Today's Hotness: Close Lobsters, Today Junior, Fog Lake

>> The work of Scottish indie pop four Close Lobsters had largely eluded our attention until recently beyond a certain key comp appearance, but the band's recent releases count among our favorite finds of 2016. The act emerged with the C86 scene (literally) and enjoyed a dynamite run through the remaining '80s, sharing bills with bands including Primal Scream back when you had no idea who the Primals were. They then initially yanked their cords sometime in the '90s. Fortunately, Close Lobsters were drawn close once more several years ago, and have been releasing new music just as vital and delightful as that of decades past. Increasingly crucial U.S. label Shelflife will issue a new EP from the quartet later this spring titled Desire & Signs, which includes two dynamite tunes, "Under London Skies" b/w "Wander Epic Part II." The splendid A-side features keen hooks and wonderfully world-weary vocals that mourn a London gone by ("...this is the London of The Clash..."). Guitars sparkle and tambourines crack within an arresting wall of sound, while singer Andrew Burnett drawls his observations of '81, '84, '87, '88 and so forth. The slightly longer "Wander Epic Part II" patiently bops along to wood block strikes through the first verse, but its determined fidelity to the mid-tempo beat conjures a mesmerizing groove just as the chorus's pretty chord changes hit. Burnett pleads "baby come on" into a breakdown, and then the song sparks back to life with a swell of sizzling cymbal that heralds a long denouement that slowly cycles lead guitar lines. Shelflife releases Desire & Signs in a limited edition of 500 gold-colored 7" vinyl singles and digital download June 3, and you can pre-order the set directly from the label right here. This is not the first time the label and band have worked together. Shelflife previously released Close Lobsters' praiseworthy Kunstwerk In Spacetime single in May 2015; the set includes the numbers "Now Time" b/w "New York City In Space" and remains available for purchase from the label right here. Fire Records released last year Firestation Towers, a 3-LP set compiling the band's towering output from '86-'89; this can be purchased directly from Close Lobsters' Bandcamp yert right here. Close Lobsters play a long, long in the works gig at London's 100 Club next month, and you'd be dumb not to go if you are able. Stream "Under London Skies" via the Soundcloud embed below.



>> Clicky Clicky was quite taken with the debut LP from Boston's Today Junior last summer, and we've eagerly anticipated new music ever since. The Allston Rock City-based indie trio finally obliged in recent weeks with a pair of appealing new tunes, "Leaving Easy" and "Blunt Breath," released as free-to-you, standalone digital singles with "Beavis and Butt-Head"-inspired art. The threesome led with the latter song, but it is the uptempo and melodious "Leaving Easy" that has sunken its hooks more deeply into our consciousness. The song rocks from within knee-deep, surfy, and nostalgia-inspiring reverb; from there the threesome bash 'n' pops through an arresting down-and-up chord sequence at speed and toward a bright guitar solo that memorably percolates through the song's third minute. "Blunt Breath" is fuzzier, more rough-hewn but equally peppy, and features a vocal riff that is pretty much the indie rock version of yodeling courtesy of fronter Harry O'Toole. Today Junior has already had a busy spring of shows; its next gigs are an all-ages soiree at Jamaica Plains' Midway Cafe May 8 and an appearance the following Sunday as part of the rescheduled Harvard Square Mayfair. Get yourself appropriately pumped by streaming "Leaving Easy" and "Blunt Breath" via the Bandcamp embeds below; click through to download the tracks. Flesh Records reissued the band's debut Ride The Surf on blue cassette last month; snag a copy right here.





