Today's Hotness: Spectres, Soft Fangs, Wet Trident

>> As a publication we try not to let ourselves get blown away by much, so our sensibilities can stay finely attuned and able to identify the truly special stuff when it comes along. With that said, we are blown away each and every time we listen to the new, debut full-length from Spectres, a gloriously noisy and astonishingly ambitious set of hard psych and noise-'gaze called Dying. Spectres is a Bristol, England-based quartet and their record is among the strongest debut sets we have ever heard. Dying is populated with tunes that echo the West coast-styled blues undertones of The Warlocks as well as the ecstatic noise of Sister-era Sonic Youth and JAMC. So often we talk about texture as an aspect of a thing, but it is exceedingly rare when a record is so dominated by texture in such an enjoyable fashion: herein feedback and discord regularly stretch across minutes and up against the stereo field as a steady rhythm section reliably propels the compositions. Dying situates the listener neck deep in a cacaphonous, bluesy doom so attractive and entrancing that you won't want it to end. The foursome is at its best when it stretches out into the LP's longer songs, including the ominous "This Purgatory" and "Blood In The Cups," where Spectres establish persistent grooves and adorn them with beautifully, provocatively splayed noise. Closer "Sea Of Trees," which clocks in at more than nine minutes, is epic in every sense of the word. The tune touts a relatively placid, meditative opening, layers in lead guitars and panned noise and dreamy, buried vocals, and then unfurls stunning curtains of blissful blammo beginning at the three-and-a-half-minute mark. A few minutes into that assault one just might start seeing the fabric of the universe, the meaning of everything, dolphins. It's complete madness. It's a joy to behold. Hide your children and your pets. London-based Sonic Cathedral issued Dying earlier this week on 12" gatefold vinyl, CD and as a digital download, and it is worth pointing out that a deluxe edition of the LP comes with a ouija board. Or it did -- according to the Sonic Cathedral digital storefront the LP, which was pressed to translucent gray vinyl, is already sold out, after only being officially on offer for two days. It looks like one can still acquire it on black vinyl (probably without the ouija board) at the moment via the Rough Trade shoppe, but you had better act fast. Spectres are presently engaged in a tour of the UK that persists through the weekend, takes few days off, and then runs until 7 March; take a look at all the tour dates right here. Buy Dying from Sonic Cathedral on LP or CD here; the digital download can be snatched via the Bandcamp embed below. We give this set, which was mastered by Spacemen 3's Sonic Boom, doncha know, our very highest recommendation.



>> Mid-fi bedroom pop is having a moment... although we suppose it is always having a moment. But what with the popularity of pensive millennial balladry from operators like Alex G, RL Kelly and Cloud's Tyler Taormina, it feels like there is a new and contemporary shape to things. Brooklyn, of course, is well-represented in what we'll haphazardly call a movement, and notably so by Massachusetts native John Lutkevich, who operates under the nomme de guerre Soft Fangs. It's more accurate to term Mr. Lutkevich's work attic pop, as he recorded the bulk of his self-titled, five-song debut EP -- which recently sold out of its initial run on cassettes issued by Seagreen Records -- under the eaves of his parents' residence. Subdued guitars, pensive lyrics and persistent ride cymbal rule the collection, which thrives on strong melodies and a palpable late-night vibe. "Dog Park" is led through a light bounce by acoustic guitar chords; the arrangement is appointed with quirky analog-sounding synth and nostalgia-inducing twelve-string (or emulated twelve-string) leads. The highlight of the collection is the 'gazey strummer "You're The Best," which boasts the EPs most sturdy rhythm tracks and explodes into thundering choruses splashed with buzzing and vibratoed guitar chords. "You're The Best" is perhaps the loudest and most dynamic tune because it is the only one from the collection not recorded in the aforementioned attic. Instead, the song was tracked at Norwood, Mass.'s Hanging Horse Studios. Attentive readers may recall that this is the same studio where rising Boston indie-punk threesome Julius Earthling recorded its debut EP For. Additionally, Soft Fangs was mastered by Bradford Krieger, who also mixed, mastered and took a production credit on For, for those of you keeping score at home. Soft Fangs' debut EP was reissued by Disposable America Feb. 21 as a limited edition 7" vinyl record, limited edition cassette, and digital download. The 7" is pressed to black media in an edition of 200 pieces, and 100 cassettes are on offer, with those miraculous little reels of magnetic tape encased in red plastic. Buyer beware: the 7" does not contain the very solid track "Believers," so completists may want to opt for the cassette or, we suppose, both the cassette and vinyl. Lutkevich recently recorded a shoe-brand sponsored session, so we suppose those recordings may see the light of day sometime; here is a video of him performing "Point Of View" during the session. Stream all of Soft Fangs via the Bandcamp embed below, and click through to purchase the set from Disposable America.



>> Depending on which publications you read in certain early days of the '90s, the prevailing wisdom was that the primary front in the indie rock revolution was strung out along the I-40 in North Carolina. There labels like Mammoth and Jettison turned out big-guitar sounds from luminaries and shoulda-been luminaries like The Ashley Stove and Finger and Pipe. A new act out of Portland, OR called Wet Trident sounds as if it were put in cold storage in '92 down North Carolina-way and is only now emerging to learn what hell the Internet and reality television has wrought. Wet Trident is fronted by Matt Dressen, who Clicky Clicky readers likely know better as the drummer for Portland dream-pop goliaths Lubec; indeed, Mr. Dressen is ably abetted by certain of his Lubec cohort here. But the slacker anthem sound Wet Trident nails on its new tune "Stove Prairie Road" is scruffier, more direct and dare we say more Bachmann-esque, driving the rising riff from Los Campesinos!' "Romance Is Boring" straight down to the bottom of the bottle for that last warm sip of beer. For whatever it is worth, Google tells us that "Stove Prairie Road" is apparently a popular biking route in Colorado, which is not terribly near either Portland or North Carolina. But more importantly for our purposes, "Stove Prairie Road" is a very promising preview track from a planned EP from Wet Trident called Power Fails And Other Foreign Delights. There's no word on when the full EP will be available, but if you keep pressing play on "Stove Prairie Road" via the embed below, we are fairly certain it will turn up eventually. Power Fails And Other Foreign Delights was recorded with Portland's go-to engineer and producer Robert Komitz at the Frawg Pound.

Review: Benjamin Shaw | Goodbye, Cagoule World

It's a long rain jacket, is what a cagoule is, to answer what is likely the first question any American has about this record. The second question is probably something along the lines of "Benjamin who?" Even so, longtime Clicky Clicky readers will recall Benjamin Shaw's sublime 2011 set There's Always Hope, There's Always Cabernet [preview], and perhaps other of his releases. Mr. Shaw, simply put, is among the best London has to offer, a songwriter both morose and sly, a man whose ghoulish songs are stunning, detailed tableaus of rich absurdity, beautiful putrefaction and boundless despair. While it is not sonically as of-a-piece as the aforementioned Cabernet or the fantastic 2013 instrumental set Summer In The Box Room, Shaw's latest long-player Goodbye, Cagoule World is nonetheless a marvel, illustrating both the breadth and depth of the talents of this underlooked fun trick noisemaker.

