July 24, 2016

Today's Hotness: Ski Saigon, Urusei Yatsura, Mincer Ray

Ski Saigon -- Brings The Storm Cloud (detail)

>> One of the more mysterious and evocative projects we've followed here at Clicky Clicky in recent years has been Mooncreatures. Although the music and premise of its final long-player was exciting, we were disappointed when the London band and the LP's fictive narrative intersected in reality, and Mooncreatures announced (sort of?) it was no more. Anyway, band mastermind Rhys Griffiths has returned with the even higher-concept project Ski Saigon, whose debut release Brings The Storm Cloud is due toward the end of the summer. The six-song set is inspired by '60s Cambodian pop music and concerns a fictional historical (wait, what?) narrative about French soldiers tiring of the tropical climate of Cambodia in the mid-20th century and setting about creating indoor snow skiing facilities in Saigon and Phnom Penh. Really, you just read that. Brings The Storm Cloud opens with a short, shimmering audio approximation of those blurry scene transitions in film and TV that suggests the commencement of a flashback. As soon as listeners have oriented themselves to the tune, "Wintergarden," it vanishes, and then the EP begins in earnest with the ensuing, fully realized "Sweet Dreams In The Botanics." The mid-tempo swayer rides a steady canned beat, above which sustained synth and simple guitar chords and a pleasantly lazy lead guitar obscure hushed lyrics. The tune's escapist fantasia is amplified by a 45-second coda wherein the aforementioned synth chords give way to an insectoid drone and -- curiously -- the sound of water (although we expect it is easier to present the sound of water than snow). Art Is Hard Records issues Brings The Storm Cloud Aug. 26 in a limited edition of 100 32-page book/CD bundles, as well as a digital download. Pre-order the book here, and click through the embed below to acquire the digital files. The demise of Mooncreatures felt very premature, and we're quite excited by the possibilities presented by Ski Saigon, either as an ongoing project or at least as a sign that Mr. Griffiths has no intention of quitting music any time. Stream the aforementioned "Wintergarden" and "Sweet Dreams In The Botanics" via the Bandcamp embed below.



>> We've been holding out hope for a good six years that the mighty Glaswegian indie rock combo Projekt A-Ko would return to us. Imagine our surprise when we received word in our inbox earlier this spring that not Projeckt A-Ko, but the trio's notable, '90s-spawned (and we suppose better-known) precursor Urusei Yatsura, would beat the three to the new release bin in September. Well, technically, it's old music, but it is nonetheless exciting. On Sept. 2, the choicest cuts from Urusei Yatsura's highly regarded BBC recordings (which included, among others, five sessions for John Peel and three for Steve Lamacq) will be released as an LP via London's Rocketgirl. The press materials accompanying the announcement speak, with the benefit of distance and hindsight, of Urusei Yatsura's music shining particularly bright when recorded under the constraints radio sessions necessarily present. And it is hard to argue with the results. Fans can hear a particularly fizzing iteration of the rocking 1996 A-side "Phasers On Stun" below. Rocketgirl will release You Are My Urusei Yatsura on 12" vinyl, CD and as a digital download Sept. 2. The LPs are pressed to snappy neon pink media and available in a very limited edition of 300 pieces, so you had better get to pre-ordering if you want this. To be fair to Urusei Yatsura/Projekt A-ko's Fergus Lawrie, he has produced new music over the last seven years, including some engaging "haloed guitar" guitar noise pieces with his project Angel of Everyone Murder. But given the blinding excellence of Projekt A-Ko's sole LP, 2009's Yoyodyne [hypertext!], we remain hopeful that that...erm... project will also be resuscitated. In the meantime, we've the Urusei Yatsura collection to look forward to: stream the aforementioned "Phasers On Stun," recorded for the BBC Evening Session May 8, 1996, via the Soundcloud embed below. Speaking of, fans should pay VERY close attention to the UY Soundcloud, as it features a trove of material, including some cuts found too late to be considered for inclusion on You Are My Urusei Yatsura, like this magical acoustic take on "Burriko Girl."



