Premiere: Night Powers' Sensual, Ominous "We Will Always Be Together"

The dinner party. Sounds tame enough. Safe even. Good times, right? Well, it's also a reliable concept for both awesome movie and music video. In terms of the latter, on the one hand you've got INXS' hedonistic "The One Thing," and on the other you've got Spectres' contemporary and edgy psychodrama "Mirror." But for something a little more subtle and sensual -- and, we might add, in the spirit of the season -- may we direct your attention to the clip above, which we are pleased to premiere for you today? As the headline suggests, embedded up there is the debut video for co-ed Brooklyn goth triumvirate Night Powers' "We Will Always Be Together."

The foreboding but forthrightly rocking tune is built up from a syncopated, thudding beat that sounds like a body hitting a table top (or a re-envisioning of the classic stomp from "Doctorin' The Tardis"), over which vibratoed guitars, corporeal keys and guitarist Rob Viola and vocalist Natalya Krimgold's tiered voices commingle. "We Will Always Be Together" is taken from the two-year-old trio's debut release The Hand Of The Thief, a concept record that highlights the band's old world-flavored, cinematic noir across nine songs rich with intrigue and passion. The video for "We Will Always Be Together" was directed by Pavel Ezrohi, and yes, there is a dinner party. And a corpse on the table, a vivacious, Satyr-like visitor that elevates the revelry to a frenzy, and keen performances all around from the vintage-garb bedecked players young and old.

Incidentally, Night Powers currently seeks a (female) live drummer. As the aforementioned Mr. Viola happens to be a Clicky Clicky Top 5 All Time Drummer in addition to a guitarist, that's a proverbial big seat to fill, but, c'mon, you can do it. Viola, of course, once drummed for Haywood [so many words] and The Red And The Black, among others, and more recently worked on electronic projects including Faculties, which we wrote about here in 2011. Night Powers co-founder Inbar Kishoni's bona fides include playing keyboard with Denver act Mannequin Makeout, while vocalist Ms. Krimgold is also an accomplished film and theater actress. Speaking of, it's not an accident that Night Powers shows carry an air of theatricality. The act's next performance is at a house show in Brooklyn on Halloween night, with support from Courtship Ritual, and we will venture to say that if you attend this event it will be a fine time (and not just because Night Powers' live show looks epic). The Hand Of The Thief was released as a digital download and in a limited edition of 100 cassettes by Mirror Universe Tapes June 25; order your copy right here, and stream the one-third of the ball of wax via the Bandcamp embed below, or all of the wax via Spotify.

Night Powers: Facebook | Internerds

Review: Fire Island Pines | True Grit

We all have some idea of what it means to be subversive. And in an era when indie rock's prevailing influences are loud, gritty, angular and so-called "'90s acts" like Pavement and Dinosaur Jr. and Nirvana (all of which, we should point out, first released music in the '80s), is it not just a touch subversive to embrace the New Romantic-descended pop propounded in the quieter, more refined corners of the '90s? We're talking about the first few The Sea And Cake records (not to mention the subsequent transcendent solo sets from principals Sam Prekop and Archer Prewitt) or the work of Unrest, Eggs or even mid-period Haywood. We can't say whether Cornwall, England sextet Fire Island Pines has ever heard any of these latter American acts, and it is probably overstating things to say the band is bent on subverting the dominant paradigm, but the British six-piece's keen and anachronistic devotion to genteel indie pop on its sparkling debut True Grit makes the record as refreshing as its hooks are potent and breezy. The set is a very confident and competent collection from a five-year-old act ready for a substantially higher profile.

True Grit opens strongly with new, shinier versions of "You Didn't Mean To Hurt Me" and "Nineteen Fifteen," the lead tracks on 2011's Bratislava EP and last year's "1915" digital single, respectively. "You Didn't Mean To Hurt Me" unfurls over a self-assured beat and slightly funky bass playing, and bursts into bloom during the chorus as layered synth chords and horns stretch toward a distant horizon. "Nineteen Fifteen" positively soars, which belies somewhat fronter Anton Rothschild's wonderfully unsure equivocation "it's up to you, if you wanna stick around." Indeed, there is a delicious unease creeping within Fire Island Pines' ostensibly easy-going pop, a dimension that comes to the fore in the brilliantly realized album highlight "Bo Dep," which materializes from and decomposes into cinematic ambience, and alternates verses of palm-muted guitar and quavering vocals with bold, tastefully reverbed choruses appointed by majestic piano and horn. True Grit is back-weighted with ballads, but spreads its wings one final time with the thrilling closer "Sister Ruth." The tune teases with an intermittent, piano-anchored introduction, but accelerates quickly with layered guitars and vocals echoing one another over a bounding beat.

True Grit will be released Friday as a vinyl 12", CD, cassette and as a digital download. The vinyl 12" is being issued in a limited edition of 300 pieces by German label Firestation Records, who have pressed the collection to black vinyl. Firestation is also doing the honors for the CD version, which comes packaged with a four-page fold-out booklet. The band is handling the cassette release itself, and has a hyper-limited amount of same in an attractive package containing mint green media. All formats can be ordered via the Fire Island Pines Bandcamp page right here, and all of True Grit is streaming via the Soundcloud embed below. That the lads from Cornwall are putting out a record via a German label seems somewhat unusual, we suppose, but not when considered in context: the aforementioned "1915" single was issued by Minnesota's Manic Pop! label, and the digital download of the Bratislava EP was issued via the San Francisco-based collective Vulpiano (which also issued Mr. Rothschild's 2010 solo EP The Year Of The Kitten). That its label partners are relatively widely scattered underscores Fire Island Pines' broad appeal, and hopefully portends big things for the understated sextet.

Fire Island Pines: Bandcamp | Facebook | Internerds | Soundcloud



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Today's Hotness: Fire Island Pines
Today's Hotness: Fire Island Pines

Mahogany with Autodrone | Great Scott, Boston | 6 Jan.

It's shocking to us, now that we look and think about it, but shoegaze futurists and railway obsessives Mahogany last released a full-length collection some seven years ago, back when there were things called Friendster and Virb and newspapers (almost equally shocking was the revelation from the Clicky Clicky archives that The Big Sleep's/former Haywood guitarist Danny Barria also logged time with Mahogany). We reviewed Connectivity! here way back when, and between then and now there's been a fair amount of nothing. The 2006 set is immaculate, and touts icy, space-aged beauties such as the entrancing instrumental "Windmill International A" and the oddly Belle And Sebastian-esque "Neo Plastic Boogie-Woogie" [video]. Over the years the former octet has reduced to a duo comprised by Andrew Prinz and Jaclyn Slimm. It hasn't been total silence in the interim, however: the pair's most recent release was the Homeric single "Phase Break," which our own Edward Charlton wrote about here in May. Might 2014 be the year we finally get a new long-playing album from Mahogany? This BrooklynVegan piece from October indicates the answer to that question is a resounding, well, maybe. Either way, Monday's show is a rare chance to catch the brilliant act live, so plan accordingly -- tickets are available right here (New Yorkers can catch the band at Mercury Lounge Sunday night). And while you're doing so, listen again to the marvel that is "Phase Break" via the embed below.

Mahogany: Last.FM | Internerds | Facebook | Bandcamp

IT'S DARK NOW, AND I'M DRIVING: An Oral History of Haywood's Heartbreaking We Are Amateurs, You And I On The Occasion Of Its 10th Anniversary

[ALL BAND PHOTOS COURTESY OF JEFF PARETCHAN]

The tale of Haywood's sparkling and formerly final release We Are Amateurs, You And I -- which was issued 10 years ago today, a milestone somewhat overshadowed by some bullshit doo-dad called an "iPod" -- is so enmeshed with the Brooklyn-via-Philly quartet's demise it is hard to pull the two apart. The elements of the story, of course, are not unique (hope, anger, loss, a white knight in tight trousers, resolve, redemption, an A-Team montage where the "plan comes together"), but they don't occur in an order that accommodates a traditional story arc, as you will see. But against numerous if not all Collinsian odds, We Are Amateurs, You And I was issued by Self Starter Foundation Oct. 23, 2001. This piece marks the tin anniversary of that release, and pays homage to Haywood, not the first but perhaps the last great '90s American indie rock band.