The record features Shaw's characteristic, charmingly dour reportage on slow doom and slower decay, around which he has arranged into an immersive aural collage a surprising and rich array of exquisitely crafted sounds. There's the lonely vibrato guitar leads quietly hammering themselves in the head, and the demented and aimless saxophone, in "Always With The Drama." The mid-tempo, canned swing of "Break The Kettles And Sink The Boats" hints only slightly at the shuddering boxed rhythm that opens the instrumental "A Day In The Park." But as good as Shaw's instrumentions sound, it is his incisive and decimating lyrics that resonate most powerfully. After a protracted, spectral introduction, the album opener "No One" presents a vivid, indeterminate and potentially terrifying narrative with only a single lyric: "No one can love you like I do, 'cause you never, no you never, leave the flat." Is this a description of a quiet, prim relationship? The quiet taunt of captor to captive? Whatever is happening in the song, it has taken the last great single-lined song -- Built To Spill's towering (and apparently rarely performed) "You Are" from 2001's Ancient Melodies Of The Future -- and bent it tantalizingly toward Shaw's "Endgame"-esque aesthetic.

This is not to undersell Shaw's penetrating wit (we'll leave it to Audio Antihero to do the underselling -- OOOH BURN! -- Ed.). As beautiful and human as the aforementioned moments are, the easy lilt and sardonic lyrics of the booby-trapped "You And Me" make it the closest thing to a pop hit among the songs of Goodbye, Cagoule World -- while, of course and in true Shaw fashion, aiming to torpedo pop convention. Over a serene epilogue, a bed of wavering synth tones that recalls the bed of Hypo's microhouse anthem "Nice Day," Shaw bullet-points the makings of a lamestream lyric: "so here's a line about the system, and here's a line that's quite funny, and here's a pop culture reference, and a lazy refrain, like 'you and me.'" Shaw's distinctly smart and singular voice -- whipsmart and deeply affecting, and we're using "voice" in the figurative sense here -- puts him in the rarified company of non-hitmakers of the day including Krill's Jonah Furman or Los Campesinos!' Gareth Paisey.

Goodbye, Cagoule World will be released as a compact disc and digital download by the aforementioned, venerable mess of a label Audio Antihero April 21. The first 100 pre-orders of either format will also receive a Benjamin Shaw-endorsed stress ball, if they click the correct button on the Bandcamp page here. A stress ball seems rather ridiculous given the transcendent futility consistently portrayed in Shaw's music -- so wait, maybe it's perfect, actually. The release of Goodbye, Cagoule World will be feted at a show April 29 at Servant Jazz Quarters in London, but if you'd prefer not to wait as long as all that, Shaw will also appear Wednesday at London's Ivy House. For the time being, the entirety of Goodbye, Cagoule World can be stream right here at GoldFlake Paint. We've also embedded the title track and "You And Me" for your listening pleasure below.

Benjamin Shaw: Bandcamp | Facebook | Internerds | Soundcloud | Twonger

Previous Benjamin Shaw coverage:
Today's Hotness: Benjamin Shaw
Benjamin Shaw | There's Always Hope, There's Always Cabernet
Today's Hotness: Benjamin Shaw

Clicky Clicky Music Blog's Top Albums Of 2013: Jay Edition

More so than in any of the 13 years in which we've devoted too much time to writing about music, it feels silly to pick the best of it for 2013. So much of what we heard this year was wonderful, and the year certainly exceeded our expectations. This despite our fervently held belief that there is *always*, every year, an abundance of excellent music waiting to be discovered; the trick is finding it. Which is kind of why this blog is here. And while we struggled with tough decisions that excluded deserving acts including Fat History Month, Heyward Howkins, It Hugs Back and Bent Shapes from the final top 10, well, dammit, rules are rules. We're going to have one more year-end list coming by the end of the week, top albums selections from our indefatigable Staff Writer Dillon Riley. Before we let you get to Executive Editor Jay's picks below, we want to take this opportunity to thank you for reading Clicky Clicky Music Blog. We try to do things a bit differently here, by offering more insight and analysis, more background and context. We hope the quality of the product makes reading about music here something you value. And another quick thanks for everyone, both bands and fans, who supported the Lilys comp And I Forgot A Long Time Ago How You Feel, as well as the Community Servings benefit show we presented last month. Music is important; we believe that with every fiber of our being. It matters. Below is a list of the albums that, in Jay's estimation, mattered the most in 2013.

1. Speedy Ortiz -- Major Arcana -- Carpark Records

While success outside the four corners of the record sleeve isn't something our year-end lists take into consideration, it's hard to draw any conclusions other than 2013 was owned by Speedy Ortiz, one of the hardest-working rock bands in the rock music-making business. Within the four corners of the record, it is easy to hear why: Speedy Ortiz makes the sophisticated sort of guitar music we want to listen to a lot. Indeed, Major Arcana, with its full-frontal guitars, churning rhythm section and engaging articulations of frustration and decathection, is immediate and gratifying. To paraphrase a singer from a different band discussed below, there ain't a stinker on it. We reviewed Major Arcana for Vanyaland right here in July; buy it from Carpark Records here.





2. Krill -- Lucky Leaves -- Self-Released

"Just go ahead, climb into my head," is what Lucky Leaves seems to say, leaning down and tipping its comically over-sized cranium toward you, snapping the clamps behind the ears upwards and open, and lifting off the top. "It's kinda weird in here," it goes on, although it is kind of hard to tell whether the record is talking to you or itself when it says that. "Never mind the other dude in there, he's harmless. He's actually got a pretty good band, you should check them out... though he said something about them breaking up? Half the time I don't know what he's on about." We reviewed Lucky Leaves here in June; buy it here (and tick-tock: we're given to understand there are fewer than 40 copies of the first vinyl pressing left for sale).



3. Veronica Falls -- Waiting For Something To Happen -- Slumberland

This was our go-to record for the first half of 2013, and we continue to put it on often. Eminently listenable British guitar pop. The songwriting on the album is so strong that the album feels like a singles compilation. What's more, Waiting For Something To Happen features one of the very best songs of the year, the wistful ode to young love "Teenager." The nagging question of seeing this record at number three on the list is whether that placement, ultimately, can be traced to the enjoyment we got seeing or otherwise interacting with the members of the bands mentioned above. Whatever the reason, the aggregate play counts across ITunes, etc., don't lie. This record is so good even Clicky Clicky Mom liked it when it was played during her visits to HQ; a fairly rare feat, this liking (it was accomplished previously by two admittedly amazing records, Okay Paddy's The Cactus Has A Point -- link -- and Spoon's Ga Ga Ga Ga Ga). Buy Waiting For Something To Happen from Slumberland right here.





4. My Bloody Valentine -- mbv -- Self-Released

We recently discussed mbv with a friend, specifically its surprise release -- and everyone's mad dash to the My Bloody Valentine web site to purchase and listen to this tremendous new collection -- and how that release has been one of the very few communally shared experiences in modern indie rock. That pulse-pounding excitement was totally appropriate, especially given how great mbv is, and the dissonance of that excitement butting up against such a serene-sounding album opener, "She Found Now," perhaps only heightened the experience. My Bloody Valentine's follow-up to its legendary Loveless is terrific, offering not only familiarity (with its cooed vocals and bending guitars), but also an explanation of sorts ("In Another Way" manifests Kevin Shields' purported fixation with jungle, albeit years and years and years after that fixation was a topic of conversation). As gratifying as mbv is, perhaps most gratifying of all is Mr. Shields' uncompromising approach to the business of music; we'd say "outspokenness" if perhaps he spoke more often, although the interviews he's given over the past year are all amazing. Shields' is a singular sonic vision, and hopefully one that will be as inspiring to bands as Loveless has been. This 2013 collection extends and burnishes the deep MBV legacy; buy it here.



