Review: Film School | June EP

Rock historians have yet to come to a final consensus on the now-infamous early-aughts post-punk renaissance, which burned brightly in the American underground and elsewhere for a few years before becoming something of a punch line. Still, it is certitude that for all of the more limp major label cash grabs (which spanned from big dogs like Interpol to smaller acts like Moving Units), there were more noble and original artists digging deeper to develop greater insight into influences that others thoughtlessly incorporated rote. To this reviewer's recollection, no artist of the time established a sounder legacy than San Francisco's Film School, a five-piece led by sole constant member Greg Bertens. Though the band released five albums and an EP during its lifespan, its 2006 self-titled sophomore release on Beggars Banquet best captured both the anxiety and delight of the era in its brilliant songs.

On intricate, thoughtful compositions like "Harmed," "Breet," and the bonus-track/career highlight "P.S.," Film School's eponymous effort combined the throaty lilt of Robert Smith with simple bass lines, a shoegazer's sense of guitar texture and the bummed-slacker vibes of '90s rock (the involvement of Pavement members early on in the Film School discography should not be surprising). Following the release of Film School, the lineup shifted and the album's perfect alchemy would not be replicated. By the time the follow-up Hideout appeared in 2007, the band had moved on to a denser and more ethereal sound, possibly to counter a backlash that the movement as a whole was beginning to experience. The band dissolved four years later, and that was the end of that. Until now.

Perhaps in acknowledgement of the legacy of Film School, the band's circa 2006 line-up returns a decade later with the new four-song EP June. The digital release presents the same crystal clear guitar delays and snappy drums, while gothic distortion tones dominate. On opener "City Lights," an epic crescendo of fuzz and cymbals sets the scene. Evoking a night's drive on the Pacific Coast Highway, the tune at least metaphorically assesses the journey of its members; Bertens' echoed vocals join in for a brief refrain. "Give Up" reintroduces the driving post-punk bass and drum work that marked many of Film School's best uptempo tunes; a pinging guitar line in the right channel adds just the right amount of retro and spacey futurism. "Waiting On A Cause" hints at a loungey groove and delivers requisite surf guitar lines. In its simplicity, space and mysterious-yet-hummable chorus, "Cause" is the track that best recalls the sound of 2006 in its yet under-appreciated glory. Bertens mostly sticks to the smooth and silky singing style of the band's later years and slower tracks, and (sadly) eschews the cool croon he commanded so well on the self-titled album (perhaps that smacks too much of the era still). Otherwise, June is a solid rock release worthy of Film School's excellent arrangement and production talents, a release that serves not only as an album teaser, but as proof that the classic lineup's chemistry was no fluke. Purchase June from the band's website right here. -- Edward Charlton

Film School: Facebook | Interpants

Today's Hotness: Sabonis, National Park Service, Media Jeweler

Portland's fledgling Good Cheer Records has in it first year made a name for itself as a bastion for the city's endangered under-age and DIY art communities. For a locale that puts such an emphasis on craft-brewed, alcoholic fun (and the rising rents and privileged patrons that accompany it), there has been a surprising amount of push-back in The City of Roses against some of the more challenging, creative and young individuals around -- a circumstance as unfortunate as it is expected. Thankfully, Good Cheer is fighting the good fight, documenting on cassette some of the more original and energetic guitar-pop bands the city has to offer. Among these is co-ed quintet Sabonis, whose twinkling, self-titled debut EP combines indie pop melodrama with introspective post-hardcore guitar lines. It's a sonic amalgamation that suggests an affinity for the more melodic Mike Kinsella projects, such as Owls and American Football, Clicky Clicky favorites each. The highlight of Sabonis' five-song release is undoubtedly the opener "More Time," in which male and female vocals couple in catchy mantras contemplating an instantly fraying relationship. The clear and sturdy production works wonders to highlight the neatly arrayed triple guitar attack, not to mention the thoughtfulness and subtlety of the lyrics. The deft interplay suggests a unit so capable that it need never resort to heavy handedness. "You left in slow motion, I watched in real time," sing Edward Beaudin and Maya Stoner -– a simple and devastating couplet that emphasizes the group's carefully considered songwriting. The song "Mother Of All Ghosts" rocks to an inevitable tempo, its palpable mesh of guitars and downcast lyrics establishing a mood akin to that of an anxious Interpol b-side Sabonis was issued Aug. 15 in a limited edition of 100 cassettes and as a digital download, either of which can be purchased via the act's Bandcamp dojo. Stream all of Sabonis via the embed below. -- Edward Charlton



