Chandos Sign To Carpark, Rats In Your Bed Due Jan. 27

[PHOTO: Timothy Daniel Kennedy] Well, the band's tell-tale CMJ label showcase slot came and went, and the news went unannounced, and truthfully we were starting to worry a little bit. But today, finally, Carpark Records revealed that it has signed Boston anxiety-pop heroes Chandos -- the trio formerly known as Chandeliers -- and will release the act's debut LP Rats In Your Bed Jan. 27. The instrumental tracks for the 11-song set were recorded over two days with Ryan Stack at Format Audio in Exeter, New Hampshire, and vocals were cut in the Chandos' trusty practice space. According to the band, Rats In Your Bed will present a slightly more cleaned-up sounds. But not too clean, according to remarks accompanying the track over at Carpark's Soundcloud yert. In a canned quote, bassist Sean Tracy -- who Clicky Clicky readers will recall was the artist-in-his-own-residence for our most recent Regolith feature -- stated, "It's definitely a pretty dirty-sounding record." A review of the track listing for the new record shows a bunch of cuts from the prior cassette releases including "Creepwolf" and "Temperance" have made the cut for the full-length. The cracking first preview track from the set is a new tune titled "...Pretty Sure It's 'Tang Top'", and it doesn't stray too far from the Chandos sound we know and love. With the new tune's near-anthemic choruses, tumbling rhythm tracks and wiry guitar lines, it's little wonder that the label that signed indie heavyweights Speedy Ortiz would get behind Chandos. Pre-orders for Rats In Your Bed are already live via the Carpark web site here, where you can also check out the album art for the set. Pre-orders will ship by or before the release date, and digital downloads will go out the night prior, Jan. 26. We've heard whispers that Rats In Your Bed is next-level for Chandos, and we look forward to hearing the whole dang enchilada. Stream "...Pretty Sure It's 'Tang Top'" via the embed below.



Chandos: Bandcamp | Facebook

Related Coverage:
Idiot Genes, Chandos, Flat Swamp, Strange Mangers | O'Brien's Pub | 7 June
Regolith A2E3: Sean Tracy Presents Dye's Alone
Today's Hotness: Chandeliers
And Then Some Days We Get Awesome Mail 12
Clicky Clicky Music Presents... N O F U C K I N G W H E R E
Young Adults, BDRM Eyes, Chandeliers and The Living City | The Box Fort, Allston Rock City | Jan. 28
The Hush Now with Soccer Mom, Chandeliers, Cooling Towers, Johnny Foreigner Listening Party | Precinct | 22 Oct.

Idiot Genes, Chandos, Flat Swamp, Strange Mangers | O'Brien's Pub | 7 June

Is this the last show flyer you'll see that refers to Boston anxiety-pop heroes Chandeliers by that name? Maybe! Attentive fans likely saw the threesome announce a name change late last month, and know that henceforth the act will be called Chandos (look, we already put it in the headline). We'll leave it to you to speculate for yourselves why a band might make that kind of change, although if you've ever googled them you've already figured the easy part of it out. And, really, it's what's on the inside that counts, right gang? Whether their amps have "Chandeliers" or "Chandos" stenciled on there matters little; it's the trio's characteristic jittery jangle that puts the proverbial asses in the figurative seats. Which is hopefully where they'll find you tomorrow night, specifically at O'Brien's Pub in Allston Rock City. There Chandos anchors a ridiculous evening of aural entertainment that also includes fuzz-faces Idiot Genes -- one of the first signings to the new Eye Design Records label -- as well as candied-punk purveyors Flat Swamp and the more progressive, twinkly indie rock of Strange Mangers.

While Chandos and Idiot Genes have been known quantities to us for years -- we last wrote about Idiot Genes here in November, and our coverage of Chandos goes back to 2010, as we said here -- Flat Swamp and Strange Mangers had not yet traversed our ear canals until early this week. We're happy to report both make rock sounds we like. We're particularly interested in Flat Swamp, which features Ovlov drummer Theo Hartlett on the guitar and sing-sing and also counts among its number Grass Is Green drummer Jesse Weiss. You read that right: this band, which is very good and wears its Weezer influence right there on its collective, comically oversized novelty sleeve, has two key players that are also drummers. It kind of takes some air out of all of those old hackneyed drummer jokes, yeah? Maybe they can get Dave Grohl on their next record... In the meantime, we certainly recommend you check out their cassette El Jefe/Nicolas Cage Match, which was released a year ago by Midnight Werewolf, and which contains lotsa windows-down-driving-fast-shouting-along-fist-pumping anthems. You like those, right? Indeed, every act on the bill tomorrow night has something hot for you to hear, so spend some time now with the links below, put on your socially acceptable pants tomorrow, and come check out the show with us tomorrow night. Full details are at this Facebook event page. Support the spleen.

Regolith A2E3: Sean Tracy Presents Dye's Alone

Did you feel like we left you hanging? We apologize for the delay, but a bunch of real-life stuff got in the way of our publishing this, the final installment of Sean Tracy's plunge down the time-sensitive cataracts in the songwriting challenge barrel we here at Clicky Clicky call Regolith. We think you are going to agree it was worth the wait, however. We are very pleased to be able to present to you today the fruits of Mr. Tracy's labor, which he is attributing to his project Dye (which, of course, we first told you about here in A2E1). It's an EP titled Alone, a particularly fitting moniker, as Dye typically includes Tracy's cohort Sam, but here of course, per Regolith rules, does not. The Alone EP contains five concise compositions touting gauzy rhythm guitars, gently perforating leads and bass work, a warm low end and spectral vocals. The short collection is shot through with a sedately stunned vibe, not unlike that of The Cure's 17 Seconds, but its compositions are more densely populated by guitars, hinting at Tracy's love of C86 and shoegaze sounds. Alone is eminently listenable, and while in the interview below Tracy expresses dismay at the quantity of material he was able to complete in 30 days, there is no questioning its quality. The EP is streaming at the Clicky Clicky Bandcamp page and also embedded at the foot of this post. Read and listen on. -- L. Tiburon Pacifico

Clicky Clicky: So how did it go? Do you consider the results a personal success? A failure?