5. Los Campesinos! -- No Blues -- Wichita/Turnstyle

Big, bold and beautiful is what this is. While we are still unsettled by the revelation that No Blues was almost not made (the band had apparently considered hanging up its boots), that doesn't in any way diminish how enjoyable it is. Indeed, it's as accomplished a collection as Cardiff-based Los Campesinos! has made. The singles still punch hard, the album cuts are just as rich and soundly conceived. Fronter Gareth Campesinos' lyrics remain sharp and affecting, a feat all the more impressive given his stated practice of writing them as late as possible into the recording process. Let us not overlook just how neat a trick it is that so many of the lyrics center around football, yet still communicate as strongly as when he addresses affairs of the heart (perhaps it is no trick: football -- that's soccer to you, Yank -- is an affair of the heart to Gareth). The single "Avocado, Baby," with is ridiculously catchy chant, just missed our year-end songs list, and other album highlights include "Cemetery Gaits" and "What Death Leaves Behind." We reviewed No Blues here last month; buy it from the band right here. Los Camp play a rare Boston date next month.





6. Radiator Hospital -- Something Wild -- Salinas

Now that we have published our year-end songs list, wherein we disclosed that we favored this collection over even the dynamite releases by scenemates Swearin' and Waxahatchee, it's probably little surprise to find Radiator Hospital sitting here. Call it pop-punk, call it emo, it doesn't matter: Something Wild is fun and emotional and engaging (not that those aforementioned collections from the respective bands of the sisters Crutchfield aren't these things; we just listened to Something Wild more, and math counts). Our own Dillon Riley reviewed the set right here in July; buy it from Salinas records here.



7. Calories -- III -- Self-Released

Here is the third of three self-released records on our year-end list, which, of course, says something about the Music Industry of Today. However, this is not the place for a dissection of the challenges faced by bands trying to sell music. Even so, when something as objectively super and as wildly ambitious as Calories' III isn't the subject of a label bidding war, we start to wonder what the hell is wrong with the world. III is the foursome's most confident and rewarding to date, building up from the stoney foundations of the monolithic post-punk of its early years to embrace looser structures and more varied aural topographies. Somewhere along the way Calories started to sound haunted; at the same time the band started to engage a yen to fluidly jam across larger and larger stretches of time. Now vocals are subdued, guitars are just as likely to be acoustic as electric, but the potency of Calories music is not diluted. The greatest cut from III, the amazing, 10-minute closer "Tropics," is almost an album unto itself. The tune commences with broad distorted chords, crashing symbols and forefronted oohs, shifts into a steady four-four rocker for a minute, and then transforms into a spiraling, poignant final movement that stretches across almost eight minutes. That tune in and of itself is worth about 10 bucks, but you can download III from Bandcamp here in exchange for as much money as you care to pay for it.



8. Ovlov -- am -- Exploding In Sound

The conventional wisdom among the indiescienti is that -- from a label standpoint -- 2013 belonged to Exploding In Sound Records, who issued not only Ovlov's am, but also Fat History Month's blindingly brilliant Bad History Month, and Kal Mark's Life Is Murder, among other fine sound recordings. Ovlov's noisy hooks on am are undenible, despite the aural sludge in which the Connecticut trio encases them on belters like "Nu Punk" and the cataclysmic opener "Grapes." Vintage Dinosaur Jr. is a popularly applied reference, but Ovlov's vibe is less backwoods goth and more conventional (the opener's melody, reinforced by backing vocals from Speedy Ortiz's Sadie Dupuis, echoes great tunes by more pop-leaning Clicky Clicky faves The Wannadies and Projekt A-ko). The music on am shakes and shudders with desperate energy, fuzz flies off the guitars and cymbals, and the whole waxy ball of wax is anchored to punishing snare hits and fronter Steve Hartlett's Mascis-esque yowl. All of which makes the record endlessly listenable. Buy am from Exploding In Sound right here.



9. Guillermo Sexo -- Dark Spring -- Midriff Records

Diving deeper within to explore sounds and textures in the studio, Boston psych-rock unit Guillermo Sexo yet maintain an admirable level of focus, which is brought to bear on the urgent and dreamy material on its fifth long player Dark Spring. The remarkably varied album touts two seven-minute-plus opuses (inluding "Meow Metal," which was recognized in our year-end, best songs list) that speak to the band's confidence and willingness to stretch out and chase ambitious ideas. The set's first third, however, features a slate of immediate and more concise rockers. The collection has a classic '70s feel, adventurous and with an almost narrative quality, making it perhaps the most "albumy" album on this year-end list. We reviewed Dark Spring right here in September; buy it from Midriff right here.



10. Joey Sweeney -- Long Hair -- La Société Expéditionnaire

Long Hair is like an old friend, almost literally: Joey Sweeney's only other solo set, the excellent Heartache Baseball, was released in 1995. That's basically a lifetime ago, during a figurative pause between his most well-known bands Barnabys and The Trouble With Sweeney, the latter of which released its final recording almost a decade ago. This new and fresh solo collection has shed the youthful confusion, dyspeptic romances and coffee nerves that concerned Mr. Sweeney as a younger songwriter. Long Hair, instead, is confident and amused by life, and only a little world-weary. The well-measured, nicely orchestrated set distills decades of Philadelphia's rock and pop into nine songs that feel like a memoir: here is the park where the toughs trashed Sweeney for having new wave hair; there is the bar where the sweetest romantic conquest lifted a heavy heart. The record is highlighted by what might be the most direct piece of songwriting on the set, "Records And Coffee," Sweeney's ode to reliable comforts -- which is what Long Hair turns out to be. Stream selections from the record below, or the entire shebang gratis via this link to Emusic.com. Buy Long Hair here.

Review: Los Campesinos! | No Blues

Attentive readers will notice that, for all the plaudits we've bestowed upon what we'll call the modern Los Campesinos! catalog, we've not actually reviewed said records. That lack of critical attention is inversely related to the great esteem in which we hold the records in question. Part of our absence of engagement with the long players Hello Sadness and Romance Is Boring -- each among our favorite records of 2011 and 2010, respectively -- is certainly related to lack of time, to be sure. But there is a larger reason: the aforementioned albums, as well as the we-refuse-to-call-it-an-album album We Are Beautiful, We Are Doomed, represent a sort of critical absolute; to a certain extent, if not flat-out perfection, they are certainly a benchmark against which all other records released in those years are measured. The Cardiff-based indie rock act's clever orchestration, terrifically sophisticated lyrics, impassioned performances, sweeping dynamics and powerful and palpable emotional impact, well, very few do it as well, and it would be hard to convince us that anyone does it better.

Even so, while it is a remarkable and bracing collection worthy of similar consideration and accolades, none of the above is the first thing we think of when we listen to Los Campesinos!' latest collection No Blues. What we think about most often is that we can't believe the record almost didn't get made. Indeed, tucked into the band bio distributed to the press is the startling revelation that Los Campesinos! nearly called it a day prior to the making of No Blues. To whit, here's a quote attributed to guitarist Tom Campesinos!: "We'd spent a lot of time in the months leading up to recording deciding if we should continue with the band at all." This is a bottomless bummer, as it underscores that a day will come when there is no band called Los Campesinos! Not a surprise, sure, bands come and go, but the realization provides an additional slant to the lyrics "we all know we're gonna die, we're a speck of dust..." from the chanted chorus of the No Blues album cut "A Portrait Of The Trequartista As A Young Man." Of course, that lyric is probably about some English footballer, which is another reason we've historically been reluctant to analyze Gareth Campesinos!' lyrics in the "modern" era, as interviews repeatedly indicate -- and the aforementioned band bio emphasizes -- that his lyrics are just as likely to be about sport (OMG did MTV really use the phrase "bro down" in relation to Los Camp... ugh -- Ed.) than affairs of the heart. Indeed, the swaying ballad "Glue Me" includes the line "I'm diving into headers, put this pretty face where the boots are flying in," and, of course, "we connected like a Yeboah volley."

