Review: Ahuizotl | Integrity Is Overrated

American indie fans who know just one thing about Cologne, Germany probably know it as the home of electronic music goliath Kompakt. But in the shadow of that label -- whose aesthetic persistently looks toward a minimalist, abstract and beat-driven future -- a veteran guitar band called Ahuizotl operates within the more traditional framework of indie rock. Although the foursome only just released its long-anticipated full-length debut last week, it has been lurking in the underground in one form or another for about a decade, and has shared stages with such big-font bands as Wild Flag, The Twilight Sad and Zookeeper. The band's sound reaches back yet another decade, something Ahuizotl acknowledges by joking "we're from the '90s." And indeed the act's sound is a reverent love-letter to the losercore of yore. But most importantly, its new set Integrity Is Overrated contains great songs, including a progressive epic that suggests one exciting possible future for a band whose work is firmly rooted in the past.

Opener "Ghosts Of Departed Quantities" commences with a plodding analog synth figure that perhaps winks toward Cologne's electronic overground, but the stilted lick is gradually subsumed into a clockwork arrangement of spiky guitar and bass. The interlocking parts suggest the efficiency of '90s German/Danish noise-rock heroes 18th Dye, but guitarist and fronter Barry Langer's understated yet emotive vocals -- which enter with the first verse -- are more reminiscent of those of indie hero J. Mascis, and indeed a Dinosaur Jr. influence (sans the mind-blowing guitars solos) permeates Ahuizotl's entire album. Using Dinosaur and its American underground peers as guideposts, the German act's music presents as pretty conventional guitar/bass/synth/drums stuff. But just as with Mr. Langer's relateable, everyman accounts of relationships breaking down, the magic is in the details. From the drum break of "Perfect Day," to the terrific back-to-back sequencing of the quasi title track "Movie" and "Everybody's Breaking Up So Why Don't We?," the arrangements are economical and well-balanced, the performances remarkably tight. To be sure there is a touch of Teutonic precision to the proceedings, but Integrity Is Overrated is not without its own earnest passion.

As alluded to supra and elsewhere, the set's crowning achievement is the slyly titled eight-minute song suite "I Wanna Be Ignored." Its first three minutes are textbook Ahuizotl, but from there the exploration begins: first with a tense vamp that quietly intensifies into a full-blown guitar rave-up for the next two minutes, and then the song gently and gracefully decomposes into a jazzy jam marked by seeping feedback, what sounds like vibraphone, and light guitar leads. It's an extraordinary effort from the band, and one we hope might be considered a model for similarly adventurous work in the future. Ahuizotl bookends "Ignored" with two of the best tracks from its 2012 Lice EP, "Self-Made" and "Slide," making the back-half of Integrity Is Overrated particulary rewarding, and raising the spectre that fans who purchase the set on vinyl may wear out side B before side A.

Integrity Is Overrated was released by Tumbleweed Records Oct. 24, and Ahuizotl feted the set with a record release show at Cologne's King Georg club the following night. The album is available in a limited edition of 250 vinyl 12" records and as a digital download, both of which can be purchased via Ahuizotl's Bandcamp yert right here. A video for "Ghost Of Departed Quantities" was shot in early September, so remain vigilant and your attention should be reward before too long, we expect.

Ahuizotl: Bandcamp | Facebook | Internerds | Soundcloud

Today's Hotness: Ahuizotl, Glish, Ultimate Painting, Enchanted Hunters

>> It's been more than two years since we first turned onto Cologne, Germany-based noise pop band Ahuizotl. Back in early 2012 we were significantly jazzed by the foursome's Lice EP, and we've been eagerly awaiting new material ever since. Our patience is finally being rewarded, as the quartet at long last announced last week that its debut long-player Integrity Is Overrated will be released Oct. 24 on the Cologne-based imprint Tumbleweed Records. The first preview of the forthcoming set is the quasi-title track "Movie," a compact and downcast slice of strummy guitar-pop that reiterates the best aspects of the tunes on the Lice EP, namely foregrounded guitars, precise rhythms, dreamy synth and yearning vocals. This is not to say that Ahuizotl doesn't have any new tricks up its collective proverbial sleeve. We've had a secret listen to another album track, "I Wanna Be Ignored," an ambitious, eight-minute pop suite that finds the band pushing at the boundaries of its sound in exciting ways. Looking at the 10-song track listing for Integrity Is Overrated, it appears two tunes from Lice also made the cut for the new collection, "Slide" and "Self-Made." All of which adds up to our being very stoked to hear the new set. Stream "Movie" via the embed below, and we'll make certain to alert readers when pre-orders begin for Integrity Is Overrated.



