Showing posts with label Hospitality. Show all posts
Showing posts with label Hospitality. Show all posts

December 19, 2012

Clicky Clicky Music Blog's Top Albums Of 2012: Jay Edition

Clicky Clicky Music Blog Top Albums Of 2012 -- Jay Edition

Man, what a thrilling year of music we had. So many surprises, and so many favorite bands making some of the best music of their careers. It was gratifying to sit and listen to it all go by, to see and feel the shows we were able to make it out to see. But there can only be 10 favorites in our list below, and we're super pleased to be able to share them with you below. We'll reiterate our position: music is important. This thing we all share, the fandom, the making, the considering, the camaraderie of being out in the clubs: you get to a point in your life where you realize how important that is. It's inherently optimistic, in a way, our collective pursuit -- whether that be a pursuit of artistic perfection or the hedonistic thrill of having the music just wash over you -- innit? We thank all of the bands we wrote about this year for inspiring us, and we thank all of you readers for sharing our passion for it all. We're more excited than ever for the future, and as difficult as recent events have been for so many, let's remember: the potential for greater things is always sitting out there. The bands whose albums are below certainly chased that and made good. Take a few minutes to reflect with us upon the best 2012 had to offer.

1. Karl Hendricks Trio -- The Adult Section -- Comedy Minus One

Was anyone expecting a new record from Karl Hendricks Trio back when the calendar flipped to January? Was anyone expecting it to be this great? We're betting for most of us the answer to those questions are no. While we weren't looking, Mr. Hendricks was slowly writing rock hits in his beloved home town of Pittsburgh, at the pace of a few a year by his own reckoning, and retrofitting his Rock Band back to its original Trio configuration. Gone -- obliterated under the delightfully excoriating guitars of "The Men's Room At The Airport" -- are the lighter touch and looser feel of 2007's The World Says, which is a fine record indeed [review], but it didn't contain the sort of mint condition Hendricks losercore found on the Trio's classic records. Does that make The Adult Section a "return to form," a phrase we loathe? Whatever it is, it resulted in a collection of fiery rockers and thoughtful ballads, a collection that was our favorite of 2012. Stream "The Men's Room At The Airport" via the embed below or stream the entire record via Spotify via this link. We were pleased to be able to publish a comprehensive interview with Hendricks in July that you can read right here.



2. Golden Gurls -- Typo Magic -- Self-Released

Ever since Baltimore-based Golden Gurls' record was brought to our attention we have written about it early and often, so it should surprise precisely no one to find it firmly lodged here in the upper echelon of our year-end list. Along with the above-referenced The Adult Section, Typo Negative was among the first things we grabbed (well, you know, digitally grabbed, "grabbed") whenever we had some mental headspace and music-listening downtime, meaning it was the thing we listened to a lot because we WANTED to, not because it was sitting in our queue awaiting our critical attention. The tune "I Can See The City From Here" was one of our favorite songs of the year, but song-for-song Typo Magic is remarkably strong all the way across the record, from the delicately burbling ballad "Cars On Mars" to the cracking anthem "Excited." We reviewed Typo Magic here in May, and published an interview with Golden Gurls' fronter Andrew Mabry right here in September. Stream the whole thing via the Bandcamp embed below.



3. Ringo Deathstarr - Mauve -- Sonic Unyon

Because of a successful PledgeMusic campaign mounted by the band to fund it, Ringo Deathstarr's sophomore set Mauve didn't enjoy the element of surprise as did Typo Magic, which dropped out of nowhere upon on us, but nonetheless the record's length and depth made it incredibly enjoyable. We spun the Austin-based trio's LP constantly during the waning days of summer and into the early fall, side one for days and then side two for days because our turntable is a real pain in the ass to access to rock the flip. No matter. Mauve is bursting with lysergic stargazing rockers ("Slack," "Waste") and dance-inflected, moody groovers ("Brightest Star," "Drag"), and the Deathstarr sounds almost eerily at ease working within its various idioms. Perhaps it is the greater emphasis on ambience and atmosphere that distinguishes much of the music on Mauve from the band's prior releases, but truly nothing seems out of the band's grasp on the record. As such, we're eager to hear where Elliot Frazier and his cohort take the band next. Stream "Rip" via the Soundcloud embed below, or listen to all of Mauve at Spotify via this link.