>> We've been wanting to tell you this for so long: Clicky Clicky faves Fog Lake returned in late March with a brace of tunes to tease a forthcoming, fourth long-player slated for release on Orchid Tapes in the fall. De facto A-side "Rattlesnake" sadly waltzes in a manner reminiscent of the great Benjamin Shaw, but St. John, Newfoundland-based Fog Lake here achieves an appreciable swing -- largely via tasteful drumming -- for a band that typically operates in a wispy realm of beautiful, breathy understatement. Some of that dynamism can likely be ascribed to the contributions of Kenney Purchase, Nick Hopkins and Cory Linehan, as at least Mr. Purchase has been (and may presently be) part of a more recent live configuration of Fog Lake. There seems to be an increased focus on lyricism, as well, as band mastermind Aaron Powell seems particularly voluble, fatalistically promising "I"ll make you see it, all the ways you snuck into my head, tearing holes in my sense till the good part of me died, and the trembling stopped from your rattlesnake bite and it all went dark." In an email, Mr. Powell characterized the figurative flip-side "Strung Back Around" as a demo, and promises a version of the track will appear on the planned long-player, but there is no noticeable decline in the songwriting or sound quality here -- if anything the song is stronger, and could easily have led this digital two-fer. Distant piano chimes from within Powell's stirring, gossamer layers of reverbed guitars, and indeed the ambient wash almost entirely consumes the song's relatively jaunty rhythm. Powell's high tenor cuts through the mix, ever regretting, trying to give shape to that which cannot be shrugged off. Fog Lake released one of our favorite records of 2015, its third albumVictoria Park, also through Orchid Tapes. No title or release date for LP4 have been made public. Stream "Rattlesnake" and "Strung Back Around" via the Bandcamp embed below.

Today's Hotness: What Moon Things, Family Video

>> Last week brought the first official new sounds from What Moon Things since the trio moved from upstate New York down to Brooklyn, the compelling darkwave number "Party Down The Street." Sure, there was the nice short stack of spacey jams casually and digitally released at the end of 2015 entitled, well, Space Jams, which fans shouldn't overlook and which also offers some indication as to which label might release the three's planned sophomore full-length. For sheer drama and major hookage, "Party Down The Street" -- which will likely feature on said forthcoming LP -- can't be beat. The song's arrangement comfortably sprawls through breathy verses (that exhale apparent reverse reverb), and anthemic, noisier sections where guitars swirl over the song's mechanical rhythm track. In said verses, Mr. Harms' vocals are impressionistic and emotive, but when he bellows "my face lit up like a question mark" the narrative focuses and the song catches fire. It also doesn't hurt that "Party Down The Street" echoes not just a little vintage and celebrated sounds from bands including The Cure. The tune closes with a tasteful, downbeat denouement, pulsing kick and boxy electro-snare into a roomy reverb while guitars slowly unwind the melody. No release date or title for What Moon Things' next record have been announced, but the band is presently on tour and we expect fans are hearing some new songs out there in the rock clubs of the American South as the Things venture to and from the annual SXSW music confabulation (Arkanas tonight! Full tour dates below). Hot Grits released What Moon Things' self-titled debut full-length in June 2014 as a vinyl 12", CD and digital download; that LP is presently in its second pressing. Stream "Party Down The Street" via the Soundcloud embed below.

3/10 -- Maxine's -- Hot Springs, AR
3/11 -- Denton 35 FEST -- Denton, TX
3/14 - 3/20 -- SXSW -- Austin, TX
3/21 -- Gasa Gasa -- New Orleans, LA
3/23 -- Blind Mule -- Mobile, AL
3/24 -- TV Land -- Tallahassee, FL
3/25 -- 1904 -- Jacksonville, FL
3/27 -- Will's Pub -- Orlando, FL
3/28 -- Tin Roof -- Charleston, SC
3/29 -- Brookland Tavern -- Columbia, SC
4/1 -- Slingshot FEST -- Athens, GA
4/4 -- The Camel -- Richmond, VA
4/6 -- Songbyrd Cafe -- Washington, DC
4/7 -- Old Mogul Theatre -- Montclair, NJ