But -- quite obviously, yes -- what makes Los Campesinos!' music succeed is what makes all music succeed: how it is perceived and received by the listener (whether or not that listener knows who Tony Yeboah is). They just happen to succeed more readily, as they stand head and shoulders above the majority of their contemporaries. Despite operating at that elevated level and making "serious albums" -- whatever that means -- for the last five years, the sextet remains remarkably deft at crafting singles as potent as the fizzing, lighter fare with which it made its mark. No Blues' singles are the undeniable anthem "Avocado, Baby" and the bubbling, mid-tempo gem "What Death Leaves Behind." Many songs could claim highlight status on No Blues, as strong as it is, but perhaps the most obvious single would have been "Cemetery Gaits," which both puns on a Smiths classic and builds a droning, synth-spangled verse from a guitar part that recalls The Cure's absolutely crushing "To Wish Impossible Things." The album closes with the fittingly final-sounding "Selling Rope (Swan Dive To Estuary)," an uptempo confessional that is remarkably bright and cheery given the events described and the troubling, irksome possibility: might this be the last recorded song we hear from Los Campesinos? In terms of theme, it reminds of Frightened Rabbit's devastating "Floating In The Forth," with its imagery of flinging one's self into a body of water to end things. "Selling Rope" seems to describe a suicide ignored: "there's no ticker-tape, no golden gate, no carnival and no parade, just one, one for sorrow." We're hopeful that the excellence of No Blues gains whatever recognition and success is necessary to ensure that Los Campesinos! doesn't slip from our figurative grasp, and into a sea whose bottom is already littered with the wrecks of countless rock bands. Because losing Los Campesinos! would hurt to a degree not inverse to the deep joy its music has brought us.





Los Campesinos!: Tumblr | Facebook | Soundcloud

U.S. Tour Dates:
01.21 -- Boston, MA -- Paradise Rock Club (w/SPEEDY ORTIZ for fuck's sake)
01.22 -- New York, NY -- Irving Plaza (w/ SPEEDY AGAIN, egads)
01.23 -- Washington, D.C. -- 9:30 Club
01.25 -- Chicago, IL -- Metro

Selected Prior Los Campesinos! Coverage:
Los Campesinos! Fifth Album No Blues Due Oct. 29
Be Prepared: Los Campesinos! | Hello Sadness | 14 Nov.
Los Campesinos!/Johnny Foreigner 2010 US Tour Announcement
YouTube Rodeo: Johnny Foreigner, Gareth "In The Bullring"
Today's Hotness: Los Campesinos!

Los Campesinos! Fifth Album No Blues Due Oct. 29, Hear Preview Track "What Death Leaves Behind" Now

As anticipated, Cardiff-based indie heroes Los Campesinos! -- after teasing its title with this video -- disclosed Thursday that indeed its next, fifth long-playing album is titled No Blues, and it will be released next month. Fans are being treated to a free download of the preview track "What Death Leaves Behind" straight away, and we've embedded it below this item for your intense scrutiny and sublime pleasure. No Blues, according to this tumblr post from early July, is the band's darkest, lyrically, to date, "but done with way, way more humour and hooks than Hello Sadness was." "What Death Leaves Behind" launches from a lush, edgeless introduction into a swinging verse built on a dense melodic drone of synth and guitars, and features a lyric seemingly influenced by fronter Gareth Campesinos!' work tending a graveyard. It is classic Los Camp, somewhat in the mode of the last record's preview track, "By Your Hands." The new collection will be the veteran sextet's second release of 2013, as it issued in May the tremendous live set It's A Good Night For A Fist Fight. While that collection featured what may have been the longest Los Campesinos! live set to date (according to some stage chatter therein), No Blues is tidy 10 tracks; the track listing and other information about the LP was unveiled here Thursday. The new record was recorded in June with long-time produced Tom Goodmanson, with guitarist Tom Campesinos! also taking a production credit as well. Pre-orders for No Blues, which is officialy due Oct. 29, have begun; the collection is available on CD, gatefold-sleeved pink vinyl 12" and download along with a number of premiums (hoodies, baseball shirts, pink tie-dyed t-shirts), all of which are laid out for your inspection at the band's Big Cartel dojo here. Los Campesinos! also revealed in July that the aforementioned live record will be released on double cassette for International Cassette Store Day next month. The sextet has nary a weak spot in its catalog; its most recent two full-lengths Hello Sadness and Romance Is Boring were Clicky Clicky's executive editor's top records of 2011 and 2010 respectively. Our hopes are high for No Blues, stream "What Death Leaves Behind" below to find out why.

Today's Hotness: Los Campesinos, ISAN, Speedy Ortiz

>> Cardiff-based indie pop heroes Los Campesinos delivered in a big way today on a surprise they've been teasing for a couple weeks. The news is the sextet is releasing a new live set titled It's A Good Night For A Fist Fight, and based on the preview track, a cracking version of "We Are Beautiful, We Are Doomed," it would seem the record is going to be a fireball. It's A Good Night For A Fist Fight was recorded live at Islington Assembly Hall in London on December 15th of last year (the collection takes its title from a lyric in the band's thrilling hand-clapper "By Your Hands"). According to this tumblr post, the London date was actually the band's second try at a live recording, an earlier attempt planned for a show in Seattle, WA in the US was scotched for reasons Los Campesinos doesn't elaborate on. The London show -- 21 songs across 90 minutes -- was played to a sold-out crowd of 800 fans; the performance was the final show to feature Ellen Campesinos, and it also featured an appearance by Aleks Campesinos, who left the band three years prior to concentrate on academics. It's A Good Night For A Fist Fight is available for pre-order now for five British pounds, and the files will be emailed to purchasers May 4; the band is also selling a poster print and various cool t-shirts that can be bundled with the album, so make sure to look over all of the offerings at its Big Cartel yert. Pre-orders are rewarded with an immediate download of the final song of the main set, "Baby I Got The Death Rattle." In what is perhaps even more exciting news, the band says it will begin recording its fifth record in June; its prior two records, Romance Is Boring and Hello Sadness, each landed prominent spots on Clicky Clicky year-end lists. Pre-order It's A Good Night For A Fist Fight right here, and stream the slamming version of "We Are Beautiful, We Are Doomed" via the Soundcloud embed below -- and scream along with the crowd when the line "THERE IS NO FUCKING FUTURE" rolls around.



>> We've found ourselves revisiting recently a lot of records that were released around the time we first began writing about music in earnest about 11 years ago. We were very excited at the time about the rising tide of IDM and ambient/minimalist electronic producers and electropop acts, many of which we first discovered by watershed compilations from Berlin-based label Morr Music such as the brilliant Slowdive tribute set Blue Skied An' Clear. A relatively veteran act of the then burgeoning electropop scene was the UK duo ISAN, which was founded in 1996 and is comprised of members Antony Ryan and Robin Saville. Morr Music has just announced it will re-release the pair's 1998 full-length debut Beautronics as a CD, and -- for the very first time -- vinyl. The vinyl issue will is a very, very limited gatefold double LP; it was previously made available on Record Store Day earlier this month, and at the time it drafted its press release Morr only had 30 copies left in its own warehouse. Samples of the entire 19-song album can be streamed via the player at this page, and a complete stream of the set's penultimate track "Xylomat" can be streamed via the Soundcloud embed below. "Xylomat" is a spare, echoing confection with subtle melodies whose click-pop sound was pretty much a template for quality ambient electronic and IDM music of the five years following its release. According to ISAN's web site, the song was one of four previously unreleased tracks added to Beautronics for this release. The duo, of course, continues to keep busy, and it recently composed music for a film soundtrack and last month released an EP of analog cassette loops titled Descette on a one-sided 12" via SecretFurryHole. Pre-order Beautronics from Morr via the ANOST store right here. Highly recommended.