4. Infinity Girl -- Stop Being On My Side -- Self-Released

What else is there left to say about Infinity Girl? The young Boston band's star has burned very brightly over the course of the last six months on the strength of this record and the band's impassioned live shows. In light of the news that the band is entering a hibernation of indeterminate length, Stop Being On My Side (and the recently issued, sparkling Just Like Lovers EP) takes on even greater importance as a document of a great shoegaze band. It's all about the songs, of course, and readers already saw us name "Please Forget" as one of our favorite tracks of 2012 here. But the record is filled with great music from front to back, until the final moments of "Cannons" fade out. Seeing the band close its EP release show earlier this month with a crushing iteration of that tune was the perfect way for Infinity Girl to close this chapter. Until another one begins, we've got this record, which we reviewed right here in June. We were privileged to publish a long-form interview with fronter Nolan Eley and drummer Sebastian Modak right here in July.



5. Johnny Foreigner -- Names EP -- Alcopop Records

Just having the Birmingham, England-based noise-pop titans come to America would have been enough. That they played our benefit show in Boston early last month was completely unreal and awesome. But to top it off by dropping a sterling EP this fall as well? Johnny Foreigner have always been the band that kept on giving, but despite not releasing a full-length this year we can't help but feel lucky as a fan. The four songs released on Names (three each in the U.S. and the U.K., although one title was exclusive to each territory) are all electric, fist-banging rockers of the first order, and the EP -- the band's fifth -- is another in an impressively lengthy strand of brilliant releases. We reviewed Names right here last month. Stream the whole dealy via the Bandcamp embed below.



6. Big Science -- Difficulty -- Self-Released

It's a very compelling transformation, that evolution of San Diego-based The North Atlantic's post-hardcore/Archers alloy into the brilliant, crystalline, reggae-influenced space pop of Chicago's Big Science. The quartet released in May its debut full length Difficulty, and it is a slow-burning, certified indie rock classic. Drawing from the band's strengths as first mapped on the excellent 2008 EP The Coast Of Nowhere, Difficulty captures the band's music in full, dewy bloom. Opening with the spectral ballad "All Of The Heat Has Escaped" and climaxing with the spine-tingling, wide-screened guitar anthem "Subliminal," Big Science's record was a jaw-dropper at every turn. With its lush sonics and sturdy rhythms, the record is an embarrassment of riches, and certainly one worthy of wider attention and critical kudos. Stream all of Difficulty via the Bandcamp embed below.



7. Swearin' -- Swearin' -- Self-Released

Sometimes we think this record is almost cheating, the way Brooklyn quartet Swearin's self-titled debut LP gives us exactly what we want: great melodies, punky attitude, raw production. And so maybe Swearin' is doing us two great services: not only is it giving us music we love, that reminds us of The Breeders and early Built To Spill, but also it's a reminder that maybe the seriousness with which we typically focus our critical ear upon music can sometimes cause us to miss the point. That point being that great music can also be fun. Not to discredit any of the brilliant songwriting here, or the propulsive energy with which Ms. Allison Crutchfield and her band of merry persons deliver these twelve numbers. For much of the year Swearin' was available as a free download, but it was subsequently released by Salinas Records and is available as an LP or CD right here. It's a crucial record, it includes one of our favorite songs of the year, and you should buy it. In the meantime catch the stream via the Bandcamp embed below.



8. Hospitality -- Hospitality -- Merge

It seems like every year there is one pure indie pop record that comes along and wins our heart outright. And while it was a tight battle for that distinction between this and Allo Darlin's Europe, the ITunes playcounts don't lie, and Brooklyn-based Hospitality's delicious self-titled debut full-length takes the prize. From the odd disco of "The Birthday" to the nostalgic, pretty strummer "Betty Wang," from the shimmering wall of sound in "Argonaut" to the relatively rocking album highlight "The Right Profession," Hospitality boasts gems at every turn that only gained more luster as we listened repeatedly in recent months. Listen to "Friends Of Friends" via the Soundcloud embed below or stream the entire thing via Spotify right here.



9. Ted Billings -- American Bedrooms -- Self-released

Ted Billings' first solo full length is the most recent entry into our list, a feat made possible by the collection's forthright hooks, near-palpable energy and rich narrative. That Boston rocker Mr. Billings was able to turn this set around in only one year after his band Age Rings' epic 2011 release Black Honey -- which was made available as both a double album to Kickstarter backers and an abridged, single disc set released by Midriff Records -- is a remarkable feat. Perhaps the short window of time to work in helped inspire Billings. No matter what incited it, the well-sequenced American Bedrooms is an eminently listenable record, eight tightly composed power-pop songs that inexorably proceed to a startling conclusion in the sweet and dour ballad "Rotten World." Highly recommended. Stream the entire record via the Bandcamp embed below.