If you know me, you know I love the music of Haywood with just about every fiber of my being (indeed, to such an extent we are uncharacteristically drafting this piece in the first person). Some 15 years before I became hopelessly fixated on the mighty Johnny Foreigner (not to mention all the other acts over the years), I was (and continue to be) embarrassingly fanatical about this band from my hometown. Fronter, guitarist and primary songwriter Ted Pauly was raised in a house blocks from my own, and seeing a proto-version of Haywood performing covers of Lemonheads, Camper Van Beethoven and Psychedelic Furs songs at a house show in late '90 or early '91 sold me completely on the configuration of alternately wry and down-in-the-mouth Mr. Pauly up front and truly gifted drummer and raconteur Rob Viola in the back (at the time of this particular show, I think bassist Jeff Paretchan had already gone off to college, and Haywood lead guitarist Ariel Serbin's future role was still being played by dear friend and veteran drinking buddy Luke Abruzzo).

"Rob, Ted, Ariel and I had played together in high school in [the band] Garden Party," Paretchan recounts. "Haywood started in the summer of 1992. I had finished my sophomore year [of college] and everyone else their freshman year. As I recall it was Rob and I who 'founded' Haywood during a conversation driving around the back streets of Radnor in Rob's blue Subaru station wagon. That summer we recorded four songs at American University with Rob Christiansen of Eggs. The sessions were a marathon 24 hours to record and mix. Two of the songs "Nerf Dreams" and "Trash Park" would appear on our first 7" and then later on [the full-length] Model For A Monument."

Trying to hit fast-forward from that humble, suburban beginning to the end of the band is difficult, because it's hard to determine when Haywood ends and the rest of our lives begin. Did Haywood stop sighing with the turn-of-the-century departure -- for personal reasons -- of Mr. Serbin? Did the quartet's heart stop beating when Pauly declined a long-hoped-for record-and-tour-support deal? Or when Mssrs. Viola and Paretchan quit the band in the wake of Pauly's decision? Did Haywood go the way of the Dodo when it played its final show in December 2000 at Brownie's in Manhattan? Or did Haywood give up the ghost only after the surprise self-release of its second post-humous set, 2006's As Long As There Is Track, I Will Not Go Back? Is Haywood undead? Actually dead?

We're fairly confident the answer to that last question is yes. But Amateurs for five years had the patina of finality in the minds of fans and band members alike, who assumed Haywood's 2001 break-up signaled the end of the band for good. The record was released by Chris Newmyer's delightful Self Starter Foundation label. That Amateurs garnered critical acclaim from chief Mountain Goat and music journalist John Darnielle [link] and even Pitchfork [link] was exciting to long-time fans, but probably a bit sad and frustrating for Haywood. That's because, although from the outside the band appeared to be just at the cusp, or, as Darnielle put it here, "like a magnolia just about to bloom," in fact the band had agreed to call it quits well before the album was even recorded. When the break-up was finally made public, it seemed like a capitulation to the powerfully poignant sense of loss and resignation that drove Haywood's best songs.

"We did keep [the break-up] a bit of a secret," at least from folks who had no need to know, confesses Mr. Newmyer, who we caught by phone in between his scheduled stints managing the current Ra Ra Riot tour. Newmyer is quick to point out that the hush wasn't from any inflated sense of importance of the news, but rather because the band wanted, if possible, to keep album reviews focused on the music.

"It's an excellent work of catchy indie-pop, reminiscent of Built to Spill, with a profoundly personal and sentimental side," observed Pitchfork's Brad Haywood. Really, that was his name.

"What terrible timing," summed up critic Eric Herboth in his review of the record for Lost At Sea.

Over the course of its career, Haywood found incredibly stirring ways to synthesize the desperate power of Midwestern, second-wave emo and the grace of the most genteel indie pop. But as Pitchfork's scribe astutely recognized, Haywood's greatest strength was not necessarily in writing and performing the songs, but in conveying the emotions driving them. I've listened to the song "Plow" from Amateurs about 400 times in the last two years; I still find the lyric "I was hoping I'd catch you out of luck" devastating. Pauly's voice breaking at the end of the line "your words get caught in your throat" from his ode to Viola "Tough Hero" on paper seems calculated, but the recording is terrifically affecting. The tragic finality of "Paper Shirt," the album's denouement, is like a sublime slap across the face. And "Come On Tell The Truth," we could go on and on about how it almost hurts to hear it. The record's not all sad stuff, though: album openers "The Last Days of Baronov" and "Button Up, Buttercup" both soar with exuberance, and "Don't Go Breaking (My Heart)" earns the band all of the Superchunk comparisons. All of We Are Amateurs, You And I is embedded at the foot of this piece; you can stream or download all of the tracks.

When I saw the 10th anniversary of the release approaching, I got in touch with Pauly, Viola, Paretchan, late-period lead guitarist Danny Barria (formerly of Philadelphia's Clock Strikes 13, now of deservedly hyped The Big Sleep, which is about to release its long-awaited sophomore set Nature Experiments on French Kiss Jan. 31), producer Adam "Red" Lasus and Newmyer to see if anyone was willing to talk about the record. Happily, everyone was eager to take some time to think about how the record was made and what it meant in the scheme of Haywood things.

"The record holds up to any indie rock coming out now and is more fully realized than a lot of current indie action," says Mr. Lasus, who -- in addition to recording much of the Haywood catalogue -- also recorded classic indie rock albums including the self-titled Clap Your Hands Say Yeah record, Versus' peerless The Stars Are Insane, Helium's The Dirt Of Luck and Lilys' towering A Brief History Of Amazing Letdowns. "In many ways [Amateurs] was the last real indie rock record I made."

Newmyer is similarly effusive. "I got to put out a bunch of good records, but to this day the second Haywood record [released on Self Starter Foundation] is not only one of my favorite Self Starter records, but one of my own favorite records."

Had the band committed to significant touring to support Amateurs, the recording sessions would have been paid for and the album released by a label, although somewhat comically the band members aren't quite certain which one; it may have been Southern Records. Instead, faced with the departure of founding lead guitarist Serbin and dogged by concerns about the practicality of pursuing the rock and roll dream, Haywood disbanded.

"I think it was somewhere around December of 1999 that we had played a couple of shows in New Jersey with Ariel," Paretchan says, "after which he decided to quit the band. Rob, Ted and I met at [the restaurant] Veselka to talk about the deal we were being offered. I don't remember which label [it was], but I thought it was someone other than Southern. It was a cold rainy night -- maybe in February of 2000? Ted expressed a lot of hesitation."

"I remember [Ariel's departure] making me even less hopeful for the future," Pauly concurs.

"I do remember that Ariel quitting the band was a big issue," Paretchan agrees. "We had the offer of money for recording and tour support, but we would have to do real touring. Ted wanted to do other things -- settle down, [and] focus on his work."

"Somehow I felt like it was time for me to do grown-up things, whatever I thought those were at the time," recalls Pauly. "My rationalization was that I thought even Superchunk must've been having a hard time making a living, in Chapel Hill, where the cost of living was probably silly cheap, right? Of course I never called them, so how could I have known? I didn't know Superchunk."

"Yes, we broke up in Veselka," Viola agrees, "...great borscht."

"Rob and I were pretty surprised/disappointed, angry," Paretchan continues. "We had been playing together for a long time and finally were getting a good break after lots of work, and Ted wasn't interested. Rob and I went across the street after we finished at Veselka to some dive bar, ordered some drinks and basically decided to quit Haywood and start another band."

But then something very interesting happened: after being unwilling or unable to accept the record deal, the remaining members of Haywood decided to make a new record anyway. And, ironically, the guys attribute the quality of the performances and recording sessions at least in part to the fact that there was nothing on the line.

"We decided to record album anyway because we all loved the music," according to Viola. "I remember feeling that we could do whatever we wanted when we made this album. The band was a bust and we had nothing to prove."

"There was a total sense of freedom," Paretchan emphasizes. "Nothing to prove, and we could really do whatever we liked, without having to think about what people would think."

The mix of emotions regarding the band's break-up colored the recording sessions, Paretchan suggests. "There may have been some 'anger' about the ending of the band that translated into the rock numbers 'Baronov,' 'Buttercup,' 'Moscow,' [and] 'Don't Go.'"

