded here in Cambridge, Mass., which he thought was as funny as the fact that the following cut was recorded in Amherst. Perhaps Mr. Barlow was just glad to be back in a city he had called home at one point, as Dinosaur is only relatively recently back from a jaunt abroad which lasted from late August through the end of September. Anyhow, we were glad to have Dinosaur back in our town, and look forward to seeing them a lot more.

Read Mike Piantigini's coverage of Night 1 at the Middle East right here.

Dinosaur Jr. -- "Severed Lips (Live)" -- Daytrotter Session (June 9, 2009)
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[buy Dinosaur Jr. records from Newbury Comics right here]

Dinosaur Jr.: Internerds | MySpace | YouTube | Flickr

Previous Dinosaur Jr. Coverage:
That Was The Show That Was: Dinosaur Jr. (Night 1) | Middle East
YouTube Rodeo: Dinosaur Jr.'s "Been There All The Time" In Paris
That Was The Show That Was: Built To Spill, Dinosaur Jr, Meat Puppets
YouTube Rodeo: Dinosaur Jr.'s "Puke And Cry" Live
YouTube Rodeo: Under-Rated Dinosaur Jr. Or "Whatever"
NotYouTube Rodeo: Dinosaur Jr. Live At Amoeba Music
That Was The Show That Was: Dinosaur Jr. | Urban Outfitters

Review: The Hush Now | Constellations [MP3]

Spoiler Alert: As one inevitably approaches his fortieth or fiftieth listen to the opening cut on The Hush Now's sophomore set -- because it is that good -- the revelation strikes that the pulsing flow of the lyrics to "Contrails" suggests Chuck D's in the greatest hip-hop song of all time, "Don't Believe The Hype" ("they can't come on and play me in prime time..."). That tangent aside, vocals and keyboard tower over the other elements of "Contrails," and we wish someone had depressed the "Superchunk Guitars" button during the mixing session for that track. We can't help but wonder if The Hush Now's songwriter and guitarist Noel Kelly pondered hard over the decision and chose the lighter (and probably more radio-friendly) touch as part of an effort to spread the band's musical wings more broadly on Constellations, The Hush Now's wonderfully realized new collection. Its 10 songs are rife with arrangement and production surprises that increase the dimensions of the band's already formidable amalgamation of British(-style) guitar pop inflected with '70s AM Gold harmonies.

Not the least of these surprises is the stirring bridge in "Contrails," featuring -- E.L.O.-style, and we believe from the mouth of Mr. Kelly's brother -- an operatic vocal solo almost mystically summoning a final giant chorus. Said chorus is further punctuated by a bright trumpet line that charts the front end of a nice contrast to the darker, more bouncing title track that follows. "Constellations" noticeably percolates with similar energy to "Traditions," a highlight of the band's first long-player [live clip of the former track here]. There's a surprisingly soulful horn solo in "Thorns," as well, floating above a spray of delayed guitar that recalls The Cure's Disintegration or The Kitchens Of Distinction's finer moments. The album's first rough edges don't appear until the crackling opening of "All You've Said And Done," although here again the vocals tamp down the big guitars once the lyrics kick in. Later, that song dissolves into 90 beautiful seconds of strings and feedback and accordion that is among the most impressive things to spring from the mind of Mr. Kelly so far. Then "Fireflies" opens with banjo. Such production flairs could easily present as kitschy, pile up and cloud the underlying music, but Kelly and his cohort ably massage them into Constellations so that nothing sounds tacked on at whim. Such remarkable facility with arrangement and production may be the band's biggest surprise of all.

Beyond the broader palette, the new collection isn't that different a beast from The Hush Now's solid self-titled debut (both created with the production assistance of The Mighty Lemon Drops' David Newton). And so Kelly's five-year plan, first detailed here, pushes on. The first single from Constellations, "Hoping And Waiting," is already scratching certain radio charts. The Hush Now's biggest challenge at the moment may be securing a lead guitarist to promote the record this fall, as its most recent six-string-slinger left the fold earlier this month as live commitments are starting to fall into place. However, for a band whose history encompasses a car crash and a flood, fans know it is unwise to count out The Hush Now. Constellations will be self-released by the band Oct. 13.

