Premiere: Emerald Comets | Explore Your Dreams

Boston lost one of its most prolific songwriters when Guillermo Sexo and Emerald Comets mastermind Reuben Bettsak decamped for the American South this summer. True to form, he remained productive right up until the end of his local residency; what has since been deemed the final Guillermo Sexo album, the space-rock triumph Eclipse [review], was released in April, and two preview tracks for a forthcoming Emerald Comets set were released to the wilds of the Internerds in August. Today we are pleased to premiere for you the entirety of that set, titled Explore Your Dreams, the first and final Emerald Comets long-player to have been recorded in Massachusetts with Hub-based collaborators Jason Layne, Kristy Foye, and Steve Rowe and with help from Western Mass. hitmaker Justin Pizzoferrato.

It being a solo vehicle, Emerald Comets' music touts a different flavor than that of the better-known Guillermo Sexo. The former has typically been quieter, rawer, and more subdued, but fans will recognize certain stylistic hallmarks, such as the pastoral psychedelia of Explore Your Dreams's placid opener "Monochrome." More so than any other Emerald Comets release to date, Explore Your Dreams feels fully realized. This is perhaps due as much to the set's relatively long gestation period as it is to the efforts of the aforementioned collaborators. The dynamic feel of upbeat early preview single "Fortress" is substantially enhanced by Mr. Pizzoferrato's drumming, and Ms. Foye's cello rests eerily but on point in the center of the mix, at times applying a swaying melodicism, at others boosting the rhythm with bowed chops.

The set ends very strong with back-to-back album highlights "Explore Your Dreams" and "Cornflakes And Stout." The former fizzes with the rough-hewn vim of a Guided By Voices track, while the latter is a gentler, more melodic, and folk rock-tinged strummer in the vein of Ultimate Painting, the quality UK combo whose delightful LP Dusk was released by Trouble In Mind Friday. Longtime readers will recognize Emerald Comets' "Lost In Our Land" and "Revolutionary Earthworms," earlier versions of which came into being as part of our inaugural Regolith songwriting challenge, which of course was undertaken by the indefatigable Bettsak and resulted in the EP Inside Dream Room (still available for free here).

Explore Your Dreams is available now via Bandcamp, and you can stream the entire collection via the embed below. While we expect it will take Mr. Bettsak some time to find collaborators in his new environs, fans in the Greater Hotlanta should certainly keep their eyes on the club listings: we'd wager it won't be too long before Bettsak brings the rock to the denizens of his new home town. We previously premiered Emerald Comets' self-titled EP here in 2014.

Emerald Comets: Bandcamp | Facebook



Previous Coverage:
Review: Guillermo Sexo | Eclipse
That Was The Show That Was: Infinity Girl, Lubec, Guillermo Sexo, Havania Whaal | Great Scott | 9 July
Regolith A1E3: Reuben Bettsak Presents Emerald Comets' Inside Dream Room
Premiere: Emerald Comets | Emerald Comets EP
Review: Guillermo Sexo | Dark Spring
Review: Guillermo Sexo | Bring Down Your Arms EP
That Was The Show That Was: Guillermo Sexo Record Release Show with Soccermom, Night Fruit and Young Adults
Review: Guillermo Sexo | Secret Wild

Review: Guillermo Sexo | Eclipse

Boston psych-pop veterans Guillermo Sexo returned last week with Eclipse, a cool but reliably electrifying sixth set that presents more focused, yet more expansive-feeling jams. Despite 2016 being the band's 10th year, the long-playing record -- the band's second with Boston and New York-based Midriff Records -- surprises with its further refinement of Guillermo Sexo's signature sound, and delivers a closer binding of intent, theme, and instrumentation.

Eclipse (paradoxically, given its name) reveals a thriving quintet more strongly embracing space rock -- and the reverberant space surrounding it. While the sonic signifiers -- the reverb, the glistening guitar tones, and so forth -- are all there, the album even addresses space thematically: songs like the rousing opener "Distant Star," "Eclipse," and the wonderful video for "Graffiti Sky" not only convey a sense of romance and adventure, but also underscore that on the new record, more so than on prior efforts, space is the place. So the rugged edge of the band's punkier past -- as captured on 2006's Oh Wow -- is smoothed away; the charming English folk influence manifested at least as far back as the haunting "Settle Down" from the band's terrific 2010 LP Vivid Nights is played down. Even the delicious fuzz that powered 2013's Dark Spring is on the new record reserved for strategic moments. There it is, driving the ripping response sections countering the siren call of co-fronter Noelle Dorsey's vocals in album highlight "Vision Owl," there it is, again, in the thrilling conclusions of that song and the corking closer "Heavy Shadows."

Songs such as the cool "True Shell" -- whose ambient opening feels indebted to Dark Side-era Pink Floyd -- float in clean, airy reverbs conjured in Boston-area studio 1867's massive 50 x 50 x 30 live room. Focusing more intently on space rock isn't the only way Guillermo Sexo consolidates its sound on Eclipse. That yen is also manifested in the arrangements of its 10 tunes. Indeed, the record proffers tighter compositions -- for the first time since 2011's Secret Wild, no track exceeds the five-minutes-and-change mark. And so, far from stifling the Guillermo Sexo sound, its core elements -- bandleader Reuben Bettsak and guitarist Richard Murillo's dueling guitars, Noelle Dorsey's otherworldly vocals, the throbbing rhythm section -- feel in full bloom within the more concise settings (another paradox?). That said, the LP's most anthemic tune, the sparkling stand-out "Hyperconscious" -- which if memory serves was given a mind-bendingly good live airing last July at Great Scott -- is longer than five minutes, and wouldn't suffer a bit if its brilliant 75-second coda went several more.

Midriff Records released Eclipse as a digital download FRiday; it can be purchased from the label here or via Bandcamp here. The download is available in a bundle with a t-shirt designed by noted Boston artist/musician Ian Adams; bundles are limited to 280 pieces. The record was celebrated with a release show earlier in the month at Firebrand Saints in Cambridge, Mass. The quintet's next live appearance is June 17 at Somerville, Mass.'s Thunder Road nightclub; the bill includes Sidewalk Driver, Pale Monsters and -- curiously -- the similarly pallored Pale Hands. Stream all of Eclipse via the embed below, and watch the blast-tastic video for "Graffiti Sky" right here.

Guillermo Sexo: Bandcamp | Facebook



Related Coverage:
That Was The Show That Was: Infinity Girl, Lubec, Guillermo Sexo, Havania Whaal | Great Scott | 9 July
Regolith A1E3: Reuben Bettsak Presents Emerald Comets' Inside Dream Room
Premiere: Emerald Comets | Emerald Comets EP
Review: Guillermo Sexo | Dark Spring
Review: Guillermo Sexo | Bring Down Your Arms EP
That Was The Show That Was: Guillermo Sexo Record Release Show with Soccermom, Night Fruit and Young Adults
Review: Guillermo Sexo | Secret Wild

Review: New Dog | Teeth Marks

The implication of the name New Dog, at least in the context of the old proverb, is that it can indeed learn new tricks. And while the new long-player from the so-named, Somerville, Mass.-based act doesn't stray wildly from the course plotted by two fine, noir-tinged and tension-filled predecessors, it feels brighter, louder, more potent and in places even inviting.