Sean Tracy: It went all right. I feel pretty good about it, but there a ton of things that I wanted to do over [or] add. I wrote 12 songs and I'm turning in four-and-a-half, so...

CC: What were the biggest challenges and frustrations?

ST: The biggest challenge was definitely recording the vocals. Personally, I'm not someone who is much of a creative writer, so writing lyrics is typically something I dread/dislike very much. Just getting the time to record them was hard enough, but then getting vocal takes that I actually felt good about was a different story.

CC: How were you able to work around or overcome these challenges?

ST: I'd say the second thing is closer to what happened. I pretty much had to write stuff as I recorded it, and even while I typically do that, I would still have [other] ideas that were literally more thought-out than I had for this project. At the end, I had gotten to the point where I was having to write vocals/lyrics and guitar parts at the same time.

CC: What song do you think came out the best?

ST: That's a hard question, probably "17." I spent the most time on it, and gave it the most thought out of any of them. To me, it seems like kind of a weird one, but I was really happy with how the instrumentals came out, if nothing else.

CC: What song or songs do you wish you'd had more time to work on? Do you see yourself re-doing any songs in the future, in any of your bands?

ST: The song I wish I had more time to work on was "Ripped." Lots I wanted to try out for that one that I just didn't have time for. And... maybe? Not in the immediate future.

CC: Are there any songs you did for this project that you couldn't re-create live?

ST: I guess the answer to that is, um, all of them, at least not without at least 3 other people to play them with me...

CC: If there was one person or piece of equipment you could have brought in for the project, who or what would that have been?

ST: If i could work with anyone else I'd probably have to say my friend Sam Glassberg, who I used to be in a band with. I feel like we could probably have written a full album if that were the case.

CC: Did you learn anything about how you write and record music? What specific or quantifiable lesson, if any, did you learn that will help you in the future?

ST: I've learned that I tend to be pretty spontaneous, and that sometimes I have a hard time being my own editor. I guess that's why working with others is beneficial. Having multiple points of view is probably for the best.

CC: If you could travel into the future and speak with the next Regolith participant, what one piece of advice would you give them?

ST: Store all your project files in the cloud forever (I just lost my external HDD and my Macbook, within two weeks of each other. Still trying to get over that).

Normally here we'd tease the next Regolith artist-in-her-or-his-own-residence, but at this point we are still hammering down start dates and batting orders for some prospective participants. In the meantime, get cozy with Alone, and keep an eye out for news about the release of the debut full-length from Chandeliers, which Tracy referenced in A2E1. Chandeliers play a very hot bill in Boston June 7 at O'Brien's, along with Idiot Genes, Flat Swamp and Strange Mangers. We last saw Tracy performing with Bedroom Eyes at the incredible Soccer Mom record release show early this month (which, incidentally, seems like 1,000 years ago now), but Tracy has since left that band.

Previously:
Regolith A2E2: Sean Tracy Writes Songs Under The Gun
Regolith A2E1: Sean Tracy Is A Songwriter
Regolith A1E3: Reuben Bettsak Presents Emerald Comets' Inside Dream Room
Regolith A1E2: Reuben Bettsak Writing Songs Under The Gun
Regolith A1E1: Reuben Bettsak Is A Songwriter
Introducing... Regolith

Regolith A2E2: Sean Tracy Writes Songs Under The Gun

Sean Tracy likes to do it in the car... recording vocals, that is -- HEY-O! Welcome back to Regolith, Clicky Clicky's 30-day songwriting and recording challenge, wherein we con one woman or man of the indie rock persuasion to let us tag along and take an in-depth look at her or his creative process as they write and record new music from scratch. This is episode A2E2 -- that is "Artist Two, Episode Two" -- wherein Mr. Tracy gives us his mid-project update. You remember Sean, right? The guy who makes the bass noises for Boston anxiety-pop unit Chandeliers and New Hampshire/Boston shoegaze goliaths Bedroom Eyes? We covered all of that in A2E1, which, if you missed it, it's still online right here. There's some pretty interesting insights below. Perhaps our favorite is Tracy's assertion that the project is a lot like a quiz that you've written for yourself. "You know you're the one who made up the questions in the first place, but you still have to think about the answers." Something about that sentiment makes us think of a favorite Lilys lyric, but it also has a ring of truth for those of us who written a song or 10. Check out our full second interview with Sean below, which gives us some sense of what we might be hearing when Tracy turns over the proverbial tapes as his 30 days elapse (at which point we do one more blog post and offer the music via our Bandcamp page, remember? Also, Tracy turns back into a pumpkin). We invite you to dig in to the nitty and gritty below, and be certain to check back for the thrilling conclusion in the coming days. -- L. Tiburon Pacifico

Clicky Clicky: How has the project been going so far? Are you finding it easier or harder than you anticipated? Any particularly big challenges?