>> The charm of lo-fi, and particularly '90s lo-fi, is that it characteristically sounds thrown together, but still sometimes fumbles its way to transcendence. Sometimes that's just the sound (the example we think of it this Perfect Pussy interview that describes recording clean basic tracks and then layering noise), and sometimes things are actually, you know, thrown together (see every live thing Crazy Horse did with Neil Young). Although we've previously deemed the act mid-fi, Mincer Ray's delightful, be-flanneled recent digital EP Early Morning Am Moritz firmly falls within the latter category. A brief note at the Berlin-based act's Soundcloud reports the short stack of songs was "[c]onceived & recorded to cassette in 3 hours & 47 minutes (more or less)." The collection commences strongly with the yearning, mid-tempo, and alt.-countrified strummer "Everything Is Green," a should-be hit whose straightforward presentation can't hold down the sweeping melody of the big, lovelorn verse. With almost no warning the verse become its chorus, which points to an anthemic, ripping guitar solo that aspires towards David Pajo's amazing face-melter from Palace Brothers' epic "Horses." The balance of Early Morning Am Moritz isn't quite as memorable, although the concise basher "Ned Norris" is bracing to the point of infectious and the loose and gritty "Dine" wouldn't feel entirely out of place on Viva Last Blues. Mincer Ray's EP hit the Internerds in late June, and you can stream the entire thing via the Soundcloud embed below (click through to download all five numbers as .wav files). The set is also now available on cassette via the Chicago and Berlin-based Shaky Tooth Tapes. We last wrote about Mincer Ray right here in 2014.



July 21, 2016

Footage: Aüva's Swaying Surf-Pop Gem "Better"



We've had our figurative eye on Boston indie pop upstarts Aüva for a year or so, ever since turning on to the genteel, large-ensemble sound captured on its 2015 EP Light Years. The young act hit a steady stride straightaway and remained busy and gigging on the regular into 2016, when it settled in to self-record a full-length debut. "Better" is the first single from the sextet's eponymous long-player, and you can check out the video supra. The tune is a swaying, surf-pop gem built up from skittering drums and an insistent bass line, over which clean guitar leads, rhythm-guitar jangle and tasteful, vibrato synth embellishments gently make their case.

The video dabbles with a romantic concept that pairs up co-fronter and keyboard player Miette Hope with the other members of the ensemble, but the real charm is in the faux performance shots, wherein Aüva posse waver between goofing around and playing it earnest. The external shots are particularly compelling, including a dreamy shot of trees, a pastiche in which the band members are lined up against a wall and then shuffled, and a shot of a beer bottle getting smashed in a firepit around which we suspect a number of Clicky Clicky readers (and at least one Senior Writer) have consumed adult beverages. The clip was primarily filmed and edited by Aüva guitarist Jake LeVine, with the help of friend-of-the-band Evan Xiner Hong. Mr. LeVine would seem to wear a lot of hats, as he also mixed the forthcoming record, and pitched in on songwriting and arranging with the rest of the groups's six members.

The single and indeed the entire aforementioned 10-song debut Aüva was primarily recorded in the Boston Conservatory's dance studios; both the single and LP will be available as free downloads Aug. 6. Aüva's intention was to have had a quiet summer, but fortunately for fans things have not gone precisely as planned. Earlier this month a truncated line-up of the band jumped in at the last-minute for an appearance on WMBR's crucial local music program Pipeline (hosted by the inimitable Jeff Breeze). On Aug. 13, the band embarks on a two-week tour that will take it down to Florida and all the way back up to New Hampshire. There, on the 28th, it will play on a beer-branded second stage prior to a performance by the legendary Brian Wilson. Mr. Wilson, in case you don't know, is out playing Beach Boys' Pet Sounds to celebrate the album's 50th anniversary. So, not a bad gig for an indie pop band that formed only 18 months or so ago, yeah? Aüva will be available via Bandcamp, Sporkify, ITunes and Apple Music; whet that appetite with repeat viewings of "Better" and mark down the tour stops below in your daily planner.

