April 22, 2014

Mean Creek Local Losers Release Show With Pile, Ovlov, Heliotropes, The Young Leaves | Middle East | 25 April

Mean Creek Local Losers Release Show With Pile, Ovlov, Heliotropes, The Young Leaves | Middle East Down | 25 April

We admit that we've always been a bit uneasy about the unabashed sincerity of local indie rock luminaries Mean Creek's music. It's really our own hang-up, and one not worth dwelling on here, and the eight-year-old act's hook-heavy new set Local Losers -- a collection of scruffy tunes whose swell and sweep subsumes years of FM ministrations of Bruce Springsteen, The Monkees and The 'Mats -- provides all the incentive anyone should need to enlist in the Creek Army. Local Losers arrives and departs with the economy of a major carrier's passenger jet, touching down with the fist-pumping, feedback-spangled howler "Cool Town," catching a smoke in the pilot's lounge along with "My Madeline" (whose woozy, bending guitar leads and invigorating harmonies make the tune an album highlight), flipping through magazines over a jumbo vodka tonic while some guy shouts in your ear about the Massachusetts border, and then going wheels up again with the dreamy, yearning closer "Teenage Feeling." That final tune finds fronter Chris Keene sounding particularly vulnerable, maybe even a little scared that the FAA might breech the cockpit and ask him to blow a breathalyzer. The album proceedings are thrillingly brisk (no song goes past the crucial three-minute mark, a calculus once tied to analog jukeboxes and full-flavor cigarettes, a metric that would seem to have outlasted both), richly melodic and persistently rewarding, and the cats over at Old Flame, who released Local Losers April 8, are likely feeling pretty smart right now. Mean Creek's set was issued in a limited edition of 300 LPs pressed to 45RPM 12" flat circles of vinyl [get it], as well as CD [boink] and digital download.

Oh, right, that flyer up there... yeah, Mean Creek is having this totally epic release show Friday night in Cambridge, with a ridiculously stacked bill the very sight of which should induce queasiness and/or hyperventilation. When was the last time you saw heavyweights Pile, Ovlov and The Young Leaves all on one bill? We're looking forward to hearing new music from the lot of them, and particularly The Young Leaves, whose 2010 LP Life Underneath -- now available as a free download -- has recently gone back into heavy rotation at Clicky Clicky HQ. And Heliotropes, too? The Brooklyn-based fuzz docents are the wild card act for us, as we have no more than a passing familiarity with them, but, we mean, seriously: just look at that bill. Just look at it. Here's the Facebook event page -- how about we leave you with some streams and we circle back up Friday night at the Middle East? It's the right thing to do and the tasty way to do it.

April 21, 2014

Five: Projekt A-ko's Yoyodyne

There has been a 57:32-sized gap in the 21st century Internet for years, and it has been a source of regular disappointment, not being able to easily recommend to the attention of friends one of our very favorite records, Glaswegian noise-pop act Projekt A-ko's titanic 2009 full-length Yoyodyne. The album was released five years ago yesterday, and while we have very happy personal associations that go along with the record, Yoyodyne is remarkable for a number of reasons any indie rock fan can grasp: amazing hooks, massive guitars, visionary songcraft, engaging dynamics and mind-boggling lyrics. We named it our second-favorite record of 2009 here, and band fronter Fergus Lawrie kindly wrote a track-by-track guide to the record for Clicky Clicky readers here back in the day.

While the album has a purposely glacial opening fade-in that may stymy impatient listeners (an homage to bygone Boston chimp rock heroes Drop Nineteens and the title track to that band's watermark 1990 LP Delaware), Yoyodyne presents an embarrassment of hits, all in a row, straight across the record. Commencing with the alternately skittering, dreamy and thunderous "Hey Palooka!" and closing with the uncharacteristically spare, powerfully poignant and horribly resigned ballad "Don't Listen To This Song," it's impossible for us to pick favorite tracks from the album. But we've certainly got favorite moments, moments we carry around with us every day. There's the break-down at the beginning of the second verse of "Palooka!," when Mr. Lawrie sings "and all the stars are out, they kiss you on the mouth, they kiss you on the...." There's the repeated observation "every day you fail" in "Nothing Works Twice;" the barreling beginning of "Supertriste Duxelle;" and the repeated exclamation "Dear God" in "Here Comes New Challenger!" (the second of two songs on the album whose title contains an exclamation point, from an album on which every song title could just be piles of exclamation points). The album does not let up.