>> The persistence of bass player jokes is one of those modern mysteries. After all, examples of notably talented bass players that can write songs aren't all that hard to come by: there's that McCartney guy, that Tweedy guy, and locally in Boston, just off the top of our head and only picking one, there's Jenny Mudari from Feral Jenny and Bent Shapes (whose album release show is tonight in Allston Rock City, doncha know?). As it turns out, Clicky Clicky faves Fog Lake have a talented, songwriting bass player as well. Her name is Jen King, and her project Family Video last month issued an understated but fierce set of indie pop songs called Places To Sleep. Sure, the St. John's, Newfoundland-based act's music isn't as deeply haunting as that of Fog Lake, but it is similarly affecting and occasionally even as downcast. Family Video's 11-song set features scruffy, guitar-centric songs that bash and pop through spare arrangements and echo in places the confessional songwriting of Liz Phair and the fizzing verve of Tiger Trap. Asymmetrical opener "You In The Night" morosely plods through pretty, chiming verses in the first 90 seconds, but soars for the final two minutes on the strength of spiraling, melodic lead guitar and steady synth tones. The cracking album highlight "My Sister's House" showcases buoyant bass playing and glistening guitar jangle, and escalates into a proper rave-up spangled by an urgent quarter-note cadence on the snare in its final third. "Winter Shadow" -- as well as its more poignant, delicate, acoustic iteration "Winter Shadow (Revisited)" -- presents Ms. King voicing the unguarded, forthright request "won't somebody smack me and make me feel realize..." The song's emotional heft compounds as its lyrics cast in different directions for deliverance from loneliness (it also references listening to the radio, which always gets songwriters a check-plus from Clicky Clicky's executive editor). Places To Sleep was recorded to and mixed on a four-track machine, and Fog Lake's Aaron Powell contributed synth to three cuts and vocals to the tune "Empty Bed;" he's also mentioned in the song "Aaron In The Basement." Family Video self-released Places To Sleep to the wilds of the Internerds Feb. 16. Stream the entire collection via the embed below and click through the purchase it as a paywhutchyalike download.

Clicky Clicky Music's Top Albums of 2015: Jay Edition

Well, here we are at the end of a terrific year in music. Seriously -- not a lot of haters hatin' right now, are there? Not that we ever countenance such nonsense. Our annual refrain is that if you didn't hear any new music that knocked your socks off in a given year, that's on you (to paraphrase Mr. Lydon). 2016 doesn't look like it will disappoint, either. Below we name 10 albums from this year that we deem indispensable. But first a brief aside: one meaningful measure of just how excellent a year it was for music is to take stock of those records that fell just short of making our list. Ten acts whose terrific records and extended plays rated very high at Clicky Clicky HQ, but which ultimately didn't garner a slot, are All Dogs, Courtney Barnett, William Basinski, Beach Slang, Bedroom Eyes, Bully, Coaches, Palehound and BandFFs Speedy Ortiz, and Thin Lips. With that as context, our 10 favorites, the anointed ones, are listed and linked below. Before you dive in, we'd like to offer sincere thanks to you and all of our readers for whiling away the hours in our electronic pages this year. And special thanks to writers Edward Charlton and Dillon Riley, champions each, who help move Clicky Clicky forward year in and year out -- thanks doods. See you all in 2016.

1. Funeral Advantage -- Body Is Dead -- The Native Sound [buy]

We often return to Carrie Brownstein's quote in this 2011 interview, in which she says "'The reason [a given band is] not The Clash is not necessarily because they're not The Clash, but because I don't need them as much as I needed Joe Strummer in 1990.' The way you need and relate to music changes." And we bring that up now because one of the primary reasons we love Funeral Advantage's flawless debut long-player Body Is Dead is that it was exactly what we needed during a particularly stressful time. This is not to discount the understated beauty that permeates every song of the record; indeed, we applauded a number of the songs from Body Is Dead here and here as the summer days waned. Body Is Dead hits an aural sweet spot first charted by New Order and then idly circled by M83. The record has an internal consistency, terrific pacing, very appealing melodies, and significant emotional weight, all of which make it the kind of record you can listen to on repeat for hours on end. Which we did.



2. Infinity Girl -- Harm -- Topshelf Records [buy]

We lived with Harm for so long before it came out that (true story) we jokingly threatened one of the band members when we learned that the album running order we had grown accustomed to would not be the running order of the commercial release. Infinity Girl from its earliest days has consistently made the kind of music to which Clicky Clicky readily and strongly bonds, and Harm is no exception. This is evidenced in part by our selection of the banger "Dirty Sun" as our top song of 2015, but the fact is Harm is so much more than that song. Every tune pulls its weight, and as a set Harm highlights the increased influence on the band of both post-punk sounds and the stronger role of lead guitarist Kyle Oppenheimer as a songwriter. The record is darker and harder than prior efforts, something its title suggests, but it is also Infinity Girl's strongest collection song for song, which renders it indispensable. We're very excited to hear what the foursome does next.