Aüva: Bandcamp | Facebook | Internerds

08.13 -- O'Brien's Pub -- Boston, MA
08.14 -- The Gateway -- Brooklyn, NY
08.20 -- The Bends -- St. Petersburg, FL
08.24 -- The London District -- Asheville, NC
08.25 -- Joe Squared -- Baltimore, MD
08.26 -- Firehouse 13 -- Providence RI

Related coverage:
Together Again: Clicky Clicky Presents Two Nights of Adventurous Electronics And Under-Pop May 18+19
Review: The Beach Boys | Pet Sounds [40th Anniversary Reissue]

July 18, 2016

Today's Hotness: Night Dew Call, Katie Dey, TV Wonder

Night Dew Call -- Citizen (detail)

>> We love encountering evidence of the universality of indie pop, identifying acts from around the world mining the sounds of Anglophilic '80s guitar pop. That the "cause" side of the equation has traveled far and wide perhaps shouldn't be surprising any longer in our Internet-connected age, but the "effects" thrill us nonetheless. The very location of a band can seep into its interpretation of the form, and in sometimes subtle and effervescent ways complement the timeless aspects of the little genre-that-could. Be it in sound, language, spirit or even general enthusiasm, when it is good it is icing on the cake. Which is why recent digital singles from young Ukrainians Night Dew Call have caught our collective ear. Straight outta Pobho, the dreamy and twee four-piece craft dancey, clean and crisp singalongs for late night bar crawls amidst the open-collared breeze, as in its tune "Someday." "You'll see me around someday" promises a pleasant mid-range singer (in perfect English, we suppose it is worth adding for our lyrically fixated readers). The bending "ohs" and the earworm guitar line that opens the tune recall touchstone acts like The Smiths to some degree, but the brisk pacing and relaxed but confident guitar solos suggest that this band needs no help understanding how to execute an effective entrance into a three-and-a-half minute sleeper anthem. And so bring on the Globalism, we say. Download "Someday" for any price right here; that number as well as two other digital singles from this year, "Citizen" and "Schedryk," can be streamed via the embed below. -- Edward Charlton, At Large



>> We were quite entranced by Melbourne, Australia-based electro-acoustic sound manipulator extraordinaire Katie Dey's 2015 full-length debut, asdfasdf, taking note of her stunning and original twists of melody and sound. The songs were fairly singular, offering modernist, post-pop tones and pitch-shifted vocals that sounded painstakingly crafted. Just about a year later we now have the first fruits from Ms. Dey's follow up, flood network. Due Aug. 12 via Texas-based Joy Void Recordings, the album is heralded by a brace of preview tracks: "Fear o The Light" and "Only to Trip and Fall Down Again." The tunes indicate a slightly more rockist approach when compared against last year's model, with steady drums grounding impressive and unique EQ artistry and fuzz. Still, dubbing the tunes conventional, however, stretches the definition of that word toward the breaking point. "Fear o The Light" -- seemingly a counterpoint to asdfasdf's "Fear o The Dark" -- marries white-noise beauty to a steady, acoustic guitar-led folk-rock structure before Ms. Dey sets to work shifting her lovely vocals into hyper oblivion. The tune "Only to Trip and Fall Down Again" aspires toward blooping electronica that pleasingly echoes Clicky Clicky-faves The Books at times (that's an extreme compliment from this publication, don't you know), although the rhythm tracks' organic feel is more exotica than futuristic. This reviewer is expecting the majority of music press to adore Dey's inventive release: if only the overground was routinely this exciting. Joy Void is releasing the set on Pink/Blue/Yellow/Clear, Blue/Pink or Blue/Yellow splatter vinyl, color combinations that perhaps come close to approximating the amazing and original talent cut into the grooves. Pre-order flood network right here. -- Edward Charlton, At Large



>> This writer was absolutely in love with TV Wonder's Bird Sounds EP, which was released last year by the routinely excellent Faux Discx. The short set was a highlight of a pretty cracking year, and the Dutch quartet appear to have made the most of it, garnering slots performing with American indie heavy-hitters such as Viet Cong (now Preoccupations), dream-pop delighters DIIV and the mighty Detroit four Protomartyr. On top of this, the band has recorded two new songs for a cassette Geertruida Records issued late last month. "Glazed" and "Fixed Aesthetic" continue in the vein of the Sonic Youth-inspired jams of the aforementioned EP, but incorporate a pinch of additional clarity and studio punch. "Glazed" opens with a surprisingly major-key garage shuffle before introducing the more dissonant guitar interplay characteristic of the band's music. At the eighty-second mark, the band reacquaints listeners with its post-punk gloom and tension, and it is a delight to hear once more. From there TV Wonder locks into a groove so sinister that when the song's care-free opening chords return, they're run over flat by detuned anti-solos that capture the youthful anxiety and explosiveness this band expresses so well. It's just a great steamroller of a song that makes the most of its few, simpler parts. "Fixed Aesthetic" sticks more to the gloom side of the TV Wonder coin, but, again, the combo switches gears midway to a new part that captures a dreaminess and dread reminiscent of the late, great Women, while also still having its own stark and minimalist European voice. TV Wonder are on a roll, let us all pray they don't stop. Boston fans familiar with the shoe-brand cross-marketing phenomenon Converse Rubber Tracks will be interested to know TV Wonder recorded these two tunes in a single day as part of Converse Rubber Tracks Amsterdam. Order "Glazed" / "Fixed Aesthetic" on cassette right here, or click through the embed below to acquire the digital files. -- Edward Charlton, At Large