Maybe you've noticed: we unreservedly love Yoyodyne. Sure, it reminds us of spring, it makes us think of the birth of our daughter, but most important of all it is fucking awesome. So awesome, in fact, that we asked Lawrie personally if we could post the record to YouTube for a while so people could have a listen and then buy it. It's excellent, and people need to hear it, and we are thrilled to have received his consent in time to post the record for this anniversary. While a follow-up was mentioned as soon as Yoyodyne was released, and in the intervening years has apparently been started and stopped numerous times and as recently as two years ago, and there is a fairly active rumor mill regarding new music from the trio, there has not yet been any formal successive release from Projekt A-ko. Mr. Lawrie's interests have led him deep into both documentary work and Glasgow's improvised noise scene, and besides a thrilling cover of Drop Nineteens' "Winona" that was emailed to certain fans years ago, the wait for new music from the act has been, well, a wait. But we'll always have Yoyodyne, and we continue to be hopeful that we have not yet heard the last from Projekt A-ko.

Buy Yoyodyne here.

Projekt A-ko: Facebook | Last.FM | MySpace

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April 19, 2014

Review: Playlounge | Pilot

We devote an inordinate amount of time to thinking about sound, the intentions behind deliberately expressed noise, the emotions achieved with aggressively cacaphonous indie rock. One unsurprising conclusion that we return to again and again is that often less is more. This determination is vital to approaching Pilot, the full length debut from London fuzz-rock pair Playlounge, a record that exhibits the great lengths an act can go with only four arms. Much like the best tunes on Blame Confusion, the recently released debut from sonic kinsmen Solids, on its long-player Playlounge achieve a cavernous boom-bap with little more than a few guitar overdubs, sizzling, cymbal-centric drumming, palpable, in-the-red distortion and tastefully applied reverbs. Importantly, Playlounge's blunt attack and appealing songcraft distinguish Pilot from even Solids' undeniable LP and similarly superlative contemporary guitar-pop.

Rather than trot out lively indie rock signifiers under a thick haze, or charm its way via shambolic song structuring, Pilot comes out guns ablaze, barely able to keep up with its own breakneck pace. Few records this year will sound as good blaring from a pair of external speakers in an otherwise empty bedroom/air guitar rehearsal space -- trust us, we would know. The biggest hooks come early and often, with guitarist Laurie Foster typically concocting even more melodies with his six-string than drummer Saam Watkins does with his often buried vocals. Album opener "I Am Lion" and infinitely spun preview track "Zero" -- which teases with chords that hint at Yo La Tengo's towering pop classic "Sugarcube," and hey look rad vid -- in particular pack plenty of ideas into mini-epic song suites.

The context of the rising success of their pals, Topshelf signatories Nai Harvest, draws the significance of regularly thrilling Pilot into sharper focus. That, along with the breakout success of noise-pop greats Joanna Gruesome, may lead neophytes to declare there's a bona fide movement going down across the pond -- although Clicky Clicky readers have seen regular coverage of these sorts of sounds from deep inside the fertile UK scene for something like eight years at this point. Indeed, heady, noisy, emo-gaze recordings have been crossing the Atlantic for years, and we don't expect that to abate any time soon. But Playlounge's maximal minimalist sound is very now. As of now, that act has no announced plans to tour America, but we hope that that will change soon; the duo has a half-dozen engagements pending in the UK and will announce additional late May dates soon. For now, pick up a copy of the Pilot on pink-with-glitter or pink-blue smeared vinyl via Dog Knight Productions right here. The record was available with an alternative cover in the UK today for Record Store Day, but those are now long gone. Stream "Zero" and "Wave And Waves And Waves" via the Soundcloud embeds below. -- Dillon Riley

