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.

Today's Hotness: Future Carnivores, Manors, Scud Mountain Boys



>> A number of things conspired against us providing timely coverage of Future Carnivores' recently issued sophomore set, but none are as remotely interesting as the record itself. Titled Come Inside, the set features 10 generous cuts of the Cambridge, Mass.-based collective's singular tribal space-pop. The songs are largely spun from the same silk as the tunes gracing Future Carnivores' 2012 self-titled debut, which we reviewed here. Come Inside continues the band's love affair with re-imagined New Romantic pop: dreamy vocals swirl over basic, hypnotic grooves fashioned from electro beats and staccato guitar loops, a foundation regularly and significantly embellished by imaginative instrumentation and production. If there is a defining characteristic to Come Inside versus the band's debut, it is that the music has drifted further from verse/chorus constructs to focus pointedly on the aforementioned hypnotic grooves. If you'll permit the aside, it calls to mind Dave Sitek's (TVOTR) interview with Pitchfork in 2006, in which he discusses the importance of repetition ("Through the trauma of birth we're thrown into these repetitions, everything from our heartbeat to our routines, and I think it's identifiable") and hi-hat ("This guy named Fegun who played with Fela Kuti for a while was telling me about the hypnotic effect of music. He's like, 'The most important drum in Afrobeat is not a drum, it's the hi-hat. Because it hypnotizes. And that's what people identify with. It syncs with their heartbeat.'"). It speaks to the confidence of Future Carnivores that Come Inside opens with a six-minute mid-tempo jam whose second-half blossoms into a blissful, psychedelic sound-chakra. "Blame Time" ups the ante on the six-piece's groove fixation via a foregrounded syncopated cymbal cadence. Not that there aren't some uptempo and single-worthy numbers on Come Inside; the quasi-title track "Twice" is a modern dance-floor killer that provides the record's boldest moments, and the slightly more subdued preview track "The Drugs She Fed You Last Night" goes intergalactic when the beat drops out and returns at the close of the final chorus. Come Inside was self-released by the band June 3, and is available for sale as a digital download via Bandcamp. Stream the whole dealy via the embed below.



>> We aren't head over heels over the entire collection, but the recent lo-fi LP from Philadelphia's Manors does feature one song we can't stop listening to, the sweet, spare and spooky ballad "Teeth Dreams." Tangentially, we'll remark here for those who don't know that teeth dreams is a thing, we used to have bad dreams with some regularity that our teeth broke. Ironically, we finally broke one 10 years ago and then the dreams went away. Magic! Anyway, Manors is the nom de rock of Dayna Evans, and "Teeth Dreams" rests in the midst of her record called Fit In. The set features drumming by all-around awesome dood Evan Bernard, whose name should be familiar to Clicky Clicky readers, but "Teeth Dreams" is comprised of just three elements: a Kim Deal-esque vocal track, electric guitar and what we'd guess is melodica. It's the simple vocal and its sad, self-aware narrative that draws us in again and again ("...I thought you'd be the one, but I don't know anymore..."). The tune is filled with beauty and resignation and regret and doubt and is terribly human and affecting. It's perfect for the hot summer days upon us, just the thing to help you pass still hours under a piece of shade and within a wisp of breeze. Fit In was released to the wilds of the Internerds via Bandcamp May 14; stream "Teeth Dreams" via the Bandcamp embed below.



>> We'd be derelict in our duties if we did not inform you that details about the new record from reunited alt.country legends Scud Mountain Boys are now available. The new, fourth set -- the band's first in 17 years, since the release of the harrowing classic Massachusetts -- is titled Do You Love The Sun, and it streets July 9 via Ashmont Records. You can look at the album art and stream three songs (the title track, "Double Bed" and "Crown Of Thorns") at the quartet's brand-new web site right here. Fans who pre-order by July 4 will also receive a numbered, limited edition bonus disc titled Drowned, featuring three Joe Pernice-penned tunes recorded just before the Scuds signed to Sub Pop. Legal drama that surrounded the signing, among other things maybe, kept the songs -- which were recorded with Michael Deming at Studio .45 in Hartford, Conn. -- from ever being released previously. Drowned goes out of print immediately after the expiration of the pre-order period, so that's a pretty good inducement, right? You know, besides this awesome band reforming and recording a record for you? Incidentally, we once gave a Warners A&R rep the very bad advice to skip a Scud Mountain Boys show in Northampton, Mass. in 1995 or so, instead directing her to see the goofballs in The Unband. Live and learn... Anyway, if you know what's good for you, you will pre-order Do You Love The Sun directly from Ashmont and the band right here. The Scuds first reunited in 2011 at the Lizard Lounge in Cambridge; the foursome's next local appearance will be at Brighton Music Hall in Boston Sept. 20.

Review: Krill | Lucky Leaves

Some bands this year will release good records, and a very small number will release excellent ones. But Jamaica Plain, Mass.-based trio Krill has accomplished something exceedingly rare by fabricating -- in a breathtakingly brief 10 hours of studio time -- a whole and quirky sonic universe all its own. A universe that, we imagine, has the same fidelity to perspective and logic as an episode of "Ren & Stimpy." Indeed, the threesome's sophomore collection Lucky Leaves boasts 11 clever and patient compositions, but each is a crooked house of cards, each adheres to an off-world gravity tugging steadily on wiry and sparkling guitar lines, rubbery bass and drumming that approximates the collective cadence of a few wind-up toys running concurrently but intermittently. The sum of all this is a rock critic's dream record, one that boasts a singular world-view from a charming coterie, complete with smart-guy time signatures, syncopation and instrumental interplay, nuance and dynamics, all beholden to a masterful economy. While some bands succeed by doing a few things right, Krill surpasses whatever expectations anyone might have had by doing EVERYTHING right.