The Hush Now -- "Hoping And Waiting" -- Constellations
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The Hush Now: Internerds | MySpace | YouTube | Flickr

Previous Hush Now Coverage:

YouTube Rodeo: The Hush Now's "Constellations"
Today's Hotness: The Hush Now
Back To Now: The Hush Now Interview With Noel Kelly
In The Studio With... The Hush Now
Review: The Hush Now -- The Hush Now

Today's Hotness: Faunts, Superchunk, Favours For Sailors

>> It took us a while to actually focus on them, but it has recently come to our attention that we love the promo tracks from the latest Faunts record. The Edmonton-based electropop quintet, which we first wrote about here in November, released Feb. 17 its sophomore set Feel.Love.Thinking.Of. on Friendly Fire Recordings. The label has been offering the title track and the tune "It Hurts Me All The Time" as free downloads for weeks -- if not longer -- and the tracks have finally made their way to the top of the running ITunes playlist we use to keep track of our latest finds. We're particularly enamored with the latter track, a mid-tempo strummer with a lead synth line that could have made its way on to The Cure's 17 Seconds. The track is driven by blippy percussion in the verse, but it is the chorus, with its prominent acoustic guitar and punchy twee bass playing, that completely draws us in. It reminds us of -- well, it sort of reminds us of late, great Philly/Brooklyn act Haywood's devastating "Come On Tell The Truth" a bit, now that we think of it. We're posting both tracks below. And then we're eagerly waiting for our EMusic subscription to refresh so we can get the rest of the Faunts record, because "It Hurts Me All The Time" is pure gold. Faunts previously issued Faunts Remixed in November; its first longplayer High Expectations/Low Results came out in 2005.

Faunts -- "It Hurts Me All The Time" -- Feel.Love.Thinking.Of.
Haywood -- "Come On Tell The Truth" -- We Are Amateurs, You And I
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[buy Faunts records from Newbury Comics here]
[buy Haywood records from Insound here]

>> Our Philadelphia-based operative Deano pointed out to us that the forthcoming Superchunk EP Leaves In The Gutter is streaming at Merge Records' web site. And so we're streaming it. And true to Deano's word, it is fill with some hot rockers. That fast 1-2-3-4 that leads the guitar riffing of opener "Learned To Surf" reminds us of Spent's exceptional tune "Landscaper" from that ersatz act's tremendous 1995 collection Songs Of Drinking And Rebellion -- which, of course, was released on Merge. You see what we did there? Tied it all together, yeh? The quasi-title track of Leaves In The Gutter, "Misfits & Mistakes," is a bracing number as well, with some loose, strandy guitar solos that we dig a lot; the track was previously available last year on vinyl only. And the tremeloed guitar on the unabashedly melodic and occasionally jaunty "Screw It Up" is wholly arresting. Those are three tracks that could stand alone as singles, all issued on this one special little EP next month. Leaves In The Gutter will be released April 7, and you're gonna want that. Pre-order the set here. Superchunk's last collection of new material to see release was Here's To Shutting Up in 2001.

>> Favours For Sailors. They are from England. They are awesome. You should go buy their EP Furious Sons immediately, if you like indie rock. More on them another time.