Sean Tracy: It's been a lot of fun! Definitely a positive experience so far, but I would say that I'm finding it a bit harder than I anticipated, mostly because I'm now at the point where I'm having to scale down what I wanted to do initially. I'd say that's the biggest challenge, having to sacrifice some tracking/production for the sake of finishing it. I've also had some basic technical issues... a broken microphone, broken headphones, etc.

CC: Tell us about your recording equipment setup. Are there specific reasons you use the equipment and software that you do?

ST: The primary things I've been using to record have been my MacBook and my new USB interface, a Focusrite Scarlett 2i2. It acts as a preamp for a microphone as well as for the guitar, so I've been relying on that for almost everything. I have a microphone that I "liberated" from work that is apparently broken, so I'm most likely (really, really soon) going to borrow or buy another one.

For software, I've been using Logic to record/mix and Adobe Audition for more mixing. I use Logic mostly because I learned how to record with Garageband, which is basically Logic's baby brother, so when I wanted something better, it was sort of an easy transition.

CC: Describe techniques you employ (mic placement, mixing, effects, etc.). Would you use these same techniques if time were not a limiting factor? How did you learn to record this way?


ST: Well, currently the one microphone I have is not working, so I'm thinking of placing it in the trash. [Ba-da-dum~! -- Ed.]

When it did work, I would kinda dangle it over my amp (a Fender Hot Rod Deluxe) to record the guitar because I don't have one of those little mic stands. The original game plan was to use the Focusrite to record one track of DI guitar, and one mic'ed track off my amp to give it a real amp tone with the DI mixed in. Because of the microphone situation, I'm going to probably just use only the DI tracks. This might change if I get the time to try out another microphone, but I'm not really sure yet.

For effects, I have a few pedals that I run my guitar through. Reverb, chorus, delay, echo, fuzz and distortion so far. I also use Logic to add in some digital reverb and compression to the whole mix.

If time weren't a factor, I would probably still do it this way. I think it works really well, especially as a way to dirty up some of the DI tracks. This is my first time recording this way, but I got the idea from Ryan Stack at Format Audio, our recording engineer for the new Chandeliers LP. This is more or less what he did for the bass tracks on the album, and I thought it sounded great, so I wanted to try it out for this project.

CC: Do you have any unusual tricks or rooms/spaces you record in that are exclusive to your home studio?

ST: I guess the one strange thing about me is that I like recording vocals in my car. I get much less background noise/hum that way, and I also don't have to worry about my neighbors thinking I'm a total weirdo/jerk for singing the same part over and over again.

CC: What instruments have you been using to this point? Do you foresee introducing other instruments?

ST: For guitars, I've been using a Fender Telecaster, and, in some places, an Epiphone SG. The Telecaster has been the main guitar, but I've used the SG in a couple places to get a kinda crunchier/hotter sound.

For bass, I've been using a Fender Bass VI, an instrument that tends to confuse a lot of people because it has 6 strings. It looks like a baritone guitar, which is what most people think it is, but it's tuned the same as a standard guitar and can be played like a bass or guitar (Robert Smith of the Cure was known to use one). I love how it sounds.

For the drums, I've been using Logic to program beats. I've been mostly trying to get the programmed drums to approximate the sound/feel of a natural drum kit/live drummer, but in some spots I wanted the beat to feel more like a drum machine.

The only other instrument that I may try to use is an old Casiotone keyboard that I have. I think it could be fun to somehow work keys into a couple places.

CC: Do you find that the time limitations change your approach to writing and/or recording?


ST: Yes. Well, somewhat. I usually record while I write but that's kind of what I need to do for this project. It's nice to come up with a mostly-structured song before I record it, but with the time limit, I've been finding myself myself just hitting "record" and experimenting until I find an idea I like, and then going from there.

CC: Do you feel that the songs are turning out differently than they otherwise would if you weren't restricted to 30 days? If so, what do you think would be different about them?

ST: Hard to say. I'd like to think that maybe they would be a little more developed, at least structurally, but I don't know if that would be a good thing or not. Were it not for the time limit, however, I don't think that some of these songs would ever have existed, because it's something that's forcing me to sit down and produce something, and hopefully that's caused me to create something a little different or interesting than I ordinarily would have.

CC: At this point, do you find the time restrictions to be a hindering your process? Or do you find them to be liberating in some way?

ST: I think of it as more liberating. I tend to work well under pressure... sometimes it's the only way I can actually finish anything. I tend to doubt myself a lot, and there's not really time for that. Knowing there's a deadline is kind of motivating me to be creative, but at the same time, there's not a minimum amount of songs that I have to turn over, so it's almost like taking a quiz that you've written for yourself. You know you're the one who made up the questions in the first place, but you still have to think about the answers.

Related Coverage:
Today's Hotness: Bedroom Eyes
Today's Hotness: Chandeliers
Review: Bedroom Eyes | What Are You Wrong With
Bedroom Eyes Record Release Show With Sneeze, Lube, Kal Marks And Big Mess
And Then Some Days We Get Awesome Mail 12
Clicky Clicky Music Presents... N O F U C K I N G W H E R E
Young Adults, BDRM Eyes, Chandeliers and The Living City | The Box Fort, Allston Rock City | Jan. 28
Today's Hotness: BDRM Eyes

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?





Related Coverage:
Today's Hotness: Bedroom Eyes
Today's Hotness: Chandeliers
Review: Bedroom Eyes | What Are You Wrong With
Bedroom Eyes Record Release Show With Sneeze, Lube, Kal Marks And Big Mess
And Then Some Days We Get Awesome Mail 12
Clicky Clicky Music Presents... N O F U C K I N G W H E R E
Young Adults, BDRM Eyes, Chandeliers and The Living City | The Box Fort, Allston Rock City | Jan. 28
Today's Hotness: BDRM Eyes

Guillermo Sexo, Slowdim, Lindsey Starr and Confessions | Great Scott | 15 Jan.