>> Hotly tipped indie rock foursome Speedy Ortiz announced Tuesday that its pending debut full-length Major Arcana, which we first mentioned here a month ago, will be released by D.C.-based indie stalwart Carpark Records. While Clicky Clicky still mentally associates Carpark with the more experimental releases of yesteryear from acts such as Greg Davis and Ecstatic Sunshine, the label has been hitting hard more recently with the aggressive and guitar-centered sounds of Popstrangers and Cloud Nothings. In that latter context, of course, Speedy Ortiz is an obvious choice for the label, not to mention a feather in its proverbial cap. Carpark will issue Major Arcana, a 10-song collection, July 9. Next week the Northampton, MA-based quartet release the 7" single "Ka-Prow" b/w "Hexxy" via Inflatable Records, pre-orders for which are now being taken right here. The single is available in a limited edition of 500, with 40% of the vinyl coming in some combination of "piss yellow" and blue. Speedy Ortiz is in the middle of a stretch of tour dates that has them on the road through Sunday, and its live commitments going forward includes not only a stop at our alma mater's own WestCo Cafe in Middletown, CT May 8, but also a Boston show at Great Scott May 15. Stream the brawling gem "Ka-Prow" via the Soundcloud embed below.

Clicky Clicky's Top Songs Of 2012: Jay Edition

2012 provided another year of incredible music, from both Boston bands and the wider world. Music continued to transport us, to provide opportunities for celebration and for solace. Our simple mantra, that "music is important," drove us to engage with it in more and deeper ways, and -- not coincidentally -- our care and attention consistently was rewarded by bands finding new methods of knocking our proverbial socks off. And so we arrive at the end of the year, where we cast a long look back, we take stock of our ITunes playcounts, we think about the songs that occupied our mind and heart. The fruits of that examination are below, where we present our 10 favorite songs of 2012. Frankly, there are certain songs we are surprised not to see there (Karl Hendricks Trio's "The Men's Room At The Airport" immediately jumped to mind). But what did make the cut are tunes that moved us and continue to move us many months on. Expect to see our top albums list later this week, and perhaps lists from Michael and Edward before the year is out -- or before the new year has off-gassed a substantial amount of its newness -- as well. For now, we wish you and yours a peaceful and hopefully joyful balance of the year. If the songs below are not yet in your life, take some time and get into it.

1. Sun Airway -- "Close" -- Soft Fall

We try to stay sort of scientific with our top picks of the year, relying largely on data (basically, ITunes play counts). But there is also something to be said for the aggregate amount of time one spends singing a song to himself, something you will see us reference over and over below, and Sun Airway's "Close" ranks highest for us in 2012 based on that metric. The lovelorn lyric "I tried to get close to you," delivered by Sun Airway fronter Jon Barthmus, is among the most affecting of any this year, simple though it may be. The composition and arrangement on this brilliant single is anything but simple, however, with technicolor melodies and layered guitar and synths steadily spiraling around a stuttering rhythmic axis. Listen in via the embed below, and check out the amazing video right here. We reviewed the record for The Boston Phoenix in October right here.



2. Golden Gurls -- "I Can See The City" -- Typo Magic

A jaunty rhythm, big dense guitars modeled on Dinosaur Jr.'s Bug record, and a series of great melodies: what more can an indie rock fan ask for? "I Can See The City" is but one highlight of the Baltimore trio's exceptional debut full-length. From the undeniable, gestural guitar riff to the light, bouncing melody that complements it, to the peanut butter-thick guitars in the bridge, this is an understated piece of genius from one of the most thoughtful songwriters we've encountered in recent years. We're terrifically excited for Golden Gurls' planned sophomore set, but the band has set an extremely high bar for itself with Typo Magic and brilliant songs like "I Can See The City." We reviewed Typo Magic right here in May.



3. Everyone Everywhere -- "No Furniture" -- Everyone Everywhere (2012)

Although it opens with chugging fuzz bass and pummeling drums, Everyone Everywhere's "No Furniture" eventually exposes the still, desolate heart of the Philly punk heroes' second self-titled full-length, which the band self-released in 2012. The lyric describes the dismantling of a domestic situation, and at the tail of its second minute, the drums drop out momentarily, parting the composition like clouds to reveal the line "spare me the car ride home..." -- an indignity the apparently jilted just can't face. It's the receding water line chasing the final surrender of a narrator who's been worn down. And that moment of stillness that sets it off, it's also a momentary fissure in the fourth wall wherein our hero unburdens himself to us. In contrast to the quartet's prior two releases, Everyone Everywhere (2012) is substantially more mature, more emotionally weighty, as "No Furniture" perhaps best illustrates. We reviewed the record in September right here.



4. Swearin' -- "Movie Star" -- Swearin'

There were a number of excellent, excellent records in 2012 that we just didn't have the time to turn our critical ear upon, but that doesn't mean we enjoyed them any less. And so it was with Swearin's self-titled effort. The songs from the collection merged everything we love about pre-Warners Built To Spill -- you know, the brevity, the fizz and melodic sense -- with everything we love about The Breeders -- you know, the spunk and hooks... so pretty much the same thing, right? Chief among the songs on Swearin' in our cold little heart is the album closer "Movie Star." It's got insistent and scritchy guitar and bass, a patient pace, and the cheerfully self-effacing line "no one likes you when you're as old as we are." While we never got around to reviewing this record, we did play "Movie Star" during the September iteration of New Music Night and dozens and dozens of other times as well. Swearin' is an act we expect to hear a lot from for years to come, so if you do not yet know the name, mark it well. Dig the embed below.



5. Infinity Girl -- "Please Forget" -- Stop Being On My Side

This tune explodes out of the gate, even more so when the Boston quartet plays it live, and we never got tired of spinning it this year. In fact, we don't envision getting tired of spinning it any time soon, although the tunes on Infinity Girl's brand new Just Like Lovers EP certainly give this one a run for its money. If it had money, you know, which it doesn't, 'cause it's a song. What were we talking about? Oh, right: "Please Forget," the uptempo, visceral and blurry highlight of Infinity Girl's powerful full-length debut that we reviewed here in June. It's a tidal wave of melody, noise and sentiment.



6. Hop Along -- "Lament" -- Get Disowned

It was really a toss up, which tune to choose from Philly's Hop Along. The promo track "Tibetan Pop Stars" is an unabashed, high-octane, big-statement rocker with a killer hooks and a barely contained rage. But the deeper album cut "Lament" surpasses even that excellent number on the strength of a percolating, addictive vocal melody in the chorus and the greater degree of sophistication in the arrangement. We suppose it helps that the chorus has shouty vocals apparently abetted by at least one of the dudes in the late, lamented Algernon Cadwallader, whose label Hot Green Records released Get Disowned -- a windows-wide-open-to-the-gathering-heat, coffee-cup-in-hand kinda record -- last summer. And every time we listened, when fronter Frances Quinlan hit the line "the one on the left said to the one on the right," we couldn't keep from singing along. A brilliant, brilliant song.