>> While many shoegaze fans hold the synthetic and textured sounds of landmark records such as My Bloody Valentine's Loveless and Slowdive's Souvlaki to be the highest ideal (and justifiably so), this reviewer prefers his dream-pop to work in the scrappier, home-grown vein. The smashing new single from New Orleans five-piece Glish hits right in that mythical sweet spot and is one of the best tracks of its kind to arrive this year. "Stu Hunkington," from the quintet's debut self-titled full-length out on Texas Is Funny Nov. 4, is an exercise in punky, whammy-bar delirium. The tune operates in a joyous, full-bore manner the likes of which have not been heard since perphaps the Swirlies' colossal 1993 full-length album Blonder Tongue Audio Baton (the actual pinnacle of the genre -- wink). Opening with a choppy, oblong two-chord riff, the song launches into a whirlwind of hardcore-influenced drumming, close-but-far vocal harmonies and a clean drum production style geared more toward capturing Glish's house show-styled combustibility more than any attempt at a delicate, dream-like environment. The best part of "Stu Hunkington," though, is surely what's going on in the left speaker. There, the lead guitarist's squealing and squelching lead notes not only drive the composition, but they inject just the right amount of chaotic danger to offset the open-vowel singing and skyrocketing kit. Think of it as a lone, unpredictable gale force wind interrupting the serene drift of a high-altitude balloon. Watch the Texas Is Funny digital storefront here for details on how to order Glish, as those details certainly should be cropping up soon. Stream "Stu Hunkington" via the embed below. -- Edward Charlton



>> We're pretty dang excited for the debut full-length from Ultimate Painting, the London superlative-earning duo of Jack Cooper from Mazes and James Hoare of pace-setting pop heroes Veronica Falls. The pair recently shared a new track from their upcoming self-titled debut, which is due Oct. 28 via the wonderful Trouble In Mind records. That new song, "Winter In Your Heart," provides still further evidence that Ultimate Painting's album will be a real gem. While there is really nothing new to add to our prior report beyond this new tune, we felt compelled enough by its gentle, breezy savoir faire to highlight it for our readers. Similar to what we said about the Ultimate Painting's title track in July, "Winter In Your Heart" explores the group's keen grasp of Velvet Underground-styled pop dynamics. Indeed, "Winter" has the same pure, undiluted warmth that makes the VU's self-titled third album such a timeless treat. It also sticks closely to a formalist song structure, while the up-close texture to the guitars (you can see the strings) and the simple, assured backing vocals lend the song a communal, happily-stoned jam-session vibe that eschews the seriousness of a lot of contemporary indie music. Keep your eyes peeled for the album pre-order details here, and we'll promise to do the same. While you wait, stream the terrific cut "Winter In Your Heart" via the embed below. Incidentally, we're growing impatient for news of new music from Veronica Falls, whose outstanding Waiting For Something To Happen was one of our favorite records of 2013. Here's hoping that, after the Ultimate Painting album cycle is complete, it is not a long wait for news of something new from Veronica Falls. -- Edward Charlton



>> Gdansk, Poland's Enchanted Hunters recently issued to the wilds of the Interzizzles its Little Crushes EP, an exotic, loungy indie-pop offering that sits just right as the lazy days of summers reach a final, comforting end, martini in hand. The four-piece is following up 2012's Peoria album with the new collection, which showcases a unique, woodsy spin on very European music. The tune "Hel" juxtaposes brushed drums with faraway, reverberated finger slides and a wordless vocal melody. Enchanted Hunters go all-in at the end of the track, too, when some unexpected jazz flute closes out the charming piece. EP highlight "Topiellica" makes room for chorused electric guitar, which glides underneath the gorgeous (and presumably Polish-language) layered vocal melodies. The combined effect transports one to a back alley jazz club, as if led by the hand of Bjork or Stereolab's Laetitia Sadier. As with the aforementioned Stereolab, Enchanted Hunters dwell on -- even delve into -- the little details, such as the watery, synthesized strings that play about during the verses of that song. Opener "Sonny" relies on the patterns and figures of various non-percussive instruments to anchor catchy vocals, culminating in a breezy sing-along during the final 30 seconds. It's in moments like these, it becomes apparent that the band is confident enough in its songcraft to not only be mindful of such subtleties, but also keep listeners intrigued throughout all of Little Crushes. Listen to the entire EP below, and buy it right here. -- Edward Charlton