This is especially the case with the dub-tastic and twangy preview single "Never A Joke," a potent case study of the curious dynamics and the crackerjack performances that bless Lucky Leaves -- listen to the stumbling drum fill just past the two-and-a-half-minute mark, just prior to the guitar bluescreening into a cascading repetition that sucks the song right down the drain. That dub influence isn't always as explicit, but even so the power and kinecticism of Lucky Leaves is as much due to the wide and deep space left by the economical compositions as it is the clattering rhythm section and technicolor guitar melodies. And swooping over or looping through the airy mixes are the surprisingly direct and occasionally demented vocals of singer and bassist Jonah Furman, whose adenoidal delivery is given substantial weight by variations in tone and texture employed in rendering his losercore declamations. Mr. Furman's singing recalls that of Modest Mouse's Isaac Brock or Clap Your Hands Say Yeah!'s Alec Ounsworth, but Furman at this point is perhaps more relateable than the former and more believably unhinged than the latter. There is no effort to soften the loathing in the stark and harrowing lyrics to "Oppressor" ("...whenever I have a good time, I dismiss my suffering, I'm the oppressor...") or the irony of "Infinite Power" ("...if you wanna feel like a failure, that's your right..."). The latter is tempered somewhat by the follow-on and final track, the curiously content and centered acoustic reprise of the opener "Theme From Krill," but that contrast is perhaps the clearest example of Krill's greatest appeal, a wry but winking (if winking was coool...) humor.

Krill mark Monday's release of Lucky Leaves with a show at Great Scott in Boston Saturday; the bill includes Ava Luna (featuring Julian Fader and Carlos Hernandez, who recorded Krill's record at The Silent Barn in Brooklyn in February), SaraLee and Huge Face. All the details can be found at this Facebook event page; there's another release show in New York the prior night. The record was initially only available on a USB stick embedded in a ball of cheese, on a CD (150 ludicrously packaged in a 12" sleeve, because whatever forever) or as a digital download, but somewhere along the way some wise person ponied up money for Krill to press Lucky Leaves to vinyl. You can review all of your purchase options at the band's Bandcamp wigwam right here; know that there is now vinyl available in a limited edition of 350 units on "barfy"-colored media. In the meantime, click over to Noisey to stream the entire collection or hear the two preview cuts via the Bandcamp embed below.

Krill: Bandcamp | Facebook | Soundcloud

Previously on Clicky Clicky:
Show Us Yours #16: Krill

Today's Hotness: Audio Antihero Comp, Break It Up, COH



>> London's ineptly brilliant Audio Antihero recently unleashed a cracking, 31-track charity compilation, the latest in the label's efforts to leverage the music of its various constituents and supporters to do some good for those in need, in this instance the organizations Rape Crisis -- England and Wales and Rape Crisis -- Scotland. These two entities do an impressive number of things that you can read about here and here, but we think it is important for our largely US-based readership to understand that these services "are community-based, and independent of government and the criminal justice system." It being Audio Antihero, of course the comp has a ludicrous professional wrestling-inspired title, Regal Vs. Steamboat. Given the length and stylistic breadth of the collection of songs -- which is available for a minimum donation of £3.99 -- the set is just short of an unspoken invitation from the label to fans to mix and match favorites, perhaps creating three more traditionally sized compilations. The line-up includes a number of tunes from Clicky Clicky besties, including a thrilling hyperpop gem from Internet Forever and a classic downer from Benjamin Shaw, whose tune "Goodbye, Cagoule World" was recorded live at London's Union Chapel last year as part of Daylight Music weekly Saturday lunchtime shows. Well, consider AAH's unmade challenge met, as we've gone ahead and identified a Clicky Clicky's Choice (tm) version of Regal Vs. Steamboat that spotlights our 10 favorites of the 31, jumping off from AAH helmer Jamie Volcano's own lead-off choice, Low Low Low La La La Love Love Love's "Change The Mistake." Along the way you'll also hear a blindingly brilliant rocker from Glaswegians United Fruit and a similarly vital anthem from Ben Parker's current and ridiculously slept-on project The Jonbarr Hinge. You can stream our truncated, guitar-pop-plus-leaning Clicky Clicky's Choice version via the series of hyperlinked titles below, but once you click through, do what you can to support this extremely worthy cause being championed by Mr. Halliday, who is both a good and amusing man.

1. Low Low Low La La La Love Love Love - "Change The Mistake"
2. Burnt Palms -- "Empty Place"
3. Internet Forever -- "I'll Sleep When I'm Alive"
4. Wartgore Hellsnicker -- "Perfect Competition"
5. United Fruit -- "Go Away, Don't Leave Me Alone"
6. The Jonbarr Hinge -- "Don't Feel So Sorry For Yourself"
7. Salvage My Dream -- "Give In, Give Up (Modern Girls cover)"
8. Princess -- "Junk Mail"
9. Grand Pocket Orchestra -- "No One"
10. David Cronenberg's Wife -- "Drawn Again (Original Version)"

>> While Clicky Clicky will always have at least one ear on the city because it is the former home of our esteemed executive editor, presently Philadelphia is noticeably gathering some of that shifting, cyclical shine that periodically illuminates the music scenes of certain cities, causing folks to weigh appellations like "indie rock mecca." Between the runaway success of the Crutchfield twins (who you know from their shit-hot and totally quality acts Swearin' and Waxahatchee), the buzzing rise from Purling Hiss and the prolonged success of scene mainstay Kurt Vile, Philadelphia's present ascendency is incontrovertible. One could make an argument the aforementioned shine shows no sign of dimming based on the city of brotherly love's latest entry into the fold, indie-pop trio Break It Up. The band -- which includes Easton, Mass.-bred Dan Morse on guitar -- achieves a familiar, '90s-styled sound without a bassist, instead electing to leave aural space into which fluid, textural guitar work blossoms and bounces. The threesome's "New Penzance," taken from its recently released full-length debut Break It Up, is a stunner, all galloping drums, ringing guitars and two-part harmonies. Stream the tune via the Soundcloud embed below, and purchase the entire peppy and bright set, recorded at Philadelphia's Uniform Recording with renowned engineer Jeff Zeigler, via Bandcamp right here. -- Dillon Riley