7. Speedy Ortiz -- "Taylor Swift" -- "Taylor Swift" b/w "Swim Fan"

At the top of this piece we referenced singing songs to ourself, and Speedy Ortiz's very catchy single "Taylor Swift" was another we found ourselves absent-mindedly singing a lot. Which made us laugh. And so we made that the hook to a brief piece we wrote for The Boston Phoenix last spring. What's funny is the chorus, "I've got a boy in a hardcore band..." certainly doesn't apply to us, but that didn't make us sing it any less. Speedy Ortiz is a band destined for a national profile, and its facility for pop hooks paired with muscled compositions boasting big guitar parts is the reason why. Years from now, fans will probably remember this single as the thing that started the whole train rolling. It's certainly unforgettable. Dig "Taylor Swift" via the embed below.



8. Dikembe -- "Not Today, Angel" -- Broad Shoulders

Apparently one never outgrows an affinity for the beautiful, brooding ballad, as Florida-based emo heroes Dikembe's "Not Today, Angel" echoes the sort of heart-rending slow burners we loved in the early '90s from bands like Codeine and Seam. We've marveled for month and months at the understated, left-field production on this number: the odd clattering percussion, the guitars just slightly feeding back to fill the ambient space, gathering like a thick, quick fog shifting around the cycling melody. The tune isn't wholly representative of the rest of the music on Dikembe's amazing full-length, Broad Shoulders, but it also isn't completely out of character either. It's a beautiful, slow-spinning center of a collection of songs bristling with energy, edge and promise, and we listened to it a hell of a lot of times, reflecting on things so remote now that they might as well have happened to completely different people.



9. Los Campesinos! -- "Tiptoe Through The True Bits" -- Hello Sadness outtake

So it's a non-album track from an album released last year, but Cardiff-based indie rock giants Los Campesinos! gave "Tiptoe Through The True Bits" an unofficial release via its blog earlier this year and the patient, pretty song permanently burrowed its way into our subconscious not long there after. Fronter Gareth Campesinos! explained that while the tune was his favorite from the sessions for the band's excellent 2011 collection Hello Sadness, the band all agreed that it didn't sit well within the context of the rest of the songs on the album. The song is amazing and soulful, but -- more importantly for us -- it speaks to our fixation on bands' unreleased material. If Los Camp! had never put this song on its blog, few of us would ever have known about it and how awesome it is. What other gems does the band, or others, have laying around? That's the sort of thing we think about a lot. Perhaps almost as much as we sang the chorus "I've been waking on your side of the bed..." to ourself this past year. Download the song here, or stream it via the embed below.



10. Johnny Foreigner -- "3 Hearts" -- Names EP

As prolific as Birmingham, England's noise pop titans Johnny Foreigner are, for some reason we were surprised when the quartet released an EP this fall. Given how monumental the task of creating and promoting 2011's epic Johnny Foreigner vs. Everything must have been, we just didn't think the band would have much in the tank. But happily we were wrong, and Johnny Foreigner in late October released its brilliant Names EP, which we reviewed here last month. The short set was released both in the US and in the UK, with each territory having one exclusive track. But it is the EP closer "3 Hearts" that sticks in our head most. The tune memorably repurposes the line from Talking Heads' "Girlfriend Is Better" to power a characteristically overdriven, exasperated tale from the quartet. The tune provides a series of huge moments that make us very, very excited about what the band will do next, an excitement that has stuck with us for going on about six years now.

Nosferatu D2 Legacy Revisited, Remastered Recording Of Final Show Now Available From Audio Antihero

The legacy of largely overlooked but wholly genius indie rock duo Nosferatu D2 has experienced yet another unlikely echo, as an enterprising reporter with PRI's "The World" radio program last month once more amplified the startling singularity of the defunct Croydon, England band. Featuring interviews with fronter Ben Parker, who these days is writing plays and fronting an expanded version of his Superman Revenge Squad, as well as Audio Antihero Records founder Jamie Halliday, the radio piece is embedded below, and is very much worth a listen. We've written perhaps more words than anyone about Nosferatu D2 and Mr. Parker, who formed the band with his brother and largely architected its uncompromising attack: clean but aggressive guitar, thermonuclear drumming and more desperately dark lyrics than often could be contained by the meter of the verses. "The World" reporter Brendan Mattox gets great stuff. Of the band's dissolution in 2007, Parker tells him, "I think I realized how angry we were. And how I almost had to put on this angry persona to play the gigs for Nosferatu D2." And then Mr. Mattox breaks a little news, which is now made manifest: today, almost three years after Audio Antihero launched with its maiden title, Nosferatu D2's We're Gonna Walk Around This City With Headphones On To Block Out The Noise, the label is releasing for free a remastered version of a live recording of the Croydonites' final show.

On March 5, 2007, the band performed on a bill with two other then-young acts that have since gone on to much wider acclaim: Los Campesinos! and Sky Larkin. No one apparently knew at the time this was to be ND2's last show, and the cracking bill speaks optimistically about the prospects for all three acts. Los Campesinos! had just release a debut single and was weeks away from signing with Arts & Crafts. Notably, Gareth Campesinos! was an ND2 fan and championed the act's full-length upon Audio Antihero's release of same in 2009, giving the full length what was likely its biggest boost up until "The World" aired its piece a couple weeks ago. Much like We're Gonna Walk Around This City..., the live show recording was previously available -- at least back in 2007 -- as a free download on Last.FM, although, originally the opener "Colonel Parker" was omitted because the first few seconds weren't recorded. Audio Antihero has enlisted label signatory (and brilliant recording artist in his own right) Benjamin Shaw to remaster the live set, which is now available for free download right here. Considering the basic manner in which we expect this audience recording was made, the sound quality is quite good, and we highly recommend you acquire this important document of an amazing act. It includes tracks not present on Nosferatu D2's sole release (although completists will recognize certain of them from compilations released in recent years). Chief among these rarities is the taut rocker "Man At War With Himself," an unforgiving and desperate tune splattered by drums that abruptly halts well short of two minutes after hinting at a chorus that ends before it becomes obvious. It's a special song from a remarkable snapshot of a band taken from us before its time. Listen to "Man At War With Himself" via the embed below, then click through the get the entire eight-song set.

Today's Hotness: Fridge Poetry, Panda Riot, Fashoda Crisis

>> [UPDATED] Based on his remarks in our interview with his band a year ago about logging copious hours jacked into his beloved Japanese 8-track machine and Fruity Loops, it's little surprise that Johnny Foreigner drummer Junior Elvis Washington Laidley has finally revealed a bedroom project, the beats-and-electronics concern Fridge Poetry. The name itself is apt, as Mr. Laidley -- in the spirit of Dntel and The 6ths -- produces the music and then invites vocalists in to complete the tracks. Fridge Poetry's debut tune, a demo titled "Crash Down," is a remarkable, undulating dreamer that comes off as something of an update of the very early Johnny Foreigner song "Sword Buried," morphed into a contemporary remix of Crooked Fingers' "Crowned In Chrome" with a touch of Lali Puna thrown in because that is always the best thing you can do to a song. "Crash Down" features vocals and lyrics from Thomas Sherwood Nicholls, a name we assumed we knew until we did some fact checking and discovered this is not Tom from Calories or Tom from Tubelord or even Tom Campesinos! But as it happens, Mr. Nicholls' vocals previously appeared on an all-time-favorite song here at Clicky Clicky, Johnny Foreigner's somber and impressionistic ballad "All Moseley Gardens," which longtime Johnny Foreigner fans will recall as the hidden final track on the trio's smashing debut EP Arcs Across The City. Fridge Poetry's Soweto Slo Mo EP, which will contain a heretofore undetermined number of tracks, will be self-released late September or early October via Bandcamp. Fans can expect more collaborations with recognizable figures from Johnny Foreigner's constellation of indie pals, although it's a touch early for us to be naming names. For now, you've got the electronic bliss-out of "Crash Down" to occupy your ear canals; stream it via the embed below. For its part, Johnny Foreigner is about to reveal a slate of North American tour dates. Can we say that? Well, we guess we just did. The only date that's been announced as of this writing is Nov. 7 in Boston, Massachusetts. More details to come.