Just look at this bill. Just look at it. We'll give you a minute.

This is what an average Wednesday night in Boston looks like (or, more to the point, sounds like) these days, folks. But just because the scene is vibrant and strong and delivers hot bills like this with heartbeat regularity (to whit, Thursday's show with Earthquake Party and the re-Modaked Infinity Girl and Chandeliers, and let's not even start talking about next week yet, hot damn) doesn't mean we shouldn't heed the call of the rock and roll music tomorrow. Particularly what with Clicky Clicky faves Guillermo Sexo and Slowdim appearing on the same bill -- indeed, it may be an unprecedented pairing (we'll have our imaginary intern run that down. ARVIN!). Both acts featured on our lists of 2013 superlatives (!, !). The social media scuttlebutt is that Slowdim may premiere a new song, and given the furious pace with which Guillermo Sexo's Reuben Bettsak writes songs (more about that next week), we can only imagine that combo will also have something new up its proverbial sleeve.

What of the balance of the bill? It's been months since electropop duo Confessions unveiled its debut EP on Vanya Records, which we wrote about here, so we'll be interested to hear whether they've got something new in store as well. Lindsey Starr is a relatively unknown quantity to us here at Clicky Clicky HQ, but there are ample rock sounds present in this digital single released in early 2013, and folks will recognize certain names among her cohort, including former Protokoll bandmates Danny O'Neil (bass, now of Young Adults) and Ben Greenspan (guitar, engineer for hot rock bands like Young Adults). Whatever Great Scott is charging Wednesday is likely a BAH-GIN. We just checked -- 8 bucks! -- it is, indeed. In short, going to this show is like paying yourself a salary of rock music. All the details are at this Facebook event page right here. Whilst you sit back and reflect upon the good fortune that brought you to this bright moment in your life, why not stream some songs via the embeds below?

That Was The Show That Was | Grooms with Young Adults, Chandeliers, Vegans | Great Scott | 9 Oct.

[PHOTOS: Quinn Banford, special to Clicky Clicky] It's fun to witness the give-and-take between the two preposterously fertile music scenes of Allston and Brooklyn. Grooms, a notable dream-pop trio based in the latter, have played the former a fair amount on bills spangled with local luminaries. Wednesday night at the venerable Great Scott was no different. There the Brooklyn combo bowed a national tour intended to promote its shit-hot new record, Infinity Caller, slotted third in a bill top-lined by Boston-bred heavyweights Young Adults. The mysteriously small crowd that materialized early were treated to opening sets from Vegans and Chandeliers.

Grooms wasted no time hitting their stride, and pumping out should-be hit after should-be hit at a remarkable rate. Fronter Travis Johnson joked from the stage about ingesting great speed just prior to the quartet's set, and, yes, Heisenberg, it was blue. Too soon, indeed. Grooms opened with "Lion Name," much to our delight, and thereafter continued to bring the proverbial and literal noise. Perhaps they were feeding off the energy they knew Young Adults would bring later, or maybe they were extra stoked to be launching the tour, but whatever the reason these dudes really rocked the fuck out. On record Grooms exhibits substantial restraint, but on Wednesday its music was chaotic, explosive and enshrouded in distortion. All of this made the live presentation of new album-highlight "I Think Were Alone Now" even more awesome.

We missed openers Vegans, but did arrive in time for Chandeliers, whose too-brief time on stage was light on banter and heavy on electrifying, math-y rock. Maybe a little *too* heavy at first, as fronter Dan Coulson ripped straight through a string during the trio's very first number. Chris Villon from YA was quick to supply a loaner, however, and the rest of the set went off with nary a hitch. An interesting aspect of Chandeliers' live sound is the treatment that clothes Mr. Coulson's vocals. The sound is distorted and makes his voice sound as if it is coming through a payphone, adding a singular dimension to the oft-busy arrangements.

Young Adults, as is their usual practice, decisively ended the evening with an eardrum-eviscerating performance. It's no secret, of course, that they are very loud -- like "ears ringing for the next business week" loud. But fans know the threesome's shuddering racket isn't simply noise for noise's sake, however: anthemic jams reside breathe from beneath the sludge. The band played tunes from its Born In '91 EP as well as plenty of old jams. Despite battling some serious sniffles, the aforementioned Mr. Villon and his merry men were reliably intense, and blared punk-gaze stompers well into early Thursday morning. -- Dillon Riley

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."

Today's Hotness: Chandeliers, Universal Disappointment Sponge, Best Practices

>> Boston's dark and stormy noise pop concern Chandeliers -- who also will not be playing the newly announced Boston Calling festival Memorial Day Weekend -- returned a couple weeks ago with new music under the deceptively mundane title Monday EP. The actually quite electrifying five-song set picks up where the trio left off with last year's brilliant Big-Shot Weekend cassette. Meaning the band's frenetic intensity, characteristically murky vocals and fiery guitar work remain intact and propel these five new compositions to such great heights. Opener "Swim Gym" sets a brisk pace (indeed, none of the songs here runs more than 152 seconds), thrashing through a waltz-timed bridge underpinned by crushing drumming. "Temperance" lightens the mood substantially, showcasing the band at perhaps its most straightforward and melodic. EP closer "Not Smart (Just Well Educated)" commences with bright, lean lead guitar, but plunges quickly into a pool of reverb and jangle interrupted only by the recurrence of the bright opening theme. It's worth emphasizing how fiercely independent Chandeliers are, as this is yet another dynamite collection that the band self-recorded, self-mixed and self-mastered. Monday is available to stream now at Bandcamp, and the band aims to have it released on 7" vinyl, which we hope means there is a label out there smart enough to recognize these guys are the realest of real deals. Stream Monday via the embed below.