In the late autumn of 2013, we were bowled over by the Lakewood, Ohio ambient/experimental project National Park Service and its fantastic I Was Flying cassette. The set's mix of pastoral acoustic looping, post-shoegaze delay guitar, synthetic drones and transporting samples was the perfect headphone accompaniment to the season's crisp, cool air and ephemeral longing. Imagine our delight at recently discovering new music from the mysterious act, a recently issued album called '97 Tracer. The seven-song set surfaced in June, but was superseded by a 14-song deluxe version Aug. 11. The physical release of the latter was issued by PSI Labs/Guest Room Records in a hyper-limited edition of cassettes that immediately sold out; a small number of the original seven-song tape -- perhaps from a second edition of 40 -- remain available; both versions are available as a pay-what-you-like digital download. The opening salvo of each version, "So Fucked Up on Drugs," sets the mood, trading in the carefully multi-tracked approach of Flying for something more live and electric. Speaking of flying, it would be negligence not to mention that the track echoes the early work of Bristol, England legends Flying Saucer Attack in the layered feedback chords and clanging strings marking the tune's first four minutes. After that, surprisingly, a live snare presents in the mix, grounding the piece while reminding the listener of The National Park Service's restlessness. Much of '97 Tracer maps a similar aesthetic, inviting the listener into a world of harsh noises that nonetheless retain the curious beauty of the project's previous work. The title track erupts into squeals before etablishing a low hum as the piece burns away via a steadily crumbling fade. While much of the original version of '97 Tracer concerns itself with crushing volume, the deluxe edition's bonus tracks showcase a softer side. "The Moment Has Passed" resurrects the drums of "So Fucked Up" and contrasts them with looping, rickety acoustic guitars. Highlight "Head Injury" behaves similarly, while setting a pulsing, two-chord guitar and piano groove against a dream-pop background, highlighting NPS' elegant melodies. If I Was Flying was the soundtrack to the feeling of the fall, this new release makes the case for serving as the hot and humid accompaniment to the increasingly fleeting dog days of summer; it's a meticulously arranged monument to the introspection of a very certain moment. Stream and download the deluxe version of '97 Tracer via the embed below, or purchase the original on cassette here while supplies last. -- Edward Charlton



>> Santa Ana, California quartet Media Jeweler caught our attention last month with its spastic, jazzy instrumental track "No Exit," one of three striking preview songs from the foursome's forthcoming debut album $99 R/T Hawaii. The LP successfully captures the very randomness its title suggests; it's due Sept. 18 via Brooklyn's Fire Talk Records. The seven-track blast enlists clean, caterwauling guitar leads and drum rolls to ensnare listeners within Media Jeweler's inspired logic and arrangement sensibilities. A press release referenced members emerging from the ashes of a "revolving door big-band," suggesting the members of Media Jeweler share a background in California post-hardcore or emo, and the band's noodling riffage, wanton horn playing, constantly changing rhythms and sharp, destructive drums cause this reviewer to imagine a killer house-show scene germinated its happy-go-lucky, youthful vitality. The aforementioned tune erupts into such an awesome atonal breakdown shortly after the first minute that this reviewer is fully prepared to invoke the name of math rock gods Polvo. The loping "Passport Invalid" fuses chanted group vocals to the controlled disorder, while the third preview tune "Autopilot" injects James Chance-styled free-jazz energy into Media Jeweler's clanging universe via some inspired horn playing, allowing us to posit a thrilling union of Californian hardcore and No Wave. $99 R/T Hawaii touts excellent production work from certain folks that have worked with Battles and Lightning Bolt (very fitting), and a stunning mastering job from XOQ (Liars, Factory Floor, etc.) further embellishes this impressive collection. The album is available now for pre-order in a limited edition of 200 translucent pink or a standard issue black vinyl 12", or as a digital download. Stream the aforementioned three tracks via the embed below, and click through to purchase. Media Jeweler embarked last night on a strand of west coast dates, which can be reviewed right here. -- Edward Charlton