>> As we've stated somewhere, we've been coming back around to revisit and catch up on the progress of certain of the electronic acts we used to follow when we first started spending a lot of our time writing about music. Some 11 years back we drew an assignment for Junkmedia to review a full-length of minimal electronic compositions from Russian-born Swede and acoustic engineer Ivan Pavlov, who releases music under the guise of COH, among others. We were largely stymied by COH's 2002 release (of recordings made several years prior) titled Mask Of Birth, as this over-long and rather defensive review evidences. There have been at least 17 releases since that time for various projects Mr. Pavlov is part of, but the latest set from COH (which, incidentally, is the Russian word for sleep), Retro-2038, is where we've finally picked up the thread again. In contrast to Mask Of Birth, the new eight-song collection is warm and inviting -- not necessarily the first two adjectives that come to mind when discussing minimal electronic music, we admit. Even so, we can't say enough good things about what we've heard: there is still a variety of textures and tones at play here, but rhythms tend to gravitate largely around a conventional 4/4 and melody is as pronounced in these eight songs as it is in, say, this recent, more banging but brilliant track from the untouchable electronic genius Keith Fullerton Whitman, or even My Bloody Valentine's superlative 2013 surprise mbv. Retro-2038 was issued by Editions Mego May 13, and the record is available for purchase on CD on double LP (drool...) as an import right here. Sure, with the shipping and exchange rate, this isn't a cheap investment, but it is certainly one of our favorite electronic releases of the year so far. Stream the entire collection via the YouTube embed below.

That Was The Show That Was: Roomrunner with Shannon And The Clams | Great Scott | 17 June



[PHOTO: D. Riley] Despite being underage, Great Scott and its community vibe, relatively spacious confines and decent sight lines has fast become a favorite of mine in the city. Plus, they always seem to book the best local gigs. So, I was pretty psyched to head there Monday to witness Baltimore noise-rockers Roomrunner open for hotly tipped psych-pop dynamo Mikal Cronin. What I wasn't expecting was the huge crowd. After all, this was Monday night in Boston.

I also missed the memo on the show being a four-band bill, so I walked in the club about halfway into Roomrunner's blazing set and was confronted by a formidable wall of bodies. Total bummer, I thought after making my way to about the tenth row of bobbing humans from the stage. However, Roomrunner being the impressive live act they are, I could still feel plenty of the energy the quartet was throwing off the stage, even from the proverbial nosebleed seats. The band tore its way through cuts off their recently issued debut long-player Ideal Cities during what amounted to an all-too-brief half-hour. The performance -- what I saw of it -- was highlighted by a strikingly volatile take on album standout "Duno." The '90s indie comparisons often lobbed at the group proved apt, at least based on period signifiers such as frontman Denny Bowen's slacker attire and mumbled stage banter.

Doubling down on the night's apparent nostalgia kick, Monday's biggest surprise was the rousing set from '60s-indebted garage rockers Shannon And The Clams, whose hook-heavy jams thoroughly impressed. Based out of California, the act was a heretofore unknown quantity to me. In that regard I was apparently in the minority, as seemingly everyone around me and near the stage shouted back every word to the band while gleefully keeping not one but two beach balls aloft throughout the set. Most importantly, though, I felt the floor shake under the sheer force of the crowd's impassioned dancing, as true a sign of a good set as I've ever seen, or, well, felt. -- Dillon Riley

Roomrunner: Bandcamp | Facebook | Tumblr | Twitter | Wiki

Review: Colleen | The Weighing Of The Heart

The Weighing Of The Heart is a rippling mirage, a quest for a personal peace, a map with vectors pointing both outward and inward, a shifting destination that finally stopped slipping away when former French schoolteacher, now resident Spaniard, Cecille Schott delivered her new, fourth full-length. The set arrives six years in the wake of her 2007 collection, Les Ondes Silencieuses. During her silent span of time, Ms. Schott, the sole member of Colleen, struggled with doubt, writer's block and the development of certain technical skills in order to realize The Weighing Of The Heart. The record takes its title from The Egyptian Book Of The Dead, but in a general sense the name is almost startlingly fitting, as it suggests a testing of mettle that recent press about Schott confirms. And while The Weighing Of The Heart (again, generally) suggests a process, the record itself represents a destination for both Colleen and her fans, a destination that would seem to possess its own singular collection of secrets.

The record is a cool dreamscape of electro acoustic sounds, more often than not neatly arranged across an expanse of aural space like complete skeletons of fantastic birds surfacing under brushes from strata. Although The Weighing Of The Heart is characteristically dreamy and mesmerizing, and is in that sense definitely a "Colleen record," there are significant new elements brought to bear. The other-worldly character of Colleen's music is enhanced by the newest and perhaps most potent tool in Schott's sonic arsenal: her voice. While Colleen's prior records are instrumental affairs (and indeed, here widely heralded debut Everyone Alive Wants Answers was all instrumental samples), on The Weighing Of The Heart she almost exudes beautiful vocals, diaphanous, breathy, so intimate that even when double-tracked it is like she is whispering secrets in your ear, close enough that the hair stands up on the back of your neck. Schott's voice and chiaroscuro lyrical imagery recall that of Juana Molina. And whether it was something suggested by the cadence of the newly developed vocals, is the result of increased technical skill, or is the result of yet some other impulse, the 11 songs of The Weighing Of The Heart percolate with pronounced rhythms, sometimes gently swaying like a boat on the ocean, and at other times crackling and popping like an ancient, dusty automaton. There is even a head-bobbing percussion bridge in the almost-groovy "Going Forth By Day," and "Humming Fields," a bewitching composition whose beautiful chorus chants "in lonely fields I've been humming / only the grass overhearing / cat woke me up with his dreaming," burbles and twinkles across pretty layers of chimes, tambourine and drum.

Despite the contemplative and personal tone of Colleen's music, especially on this new collection, certain of her influences shine through, from Arthur Russell to Laurie Anderson (fans would be wise to stream the amazing "influences mix" Colleen curated to help promote her new record; it is available to stream via Soundcloud right here). The Weighing Of The Heart's "Ursa Major Find" commences with soft salvo of oooohs, but the creaking intrumental bed that takes shape thereafter echoes the melodic texture underlying Radiohead's "Weird Fishes." All that said, it is Schott's own ear for beautiful timbre and her melodic sense -- not her ability to synthesize recognizable sonic referents -- that makes her the dramatically intriguing and wholly arresting artist that she is.