Playlounge: Internerds | Bandcamp | Facebook | Soundcloud | Twitter

April 17, 2014

Regolith A2E1: Sean Tracy Is A Songwriter

Regolith A2E1: Sean Tracy Is A Songwriter

He rumbles the thunderstick for Boston anxiety-pop phenoms Chandeliers, he blasts the bottom end for Boston-and-New Hampshire-based shoegaze goliaths Bedroom Eyes, he does a bunch of other stuff, too. And now Sean Tracy is doing Regolith, Clicky Clicky's still new-car-smelling, month-long songwriting challenge. Attentive readers will recall it was just last month that we unveiled the results of Regolith Series 1, which featured scene stalwart Reuben Bettsak, and which produced this pretty dynamite collection of music (some of which will be performed this Sunday). We are very excited to have Mr. Tracy as our next songwriter-in-his-own-residence for this tripartite series. He's a New Hampshire native that has been keeping it real in the greater Allston/Brighton for several years, and we've been a fan since way back in 2010, when we put Chandeliers on a very hot bill at Precinct in Somerville, MA. As we mentioned supra, Tracy is also now playing bass in another Clicky Clicky fave act, Bedroom Eyes, which just released a totally sick new track called "Wild Sins" that we've embedded below. Incidentally, both acts he now plays with contributed tracks to our 2012 RIDE tribute comp NOFUCKINGWHERE. We think membership in two of the city's best bands is reason enough to bamboozle a gal or guy into doing Regolith, don't you? Either way, Tracy graciously has taken up the gauntlet and recently began work in earnest. We'll be sure to keep you apprised, as is the Regolith way, but before we go too much further, let's get acquainted. -- L. Tiburon Pacifico
CC: What is happening with your various projects right now?

ST: Chandeliers is coming out with a full length LP this year. It's 12 tracks we recorded in January, that were written over the last two years or so. I'm really excited about it, and can't wait to put it out. We're doing a 2-day trip [this] week, out to Connecticut and Philadelphia, two places we have never played before, and planning a longer tour once we have records to sell.

Bedroom Eyes just released a single for a compilation and, besides that, we're finishing up some material that was tracked before I joined the band. That should be out soon. Besides that, we're writing new songs for an EP that we'll hopefully record later this year.

 I played in/play in a band called Dye (briefly, emphasis on briefly, called Kardashians). It's now mostly a recording project consisting of me and my friend Sam. We played two shows before he moved to the west coast and we have yet to release anything, but have 6-7 recorded songs that I really hope we will release this year. We practice as much as we can given the distance, maybe 2-3 times a year.

CC: What instruments do you play? When did you start playing them?

ST: I play guitar (7 years), bass (5 years), and I can play drums a little. I have a kit, but don't really (never) play it. I can also "play" keyboard, if pressing keys and hoping they make pretty sounds counts as playing... [it does. -- Ed.]

CC: How long have you been writing music?

ST: I guess ever since I got my first guitar. I always tried to write my own parts, really simple ones at first, even though I couldn't really translate the ideas into actual playing. I actually sort of learned how to write songs by recording my own stuff with Garageband when I was around 19 or 20, and that's when I started messing with multi-tracking, learning how to mix audio, junk like that. And then after being in a band that worked on songs together, and seeing how that process went, I kind of eventually started working on more complex parts and full songs of my own.

CC: What are your songwriting influences? Do you feel like there's an influence on your music that is obvious to you but might not necessarily be apparent to a listener?

ST: Very, very many. I guess the biggest influences are my favorite bands, mostly jangly guitar bands from the '80s, and c86 bands: McCarthy, The Bodines, The Smiths, The Jesus & Mary Chain, My Bloody Valentine, '90s Slumberland stuff, especially Black Tambourine and Henry's Dress. Early Modest Mouse, '90s Kinsella-sphere emo, like Cap'n Jazz, American Football, Joan of Arc (that first album), The Promise Ring, and other stuff like Sunny Day Real Estate, Braid, early Fugazi, and older punk bands like Minor Threat, Bad Brains and The Wipers. For more contemporary stuff, Grouper, Deerhunter and Broadcast. Is this too many? [No. -- Ed.]

 I've also got a real place in my heart for old doo-wop stuff, like from the '50s and '60s. Not that I think that sound influences what I write, but I really admire how simple, in terms of structure and lyrics, that most of those songs are. But you can still tell there's real emotion that goes into it.

CC: How would you describe your songwriting (not recording) process. Are the songs planned out, or is the process more organic, with single chords or melodies developing into parts, which then develop into songs? Or do you have a back catalog of riffs/parts/progressions that you mix and match until they find a home?

ST: Well actually, I write quite a bit by recording. If I have one or two parts that go together, I'll record it and listen for how another part might work its way in there. Hearing something play back usually helps me decide what works and what doesn't, and where structural things and transitions should go. It feels a lot different playing a song vs. hearing it recorded. It's almost like how I "proofread" a song.

 Typically I'll have a few parts that will not really have a set order/duration, but almost always the part that comes to me first ends up being the chorus, and I kind of work the other parts around that.

CC: Do you normally write your songs alone, or are you used to writing with others? Will this project change the way you typically write?