10. Everyone Everywhere -- Everyone Everywhere (2012) -- Self-released

Philly-based emo heroes certainly seem to go about things in their own way, be it the clever blog tour that promoted their first self-titled set a few years ago or the fact that its most recent record -- also excellent -- was self-released on the band's own imprint and promoted with a huge UK and European tour months ago, but will only see a local record release show next month (Jan. 19 at The Barbary in Philadelphia). Indeed, Everyone Everywhere has already sold out of its first pressing, and the band hasn't even celebrated the thing in its hometown yet. It's certainly worth the fuss, as the album showcases the band taking its big guitars and punchy rhythms and using them to make a record dealing with markedly more mature issues. Album highlight "No Furniture" was among our favorite songs of the year, and we reviewed Everyone Everywhere [2012] in September right here. Stream the entire thing via the Bandcamp embed below.



October 4, 2012

Today's Hotness: Calories, Hospitality, Fashoda Crisis, Soccer Mom

Calories -- Summer's Not

>> Birmingham, England-based indie punk heroes Calories resurfaced last week with the blistering tune "Summer's Not," a non-album freebie and precursor to the act's planned third full-length. No release date or title for the forthcoming long-player have been revealed as of yet. Interestingly, the band's Facebook page (which lists Calories' interests as "swimming | minimalism") states that Dominique James -- formerly of Sunset Cinema Club and most recently best known as the engineer/producer of a number of Johnny Foreigner recordings -- is now a member of Calories, swelling its personnel to four members for what we believe to be the first time. "Summer's Not" is the first we've heard from Calories since the release of the band's terrific, best-of-2010 release Basic Nature [review], which was issued by Tough Love. The song is no departure from the band's characteristic blend of power, brevity and anthemic melodies. The production eschews gloss in favor of grit and buzzsaw fuzz, feedback flares through the crevices between beats, and chunky bass smacks up against the face of the stereo field. It's a wonderful little number. That "Summer's Not" is not included on the next record would seem a portentous fact: if the band didn't think this song made the cut, how friggin' awesome is this record going to be? We can't wait to hear it. Stream "Summer's Not" below.



>> After spending the majority of 2012 touring behind this year's delightful self-titled full-length, Clicky Clicky faves Hospitality return with a new 7" on Merge, "The Drift" b/w "Monkey," due Oct. 30th. The label has shared the b-side, which we've embedded below, and it's certainly strong enough to have been a lead cut. The tune is a smash, much more like the music from the band's live set we wrote about here last spring than the jazzy acoustics of the band's self-titled debut [review]. Almost certainly energized from their time on the road, Brooklyn-based Hospitality sounds lean and confident, with upfront bass and vocals that are evocative and precise. Fronter Amber Papini's singing twists and questions, while a clean electric guitar stair-steps through the mix, beckoning the listener with fevered New Wave visions. Pitchfork lazily referred to this one as "proggy," and man, is that a shame. To set the record straight, "Monkey" is a tightly coiled bit of brainy pop, unafraid to tread new ground in song structure without sacrificing anything in catchiness or relevance. Like XTC, The Go-Betweens, and this writer's beloved Lilys and The Mabuses, Hospitality are beginning to enter the realm of the chord-geniuses; compositional miscreants too damned smart and playful for their own good, and now apparently the sort of band whose music is tragically confused with that of Genesis or Yes. Prog? Please. Class? You better believe it. Buy the single from Merge right here. -- Edward Charlton



>> On the virtual A-side to its new digital single, "Horatio," notable Southend, UK-based howlers Fashoda Crisis have dialed back (slightly) its characteristic vitriol and raw power to pitch a bizarre tale of demented human/equine co-dependence. It's the same sort of odd, mildly psychedelic narrative that fueled those early, Syd Barrett-penned Floyd singles, although here it is contextualized by a martial stomp. Fashoda Crisis fronter Sim Ralph is easily able to pull it off, as his stentorian declamations are equally as compelling when alternated with spooked whispering and superficially curious ranting ("...education, Education, EDUCATION!"). "Horatio" and its fiery digital flipside "He's Got Gills" feature on the band's planned Jowls Of Justice EP, which will be released on vinyl and as a download by Cognitive Dissonance Records next month; pre-orders will begin shortly, according to the band. In the meantime, stream "Horatio" below. We wrote about "He's Got Gills" here in August.