Perhaps it is more a question of a new outlook, rather than new tricks, but that question as yet yields no definite answer. Band mastermind Anar Badalov stated recently that the 10 songs that comprise Teeth Marks took shape quickly and with relatively surprising ease, such that only now, with the benefit of distance and time, are the songs' meanings revealing themselves to him. As before, Mr. Badalov's vivid lyrics present as closely delivered confidences, but therein there seems to be a new sense of contentedness, which suggests Badalov -- or at least the characters that populate his Sherwood Anderson-esque constructions -- is certainly learning something.

The album's quicker writing process (it's only nine months since New Dog's last record was released) didn't result in more spare compositions, surprisingly enough. Instead, Teeth Marks presents a fuller sound rendered from Badalov's characteristic blend of voice, guitar and piano. He expands his aural comfort zone via additional layers of each, finely appointed with reverbs and subtle synth swells. The record opens with "3 A.M.," a fleeting ode to infatuation ("I'll tell you anything you want to know, if you just let me walk you home") that commences with a burbling electric piano trill that wobbles like a plate spinning on a stick. "Home By Five" details the simple satisfactions of domesticity over skeletal guitar work delivered in 3/4 time ("I wear my ring but it's never too tight... life is boring, isn't it?"). The album highlight "Here All Days" introduces sturdy rhythm tracks and what feels like an inevitable cloud, the stark, dark admission "all the people that I love, I can count you on one hand, the other one I keep in my pocket." According to Badalov, the tune -- which includes the lyric that became the album title -- is loosely based on his time as a cubicle dweller ("all the hours I've been losing at my desk, you can empty the trash but you can't undo the rest..."), and also contemplates fulfilling commitments. Its restlessness recalls the nocturnal meditations of last year's excellent album Classic Ballroom Dances [review], as does the menacing distorted electric piano and fits of feedback that open the succeeding song, "Lover's Palm."

"Joe Brainard's Idea" is comprised of snatches of tangential memories, and was inspired by the titular author's volume "I Remember." The tune ruminates on the push and pull that memories can have as one grows older -- particularly memories that can cut both ways: is it joy or regret Badalov feels as he recalls "outside on a blanket at night, a thousand sparking eyes looking down at us?" The track "Sudden Amnesia" is notable for being the new collection's sole cover; its a composition by poet and literary critic Frank Manchaca. Badalov revealed on Facebook recently that he and Mr. Manchaca have been collaborating on a record titled Laughing Around The Bend that may also see release this year. Teeth Marks closes with the powerfully poignant piano ballad "Would You Let Me In?," a song made all the more poignant by its placement at the end of the record, and the repeated sizzle and snap of closing hi-hat, which suggests one possible answer.

Badalov self-released Teeth Marks in a hyper limited edition of 50 LPs and as a digital download today; Classic Ballroom Dances was released by Kill Rock Stars. Teeth Marks will be fêted with a record release show March 24 at Cambridge, Mass.'s charming bar The Plough & Stars; also on the bill that night is Emerald Comets, a side project of Guillermo Sexo's Reuben Bettsak. Stream all of Teeth Marks via the Bandcamp embed below.

New Dog: Bandcamp | Facebook | Internerds



Prior New Dog Coverage:
Review: New Dog | Classic Ballroom Dances
Together With Together: Clicky Clicky Presents Two Nights of Abstract Electronics And Indie Rock May 12+14
Review: New Dog | Lost Weekend
Today's Hotness: New Dog

Review: Infinity Girl | Harm

Reverent adherence to a musical aesthetic in the absence of terrific songwriting makes for forgettable music. It's a truism that separates the propped-up sounds of otherwise accomplished stylists from music on ephiphany-inducing records such as Harm, the towering sophomore LP from Brooklyn shoegaze titans Infinity Girl. The erstwhile Boston quartet has in the past remarkably conjured sounds reflecting a deep respect for the holy trinity of shoegaze, but were it not for Infinity Girl's inspired songcraft and the emotional immediacy of its songs, no one would be listening, and we certainly wouldn't be (figuratively) talking. However, it is not just the great songwriting that distinguishes Harm, but also the act's willingness to shed certain of shoegaze's characteristic sonic skin and experiment with weirder, harder and more compact sounds. The result is a breakout record, a modern classic.

Harm's 11 songs evidence the band's ability to make expansive, urbane music, while incorporating a classic punk urbanness and economy. Inspired at least in part by the band's shift in fits and starts southward, the record is darker, grappling with alienation and anxiety along with the expected heartache ("I'm kind of an introvert and find that I have a difficult relationship with the world and people that are close to me," fronter and guitarist Nolan Eley told Interview earlier this summer). The bending, fuzz-bass-fueled opener "Hesse" gives the album a feeling of beginning en medias res, which perhaps approximates the feeling of arriving in Brooklyn during the gestation of the record. While the sound and vibe is definitely darker, the record is certainly not all doom and gloom. The colossal -- colossal -- hit "Dirty Sun" is an addicting, upbeat rocker, despite its recitation of love gone wrong ("...navigate your arms, they are crossed, like they always are..."). And there is joy in the quick pulse and subsequent stilted thrash of "Heavy." Another important piece of Harm is the growing role of lead guitarist Kyle Oppenheimer as a songwriter and vocalist; his arresting and sweet "Young," in particular, teeters at the edge of an innocence lost, his desperate, broken-winged vocal in the final 40 seconds will raise the hair on the back of one's neck.

Giving the record the headphones treatment quickly brings into focus that the delays and reverbs that are the stock in trade of the classic shoegaze sound have been significantly tamped down. The meaner, more sculpted textures Infinity Girl presents make Harm its most sophisticated record to date, and this is perhaps nowhere more apparent than on the amazing "Locklaun." After a stuttering opening, the tune's huge sonic surges recall Nine Inch Nails' brutalist excoriation "Wish" or even certain ridiculously loud Jon Spencer guitar solos. Sebastian Modak's drumming here and across the record is caffeinated to the point of punchy, emphasizing the post-punk heart beating here. And so Harm is a next-level record that has literally taken the band to the next level. The band revealed in late spring that it had signed with San Diego-based emo powerhouse Topshelf Records for the release, which streeted Friday. With Harm, Infinity Girl has released not only a truly great record, but a defining noise-pop record, on par with monumental releases from its original Boston base of operations including Swirlies' Blonder Tongue Audio Baton and Drop Nineteens' epochal Delaware.

Harm is available on black, grey marble and clear with "black smoke" 12" vinyl -- available a la carte or as a 3-LP bundle -- and digital download; order your copy from Topshelf Records right here. Infinity Girl fête the release of Harm with two big, big rock shows, including one Sept. 5 in Boston at Great Scott with psych-rockers The New Highway Hymnal, Fiddlehead, and the highly touted Gold Muse, who we believe will be at long last making their live debut. For those of you keeping score at home, Gold Muse consists of former members of Soccer Mom, Justin Lally from pop savants Earthquake Party! (whose long, long anticipated debut long-player seems to have finally been completed), and Deb Warfield, who has logged time with scad of acts including the aforementioned Swirlies and Broken River Prophet. Additional Infinity Girl shows include the Brooklyn release show at Shea Stadium Wednesday and a date Sept. 29 at Palisades, also in Brooklyn. We've heard chatter that there will be a formal tour before the end of the year, so keep your eyes trained to the trusty Internet, where all things will be revealed unto you. Stream three preview singles from Harm via the SoundCloud embeds below, or click here to stream the whole banana over at Billbored.