ST: Most of the songs that I write, I write by myself, so this is actually somewhat normal for me.

CC: Where will you be doing your writing and recording throughout this project?

ST: My bedroom/apartment, and maybe some in my practice space.

CC: What are your goals/aspirations for this project?

ST: My goal is really to push myself outside of my comfort zone, and by that I mean, actually PRODUCE something. Since I was 19, I have started writing and recording literally dozens of songs, some finished, many more unfinished, but zero that I've formally released. It's partly an insecurity thing, but it's also an attention span/schedule thing: I have ADHD, I work full time, I play and practice in two bands, and I have a girlfriend. There's not a lot of time in between for me to focus on songwriting, and this is a really good excuse for that, and it's just a cool idea for a project, too.
What else can we tell you? Here's the Face book deets for that show Chandeliers are playing in Philly Saturday night: all of our Philadelpia pheoples should hit that. The threesome is back in Allston Rock City April 30 supporting this bill at O'Brien's toplined by Streight Angular. Enough of my yakkin', how about some songs?

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April 16, 2014

Today's Hotness: White Laces, Fennesz, Hymnals

White Laces -- Skate Or Die (detail)

>> It's a bit of an understatement to say things have timed out pretty nicely for White Laces of late. Hot on the heels of finishing the recording of a sophomore LP with renowned Philadelphia producer Jeff Zeigler in December, the hotly tipped, Richmond-based futurepop four was selected to support The War On Drugs' current U.S. tour, which has its penultimate stop at Boston's Paradise Rock Club tomorrow. Reviews of the Laces' supporting slots have been solid, and we've heard reports that the guys have stayed healthy and sane (and, importantly, literally on the road, when that sort of thing counted). But for those not lucky enough to be on the tour rout, the most exciting thing of late coming out of the White Laces camp is the first taste of the forthcoming LP, Trance, a bombastic, kinetic and fluid groover called "Skate Or Die." The sounds are bigger, fronter Landis Wine's vocals more desperate, and one can literally hear the band expanding on its sonic proposition, becoming bigger and bolder, on the new tune. There are as yet no public plans for the release of Trance, but the looks and listens White Laces have been garnering on the current tour -- the band's first circumnavigation of the U.S. -- will likely prove invaluable when it comes to finding a home for the collection. So get to the Paradise early on Thursday, Boston -- you will be glad you did (at least for now, tickets remain available). Last we saw the act live, it was playing a third-floor living room in J.P. in 2011, so needless to say the band has already come very far; we expect the next year will bring more of the bigger and better. Press play on "Skate Or Die" via the embed below and get ready to rawk. We reviewed White Laces debut long-player Moves right here in August 2012.

>> A reader tipped us off to the presence on YouTube of a new Fennesz song titled "Liminality," which is a slowly spiraling delight of fuzzy electric guitar and icy electronic tones. The 10-minute meditation is the third to surface from the forthcoming, seven-song collection Bécs, which will be released by Editions Mego on LP, compact disc and as a digital download April 28; Pantsfork premiered the substantially more ominous "The Liar" here in February, and the escapist fantasy "Static Kings" here in March (although the author of the latter piece seemed unaware of the former). Bécs is Vienna-based Fennesz' first solo long-player in six years (although the song "Sav" is co-written by Cédric Stevens), and it is apparently intended as a follow-up to Fennesz' ground-breaking 2001 collection Endless Summer. "Liminality" certainly seems akin to the music from that tremendous earlier LP, in terms of tone and texture. Loosely gathered electric guitar notes cluster together into jangling, fuzzy chords, and then billow loosely in the composition's quieter moments, in much the same way Bill Frisell's guitar is at its most beautiful when it just serenely sustains. Those quieter moments eventually recede as Fennesz constructs a wall of melodic distortion that undulates and ripples like the surface of a warm pool of water. It's a mesmerizing piece, one that is distinctly Fennesz. Pre-order Bécs right here, and stream the stunner "Liminality" via the embed below, while it lasts.

>> So you're one half of rad indie rock duo Kindling, and your partner in crime is out of town for a week: what do you do? Make monolithic, fuzz-blasted rock music, that's what. Seven days to himself was enough of an opportunity for Stephen, the surnameless male component of the Western Mass.-based act Kindling, to dream up "When You're Away," which he has released here under the moniker Hymnals. It's unclear how active this project will actually be, dependent as it would seem to be on Gretchen Kindling's travel schedule. The duo certainly has kept busy since we first wrote about the band right here last month. Although progress on the pair's ever-expanding demos set Spare Room would seem to have stalled, in fact the apparent inactivity is the result of the fact that Kindling has a four-song 7" in the offing, according to this Facebook status. They are still finishing up vocals, so there's no telling when we might hear this 7", so it's nice to have a new little sumpin' sumpin' from Hymnals to tide us over. Stream the blunt, concise swirl "When You're Away" via the embed below.