>> Boston-based noise-rock titans Soccer Mom announced this week the quartet will release a digital single, "Brides" b/w "Canoe," the first new music from the band in more than a year. The tunes will be issued by 100m Records Nov. 6. The band supports shoegazers Young Prism at Great Scott in Boston the prior night, and promised to have CDs of the single available at the show. Both songs have featured in recent live sets from Soccer Mom (indeed, "Canoe" was in the band's set March 30), so fans lucky enough to have seen the band's dominating performances recently will have passing familiarity with them. 100m is already offering pre-orders for "Brides" b/w "Canoe" right here. Get into it. We previously wrote about Soccer Mom's amazing 10" You Are Not Going To Heaven here in July 2011.

September 7, 2012

Today's Hotness: The Raveonettes, The Cherry Wave, Videotape

The Raveonettes -- Observator (detail)

>> We won't go so far as to say we dislike The Doors, as we spent far too many happy times with family in our formative years listening to the act to turn our back on them. There are even songs we look forward to hearing, such as "The WASP (Texas Radio and The Big Beat)" and "Love Her Madly" (particularly the piano playing on the latter cut). But the bloated blues often purveyed by the band now sounds lazy, and the faux mysticism and sophomoric intellectual tripe offered by Jim Morrison, well let's just say that ever since we turned onto alternative and punk music in the mid-'80s we haven't had any time for that. We bring this up because, as we referenced in our review of the new Raveonettes record Observator published by The Boston Phoenix this week, we had a moment of genuine fear that The Doors' influence on Raveonettes songwriter Sune Rose Wagner might alter his band's terrific and fizzy noir pop. In collecting materials as part of our research for the review we noted Mr. Wagner more than once professing taking inspiration from Morrison and company, and we were concerned that influence would manifest itself audibly on Observator. Fortunately, that didn't happen. As we summed up in the Phoenix: "Instead, The Raveonettes here plot the aural dimensions of a timeless autumn. Ever-present reverb casts long chiaroscuro shadows across undeniable pop hooks in uptempo strummers 'Downtown' and 'Till the End.' Observator's melancholy California come-downs are equally arresting, including opener 'Young and Cold,' one of three songs featuring piano (a first for the Raveonettes, now six albums deep" into its career. Read the entire review right here. Observator is a very rewarding collection perfectly suited to the change in season that is just about upon us. Stream the album cut "Observations" via the Soundcloud embed below, or stream the entire record over at RollingStone.com right here. The Raveonettes will perform at Boston's Paradise Rock Club Oct. 7; buy tickets here.



>> The delightfully gnarly noise-pop on the recent self-titled EP from Glasgow's The Cherry Wave captured our interest, as it fires aural pleasure centers first activated in our brains more than two decades ago. Much is made of the more produced and synthetic qualities of My Bloody Valentine’s Loveless, particularly by the many shimmering bands whose work interprets it. However, considerably less focus is placed these days on the early arc of MBV, and the sounds that the fabled act explored before releasing the aforementioned, genre-defining album. It's a shame too, as it's one of the best damn moments in rock music's endless evolution. MBV’s earlier recordings don't hide the band's love of the scuzzy American indie and hardcore underground, inspired as they were by noise rockers like Sonic Youth and Dinosaur Jr. In turn, of course, My Bloody Valentine influenced countless others, including The Telescopes, The Ecstasy of Saint Theresa, and later Male Bonding, and now The Cherry Wave. The Glaswegian quartet, which played its first live gig only last month, extends the fine tradition with its five-song, aggressive and noisy set that affirms once more the practice of marrying blissed chord structures and dejected vocals to punky angst. Opener "Doe Eyes" touts enthusiastic and scraping guitar tracks so clotted with rich grit that they sound three dimensional. Overly dry drum tracks offer an unexpected and interesting contrast to the faraway reverb and trebly guitars on songs such as "Indian Summer." That initially might seem like a music production no-no, but it ends up grounding the mix and emphasizes the dangerous teen-hardcore aspect that lurks throughout this release and gives it real spirit. Grab this "gaze-punk" release from Bandcamp right here for a grand total of... nothing! The EP is slated for physical release on cassette next month via Good Grief (which, we presume, is this). A new EP is expected from The Cherry Wave in December, according to a post on Facebook. -- Edward Charlton



