Together Again: Clicky Clicky Presents Two Nights of Adventurous Electronics And Under-Pop May 18+19

Hey, remember a year ago when we did this thing? It was a righteous time, orchestrated by indefatigable Clicky Clicky Staff Writer and Producer of Clicky Clicky Presents Dillon Riley in partnership with the fine people of Boston's Together Festival. Well, this Sunday Together launches its latest annual run, its seventh and vastest yet, they've agreed to have us back, and we're delighted. Mr. Riley has been hard at work orchestrating another ambitious two-night stand featuring a range of decidedly forward-thinking electronic and under-pop sounds. First up: next Wednesday, May 18, Clicky Clicky presents a solo performance from nü-romantic electropop standout St. Nothing, the refracted folk rock of All Talk, and vibrant indie pop from the Berklee-spawned ensemble Aüva. That will assuredly be a very good time, but the energy doesn't let up the following night. Thursday, May 19, we present for your sensual pleasure a special performance from heroic dreamers Strange Mangers, who will be reinterpreting their sighing guitar band sound via various electronic means. Equally as exciting will be strong vibes from techno producer and selector Lychee and a set of kaleidoscopic electro-spazz from Cyberbully (one of the many musical guises of Elizabeth Colour Wheel's Alec Jackson). Inman Square's proverbial living room, the great Lilypad, hosts both nights.

We'd like to advise you not to fuck this up and leave it at that. But we can do you one better and direct you to music embedded below from each of the artists performing. If you want to get down to brass tacks with key tracks, here's four to get you started: (1) Cyberbully's protracted enigma "Descent|Pts1-3," which takes an "everything plus the kitchen sink" approach but remains focused, sometimes to the point of claustrophobia, not to mention paranoia; (2) St. Nothing's big, throw-back synth-pop ballad "Align," a song so hook-heavy you could scrap it for parts and make an entire Depeche Mode AND Thompson Twins album; (3) Lychee's recent set at Cambridge, Mass.' legendary Middlesex Lounge goes deep on chill, but stick around for the return of the boom bap when Søren Nordström's "Transmission IV" hits the mix; (4) it sounds like Aüva will have new music for fans this year, but with spring kicking into gear for reals it is hard to stop listening to its infectious confection "Into Place," the opener to last year's Light Years EP. For more detailed details on either night -- and to pledge your allegiance to one or both -- hit the relevant Faceblorp pages: Night One; Night Two. We're looking forward to being with you. Do be sure to check out all that Together has offer -- just make sure to not wipe yourself out before our shows roll around. Ringo peace signs.

WEDNESDAY, MAY 18 >>







THURSDAY, MAY 19 >>

Review: Wire | Wire

After 39 years and a dozen albums as an on-again-off-again concern, London punk visionaries Wire have finally gotten around to releasing a proper -- albeit Wire-y -- dream-pop album. Though hinted at in classic cuts such as "Outdoor Miner" and "Map Ref. 41°N 93°W," never before has the quartet allowed itself to be so outwardly smooth, melancholy and serene. The new, eponymous 11-track collection integrates the impulses of Wire's exploratory rebirth following 2003's triumph Send into an inviting and cohesive set of mid-tempo songs, some yet bearing the sonic hallmarks of their highly celebrated late-'70s output. But Wire's lofty goal continues to be novelty (in the non-pejorative sense), and so it was inevitable that dream-pop would be way station. That inevitability, however, makes it no less enjoyable.

"The point where our personal narratives meet is all about change -- moving on and keeping it interesting for ourselves," guitarist and singer Colin Newman said recently in a press release. "We're in it for the long haul and this is a one-way trip." With that mission statement in mind, and, with touring guitarist Matt Simms (also of the massively under-rated It Hugs Back) now officially contributing to the group, the new disc wastes no time in throwing up an array of guitar textures both intricate and transporting. The band seems to have challenged itself to write clean and catchy numbers that draw great strength from their economy, and the results have certainly resonated with the record-buying public in the U.K., where Wire is the band's first album to chart in nearly 30 years.