Of course, at the moment, Haywood had no lead guitarist. This hurdle was soon overcome, however. Mr. Barria -- like the members of Haywood -- had migrated to New York from Philadelphia with hopes of a career in music taking off. He had crossed paths with the Haywood guys while everyone still resided in the City of Brotherly Love, and that early connection proved crucial.

"[W]e found Danny, who tamed his huge guitar enough to sit in the mix, and wrote his own parts for [the songs]," Pauly remembers. "He was a goddamn gift and is largely responsible for the existence of the record and any optimistic notes on [Amateurs]."

"My Haywood memories are always going to start from the fan perspective, because I loved them," says Barria. "Still have my Great Cats Give Chase tape [an early self-release. -- Ed.] somewhere. I saw them [play] at Upstairs At Nick's in '97 (may have been a show with Zumpano), and my very first impression of them, before they'd even played, wasn't a good one. They all wore suits that night (which I subsequently learned isn't really the Haywood way) and seemed a little nerdy to me. I saw Rob making out with a girl and I remember saying to myself 'Alright, Romeo, take it easy.' Anyway, I was [too] quick to judge because once they started playing I also said to myself, "these are really good songs, and dude is an amazing drummer.' I got the Great Cats tape that night, and that was that, hooked."

"I know Ted and I had a bit of an email correspondence going on," Barria continues, "and I remember exactly where I was sitting, sometime around February of '00, when he sent me a message asking if I knew any guitarists because they had just lost theirs. I jumped on it because starting/joining a band was the only reason I'd moved to New York. The deal was that Ariel had just quit but they had written an album's worth of material and they wanted to play some shows and record before calling it a day. Ted was planning to get married and Rob and Jeff were going to continue playing, but [the demise of Haywood] was definitely a done deal going into it, that they'd decided not to continue after the next record. That was kind of sad and weird, but I was just really happy to be playing their songs with them."

"Danny was very important in the different sound of this record," Paretchan offers. "Big hooky guitar parts. [At a] critical moment, when we lost one of our founding members, Danny really stepped in and made a big difference. Ariel and Danny are different types of players. At the time I think that Haywood needed a confidence boost -- and Danny's playing gave it to us. I didn't really realize how great it was to have Danny around until we finished the mixes and I thought 'Wow, this record sounds huge!'"

Barria found his entrée into the band to be a little disconcerting. "I remember taking my Gibson 335 and my Peavey Bandit 65 and my pedals on the subway from the East Village to Rob's (and Ariel's?) place on Grand and Marcy. I had no idea where I was going, and it sucked carrying all that, and I got there and they had a fucking Peavey Bandit 65 in the basement. And then after being nervous about trying out, Ted mentioned he didn't really like my Gibson."

"I remember Ted suggesting Danny to step in as lead guitar for a few remaining shows and to record Amateurs," says Paretchan. "The first practice was at Rob's place in Brooklyn. Danny came in with the Peavey Bandit, a black strat copy and some sort of rackmount echo/delay thingy. My first impression was 'Whoa what is up with all this space guitar stuff?'"

"Anyway," Barria goes on, "my first show with them was at the Continental and I fucked up the first note of the first song I played with them. We played more shows throughout the year and went on a little tour, too, I think Wesleyan and two other spots. My favorite moment was breaking down in Herkimer, NY, on the way to a show in Buffalo and Rob somehow lining up a white limousine to take us the rest of the way."

Haywood then turned its attention to recording its swan song. After a disappointing recording session with Kramer in New York in 1994, Haywood placed a lot of importance on working with a producer it trusted; Lasus had helmed early recordings as well as the sessions for Haywood's brilliant second full-length, 1999's Men Called Him Mister, and choosing him again to record Amateurs was a slam-dunk decision.

"We recorded for the first time with Adam [in 1993]," Paretchan recalls. "We did five songs together [which ended up circulating on a tape fans called Red's House Sessions and included an alternate take of "Nothing Happens" with Barnabys' Joey Sweeney doing backing vocals; the music was eventually compiled onto Model For A Monument]. So the connection with Adam goes back a long time before we ever did Amateurs."

"We had a super comfortable and fun studio dynamic [recording the record]," adds Lasus. "The ideas and concepts were falling into place without really having to talk about them. The sounds were big, but not too big, and the songs were really all brought to their peak."

"Red was a huge part of this album," Paretchan states, "and so was recording at Fireproof [then in Brooklyn, now based in Los Angeles -- Ed.]. Working with Red was so easy, he always understood what we were looking for, we were familiar with the space and the equipment. I remember recording to tape and all of us at the board for mixing which was a big part of the fun."

"There were two nerve-wracking moments for me," Barria remembers, "when the parts I'd come up with didn't work for whatever reason (we hadn't played some of the songs live a lot, think I was just working off of demos on those, might be wrong about that), the intro on 'Tough Hero' and the mid-section on 'Paper Shirt,'and I had to rethink and come up with something else on the spot, which is weird to think about when I hear the songs now, they just seem like the songs they've always been, kind of assured, which I think is more of a testament to how good [Haywood's] songwriting had gotten than anything else."

"Incidentally," Pauly says, "all the songs [for Amateurs] were all written in the Ariel-era, 'Paper Shirt' being the last, written in the last, waning daylight of the last days of Ariel."

"My favorite part of the whole recording, though, was the very last bit of tracking, the end of 'Paper Shirt,'" Barria recalls. "Rob kept telling me to lay down some kind of 'sweet lead' or whatever, and it just wasn't happening, we tried for a while. So Ted said 'Well, let me try,' he sat down with the guitar, and it was the perfect moment, for the song and just as a recording experience, as a witness. It was one take, and it was perfect, it's what's on the album. And it seemed really appropriate that the last guitar part on the last song was recorded by Ted, and the last bit of the song as it winds down is just the four of us keeping it quiet."

"I had forgotten about Ted's solo at the end, but Danny totally has it right." Paretchan agrees. "That's exactly what happened."

Is it the band's greatest album? Sure, what the hell. There are various arguments against the primacy of Haywood's other releases, anyway, although they are fine releases all. The band's full-length debut, Model For A Monument, was actually a comp of a bunch of early material that some fans had had for months if not years. Men Called Him Mister, released in 1999, was the last record to include the founding quartet and it was released once the band had immigrated from Philly to Brooklyn. But while the record is amazing on a lot of levels, it could have been a bit more succinct; a couple songs could have been relegated to b-sides, and the criminally omitted "Empty Car" and "Alpenland" should have been included, in my opinion. Haywood's doubly post-humous surprise 2006 collection As Long As There Is Track, I Will Not Go Back is blindingly brilliant and shockingly ignored, but as it was a studio project only and came so long after the band's original dissolution, it doesn't feel like a perfect fit for top dog status, either.

The rhythm section, anyway, certainly believes Amateurs captures the band at its peak.

"This LP captures the band at the heights of [its] tightness and instrumental powers," Viola agrees. "One could argue that Men Called Him Mister had better hooks [and] writing, but the the playing on Amateurs is confident and massive."

"I agree that Amateurs is more confident and epic," add Paretchan. "Although Amateurs couldn't have happened without Men Called Him Mister, which was where we cut our teeth on various production techniques and sounds which would later show up on Amateurs. We were already familiar with Adam's guitars, amps, pedals, etc. and how Adam worked. This all helped on Amateurs."

"All the Haywood sessions were super important to me," says Lasus, "but this one was one of those 'Wow, this is a great album from top to bottom.'"

"The recording of this record is very much tied for me to the final NYC show at Brownies," Paretchan says. "Both were bittersweet -- pinnacles of recording or live performance, and both signified the end of the band in very real ways. I know that the day after the final NYC show at Brownies, I woke up and listened to Born To Run start to finish sitting in my room. I found out later that Rob had done exactly the same thing."

Viola sums up my feelings, exactly, every time we put on one of Haywood's records: "Fuck, man, I miss this band!"

"We had no idea at the time that we would later record As Long as There is Track... so it was a sad time," Paretchan remembers. "Especially given the strength of the album and the response in the press. There was a sense that we had really hit our stride and were about to get somewhere after so many years of effort. Dashed hopes... Even to this day, nothing has ever been as much fun as writing songs, playing shows and recording with Haywood, because it was always about a group of friends making music that they liked together. Even though Rob and I were pretty pissed about having to bail on the record label offer -- we just couldn't help ourselves from wanting to record those songs. Which is probably why we joined up together to work on As Long As There Is Track, even though we had no future as a band anymore. Just can't resist those songs!"