Today's Hotness: Mahogany, Snowden, Teardrop Factory



>> Like Tom Waits, art-pop concern Mahogany keep getting weirder while staying the same (to whit, Wikipedia describes the once-octet thusly: "an electric music-based multidisciplinary media ensemble currently working in Philadelphia, New York, Chicago, and other locations"). After only faint rumors and dead-ends in regards to the follow-up to their massive, brilliant and still misunderstood 2006 album Connectivity!, the band has finally released a new song. And it's a doozy, too. "Phase Break" is an eight-minute cycle of beats, choruses, and synths that incorporates elements of house music and disco into Mahogany's purposefully modernist, architectural dream-pop. As with "Leo Ryan (Our Pharoah's Slave)" by this blog's beloved Lilys, Mahogany synthesize myriad ideas and carefully constructed sounds into a full-blown mini-suite that plays as much as a mediation and art project regarding a beloved form as it does a coherent piece of music. That, however, is exactly what will likely please patient fans of the Mahogany cult; arguably anyone that fully understands where this band is coming from will appreciate the continued and pronounced proclivity for pop eccentricity. The group -- here just the duo of Jaclyn Slimm and founder Andrew Prinz -- fuses elements of Cocteau Twins bass-chord groove with every manner of analog drum patches, pristine cello work and Ms. Slimm's elegant vocals. At the two-minute mark, the song takes the first of many turns as a funk bass line enters; later, Mr. Prinz's familiar vocals announce the delightful "phase break" chorus. Additional playful twists ensue and exhaust in due course their saturated and crafty intentions, allowing "Phase Break" to meet the lofty expectations of fans who've been waiting on a sign from Mahogany. Incorporating elements of dance music will hopefully win Mahogany an even larger share of fans, although it is the complicated joys of its non-traditional compositions that should really wow admirers. We are eager to hear and see what magic the band conjures next. -- Edward Charlton



>> For many twenty-somethings, the post-punk and garage-rock renaissance in the early years of the new millennium served as an introduction to the wider world of indie music and its antecedents. Sure, those Interpol and Franz Ferdinand albums may have gotten less play once those early dorm parties were over and listeners found, say, PiL and This Heat, but one never forgets their first true loves. Another memorable band of the last decade for many was Atlanta's Snowden, fronted by Jordan Jeffares. The act hasn't released a new full length since 2006's potent debut Anti-Anti on Jade Tree. But come May 14 that all changes, when Serpents And Snakes releases No One In Control, the act's long-anticipated sophomore full-length. Much has changed in the musical landscape over the past seven years, but Snowden's vision remains pleasantly consistent. Indeed, the new collection is a fitting successor to Anti-Anti, and combines moody distorted synth and bass textures with spindly guitar riffs and clean, almost tribal drumming. While the grungy "Hiss" and new-wavey "The Beat Comes" keep the pace up like prior repertoire highlights "Anti-Anti" and "Kill The Power," much of No One In Control abides in a slower tempo that makes the band's dream pop all the dreamier. The synthetic 12-string acoustic atmosphere of "Anemone Arms" echoes '80s alt. acts like Crowded House or The Church; it's an unexpected but well-reasoned reach that works well for Snowden. The opening title track of the new collection even evokes the choral elements of a band like Ride, relying on singer Jordan Jeffares’ syrupy voice, which is glossy and tuneful throughout despite his monotone delivery. Snowden resoundingly delivers the goods on No One In Control, leading one to wonder why Jeffares waited seven years between long players (although, it should be noted there were EPs in 2007 and 2010). Regardless, like an old college friend, it's great to hear from him once again. Snowden embarks on a month-long U.S. tour May 30, and will play a Boston date at Great Scott June 26; full tour dates are posted right here. -- Edward Charlton



Stream all of No One In Control at Soundcloud right here.