Today's Hotness: Ahuizotl, Grass Is Green, Best Practices

>> Few things get us as excited as Dinosaur Jr.-influenced losercore, and so it took only seconds of listening to Ahuizotl's recent Lice EP to know we had struck gold. The Cologne, Germany-based guitar pop quartet certainly wears its '80s and '90s American underground influences on its proverbial sleeves (search the band name on YouTube and you will find fronter Barry Langer covering all the greats, including Palace's "I Am A Cinematographer" and Pavement's "Elevate Me Later"). And the same goes for the thrilling seven-song set Ahuitzol self-released last summer. The act -- which just last week opened for Wild Flag in Cologne -- is named for a creature that ancient Aztecs believed had a hand on its tail, but that's not important right now. What is important is that the foursome's music communicates right at gut-level with big guitars, tastefully restrained synth and earnest vocals. The brilliantly understated "Slide" rests somewhere on an axis between Yo La Tengo's "Blue Line Swinger" and The Cure's "Play For Today." The strummer "Work Is Over (If You Want It)" recalls Versus (particularly the chorus "this is a call to arms / I know you're strong enough to hold me...") and is both buoyant with longing and helplessly tethered by resignation. "Self-Made" makes it by dropping dense guitar in and out of over top of insistent fuzz bass and strikes a neat crescendo before a guitar solo rendered in liquid mercury. Ahuizotl's Bandcamp also houses two earlier collections fo material that suggest Mr. Langer has been honing his craft for almost a decade, and while there are bright spots in the back catalogue, the energy and focus of Lice is a huge step forward for the band. Have a listen to "Slide" below and then click over to hear the entire EP, it is dynamite.



>> We're getting a first taste of what Boston post-hardcore upstarts Grass Is Green have been brewing up for their return next month. The quartet has crafted what sounds like an ambitious concept album about a fictional character named Ronson, and the preview track "Nice Guy Of The Year Award" recently popped up on the Internerds. The detailed and intricate rocker suggests the new collection -- recorded all analog to tape, executive produced by Susan Rogers and co-produced with Alex Prieto at The Recording Company in Boston -- will be a massive step forward for the band, both from a production and songwriting standpoint. The band's previous impressive effort Chibimoon showcased a lot of promise and an almost equal amount of quirk, but it is nothing compared to the tactical precision, conspicious power and impressive gloss that marks "Nice Guy." Grass Is Green is taking pre-orders for Ronson now through its Bandcamp page right here. The band will tour for the entire month of March and full tour dates are online right here. We first wrote about the band here last April upon the release of the EP Chibimoon.



>> Best Practices' forthcoming, ridonkulously titled The EP LP delivers euphorically overdriven post-punk in breathlessly short, hypercaffienated bursts. At least that is what we surmise based on the two bracing preview tracks we can't stop streaming. Neither of these eclipses 75 seconds, and the Providence-based quartet's complete nine-song set clocks in at a blinding 12 minutes. Indeed, the collection is so compact that it will come on a one-sided 12" when Tiny Engines releases it April 24. Stream "Welcome To Erf" and "Future Cougar" via the embed below, and get ready to press play over and over and over and over again. Additional album tracks will be posted each week for streaming leading up to the start of pre-orders, which will commence sometime next month. The EP LP is Best Practices' Tiny Engines debut, and it was recorded July 2011 by Will Killingsworth at Dead Air Studios in Western Massachusetts. Additional vocals were recorded by Dan Sawyer at The Parlour in Rhode Island. The band features current and former members of Light The Fuse And Run, Wow, Owls!, Weak Teeth and Jesuscentric. If tape is your thing, apparently The EP LP was also released in a limited edition of 100 cassettes by the un-Googlable Teeth Like Swords.