Today's Hotness: Lilys, Johnny Foreigner, Frightened Rabbit

>> Holy crap! All of our favorite bands popped up on the radar today. Like this video above of The Heez, a/k/a Lilys main man Kurt Heasley, performing "Ginger" recently at some sort of 'zine storefront. And whoah, we think we just heard through the haze of our noise-canceling headphones a Lilys song being used in the episode of "90210" Ms. Clicky Clicky is watching as we type this -- that can't have happened. The video clip posted supra was unearthed by and first posted here by Philebrity yesterday. It features a slightly slowed-down and surprisingly hypnotic acoustic (and truncated -- the first verse is not part of the clip) take on the song made famous by an apparel and scent brand in the '90s. "Ginger" is the opening track to A Brief History Of Amazing Letdowns, which is one of the best EPs ever released. Of course, it is now out of print, and the bankruptcy of Spin Art Records seems to have doomed any hopes of ever getting the record reissued. You know what would be awesome? If Mr. Heasley pulled together all the old personnel (over the last 17 years there have been something like 70 different members of Lilys) and re-recorded the albums, like Camper Van Beethoven just did with certain tracks from its Virgin releases. Heasley is giving away several at the Lilys MySpace, but we'll save you the trip and post some below. Lilys are scheduled to perform at the forthcoming All Tomorrow's Parties event in New York being curated by My Bloody Valentine.

Lilys -- "Ginger" -- A Brief History Of Amazing Letdowns
Lilys -- "Dandy" -- A Brief History Of Amazing Letdowns
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>> Thanks to our anonymous tipster who early yesterday hipped us to the fact that Johnny Foreigner had just updated its MySpace yert to show that the Birmingham, England-based indie rock trio will perform at CMJ in Manhattan next month. The trio will perform at something called the Levi's Fader Fort on Oct. 23. A quick trip to the Googles shows that a similar fort was erected during South By Southwest this past spring. Brass tacks: will folks need a CMJ wristband for this? Seems unlikely. It may not matter, as we're not sure if we've got the work vacation days to make it down to Manhattan for the show anyway, but crazier things have happened. Johnny Foreigner's spastically good Waited Up Til It Was Light is released domestically by Nettwerk Sept. 23.

>> It would seem to be the era of the surprise album. Although today's news that superlative Scottish indie rockers Frightened Rabbit will release a live record Oct. 21 was presaged by a new MySpace profile graphic, which gave us pause when we saw it earlier this week. So, yes, Frightened Rabbit's Liver! Lung! FR! live set -- technically its second, if you count this piping hot live release issued through EMusic last year -- will be on shelves in a scant six weeks thanks to its label Fat Cat. When we wrote about the band just last week we had noted the fact that the only new product Frightened Rabbit would have to shill when it arrived in the U.S. for a tour next month was a new single featuring "I Feel Better" b/w "The Twist." Those are hot numbers, but having a whole live album to sell at a kick-ass live show seems like a much better idea. We're hoping that the band is traveling with copies of Liver! Lung! FR! prior to its release, because the quartet performs here in Cambridge Oct. 19, two days before the official release day.

>> Today we heard for the first time (in recent memory anyway -- we have a sneaking suspicion the CD lurks somewhere in the collection) Chappaquiddick Skyline's cover of New Order's amazing tune "Leave Me Alone." Not long after hearing the song we came across this scant item at AngryApe that states Rhino will reissue Sept. 28 (in the U.K. only?) the first five New Order records (from Movement to Technique) in expanded versions including a second disc of b-sides and demos and all that jazz. All that jazz that makes us crazy wondering whether we'll need to buy these, should they come to rest in American racks. It's bad enough The Replacements and The Cure have bled us dry in the last couple years (although we can't wait until Sept. 23 to get the next slate of 'Mats stuff), but now the Mancunian quartet -- which has already released a countless number of hits collections and box sets over the years -- feels the need to go into our wallets again. And we'll probably let them.

>> Speaking of The Cure, Geffen claims that the veteran English alt-rockers currently have four singles in the Billboard Top 20. This astounds us. Especially because we recall only really liking one of said singles. All four tracks will appear on The Cure's forthcoming 13th album 4:13 Dream, which will be released by the aforementioned label Oct. 28. Bradley's Almanac's recent recording of The Cure's live performance in Boston was so good it made us wish we had made the jaunt over the river to see it ourselves, and we very much like the currently lineup of the band, which includes stored sidemen Simon Gallup and Porl Thompson back on bass and guitar respectively. So we're hoping we'll like the new record. The Cure release next week an EP titled Hypnogogic States containing remixes of the first four singles; the list of remixers is frankly sad, save for post-rock act 65DaysOfStatic. On the bright side, all artist royalties from the sale of the EP go to support the International Red Cross.