>> Fans of Fashoda Crisis earlier this month were gifted a cracking collection of songs from band fronter Sim Ralph's slightly less vitriolic but entirely more mad side project Universal Disappointment Sponge. The new Essex, England-based concern wasn't exactly a secret, as there had been scattered mentions among the more recent social media missives from Fashoda Crisis, but we certainly didn't expect the five-song set Time To Surrender Puny Earthlings to drop into our digital laps last week. The short collection was recorded in January and is presently available as a pay-what-you-like download that comes packaged with guitar tabs and lyrics, a nice embellishment that we'd certainly like to see more of from bands. Along with Mr. Ralph, who's commanding vocals are plainly evident here, the new quartet includes vocalist Chrissy, bassist Dave and drummer J. The first number on the EP, "The Lost Art Of Steeplejacking," begins with some sort of ranting about tapes, an a capella chant backed by screaming, which ushers in a start-and-stop stone groove and layered guy-girl vocals that approximate some form of dementia. Things get weirder and more rocking from there. The subdued verses of "Lemon The Pole" are feints that set off heavy, wiry choruses, which of course leads to a breaking of the fourth wall, and some dialogue ("look, the pole's not going to lemon itself"), before the song leaps back into a grinding, heads-down boogie. Universal Disappointment Sponge have lined up a handful of gigs beginning in late March, and should you be lucky enough to be based in the UK we exhort you to get out and see what they've got up their musical sleeves. In the meantime, treat yourself to the stream of Time To Surrender Puny Earthlings that we've embedded below for just such a purpose. Fashoda Crisis' most recent output is the Jowls Of Justice EP, which was released digitally to the Bandcamps of the world in mid-January; check it out here.



>> A third tremendous new release from mid-February was given unto us by Best Practices, the Providence-based melodic hardcore titans responsible for last year's exhilarating and almost-hilariously brief The EP LP (which we wrote about here a year ago). The quartet released Feb. 19 a soaring new EP titled Sore Subjects; somewhat ridiculously, the new EP is actually about a minute shorter than last year's single-sided, 12-minute opus (which makes us think we haven't heard a band get so much done in so little time since the first couple of Calories releases). The music on Best Practices' new collection, which is available as a pay-what-you-like download at Bandcamp now, fizzes with the same volatile energy and imagination that drives the music of legends like Drive Like Jehu and Fucked Up. But it also echoes '90s indie rockers such as Garden Variety... there's that indie rock peanut butter sneaking into their hardcore punk chocolate (mental note: hardcore punk chocolate would be an awesome album title). Sore Subjects' second tune, "Home For Halloween," pitches the curve via the soft acoustic guitar opening, but the song is quickly overtaken by desperate and almost unhinged vocals and Superchunk-at-doubletime guitars. The EP comes to a thrilling climax in the final minute of closer "Brita'd," when a weirdly scrambled lead guitar line convulses across the top of the mix. The EP was largely recorded at Amherst's Dead Air Studios last June with engineer Will Killingsworth, who we find ourselves talking about more and more here at Clicky Clicky. Vocals were recorded in October and earlier this month at Providence DIY space Squid Amps. The EP LP is still available on 12" vinyl from Tiny Engines right here, although as of this writing there are apparently only 16 copies left, so neither dilly nor dally lest you miss out on this gem. Will someone step up and release Sore Subjects on vinyl? We certainly hope so. Stream the EP below.

And Then Some Days We Get Awesome Mail 12

Boston indie rock fans familiar with what exactly "it" is know that Chandeliers has been bringing "it" regularly since the trio popped onto the scene a year-and-a-half ago. And just last week the fearsome threesome released the rather handsome cassette pictured above, the Bigshot Weekend EP. The cassette itself touts dazzling gold foil the likes of which you have not seen since the last time you laid eyes upon your dawg C3P0. But the important things here are the tunes: the recently issued demo "Age Sex Location," which we wrote about here, is joined by four cracking new additions to the Chandeliers catalogue: the barely-able-to-be-contained basher "Creepwolf;" the stuttering and slippery bummer "First Thing/Teeth Out;" the steady chugger "Bigshot Weekend;" and the deliciously melodic tangle of "You're The Dream Team."

The collection -- capably self-recorded in Chandeliers' Brighton practice space -- is a big step forward for the band whose desperate and busy nightmare music is long on ideas and continues to impress with a singular combination of precise guitar leads and a storming rhythm section. Chandeliers play in Boston at O'Brien's tomorrow night, and appears to have monthly gigs in Chicago starting next week and going through July; we expect more local dates will pop up. But in the meantime, you should get over to the act's Bandcamp yert and try on for size Bigshot Weekend, we think it will suit your liking. We've embedded the entire thing below if you. Just. Can't. Bring. Yourself. To. Etc. And, of course, it is worth noting that Chandeliers turned in a shattering version of RIDE's "Here And Now" for Clicky Clicky's recent NOFUCKINGWHERE compilation, which is still available for free download right here.