Infinity Girl: Bandcamp | Facebook | Internerds | Soundcloud







Prior Infinity Girl Coverage:
That Was The Show That Was: Infinity Girl, Lubec, Guillermo Sexo, Havania Whaal | Great Scott | 9 July
Topshelf Signs Infinity Girl, Titanic Sophomore LP Harm Due Aug. 28, Hear First Single "Firehead" Now
Clicky Clicky Music Blog's Top Albums Of 2012: Jay Edition
That Was The Show That Was: Infinity Girl EP Release Show With New Highway Hymnal, Speedy Ortiz and Soccer Mom | TT The Bear's | 5 Dec.
That Was The Show That Was: Clicky Clicky Community Servings Benefit Show Thank Yous And Wrap-Up
Today's Hotness: Infinity Girl
Review: Infinity Girl | Just Like Lovers EP
Forever Now: The Infinity Girl Interview
Review: Infinity Girl | Stop Being On My Side

That Was The Show That Was: Infinity Girl, Lubec, Guillermo Sexo, Havania Whaal | Great Scott | 9 July

We're going to remember this one for a long time. Not only was this big, big, big rock show Thursday night our first-ever IRL meeting with a very old and good friend, it was also our first time seeing Clicky Clicky fave Lubec and now-Clicky Clicky fave Havania Whaal. Our good friends in Guillermo Sexo were reliably spectacular, and shoegaze heroes Infinity Girl were just heroic. Great show, five stars, would recommend seeing again.

But of course there's more to it than that. Openers and Oregonites Havania Whaal was probably the least-known quantity for most folks in Boston -- locale of the first night of HW's tour with BandFF's Lubec -- and a number of folks sidled up to us to remark at how the trio impressed. The band opted for more uptempo and immediate material for its live set, which somewhat played down the band's characteristic darkwave flavor, but revealed in aural glimpses some of the band's more classic influences in Versus and Unrest. Official Show Saviors Guillermo Sexo backlined the entire night with their gear, but perhaps bigger contribution was its amazing set, which was richly textured and firmly dreamy. The band's stock in trade is atmospheric and moody psych-rock, which we've written about here in these electronic pages for years, but even after a decade Guillero Sexo is finding new tricks up their collective and proverbial sleeve. Its set was heavily tilted toward brand-new material, and the second song out of the gate was a stunner, uplifting and transcendant in a way we have not yet heard the band do it. We are eager to hear what comes next; a video for the new-ish tune "Graffiti Skies" is about to be unleashed, so keep your eyes open for that.

Lubec was simply tremendous, a constantly crescendoing miracle of dream-pop, its three players and their playing both perfectly aligned and balanced. The Portland three has played with a second guitarist previously, and we were wondering if we'd miss that element in the mix, but fronter Eddie Charlton's guitar work, keyboardist Caroline Jackson's work holding down the low and and spangling the upper register, and Matt Dressen's sturdy drumming complement each other in a remarkably graceful way. Lubec played the three songs from its hotly anticipated "Concentration" single (which will be out on vinyl and cassette via Like Young and Touchy Feely, respectively) as well as hits from its 2014 masterpiece The Thrall [review]. Finally, Infinity Girl delivered a powerful reminder of just what got these guys signed to Topshelf Records earlier this year. Its dynamic set included classics including "Please Forget" as well as its latest single, but we were particularly thrilled to hear them play what will surely be a monster hit, the uptempo and blurry instant classic "Dirty Sun." Trust us: the song is massive, like Top 10 all-time-favorite-songs massive. Infinity Girl will be back in Boston in early September playing a release show with totes sick support for its tremendous sophomore set Harm, which will be issued by Topshelf Aug. 17 [details].

Lubec and Havania Whaal's tour jogged to the left for a show in Worcester, Mass. Friday and blazed through Brooklyn just this afternoon, and from here on out they are heading due south toward Jacksonville, playing dates en route with Clicky Clicky faves Golden Gurls and Swings. The remaining tour dates are posted at the bottom of this item. We suppose this is as good a place as any to note that Golden Gurls seem to be brushing off the cobwebs and becoming more active again. The Baltimore trio loosed to the wilds of the Internerds late last month a short stack of demos called, unsurprisingly, New Old Demos [link], and we have it on good authority the band has new material in the works, so keep an ear on Baltimore. Well, not all of Baltimore, pretty much just them and a few others, yeh?

Big thanks go to Carl, Jesse and Dan at Great Scott, as without their support there'd have been no show and that would have been super-sad. Now is probably an opportune time to mention that this Clicky Clicky Presents thing is sort of happening, and will continue to happen, and we're planning a bunch of first-rate rock events straight through into the new year, which year will include a certain blog's 10th anniversary, based on the most reliable metric of measuring such things. Anyway, keep your gaze trained on this page, our Facebook dojo and Twitter outpost. You'll be glad you did. Now why don't you go grab another beer and stream the songs below?

Infinity Girl: Bandcamp | Facebook
Lubec: Bandcamp | Facebook
Guillermo Sexo: Bandcamp | Facebook
Havania Whaal: Facebook | Internerds









Lubec / Havania Whaal Tour Dates:
07.12 -- Philadelphia PA -- Bourbon & Branch
07.13 -- Baltimore MD -- Reverb
07.14 -- Washington, DC -- The Pinch
07.15 -- Norfolk, VA -- The Taphouse
07.16 -- Raleigh, NC -- Prisma Video
07.17 -- Asheville, NC -- Mothlight
07.18 -- Athens GA -- Flicker Bar
07.19 -- Jacksonville FL -- Burro Bar w/ Round Eye

Clicky Clicky Presents: Infinity Girl, Lubec, Guillermo Sexo, HavaniaWhaal | Great Scott, Boston | 9 July

We promised an official announcement weeks ago when the date gelled, but, well, we've been busy, you've been busy, Mercury was in retrograde, etc. But here we are, with the big, big official announcement of our second Clicky Clicky Presents event (if you count the Together series as one thing) of 2015: July 9. Great Scott rock club in Boston. Infinity Girl. Lubec. Guillermo Sexo. Havania Whaal.

Es correcto! That's just 10 days hence. And these bands have stuff going on. Shoegaze titans Infinity Girl recently announced they had signed with Topshelf Records, and its sophomore album Harm will be released in August. The Brooklyn four's first preview single made a splash on the Internerds, and we can assure readers that any other preview singles -- should they come along -- will also blow minds. Portland, OR dream-pop gigantes Lubec are prepping a new vinyl and cassette release featuring the tunes "Concentration" and, as the embed below illustrates, "Many Worlds." Boston psych-pop stalwarts Guillermo Sexo launched early this month a very, very cool video for its new tune "Graffiti Sky," which is the first taste of its forthcoming sixth long-player Eclipse, due this fall, likely on the Midriff Records imprint. And Havania Whaal just loosed to the wilds of the Interpants an engaging, moody concept record titled 13 A.D. And not only does this particular bill epitomize the descriptor "stacked," it is the first night of Lubec and Havania Whaal's East Coast tour, which will dreamily blitzkrieg venues from Boston to Jacksonville over the course of 10 big nights; full tour dates are right here. Look for posters trumpeting the Boston date around town now, designed by Lubec drummer Matt Dressen and now situated in your general vicinity and visual field courtesy of the skilled hands of Staff Writer Dillon Riley.