>> England’s Faux Discx has been steadily inching up our list of 2013's record labels to watch, given that, as our executive editor so succinctly stated recentky, "it seems to be building a nice little universe of stuff." We first encountered the concern in 2012 when it issued Cold Pumas' excellent post-punk platter Persistent Malaise. On May 27 it will release Brighton, England lo-fi rockers Teardrop Factory's debut, the Topshop EP, in a limited edition of 300 vinyl 7" records. As with the other label signatories (including the brilliantly monikered Sauna Youth as well as Vision Fortune, among others), Teardrop Factory effortlessly combine messy, youthful energy with fully-realized songwriting and rich, analog (sounding) production. The band dares to keep their cards close, and so we're left with colorful intrigue and only one member's first name -- Andy. "Vanity Unfair," the preview track from the EP, is sadly not a cover of the classic single from The Ocean Blue. But it is nonetheless a brief, but gratifying, stormy two-chord rocker. Riding the groove, the singer (presumably Andy) offers a quick spoke-sung verse before his distaff counterpart steers the tune into a relaxed, brooding chorus. Distorted bass chug and reverbed drums (dig that massive wave of washed crash and ride cymbals), lend the tune the flavor of a frenzied live performance. The downcast energy recalls O.G. downer-pop Anglos like Eternal, Secret Shine or Jesus & Mary Chain. The production on "Vanity Unfair" touts a perfectly proportioned blend of hi-fi direction and the full-frequency onslaught of the best lo-fi (which, truly, makes us wish indie groups would ditch the fake "digi-studios" or completely lazy indifference and make stuff like this). The Topshop EP is another winner for Faux Discx, a label that is proving it knows where it's at when it comes to rich, analog guitar pop packaged with a little bit of mystery, a little brashness, and a whole lot of understated class. Pre-order here, and stream "Vanity Unfair" via the Bandcamp embed below. -- Edward Charlton

Review: Frightened Rabbit | The Midnight Organ Fight [MP3s]

Glaswegian indie rock foursome Frightened Rabbit has slowly revealed more and more of itself (in approximate proportion to the almost humorous multiplication of its membership) since unceremoniously shuffling into the consciousness of the American indiescenti in 2006. While the five-year-old band's principals remain cagey about using their last name (for the record: Hutchison, Hutchison, Kennedy; a new third guitarist is named Andy Monaghan, according to Wikipedia), the gradual revelation is audibly manifested in the steady scrubbing away of noise and clamor of Frightened Rabbit's recordings. This cleansing culminates with the release of the trio's spectacular sophomore full-length, The Midnight Organ Fight. The set was recorded by Peter Katis (Interpol in Bridgeport, Connecticut, Mobius Band), and, indeed, his production renders the tracks nearly crystalline.

Not that The Midnight Organ Fight is a pop recording, although founder and fronter Scott Hutchison's tunes fully realized in the studio are stamped with new and sometimes pop-accessible tonality and dynamics -- particularly the excellent mid-tempo thumper "The Twist." We will likely continue to prefer the grittier demo and live version of certain tracks, such as the cataclysmically self-negating "The Modern Leper." Even so, the song's Reznorian lyrics communicate a black desperation -- seriously, have you heard this song live? -- that even Katis' illumination can't brighten. Simply the inclusion of "The Modern Leper" makes The Midnight Organ Fight a remarkable record, although the stark sincerity of Scott's vocals (notably in "Head Rolls Off," when he proclaims "I believe in a house in the clouds," or at the opening of and throughout the standout "My Backwards Walk") gives every Frightened Rabbit number an arresting charm. Disease, inebriation and dysfunction is not new subject matter for the musical underground, although some -- we're looking at you, Mr. Dulli -- tell the story better than others. So it is Mr. Hutchison's confessional earnestness that is perhaps his music's most singular characteristic.

While we were skeptical at first of the clean, crisp sound on this new set, The Midnight Organ Fight is a landmark recording for the band. Where Katis's production really shines is on interstitial compositions such as "Extrasupervery" (which was crafted from the fizzing backing tracks of the aforementioned "The Twist"). Sing The Greys included similar short pieces, but Katis' production transforms the new sketches into potent cinematic moments that harness the band's burgeoning interest in orchestration -- loyal readers may recall the choral flip-side to FR's holiday single "It's Christmas So We'll Stop" -- and steers it toward spine-tingling territory. Such fertile new directions may produce the most stunning Frightened Rabbit work in the future. As unlikely as it sounds, "Extrasupervery" hints at Disintegration-caliber genius. Fatcat releases The Midnight Organ Fight in North America April 15.

