Today's Hotness: Treasures Of Mexico, Hisoft, Tadoma

>> The folks at Shelflife Records can certainly pick a single, which are words we feel like we've written here before, but if that's true it only underscores that the label knows when it hears a hit. The most recent example is "Stars," the masterful and endlessly delightful preview track from the recently issued debut set Holding Pattern from The Treasures Of Mexico. The Chatham, England-based band is the songwriting vehicle of Mark Matthews, who is joined in The Treasures Of Mexico with his former The Dentists bandmate Bob Collins as well as drummer Russ Baxter (who, incidentally, also serves time detonating the cans for an act called Secret Affair). "Stars" is a Grade A guitar-pop gem with subtle vocal harmonies and tasteful synth support that will certainly strike a chord (ha) with fans of things excellent such as Teenage Fanclub's "Star Sign" (speaking of stars) or RIDE's "Taste." While the closing section of the song is all "yeah yeah yeahs" and bashes in an exhilarating way, The Treasures Of Mexico sound is perhaps not quite as aggressive and saturated as those aforementioned tunes, and all of the trio's Holding Pattern harkens, sonically, back to pre-grunge dynamics -- meaning the aggression never gets too aggressive, the distortions never completely white out the aural field. That more subdued dynamic is present across Holding Pattern -- even the uptempo, sugary rush of "Stars" is a bit of an outlier on the set -- but that allows the songs on the record to breathe in a very pleasing way that recalls The House Of Love or The Connells. Or, you know, The Dentists. The press materials from Shelflife indicate all of the former Dentists guys have new projects and collaborate in various combinations and to certain extents, so there is a lot of activity for fans to track. More germane to this conversation is the fact that a follow-up to Holding Pattern is already in the offing. For those unfamiliar, The Dentists were '80s greats responsible for such bangers as "Eyes" and the terrific LPs If All The Flies Were One Fly and Some People Are On The Pitch They Think It's All Over It Is Now. Holding Pattern was released by Shelflife June 2 as a digital download, which you can purchase right here.



>> We are compelled to recount the story of The Low Numbers and Hisoft on the rare occasion that there is a new (or sad) development, but those occasions have been exceedingly rare in the last decade, so let's re-cap. Back in the later '90s when we lived in Philadelphia, we were minding our own business one evening at a rock show at the then-relatively-new Balcony, which was and remains upstairs at The Trocadero. Opening or in the middle of a bill was a band that blew us away, a band that was having a perfect night, The Low Numbers, who had these incredible new wave-damaged, Tuetonic songs and a strong look. Information about the band was hard to come by, and then we moved away, and only through the magic of the Internets and a kind soul on MySpace were we able to eventually get our hands on some tracks and learn more about the band. Some of what we learned: members of The Low Numbers had a new combo called Hisoft, and that certain of these members had been in an iteration of our beloved Lilys in the early '00s, and then Hisoft released its awesome Amateur EP in 2006. And then... nothing. Nothing, that is, until now. A tip Thursday pointed us to the new Hisoft jam "State Police," which is embedded below, and which was posted to Soundcloud earlier this week. "State Police" carries all the trademarks of a great Hisoft jam: enticing melodies, smoothed-out vibes and fronter Gerhardt Koerner's even vocals. But the song is also a touch noisier and dense than the tunes on the band's aforementioned EP, with distorted guitar lurking deep in the mix, underneath waves of spiraling lead that undulate like light through water. We're very hopeful "State Police" is a harbinger of another release from Hisoft, as we think nine years is plenty long to wait between releases, yeah? We shall keep you apprised. Stream the new tune via the Soundcloud embed below and stream Amateur via Spotify right here.



>> Sticking with Philadelphia, we were very pleased to get a ping about a new collection of recordings from visionary electronic producer Joe Patitucci, who operates under the nomme de guerre Tadoma and also co-founded the next-level digital label Data Garden. It's been two years since we last heard from Tadoma, but out of the blue Tuesday Bandcamp hipped us to the existence of a new set titled Journeys Through Time. The four-song, 30-ish minute collection is comprised of songs improvised and recorded live in August 2012 at Philadelphia's scene-making Johnny Brenda's venue. According to Mr. Patitucci, the live performance was inspired by a meditation tape titled Journeys Through Time that he received from his Data Garden co-founder -- and former Diagram bandmate -- Alex Tyson. "All tracks were performed on-the-fly, without pre-programmed sequences or beats." The music is engrossing, blending thick and airy synth tones, spare beats, found audio, and analog and digital delays into a compelling soundworld that begins and ends much more quickly than the half-hour run time would have you believe. Fans of the popular Boards Of Canada records will find a lot to like here, but frankly we are equally impressed by the fact that the music was improvised as we are with the music itself. Journeys Through Time is available as a paywhutchyalike download from Bandcamp right here. Tadoma's prior release, unleashed in 2013, was the terrific demos collection Nascent Zones, which remains available at Bandcamp and which we wrote about right here. Stream all of Journeys Through Time via the embed below.