There is a Facebook event page for the Boston date, as well, and we encourage you to hit this link and pledge your allegiance now so we know you are coming. And tickets! Buy tickets, tickets for you, tickets for your roommate, tickets for you mom. We'd like that, as the more tickets you buy, the more faith the nice people at Great Scott have in us when we pitch bills in the future. While you wait for the big day to arrive, soak up some sounds from the four bands on the bill via the various embeds below. They will complete you.

Infinity Girl: Bandcamp | Facebook | Soundcloud

Lubec: Bandcamp | Facebook | Soundcloud

Guillermo Sexo: Bandcamp | Facebook | Soundcloud

Havania Whaal: Bandcamp | Facebook | Soundcloud

THAT TICKET LINK AGAIN.

Topshelf Signs Infinity Girl, Titanic Sophomore LP Harm Due Aug. 28, Hear First Single "Firehead" Now

At long last, emo powerhouse Topshelf Records finally disclosed today that it has signed shoegaze heroes Infinity Girl, and will release the quartet's stunning sophomore set Harm in August. As a wise man once wrote, Infinity Girl is an American guitar band forged in the crucible of the Boston underground and now based in Brooklyn, New York. The act emerged in 2012 with a startlingly whole and reverent shoegaze sound on its debut full length, Stop Being On My Side, a set that was equal parts haunting melody and ear-bleeding power; we reviewed the collection here and ran what is likely the band's first interview right here in July 2012. An EP, Just Like Lovers, followed in late 2012 [review] and again propounded the foursome's refreshing proclivity for bending classic song forms toward its will to experiment. More recently the band has taken its music to a darker and more dynamic place informed by both classic post-punk sounds and an increasingly formidable ability to meld noise and hooks in exciting, surprising ways, as fans will note when Harm is released Aug. 28. The set will be available as a vinyl 12" (pressed to three different colors of media and available in a 3LP bundle for insane completists) and digital download, and you can pre-order your copy right here. Which we recommend you do, as we can tell you with confidence that Harm will surely be one of the best records you hear this year.

We have a first preview tune to consider: "Firehead" opens with a pulsing loop of guitar, and is quickly pushed toward fronter Nolan Eley's watery vocal by Mitch Stewart's fuzz bass. The song was premiered on Stereogum earlier, and you can hear it by clicking right here. As terrific as the song is, it is not alone: Harm is all killer and no filler, and we look forward to cheering the likely stream of subsequent singles as we head toward the release date. For now, stream "Firehead" via the embed below. Very attentive fans might have noticed a live Infinity Girl set from February at Shea Stadium was posted earlier this year, which not only includes an iteration of "Firehead," but also versions of additional tunes fans could reasonably expect to find on Harm: the towering and smeared instant classic "Dirty Sun" and the bludgeoning, MBV-tastic rager "Hesse." You can stream live versions of those tunes (as well as a selection of Infinity Girl classics) via the embed below. Fans in Boston: mark down July 9 in your date books, as Infinity Girl will be headlining a show that night at Great Scott that will also feature psych-rock veterans Guillermo Sexo, as well as two acts from Portland, Ore. who are kicking off their East Coast tour: Clicky Clicky faves Lubec and Havania Whaal. Full show details are right here; buy those tickets now, and then buy more tickets for your tickets to give out to their ticket friends. In tangential news, San Diego-based Topshelf announced yesterday it had signed west coast indie punks Happy Diving, and will release that act's single "So Bunted" b/w "My Zone" July 17. Happy Diving's previous release, the terrific Big World LP, was released by Father/Daughter Records in 2014 and we reviewed it right here.

Infinity Girl: Bandcamp | Facebook | Internerds | Soundcloud



Prior Infinity Girl Coverage:
Clicky Clicky Music Blog's Top Albums Of 2012: Jay Edition
That Was The Show That Was: Infinity Girl EP Release Show With New Highway Hymnal, Speedy Ortiz and Soccer Mom | TT The Bear's | 5 Dec.
That Was The Show That Was: Clicky Clicky Community Servings Benefit Show Thank Yous And Wrap-Up
Today's Hotness: Infinity Girl
Review: Infinity Girl | Just Like Lovers EP
Forever Now: The Infinity Girl Interview
Review: Infinity Girl | Stop Being On My Side

Together With Together: Clicky Clicky Presents Two Nights of Abstract Electronics And Indie Rock May 12+14

As a long time admirer of one of the driving forces behind it, we could be none more pleased to announce Clicky Clicky has partnered with the annual Together festival to bring abstract electronics and indie rock to adventurous listeners next month. Whether it be serendipity or silliness, we somehow have ended up presenting not one but two nights of programming during the five-year-old festival's seven-day run this year. First up, on Tuesday, May 12, Together and Clicky Clicky present folktronica/collage duo Skinny Bones and abstract electronic improviser Dinnersss (a/k/a producer Jimmy Hughes) at Lilypad in Cambridge's fashionable Inman Square. That night of programming is enough to raise pulses out there among the cognoscenti, but we've got yet more bunnies up our pant leg: on Thursday May 14 we present at the very same venue contemporary 'gaze greats Strange Mangers, Bostonian Virginia De Las Pozas' charming and other-worldy electronic project Couples Counseling the creaky and haunting strummery of trio Horse Jumper of Love, and a very, very special performance from slowcore giants (and recent Kill Rock Stars signing) New Dog. The Tuesday show is all ages, a 10PM start, and will cost you five American dollars, while Thursday jumps off at 8:30, is all ages, and will cost eight American dollars; Together festival passholders can walk in like royalty and not have to gesture toward their billfolds at all.

We would need many hands to count up all the reasons to be excited about these musical programs, but let us just drop a few here. The music on Skinny Bones' 2014 debut Noise Floor feels as unbounded as the work of Syd Barrett, but as deeply personal as the harrowing and beautiful music of Bad History Month. Dinnersss' recent and entrancing modular synth reverie "Mise En Place" (embedded below) is evocative head music and among the most exciting electronic music we've heard coming out of Boston in this decade. Equally enticing are the electronic sounds of Couples Counseling, which at times seems to provide Boston's most on-point, contemporary response to Nuno Cannavarro's classic 1988 masterwork Plux Quba Horse Jumper of Love's recent EP Ur Real Life Dress builds up a slow and dusty, lower-case-g gothic head of steam and hits a groove on closer "Nose Bleeder," all of which makes us excited for the trio's forthcoming full-length. That live set from New Dog? It's a warm-up for the act's forthcoming European tour, and may very well be the band's first show as a duo: former Soccer Mom kit-minder Justin Kehoe now backs fronter and former Travels/Metal Hearts principal Anar Badalov. The band's new set Classic Ballroom Dances is out June 2, and June 6 the pair kicks off a couple weeks of dates in Germany, Czech Republic and Belgium. Strange Mangers topline Thursday night, bringing with it the big-guitars/big melodies sound that Clicky Clicky devotes most of its time to championing. Strange Mangers had a big 2014, releasing a terrific and haunting EP Return Eternal as well as an entirely arresting comp of older material, and we are expecting big things from the act in 2015 as well.