Frightened Rabbit -- "The Modern Leper" -- The Midnight Organ Fight
Frightened Rabbit -- "Head Rolls off" -- The Midnight Organ Fight
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[more on this album]

Frightened Rabbit: Internets | MySpace | YouTube | Flickr

Previous Frightened Rabbit coverage:

Today's Hotness: Frightened Rabbit, Distophia, Mobius Band
That Was The Show That Was: Frightened Rabbit | Great Scott
Greys Over America: Frightened Rabbit Prep Next U.S. Onslaught
Frightened Rabbit Releases Sings The Greys In US Oct. 2
Saturday Night's Alright For Frightened: New FR Live Set
Show Us Yours #5: Frightened Rabbit [MP3s]

All The Dreams You Gave Up On, Other Things You Might Have Done

>> Word on the street -- well, in our email -- is that all of the Mendoza Line tour dates we reported about here last week are canceled, despite the fact the dates are still posted on Misra's web site. The TT The Bear's date in late August we've been looking forward to for a while has been excised from TT's web site. And that's all we're going to say about that. The Mendoza Line releases its final record, 30 Year Low, on Glurp Aug. 21. Incidentally, tonight's headline is from our favorite Mendoza Line song, 2000's "I Hope That You Remember To Forget." You can stream the track on Rhapsody here, but you should really just buy the record its from, We're All In This Alone, from Newbury Comics here. In our opinion it is the best Mendoza Line record.

>> Brit post-rockers 65DaysOfStatic's show in Boston last night didn't go off, and the band will miss others due to problems obtaining visas for the U.S. tour. Drowned In Sound reports here that shows in Washington, D.C. and Brooklyn are also in jeopardy, but the quartet hopes to be in the United States in time to pick up the trail at Richmond, Virginia's Alley Katz Saturday. Full tour dates are posted at the band's MySpace casa here. We posted MP3s and a stream of 65DaysOfStatic's most recent album here last week. Yesterday we bought overly expensive tickets to see the band open for The Cure at Boston's Agganis Arena in September.

>> This item isn't completely aligned with tonight's theme of cancellations, but we were tickled to read at Stereogum that our favorite nightly news broadcaster, NBC's Brian Williams, is a bit of an indie rocker and has opinions on the work of musical luminaries including Interpol, Feist and Cat Power. Read the Stereogum item here. Getting back to the theme, maybe somewhere is BW's past he had to give up on his dream. Of ROCKING OUT. Woahhhh.

Today's Hotness: Helms, Interpol, Archers of Loaf

[PHOTO CREDIT: Brad Searles] >> We were intent on seeing Friday night's Callum Robbins benefit without writing about it. Sometimes we just like to go to shows without constantly considering "well, how are we going to describe that?" But, as usual, we feel compelled to discuss the show, held at Somerville, Mass.'s P.A.'s Lounge and arranged by former Karate band leader Geoff Farina. The bill had Drew O'Doherty opening, Mr. Farina and indie rock journeyman Chris Brokaw supporting as a duo (with a record of interpretations of folk and blues classics on the way), angular rock luminaries Helms supporting and noise provocateurs Neptune top-lining. As we've seen Neptune a couple times [one, two] previously, we ducked out before they began. But we were especially impressed with Mr. O'Doherty and Helms. The former is a very compelling singer-songwriter with an effortless baritone not dissimilar to that of Richard Buckner. He had been an unknown quantity to us before Friday evening despite some glowing (and, it turns out, well-deserved) praise coming from The 'Nac.

Helms we've been a fan of since the release of 2002's McCarthy, which we reviewed here for Junkmedia. Friday afternoon we'd gotten a tip that Helms guitarist Sean McCarthy had broken his arm, so we were fearful the band might not play and another chance to see them would elude us. But, not unlike when we saw Neptune open for Mission Of Burma, Mr. McCarthy showed up (we heard it was actually a broken collar bone at the show, and not a broken arm, but still), presumably played through considerable discomfort, and kicked a lot of ass along with bassist/wife (we think) Tina and drummer/brother Dan. Helms was an unstoppable force Friday night, humorous between songs but driving and hypnotic when playing. There's no excuse why we've never seen them all these years, but you can bet we will see them again. And we're buying their latest record, 2006's Secret Doors on History Major Records, as soon as we finish writing this. The band is offering the excellent track "It Takes Skin To Win" as a download at its MySpace wigwam here, and it is one of our favorites, so we'll offer it, too, even though we already did about 11 months ago here. What can we say, we can't get enough. Speaking of digital audio, Mr. 'Nac recorded both nights of the Callum benefits and we expect you will have the opportunity to hear them sometime pretty soon over there.