July 10, 2016

Review: Johnny Foreigner | Mono No Aware

In the key scene of the 1997 film that takes its name from the quote, Jack Nicholson's Melvin Udall remarks to fellow patients populating the purgatory of his psychiatrist's waiting room, "What if this is as good as it gets?" It is an unsettling and even disorienting idea, that what you have and what you are, your construction of your self, are unlikely to ever again change for the better. But (thankfully, as it makes this painfully protracted metaphor work) Mr. Udall does change, and grow, spurred by renewed self-awareness and a revitalized sense of self. Far from being a condemnation to a static, flat existence, a revelation such as Udall's can be freeing. That weightless feeling of revelation-fueled freedom powers the tremendous new long-player from Birmingham, England guitar-pop titans Johnny Foreigner.

Johnny Foreigner, of course, was at nothing like Udall's dead-end prior to the release of Mono No Aware, its fifth album. Quite to the contrary, we've often referred to the four as England's greatest band, and it has created one of the most enviable catalogs in independent rock music, ever. But -- as co-founder and guitarist Alexei Berrow told Upset Magazine here earlier this year -- the veteran act has had to come to terms with its station within the pop music firmament, and now eschews focusing on negative externals and orients itself toward simply being the best band it can be for a frothing fan base cultivated with great care over the last decade.

Call it real life (births, deaths and near-deaths), call it maturity (marriage, parenthood): whatever "it" is, it has caught up with Johnny Foreigner, but none of it has blunted the legendary band's fire and passion [excised refutation of Neil Young's tired binary]. Indeed, the quartet's new set is invigorated by and celebrates the stuff of life, from Mr. Berrow's opening incantation/confession/deep insidery reference -- the Udall moment, if you will -- "it stings to admit, I can't foresee a day when we buy speedboats from this," to the ensuing recitation of his recent brush with mortality ("literally centimetres away from death," he told Upset) in the instant classic "Undevestator" (which, as we noted here, would seem to present the inverse of "Devestator," the closing number of the band's triumphant fourth LP You Can Do Better) and onward through the collection's 11 songs. Chief songwriter Berrow doubles down on incorporating -- deftly, pellucidly -- autobiography into the music ("...it's lucky sadness triggers the songs..."), making the stuff of life part and parcel of the band's capital A Art using a mature lens whose poignancy springs from the album's titular concept.

There is an astonishing amount of detail packed into its briskly paced 35 minutes, yet Mono No Aware succeeds in every direction. There are the blitzkrieging singles and should-be singles that are Johnny Foreigner's stock-in-trade, such as the brilliant rager "If You Can't Be Honest, Be Awesome" and fiery "The X and the O," respectively. Other successes are perhaps more subtle but substantially more exciting. Even 10 years on the band continues to best itself in terms of songcraft, adding progressive flair to a genre which -- let's be honest -- too often gets to coast on the right chords, the correct pedals. The brightly burning centerpiece of the record is the wild, vivid and deconstructed anthem "Our Lifestyles Incandescent," whose verses feature thrilling vocal arrangements structured around the voice of Chicago polymath Nnamdi Ogbonnaya. Indeed, impressive vocal arrangements are a hallmark of the set.