THE SONGS, IN THE BAND'S OWN WORDS

LAST DAYS OF BARONOV
Pauly: "This song is about my brother and my grandfather's dead Saint Bernard."

BUTTON UP, BUTTERCUP
Pauly: "I felt like there was a lot of sad, impressionistic emo coming out, and I just wanted everyone to look on the bright side."

SIX STARS
Pauly: "I wrote a sad, impressionistic emo song about the lack of stars with all the damn city light pollution. This was a slow dance about my then-future wife. I tried to play it at Rob and Emily's wedding years later, but I always struggled through the solo beginning with the full band; why should it be any different on my own." Paretchan: "Danny and I played the a "four hand" organ part on 'Six Stars' together on a Hammond C-3 in the studio. The falseto vocals... were a tip of the hat to Ariel's vocals on 'Keystone Rag' from Men Called Him Mister."

TOUGH HERO
Pauly: "This song viscerally recalls the feel of an early-'90s night at Fergie's Pub [in Philly] with Rob. Drinking with Rob in Philly in the '90s remains unrivalled for overall end-of-night satisfaction. I also remember that the flangey guitar sound on this one made me feel, every time we played this live, like I was playing "Just the Way You Are" by Billy Joel.

PLOW
Pauly: "This was about my friend Brian [McGrath], who was in Wendyfix, and then co-wrote a song on our second record ("Little Black Dress Club") and then went to Maine and then played in Mantissa and then once we walked around Ground Zero and then he disappeared." Paretchan: "Keyboard parts were usually something we saved for the studio, as we could never do them live. This meant that most of the parts got written/worked out in the studio. I think Rob played the keyboard flute sound on 'Plow' -- this was also our first tune to use drum machine, no? Using a Roland MC 303. And I played the keyboards on the bridge. I remember playing the keyboard part on 'Plow' while Rob was turning the dials on the Korg Toneworks delay pedal."

HOTEL BAR IN MOSCOW
Pauly: "I have never been to Moscow. I think this one was tangentially about breaking up with someone. I liked to steal '80s lyrics for my songs. Here, Aretha Franklin's "Freeway Of Love," except we get off it in a pink hatchback with no one driving. Somehow I thought that was a metaphor for my love life at one time."

COME ON TELL THE TRUTH
Pauly: "I think-- think-- this one had been kicking around for a long time. I feel like I remember playing this fairly early, at a show with Pee Shy? and The Joey Sweeney at Under Acme." Paretchan: "the lyrics 'I wanna be just like my dad / and marry the first real thing I ever had / Everyones busy slipping it into conversation / and I'm patient / but not that patient' always struck me as a painfully personal and honest lyrics. I played the Roland MC303 through a MicroSynth pedal that Rob was messing around with to get the sound -- this part was written in the studio, and really filled in a lot of what I thought was missing with my bass part on this song."

DON'T GO BREAKING MY HEART
Pauly: "I just hoped to get a little of the shine from Elton John and Kiki Dee on this one. This felt like our most Rainer Maria song. It was up at the top of my range and felt my most emotive, and I loved to play it and it was also, (duh) about breaking up, very clearly about my college girlfriend. It also features our dubbiest bridge." Paretchan: "Recording 'Don't Go Breaking My Heart' was challenging; it was hard to capture the energy and volume of the live performance in the studio."

PAPER SHIRT
Pauly: "I think Ariel gave me paper pajamas from a trip somewhere, or maybe just to Pearl River. This was about being 90 and deciding to go outside for the first time in a long time, and deciding to dress up in my finest paper shirt, which of course would be a bad idea in the rain." Paretchan: "'Paper Shirt' was an after-thought in a way. One of the reasons I think the record sounds better than Men Called Him Mister was simply that we had fewer songs to record. If I'm not mistaken, one of the other issues the band was facing was not only having to decline the offer for recording and tour support - but also that Ted seemed to be having writers block and we weren't able to put together any more songs. 'Paper Shirt' got on because we needed an album's worth of material. I recall doubts about the strength of the tune. Somehow it is a nice post script to the album in the way that it gently disappears at the end."

Haywood - We Are Amateurs, You And I. (2001 album release) by statikluft

Today's Hotness: Yr Friends, Oupa, Faculties

>> Right, then, where were we...?

>> In the wake of his first solo performance last month under the moniker Yr Friends (shortened from Yr Dead Friends for some reason, as this site evidences, oh, also this), Johnny Foreigner fronter Alexei Berrow has digitally released an EP of Yr Friends material titled Yr Friends Are Lying To You. The EP contains three Berrow originals with characteristically verbose titles, and in true Berrow/JoFo fashion Yr Friends Are Lying To You comes packaged with lyrics, album art and art for the individual tracks as well. A fourth song is a relatively jaunty Irving Berlin composition that sits well with the other material. Uncompressed, airy and spare, Yr Friends' music is lo-fi in the same vein as, say, two of the great Alex Kemp's best, The Godrays' heart-spindling "Carkeys, Ponytail And Gum" or the similarly affecting Small Factory b-side "Movies." Or maybe the breakdown of the Lilys rarity "Excelsior Plainsides." The EP is available for purchase via the Bandcamp widgetini below. The timing may be a little off, as this quiet music may be more suited to the shortening days ahead (although we suppose stale-beer summer dawns will also suit it). But when you're ready to mope your way through your fall semester, this will be the perfect thing for you. And we're hopeful that when Berrow comes up for air after the inevitably lengthy machinations surrounding the release and support of Johnny Foreigner's eagerly anticipated third full-length (which may come packaged as/with a comic book?), that we'll hear more from Yr Friends.



>> Appearing in the lo-fi bin just today is the long-awaited full-length from Oupa, a side project of Yuck fronter Daniel Blumberg that we first wrote about here in April. The new, seven-song collection -- available digitally or on cassette only -- is called Forget and it was recorded by Mr. Blumberg in his apartment this past January. Forget was released today by Fat Possum (also U.S. home to Yuck) in the States and yesterday on Blumberg's own newly commissioned label Boiled Egg in the UK; Forget is also available in France via Atelier Ciseaux, Veeee. A video for the mid-album selection "Physical" was posted to Vimeo last week, and you can watch the thing right here. As for Yuck, the London-based band is already preparing a return United States to continue riding the wave of popularity spawned by its terrific self-titled release that we've mentioned often. The quartet's first domestic date of the fall is at our very own T.T. The Bear's in Cambridge, MA Sept. 22 [TICKETS]; complete tour dates are posted to the band's web yert right here.

>> The self-titled EP from the decidedly -fi and future-present Brooklyn-based electronic duo Faculties was released a few weeks back. You've already heard and loved the teaser track "Weekend Warrior," but the EP has a lot more to offer. We've been grooving as of late on the spooky minimal glitch of "The Paranoid Style," which reminds us a touch of Lali Puna, albeit with big widescreen vocals. While it is more mid-tempo than "Weekend Warrior," the tune is a standout track. Stream the entire jawn via the Soundcloud embed below.

FACULTIES EP by statikluft

Pleased To Meet: Faculties

We don't imagine there is a more die-hard (die-hardier? with a vengeance, sir) Haywood fan out there than us. Consequently, we spend a preposterous amount of time and energy wondering when we will hear new music from any of the band's principals, as Haywood has been mostly dead and/or not-quite alive for a decade now. And so we are very pleased to report multi-instrumentalist Rob Viola, who manned the drum kit for the late, great 'Wood, has returned with myriad ambient electronic and electropop projects. Many of these operate under the nom de guerre Statikluft, and we've been living with a lot of Statikluft music for months and months. But, much to our surprise, Mr. Viola has commissioned a new vessel with vocalist Vinny Lopez called Faculties, and the Brooklyn-based duo's first offering, the song "Weekend Warrior," is a dense, deep hybrid of deli-sliced beats, sinewy guitar and synth hooks, shot through with plenty of ghosts in the machine.

The story goes that Mssrs. Viola and Lopez met when the former was impressed by the latter's karaoke rendition of "Everybody's Talkin'," a prominent tune from the soundtrack to the film Midnight Cowboy; surprisingly, Faculties is Lopez' first band. "Weekend Warrior" leads off Faculties' forthcoming self-titled EP and it is gorgeously arrayed and exquisitely textured and if you are fans of acts like Arc In Round or White Laces, you are going to be very, very excited about this. Below is an embed of the tune to stream or download; the full EP is expected to drop next month. Everyone, this is Faculties. Faculties, this is everyone.