Helms -- "It Takes Skin To Win" -- McCarthy
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[follow the links at the Helms web site to buy their music]

And because we had joked with Mr. 'Nac prior to the show that we'd donate an extra $10 if Farina played the old Karate classic "Today Or Tomorrow" from 1997's In Place Of Real Insight, here's that track, too.

Karate -- "Today Or Tomorrow" -- In Place Of Real Insight
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[buy Karate records from Newbury Comics here]

>> We finally made it to Newbury Comics Thursday for some record shopping. You are reading the words of the man who received the last Interpol/Newbury Comics co-branded pint glass given away as a promo with the sale of the new Our Love To Admire. We also received with our purchase of Interpol's major label debut a vinyl single for "The Heinrich Maneuver" backed with an instrumental version of the album track "Mammoth." And it was by inspecting the vinyl single that we learned that the latest Interpol set was produced with Rich Costey, who around these parts is best known for producing the Lilys' peerless third record Eccsame The Photon Band. Interesting.

>> Other notes from our shopping trip. We had previously stated that the new They Might Be Giants record The Else was produced by Jon Brion. It was actually produced by The Chemical Dust Brothers [DOH!]; we regret the DOUBLE error. We don't know how we got that into our heads. Oh well. We listened to the record and it falls a little flat in our opinion. Interestingly enough, the set comes with a bonus disc that we enjoy more. It's titled Cast Your Pod To The Wind and it's got a bit more quirk, the compositions seem a little brighter and sharper and have a bit more of the duo's characteristic humor. So there you go.

>> Hey, did you know that Last.fm offers on-demand streams of some of the Archers Of Loaf's catalog, including the vinyl singles? Not only that, but also the social networking site offers downloads of a number of Archers tracks, including "Step Into The Light" and "Harnessed In Slums," the first two cuts of the excellent 1995, Bob Weston-recorded masterwork Vee Vee. And certainly if you've never heard "Web In Front" and "Wrong" from the band's debut full length, Last.fm's got free downloads of those, too. "Web In Front" might be the quintessential '90s indie rock track.

>> A couple odd requests: anybody have an MP3 of Lint's one-sided 7" "Fifth Floor," released on Plumb Records in 1996 or so? For those of you who don't recall it, there is more information here, including this description: "Lint is a "supergroup" of sorts. Members of The Swirlies, Spore, Milkmoney, Victory At Sea, SK-70, Landfill, AM Stereo, Grace Budd and more get together to play music unlike anything else they do... every song features a different singer and somewhat different sound." We're also hoping someone has ripped an old 7" by a band called Retriever for the song "Q-Tip." Get in touch if you've got the songs handy. It's been years since we heard them, and we've lost the cassette we recorded them to in college.

Today's Hotness: Spoon, Fugazi, Christie Front Drive

>> Have you been saving your shekels (or Koomzles) for the big new release day tomorrow? We'll likely step out for the new Interpol set, hoping that Newbury Comics is offering it at a good discount. In our estimation, however, the biggest release is the new Spoon set, Ga Ga Ga Ga Ga, which we've been listening to daily since the promo arrived. A truly superlative effort, wall-to-wall, song for song, with typically tight, deconstructed pop songs and really engaging production. Our pre-order arrived Saturday. It was packaged with the bonus disc Get Nice, which we can report is almost as forgettable as Ga Ga Ga Ga Ga is unforgettable (sorry guys). It's certainly an interesting listen, but the only track we imagine we'll be returning to is the demo version of "You Got Yr. Cherry Bomb." Anyway, as far as other new releases, we imagine we'll grab the new Buffalo Tom after reading a lot of good things, and maybe the new They Might Be Giants because it was produced by Jon Brion and is supposedly a bit of a rock record. And that'll be that.

Spoon -- Ga Ga Ga Ga Ga [album stream]

>> Pre-orders are now being taken for Glen Friedman's very promising book of Fugazi photos titled "Keep Your Eyes Open." The hardcover streets Sept. 3, costs $30 and includes about 200 images spread across 112 pages. Perhaps equally as exciting is noted raconteur and former Nation Of Ulysses and Make Up fronter Ian Svenonious has penned a 6,000-word essay included in the book. There's more info here.