April 13, 2014

Review: Benjamin Shaw | Goodbye, Cagoule World

It's a long rain jacket, is what a cagoule is, to answer what is likely the first question any American has about this record. The second question is probably something along the lines of "Benjamin who?" Even so, longtime Clicky Clicky readers will recall Benjamin Shaw's sublime 2011 set There's Always Hope, There's Always Cabernet [preview], and perhaps other of his releases. Mr. Shaw, simply put, is among the best London has to offer, a songwriter both morose and sly, a man whose ghoulish songs are stunning, detailed tableaus of rich absurdity, beautiful putrefaction and boundless despair. While it is not sonically as of-a-piece as the aforementioned Cabernet or the fantastic 2013 instrumental set Summer In The Box Room, Shaw's latest long-player Goodbye, Cagoule World is nonetheless a marvel, illustrating both the breadth and depth of the talents of this underlooked fun trick noisemaker.

The record features Shaw's characteristic, charmingly dour reportage on slow doom and slower decay, around which he has arranged into an immersive aural collage a surprising and rich array of exquisitely crafted sounds. There's the lonely vibrato guitar leads quietly hammering themselves in the head, and the demented and aimless saxophone, in "Always With The Drama." The mid-tempo, canned swing of "Break The Kettles And Sink The Boats" hints only slightly at the shuddering boxed rhythm that opens the instrumental "A Day In The Park." But as good as Shaw's instrumentions sound, it is his incisive and decimating lyrics that resonate most powerfully. After a protracted, spectral introduction, the album opener "No One" presents a vivid, indeterminate and potentially terrifying narrative with only a single lyric: "No one can love you like I do, 'cause you never, no you never, leave the flat." Is this a description of a quiet, prim relationship? The quiet taunt of captor to captive? Whatever is happening in the song, it has taken the last great single-lined song -- Built To Spill's towering (and apparently rarely performed) "You Are" from 2001's Ancient Melodies Of The Future -- and bent it tantalizingly toward Shaw's "Endgame"-esque aesthetic.

This is not to undersell Shaw's penetrating wit (we'll leave it to Audio Antihero to do the underselling -- OOOH BURN! -- Ed.). As beautiful and human as the aforementioned moments are, the easy lilt and sardonic lyrics of the booby-trapped "You And Me" make it the closest thing to a pop hit among the songs of Goodbye, Cagoule World -- while, of course and in true Shaw fashion, aiming to torpedo pop convention. Over a serene epilogue, a bed of wavering synth tones that recalls the bed of Hypo's microhouse anthem "Nice Day," Shaw bullet-points the makings of a lamestream lyric: "so here's a line about the system, and here's a line that's quite funny, and here's a pop culture reference, and a lazy refrain, like 'you and me.'" Shaw's distinctly smart and singular voice -- whipsmart and deeply affecting, and we're using "voice" in the figurative sense here -- puts him in the rarified company of non-hitmakers of the day including Krill's Jonah Furman or Los Campesinos!' Gareth Paisey.

Goodbye, Cagoule World will be released as a compact disc and digital download by the aforementioned, venerable mess of a label Audio Antihero April 21. The first 100 pre-orders of either format will also receive a Benjamin Shaw-endorsed stress ball, if they click the correct button on the Bandcamp page here. A stress ball seems rather ridiculous given the transcendent futility consistently portrayed in Shaw's music -- so wait, maybe it's perfect, actually. The release of Goodbye, Cagoule World will be feted at a show April 29 at Servant Jazz Quarters in London, but if you'd prefer not to wait as long as all that, Shaw will also appear Wednesday at London's Ivy House. For the time being, the entirety of Goodbye, Cagoule World can be stream right here at GoldFlake Paint. We've also embedded the title track and "You And Me" for your listening pleasure below.