FACULTIES - Weekend Warrior

Faculties: Interzizzles | Facebook | Vimeo | Soundcloud

Today's Hotness: Men Called Him Mister, Young Adults, Four Eyes

>> Long-time readers will be aware of our great love for the wildly under-appreciated indie rock act Haywood. Our boundless affinity for the defunct Brooklyn-via-Philly-via-St. David's/Villanova/South Devon/Wherever Ariel Lived quartet is perhaps rivaled only by that we have for Johnny Foreigner. And so it was an unexpected collision of worlds when we saw that the one-show-only supergroup Kannberg 1664, which features at least one member of Birmingham, England-based indie titans Johnny Foreigner, will share the bill at an upcoming Pavement tribute show in London with a Madrid-based band called Men Call Him Mister. The latter act's name, you see, is taken from the title of Haywood's superlative sophomore full-length released in 1999 on Self Starter Foundation [buy!buy!buy!]. And so we were compelled to contact Men Called Him Mister to get the scoop on why a band in Madrid is named for what is, let's face it, a sort of obscure American act.

It turns out that indeed the three-year-old band takes its name from the Haywood record; that a British fellow named Ian who is one-fourth of Men Called Him Mister saw Haywood play while he was in New York in 1999 or so; and that Ian counts the record among his favorites. So, really, the story is quite straightforward. We checked out the Men Called Him Mister MySpace yert and were pleased to find that we dug its music, which sounds a little bit like old Notwist crossed with Crayon. Ian was kind enough to send along some music for us to share, so catch the streams below. Make sure to listen through to the end of "Thousand Eyes," which is like three songs jammed into one composition. The Pavement tribute show transpires Saturday 8 May in Brixton, it is called Pavement Ist Rad! and there are full details right here.

Men Called Him Mister's "Make It Loud" and "Thousand Eyes"

>> If you weren't glued to your radios March 14, or even if you were, you may have missed upstart Boston-based noise-pop luminaries Young Adults delivering a fizzy, reverbed-out performance on WERS, the Emerson College radio station. As we reported last month, Young Adults have only been together about six months but have already recorded an impressive demo that we first wrote about here. And now there's this entertaining, expletive-laden radio session. The trio opens with "Let Us Out," and also plays "Bummer Summer" and "Impression." There is some fairly informative interviewing as part of the in-studio visit, although our fair radio host sticks with the basics like how the band formed, its influences, et cetera. According to its MySpace dojo, Young Adults next appearance will be at something called the Boston Underground Summit April 24 in Jamaica Plain, Mass.

>> And if you did listen to the Young Adults radio session, you likely heard the band mention its indie punk and apparently Dinosaur Jr.-influenced scene contemporaries Four Eyes. The terms "indie punk" and "Dinosaur Jr." never fail to draw our attention, and after a bit of googling we found ourselves at a Four Eyes Muxtape page. After hearing the fine rock posted there we got in touch with the band forthwith. We learned that Four Eyes has only been around since November, but it has already recorded tracks for a debut 7" that should be available very soon. Nick and Will Foureyes sent along the song "Anchor Home" (posted below) to share, which based on the metadata will be on the aforementioned 7". The track is an uptempo, scritchy rocker with a bouncy snare beat and tons of fuzzy guitar, guitar everywhere like a cotton candy machine gone haywire. To kind of short-hand it for you, Four Eyes' "Anchor Home" sounds a bit like Voxtrot's "Wrecking Force" if Voxtrot had a jazzy lead player and played with a lot of balls. Four Eyes wanted us to point out that if you want to order the 7" -- and we think you do -- then you should hit them up at foureyestheband@gmail.com; tell them Clicky Clicky sent you. Four Eyes has a few upcoming Boston-area gigs that we are posting below as well.

04.16 -- Steven Tyler Memorial Pool -- Somerville, MA
04.24 -- O'Brien's -- Allston, MA
05.17 -- Charlie's Kitchen -- Cambridge, MA

Four Eyes' "Anchor Home"

Playlist: Indie Rock vs. Baby Wakefulness, Vol. 1

This is currently the go-to soundtrack to our efforts to get our baby girl to go to sleep and stay asleep. A sad by-product is the fact that we are starting to get sick of a lot of these songs, some of which have been favorites forever and ever (we first got The Glove record around 1989 or 1990, for example). That said, we still find almost all of these to this day to be very moving in their way whenever we stop and sit and listen to them go by on the IPod docked in the nursery. The Logh and Spent tracks in particular are sublime and evocative. We've started piecing together a second mix for nighttime in the nursery. But for now, this is on heavy rotation.

1. The Glove -- "A Blues In Drag" -- Blue Sunshine [AmazonMP3]
2. Sam Prekop -- "A Cloud To The Back" -- Sam Prekop [Emusic]
3. The For Carnation -- "On The Swing" -- Marshmallows EP/Promised Works [Emusic]
4. Esquivel -- "Snowfall" -- More Of Other Worlds, Other Sounds [AmazonMP3]
5. Haywood -- "Plow" -- We Are Amateurs, You And I [Emusic]
6. Logh -- "The Big Sleep" -- A Sunset Panorama [Emusic]
7. Mogwai -- "Christmas Song" -- Mogwai EP+6 [AmazonMP3]
8. Jon Brion -- "Spotless Mind" -- Eternal Sunshine Of The Spotless Mind [AmazonMP3]
9. Jon Brion -- "Phone Call" -- Eternal Sunshine Of The Spotless Mind [AmazonMP3]
10. Jon Brion -- "Bookstore" -- Eternal Sunshine Of The Spotless Mind [AmazonMP3]
11. Archer Prewitt -- "Along The Coast" -- Gerroa Songs [Emusic]
12. Drop Nineteens -- "My Aquarium" -- Delaware [AmazonMP3]
13. Spent -- "Brighter Than Day" -- Songs Of Drinking And Rebellion [Emusic]
14. September 67 -- "Bring Back The Weight" -- Lucky Shoe [Emusic]
15. Lilys -- "Kodiak (Alternate)" -- Send In The Subs [Unreleased/MP3]
16. Velocity Girl -- "Wake Up, I'm Leaving" -- Simpatico! [AmazonMP3]

Today's Hotness: Faunts, Superchunk, Favours For Sailors

>> It took us a while to actually focus on them, but it has recently come to our attention that we love the promo tracks from the latest Faunts record. The Edmonton-based electropop quintet, which we first wrote about here in November, released Feb. 17 its sophomore set Feel.Love.Thinking.Of. on Friendly Fire Recordings. The label has been offering the title track and the tune "It Hurts Me All The Time" as free downloads for weeks -- if not longer -- and the tracks have finally made their way to the top of the running ITunes playlist we use to keep track of our latest finds. We're particularly enamored with the latter track, a mid-tempo strummer with a lead synth line that could have made its way on to The Cure's 17 Seconds. The track is driven by blippy percussion in the verse, but it is the chorus, with its prominent acoustic guitar and punchy twee bass playing, that completely draws us in. It reminds us of -- well, it sort of reminds us of late, great Philly/Brooklyn act Haywood's devastating "Come On Tell The Truth" a bit, now that we think of it. We're posting both tracks below. And then we're eagerly waiting for our EMusic subscription to refresh so we can get the rest of the Faunts record, because "It Hurts Me All The Time" is pure gold. Faunts previously issued Faunts Remixed in November; its first longplayer High Expectations/Low Results came out in 2005.