The best news of all for Colleen fans came in recent blog posts by Schott, when she remarked that she has already been playing new songs (and covers) live. Further, after her three shows in Italy this week (including a set of improvised music Friday), she intends to return home to Spain to work on new music: hopefully fans won't have to wait quite as long to hear what incredible music Colleen creates next. In the meantime, stream all of The Weighing Of The Heart -- which was released May 13 by Second Language in the UK -- via the YouTube embed below, and purchase the record here. Colleen's three prior albums and EP are also presently being sold in a special, four-CD bundle for 20 pounds, which is a great deal even when factoring in the exchange rate (although we haven't looked at what shipping would be). Fans looking for the three Leaf-released full-lengths on vinyl are encouraged to check in with Beat Delete, a new-to-us concern that attempts to crowdfund vinyl releases of selected LPs.

Colleen: Internerds | Soundcloud | YouTube

That Was The Show That Was: Lilys with Prefab Messiahs | Lilypad | 15 May



[Photo: D. Riley] "God, I wish someone had told me parking in Inman Square is practically nonexistent," I shouted over the new My Bloody Valentine album as I rounded Cambridge St. for what felt like the tenth time. After a few misguided parallel attempts and a Costanza moment with my buddy, I struck vehicle stowage gold and booked it over to The Lilypad. Not an auspicious start, I thought, but I was seeing Lilys: this was going to be a good night, parking be damned.

Openers The Prefab Messiahs, in all their psych-pop glory, were just finishing up sound check as we walked in. They soon took the stage (read: designated end of the room) and delivered a tight, generously lengthy opening set. The act was a working psych-rock concern in the early '80s and are recently reunited. The formerly Worcester-based Prefab Messiahs remarked from the stage that they'd been busy recording new music with some current Lilys members helming the sessions in Boston. Despite having little knowledge of their music, I was drawn to their goofy charm. They were clearly a group of dudes who didn't take themselves seriously then or now, what with their self-referencing songs about psychedelic cars and orange rooms. Oh, and props to their outfits too, especially the lead guitarist's McDonald's manager-worthy polo shirt.

After a barely audible introduction -- somewhat unusual given chief Lily Kurt Heasley's characteristic fantastical logorrhea -- the current iteration of Lilys launched into its towering shoegaze classic "Claire Hates Me," and it killed. Thereafter was a brief yet satisfying (and quite loud) set that showcased the band's dizzying range. Crunchy noise rock cuts abutted '60s-inspired psych nuggets and trance-y motorik grooves. What initially struck me about their set though was the band's set-up. While shoegaze guitarists are typically surrounded by a vast array of guitar pedals, here was Heasley nailing the dense tones of his storied discography armed with nothing more than a fuzz pedal. Instead Lilys erected their wall of sound with keyboards and dueling guitars cooking up plenty of noise, coating the tiny confines of The Lilypad with layer upon layer of beautiful distortion. It was a fitting end to close the show with the undeniable and heavy "February Fourteenth" -- just as the band had done Tuesday night for its appearance at the Chickfactor 21 festival -- not only because it tested the structural integrity of the venue, but also because it reminded the assembled fans of the the Lilys' singular, circuitous sonic progression these past 22 years. "Have a beautiful evening," Heasley mumbled before disappearing behind the stage. After a traditional post-show burrito, I could safely say I did. -- Dillon Riley

Lilys: Facebook | Last.fm | MySpazzzz | Wikipedia

Selected Prior Lilys coverage:
That Was The Show That Was: Lilys | Lilypad | 25 May
A N D I F O R G O T A L O N G T I M E A G O H O W Y O U F E E L
20: Lilys | In The Presence Of Nothing
Today's Hotness: Lilys
Footage: Lilys' "February 14th" Live at Chickfactor | Sept. 22
YouTube Rodeo: Lilys' Amazing "YCJCYAQFTD," "A Nanny In Manhattan," "Baby's A Dealer"
YouTube Rodeo: Lilys' "Ginger" Live And Awesome
Coming To Your Local Bandstand: Lilys' California Mini Tour

Today's Hotness: Princess Reason, Ghost Outfit



>> Sometimes, Soundcloud really delivers. After all, without it we wouldn't have known about Princess Reason, a young and somewhat shadowy band from College Park, Maryland. The act's self-titled album, out now digitally and eventually on tape via Tricot Records, is a welcome breath of meditative, DIY pop. Not much can be gleaned about Princess Reason from the Interzizzles, but what little there is at the Tricot Records Web presence indicates that this is a group of friends unpretentiously offering a glimpse into its own aural, DIY reality. All product is presently made by hand, and most visual characterizations of the collective depict bookshelves, mixing station desks, and simple, clean visuals suggesting a bright, but decaying innocence. "We Are Splitting," one of the highlights of the Princess Reason release, commences with a picked, drop-tuned guitar figure that guides the singer's wandering melody through a rumination on the "little house we all share." With an ambient delay looped in the background, the song briefly pauses before doubling in volume for a more rambunctious passage that calls to mind the scratchy guitar work of early Modest Mouse, or the paralyzing melancholy of Brian McGrath's too-short-lived post-Wendyfix project Mantissa. "We Are Splitting" smolders to a single ember and then winks out; listeners can almost feel the cool wisps of air from the AC unit and the diminishing light coming through the blinds as the players push back from a shared, melancholy reverie and slowly regain their senses after another intimate bedroom catharsis. Grab this dreamy release for any amount desired at the Princess Reason Bandcamp right here; we've embedded "We Are Splitting" for your listening pleasure below. -- Edward Charlton