It is worth noting these two shows -- Facebook Event Page 1; Facebook Event Page 2; pledge your allegiance now -- represent the first efforts of this blog's nascent Clicky Clicky Presents arm. Clicky Clicky Presents is already planning sick bills every other month for the rest of the year and into 2016. We will certainly keep you apprised of these future goings on, but for those curious about what we've got planned, here's a hint and another and another and another about what we're planning or July. But for now let's stay focused on the short term, and the many auditory delights the Together festival has in store for us. Sure, our bills are great, but be sure to scrutinize the entire schedule: there is a ton of hot, hot stuff going on. Don't sleep on it.

TUESDAY, MAY 12 >>





THURSDAY, MAY 14 >>

Show Us Yours 22: Coaches

While this blog's executive editor's ability to see shows has been heavily curtailed this year, our operatives are still out in clubs and passing back word of (figuratively) the good, the bad and the queen on the regular. When things come up more than once, it certainly gets our attention, and so the second time someone pinged us to say "you really need to see this band Coaches," we decided to check in with fronter and guitarist Brady Custis to see what the Boston noise-gaze quartet has cooking, and where it does that cooking, in the context of our long-running Show Us Yours series of practice space-centric profiles. Coaches bowed with the crushing shoegaze face-scraper "AmIsAreWasWere" early in the summer, but the massive tune and its more nuanced instrumental b-side are all we've heard thus far. Mr. Custis, the act's chief songwriter, tells us the band works slowly, deliberately, and as inspiration strikes. They do so in a beery space with ill-suited decorations and nifty freight elevators over in Charlestown. From there, Coaches is working on an EP at the moment, although there's no timetable for release just yet. Read on for yet more detail about where Coaches makes the rock, how they make the rock, a show at Charlie's Kitchen next week and a planned Toys For Tots benefit that you will be hearing more about late in the year. We're grateful to Custis for his time and thoughtful answers, and certainly recommend that you press play on that Bandcamp embed below before you start reading our interview.

Clicky Clicky Music Blog: So why do you use this practice space?

Brady Custis: Like most bands around Boston, we just kind of stumbled upon this space [out] of necessity. You can't really exist as a loud band these days in the city without [a space] unless you're extremely lucky with neighbors and whatnot. After asking around, this [place in Charlestown] was the cheapest one we heard of. My girlfriend's co-worker at the time actually already had the space and was looking for another band to help split the cost, so we moved in.

CCMB: Is there an idiosyncrasy or quirk to the space that has affected the sound of one of your songs, or even the overall sound of Coaches?

BC: Consciously, the space affects the bands sound ... in that it's a bit alienating in there, sometimes in an endearing way. The space just has absolutely nothing to do with us. We were the last band to move in and there's all this hippy shit on the walls and beer bottles and trash everywhere. We're not about to clean up someone else's trash [Stay strong, comrades! -- Ed.], so it just sits there getting kicked around for the most part. To that degree, it makes playing in there pretty funny and helps us not take ourselves too seriously. We can be making all this dark brooding noise and look up and see some overly-trippy tapestry and it just makes us roll our eyes and brings us back into reality.

Subconsciously, I don't know if its the weather or what, but I think the place has these days where it sounds great and days where it sounds terrible. If it sounds terrible one day it could make a really cool idea sound bad and we'll scrap it because we're completely unaware of how the space is affecting our decisions. Alternatively, it can make a decent idea sound incredible just because the harmonics all blend together well for that part in that room and that room only and we could end up keeping something sub-par for a little while.

CCMB: You walk into your space. What's the first thing you smell?

BC: Spilled beer and body odor. I'm sure we contribute to that at least in part, but we like to blame it on whoever was in there before us just as a nice band bonding exercise before we all get down to business. I hope the band that comes in after us blames us just the same.

CCMB: You only have a small number of songs out in the wild for public consumption presently. Is songwriting something that happens quickly for the band, or is the process time-consuming, even laborious? Assuming writing is happening, are you stockpiling tunes for an LP yet, or do you have your eye on some shorter releases in the nearer term before making the leap to making an album?

BC: I go through periods of heavy songwriting followed by heavy down time. Because of that, we end up arranging way too many songs at once and it gets really hectic. When we're smart we take one song and rip it to shreds finding every good possibility and go from there. That way we can have a decent-sounding song by the end of the day. When we do it wrong, it can take weeks to find something we like. Working for so long on one thing only makes it harder to be happy with the way it turns out because you feel so far removed from it after a while.

We have plenty of songs just dying to be heard and it's honestly kind of hard keeping them tucked away. But I've been of the opinion recently that in the modern world an album is something you release when people are ready to listen. We have a lot to say, but it's just not worth it to throw these songs out there and have it be ignored. For that reason I think EPs and singles are where we're headed until we have a large enough audience or a label, or whatever convinces us it's worth it to release an LP. Regardless, I'm having fun reading short stories as a way to better understand the intricacies of what makes a compelling EP. Four songs is pretty much the most anyone wants to hear from a band they aren't being told to like anyway.

CCMB: We know you have the show coming up on the 20th at Charlie's Kitchen in Cambridge, Mass. Beyond that, what do the next six months look like for Coaches?

BC: An EP is in the works, hopefully coming out in the next couple months if we can find some way to actually get it printed. Beyond that, I'm in the process of organizing a benefit show in December called Noise for Toys. The basic premise is instead of paying ten at the door everyone brings a toy worth at least $10. After the gig I'll take them to what seems to be the most reputable and locally oriented toys for tots campaign in the city and drop off everyone's donations.

Coaches' next live date is next Monday at Charlie's Kitchen in Cambridge, Mass., supporting a bill toplined by psych-rock giants Guillermo Sexo and also featuring Peachpit. The show is notable as being the last to feature long-time Guillermo Sexo drummer Ryan Connelly on drums. Mr. Connelly is leaving to focus on other things, we are told; he also drums for cosmic Americana superlatives Hallelujah The Hills and seems to keep quite busy otherwise. Despite Connelly's departure, the Guillermo Sexo juggernaut shows no sign of slowing, and promises a new single, video and even a full-length in 2015 are all in the offing. But we digress...

Coaches: Bandcamp | Facebook | Internerds



Previous Show Us Yours episodes:
Shapes And Sizes | Dirty On Purpose | Relay | Mobius Band | Frightened Rabbit | Assembly Now | Meneguar | Okay Paddy | Charmparticles | Calories | Sun Airway | It Hugs Back | Lubec | A Giant Dog | Bent Shapes | Krill | Golden Gurls | Earthquake Party! | Hallelujah The Hills | Seeds Of Doubt | The Cherry Wave

Review: The Wrong Shapes | Reverse The Phase

The unlikely but bewitching pop sounds of Boston duo The Wrong Shapes endlessly blossom across the 10 songs of this full-length debut, like a fractal opening into perpetuity. The evocative music wrought by wife-and-husband unit and city scene veterans Rachel and Bo Barringer may be limited in their capacity to illustrate infinity only by their minimalist framework. But even so the collection's thrilling aural reach exceeds its grasp, and taken in sum its songs are much more than an illumination of thousands of small gestural iterations. While touchstones such as the music of Arthur Russell and certain solo work of David Byrne feel obvious, there is nothing obvious about Reverse The Phase. The charming set's mystery, beauty and even sedate pageantry distinguishes The Wrong Shapes' work even within the exceedingly rich Boston music ecosystem.