Opener "Blogging" not only offers observations that hit a little too close to home for this reviewer, but also finds the band exploring a bluesy, deep groove that, dare we say it, approximates a simple sensuality similar to that of Violator-era Depeche Mode. The ensuing tune "Shifting" reinforces the steady, cleanly produced drum sound that dominates much of the album, while also highlighting the band's melodic gifts. Newman has always excelled at simple and elegant vocal melodies, and of this we are reminded here by his softly sung refrains of "gave you one more chance." By the third number, "Burning Bridges," it is clear just where Wire are journeying on their "one-way trip." A suitably dreamy video for the stand-out tune was released to the wilds of the Internerds earlier this week; watch it here.

The hook-laden "In Manchester" deploys prickly and warped lead guitar notes, which blend with subtle synth and drummer Robert Grey's ever-upfront hi-hat and snare work. "Octopus" raises the intensity a bit, with abrupt bursts of fuzz and chord changes that carry an energy straight out of Chairs Missing. "High" pits arpeggiated effects and synth strings against a traditional punk beat, and in doing so marries Wire's trademark brevity to a more shoegazey vibe. Interestingly, Messrs. Newman and Simms close some songs out with zipping and sizzling lead guitar effects that recall what My Bloody Valentine used on its cover of the aforementioned "Map Ref. 41°N 93°W" -- the Lovetone Meatball envelope filter, to be exact -- suggesting that Wire may have internalized the work of some of the very artists they had originally influenced. Perhaps, this feedback loop is what ultimately defines the album, since Newman and company sound more at ease than ever simply taking delight and relaxing in their own starry quirkiness.

Given the stunning results here, we are hopeful that Wire represents yet another new beginning for the the band, as the record manages to be cohesive, yet a great accompaniment to just about any mood. Wire was released this week via the band's own Pink Flag label; order it right here. The band is presently touring the UK through the end of the month, and embark on a two-week strand of dates in the U.S. at the end of May; full American dates are listed below. -- Edward Charlton

Wire: Facebook | Internerds | Soundcloud

05.26 -- Portland, OR -- Dantes
05.27 -- Seattle, WA -- Nuemos
05.29 -- San Francisco, CA -- Slim's
05.30 -- Los Angeles, CA -- The Echoplex
06.02 -- Cambridge, MA -- The Sinclair
06.03 -- Brooklyn, NY -- Music Hall of Williamsburg
06.04 -- New York, NY -- Bowery Ballroom
06.05 -- Philadelphia, PA -- Union Transfer
06.06 -- Washington, DC -- Black Cat
06.08 -- Cleveland, OH -- Beachland Ballroom
06.09 -- Detroit, MI -- Majestic Theatre
06.10 -- Louisville, KY -- Headliners
06.11-13 -- Chicago, IL -- DRILL:CHICAGO

Review: Lali Puna | Our Inventions [MP3]

According to its label, Lali Puna's fourth full length Our Inventions addresses modernity and "the driving forces of progress and technological obsession" -- themes that the Munich-based electropop quartet has plumbed since at least its 2001 sophomore set Scary World Theory. If there is an unexpected change manifested in Our Inventions it is the return of a softer tone and predominantly electronic palette. The change is perhaps too easy to associate with fronter Valerie Trebeljahr having become a mother for the first time since the release of the band's last record, but it also offers a ready raison d'etre for Lali Puna's retrenching its music nearer the minimalist style of its debut full-length, 1999's startlingly excellent Tridecoder. There is something to be cherished in the quiet and peaceful that new parents likely appreciate more than most.