>> Pleasant surprises abound on This Is Disconnect, the full-length debut self-released by Chicago-based guitar-pop quintet Videotape Sept. 4. First there's "Static," the earworm that opens the set, which we discuss further below. Then there's the clear, yet maxed-out production that isn't afraid to keep the guitars panned and big in a way that would make Butch Vig flash a smug smile in his mid-'90s flannel factory. And finally, singer Sophie Liegh's assured vocals are a real treat, pairing less typically feminine affectations and modest allure with precise melodies. Videotape exudes a workman-like quality that doesn't seem as evident in indie music these days as it was in decades past. Of course, this reviewer is thinking of female-fronted mainstays like Throwing Muses or The Breeders, and how those groups never overshadowed their focus and taste with mystery and empty style. Sure, the Chicagoans trade in carefully conceived guitar effects and minor chords, but only to the extent that they serve the song toward building clean and pounding tracks that can appeal to anyone. Aforementioned highlight "Static" doesn't eclipse the two-minute mark, but manages to corral therein a choppy and danceable guitar lead, a demanding verse melody, sudden tempo breaks and an ethereal bridge. "No One" offers hard-hitting grunge slinkiness that somehow still feels fresh (the tune also borrows a fair bit of the great riff from Lilys' slacker-oddball "Evel Knievel"). Elsewhere, "The Creeps" captures what it must be like to have Florence And The Machine attempt the riot-grrrl-politik that characterizes Sonic Youth's Dirty. With all those pop smarts paired with such brevity, one could say that Videotape is a dream-pop analogue to Clicky Clicky-approved indie poppers Hospitality. Based on the strength of This Is Disconnect, it is certainly an exceptional band with big and open aspirations, and we're hopeful that any success they enjoy is indicative of a larger cultural shift toward their noble thinking. Buy the album via Bandcamp right here. -- Edward Charlton

February 20, 2012

Review: Hospitality | Hospitality

Hospitality's eponymous full-length debut imparts a sense of spirit before you've even torn the plastic off, simply via the scene on the album cover. The aging family is a fitting symbol for the music herein; a weathered foursome in a regal plank boat, soaking up the sun on the Hudson's first autumnal days. These are people who have lived, who were wild, and now it's time for them to reexamine the memories of youth.

With an EP already under their collective belt dating back to 2008, Brooklyn-based Hospitality seems to have wasted none of the time between in creating an album of stylish, flashing indie-pop. Dreamy fronter Amber Papini and primary instrumentalists Nathan Michel and Brian Betancourt incorporate strings, odd electronics, and full, jazzy chording into their songs, elements that keep the music unpredictable even within the relatively formal conventions of indie pop.

Papini's voice also sets the band apart. Quite awesomely, according to their press release, "she learned to sing by imitating Richard Butler on Psychedelic Furs' Talk Talk Talk." This is made apparent by her odd inflections and tumbling lyrics, which also recall more recent weirdo coffeehouse singers like Thao Nguyen and Joanna Newsom. Opener and album highlight "Eighth Avenue" offers up a strummy vamp while Papini harps on pinging lines like "out of my twenties and bars and bathroom halls, pass 22 to 44." Lead single "Friends of Friends" [video] features the sort of bright horns and left-turn chorus that Feist has employed to wide appeal. The odd "Julie" touts a lost-sounding melody that recalls The Beatles' "Blue Jay Way," while "The Birthday" builds in a pleasantly abstract manner before a brief shoegaze-styled bliss out. Despite the many surprises, Hospitality are at their best when they keep the tempo up on rockers ("The Right Profession," "Betty Wang") that steer the group away from straight-laced singer-songwriter fare. With such an enjoyable debut full-length, it will be worth the wait to hear the group continue to traverse its unique currents. Hospitality was released by Merge Jan. 31. The band launches an extensive series of tour dates later this month, beginning with San Francisco's Noise Pop Festival; full tour dates are below. -- Edward Charlton

Hospitality: Bandcamp | Facebook | Twitter | Youtube

02.25 -- San Francisco, CA -- Great American Music Hall
02.26 -- Los Angeles, CA -- Troubadour
02.29 -- Toronto, ON -- Horseshoe Tavern
03.02 -- Boston, MA -- Brighton Music Hall
03.03 -- New York, NY -- Bowery Ballroom
03.07 -- New Haven, CT -- BAR
03.09 -- Chapel Hill, NC -- Local 506
03.10 -- Atlanta, GA -- The Earl
03.11 -- Orlando, FL -- Orange You Glad Festival
03.14 -- Austin, TX -- SXSW
03.15 -- Austin, TX -- SXSW
03.16 -- Austin, TX -- SXSW
03.17 -- Austin, TX -- SXSW
03.18 -- Dallas, TX -- Bro Fest
03.20 -- Birmingham, AL -- Bottletree
03.21 -- Nashville, TN -- High Watt @ Mercy Lounge
03.22 -- Asheville, NC -- Emerald Lounge
03.30 -- New Haven, CT -- Toad’s Place
04.02 -- Washington, DC -- 9:30 Club
04.03 -- Philadelphia, PA -- Trocadero
04.05 -- Chicago, IL -- Metro

Hospitality by NYLONmag