The Wrong Shapes weave hypnotic compositions from resonant bowed cello, skeletal guitar leads, hand and canned percussion and gentle vocal arrangements. From these elements the pair conjures stirring pop moments, as in the buoyant (and obliquely Jim Morrison-referencing) album highlight "Alright, Alright." But the pair's greater achievement may be the thrumming ambience that cloaks the entirety of Reverse The Phase -- particularly its brilliant instrumental "Actual Girls" and transcendent closing title track -- in a bright and optimistic psychedelia. Perhaps it is the feel conveyed by the attack of the bow across the cello string, but there is a physical dimension to certain of the playing, as well, which firmly roots songs like "My Laugh Is Simple, Your Hips Are Complicated" to a more distinct reality. Ms. Barringer's cello work, in particular, suggests a laborer's craftsmanship, despite an overall soft affect to the music of Reverse The Phase. The Wrong Shapes, fortunately, do not make the listener choose between pop or psych or ambient or rooted: the aesthetics co-exist -- even seamlessly merge -- in a way that suggests, well, the ideal of a marital partnership. Such an abstracted assessment may overlook the humor in the act's music (the song title "My Aim Is Terrible," of course, is a winking riff on the Elvis Costello lyric from "Alison.") and minimize the duo's brilliant composing and arranging. Indeed, there is much to hear in this record, which seems to find new ways of revealing itself with every listen.

The Wrong Shapes self-release Reverse The Phase today as a digital download. The duo fetes the new collection with a release party June 18 at the legendary Club Passim in Cambridge, Mass. The show includes sets by Boston folk rock leading lights The Grownup Noise, for which Ms. Barringer also plays cello, as well as Patrick Coman and the Lo-Fi Angels. Complete details can be found within this Facebook event page. Reverse The Phase is available for purchase right here, and you may stream the entire set via the Bandcamp embed below.

The Wrong Shapes: Bandcamp | Internerds | Facebook

Regolith A1E3: Reuben Bettsak Presents Emerald Comets' Inside Dream Room

What you did in the last 30 days: watched "True Detective;" posted several status updates about "True Detective;" feigned interest in international sport and/or affairs; listlessly commuted to that thing you hate; re-committed yourself to Cheez Doodles; listened to that St. Vincent record a bunch; laundry. What Reuben Bettsak did in the last 30 days: his band Guillermo Sexo was selected to perform on the first night of this year's 35th anniversary iteration of Boston's venerable Rock 'n' Roll Rumble; he wrote and recorded 15 songs; caught a cold -- wait, wait, what was that last thing? Yeah, while you were doing whatever, Mr. Bettsak was creating an alternate reality in a spare bedroom, from which he wrote an entire new record. He is ascribing the new set, titled Inside Dream Room, to his Emerald Comets project; the album is the product of his 30 days of work under the auspices of Clicky Clicky's new Regolith series. It's a spectral, sedate, otherworldy collection, one we've streamed a half-dozen times already, as it seems particularly complementary to a Sunday. It sounds like his work, of course, but it also sounds like post-Barrett, pre-Dark Side Floyd, The Album Leaf and a number of other things. Read Reuben's thoughts about the set and the creation thereof below, where you can also hear the record, which, of course, we are thrilled to share with you. Dig all the way to the bottom, and you just might find some clues about the identity of the next Regolith artist-in-his-or-her-own-residence, too. Get into it.

Clicky Clicky Music Blog: How did it go? Do you consider the results a personal success? A failure?

Reuben Bettsak: I'm very happy with the results! I was able to create a lot of songs that I really dig, and these songs created an album. I didn't know that would be the case when I started Regolith. I do think these songs work together both musically, and lyrically. Another great bonus was delving into some sounds and recording techniques that are new for me. For example, I used a guitar slide a bunch, and learned how to play better with a slide... and there's the space blues sort of thing happening on a lot of the tracks.

CC: What were the biggest challenges and frustrations?

RB: The 30-day time limit is tricky because it's not like I had 30 full days of recording time. I realistically recorded material in maybe 15 of the 30 days, and since I have a full time job, bands and life stuff, I was recording in two-hour periods here and there... It didn't prevent me from creating songs, but spending more time on mixing would have been cool.

Another challenge, at first, was figuring out what the songs would be like... I went into this with a completely open slate. I didn't bring any old riffs into it. I rarely have a problem writing songs, but I was recording in our very plain guest bedroom, and it wasn't very inspiring. This is why I drew inspiration from an idea of being inside a dream room. I pretended to be in a supernatural room, in a dream world of sorts. I knew I wanted the stuff to be somewhat different than other songs I've done... Luckily, the music and the lyrics just occurred in a very natural manner. It's one of the most meditative writing experiences I've ever had.

The other challenge was that halfway through the project, I got a bad cold. On those songs, I had to put a lot of effects on my voice to get through it. I'd keep pushing my voice, although I was losing it. But that was only for like three of the songs, and kinda gives some of those songs an intimate vibe.

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

RB: Something about this process really allowed me to delve into subjects and symbols that appear on various songs. I didn't intend to do a concept album, but these songs are tied together, and that really helped with the process of creating the album. I totally agree with the concept that creating art/music is therapeutic, and this process was very much like that... being in an isolated dream room.

CC: Did you find that your approach to writing and recording for this project changed over the course of the 30 days, or did you begin by finding an approach that worked (time-wise), and apply that to every idea thereafter?

RB: Good question... In regards to writing, it was always like "lay a guitar or drum machine," and build from there. I totally have to go back and re-learn these songs because I literally played the riffs or parts once when recording. So the writing approach stayed the same in that regard, but I did realize after a few songs that laying down a drum machine pattern made things way more tight. I guess I could have done a click track for the songs I started with guitar, but I didn't. Repetition and short song structures are definitely your friend when doing this type of project.

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

RB: Recording-wise, I think "Collapse Against the Sound" is one of the best-sounding songs. My favorite songs are probably "Unsleeping Eye," "Stolen Kisses," "Revolutionary Earthworms" and "Lost In Our Place."

CC: What song(s) 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?

RB: "Dreams of Oblivion" has so much potential. I do like this version, but some of the more catchy punkish songs like "Dreams of Oblivion" and "Manic Dreams" would be ideal with real drums. I'm really digging on the vibe of this album and the songs. These songs would not have been created without this process, and I'm so happy that they now exist. I also LOVE the lo-fi vibe.

For sure a lot these songs will be part of the Guillermo Sexo or Emerald Comets repertoire in the near future. I'm actually toying with the idea of having Guillermo Sexo re-imagine the album by recording it in a studio. I think there would be some other songs, or maybe it would be shorter, plus Noell would sing some of the stuff. Who knows if this will happen, but either way, songs like "Stolen Kisses (Visit the Archives)," "Wide Awake in Someone Else's Universe," and a few others would also sound cool if re-imagined by a band in a studio.

CC: We saw you mention the possibility of playing some of these new songs live soon. When and where are you going to be playing?

RB: Yeah! I'm playing an Emerald Comets solo show on March 26th at O'Brien's, and will play a couple of the songs from Inside Dream Room for sure. I just have to re-learn how to play them, and figure out how to perform them live.

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

RB: "Paper Tiger" and "Lost Pieces" would be nearly impossible. Some of the others would be doable as a full band with more than one guitar. Doing the songs "Inside Dream Room," "Bittersweet," or "Collapse Against the Sound" solo would be tough.

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?

RB: Real drums would have been cool. Also, having a bass player like Bo (Barringer, of Future Carnivores) or Elliott would have been cool. I almost borrowed a bass and used it on some of the songs. It could have been cool, but given the time limit, I went without bass. I did manage to get some decent bass-type parts on my guitar or on the Nord lead keyboard.