New Music Night DJ Sets | River Gods | 26/27 January

Here are the songs we played whilst manning the figurative decks last night in the booth at the fabulous River Gods in Cambridge, Massachusetts. Avail yourself of all the relevant linkage; if you have any questions or want to know more, hit us on Twitter or drop a comment. We'll create a Spotify playlist of all the songs we played last night shortly and post a link right here [Edit: HERE IT IS]. Also, please click over to Bradley's Almanac and check out Brad's playlists for the 9PM and 11PM hours, they will move you, and tons of free music to boot.

Set Two/Jay -- 10PM

1. David Newton & Thee Almighty Angels -- "Paint The Town" -- Paint The Town EP
[listen / buy]
2. Lubec -- "You're A Good Idea" -- Rip Tide 7"
[listen / buy]
3. School of Seven Bells -- "The Night" -- Ghostory
[download / pre-order]
4. Night Fruit -- "Dark Horse" -- Dark Horse EP
[blogged / listen / buy]
5. The Big Sleep -- "Ace" -- Nature Experiments
[listen / pre-order]
6. The Blue Dress -- "My Deth Ray" -- These Happy Golden Years EP
[blogged / listen / buy]
7. Satellite Stories -- "Blame The Fireworks" -- Blame The Fireworks single
[blogged / listen / buy]
8. Amity Beach -- "You'll Never Hear That Sound" -- Amity Beach single
[blogged / listen / buy]
9. Earthquake Party! -- "Pretty Little Hand" -- Vs. Pizza cassette
[blogged / download for free / buy Vs. Pizza]
10. Ringo Deathstarr -- "Sailin' On" -- Bad Brains cover, for Esme
[listen / donate to help Esme Barrera's family; Ms. Barrera was murdered Jan. 1]
11. Ovlov -- "The City" -- What's So Great About The City? EP
[listen / name-your-price]
12. Chandeliers -- "Age Sex Location (rough mix)" -- digital single
[blogged / download for free]
13. BDRM Eyes -- "Soggy" -- What Are You Wrong With EP
[listen / buy]
14. White Laces -- "Dissolve Into Color" -- Split 7" with Arches
[blogged / listen / buy]
15. Work Drugs -- "Rolling In The Deep (Adele cover)" -- digital single
[listen / download]
16. The xx -- "Open Eyes (Demo)"
[listen / download link seems to be dead but maybe it'll come back? like Shane?]

Set 4/Jay -- 12AM

1. Occurrence -- "You, Me And Everyone We Know Will Die" -- The Apocalypse Is Postponed
[listen / buy]
2. Johnny Foreigner -- "If I'm The Most Famous (Robot) Boy You've Fucked, Then Honey Yr In (Robot) Trouble" -- You vs. Everything EP
[blogged / listen / buy]

Young Adults, BDRM Eyes, Chandeliers and The Living City | The Box Fort, Allston Rock City | Jan. 28

While you weren't looking, this coming Saturday night has become totally bonkers, as Clicky Clicky faves are playing out all over the map. There's Night Fruit at the Cambridge YWCA, Guillermo Sexo at the Middle East, and Grass Is Green at O'Brien's Pub as part of Berfest, just to name a few. Hot shows all, but we don't think you'll get more bang for your tango anywhere else other than at the stellar show arranged by the lads in rising noise-pop concern Chandeliers. The trio will perform Saturday night at the Box Fort house in Allston as part of a cataclysmic bill featuring ambient punk heroes Young Adults, rising starrgazers BDRM Eyes and potent emo newcomers The Living City. The show is said to be kicking off early, as early as 8PM, so an enterprising show-goer could potentially make the house party scene on the early and still have time to head to one of those aforementioned venues to see action from those aforementioned acts. We'll be doing a little preview of the big, big show tomorrow night at River Gods, where we plan to include new songs from Chandeliers, BDRM Eyes and The Living City in our DJ sets as part of New Music Night (we as yet don't have any new material to showcase from Young Adults). The Facebook Event page for New Music Night has all the details, check it out.

Chandeliers has just released to the wilds of the Interzizzles a two-song sampler of new jams, "Age Sex Location" and "First Base (At The Model)," which you can stream via the Bandcamp embed below. The first track is an uptempo, dark and stormy rocker that will be familiar to fans. "First Base (At The Model)" is another bracing tune, this one sounds like a nightmare version of Buffalo Tom's "Mountains Of Your Head." Which, of course, means you need to hear it right now. Check the streams below.

The Road To Somerville: The Hush Now Memos Tour Diary Dispatch 6 (From Lexington, KY to Boston, MA)

[You didn't think they were going to leave you hanging, did you? That's not The Hush Now's style. In this episode of the band's Memos Tour Diary, bassist Pat MacDonald recounts the whirlwind of the tour's final days en route to the quintet's triumphant homecoming set at Precinct in Somerville, Mass. last weekend. Billmates Soccer Mom and Chandeliers also turned in jaw-dropping sets, as a result of which we were smiling all night. In case you are just tuning in, we reviewed The Hush Now's new record Memos right here. -- Ed.]

Oh, my old Kentucky home, and the bloody ground... Birthplace of Hunter S. Thompson, the man whose logo is permanently inked into my forearm. I think this is a great metaphor for this tour, something that will be permanently stamped on me until the day I die.

After a fantastic night with old and cherished friends in Nashville, we wake up and head to Lexington, KY and Cosmic Charlie's. It's a really groovy venue which was once called Lynagh's Music Hall, and was quite the place to play. Again the list of bands that have tread the boards at this hallowed institution is daunting. Every one from Del McCoury, The Bottle Rockets, Blue Mountain, Steve Forbert, NRBQ -- fantastic musicians one and all... so cool. Our gig was alright, not one of the best but quite a lot of fun. Joe the bartender at Cosmic Charlie's was a fun cat and Kate next door at the Lynagh's Pub made the whole night enjoyable. They were very nice, full of fun facts about the area, poured a mean drink and showed some fine southern hospitality.