>> Industrial Britain: bleak, unforgiving and yet -- as history has shown for decades -- surprisingly inspiring. A steady thrum of clanging and droning acts sourced from gray, stiffening urban environs has sound-tracked the nation's musical comings and goings since a young Ian Curtis or Mark E. Smith first clutched microphones and gave voice to the disenfranchised. The tradition lives on in the music of Mancunians Ghost Outfit, a pair whose visceral sound is among the latest to have caught our ear. Ghost Outfit announced recently the pending release of a debut full-length titled I Want You To Destroy Me, due June 24 on Salford-based SWAYS Records. Singer/guitarist Jack Hardman, and drummer Mike Benson proffer a churning, thick, no-wave-indebted take on UK indie rock and noise-pop, and lead single "Killuhs" opens with repetitive string bends and colossal, destructive tom hits. When Mr. Hardman's pleading vocals edge in to the mix, the increasingly moody tune begins to echo the desperation of frayed and emotional contemporaries such as Scotland's We Were Promised Jetpacks, shoegazing Danes Heaviness and the Czech Republic's The Ecstasy of Saint Theresa. It's here, too, that one first gets a sense of the precise attention to detail the band employs, despite its minimal set-up. Marvel in the cross-channel dimensions of Hardman's guitar tone, or the foreboding, over-dubbed whisper that accompanies his voice ever so briefly shortly past the minute mark. Thereafter, he manages a brief, faraway holler, before the song engulfs him with an instrumental groove that carries it through to its conclusion, uncontainable distortion sparking off in all directions. Ghost Outfit perform with such fresh conviction, and it's apparent the two live and breathe despondent rhythms and a thorny, de-tuned fever, an ideal soundtrack to all that is crumbling and soon to be missed. This reviewer can't recommend this album enough; I Want You To Destroy Me is available for pre-order now as an LP or CD (an LP purchase rates a CD, download and 10" x 10" art insert, as well) via Ghost Outfit's Big Cartel page right here. Stream the dynamite track "Killuhs" via the embed below. -- Edward Charlton

Show Us Yours #17: Golden Gurls

[PHOTOS: P. McCracken] We keep in close contact with Golden Gurls fronter Andrew Mabry because the dude is funny, smart and opinionated. Also, his band is great. You might recall Clicky Clicky's wide-ranging interview with Mr. Mabry that we posted on the eve of Golden Gurls' first Boston show last September. And that we were pretty excited to see the trio's debut full-length Typo Magic get picked up for a limited edition release in the U.K. earlier this year. The gals (awww Mabry's gonna hate that...), who we're gonna go ahead and call Baltimore's best guitar band, have been hard at work on a second record and are hodge-podging together some late summer tour dates with Sooyoung Park's new project Bored Spies, so we thought it was high time to get the band back on the record to give some accounting of how they've been spending their time. We proposed to Mabry that perhaps he'd care to submit to our recently resuscitated interrogations about practice spaces, Show Us Yours. Mabry graciously agreed, and below he shows us around his rock dojo and surrounding environs, and offers more details about how the rest of the band's year is shaping up. Let's jump in, shall we?

Clicky Clicky: So why do you use this space, or how did it come to pass that this was the one that you settled on? Or maybe this space is a catch, and people think it's too cool for you?

Andrew Mabry: When we started this band, I was already using the current space for another band I had called Left Channels, it's actually just my basement. For some reason my neighbors don't seem to be affected by our noise; then again, I soundproofed most of it to the point of it just being a loud hum you can hear sometimes. I also live on a block were about five other bands practice, and most of them are a lot more to take in than we are, be it dirge or metal or Sunday gospel jammers going on for four or five hours straight, I think the people around are just used to it always happening.

CC: Is there an idiosyncrasy or quirk of the space that has affected one of your songs, or even your overall sound?

AM: On our demos we definitely used the quirks of this space. I recorded vocals in the bathroom in the basement which has awesome '50s style wallpaper -- you can get lost in that wallpaper for real. The ceilings [in the basement] aren't very high, so you have to record the drums mic'd really close, etc., it makes for some strange home recordings. The entire space is also wood paneling, remember that stuff? I always had a love/hate relationship with paneling. We wind up having to use a lot of early '60s recording techniques on demos in order to catch everything we're trying to catch, [because of] guitars get lost and the bass getting farty, but the drums come out crystal clear, almost decent recording quality.

CC: You walk into your space. What's the first thing that you smell? Why won't that smell go away?

AM: I suppose you smell musty air and stale beer. We drink a lot of beer at practice. Our drummer never finishes his beers, it seems he likes to make the clean-up difficult. The best is when they get super moldy like science projects. I love that. Also there seems to be a constant smell of drummer, drummers know what that smell is, it's a weird smell that never goes away. It's sort of like a soda stain on concrete or a spirit haunting one room in your house.

CC: I thought Typo Magic was amazing. A bunch of our favorite Boston indie rock-type friends thought it was amazing. You might have even thought it was OK. And yet -- like the majority of great indie rock bands -- you are not swimming in money and cars and whatever it is that people swim in these days in music videos. So I guess my questions are these: first, how do you define success for the band? And, second, what keeps that fire burning in you to keep writing songs and playing music despite the fact that Brooke Shields and Elizabeth Taylor never want to hang out and you don't have a pet monkey?

AM: Hahaha, well this is a seriously difficult question to answer: how does one define success in a band context? I look at bands like Speedy Ortiz, they are out there killing it everyday and working hard towards a goal, what it is I am not entirely sure, to me they are successful. Are we successful? I have no idea, I am just glad our stuff got out there and people are listening to it. The modern musical economy and the self-serving nature of youth culture really destroys all of the concepts of success -- from a musical business standpoint -- I had growing up. I think of bands like Fugazi and what they did in the '80s and '90s, no band in the modern era will ever be able to pull that off again.

At the same time it's apparent the measuring stick for all of that has had to change. What that is now is subject to a lot of debate, a few friends of mine and I argue this over and over again on my porch drinking beer all of the time, yet we always come out to a stalemate on it. Some people believe selling records is what matters, others will tell you it's getting people to listen to you at all... which is apparently a thing nowadays. I like to think back to the era when a record label was enough, like Matador or even Caroline Records, you would see they had something new out and just feel compelled to give it a listen at home, hence a purchase was made, because the Internet wasn't full of torrents and all of that stuff yet.

With Typo Magic I have tended to err on the latter side of the argument between record sales and just people listening, we just wanted to get it out there, financial compensation was never something we pondered. If we had a monkey that would be killer, I am guessing it would make it difficult for us to write new songs, though. My wife is more of a mini-pig fan, she wants us to buy one of those pretty badly which could become a solid band mascot with some training, I'd say. For what it's worth, I feel like Boston bands have the best scene period, and all of the bands whom we've ever interacted with there are amazing people. Infinity Girl, Speedy Ortiz, Soccer Mom, Young Adults, Boom Said Thunder, and Pile, just to mention a few, have been nothing but supportive and are all great people. As for Elizabeth Taylor, we often eat dinner under a picture of her at the corner bar by my house...