3. Spectres -- Dying -- Sonic Cathedral [buy]

We came across an adjective at some point earlier this year and grew very excited, because 1) we are nerds and 2) we realized it fit into a single word a sentiment that we usually expended many more to describe. The word is "uncompromising," and while many of our favorite records could be described as such, among our favorite albums of 2015 the descriptor best suits Spectres' dark and dense triumph Dying. The record is rife with squalling, brawling guitars that scrape against the stereo field, and the band's wanton and hedonistic embrace of noise is refreshing. But as is characteristic of the key proponents of the approach -- and we're thinking of Sonic Youth here -- it is Spectres' deft control of same that makes its music so thrilling. Dying is tidy when it needs to be, and arty when it wants to be, but never strays so far from the music's psych-blues foundation as to lose focus. The sinister record's seething and brooding so very potent, the cacophony so euphoric, and all of the above makes Dying among the best records of 2015.



4. Krill -- A Distant Fist Unclenching -- Exploding In Sound [buy]

It's hard to write about this record without a sense of disappointment; not because the promise of Krill was unfulfilled, but because fronter Jonah Furman's inward exploration was among the most meaningful exercises in indie rock; how and whether it will continue still seems undetermined (although Mr. Furman has been playing solo shows in recent months). Instead of viewing it through the lens of the threesome's dissolution, it is fairer to consider A Distant Fist Unclenching a rock record, and in that context it is very easy to celebrate, as guitarist Aaron Ratoff's imaginative arrays of notes and incisive chordal assaults, Mr. Furman's elastic and curious bass playing and Ian Becker's drumming make the trio's ensemble playing incredibly exciting. And with such terrific songs with which to work out its weirdness, A Distant Fist Unclenching is both gratifying and unstoppable. Sure, that the band perceived no next logical step beyond this one is sad. But there is something thrilling in the band's willingness to walk away without diluting its power one iota. A Distant Fist Unclenching is the straight dope.



5. Fog Lake -- Victoria Park -- Orchid Tapes [buy]

Haunting and heartbroken, Fog Lake's wondrous Victoria Park feels like standing on the shore and watching helplessly as a ship inexorably sinks below the surface. The vivid yet nostalgic long-player is the handiwork of a one-man chamber-pop project helmed by St. John's, Newfoundland's Aaron Powell. Built up from somewhat androgynous vocals, sturdy piano chords, and sweeping drones that spread across the stereo field like plush carpet, the set is wistful and dreamy and endlessly listenable. And while Orchid Tapes had an incredible year (remember that Katie Dey record?), we'd be hard pressed to rate one of its other releases higher than Fog Lake's textural and engaging tour de force.



6. Stove -- Is Stupider -- Exploding In Sound [buy]

The music of Stove so closely resembles the music we came of age with (Dinosaur Jr., Lemonheads) that we are helpless not to love it. Not that it doesn't have its own arresting personality (by which we mean mastermind Steve Harlett's personality), but even Mr. Harlett's wry and dry wit echoes that of legendary losercore proponent Lou Barlow. Even so, ultimately it is the incredible songs that kept this album in heavy, heavy rotation as soon as Is Stupider was released: not the least of which is the yearning "Wet Food," which is about as perfect a song as any guitar band released in 2015. And maybe 2014, too. Is Stupider keeps on giving, all the way across its 40 minutes. Let it.



7. Hop Along -- Painted Shut -- Saddle Creek [buy]

Hop Along's titanic sophomore set is vivid and electric, filled with spiky guitar work that colors the jagged emotions pronounced by fronter Frances Quinlan, the most captivating singer in indie rock right now. On this record the band introduces as second guitarist former Algernon Cadwallader dude Joe Reinhart (whose label Hot Green issued the first Hop Along LP), and his playing applies crucial new dimensions to Ms. Quinlan and company's music. We turned on to the record later in the year than we should have, and the more we listen the more we believe it should rate even higher on our year-end list. Painted Shut is truly special, endlessly listenable, and a sure sign that Hop Along is making epochal music.



8. Dogs On Acid -- Dogs On Acid -- Jade Tree [buy]

As with Stove's LP mentioned supra, we are extraordinarily predisposed to like this record because of the big guitars and big melodies. It doesn't hurt that this band ALSO includes former members of the mighty Algernon Cadwallader, also mentioned above. Dogs On Acid is a guitar-pop record of the first order, just terrific songwriting that is gracious with the melodies but respectful of the listener's smarts. Big primary color melodies are painted over swinging rhythms and sparkling and imaginative guitar playing, and these conspire to take what at its base is pop-punk music and elevate it to an art form. Perhaps more than any of the other releases on our list, this record is just flat-out and universally enjoyable, the kind of thing you could put in the tape deck of your parents' car with little fear of repercussions. Maybe? Change your life.