>> While much has been made about the more rock-oriented shoegaze revival acts of the past few years, there's less mention of the sugary, dance-oriented facet of the genre. But it's one that never truly dissipated and has been raving underground for years. Newer bands includingRumskib, Airiel and even the long-running Cocteau Twins continued to reliably release massive guitar washes paired with electronic beats long after My Bloody Valentine was left flummoxed by its own genius. Another proud and notable foot soldier of this ecstasy-rush movement is Philly-born and Chicago-based Panda Riot, whose limited-edition "Serious Radical Girls" 7" was released in early June by Saint Marie Records. The quartet's 2010 EP Far And Near established the band as a quality act, and the new three track single marks a welcome return, boasting more fully realized and bombastic production with just the right amount of cloudiness. The title track "Serious Radical Girls" features proudly chorused guitars and singer Rebecca Scott's sweet and clear vocal work (which pleasantly echoes that of Velocity Girl's Sarah Shannon). Follow-up "Golden Age Precursor" is a quick pastiche of clipped vocal samples and delay effects, and the single also includes a remix of "Serious Radical Girls" by Dean Garcia, formerly of U.K. dream-pop band Curve. Mr. Garcia is arguably one of the main drivers of the aforementioned shoegaze/dance stylistic melange, and it's doubtful Panda Riot could have identified a more logical partner for a remix. Listen to all three tracks via the embed below, and click through to Bandcamp to purchase the single, which is available in a limited edition of 400 vinyl pieces packaged with download code. -- Edward Charlton



>>Essex, UK-based smartpunx Fashoda Crisis are in the throes of creating a new vinyl EP for release this fall, according to an email from fronter Simeon Ralph. But in the meantime the act has released a characteristically cracking shouter "He's Got Gills" on a new compilation from the label Cognitive Dissonance. Well shy of two minutes in length, "He's Got Gills" touts a bruising guitar and bass attack, skull-rattling stops and starts and Mr. Ralph's throat-shredding vitriol, all of which could be said to earn the band a designation as Future Of The Left Jr. Cognitive Dissonance's compilation is titled Now That's What I Call Cognitive Dissonance Vol. 1, and you can stream the entire thing right here; it is selling for the criminally tiny price of one pound. Fashoda Crisis' previous full length, the deliciously caustic sophomore set Him They Make Learn Read, was issued last November. Stream "He's Got Gills" below.

Today's Hotness: Lubec, Los Campesinos!, Winterpills

>> Should you be so foolhardy as to not be a friend to Clicky Clicky on The Facebook, then you are likely not aware of the most recent recording from Lubec. The guitar-pop band has posted a startlingly brilliant new song to its Bandcamp dojo, so dig the embed below, and then click over to download the thing for free. Oh, right, the song: "You're A Good Idea (Theme From Lubec)" is a melodic tour de force of kaleidoscopic guitar, simple cascades of piano and punchy bass playing. Not bad for an act that re-invented itself from scratch last year. Indeed, it is heartening to find that fronter Eddie Charlton was able to constitute a very potent band after making the move from Richmond to Portland. We checked in briefly with Mr. Charlton this evening and he says his new iteration of Lubec is firing on all cylinders and is considering a number of different options for releasing new material (although the planned single we posted about on Facebook Jan. 19 may be scotched in favor of something different). We last wrote about Lubec some 13 months ago here upon the release of the act's amazing "Cherry Adair" video; the band released its debut EP Nothing Is Enough in October 2010. Lubec is definitely one to watch, but for now, just listen.



>> Clicky Clicky faves Los Campesinos! will issue March 19 a second single from the Cardiff-based act's Best of 2011 collection Hello Sadness. The single is the riffy, warbling and anthemic album cut "Songs About Your Girlfriend," and a video will precede the single's release next week on St. Valentine's Day. On the heels of the single's release, Los Campesinos! will launch an 11-date UK tour. You can stream "Songs About Your Girlfriend" right now at the Soundcloud embed below; full tour dates are online right here. Los Camp! is currently rounding out a very extensive U.S. tour, the final dates of which we're posting below the song embed. We previewed Hello Sadness, the band's fifth full-length, right here.



02.08 -- DOUG FIR LOUNGE -- PORTLAND, OR
02.10 -- GREAT AMERICAN MUSIC HALL -- SAN FRANCISCO, CA
02.11 -- ECHOPLEX -- LOS ANGELES, CA
02.12 -- CASBAH -- SAN DIEGO, CA
02.15 -- CLUB DADA -- DALLAS, TX
02.16 -- FITZGERALD’S -- HOUSTON, TX
02.17 -- THE PARISH -- AUSTIN, TX
02.18 -- THE PARISH -- AUSTIN, TX

>> Props to our pals at the Ash Gray Proclamation for this post making us aware of the new full-length release coming from Northampton, Mass.'s Winterpills. The folk-rock act will release next week All My Lovely Goners on CD and as a digital download. At the same time the band is running a Kickstarter campaign for a vinyl release of the album, with a goal of raising $7,000 in order to get a deluxe vinyl package ready for Record Store Day, April 21. Pledging 20 bucks here gets you the LP when it's available, and additional tiers of giving offer access to premiums topping out with Executive Producer credit or house shows. We first turned on to Winterpills with the release of their eponymous 2005 debut, which we wrote about for Junkmedia right here. Winterpills play two shows to mark the release of All My Lovely Goners, Saturday the 18th in New York and Saturday the 25th at the Iron Horse in Northampton. We jotted some brief remarks about a July 2009 Winterpills set supporting Clicky Clicky faves Varsity Drag in Cambridge right here. Here's an oldie-but-goodie from the 2005 set:

Clicky Clicky's Top Albums Of 2011: Jay Edition

And here we are at the end of 2011. If you had told us a year ago that the things which transpired this year were coming, we would not have believed you. While for much of the year, and much to our frustration, music had to take a back seat to real life, that only increased its importance to this writer. Cross-country flights soundtracked by Broken Shoulder. Getting up to speed mornings listening to Rival Schools. Quiet weekends with J Mascis, summer vacation with Algernon Cadwallader and The War On Drugs, doing dishes with the The Henry Clay People. And when we could, we saw shows that kept us smiling long after they were over, not the least of which was the seismic bill we co-presented in late October featuring The Hush Now, Soccermom and Chandeliers. We even found time to draft major pieces on favorite acts Haywood (here) and Johnny Foreigner (here). But largely constraints on our time and tons of stress often meant quality over quantity when it came to the blogging life; fortunately in 2011 there was no shortage of exceptional music to keep us sane. Below are our favorite 10 records of the year. We are very excited for what 2012 will bring, even if it only brings a little more time to catch up on everything we didn't have time for in 2011. Thanks for reading. Stick with us, there's a lot more Clicky Clicky where this came from.