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?

RB: I'm definitely getting better at recording, and the best thing is being able to get sounds that you imagine in your head into the recordings. I've always loved working quickly, and on the fly, but this definitely re-affirmed that working quickly without over-thinking or overanalyzing can yield some very rewarding results, and possibly some of the best songs written are written in this manner.

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

RB: 1. Plan how you will record the songs, but do not worry or think about what you will be writing, or what it will sound like.
2. Short songs and repetition are your friends.
3. Make a decision ahead of time. Recording precision vs. quality of "song crafting," and the amount of material you want to produce. There has to be some sacrifice there.
4. Experimenting can be very rewarding.
5. Trying new things, like new ways of singing, or using a guitar slide, or something you don't usually use, can also be rewarding. I approached it as if it was a completely different band.
6. Have fun!

Thanks so much L. Tiburon and Jay and Clicky Clicky for inviting me to do this. It has been such a rewarding experience.

And there you have it, folks, Regolith Artist 1, Reuben Bettsak, is in the can. Stream all of the new music via the embed below, or click here to visit the brand new Clicky Clicky Music Bandcamp to stream the whole kaboodle there. Bookmark that page, too, because that is where we'll be posting all future Regolith music from here on out. Speaking of which, how about three clues as to the identity of the next Regolith artist-in-residence? 1. 2. 3. You'll be hearing more about that very soon. -- L. Tiburon Pacifico



Related Coverage:
Regolith A1E2: Reuben Bettsak Writing Songs Under The Gun
Regolith A1E1: Reuben Bettsak Is A Songwriter
Premiere: Emerald Comets | Emerald Comets EP
Review: Guillermo Sexo | Dark Spring
Today's Hotness: Future Carnivores
Clicky Clicky Music Presents... N O F U C K I N G W H E R E : 11 Boston Bands Perform Ride's Classic 1990 Album
Review: Future Carnivores | Future Carnivores
Review: Guillermo Sexo | Secret Wild

Regolith A1E2: Reuben Bettsak Writing Songs Under The Gun

Hello, indie rock fans. We are just about halfway through our first installment of our new Regolith feature, wherein we are challenging a favorite songwriter to write and record as much great music as she or he can in just 30 days. In the middle of February we launched the inaugural episode with Boston scene mainstay Reuben Bettsek of Guillermo Sexo, Future Carnivores and Emerald Comets. If you need to get up to speed on Mr. Bettsak or Regolith, we direct your attention back to A1E1 (that is, in Regolith parlance, "Artist 1, Episode 1") right here. If you know what's going on, well then, it's time to check in with Reuben to learn how things are progressing. There's a lot of interesting stuff in his responses below, in terms of how the tight timeline has actually enabled him to forge a pretty strong bond to the material. There's also some insight into setting priorities and gear choices. Fans should note that Reuben is playing an Emerald Comets show at O'Brien's in Boston at the end of the month [details]; Guillermo Sexo's next show is April 6, the opening night of the 35th Annual Rock 'N' Roll Rumble at TT The Bear's Place [ditto]. With that said, we invite you to read on, and remind you that later this month we will wrap up Reuben's 30-day experiment and premiere the resulting music. We're excited, and we hope you are excited, too. -- L. Tiburon Pacifico

Clicky Clicky Music Blog: How has the project been going up to this point? Are you finding it easier or harder than you anticipated? Have there been any particularly big challenges?

Reuben Bettsak: I'm really enjoying this project. It's refreshing because I've tried to create a little sonic world in a bedroom... Even though the 30-day limitation has forced me to write and record faster than ever before, it has also given me the opportunity to zone in and focus on an overall sound for this "album." Both the music and the lyrics definitely work with each other. They tie together the strings of this shoe that you could call an album.

The biggest challenge for me has been the actual recording process. With the 30-day time limit you have to do a bit of sacrificing between the recording quality of the material and focusing on writing the songs. I'm recording with Pro Tools so it sounds better than the quick demos I usually do on GarageBand, but things like weird microphone noises, imperfect vocal levels [and] messy mixes have been a challenge. It's hard for me to focus and clean up that stuff when I'd rather focus on the music and the content. However, for the most part, I've decided to say "fuck it," and embrace the weird microphone noises, imperfect vocal levels, etc. I think some of this stuff might sound like it was recorded on an old 4-track instead of Pro Tools… but I'm loving the imperfections. I feel like, as the project moves on, I'm getting better at getting better sounds....

CC: Can you describe for us your recording setup (feel free to get as "techie" as you like, or not)? Are there specific reasons you are using the equipment or software that you do?

RB: My setup for this project has been:

Pro-Tools express with an Mbox
My guitar pedal board with various pedals like the Memory Man, Digi Delay, Big Muff, etc.
Acoustic guitar
Maracas
Boss Drum Machine
Guitar slide
All vocals done via a (horribly broken) Optimus dynamic microphone
Nord lead keyboard

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?

RB: Seeing the words "mic placement" makes me laugh because there is no mic placement in my current setup. I've used the microphone for vocals through my pedal board, and for the maraca (shaker). Everything went guitar/drum machine/keyboard via my pedal board to Mbox/Pro Tools. I'd say my techniques have more to do with years of layering [and the] ability to kind of create the sound my mind wants to create, and lots of fun delay/Memory Man/distortion pedal manipulation to achieve interesting results.

I'm happy with the songs that are coming out... so the time limit is actually helping me create some really cool songs. If I didn't have a time limit, I'd try to hone in a bit more into the recording process and try to clean things up more, and get a better microphone.

I learned Pro-tools on my own a few years ago. I owned a setup like 8 years ago or something. This is actually the first time I'm using it to record my stuff at home. I think watching great Pro Tools wizards like Justin Pizzoferatto and Bo Barringer has helped.

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

RB: I've just been recording in one room. No fun room tricks, but my dog does hop on my pedals when I record sometimes, so I hope his unplanned collaboration doesn't get me in trouble with you guys at Clicky.

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

RB: I'm minimizing the amount of instruments I use partly for continuity within these songs, and also for the sake of convenience. I've only been using the acoustic guitar with a pickup going through the effects pedals, the Nord lead (when Noell doesn't steal it away), drum machine and maraca. I think that's about it. I've been thinking about grabbing some more percussion stuff from the Guillermo Sexo practice space, and have even contemplated recording live drums for a song or something, but we'll see if that happens.

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

RB: The limitations have fully forced me to record as a write. Instead of sorting everything out before recording, I just go for it. One of the powerful things about this limitation is that I don't have time to think about the "type" of song I want to write, like I kind of do for Guillermo, because the band has a history. I also have little-to-no idea what the song will sound like by the end. I'm often writing melodies line by line.

The interesting thing that kind of blows my mind about this project is that I feel like I'm inside a little world. It's hard to explain. But the connection to these songs is immense even if they are in a more raw stage of development. It's like I'm in this room constantly creating songs, and the lyric themes connect with each other, and the music starts working together. At times I feel such happiness creating this little world in a room, but at times I feel isolated, and I think these emotions show through in the songs and in the lyrics. It's weird because I often have that internal struggle in regards to how polished and produced songs should sound. I guess production and polish help the end listener enjoy the product more, but for me, I love raw unpolished songs. I love the rough edges of recording in hi-fi. I feel such a connection to the "way I was feeling" when I sang a line that it makes it difficult to polish the line later when I realize it could be more on pitch, for example. And this is why I work with a producer/recording engineer like Justin when making a record.