9. Colleen -- Captain Of None -- Thrill Jockey [buy]

Otherworldly, thoughtful and textured, Captain Of None overflows with an optimistic belief in the transformative power of music. The set marries mastermind Cécile Schott's adherence to electroacoustics with her deep-rooted love for dub reggae. And while the pairing might seem like a stretch, there is nothing about the mysteriously beautiful Captain Of None that feels forced or anxious. Fluid looping, pensive vocals, and patient pacing make the set the most meditative of all of our year-end favorites. We were delighted to see a follow-up was initially coming along relatively quickly, and although Ms. Schott recently shared that she has had a difficult year that slowed her process on her planned new collection, its seems a new set will be along before too long. Even so, we've still got plenty of dreams to dream along to Captain Of None before we get antsy for new sounds. Highly recommended.



10. Swings -- Sugarwater -- Exploding In Sound [buy]

The marvelous and impressionistic slowcore of the D.C.-based unit Swings is terrifically appealing; it trades in impressively controlled dynamics, rhythms that fluidly flex and contract, and slippery, indeterminate vocals that provide a foil for both. The band's sophomore set Sugarwater feels especially confident, given the performers' relative youth. There is no casting about, no stylistic shots in the dark that indicate Swings yet questions its artful approach to subdued post-punk. The confidence also manifests in nifty production choices, like the autotune on the vocals on the standout preview track "Tiles," or the delicious shell resonance on the snare drum in "Blood On Seersucker," whose title belies the carefree moments provided in the tune's verses. It is not terribly often we encounter a band so young yet so smart, and Sugarwater is all the better because of Swings' fresh approach to songwriting.

Clicky Clicky Music's Top Songs of 2015: Jay Edition

2015 was surely an incredible year for music, with each week delivering exciting new sounds from all corners. Clicky Clicky devoted most of its electronic column inches to acts hailing from the U.S. (and particularly our hometown of Boston) and the U.K., but also featured acts from Australia, France and Portugal, and probably other places we're forgetting. This year, favorite songs were a little more difficult to select than over the past decade that we've been doing this, in part because of the vast amount of great things to choose from (how is there not a Beach Slang or Stove song on this list? Shit is competitive, yo...), and also because we spent a lot of time seeking out records that don't necessarily reveal themselves all at once, records that establish and maintain their own peculiar universe of meaning. Even so, it is most often the case that our favorites immediately rise to the top, and that's true of more than half of the songs below. Some of our favorite records were sleepers, and some songs they contained were more insidious in their efforts to dominate our consciousness and subconscious.

So while the Infinity Girl track below was immediately addicting and we've listened to it scores of times, the Colleen track and others like it snuck up on us, suddenly and surprisingly dropping into our brain out of our mouth during a quiet dog walk or long commutes in the car. No matter how they got there, all 10 songs listed below are a part of us now, and we'll always associate them with 2015. We hope you enjoy them as much as we do. Keep an eye open for our year-end albums list, which will be along sometime in the run-up to Christmas, but in the meantime we invite you to rock out to Clicky Clicky Music Blog's Top Songs of 2015: Jay Edition, either a la carte via the individual embeds below, or via this both handy and dandy Sporkify playlist (which sadly but necessarily omits the cracking Hard Left track, which is presently unavailable via the service). We salute the bands below, and we thank you, dear reader, for passing the year with us. There's a lot coming up from Clicky Clicky in 2016, so remain vigilant.

1. Infinity Girl -- "Dirty Sun" -- Harm [buy]

"Dirty Sun" emerges from noise and feedback and then swells into shape on the back of Mitch Stewart's driving bass melody, which is truly the secret sauce of this, Infinity Girl's most potent pop moment since the towering "Please Forget" that featured on the band's 2012 debut Stop Being On My Side. "Dirty Sun" is even more vibrant, its crackling pace providing an irresistible pull that never betrays the listener. The Brooklyn foursome's characteristically colossal guitars and fronter Nolan Eley's cool vocal acquit themselves wonderfully, and it is the latter that supplies the strongest, if most understated, hook. Mr. Eley's narrative of a love going off the rails effectively captures the teetering feeling where romance goes from intoxicating to irreparable. That the band can make it all sound so arresting is a testament to the pop smarts that help make Infinity Girl one of today's most exciting indie acts.