1. Johnny Foreigner -- Johnny Foreigner vs. Everything -- Alcopop!
Now that it's here, it's hard not to feel like everything was leading up to it, from the band's very first single in 2007 onward. Johnny Foreigner vs. Everything is a fully DIY proposition that is remarkable in its vivid realization -- especially considering the small amount of money involved in creating it. It's also a defiant statement from a band that has fought for everything it has got, including its continued existence. As fronter Alexei Berrow told us here in October, "It feels like there are a lot of people waiting to be like 'O Johnny Foreigner fucked up, inevitable, how predictable.' Vs. Everything is us making these possibly imaginary folks eat their stupid words." And, man, the record delivers the fire and hope, the desperate melodies and sublime sentiments. If you haven't already, make sure you hear the best record of 2011.
[review / buy / Spotify]

2. Benjamin Shaw -- There's Always Hope, There's Always Cabernet -- Audio Antihero
While this list of favorite records for the most part illustrates which albums we listened to most in the last 360 or so days, it also speaks loudly about what we value in the music we spend our time with. Benjamin Shaw's There's Always Hope, There's Always Cabernet is perhaps the best example of what we value most: an artist with a singular personality, a unique vision or world view that is ably and creatively captured in the stereo field. Mr. Shaw's chamber pop showcases a charming dourness and humor, cloaked within deftly arranged guitar, piano, strings and ambient curiosities. His vocal delivery is remarkably personal, and the resulting collection here is as cozy as it is ghostly. Each song presents soft and sharp elements, like a bag full of knitting, while making sure that there are as many melodic hooks as there are noisy cul-de-sacs. It's enchanting, and it is easily one of the best of the year.
[preview / buy / Spotify]

3. Age Rings -- Black Honey -- Midriff Records
The one that almost got away, Black Honey was shelved for more than a year during its difficult gestation. Somehow band fronter Ted Billings was able to gather up inspiration that had sifted through his fingers and complete the collection, some four years on from its inception. It's a marvelous, rootsy rock record with a vast arsenal of hooks supporting Mr. Billings' raw, heart-on-sleeve sentiments and wry sense of humor. Black Honey is a thrilling collection, from the bombastic openers "Rock and Roll Is Dead" and "Black Hole" to the haunting closer "Caught Up In The Sound." It was a real feather in local dynamo Midriff Records' cap to be able to put it out, and it feels like a gift every time we listen to it.
[review / buy / Spotify]

4. Destroyer -- Kaputt -- Merge Records
Oh, how we loved this one from the very first time we put it on, perhaps the most obvious sign that even before we climbed all the way up the umbilical noose of '80s MTV, we were immersed irretrievably in early '80s commercial radio. It bothers us that Kaputt is viewed by many as tongue-in-cheek (the video for the album's title track didn't help matters), as we genuinely love the recycled soft-rock sounds and "Miami Vice"-cool found on the record just about as much as all the "critically compliant" Brotherhood vibes. Of course, embossing Destroyer auteur Dan Bejar's characteristic witover top of Kaputt's confections makes it that much more irresistable. Every song on the record is a hit, and it is at the top of mind every time we sit down to put on a record. Another Bejar coup.
[buy / Spotify]

5. The War On Drugs -- Slave Ambient -- Secretly Canadian
We listened to this for hours and hours in the middle of a hot summer, and it reminded us of the boiling South Philadelphia summers of our mid-20s. The city's unbroken mesh of hot brick rowhouses, each one its own oven, windows thrown open to the constant street noise, noise that buzzes like the constant aural din that underpins Slave Ambient. A din, we'd argue, that is like a dialect unique to Philadelphians. We long for our days in that city often, and in a way Drugs fronter Adam Granduciel has given us the gift of hearing a piece of our history again amid his hypnotic, mesmerizing creation. Slave Ambient's icy coctail of Philly FM radio and motorik reverie gets better every time we indulge it. Each time we put the collection on we nudge the volume knob northward to sit back and bathe in a Bartowski-esque Intersect of musical data points, freejacking decades of Petty, U2, the Dead and on and on and on and on...
[review / buy / Spotify]

6. Algernon Cadwallader -- Parrot Flies -- Hot Green/BSM
More Philly, people. This time it's fist-banging anthems, lightning in a bottle, youthful vigor. Few things make us wish we were young again, but Parrot Flies is one of them. Somewhere in all the caterwauling and rocking out, there is a well-spring of positive vibes so potent that it not only has the ability to brighten our days now, but also to inspire in us the strange belief that we could go back and enjoy by-gone days more if only we had had Parrot Flies on one side of a C-90 stuffed in the dashboard tape player. Emo the way it was meant to be written and performed by dudes who do it themselves, from recording to touring to releasing their record. To steal a line from Stars, "when there's nothing left to burn, you have to set yourself on fire." Algernon Cadwallader live it, and Parrot Flies is so much delicious proof.
[review / buy / Spotify]

7. The Hush Now -- Memos -- Self-Released
They did it. The Hush Now's third record is a triumph of melody, of songwriting, of will. For years the band has been slugging it out in Boston, turning in increasingly dominating live sets, and finally, with Memos, the band released a recording that matched in execution the passion and energy characteristic of their visceralperformances. And beyond Memos just sounding good and feeling good, it touts the best set of songs the quintet has turned out yet, from the jaw-dropping ballad "Sitting On A Slow Clock" (which featured on our year-end songs list here) to the scorching guitar pop anthems that the band has made its stock-in-trade, Memos delivers, and we can't imagine the overground won't come calling for these guys soon enough.
[review / buy / Spotify]

8. Ringo Deathstarr -- Colour Trip -- Sonic Unyon
It took four years to get it, but we can't say it wasn't worth the wait. On the tail of an increasingly convoluted string of singles and EPs (different collections in the USA, UK and Japan with different configurations of songs, something of a collector's nightmare), Austin-based noise pop behemoths Ringo Deathstarr finally issued a debut full-length. It's an arresting amalgamation of shoegaze, punk and even dance-pop, and it's awesome. The trio is having better luck in other markets (it just toured supporting Smashing Pumpkins abroad and had a few dates in Japan with Johnny Foreigner), but Colour Trip gained some significant traction for The Deathstarr here. And we ask you, what's not to like? The record is a perfect calling card for the band's power, style and attitude, and listeners that write the band off as a My Bloody Valentine clone are both missing the point and just not listening.
[review / buy / Spotify]

9. Soccer Mom -- You Are Not Going To Heaven -- 100m
...the power and the glory, forever and ever, amen. You Are Not Going To Heaven is an exhilarating collection, from the Sonic Youth-styled buzzsaw of "(A) Natural History" to the blackout bludgeoning of the final 30 seconds of "Southern Bells." All six songs here are dynamite. Perhaps the only thing more exhilarating is experiencing the quartet's firestorm live. We honestly feel bad for any band that has to follow these guys on a bill, because after The 'Mom levels the crowd with its blissful and desperate noise (via Dan Parlin's mad-dog death-grip head shake, the steady cool of guitarist Bill Scales and bassist Danielle Deveau, and drummer Justin Kehoe's octopus arms), that show's over, man. It's just over ("...grab your stuff and go and nobody goes to jail..."). This EP is huge, and we can't wait for the next batch of recordings. Boston's next big thing keeping getting better, if not nextier.
[preview / buy / Spotify]

10. Los Campesinos! -- Hello Sadness -- Arts & Crafts
In some way it is difficult to believe that the band that issued the scruffy Sticking Fingers Into Sockets EP in 2007 is the same act that crafted Hello Sadness. But there are a lot easy retorts to that sentiment, too, namely, well, it's just not the same band. The amount of living Tom, Gareth and the rest of Los Campesinos! have crammed into the last five years -- even if measured only by the 75 songs in our ITunes, you know, "band living" -- is quite astonishing. Hello Sadness is so emotionally broad and deep it is like the world's oceans, once you're in the water, it's just water going on forever, amazing songs like "To Tundra" and "Hate For The Island" so breath-taking there's no swimming across. There is a theoretic line between pop and art and this record is perhaps most remarkable for making that theoretic line so wide as one can not be pulled apart from the other at all. Amazing songs, amazing lyrics, so purposefully rendered.
[preview / buy / Spotify]