The subdued tone contrasts sharply with the quartet's prior full-length, 2004's almost boisterous (and certainly Notwist-like) Faking The Books. That thrilling collection was replete with big guitar chords that complemented surprisingly well Ms. Trebeljahr's trademark electronics and wispy vocals. It targeted unpopular regimes and Orwellian corporations; we consider the set a strong rebuke of the U.S.-led "war on terror," and it is impossible not to recognize as criticism the coopting of a then-current Microsoft ad tagline for the chorus of the excellent (pardon this) rocker "Metronomic." There are hints of that outward-facing, critical voice on Our Inventions, such as the ominous, dense mid-album standout "Safe Tomorrow" (in which Trebeljahr repeatedly warns "never going anywhere" over pulsing laptop beats and droning synths). But for the most part the new set is the most insular and intimate since Tridecoder. Opener "Rest Your Head" and closer/album highlight "Out There" could prove serviceable as lullabyes.

Fans unfamiliar with Lali Puna's catalog prior to Faking The Books may find the limited dynamics on Our Inventions puzzling. But despite a mesmerizing (and perhaps hyperbole-deflecting) consistency across its 10 tracks, there is a degree of sophistication in the compositions that emphasizes that, in its 11th year of releasing records, Lali Puna continues evolving. Trebeljahr's quiet, breathy delivery is as arresting as ever (particularly on "That Day," which touts a Depeche Mode-mode rhythm track), and the intelligent electronic textures that underpin her pensive, quietly anxious tunes continue to present a captivating focal point. The wonderful unspoken truth of the music on Our Inventions is that, in fact, it is not minimalist at all: every synth tone or electro beat hides beneath still more layers of sound, be they understated guitars, chopped up vocals or more synths and beats.

Our Inventions will be officially issued by Morr Music in Europe April 9; it will be available in the U.S. on April 27, according to Newbury Comics' web site. The record was "pre-released" to ITunes last Thursday along with an ITunes-only bonus track "See The Wood For Trees," which was previously only available on the "Remember" 7". Fans who purchase the CD or vinyl version of Our Inventions directly from Morr receive a copy of the "Remember" 7" for free, which makes the ITunes exclusivity of "See The Wood For The Trees" seem less and less, well, exclusive. Lali Puna plan a European tour for May and early June, and you can inspect all the dates below.

Lali Puna -- "Remember" -- Our Inventions
[right click and save as]
[buy Lali Puna records from Newbury Comics right here]

Lali Puna: Internerds | MySpace | YouTube | Flickr

05.13 -- Conne Island -- Leipzig
05.14 -- Lido -- Berlin
05.15 -- Lagerhaus -- Bremen
05.16 -- Gebäude 9 -- Köln
05.17 -- Übel und Gefährlich -- Hamburg
05.18 -- Ekko -- Utrecht
05.19 -- Cactus -- Brugge
05.20 -- Pavillon Theatre -- Brighton
05.21 -- Le Grand Mix -- Lille
05.22 -- Mousonturm -- Frankfurt
05.28 -- Ampere -- München
05.29 -- Immergut Festival -- Neustrelitz
05.30 -- SC -- Zagreb
05.31 -- Gala Hala -- Ljubliana
06.01 -- Lokomotiv -- Bologna
06.02 -- Spazio 211 -- Turin
06.03 -- Exil -- Zürich
06.04 -- Exit 07 -- Luxembourg
06.05 -- Furia Festival -- Cergy

That Which Is Good: Stand-Out Stuff Found In Our Inbox

>> Super Collider's Cristian Vogel has formed a new band called Night Of The Brain, and the quartet will release its 10-song debut Wear This World Out, written and recorded in Barcelona, Tuesday. The teaser MP3 "The Theme" is very strong, a dreamy tune driven by a thumping bass line and draped with various computer-crafted textures. "The Theme" succeeds by remaining true to a hard-to-name but unsettled mood for four-and-a-half minutes, even as bassist Mike Hermann takes a bit of an odd solo or as drummer Cristobal Massis begins more urgently beating his crash cymbal at the song's close. Check it out.