Johnny Foreigner even weaves intricate and beautiful sonic detail into its bangers on Mono No Aware, as in the final, orchestral section of the aforementioned "If You Can't Be Honest" (which touts strings and horns arranged by the great Nick Cox, formerly of Sheffield, England progressive pop luminaries Screaming Maldini and now out under his own shingle as a composer/producer/arranger). Mono No Aware closes with a sublime fade-out, largely along a sustained low D before the chord progression resolves, a terrifically smart echo of the delicate notes of the aforementioned "Mounts Everest." The effect, for the put-it-on-Spotify-and-put-it-on-repeat generation anyway, is of a dream starting over every time the crushing, sparkling ballad "Decants The Atlantic" -- which is among the greatest (and most self-aware) songs in a Johnny Foreigner oeuvre rife with sublime album closers -- slips beneath the proverbial waves and is reborn with "Mounts Everest." It's magical sequencing compounding brilliant songwriting.

Despite having a decade under its collective belt, not to mention four long-players and a dizzying number of singles and EPs, Mono No Aware is completely devoid of complacence, and perhaps this is why Johnny Foreigner could never find itself in Udall's tight spot in the first place (remember Udall, from the first paragraph?). Instead, the record celebrates perseverence and a career staked out largely on the band's own terms (especially when it mattered). The album was released Friday by the venerable Alcopop! Records in the UK and in the U.S. by Philadelphia's Lame-O Records. The domestic LP is pressed to pink media and is available in a limited edition of 300 pieces, which can be purchased right here. UK fans or dedicated fans willing to shell out for jazzy imports have a broader array of purchase options. In addition to a traditional compact disc of vinyl 12", bundles are available which deliver the music alongside your choice of a t-shirt, posters by guitarist Lewes Herriot and Irene Zafra, some sort of movie script dealie, badges, and yet more posters (there are 10 posters relating to songs on the album, and true heads flush with cash can get the 10-poster Royale With Cheese bundle right here). UK vinyl is an edition of 200 blue pieces and 500 orange pieces, and by the time you read these words the blue may have sold out. That's what you get for ignoring our advice Friday morning. Stream Mono No Aware via the Sporkify embed below.



Johnny Foreigner: Bandcamp | Facebook | Internerds

Prior Johnny Foreigner Coverage:
Postscript: Johnny Foreigner's "Stop Talking About Ghosts" Review: Johnny Foreigner | You Can Do Better Review: Johnny Foreigner | Names EP
Review: Johnny Foreigner | Johnny Foreigner Vs. Everything
Cut The Rope And Jump Off: Johnny Foreigner On Alternate Timelines, Optimism And Everything
Review: Johnny Foreigner | Certain Songs Are Cursed EP
Review: Johnny Foreigner | You Thought You Saw A Shooting Star But Yr Eyes Were Blurred With Tears And That Lighthouse Can Be Pretty Deceiving...
Review: Johnny Foreigner | Grace And The Bigger Picture
Review: Johnny Foreigner | WeLeftYouSleepingAndGoneNow
Review: Johnny Foreigner | Waited Up 'Til It Was Light
Review: Johnny Foreigner | Arcs Across The City EP
That Was The Show That Was: Johnny Foreigner | Bowery Ballroom

July 6, 2016

Premierage/Previewage: Wheat Heralds Sixth Set With "Hey Eugenio," Gigs With Eldridge Rodriguez Saturday

Wheat with Eldridge Rodriguez | Middle East Upstairs | 9 July

[Photo: Paul Chiera / remixed by Clicky Clicky] The rituals of summer are nice, but it is bittersweet seeing them come and go after looking forward to them for so long (said the guy who just got back from an annual beach jaunt -- Ed.). And maybe this is how fans of area indie rock veterans Wheat feel: without delving into any hard analysis, drummer Brendan Harney agrees with our observation, that it seems like the band -- makers of shoulda-been hits including 1999's "No One Ever Told Me" or the even older, heart-punching ballad "Soft Polluted Blacks" -- typically plays shows in the summer and then largely uses the cooler months to hole up and write songs, or play Sudoku, or do whatever it is rock luminaries do. Summer inevitably fades, and only the promise that another one's coming makes that kinda OK. So, yeah, Wheat is playing a show this Saturday in Cambridge, Mass. (more on that below), but what can they offer as a salve once the show is but a memory?

Cheer up, Francis: it just so happens the act is closing in on the completion of Blazed, the sixth full-length of a 20-year career during which it has made records with Small Factory's Dave Auchenbach and renowned knob-twiddler and Mercury Rev guy Dave Fridmann and perhaps even another Dave, who knows? The forthcoming set has been under construction for about a year, and Mr. Harney reports the band is "getting into the final stages of getting the vocals down right, and making sure everything is nip and tuck." A final track listing won't be set until the songs are all complete, but two tunes destined for the forthcoming collection are already in the wild. What's more, we're pleased to premiere for you today a third that is said to have made the proverbial cut, namely the little pop wonder "Hey Eugenio," which you can stream via the topmost Soundcloud embed below.