CC: You've got an album in the works -- what can you tell us about that? Damnably did a limited release of Typo Magic for England -- will they be involved with the next record? Do you plan to tour to support it? What do the next six months look like for the band?

We do have an album in the works, it's about 80% completed, all recorded at Magpie Cage studios (J. Robbins of Jawbox's studio) here in Baltimore, starting about about 3 months ago. I am not sure if Damnably will be involved with our next record's initial release, it very well may be the same scenario as with Typo Magic, we put that out ourselves and we will likely put out the 2nd album as well. We've been looking for a label in the States, but as of yet, nothing has really come to light. I can tell you this though, George at Damnably is one of the coolest people on the planet and he has done more for us in a few months than I think we were capable of doing ourselves in a full year. We plan to tour in support of the 2nd record assuredly, we are going on tour with Bored Spies in late August, well, it's in the works currently, as you and I have bantered about at great length. I think the next six months will see the release of a couple 7 inches and a 12 inch by us, we're mulling over what we'd like to do with our 2nd record a lot more in depth than the 1st record. I guess that's the difference between going into record for the 1st time haphazardly and taking the time to write the material for a 2nd release, as of the moment this will be 35 minutes long and more in depth, sonically speaking, than Typo Magic.

We thank Andrew and the gang for playing along for Show Us Yours #17, and encourage you to stream their excellent 2012 record Typo Magic via the fancy new Bandcamp embed below. For a complete gallery of Golden Gurls photos shot for this feature, hit this link.

Golden Gurls: Facebook | Bandcamp



Previous Show Us Yours episodes:
Shapes And Sizes | Dirty On Purpose | Relay | Mobius Band | Frightened Rabbit | Assembly Now | Meneguar | Okay Paddy | Charmparticles | Calories | Sun Airway | It Hugs Back | Lubec | A Giant Dog | Bent Shapes | Krill

Young Adults, Departures, Chandeliers, Ovlov | Great Scott | 11 June

Now and again you've just got to center yourself and focus in on the face-melting tao of Young Adults. Fortunately it's just a matter of hours until you can do that again, as the Massachusetts-spanning post-punk heroes will topline a blistering bill at Great Scott in Boston that also features Winnipeg-based static blasters Departures, Connecticut grunge-pop messiahs Ovlov and the dark jangle and shake of Allston's Chandeliers. We're presently in the thrall of Departures' melodic, uneasy chord crusher "Being There," which we've embedded below. The tune, from the quintet's 2012 debut long-player Still And Moving Lines, touts dense curtains of distorted guitar and bass that work hard to try to choke out the vocal of fronter and guitarist Nicholas Liang. The aural wash is equal parts melody and power, and taken in tandem with the bashing rhythm section it gives "Being There" a bracing sense of urgency. We're excited about this band, and as they are on a bill with Clicky Clicky faves YA and Chandeliers, and Ovlov has been killing it of late on the strength of its single "Nu Punk" (from the three brothers' forthcoming full-length debut Am), seeing this show Tuesday night seems like a thing that you should do. Not to be pushy about it. Again, find a place where you can focus, and think, "do I really like rock and roll music?" We think the answer is yes. Finally, we've been curious about the goings on in the Young Adults camp, as there was a reference to a video having been made in April, and yet we have seen no video. We'll put our best people on sorting that out. In the meantime, full details concerning the show are at this Facebook event page. We've tossed a few more stream below, including Ovlov's thrilling bum-out "Blue Baby," Young Adults' blazing "College Rock" and Chandeliers' dynamic gem "Temperance."

Footage: Soccer Mom's Devastating "A Canoe Shy"

We already pushed this out our Facebook page when it appeared on the Interzizzles Monday, but we didn't want the week to get washed away with the rain before we posted the clip here as well. It is the mighty Soccer Mom, with the video for the flip of their blazing 2012 single "A Canoe Shy." "Brides" b/w "A Canoe Shy" was released digitally by 100m Records in November, and it is still available for purchase to be your very own via the 100m Bandcamp yert right here. The brilliant but uneasy video clip for "Canoe" embedded above was directed by Logan Hodson and features model Janice Checchio. As for Soccer Mom, the band's tumblr evidences the quartet has been logging studio time as recently as last month, which hopefully means there will be new material to be heard from the Boston shoegaze goliath sooner rather than later. If you haven't heard their latest and greatest, stream the band's contribution to our recent Lilys tribute compilation And I Forgot A Long Time Ago How You Feel below.

Show Us Yours #16: Krill

By our reckoning we're less than three weeks away from living in a world where those in the know will be walking around town unable to stop themselves from singing "Krill, Krill, Krill forever" [and oh shit hare krsna, now there are these t-shirts, too]. Not because a new cult is taking hold in indie rock circles... or at least not the kind of cult that one usually associates with word "cult." No, that simple chant is the chorus to the opening and closing numbers from Boston indie trio Krill's triumphant sophomore set Lucky Leaves, which is being self-released June 24. The melodic and wiry music collected on the record flexes and breathes and is awesome in about two dozen different ways that we intend to tell you about in a more fulsome review later this month. But in the meantime we thought it would be a good idea to check in with the band to see where they do the things they do, to sort of gauge the environment in which its particularly curious aural alchemy transpires, to see where it makes the sizzle and the sparkle. Krill bassist and singer Jonah Furman -- whose voice careens powerfully between the blissed abandon of Alec Ounsworth and the dark desperation of Isaac Brock on Lucky Leaves -- kindly obliged our request, and in the exchange below goes into detail about why the band until very recently lived in a mansion vacated by a professional baseball player, which member of the band was theoretically in line to share a room with parrot named Shakespeare, and more than a few other fairly odd things. Read on, then gather yourself together enough to listen to two cracking songs from Lucky Leaves below.

Clicky Clicky: So we should make it clear, this episode of Show Us Yours is sort of a "ghost of Christmas past" episode, as we're talking about a practice space you just had to leave. Our usual lead-off question is "why did you choose this space?" But it was your basement, so that question isn't as interesting as this: how is it that the band came to live in a mansion that used to be owned by a professional baseball player? Because that is sort of weird.