Night Of The Brain -- "The Theme" -- Wear This World Out
[right click and save as; check out the video here]
[buy Wear This World Out from Kompakt-MP3 here, eventually]

>> We dug very much Foundry Field Recordings 2006 set Prompts/Miscues, particularly the wistful strummer "Buried Beneath The Winter Frames," so we were excited to see news of the band's next record. The Columbia, MO-based quartet's new EP Fallout Stations is termed a "companion piece" to Prompts/Miscues and includes both new tracks and rarities all relative to the concept of the 2006 collection (which we recall as being a Cold War/robots are going to get us kind of thing, although honestly it's been months since we've listened to it). Anyway, "Transistor Kids" is the preview track from Fallout Stations. It commences slowly with a long piano introduction, then snaps to attention with a beat, guitars and vocals that indeed make the track sound part and parcel of the earlier record. Fallout Stations streets Tuesday on Emergency Umbrella and the band plans to tour widely in July and August.

Foundry Field Recordings -- "Transistor Kids" -- Fallout Stations
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[buy Fallout Stations for Newbury Comics here]

>> This album stream of the self-titled debut from Austin-based quintet Peel may be the nicest surprise of our spelunking trip into our virtual mail bin. It's dense and melodic and distorted and loud and has buried vocals and it sounds like 100 different hungry indie bands from 1994, cut with a healthy dose of millennial digital trickery. Wow, glancing at their press, that's pretty much what The Onion said about them, too. Anyway, people seem to want to call these guys post-Pavement, which we suppose is passable, but we'd argue that Peel offers more of a garagey Monkees-ish melodicism and Flaming Lips-esque thrash. And then later in the record they toss in a little AM Gold stuff as well. Peel isn't actually too far removed from excellent Oklahoma-based trio Evangelicals, now that we think about it. You would do well to check out the Peel below. The band goes on tour for a couple weeks beginning June 8, and given how solid their album is we think it's worth heading out to see them, so we're posting the dates, too. Alas, there's no Boston date, but this isn't all about us, is it? Peel's Peel was released on Peek-A-Boo April 2, and shouldn't be confused with the also excellent Coctails record Peel.

Peel -- "Oxford" -- Peel
Peel -- "In The City" -- Peel
[right click and save as]
[buy Peel from Newbury Comics here]

06/08 -- Denton, TX -- Hailey’s
06/09 -- Shreveport, LA -- Jackrabbit Lounge
06/10 -- Mobile, AL -- Cell Block
06/11 -- Birmingham, AL -- The Nick
06/12 -- Atlanta, GA -- Smith's Olde Bar
06/13 -- Wilmington, NC -- Bella Festa
06/14 -- Washington, DC -- The Black and the Red
06/15 -- Brooklyn, NY -- The Battering Room
06/16 -- New York, NY -- Piano's
06/17 -- New York, NY -- Piano's
06/20 -- Fort Wayne, IN -- The Firehouse
06/21 -- Chicago, IL -- The Darkroom

>> We liked very much this video preview of the forthcoming Montag set Going Places, which Carpark releases Tuesday. The video was apparently created in conjunction with Secret Mommy mastermind Andrew Dixon; longtime readers may recall we greatly enjoyed sampletronica project Secret Mommy's collection Very Rec and wrote about it here for Junkmedia a couple years ago. Going Places is Montrealer (or Vancouverite, depending on which sentence of his bio you believe) Antoine Bédard's third Montag record, and the collection contains input from notable indie luminaries including M83 and Amy Millan, among others. Bédard's blend of pastich and electropop is very enjoyable. The title track from the his new set is a romantic yearner that reminds us of a contemporary take on Yaz. "Best Boy Electric" is more upbeat, even jubilant, as if the narrator from "Going Places" has finally secured the reassurances he longs for so badly from the object of his affection. Again, the track sounds like Yaz or early, more innocent Depeche Mode.

Montag -- "Going Places" -- Going Places
Montag -- "Best Boy Electric" -- Going Places
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[buy Going Places from Newbury Comics here]