"...you said you were OK, but I don't buy it, you used to get excited..."



2. Funeral Advantage -- "Gardensong" -- Body Is Dead [buy]

It's soothing and fantastic, and appointed with glistening guitars. It's dense but light, basks in airy reverbs and touts curiously affecting robot-voiced verses. It's "Gardensong," and it stands out like a crown jewel even on one of the year's standout records, the Boston dream-pop heroes' debut long-player. Fronter Tyler Kershaw's vocals are heavily veiled within the song's dreamy, trance-like state, but enough of them bob above the steady waves of crystalline, delayed guitars and the surprisingly crispy beat to indicate affairs of the heart are at issue. A glance at the lyrics reveals lovers at an impasse, a place where the thing that they both want is not the right thing. The still sweetness of that resignation is nearly as fetching as the song's melody, which is gently arrayed along layered guitars and bass whose sounds seem to stretch to a sunny horizon, despite Mr. Kershaw's downcast lyrics.

"...so if you’re not there then I'm not there / so just close your eyes..."



3. Dogs On Acid -- "Let The Bombs Fall Off" -- Dogs On Acid [buy]

Love can bring you down, but "Let The Bombs Off" feels like a celebration, despite the desperate times conveyed in its lyrics. Perhaps we can attribute that to the singular imaginary Philadelphia that exists in our head and heart; collectively, the city's indie rockers seem to have historically colored their lovelorn sentiments with a certain determination to live on -- it's just part and parcel of the city's DNA. Indeed, on "Let The Bombs Fall Off" Dogs On Acid fronter Peter Helmis (ex-Algernon Cadwalader) sings of wishing he was a widow ("'cause then I'd know that you're not coming back") and crashing his dream car ("just to see you shake"), but with a delivery that is more determined that dour. The song's chugging rhythm, deliciously chunky bass and bright guitar work don't take a backseat to the vocals, however. The splashes of bending guitar in the chorus recall the heyday of the absolutely brilliant Meneguar, but truly every second of the tune is paved gutter-to-gutter with hooks.

"...blowing up my whole vicinity / I'm learning to stop worrying..."



4. Fog Lake -- "Dog Years" -- Victoria Park [buy]

This song is absolutely devastating, and in our estimation is the most devastating song of 2015. "Dog Years" is a bottomlessly poignant chamber-pop ballad from Canadian outfit Fog Lake; its whispered vocals carry a patina of menace limned by droning strings that unspool across a bed of watery piano chords. The narrator sings from a place of desolation, but the song's understated but haunting melody hints at the possibility of salvation, especially as a curtain of angelic keys swallows the song. Whether or not deliverance is ever achieved is as much as mystery as how it could have been achieved, but the understated melodrama of "Dog Years" is nonetheless perfect, and makes for a terrifically affecting piece of work.

"...haven't you heard / I know everything / I've heard angels calling me..."



5. Swings -- "Tiles" -- Sugarwater [buy]

At its best the curious music of Swings presents terrifically appealing shards of forgotten dreams, and "Tiles" is certainly the D.C. trio at its best. The song feels extracted from fleeting waking moments, when your subconscious rapidly falls away just as it reveals some deeper truth with its fading mirror. At least, that's as good an explanation as any for what is going on here, as fronter Jamie Finucane's elastic vocals are notoriously unparsible, much in the way Elizabeth Fraser's were in the front end of the Cocteau Twins catalogue. The skeletal pulse of "Tiles"'s arrangement and its cycling, ascending, straightforward melody erected from bass and guitar quarter notes set a sturdy table for Mr. Finucane's lyrics, which almost wink as they don apparent (if not actual) vocoder, change shape as vampire does to bat, and flitter off into a mysterious firmament that is distinctly the band's own.

"...one hundred percentaaaaaa WHAT THE FUCK IS HE SINGING I DON'T EVEN KNOW..."