Jonah Furman: OK, the basic thing that happened is we were on tour, and our friend found this mansion on Craigslist, and we all thought it was a scam but we were away and were like, "yeah, OK, whatever Dan," and then Dan went and they showed him the house and it was this crazy mansion and at no point did a scam happen, so I guess it wasn't a scam. The guy who owns it is a JP mansion slumlord who walks around with a parrot on his shoulder (named Shakespeare; incidentally Jonah's room was constructed as a room for the parrot when the slumlord moves in in 2 years). There was a man named Vicente Padilla living there, the first Nicaraguan MLB player, Sox pitcher, led the league in hit batters in 2006, for some reason went to Japan I think and left the lease so... and then here is where I get lost. Something about Japan making it cheap, so we got it for real cheap. Since we got to practice in the basement it was ultimately cheaper than most normal places. OK.

CC: Was there an idiosyncrasy or quirk of the space that affected one of your songs, or even your overall sound?

JF: As has always been the case for Krill, we don't have a PA or any nice gear or anything, so that at least has affected the vocals; we just put them through the second input on Aaron's guitar amp and Jonah tends to have to strain/scream to be heard during practice, which is a hard habit to break when you can actually hear the vocals. Also, a lot of songs were written in a parrot's room.

CC: When you went in to the studio to record your upcoming full-length, was it weird adjusting to the room sound of the studio versus the room sound of your basement? That basement looks pretty big and boomy. Boomy's a word, right?

JF: [Our friend Adam] Schatz has this term 'gro-fi' which is, like, when lo-fi bands get a lil' nicer equipment and recording stuff. But the Silent Barn studio is still a very DIY spot, even though [friends and recording engineers] Carlos [Hernandez] and Julian [Fader] really know their shit. Since we were one of the first (I think the first full album?) bands to record there, it wasn't all that built-out yet, and was still pretty basement-y. The bass was all DI and the guitar amp was like across the room turned around and, I don't know, it wasn't like fancy studios. That was good for us, takes some getting used to being able to hear the music you're making.

CC: When it was still yours, when you walked into the basement, what was the first thing that you smelled?

JF: Hay. There were inexplicably many bags of hay at all times in the basement. Fusty hay.

CC: And so, as we alluded to above, you've had to move out of the mansion. Is there any sort of interesting story to why you had to move? How is the hunt going for a new practice space?

JF: The hunt is a horrid hunt. We're striking out left and right, please help us, we will pay menial fees. Move out was yesterday, they fucking threw away Luke's towel.

CC: What do the next six months look like for the band? Do you have it in you to do as grand a tour for the record coming on the 24th as the one you did last fall?

JF: We're goin' on a big tour in September, hitting lots of states we missed on the last national thing, like South Carolina and Texas and Tennessee and Alabama.

Here's the part where you listen to some great music, namely the two preview tracks from Krill's spectacular new record. First up is the lumbering rumination "Purity Of Heart," then wash that down with the more skeletal groover "Never A Joke." Both are time well spent.

Krill: Bandcamp | Facebook | Twitter





Previous Show Us Yours episodes:
Shapes And Sizes | Dirty On Purpose | Relay | Mobius Band | Frightened Rabbit | Assembly Now | Meneguar | Okay Paddy | Charmparticles | Calories | Sun Airway | It Hugs Back | Lubec | A Giant Dog | Bent Shapes

Today's Hotness: Two Inch Astronaut, Hausu, Hisoft



>> If you are getting a strong DeSoto Records or Dischord vibe off of trio Two Inch Astronaut, well, that's little surprise. The act hails from Colesville, Maryland, a burg situated just north of the beltway that rings the district. On its forthcoming sophomore LP Bad Brother, Two Inch Astronaut proffer a fresh iteration of the '90s post-hardcore anthemics championed by acts such as Jawbox and Shudder To Think. The nine-song set from the self-described "stealthy dark goofy post-punk" threesome touts sophisticated, angular compositions that splay out into massive crescendoes or subdued creaking grooves. "Spank Jail," the second track on Bad Brother, illustrates Two Inch Astronaut's well-developed penchant for speed, intricate grooves, aggression and (just enough) melody, but the rest of the record reveals that the threesome ably works in myriad tempos and shadings. What is consistent throughout is a beautiful desperation and relatable unease, things that made records like Jawbox's For Your Own Special Sweetheart or even Hurl's brilliant DeSoto single "Positronic Ray" b/w "Radishes" remarkable every time you listened. Opener "Swol" -- an excellent rocker that seems one or two genetic mutations away from a composition by remarkable Boston labelmates Pile -- and the blissfully syncopated mid-album cut "Blood From A Loyal Hound" are available now for free download via Bandcamp and you should go grab those right now. However, Clicky Clicky is particularly taken with the emotional, monolithic rocker "Sternum." Exploding In Sound has kindly agreed to let us offer an exclusive stream of the track, so hit the Soundcloud embed below and then hold on to your hat. The label will release Bad Brother June 18. The set is available for pre-order from the band's Bandcamp right here as a digital download or 45RPM 12" LP. The vinyl is available in a limited edition of 250 pieces, and the first 100 sold have been pressed to translucent purple vinyl. Two Inch Astronaut's most recent prior release was a split single with Boston's angular-rock juggernaut Grass Is Green, the cringe-inducingly titled "Split Dicks," last September. Those two bands will reunite in the physical plane June 12, when they, along with Crinkle Face and Hive Bent, perform at O'Brien's in Allston Rock City. In the meantime, have a listen to "Sternum" via the embed below, and get pumped.