Good morning Bluegrass State! So we got up, showered and shook off the cobwebs. Then it's on to Columbus, OH and Skully's, but first a quick stop at the Kentucky Horse Park which is 1,032 acres of equestrian love. If you are into horses/horse racing -- which some my closest and dearest friends are -- this is four-legged nirvana. Some of us have to deal with stuff back home, so the rest of us head for the paddocks, while still others head for the gift shop. We all walk away with a sack of swag after laying a big kiss on some horse nose. Back on the road. Now let me tell ya’ll, I did not know what to expect when I got to Columbus, but I was really surprised. What a cool burg. Very young, great record store right next to the venue (more on that later), cool bars and chow halls. The folks in the club were top notch, but in this case the old adage "hurry up and wait" was put to the test (at least 5 hours till show time), so we did just that. After some walking around the 'hood, hunting for a pack of smokes, wanting to get back to Boston and throttle my bank manager, and some food: It's show time! Seeing how this was Joel’s birthday, we shall use one of his favorite terms "do the dew" and some dew was done. Happy birthday you handsome man! Now, not to sound like a bitch, but as things were going so well I should have figured our kid Murphy and his damn law would get in on the act and oh my stars did he. Our kid Barry went to see the door man a bit after the set to be told that it was a pay to play gig. Pay to play ? Is this 1987? Now, thanks to the genius of our booker we are down 65 dollars ... WTF!! By the way, next time you are in Columbus and considering yourself a music geek, I implore you to check out Magnolia Thunderpussy, a balls-to-the-wall record store. So, even with it being Joel's birthday things did not get to the STP (Stones Touring Party) level of madness -- actually, not even the NKOTB level (what a bunch of wimps), but fun was had. Wake up, rinse and repeat! Things after this many days and miles are becoming almost second nature. Time to roll to Pittsburgh.

Now after all these days, I would love to give ya’ll the real poop on what happens in the van, but I think the word "boring" suffices. So we end up in Pittsburgh after a fine ride through the mountains; we find the venue the famous Arsenal Lanes (a bowling alley); and then more of the same: hurry up and wait. Jon and I found a fantastic art store with great homemade cards, handmade t-shirts, handmade pins made right in-house, all kinds of ephemera. So Jon and I get to talking to the owners and ask about some good places to eat and whatnot. I must say they were a wonderful road map to Pittsburgh. So me in my wisdom ask "So, where do we play at the lanes?" "LANE 13?!" (like I knew) was the answer... so what could I say other than "thanks" and off to the bar we went. Good meal with Jon, Barry and Noel. Soon to be showtime. There is nothing more surreal than to play a set while some one tries to break that split they are looking at... enough said. We all got to meet some more Marino family members, and kicked the Murphy guy in the jimmy. We got PAID 60 bucks. On to Philly, kids!

Philadelphia! Cheese steaks, soul music, Gamble and Huff, Freedom (thanks Elton), broken bells, liberty city. So after killing a few hours on the road post-gig, and a good night's sleep, we head off to The City of Brotherly Love. We find the club which is called The Raven Lounge, nice place, two floors, really cool owners. But what's this? We head upstairs to find the stage to be the size of a really small cat walk tilted sideways and the cherry on top of this I Scream Soda is right there in the middle... wait for it. A stripper pole? I have seen some strange things in my years but this has to be my favorite. A stripper pole? We gather the troops, have a quick brainstorming session, and decide to do a semi-acoustic set (time for Hanna to earn her keep). So Adam and I play thru our amps, Barry went for the Stray Cats set up (snare drum and one cymbal), Jon went with one keyboard and a stand sitting in front of the stage on the floor and Noel used trusty Hannah.

I have to say it was one of my favorite gigs of the tour. It was great to hear the songs stripped down (no pun intended), we ran through the set we'd be playing the next night at CMJ, and it felt really good. Smiles all around at the end of the set. Had a chance to hang with Adam's folks and their friends. It was now time to find some food/drink and get ready to go take NY by storm. I can’t let Philly go with out geeking on the music side of things that came from this fantastic city. As I mentioned above the word “Soul” is synonymous with this city. I mentioned Gamble and Huff, the architects of the Philly soul sound. Also, let's not forget one of my favorites from this wonderful city, The Nazz, Todd Rundgren's '60s psych/garage band. Not to mention one of Barry's favorites, the mighty Hall and Oates.

New York, New York, big city of dreams. Tonight's the night, in the words of Neil Young. So here we are, day 16 of the tour. The CMJ music marathon is one of the best music industry events in the US next to SXSW, it is only 7 years older that its southern cousin (it was started in 1980). We are all pumped for the Big Picture Media showcase we're playing at Sullivan Hall. But first things first: we have six very hungry men here, so some form of sustenance is on the menu. We head over to the Red Lion Pub and within minutes the owner has us in stitches, what a fantastic pub. I counted at least four different Stones pictures around the bar as well as Zeppelin, U2, Beatles and many more. After tucking into a great plate of fish and chips, with plenty of HP sauce and malt vinegar, we all decide to split up and just wander for a few hours before load-in. Noel and I end up walking down to Arlene's Grocery (once upon a time it was a bodega) to check out the Ryan’s Smashing Life showcase. We bump into Ryan almost immediately, got a chance to meet his bud Adam from Counting Crows (nice fella) and watched a fantastic set from Charleston, South Carolina's Slow Runner. These guys were amazing! Pure pop heaven. The band was spot-on musically, and the singer/piano/casio player had such a crystal voice, I walked away from their set with the biggest smile on my face. Back to the club for load-in. After a bunch of interviews/back-slapping/ glad-handing it was time for some rock. I would love to go into detail about every one of the five bands we played with but that would be a full-on article by itself (check out my Facebook blog for the full report). Let's just say you need to Google these bands: Grygiel, Mercies, Destry, States and Lily And The Parlour Tricks. We played a pretty smoking 25-minute set with a great version of "The Glow." Now the real fun: get in a car with Joel, his missus and Jon and drive five hours back to Boston! There's no place like home, there's no place like home, there's no place like home. Arrive back at my apartment in Somerville at about 5 in the morning. Sleep!