>> Although the news broke last week, we feel it is worth noting that superlative second-wave emo giants Christie Front Drive will reunite for a single, all-ages performance Sept. 1 at DenverFest III. Needless to say, kids on the message boards are going nuts, and prepping for long drives. The Denver-based quartet broke up in 1998. Its split 10" with Boys Life, released on Crank! in April 1996, is among the best 10" records ever released. The record is out of print -- not sure if that goes for the CD version we picked up several years ago, too. But in the event you've never heard Christie Front Drive, this is our favorite jam of theirs, as we'll throw in Boys Life's obliterating "Two Wheeled Train" from the flipside to boot:

Christie Front Drive -- "Valentine" -- Christie Front Drive/Boys Life split 10"
Boys Life -- "Two Wheeled Train" -- Christie Front Drive/Boys Life split 10"
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>> A local note for Bostonians. After an interminable renovation, one-time dive live venue O'Brien's in Allston Rock City is set to re-open. The only venue we've ever played at twice. More details at The Phoenix here.

Today's Hotness: Frightened Rabbit, The Beatings, Assembly Now

>> BrooklynVegan isn't saying how it knows (oh wait, here is the confirmation at Fat Cat)... Anyway, BrooklynVegan reports here that roundly excellent Glaswegian indie trio Frightened Rabbit has signed to Fat Cat, which is already home to acts including Mice Parade and The Twilight Sad. Frightened Rabbit's debut Sings The Greys, yet to be released in the U.S., is currently being remastered by indie go-to guy Alan Douches, and Fat Cat plans to issue the remastered version this fall. That release will be preceded by a single, the album track "Be Less Rude." The band is working with producer Peter Katis (Interpol, Mobius Band) on material for a sophomore record. We've already heard some demos of new stuff and can say there are hot songs in the works. You can download Frightened Rabbit's original three-song demo from Fat Cat's demo archive here. The band has one U.S. date slated, June 24 at the Mercury Lounge in New York. Here's an MP3 of "Go Go Girls" from the 2006 issue of Sings The Greys, courtesy of the upstanding citizens over at the Self Starter Foundation.

Frightened Rabbit -- "Go Go Girls" -- Sings The Greys (2006)
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>> A lot of news out of the Midriff Records camp. About 18 months on the heels of the release of the record that spawned it, Boston noise-rock quartet The Beatings' blistering fist-pumper "Feel Good Ending" has been given a video treatment. The tune was one of several highlights of the 2006 release Holding On To Hand Grenades, and you can watch the video clip here. As we reported previously, The Beatings have begun work on the follow-up to Hand Grenades. You can see forthcoming tour dates at the band's MySpace lean-to here. Beatings side project E.R. will release an digital-only EP entitled ...And The Thunder Chief June 26. The short stack features five new tracks and will only be available via the Midriff Records web site. And finally, The Spanish Armada, the most recent backing band of E.R.'s Eldridge Rodriguez, will release an album on Midriff this fall. Dig the video for "Feel Good Ending"? Here's the MP3:

The Beatings -- "Feel Good Ending" -- Holding On To Hand Grenades
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>> That forthcoming Assembly Now single we mentioned last week? It's going to be for the track "Graphs Maps & Trees," which has been streaming for some time on the London quartet's MySpace player. The single will be issued in early August on 7-inch vinyl. Once the vinyl run is exhausted, the tune will be available for sale via digital storefronts including ITunes. This all according to a MySpace bulletin from the band a week ago.

>> Pitchfork reports here that Pink Floyd's 1967 debut The Piper At The Gates Of Dawn is being expanded and reissued by EMI. The three-disc set will contain stereo and mono mixes of the album, four singles from that period, and other rarities. Full details here. We already bought one reissue of the album, and we don't think we need another one. We'll see.

>> Our new favorite podcast? Glad you asked. Apparently the Touch label has had a podcast going back to 2005. We just got on board with the most recent episode, which is field recordings from the Island of Islay in the Scottish Hebrides. There's a bit too much narration for our tastes, but I guess with field recordings you do need a certain amount of context. But anyway, check out the site for TouchRadio here, and try a few of the podcasts. We're digging episode 25 -- it's like the last minute of "CBS Sunday Morning" where they show wild red foxes just chillin' for sixty seconds, except longer.