Today's Hotness: School Shoes, Withered Hand, Tadoma, Mutes

>> We're increasingly spoiled by the tremendous surprises dropping under our noses over at Bandcamp. Sure, a flat vinyl circle is always going to be our preferred media, but these days nothing is as immediate and sudden as the sensory blitzkrieg and subsequent rush of a digital taster from a hot and fresh band. Boston's latest bedroom dream-pop export School Shoes last month propounded via Bandcamp a perfect pair with its demos "Cults" and "Dress." The brainchild of a gentleman named Ty Ueda, School Shoes' two tracks fuzz and crackle with delicious analog enthusiasm. Both feature such expansive and pristine hooks that even in their demo-ish state they already feel Captured Tracks-ready -- even arena-ready -- in spirit and scope [and remind this blog’s executive editor of a certain incredible Portland, Ore.-based indie rock foursome -- Ed.]. Opener "Cults" is unapologetically exuberant pop. Commencing with a taut, picked guitar riff and snare-centered beat, the tune echoes turn-of-the-decade Brooklynites Beach Fossils with the twitchy anxiousness of the instrumentation. After a dreamy opening, Ueda's voice enters, and it's a real stunner: clear and expressive, but with enough deep cool to keep the frumpy taste-makers happy. Better still, the voice provides a great focal point as the tunes confidently reveal themselves, jangling from a bed of reverb and delay and driving a gently lifting chord progression in the chorus. "Dress" opens with more primal hisses and ramblings before embracing a classic indie two-chord pull and push whose persistence and quiet passion echo the Belle & Sebastian outlier from 1996's Tigermilk, "Electric Renaissance." New-wave bass and double-tracked vocals emphasize the tune's charm, which is amplified further still by the instrumental interplay. All of the instruments work in concert as though School Shoes was a complete live band with multiple personalities, which is very impressive. Stream both tracks below, and click through the embed to grab the demos for further future untethered enjoyment. -- Edward Charlton



>> It amused this reviewer more than a little when he first read that new Slumberland signees Withered Hand are promoting their forthcoming sophomore long-player, New Gods, with a song called "Black Tambourine." The tune even features Pam Berry of the very same dreamy and legendary institution from which that name is borrowed! However, as soon as the track in question is heard, it's apparent that it is no simple-minded act of hero worship, but rather a promising introduction to a Scottish artist by the name of Dan Willson. Mr Willson creates what Scotsmen toiling in indie rock do best –- honest, inviting pop music in the vein of Teenage Fanclub. If Withered Hand's previous album Good News is any indication, however, the project is a unique signing for Slumberland, seeing as that record featured a much heavier folk-rock sound. However, "Black Tambourine" may prove that Willson has set his sights on the sounds of the '60s; the track is a shockingly good exercise in power pop. Opening with cheery snare work and bouncy bass, the song structure belies the lyrical concern: aging and doing so with grace. "I'm older now, but I feel the same, but I'm not the same," sings Willson, offering a sentiment with which many can surely relate. Ms. Berry delicately accentuates his vocals, then offers greater support in a series of subtle choruses. These sneak up on the listener with their tunefulness -- much in the same way the organ creeps in to nearly match the volume of the fuzz guitar solo by the conclusion. "Black Tambourine" may be a bit of a grower, but when that moment arrives, one won't forget it. With the announcement of New Gods for early next year, 2014 is already proving to be another exciting and unexpected chapter for such Slumberland. It's also worth noting that this is the second release to be released in partnership with U.K. imprint Fortuna POP!, which this year co-released Weird Sister by Clicky faves Joanna Gruesome. So you know, all very good signs. Listen to "Black Tambourine" via the embed below, and buy it from ITunes here. -- Edward Charlton