Faunts -- "It Hurts Me All The Time" -- Feel.Love.Thinking.Of.
Haywood -- "Come On Tell The Truth" -- We Are Amateurs, You And I
[right click and save as]
[buy Faunts records from Newbury Comics here]
[buy Haywood records from Insound here]

>> Our Philadelphia-based operative Deano pointed out to us that the forthcoming Superchunk EP Leaves In The Gutter is streaming at Merge Records' web site. And so we're streaming it. And true to Deano's word, it is fill with some hot rockers. That fast 1-2-3-4 that leads the guitar riffing of opener "Learned To Surf" reminds us of Spent's exceptional tune "Landscaper" from that ersatz act's tremendous 1995 collection Songs Of Drinking And Rebellion -- which, of course, was released on Merge. You see what we did there? Tied it all together, yeh? The quasi-title track of Leaves In The Gutter, "Misfits & Mistakes," is a bracing number as well, with some loose, strandy guitar solos that we dig a lot; the track was previously available last year on vinyl only. And the tremeloed guitar on the unabashedly melodic and occasionally jaunty "Screw It Up" is wholly arresting. Those are three tracks that could stand alone as singles, all issued on this one special little EP next month. Leaves In The Gutter will be released April 7, and you're gonna want that. Pre-order the set here. Superchunk's last collection of new material to see release was Here's To Shutting Up in 2001.

>> Favours For Sailors. They are from England. They are awesome. You should go buy their EP Furious Sons immediately, if you like indie rock. More on them another time.

CC200: Counting Down To Haywood's "Crosswords"

We still have no idea what the complete opening line to this track is ("I meant to take a cue from Bluto?" Like, from "Popeye?"). Even so, there are a few things that make this song, by the then-Philly-based quartet's original line-up, remarkable. Perhaps least apparent among these is the fact that "Crosswords," the lead track from Haywood's Great Cats Give Chase cassette issued in late 1996 or early '97, was recorded to a four-track tape machine in the attic of an antiques store. For all we know they were recorded off one by one like this. That the song -- and the three other tracks captured during the same sessions -- powerfully succeeds, and in places even explodes despite the humble production, is a testament to the skills of the quartet. The more obvious charms of "Crosswords" are the hooks and the immensely satisfying crunch of the choruses. Also remarkable is the vivid picture of a relationship coming apart that band fronter Ted Pauly paints with his at-times seemingly confessional lyrics ("...they say I'm looking for my mother...").

Great Cats Give Chase was our sole companion during a few frigid months of pre-dawn drives to an existentially harrowing temporary job we held at the onset of 1997, and not surprisingly its lead track ranks high in our list of most-listened-to songs (it'd probably rank higher if we could include all the times we listened on those early mornings). The cassette's four songs were later issued on Haywood's full-length debut, the collection of early recordings dubbed Model For A Monument. We previously wrote about "Crosswords" here in May 2004 and here a year ago. The song is No. 27 on the Clicky Clicky 200, and you can read all of our prior Clicky Clicky 200 entries right here.

Haywood -- "Crosswords" -- Model For A Monument
[right click and save as]
[buy Haywood records from Insound right here]

Muxtape No. 14: Get Back Devil, Messy Devil

And so here we have the August Muxtape. We pondered a couple days ago doing a blog post called "Where We're From" or something to that effect, and discussing therein some of the bands that really fired our imaginations and relationship with music when we were a high schooler, and even young college student. As you'll see below we name a number of acts from Philadelphia and its suburbs that inspired us to play and generally cultivate a fathomless interest in indie rock as a younger man. Some of these bands were our peers, some friends of friends... of friends. You'll even hear some of our inebriated hollering in the first track. Of course, there are a couple tunes we've thrown in from later years and even contemporary releases just because they are great. Happy August.

1. Kam Fong -- "Get Behind Me (Satan)" -- Unreleased
(Is there anything more satisfying than an open E major chord that just hangs there and sustains? Well, yeah, there's the rest of this song, the first verse of which describes salvaging major appliances from the trash. We can say from firsthand experience that the vocals were tracked on a very hot day around an open mic in a small stuffy living room while pulling off a milk jug of moonshine; hence the last verse. We're always happy to have an excuse to proselytize The Fong, so here's a download of the track above || Kam Fong -- "Get Behind Me (Satan)"; right click and save as || and here is an early, raw and extremely red-lined mixdown of the basic tracks in case you want to, we dunno, cut your own vocal || Kam Fong -- "Satan (Instrumental)"; right click and save as||.)

2. Lost -- "After The War" -- Do You Have A Problem?
(Opening track from a cassette release from the first iteration of this band. This tape and Haywood's first 7" affected us a great deal, not only because each is great, but because prior to their release it didn't seem within the realm of possibility that people like us could write their own material and release it. We recall being shocked to see the cassette on the shelf with the rest of the merchandise at our beloved and much-missed first location of Repo Records in North Wayne, and we purchased it immediately (much to the amusement of the guys, some of whom we later befriended). We love the lo-fi production on the Lost cassette, because it packs each track with the sense that they are under some volatile pressure and could burst at any second.)

3. Latimer -- "Start With Me" -- Live From Sour City
(Another heart-felt tip of the hat to the late Geoff Doring. We thought this song stuck out a little bit from the rest of the tracks on this set because of the acoustic guitars. And we swear there's whistling in there around the three-minute mark. So it took us a long time to come to terms with "Start With Me." But it is easily among the best tracks on this ridiculously under-rated record, released on Dave Allen's World Domination label in 1997 or so. It's near impossible to follow what Doring is singing, but the song is an incredibly affecting strand of hooks. What the hell, how about an MP3? || Latimer -- "Start With Me"; right click and save as.)

4. Halogen -- "Graph" -- This Is Harrisburg, Not Topeka
(Had the pleasure of seeing these guys live, and they were really impressive. "Graph" has a little bit of everything and channels Slint in a very effective manner. We love the little hi-hat fill in the first section. But the most gripping thing is the coda, where the singer repeats "summers brown, winters green" like a protective spell.)

5. The Differences -- "The Door To Your Heart" -- Cassette
(So another track like the Lost cut above that made an impression on us because it was another local -- that is, suburban Philadelphia -- band writing and recording their own material during a time when we equated the ability to write music with the ability to saw women in half and pull rabbits from hats. This is not the band's best cut, but it is the only one that remains in our cassette collection. Our memories are almost always of questionable veracity at this point, but compared to the other Differences tracks we recall ("11th Grade English," "Stay") this track is particularly dark. We seem to recall it came from a later set of recordings that would seem to indicate the band had dug back into The Cure's back catalog.)

6. Barnabys -- "Nunas" -- Augustus Loop
(A nice mid-tempo track from a pretty overblown record released on Spin-Art. Superfluous hockey rink organ. Certainly not the first track we think of when we consider the band, but for some reason the opening line was in our head this morning as we ground coffee beans.)

7. Johnny Foreigner -- "I Heard, He Ties Up Cats" -- Eyes Wide Terrified single
(We like this band so much it is embarrassing. We even told them as much when we met them in New York last fall. Right now they are flying to Japan for a string of dates. When we were scouring Ebay recently we found that some of the band's singles had been issued to radio as CDs, so of course we had to have those. The result of which is we can offer you this b-side. We're very hopeful that the physical release of the band's debut Waited Up Til It Was Light, which will occur on an unspecified Tuesday in October, will contain all the various b-sides and maybe even some radio sessions as bonus tracks. But since we can't bank on that, we continue to fuel the British economy by buying all the imports we can get our hands on.)

8. Haywood -- "You Talk Twice" -- Men Called Him Mister
(Wonderful album opener from defunct band's second CD. Would have made much more sense to post a Garden Party track, as that is this band's precursor and it fits better within the theme of the mix. But we love this one, and it's the one we're feeling this morning. We think this would make an awesome cover for Frightened Rabbit to do (get on that boys). Men Called Him Mister has more than its share of amazing lines, but one of the best may be when Mr. Pauly here confides "so sure that we lost it, while I've got my hands in your pockets.")

9. The Grifters -- "Just Passing Out" -- One Sock Missing
(As an adult we're conflicted now about songs that deal with drug abuse and addiction with any sort of favorable stance. Sorry (at least we didn't complain that music is too loud, right?). But even so this track is a beautiful tangle of bass and guitar melodies. And we're very fond of its linear composition, which we blatantly stole for a song many, many years ago. The final seconds where the mix goes kaleidoscopic is so awesome.)

10. The War On Drugs -- "Show Me The Coast" -- Wagonwheel Blues
(Our recent writing doesn't come close to reflecting just how much we like this new record from Philly's The War On Drugs. There's some magical alchemy that occurs when the atmospheric production of the music is paired with singer Adam Granduciel's mix-slicing Petty-doing-Dylan vocals. This track is particularly dense and droning. If we knew more about music theory we might be able to make some assertion about how drone in particular keys works for us. Layered guitar leads create most of the action here, and the overall effect is dreamy. Mr. Granduciel was recently featured in Stereogum's Quit Your Day Job right here, and we recommend reading it.)