6. Hard Left -- "Kicking It Off" -- We Are Hard Left [buy]

As social challenges have mounted during this century, it has been persistently disappointing that indie rock has not responded in kind with calls to arms, with ideas, with possible leadership toward meaningful joint solutions. You might be asking, well, why should they? To which Clicky Clicky says, why shouldn't they? Instead, macro political issues were largely ignored -- and we are not the better for it. It's an idea we discussed with comrades Mike and Tim from Hard Left here last spring, around the time of the release of the Oakland-based quartet's cracking full-length debut. Album highlight "Kicking It Off" is both exhortation and affirmation, a vow to act, and we're hopeful that it can be a model to the wider independent music community, that eventually the song will be perceived as the tip of the spear. Hard Left here delivers an uplifting, energizing banger descended straight from the day of Joe Strummer and The Clash, big fuzzy guitars, vocals that testify, beats that bang. Heed the call. Start today.

"...making do with what we didn't choose..."



7. All Dogs -- "Flowers" -- Kicking Every Day [buy]

There is magic in big guitars and steady harmonies and yearning sentiments: it's an age-old recipe, to be sure, but one that still can yield spine-tingling results when applied by skilled songwriters and performers. Columbus, Ohio four All Dogs certainly capture the lightning in the bottle here with "Flowers," although it is difficult to pick just one track from the band's terrific long-playing debut Kicking Every Day. Here the band seems to strongly channel classic Superchunk, but it is fronter Maryn Jones' charming, poignant vocal that is impossible to ignore. At fewer than 140 seconds in length, this song perhaps more than any other on our list likely keeps fans' fingers poised just above the play button and ready for another go, as 5, 10 and 20 listens just isn't enough. Gold.

"...our bodies are longing for things you don't know..."



8. Colleen -- "This Hammer Breaks" -- Captain Of None [buy]

Hand percussion like heavy steady rain (perhaps struck off her favored instrument, the viola de gamba), and quietly chanted vocals that layer and diffract, render Colleen's "This Hammer Breaks" eery and enchanting, much like the rest of her excellent 2015 set Captain Of None. The record explored mastermind Cécile Schott's love of dub reggae music, which is reflected her in the delays and reverbs that push and pull on the percussion and vocals here. The second half of the composition dives deeply into a polyrhythm and cleverly leverages production elements to render something mysterious and maximal from relatively minimal instrumentation. Squeaky, spacey tones overtake the songs and pulse through the final minute of "This Hammer Breaks," and it seems as if the entire composition is sucked down a drain at its close, adding to and not detracting from a truly mesmerizing listen.

"...you never know what's in the heart..."



9. Krill -- "Phantom" -- A Distant Fist Unclenching [buy]

It turns out Krill in one very real sense is not forever. And we had a hard time choosing just which tune from its 2015 swan song represented the whole of the band for Clicky Clicky. A strong argument could be made that "It Ends" hosts a multiplicity of meanings that make it a strong proxy for the set. But Krill has always been about the investigation, and so ultimately we chose the song that opens, rather than closes, A Distant Fist Unclenching as one of our favorite songs of the year. The song's rocking middle third, with bashing percussion and fronter Jonah Furman's exercised vocal, is especially engaging, but it is the song's understated coda -- and Mr. Furman's incisive questions that plumb the parameters of one's internal and external lives -- that is startlingly thrilling in its bare truth.

"...what is the proper orientation of the world to me? and does it have to be to me..."



10. Spectres -- "Blood In The Cups" -- Dying [buy]

Albums this purposefully dark can feel campy, but there is no wink and nod to be found on Spectres' stunning full-length Dying (winks and nods seem reserved for the band's videos and social media posts, which are regularly deliciously funny and irreverent). While still boasting the Bristol, England-based foursome's characteristic, Sonic Youth-indebted aural assault, "Blood In The Cups" is among the set's most melodic compositions, and its balance of beauty and firepower is terrifically compelling. Spectres' greatest skill is conjuring visceral moodscapes with its music, and "Blood In The Cups" exemplifies this, stretching anxiously but languorously across almost eight minutes with a psych-blues derived sound that recalls LA's The Warlocks. With its pulsing bass, spectral vocals, and maelstroms of guitar, "Blood In The Cups" presents a perfect storm, while highlighting Spectres' terrific vision and control.

"...aaaaaaaaaaaaaaaaaaaaaaa..."