>> Hopping to the left coast, today we also concern ourselves with Portland, Oregon's melodic indie-punk quartet Hausu. The act is preparing for a huge summer tour and the late June release of its debut LP, Total. A preview track from the set, "Leaning Mess" (a play on the word "meaningless," maybe?) leads with clean melody lines and bright jangle but ultimately harder post-punk dynamics cast long, moody shadows across the composition. Lyrically, fronter Ben Friars-Funkhouser presents the sort of opaque romanticism of Ian Curtis and Joy Division, albeit with a delivery that accounts for the rise and (arguably for some, we suppose) the fall of hardcore punk music. It is Hausu's vivid, visceral instrumental performance on "Leaning Mess" that will hold listeners' close attention, as the band veers from more conventional verses into discordant passages that flirt with sonic white-outs, urged on notably by an increasingly unhinged Friars-Funkhouser in the song's final minute. Total is being issued June 25 on cassette by Bridgetown Records, and on CD by Hardly Art; no pre-order information for the latter is available as yet, but a recent Facebook post from Hausu states it is in receipt of the cassettes and expects to have them on offer when it launches an ambitious, exhaustive five-week North American tour this week. The quartet play a relatively local live date June 18, when the act performs at renowned Easthampton, Mass. art space The Flywheel on an all-ages bill that also includes Harmoos, Lovebird, Tender Cruncher and Abortus Fever. Make a note of the live date nearest you, as we suspect after several listens to the embed of "Leaning Mess" below you'll be thinking this is a quartet you need to see.



>> Sure, there are a great many things that the world can use a lot more of, but if you ask us enough times -- and particularly today -- we will almost certainly eventually say the world needs more music from the apparently short-lived dream-pop band Hisoft and its dazzling but even more obscure, Pittsburgh-spawned precursor The Low Numbers. We've mentioned both acts in the blog previously years ago (this post from 2005 is the most comprehensive), but they are at top of mind again today. That's because over lunch we were trolling YouTube looking for Lilys clips we hadn't seen before (more on that another time), when we found this great live set from Hisoft. The erstwhile Philly act was comprised of fronter and guitarist Gerhardt Koerner, bassist Jesse Trbovich (now part of Kurt Vile's Violators, we believe), guitarist Don Devore and drummer Jason Kourkounis, and at least Mr. Koerner had previously served as a part of the Precollections-era Lilys line-up, which should make the aforementioned line of YouTube inquiry make a bit more sense. The five-song live performance may or may not have been filmed at The Khyber in Philadelphia, and the set list suggests it must have been about the time of the release of Hisoft's brilliant 2005 EP Amateur. Four songs from the five-song EP are performed: "West Coast Keith," "Comfortable," "Country Voice" (listed as "Country" on the EP), and "Continental Luck." Hisoft closes with the brilliant Low Numbers tune "Josef Albers," the b-side from one of two singles the band released (the second single was actually issued under the band name Numbers). The YouTube clip is a crucial document of an unsung act perhaps at the height of its game, so do take the time to watch the set end to end.

New Music Night 10 DJ Sets | River Gods | 30/31 May

Here are the songs what we played whilst manning the figurative decks Thursday night and into Friday morning in the booth at the fabulous River Gods in Cambridge, Massachusetts. There was a nice big crowd and the air conditioning and cold Stella Artois felt extra good given the heat wave that kicked in that day. If you have any questions or want to know more about the songs below, hit us on Twitter or drop a comment. We may or may not do Spotify playlists of these sets in the coming days and post links here; watch this space. Also, please click over to Bradley's Almanac and check out Brad's playlists for the 9PM and 11PM hours, which we expect will be posted imminently, or at least sometime. Sometime's good, right?

Set 2 / 10PM / Jay

1. Princess Reason -- "We Are Splitting"
[download]
2. Mutes -- M.P.D.G. -- Mutes EP
[blogged / download]
3. Fridge Poetry -- "I'll See" -- Soweto Slo Mo EP
[blogged / download]
4. It Hugs Back -- "Sa Sa Sa Sails" -- Recommended Record
[review / stream]
5. English Singles -- "Ordinary Girls" -- Ordinary Girls 7"
[blogged / stream]
6. The Weaks -- "Reality Check"
[download]
7. Lawnmower -- "Team Spirit" -- Whack Your Brain
[stream / purchase]
8. Army Navy -- "Pickle"
[blogged / download]
9. Lubec -- "Local Celebrity" -- The Thrall preview track
[blogged / download / The Thrall is due this fall.]
10. Tullycraft -- "Westchester Turnabouts" -- Lost In Light Rotation
[blogged / download]
11. Halfsour -- "Target Practice" -- Halfsour
[download / it's a Henry's Dress cover!]
12. A Giant Dog -- "Ghostcest" -- Bone
[blogged / download]
13. Scott And Charlene's Wedding -- "Fakin NYC" -- Any Port In A Storm
[blogged / download]
14. Her Parents -- "Lithuanian Mercedes (Radio)" -- Happy Birthday
[blogged / download]
15. Doctrines -- "Teeth" -- ANX
[download]
16. Two Inch Astronaut -- "Sternum" -- Bad Brother
[from the forthcoming full-length due on Exploding In Sound June 18 / pre-order]
17. Speedy Ortiz -- "No Below" -- Major Arcana
[from the forthcoming full-length due on Carpark July 9 / pre-order]
18. Idiot Genes -- "The Charles Mansion" -- Idiot Genes
[download]
19. Dikembe -- "Keys To The Jeep" -- split single
[stream / buy]
20. Big Deal -- "Dream Machines" -- June Gloom
[blogged / stream]

Set 4 / 12AM / Jay

1. Orange Blossom Flyover -- "And Like Why Tempt Fate"
[download]
2. Jenn Taranto -- "Gold"
[stream / buy]
3. Manors -- "Teeth Dreams" -- Fit In
[stream / buy]
4. Mutes -- "Port Sunlight" -- Mutes EP
[blogged / download]
5. Life Model -- "Take It Slowly" -- Life Model EP
[blogged / download]
6. Teardrop Factory -- "Vanity Unfair" -- Topshop EP
[blogged / download]
7. Kigo -- "They Are So (Lost To Time)" -- Some Other Place
[download / brilliant shoegaze bubbling up from Brisbane]
8. Work Drugs -- "West Coast Slide" -- Maverick
[download / pre-order / so we suppose we have a favorite chillwave band? Is that even possible?]
9. The Bilinda Butchers -- "Love so Estranged" -- The Lovers' suicide
[blogged / buy]
10. White Laces -- "Radiotricity" -- And I Forgot A Long Time Ago How You Feel
[blogged / stream / download]