11. Ric Dube -- "The Cavanaugh Tree" -- MySpace track
(Friend and mentor Ric Dube is the kind of guy who is into a lot of things, including parenting and Yo La Tengo, but during the last few years he has found time to lay down some tracks, and we are constantly surprised when this comes up in the shuffle to see that the song that just made us think "damn!" is by our pal. We particularly like the cello at the end, it's very George Martin-ish. This fits very nicely alongside the track above, no?)

12. Christopher O'Riley -- "Motion Picture Soundtrack" -- True Love Waits: O'Riley Plays Radiohead
(This song is so sad we often can't bear to listen to it, and O'Riley's version is somehow even sadder.)

Muxtape No. 7: Talked Myself To Sleep

[IMAGE: Kasimir Malevich "Landscape With Yellow House," courtesy Wikimedia Commons] We're back on the allergy medicine this week, so we are sort of floating in space, which we think this mix suggests. Which begs the question: why we didn't include anything from Spiritualized's Ladies And Gentlemen, We Are Floating In Space? Alas, hindsight is 20/20. Here is the link to our weekly Muxtape.

1. Frightened Rabbit -- "The Twist (Demo)"
(A kool kat out there in musicland sent us a bunch of demos that Frightened Rabbit had recorded for the excellent set The Midnight Organ Fight, which was released in April. Or was supposed to be issued in April, the date was pushed back, but we're fairly certain the record is finally out now. The band plays Great Scott in Boston Monday night, which normally would be an ideal time for us, but sadly the show conflicts with a visit from Clicky Clicky Mom, so we are going to pass as much as it pains us. We've already heard rumors of the band's return to town for another date, so we'll just have to redouble our efforts then. Anyway, about the demo: we love the little piano twitter laid over the thrumming rhythm.)

2. Mantissa -- "Modesto" -- Building A Working Model
(We wanted to include this jam here because there is a chord change in the chorus similar to one in the Frightened Rabbit tune. Also it is an under-rated track from an under-rated album made by one of the most recognizable singers in indie rock. Chicagoland indie rock fans may recall Brian McGrath's rasp from the excellent and similarly under-known trio Wendyfix. "Modesto" is not one of the "hits" from Working Model, but placed in a new context it is a surprisingly vital indie rock number.)

3. The Halo Benders -- "Bomb Shelter Part 1" -- Don't Tell Me Now
(Time was we thought this pairing of Beat Happening's Calvin Johnson and Built To Spill's Doug Martsch was too much of a clash. But Don't Tell Me Now collects so many irresistible tracks we've come back to it regularly over the last decade. As an added bonus, in the second chorus that woman with the heavenly voice from, ummm, Heavenly chimes in.)

4. The Royal We -- "All The Rage" -- Single
(Delicious single released last September from a Glaswegian septet whose story we think goes a little like this: band forms, agrees to break up after releasing a record, band garners fans with single and charisma, band releases record and breaks up, true to their word. This number has sass, pep and hand-claps to spare, and there is actually an entertaining video for it to which you can watch here).

5. Haywood -- "Come On Tell The Truth" -- We Are Amateurs, You And I
(One of the many fine moments recorded by Haywood Mach II on its first posthumous release. We remember one of the guys deeming this track as having the "classic Haywood" composition and vibe, and perhaps that's true. Although we don't hear any of the cute half-smiles in the lyric here that Mr. Pauly often uses to shade the emotion of a song. So in a sense this song is an unflinching hard stare at a disappointing situation. Which fits, considering the song's quiet demand for an answer.)

6. Swearing At Motorists -- "Being In Love"
(If memory serves, at one point Swearing At Motorists' Dave Doughman moved to Berlin, Germany and started recording songs in the Weinmeisterstrasse Ubahnhof rail station after it shut down for the night. And we have to believe that this track is a result of one such recording session (although the track wasn't on Exile On Gipsatrasse -- link), what with the amazing reverb and ambient noise. A fairly harrowing take on being consumed by love, but beautiful as well. Well, we just actually did the research and apparently the track is a cover of a song by Songs:Ohia and was issued on a comp. Who knew?)

7. Hurl -- "Dual Showman" -- "Madison Earful" single
(Devastating slowcore. Noisy bookends. Seems to recast the emotions of the Swearing At Motorists track as bold, quasi-Suprematist slashes of melody. Single released on My Pal God, one of the few labels that makes its vinyl singles from the '90s available digitally.)

8. Bottomless Pit -- "Human Out Of Me" -- Hammer Of The Gods
(The pop-and-lock layers of guitar and bass in "Dual Showman" suggested this number to us. Except there is an ease to the rhythm that injects substantially more levity into the proceedings. Bottomless Pit tours this summer and is about to released an EP titled Congress. The extended player will contain the tracks "Red Pen," "Fish Eyes," "Pitch" and "Angry Swan." It is available for pre-order now, will be issued digitally by Comedy Minus One June 1, and will be available on vinyl (with CD included) July 16 directly from the band. If you pre-order prior to June 1 you get the vinyl and CD and shipping for $9.50 total. More info here.)

9. Bloc Party -- "Like Eating Glass" -- Silent Alarm
(This one's a rocker, and we figured we needed to throw a rocker in right here.)

10. Slicker -- "FrustRache" -- The Latest
(Exquisite minimal electronic jam from the son of the guy who made all your favorite '80s movies. One of those records we first heard on the hi-fi at a record store (the erstwhile Harvard Square location of Other Music) and purchased on the spot. The Latest captured the zeitgeist of the times as far as electronic music goes, although we've never claimed to have more than a cursory mastery of what's going on in the scene. Recommended if you like Bruno Pronsato and vice versa.)

11. Benge -- "Eve's Escape Valve" -- Meme Tunes
(More minimal, yet more lush and with more melody. A good allergy medicine anthem. Again something in the rhythm and chimes suggested the next song to us.)

12. Althea And Donna -- "Uptown Top Ranking"
(A sunshiney pop reggae gem apparently cut by two teenage girls in the late '70s. The pair was the youngest duo to ever reach the top of the British pop charts, which they did in 1978. There seems to be a fair amount of disagreement about whether the one woman's name is spelled with an "i" or an "e," although this very informative Wikipedia entry claims that the dual spellings were a mistake that somehow didn't stop the record from charting.)

Today's Hotness: Say Hi, Wendyfix, Gang Of Four, Meneguar

>> Songwriter and hopeless romantic Eric Elbogen returns this month with his fifth record under the Say Hi To Your Mom moniker. Well, sort of... as we reported here last August, the band has truncated its name to the breezier Say Hi to correspond with the issue of the new set The Wishes And The Glitch Tuesday on the Euphobia label. Ever since the release of the sophomore set Numbers & Mumbles Say Hi could be counted on for one undeniable indie anthem. In 2004 that track was the minorly ubiquitous yearner "Let's Talk About Spaceships." In 2008, it's "Zero To Love." We admit some small concern that Elbogen might not keep his streak of undeniable tracks alive with The Wishes And The Glitch, because the first preview track floated, "Northwestern Girls," was certainly good but seemed to fall slightly shy of great. Well fear not, for the punchy, unsteady and hand-clap-arific "Zero To Love" leaves no doubt. Every time Elbogen sings "this new heart of mine" the whole room seems to bend, and we are surprised to detect for the first time a hint of Morrissey's peanut butter in Mr. Elbogen's chocolate. The Wishes And The Glitch is the first record Say Hi has released since moving from long-time home Brooklyn to Seattle, and the move seems to have facilitated the notable vocal contributions of David Bazan and The Long Winters' John Roderick on the record. Say Hi begins an extensive, six-week North American tour Feb. 16. The band plays Great Scott in Boston March 1, and we'll review the show, schedule-permitting.