Today's Hotness: Benjamin Shaw, Funeral Advantage

>> Benjamin Shaw is a favorite of this blog, and longtime readers will recall that the Londoner's music can be dark and challenging, as well as stunningly beautiful. Mr. Shaw's latest release, his fifth long-player by one count, is amusingly titled Guppy, a name that suggests something cute and inconsequential, adjectives that reasonable minds will never apply to Shaw's music. Guppy presents a series of contemplative, textural compositions and recalls his two most experimental releases, 2010's sinister wonder Rumfucker and 2013's increasingly abstract Summer In The Box Room [review]. The set opens with the gloomy, doomy dirge "Pride Of Canada," a side-long wink at Shaw's Canadian roots; the feedback and throbbing parts momentarily for a couplet from Shaw, resumes, then recedes for more sly lyrics and an unsteady denouement. "Good Arrows" patiently thrums a bass line out into eternity -- through occasional clouds of spectral voices and implied, supporting chords -- and echoes the work of classic Louisville post-rockers The For Carnation. Despite Guppy's ominous opening, there are moments of uncharacteristic serenity (the first in the catalogue to our memory) in the poignant, affecting "Fishing With Dad (No Dad)." The number asserts itself mildly via impulses of piano, pizzicato strings and streaks of field recordings that conjure reveries of a long-gone dawn in a perhaps never-was great outdoors. The collection ends very strongly with the beautiful, almost benevolent droner "Not Today, Satan," whose persistent density makes for a neat bookend to a fairly magical record. Tokyo-based microlabel Kirigirisu released Guppy July 13 in a limited edition of 72 compact discs and as a digital download; the CDs are hand-numbered, packaged in a paper sleeve, and come with two stickers, which we recall is the standard deal with Kirigirisu releases. Purchase Guppy in either format right here, and stream the entire collection via the Bandcamp embed below. We feel compelled to remind readers that Shaw's There's Always Hope, There's Always Cabernet, released by Audio Antihero, was our third favorite record of 2011 [list]. Also worthy of note in these electronic pages is another Kirigirisu release issued July 13, Nathan Derr's Abscessant. Mr. Derr hails from Portland, Ore., home of our beloved Lubec among, of course, many others, and his new collection of nine ambient compositions is perfect for late night zones or leisurely days at the library. Abscessent is available in a limited edition of 50 CDs and you can stream the entire set via the second embed below.





>> If you don't yet know the name Funeral Advantage, and you are a reader of this blog, well, that's pretty weird. But -- to the extent they exist now that the band has been championed in the normo-o-sphere -- the young band's days of relative anonymity are numbered and grow short, as the dazzling debut long-player Body Is Dead from the dream-pop act masterminded by Tyler Kershaw is poised to break big this summer. The collection is heralded by two terrifically appealing preview tracks, "Sisters" and "Gardensong." The former is a forthright and uptempo pop gem with whispered vocals and gently stuttering guitars in the verse that blends youth and longing right there with the lightning in the proverbial bottle; its timeless chorus breathes over linear guitar leads and burbling synths, and really could go on forever with nary a complaint from the Clicky Clicky mindhive. Despite its (Cure-esque) title, "Gardensong" is less precious, but no less affecting. The dashing tune is led by bright guitars and a sturdy drum track into a palpable mist of clean reverbs. Both numbers are undeniable hits, and at the moment there is no record we are more exited to hear this year. Body Is Dead was performed, written and recorded by Mr. Kershaw, and features additional vocals from Chelsea Figuerido. The 10-song set -- which takes its name from its 10-minute-long closer -- will be released on 12" vinyl, cassette and as a digital download Aug. 28. The vinyl will be available in a limited edition of 300 pieces (200 pressed to black media, 100 pressed to "dirt maroon") from the New York-based label Native Sound; a domestic cassette release (limited to 100 pieces, 80 "red glare" and 20 "darcia?") is being handled by Boston's own Disposable America, and a cassette version will also be available in Japan via Miles Apart. Funeral Advantage previously released a number of EPs and split singles with Caténine and Former Ghost, and completists will be pleased to learn that The Native Sound has packaged all of this up into special "Starter Packs" that can be ordered in tandem with Body Is Dead right here. For those who want to try before they buy, there is a fair amount to listen to at the act's Soundcloud page right here. Stream "Sisters" and "Gardensong" via the embeds below. Watch a fairly devastating video directed by Wooden Grain Films for "Sisters" from the new record right here.