Benjamin Shaw: Bandcamp | Facebook | Internerds | Soundcloud | Twonger

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April 9, 2014

Today's Hotness: Moonbell, What Moon Things, White Reaper

Moonbell -- Afterlives (detail)

>> San Francisco quartet Moonbell make faraway and trippy shoegaze with a very distinctive sound, one that makes the act's long-player Afterlives among the most singular dream-pop albums of 2014 to date. Its 11 songs carry copious reverb on nearly every instrument, and the unexpected wandering bass lines and schizophrenic patterns of this record add to its otherworldly nature. Opener "Never Seems" establishes a mood with loping snare work, and the drifting vocals and strings simultaneously disorient and engage. In an especially cool touch at 1:22, the tune transforms from electric to acoustic -- a solid example of the unexpected elements that Moonbell regularly employ. The title track, an album highlight, goes for a more monolithic approach, with punchy, slightly dissonant bass work reminding this reviewer of the colossal "Periscope" from Lilys' masterpiece In The Presence Of Nothing (which, as we wrote last month, may finally be getting the reissue it so dearly deserves). The vocals, while airy, bear the charmingly innocent and slightly out-of-tune feel of shoegaze greats like The Telescopes and early The Brian Jonestown Massacre -- a welcome revival of the style. Afterlives was released April 1 on the band's own Hypnogram imprint in a limited edition of 100 cassettes and as a digital download; purchase it right here. The entire set may be streamed via the embed below, and a new EP comprised of music recorded during the same sessions as Afterlives is slated for release this summer, according to this interview. Moonbell, which formed in 2010, previously released a digital single "The Golden Hour" and two EPs, Figurine and Parallel, all of which are available as free downloads via Moonbell's Bandcamp yert right here. The two EPs were packaged together for a CD release in 2012. But particularly based on the strength of its newest material, Moonbell's unusual blend of styles and sounds makes it a band to watch. Watch we will. -- Edward Charlton

>> The news was a long time coming, but New Paltz-based noise rockers What Moon Things revealed at last today that it has signed to the new imprint Hot Grits, which will release the trio's self-titled debut LP June 3. It's a record about the making of other records, a record populated by vampires (and which at one point was to have been titled The Vampire), populated by data lint scraped from and used to stuff the taxidermied remains of failed relationships. What Moon Things carries its own specific and murky atmosphere, marked by prickly but patient guitars, wide-hipped reverbs and fronter Jake Harms' existentially uneasy tenor. The eight-song set fluidly slides from moody groove to desperate thrash, making it not only just a little sexy, but also a gripping listen. The spooky preview track "The Astronaut" conveys via giant but spare drumming, percolating guitars and Mr. Harms' emotional, drawling vocals a deep isolation, an outsiderness whose introversion fuels an arresting gravity that draws listeners in. It's a promising single from among a strong set of songs. There is as yet no pre-order information available for What Moon Things, which will be on offer as a 12" flat vinyl disc, compact disc, and, we imagine, digital download. Despite a pretty gnarly injury to Harms' thumb recently, the band embarks on a short strand of tour dates tomorrow, including a stop at Boston's Great Scott next week. We've posted all the dates below, and below that you can stream and download "The Astronaut" via a Soundcloud embed. We first wrote about What Moon Things, "The Astronaut" and the swerving anti-anthem "Squirrel Girl" right here last July.

04/10 -- The Batcave -- Montclaire, NY
04/11 -- Suburbia -- Brooklyn, NY
04/12 -- Upstate Artists Guild -- Albany, NY
04/15 -- Great Scott -- Boston, MA
04/18 -- 158 Salon -- New Paltz, NY
04/19 -- Cameo Gallery -- Brooklyn, NY
04/25 -- Bard College -- Red Hook, NY
05/06 -- Oasis Cafe -- New Paltz, NY

>> Last time we wrote about garage punks White Reaper last August, the Louisville duo was prepping a full-length for a German label. It appears that plan never came to fruition, based on a scan of the label's web site, but there is new music from White Reaper -- now a trio -- in the offing, and on a label much closer to home. The venerable Polyvinyl revealed today that it will release in June a self-titled EP from the threesome. A blazing preview track from the EP, titled "Half Bad," bashes and pops with abandon, and touts a ridiculously keen, burbling organ lead whose space-age vibrato threatens to separate the tones from the speakers of your hi-fi, particularly during the rave-up of the cymbal-soaked final chorus. The six-song EP also features a version of the 2013 A-side "Conspirator," and is available for pre-order now as a 180-gram, clear pink 12" vinyl disc, CD, cassette or digital download. White Reaper will be released June 24; pre-orders will ship June 13, according to Polyvinyl. Stream the blaster "Half Bad" via the Soundcloud embed below.