To recap the recent moves, the band released the subdued bouncer "Walking Song" to fans back in February, and followed it up with "Stay Up Late" in May. Newcomer "Hey Eugenio" is a charming and detailed miniature, a simple love song, according to Harney. The deconstructed number's lyrics pour out like sweet and thick syrup among playful electric piano, tastefully understated guitar licks, canned percussion and a rising firmament of synth. Will the band play it and/or other new tunes at the aforementioned rock show? Oh yeah, about that: pay attention. It's this Saturday at the fabled Middle East Rock Club, and it is an early show, with doors at 7 and Wheat performing at 9. So don't show up at the usual time and be caught flat-footed, unrocked and likely mocked. Hitmakers Eldridge Rodriguez will open the show with a full-band set, and we strongly suggest arriving in time to see that foursome turn in what is typically a fiery performance. Perhaps Cam's fabled white suit will even make an appearance? We make no promises. Either way you should get yourself a ticket right now, arrange an Uber, weed your garden, trump your towers, whatever it takes to ensure that you will be at the rock show. Rock show.

Wheat: Facebook | Internerds | Soundcloud







June 29, 2016

Review: Deerhoof | The Magic

After more than 20 years in the proverbial indie rock game there's only so much hyping a band can do, and assuming an act has the longevity to create them after more than a dozen records maybe -- just maybe -- it is unlikely they'll find many new attendees at the party. But second guess San Francisco-spawned indie rock lifers Deerhoof at your peril, because its new 15-song collection The Magic is magnificent. Those concerned that stagnation might finally kick in after such a lengthy, creative career need not worry; the record sounds refreshing and refreshingly joyous.

Fidgety, kaleidoscopic opener "The Devil And His Anarchic Surrealist Retinue" commences with a teeth-rattling riff that vacillates between glitchy, haywire keys and stretches of ambience (watch the tremendous video here). But while Deerhoof's songs shift shape constantly and with agility, the band often returns to certain touchstones. The guitars, for example, can either underscore Deerhoof's '90s origins, or sound lifted from '70s and '80s radio standards. The thundering riff of The Magic's "Kafe Mania!" makes the band's recent predilection for covering Def Leppard somehow less surprising. Hip-shaking deep album cut "Plastic Thrills," which showcases a supple vocal performance from drummer Greg Saunier, has all the swagger of '70s hitmakers The Faces. Atop its big riffs, Deerhoof gives free rein to its fascination with keys, synths and all the weird sounds they can make. "Model Behaviour" approximates the sound of a melting orchestra, whilst the aforementioned album opener flashes with vibrancy that recalls a carnival late at night.

Of course the biggest constant on the record -- and indeed most of the group's discography -- is fronter Satomi Matsuzaki's vocals. New listeners might find them overly manic and saccharine, but fans will find them a constant source of delight on The Magic. "Learning to Apologise Effectively" emphasizes how potent her voice can be, as her high-pitched tones sound hauntingly lost within a wall of guitars. The fragility she displays on "Patrasche Come Back" strikes a welcome contrast to the set's stomping rockers. Indeed, when her voice is absent, as it is in "That Ain't No Lie To Me," the music works less well. Elsewhere, "Life Is Suffering" contains the repeated lyric "learning, searching in the night," and the sentiment nicely sums up what makes The Magic magical: even two decades into a remarkable career, Deerhoof continues to bravely explore what lurks beyond the fringe of its comfort zone. Here, the results are as exuberant as they are often unexpected. The Magic was released June 24 via Polyvinyl Records on clear purple vinyl, CD, trusty cassette, or as a digital download. Purchase the set in any of those formats via Deerhoof's Bandcamp page right here. -- Theo Gorst

Deerhoof: Facebook | Interzoinks

June 28, 2016

Premiere: All Talk | upstairs/downstairs EP

Premiere -- All Talk | upstairs/downstairs EP

While still a young project, All Talk has already shown an impressive ability to navigate transition. Following the release of 2015's Juno -- which principles Tim Mensel and Cole Maxwell consider the band's true starting point -- and an attendant tour, the Boston indie concern's first drummer Tim Carman decamped for the west coast. Undaunted, Messrs. Mensel and Maxwell rigged an Ableton Live setup to anchor the rhythm and then plotted out new songs. The digitally augmented duo self-recorded its newest EP upstairs/downstairs, but has since incorporated childhood friend Dan Shapiro to helm the drum kit. The proverbial shoe fits.