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?

RB: It's possible my writing approach would have been a bit different, but if I approached the writing the same day, the only difference would be polishing things up on the recording end a bit.

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

RB: I find the restrictions to be very liberating for me. I think these are great songs that sound different than stuff I've done previously. And, as I mentioned before, I feel a deep connection to these songs because they feel like a little book written in 30 days.

Related Coverage:
Premiere: Emerald Comets | Emerald Comets EP
Review: Guillermo Sexo | Dark Spring
Today's Hotness: Future Carnivores
Clicky Clicky Music Presents... N O F U C K I N G W H E R E : 11 Boston Bands Perform Ride's Classic 1990 Album
Review: Future Carnivores | Future Carnivores
Review: Guillermo Sexo | Secret Wild

Regolith A1E1: Reuben Bettsak Is A Songwriter

Our inaugural songwriter for the Regolith series is Boston indie scene mainstay Reuben Bettsak. Mr. Bettsak lives in town and has been party to the local music scene here for more than a decade, during which time he has performed in acts including The Nationale Blue and Big Bear. He presently plays in noted psych-pop outfit Guillermo Sexo, performs and releases music under the name Emerald Comets, and is part of the spectral New Romantic revivalists Future Carnivores. As a songwriter, Bettsak is as prolific as they come, and if you think it is just a coincidence that we chose to kick off Regolith with such an efficient and deadly songwriting machine as Bettsak, you are wrong. Regolith is not for the faint of heart. Or at least that is what we assume -- Bettsak is the first to go through the process with us, during which he is writing and recording completely new music under a Clicky Clicky-imposed 30-day deadline. In our intake interview below we dig into the basics and background of who Bettsak is, what he does, and how he works. The sands from the Regolith 30-day hourglass began falling Feb. 15. As noted in our introductory piece last week, we will check in with Bettsak midway into his month of work, and at the end we'll wrap up the project with a post mortem on his work, and with a premiere of the results on our Bandcamp page. Giddy up. -- L. Tiburon Pacifico

Clicky Clicky: What is happening with all of the bands you are involved with right now?

Rueben Bettsak: Guillermo Sexo is definitely keeping busy per usual. We have a Brooklyn show with Relations April 4 at Shea Stadium, an Illegally Blind show in Boston in May at Middle East up with Blackstone Rangers, Ghost Modern and Wakes. It's likely there will be other shows before these, but we are also working on new songs and are bringing back some old favorites from past albums. We want to change up our set list a bit ... [and] continue spreading the word on Dark Spring. We believe in this album. We want you to believe in the UFOs of Dark Spring...

I've been playing a few Emerald Comet shows here and there to support the free EP (performing solo, but possibly also with the gang that performed on the EP in the future).

Future Carnivores has a March show coming up at Charlie's Kitchen, which should be cool. We have a whole album's worth of stuff recorded, but most of it is in the early stages of recording. We'll see when we can get that out there this year.

CC: What instruments do you play? When did you start playing them?

RB: My principal instrument has been guitar. I started playing when I was... 15 years old. I also played a bit of drums growing up. It's so much fun playing drums, but I rarely rock it these days. I did a lot of the live drums on the first Future Carnivores record, though.

CC: How long have you been writing music?

RB: I've always wanted to write music. I think I knew this when I was 7 years old listening to Julio Iglesias or watching Quiet Riot videos on MTV in Panama. When I started playing guitar, I knew that songwriting would be my main focus. Back when I was 15 years old, I loved Eddie Van Halen, but I was never interested in playing the way he played. Writing music for me is one of the most beautiful, rewarding things in life. It's taken me a while to get to a place where I'm more confident with the songs I write... closer to the vision. But then again the vision always changes a bit, and that's part of what makes it exciting, right?

CC: What are your songwriting influences? Do you feel like there's an influence on these songs that is obvious to you but might not be necessarily apparent to a listener?

RB: I think this is a great question. I feel like there are definitely influences that pop up in the songs I write, and in the sounds my band(s) make. I really do approach songwriting with a completely open slate, meaning I don't try to sit down and write a certain type of song that sounds like any person or band in particular. But there are patterns that creep up that are part of my MO. I love catchy psych-rock songs from bands like The Kinks, Zombies, Guided by Voices and some current bands. I love the depth and beauty that bands like Spiritualized or My Bloody Valentine create. I love the studio experimentation of Sonic Youth, Stereolab, Broadcast and Olivia Tremor Control. So... these things seep in to what I do. And that is rock 'n' roll. I can say that I feel like I really have developed a songwriting voice of my own. I am thankful for this, but I'm always trying to grow and improve as a songwriter.

With this project an influence that might not be apparent to the listener is maybe some classical music. No specific composers, but just trying to create a little bedroom symphony. Although, it is too early to tell. This project could end up sounding like death metal by the end. We'll see.

CC: How would you describe your songwriting process. Are the songs conceived of first, or planned out? Is the process more organic, with single chords or melodies developing into parts, which then develop into songs? Do you have a back catalog of riffs, parts or progressions that you mix and match until they find a home?

RB: A lot of songs are written on acoustic guitar at home. I write a few guitar parts and develop the melodies right away, or I record the music and then develop melodies and maybe record line by line. It's definitely more of an organic process. Some Guillermo Sexo songs I bring to the fold are pretty fleshed out, but the band definitely shapes the way they end up sounding. There are also a bunch of Guillermo Sexo songs that are developed organically at the practice space. We just develop an idea/riff together as a band, and develop it until we have a song. I have a large back catalog of songs. My fear is that some of the really good ones in the back catalog will never be released and then I'll completely forget about them. I try to keep track of everything, but stuff gets lost. That's one reason I'm releasing stuff under Emerald Comets. There is no way Guillermo Sexo can tackle all these songs. It gets overwhelming. I send my band members and (producer) Justin Pizzoferrato so many demos, and they are like "Reuben... chill."

The Future Carnivores process is different. The first two albums were written by recording parts completely made up on the spot, with Bo and I switching turns. I'd lay down a beat, Bo would lay down bass line, I'd record a weird guitar loop, and so on.

CC: Will this project change the way you typically write?

RB: I'm used to writing alone, but I am trying to make this project sound different. It's a good excuse to create a standalone type of album or mini album that has an overall vibe to it. That's cool, because I usually have so many types of songs I bring to the fold. With Regolith, I'm looking to have an overall focus and feel throughout.

CC: Where will you be doing your writing and recording throughout this project?

RB: I will be writing and recording this project at home. I will be doing it with a simple Pro-Tools setup, which is nicer than what I use for my demos.

CC: Lastly, what are your goals/aspirations for this project?

RB: 1. I'm hoping to create some great songs. 2. It's always gratifying to share music with listeners. I look forward to sharing this music. 3. I want Jay and Will to give me a hug and say, "Hey Reuben, these songs don't suck." 4. One of my goals is to not get too carried away with layering. If this happens, I may end up turning in one song at the end of this project. (Note to self: Reuben, don't get carried away with layers. Try to keep it simple!)

CC: Thanks for taking the time to talk with us and devote 30 days of your life to Regolith. We eagerly await our mid-session check-in with you in a couple of weeks to see how it's going, and of course, hearing the finished results.

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