>> What does Tadoma sound like? It's a great question, because even after spending some time with Nascent Zones, the recently self-released odds-and-sods collection from Philadelphia electronic producer and Tadoma mastermind Joe Patitucci, a simple answer is hard to pinpoint. In 2008 this blog described the music as "Boards Of Canada meets More-era Pink Floyd." But this recently issued collection of never-quite-finished tracks tickles the brain while recalling a broader variety of musical and cultural touchstones. Indeed, Nascent Zones features such a diverse array of instrumental approaches that there is really -- to embrace the hackneyed phrase -- something for everyone here. Some of the loop-heavy tracks nearly approach hip-hop, such as the bouncy opener, while the more ambient pieces often incorporate orchestral elements that only increase their size and scope. Mr. Patitucci describes the idea behind Nascent Zones as "a place or zone you enter and as these zones I am making available are somewhat unfinished, it only seemed appropriate that I use this name." Unfinished or not, many of the tracks feature transporting instrumental melodies and warm, analog production that feels especially cozy in headphones. Two compositions toward the front end of the set, "Rover" and "Contact," express Patitucci's strengths by pairing simple yet non-traditional guitar work with carefully calibrated vintage synths. "Rover" begins with a de-tuned strum that recalls dream-poppers of yore -- and the many whirring noises, simple drum pads, and clean, bleeping sounds remind this reviewer not only of Stereolab or Seefeel, but also of certain moments by the relatively unheralded Philadelphia dream-pop unit Flowchart. "Contact" leans toward early krautrock, as well as the opulent, unfolding guitar tapestries of post-punkers like Durutti Column. Grab all of Nascent Zones for any price here, and stream the entire set via the embed below. -- Edward Charlton



>> There's always moments during the holiday season that grab one sharply by the lapels. Maybe it's the quick pang of nostalgia -- the realization that one's youthful revelry is fleeting. Or maybe, it's a beer in hand and some end-of-the-year reflection during a solitary snowfall. Few music fans go without at least one of those soundtrackable moments this time of year (Boston, you apparently have at least six inches of snow to thoughtfully stand under coming your way Thursday evening), and a recently released single from Birmingham, England's Mutes is perfectly suited for such duty. Helmed by a gentleman named James, as we noted here in April, this project proffers carefully looped electric guitar and subtle, gorgeous melodies that pirouette broadly before fading into the mist they emerged from. The celestial instrumental "Kissing Trees" sparkles quietly, and the entrancing way the guitar tumbles through the melody is proof that quality songwriting always wins. "Memory Serves," which touts spectral and downcast vocals, and echoes Grenadine's chilling 1992 A-side "Fillings," or even a slowed-down take on the hyper-charged hammer-ons of bands like Clicky Clicky faves Algernon Cadwallader or Johnny Foreigner. James' soft vocal establishes a lonely dreaminess, intoning "there's nothing to live for." With all of this in mind, it’s easy to think of Mutes as a sort of John Fahy or Billy Bragg of dream pop -- alone up there on the stage, and all the better for it. Grab the Starvation Age single for any price, and be ready for the next soundtrackable moment. -- Edward Charlton

Finding Diagram: Ambient Act Dissipates, New Projects Materialize

Between its web hacienda and MySpace dojo exemplary but sadly defunct abstract dreamers Diagram are giving away a motherlode of music, including all of its excellent three-song History Of The White Flag (Figure 2) EP, released in late 2005. Like many great Philadelphia acts, we first learned of Diagram via the also sadly defunct WhyMe? podcast. Our fandom for the band was rekindled upon hearing a track from their first EP, Fig. 1, bitcast as part of the latest Local Support podcast. The most-recent missive from the trio of Joe Patitucci, David Bohl and Alex Tyson at the Diagram web site indicates the band was to spend the first few months of 2006 writing and recording a new collection of songs.

As that was some time ago, we emailed Mr. Patitucci for an update and learned that the band is done and its principals have splintered into other projects. Mr. Tyson plays with the hotly tipped '70s SoCal rock-influenced act Brown Recluse Sings; Patitucci helms the very promising ambient electronic project Tadoma (link; think Boards Of Canada meets More-era Pink Floyd); and Mr. Bohl charts bleepier, more Kraftwerk-informed electronic territory with Map Of The World At Night operating out of Brooklyn. Fans of Boston's Charlene or New York's Daylight's For The Birds should make a concerted effort at collecting all of the Diagram material they can get their hands on. We'll post one track from each EP and a nice Map Of The World At Night cut below. Local fans will be interested to note that Brown Recluse Sings is slated to play PA's Lounge in Somerville, Mass. May 24.

Diagram -- "I Am Not Invincible" -- Fig. 1
Diagram -- "Surrender To Time" -- History Of The White Flag (Fig. 2)
Map Of The World At Night -- "Arp Rhodes Lullabye Rendered 2" -- MySpace download
[right click and save as]
[buy Diagram EPs, well, nowhere -- they're simply not for sale anywhere]

Diagram: Internets | MySpace | YouTube | Flickr