"I felt like it took a couple shows for... the beats to sound right," said Mensel. "I had a MIDI controller and I would try and trigger them with my feet, but we were singing and playing, too, so it was tough at first to do it at spots like the ER without a stage monitor."

Needless to say the addition of Mr. Shapiro has proven beneficial. Both Maxwell and Mensel credit rehearsing with a live drummer, and at Shapiro's spacious Brookline basement no less, with giving new life to All Talk's music; even arrangements have shifted. And while he doesn't play on the new record, Shapiro has clearly played a crucial role in the band's (re-)development as a live act, too.

"[T]he songs have changed a lot, going from the Ableton versions to recording, and then to us playing them as a trio -- especially the drums," said Maxwell. "Part of that had to do with my limitations as a drummer, or what I thought sounded good, but I think Dan's influence changed things a lot, too."

Shapiro's fluid integration into the unit is unsurprising, given there is meaningful shared history among the players. All three grew up together in suburb Needham, Mass., often taking to Shapiro's basement to work out Beatles tunes. To up his game, Shapiro has in recent months -- even before joining All Talk -- taken a more studious approach to drumming, going so far as to take lessons from Mr. Carman's former teacher at Berklee.

"It just happened to be good timing, 'cause we had jammed a few times while they were doing the shows with the beats, and it seemed to go pretty well," said Shapiro. "They saw that I was starting to get serious about drumming and asked me if I wanted to play a show with them. We basically just went from there."

While keen to mention the influence of classic acts like The Beatles, Radiohead, and Wilco, All Talk has been sopping up more proximal influences as well, largely by virtue of attending more shows. More actively participating in the scene has, somewhat counter-intuitively, helped All Talk shape its own identity.

"I definitely don't think we go out of our way to write songs that sound like the bands that we go see or the sort of Boston scene in general," Maxwell observes. "But when I do go out to shows and stuff, I definitely pay attention to arrangements and sounds and try and add some of those things to what we do."

Perhaps the biggest influence on the writing and creation of the new EP upstairs/downstairs was the actual process that birthed it. The collection was mostly recorded in the confines of Mensel and Maxwell's Brighton, Mass. apartment, and the pair passed numerous days clearing and bleaching the floors of their basement, and wiring cables and plugs throughout the space, before rehearsing and recording everything themselves. The DIY approach created a sense of comfort that carried over into the production.

"Being able to work at our own pace, without worrying about time constraints, was definitely a benefit," said Mensel. "It was nice to be able to go back and work on things after playing back certain things immediately."

upstairs/downstairs finds the band doubling down on the sturdily melodic and folk-tinged power-pop that characterized Juno's strongest moments. Mensel and Maxwell have distinctive (although not entirely dissimilar) voices and writing styles, and the songwriters' give-and-take across the EP is among its charms. Mensel-penned tunes including opener "Misled" are often appointed with modest, yearning vocals and sprightly jangle-guitar leads that lead to big distorted riffs, a neat reflex that engenders emotional heft. Maxwell's numbers tend to rely less on dynamics and instead dig in to establish memorable grooves. The upstroked and tremoloed guitars on his "Pay No Mind," for example, play into a sturdy and insistent backbeat that pushes the song ahead.

All Talk is prepping for a month-long tour that will take it as far Texas and Oklahoma with rehearsals in Shapiro's basement, last-minute DIY flyer production and gear purchases, but it is also looking ahead to its next move.

"The next release is gonna be a lot different, for sure," Mensel offers.

All Talk's record release/tour kickoff extravaganza is set for this very Saturday at Cambridge's living room, the great Lilypad. Dreamy folk strummer (and recent Captured Track signee) Lina Tullgren and Erica from surfy indie poppers Littlefoot also perform. Stream upstairs/downstairs via the embed below, check out the complete tour dates at upper right, and order a limited-edition cassette right here. -- Dillon Riley

All Talk: Bandcamp | Facebook