A full day of rest. No van, no Shoney's breakfast, no Love's truck stops, no feeling like you are traveling in a spacecraft, no smelly feet, no wondering where my winter hat went (find that in the spring), just quiet. I meet the band at Precinct for the Clicky Clicky and Ash Gray Proclamation homecoming show with Chandeliers, Soccer Mom and Cooling Towers. This was a brilliant show, we were on fire (17 days on the road helps), packed club, so many friendly faces. We knew had the crowd with us, so we started with "Sitting On A Slow Clock," lead them in gently... then BAM! "Cameraphone" into "Clouds," "Arkansas," "Thorns," "Memos," "Things Fall Down," "For What It's Worth" and "The Glow."

A few things before I put this to bed. I and the rest of the band would like to thank all the great folks we met on this tour, to all the people that came out on this last night, Jay and Bryan for putting together this bill. Also the one takeaway -- for me at least -- is this: even with some of the set-backs on this tour, the one thing we as a band did was play our asses off every night no matter what. We worked has a team always, a bunch of pirates one and all... Classy pirates, that is! It was a blast and I can not wait to get back out there once again and bring our music to a new batch of humans. Thank you, Jay, for allowing us to ramble on your site for the past few weeks. Cheers! -- Patrick MacDonald

The Hush Now: Internerds | Facebook | Soundcloud | YouTube

Memos Tour
10.06 -- Rochester, NY -- The Bug Jar
10.07 -- Cleveland, OH -- Roc Bar
10.08 -- Chicago, IL -- Miskas
10.09 -- Minneapolis, MN -- Acadia Café
10.10 -- Northfield, MN -- The Contented Cow
10.11 -- Milwaukee, WI -- Frank's Powerplant
10.12 -- Indianapolis, IN -- Melody Inn
10.13 -- Knoxville, TN -- Preservation Pub
10.14 -- Asheville, NC -- Fred's Speakeasy CANCELLED
10.16 -- Greenville, NC -- Tipsy Teapot
10.16 -- Nashville, TN -- The Muse
10.17 -- Lexington, KY -- Cosmic Charlie's
10.18 -- Columbus, OH -- Skully's
10.19 -- Pittsburgh, PA -- Arsenal Lanes
10.20 -- Philadelphia, PA -- The Raven Lounge
10.21 -- New York, NY -- Sullivan Hall
10.22 -- Somerville, MA -- Precinct

The Hush Now with Soccer Mom, Chandeliers, Cooling Towers, Johnny Foreigner Listening Party | Precinct | 22 Oct.

Feel the hype cycle! We are proud to present along with our friends at The Ash Gray Proclamation Saturday night's The Hush Now tour homecoming show at Precinct Bar in Somerville, Mass. We hand-picked the majority of the bill ourselves and think that the line-up is not only the very best, but also the Clicky Clicky-est bill we could have mustered. Check out the Facebook Event page right here. The night is centered around the final show of local guitar pop heroes The Hush Now's current tour supporting its superlative third long-player Memos [review here]. The bill also includes the crushing, visceral majesty of Boston noise rockers Soccer Mom, long a favorite of the blog fresh off the release of their spectacular 10" EP You Are Not Going To Heaven, as well as rising rockers Chandeliers. And, as a very, very special treat, we've arranged with Oxford, England-based Alcopop! Records to bring you the North American -- if not world -- premiere listening party for Johnny Foreigner's epic third LP Johnny Foreigner vs. Everything. Cooling Towers are a late addition to the bill and will also perform.

Doors for the event open at 8PM, and the listening party begins promptly at 8:20PM sharp. Punters that enter the club before 9PM will receive a complementary The Hush Now-branded shot glass. We can personally attest to The Hush Now-branded shot glass' powers of conveying small amounts of liquor between a bottle and a mouth [Note: bottle and mouth not included -- Ed.]. The full slate looks like this:

8:00 Doors
8:20 North American premiere of Johnny Foreigner vs. Everything
9:30 Chandeliers
10:30 The Hush Now
11:30 Soccer Mom
12:30 Cooling Towers

With the pending arrival of Clicky Clicky Baby No. 2, we're viewing this event as kind of a finale for our year, and we'd be pleased as punch if you came out and said hello and soaked up the sounds of all five bands along with me, Clicky Clicky Rock, Bryan Proclamation and stalwart Clicky Clicky supporter and podcaster extraordinaire The KoomDogg. It's going to be a big night, so let us know you're coming out. Now how about some songs?

Arkansas by thehushnow

Unwanted Sounds by SOCCER MOM

Chandeliers - Let's Do Brunch by Chandeliers

(don't) show us your fangs by johnny foreigner

COOLING TOWERS - "Song For Apple Martin (Live on WMFO)" by CommodoreVic