Say Hi -- "Zero To Love" -- The Wishes And The Glitch
Say Hi To Your Mom -- "Let's Talk About Spaceships" -- Numbers & Mumbles
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[buy Say Hi records directly from the band here]

>> We've been getting an unusually great number of search hits recently for underfamed, Evanston, Ill.-based '90s indie rock trio Wendyfix, and we thought such interest presented a good opportunity to post the songs from the band's sole single. "Slow" b/w "Silence" was the maiden release of the Spade Kitty label, and it streeted in 1995. The band was fronted by Haywood's Ted Pauly, who we write about here often (and who, incidentally, is also a proponent of Say Hi), and Brian McGrath, who we'd certainly like to write about more; McGrath's (presumably most recent) project Mantissa released a very nice full-length in 2003 [review here] and we've heard nothing from him since. Anyway, Mr. Pauly sings the single's A-side, an urgently sad confessional ("OK, this one's for your birthday, I was wrong...") that bristles with hooks. McGrath's monolithic "Silence" on the flip gradually builds to a cathartic climax during which mostly inaudible vocals finally break through the guitar fuzz. Both songs are posted below. A quick search of the Internets reveals that Spade Kitty continues to conduct business and even launched a new web site a couple years ago. Mr. Pauly, as regular readers know, continues to churn out high-quality music as a solo artist. We failed to mentioned Wendyfix drummer Todd Hyman, who continues to operate labels including the wonderfully eclectic Carpark (Beach House, Ecstatic Sunshine, Montag). There is a very good profile of Carpark and Mr. Hyman here at Terrorbird.

Wendyfix -- "Slow" -- "Slow" b/w "Silence" [SK-001]
Wendyfix -- "Silence" -- "Slow" b/w "Silence" [SK-001]
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[the newest iteration of the Spade Kitty site doesn't sell this. Try Ebay?]

>> There's an interesting fact buried in this Billboard story about reborn post-punk legends Gang Of Four's efforts at creating its first new music in 15 years. Four paragraphs down the piece imparts that original Gang Of Four drummer Hugo Burnham -- who we believe has taught in Boston for many years -- is not involved in tracking for the recording sessions due to an undisclosed health issue. Bassist Dave Allen tells Billboard "Hugo's still involved in some ways, but it's a very personal issue that will be discussed at a later date." Allen has been regularly releasing demo songs via his blog Pampelmoose, and we must admit not noticing any change in drumming. Despite releasing the re-envisioned hits collection of sorts Return The Gift on V2 in 2005 [buy it here for $9], Gang Of Four is currently without a label deal. The band plans to experiment with different distribution ideas, telling Billboard "[w]e might be releasing the first single or four songs for free on the Internet, or on vinyl, or both, and just see what the marketplace is like."

>> We're grateful to blog Raven Sings The Blues for sussing out here what exactly is up with the new Meneguar song "Some Other Life," and the FuckItTapes releases. We're still not clear on is whether the Tone Banks releases were the recordings the band said last year would be released as one-sided 12" on Woodsist. But either way, there's new music, it sounds great, and that excites us. We'd seen the song and visited the FuckIt site a week or two ago, but we couldn't dig up anything definitive about what is going on. We're also not sure whether the new Meneguar tune "Fields Of Gaffney," also available at the band's MySpace drive-thru, is an actual cover of a song by the eccentric two-time bassist of Sebadoh whose solo project had the same name, or if it is an homage of sorts. Either way, it is one of the most interesting Meneguar recordings ever. The biggest question is, will there be a proper vinyl or CD issue of these new tracks? Meneguar's Strangers In Our House topped our list of favorite records of 2007, which you can review here. Finally, the Brooklyn-based quartet has two live dates on the books for March, one in its hometown and the other at the fabled Terrace Club at Princeton University. Hit the MySpace link supra for more info.

Clicky Clicky Mini-festo: Certain Minor Axioms Of Indie Awesomeness

Folks who really know their way around the Internetses are likely familiar with Cute Overload's objective Rules Of Cuteness, which turn on such things as ear size and -- in the case of the newly inaugurated Rule #38 -- belly roundness. We've long pondered a similar set of axioms for indie rock, although our criteria are so subjective that it doesn't make sense to apply them on the macro level that Cute Overload does. All the same, there are at least several things we take a lot of enjoyment from in indie rock, and they are 1) when a band namechecks itself (the most prominent aspect of an often entertaining universe of meta references to a song being performed), 2) when lyrics mention the act of listening to records or the radio, 3) when singers plead for the object of their affections to change his or her mind and it seems pretty clear that is not going to happen, and 4) the ludicrously over-loud sonic element.

A band can garner style points with specifically clever application of an axiom. For example, the first two words of dearly departed indie rock supergeniuses Haywood's sublime "Take An Inventory" are quite purposefully "Hey would..." Sticking with the 'Wood, one of the more entertaining applications of Axiom #1 is the first line to the relatively rare rocker "Alpenland," which opens with "Calling down to base camp this is Ted..." Readers of yesterday's post regarding Johnny Foreigner know the trio's forthcoming b-side also hits our first axiom. The Concretes' "On The Radio" fairly bluntly satisifies the requirements of our Axiom #2, but of course the grandaddy of this rule is The Replacements' consistently electrifying and dizzyingly poignant "Left Of The Dial." Or maybe The Modern Lovers' "Road Runner." Axiom #3, the sad little rule that nurses a beer quietly at the end of the bar, is found in the indie wild more more often than you'd expect. Our favorite manifestation is in Lilys' peerless classic "Claire Hates Me," but of course there is always the upbeat Sugar tune "If I Can't Change Your Mind." For Axiom #4, we usually think of the ridiculously loud "YOU!" in Dinosaur Jr.'s cover of "Just Like Heaven," or most of the guitar solos on Jon Spencer Blues Explosion's Extra Width, although it's sadly been years since we've heard that record. Anyway, we'll try to point out these various axioms when they come up in the future. Enjoy these MP3s.

Haywood -- "Alpenland" -- Self-Portrait comp [our version is an unmastered pre-release ca. 1997]
Lilys -- "Claire Hates Me" -- In The Presence Of Nothing [still sadly out of print]
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[buy Haywood and Lilys recordings from Insound here and here]

Today's Hotness: The Answering Machine, Adrian Crowley,Ted Pauly

>> Manchester, England-based indie pop quartet The Answering Machine report here that it has been in the studio overnights recently demoing new material. No word on how and when we might be able to get our mitts on it, but with three singles under its belt, we expect the act is poised to release an EP or even full-length recording in 2008. The Answering Machine's third single, "Lightbulbs," was issued in the UK Nov. 5 on Regal. The first two singles, 2006's "Oklahoma" and the transcendent "Silent Hotels," are available for download at EMusic here. We expect it is only a matter of time before the digital music storefront will be offering "Lightsbulbs," as one of the editors over there is a huge fan of the band.

>> This Drowned In Sound item about Adrian Crowley caught our eye because five years ago almost to the day we reviewed the reissue of the Dubliner's debut A Strange Kind for SplendidEZine. We've never followed Mr. Crowley's career closely but one track from A Strange Kind has consistently beguiled us each time we listen to it. It is an ethereal, piano-anchored instrumental called "Trilogy," and we're posting an MP3 of it below. Crowley released his fourth record Long Distance Swimmer Nov. 15 on Tin Angel; his prior records -- including the sophomore set When You Are Here You Are Family recorded with Steve Albini at Electrical Audio in Chicago -- were released on Ba Da Bing! and are available via EMusic here.

Adrian Crowley -- "Trilogy" -- A Strange Kind
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[buy Adrian Crowley records from Newbury Comics here]

>> Former Haywood fronter and current bedroom multitracker Ted Pauly has posted two new downloads to his Last.FM page here. The first is a new 76-second track called "Tomorrow I'm Starting Over," a basic acoustic guitar and vocal number with a bit of a twist: there are two, hard-panned vocal tracks that offer competing strategies for the new beginning. The narratives complement and occasionally overlap. It's clever. The second download is the "Laki F Megamix" of the previously posted (and issued in different form on the allegedly final final Haywood record) track "I'm All About Democracy." The gag here is that the "megamix" sounds like it is just the most-stripped version of the tune, with Mr. Pauly and acoustic guitar getting the job done with quiet determination. You can download both tracks at this link. Here's "Tomorrow I'm Starting Over."

Ted Pauly -- "Tomorrow I'm Starting Over" -- Bits, Bobs
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[MySpace dojo / Last.FM hangar]

>> Glaswegian indie rock trio Frightened Rabbit's holiday single "It's Christmas, So We'll Stop" is available for download at EMusic here, so make sure to grab it before you start burning those indie rock Christmas CDs for your mates.