Today's Hotness: Moonbell, What Moon Things, White Reaper

>> San Francisco quartet Moonbell make faraway and trippy shoegaze with a very distinctive sound, one that makes the act's long-player Afterlives among the most singular dream-pop albums of 2014 to date. Its 11 songs carry copious reverb on nearly every instrument, and the unexpected wandering bass lines and schizophrenic patterns of this record add to its otherworldly nature. Opener "Never Seems" establishes a mood with loping snare work, and the drifting vocals and strings simultaneously disorient and engage. In an especially cool touch at 1:22, the tune transforms from electric to acoustic -- a solid example of the unexpected elements that Moonbell regularly employ. The title track, an album highlight, goes for a more monolithic approach, with punchy, slightly dissonant bass work reminding this reviewer of the colossal "Periscope" from Lilys' masterpiece In The Presence Of Nothing (which, as we wrote last month, may finally be getting the reissue it so dearly deserves). The vocals, while airy, bear the charmingly innocent and slightly out-of-tune feel of shoegaze greats like The Telescopes and early The Brian Jonestown Massacre -- a welcome revival of the style. Afterlives was released April 1 on the band's own Hypnogram imprint in a limited edition of 100 cassettes and as a digital download; purchase it right here. The entire set may be streamed via the embed below, and a new EP comprised of music recorded during the same sessions as Afterlives is slated for release this summer, according to this interview. Moonbell, which formed in 2010, previously released a digital single "The Golden Hour" and two EPs, Figurine and Parallel, all of which are available as free downloads via Moonbell's Bandcamp yert right here. The two EPs were packaged together for a CD release in 2012. But particularly based on the strength of its newest material, Moonbell's unusual blend of styles and sounds makes it a band to watch. Watch we will. -- Edward Charlton



>> The news was a long time coming, but New Paltz-based noise rockers What Moon Things revealed at last today that it has signed to the new imprint Hot Grits, which will release the trio's self-titled debut LP June 3. It's a record about the making of other records, a record populated by vampires (and which at one point was to have been titled The Vampire), populated by data lint scraped from and used to stuff the taxidermied remains of failed relationships. What Moon Things carries its own specific and murky atmosphere, marked by prickly but patient guitars, wide-hipped reverbs and fronter Jake Harms' existentially uneasy tenor. The eight-song set fluidly slides from moody groove to desperate thrash, making it not only just a little sexy, but also a gripping listen. The spooky preview track "The Astronaut" conveys via giant but spare drumming, percolating guitars and Mr. Harms' emotional, drawling vocals a deep isolation, an outsiderness whose introversion fuels an arresting gravity that draws listeners in. It's a promising single from among a strong set of songs. There is as yet no pre-order information available for What Moon Things, which will be on offer as a 12" flat vinyl disc, compact disc, and, we imagine, digital download. Despite a pretty gnarly injury to Harms' thumb recently, the band embarks on a short strand of tour dates tomorrow, including a stop at Boston's Great Scott next week. We've posted all the dates below, and below that you can stream and download "The Astronaut" via a Soundcloud embed. We first wrote about What Moon Things, "The Astronaut" and the swerving anti-anthem "Squirrel Girl" right here last July.

04/10 -- The Batcave -- Montclaire, NY
04/11 -- Suburbia -- Brooklyn, NY
04/12 -- Upstate Artists Guild -- Albany, NY
04/15 -- Great Scott -- Boston, MA
04/18 -- 158 Salon -- New Paltz, NY
04/19 -- Cameo Gallery -- Brooklyn, NY
04/25 -- Bard College -- Red Hook, NY
05/06 -- Oasis Cafe -- New Paltz, NY



>> Last time we wrote about garage punks White Reaper last August, the Louisville duo was prepping a full-length for a German label. It appears that plan never came to fruition, based on a scan of the label's web site, but there is new music from White Reaper -- now a trio -- in the offing, and on a label much closer to home. The venerable Polyvinyl revealed today that it will release in June a self-titled EP from the threesome. A blazing preview track from the EP, titled "Half Bad," bashes and pops with abandon, and touts a ridiculously keen, burbling organ lead whose space-age vibrato threatens to separate the tones from the speakers of your hi-fi, particularly during the rave-up of the cymbal-soaked final chorus. The six-song EP also features a version of the 2013 A-side "Conspirator," and is available for pre-order now as a 180-gram, clear pink 12" vinyl disc, CD, cassette or digital download. White Reaper will be released June 24; pre-orders will ship June 13, according to Polyvinyl. Stream the blaster "Half Bad" via the Soundcloud embed below.

Today's Hotness: Myrrias, Creepoid, Popstrangers

>> Philadelphia's Myrrias is a relatively new quartet which played its first shows late last year, but a short set of demos already has us very excited about the future of the futurepop act. The all-lady combo's "Focus," "Pattern" and "All Alone" were recorded by brilliant Philadelphia producer (and Arc In Round ringleader) Jeff Zeigler, and their fully realized, airy dream-pop suggest that the band has great respect for notable forebears like Lush and Cocteau Twins. A bit of Googleplexing indicates that the foursome is comprised of Philly scene veterans, including fronter Mikele Edwards, who also plays in the aforementioned Arc In Round, and drummer Casey Bell, one cog in the machine of guitar-pop upstarts Break It Up. Myrrias' terrific digital single "Focus" boasts icy and engaging guitar and synth, a galloping bass line, tom-centric drumming, and arrestingly layered vocals (as well as Mr. Zeigler's characteristically rich aural texture). April Harkanson's spiraling guitar work is immaculate, with layers of effects adding a palpable edge and electric excitement to lead guitar lines that seem to grow ever wider and wilder. The dual female vocals are a joy, and the close harmonies remind this reviewer that such an effect is all too rarely employed by today's indie rock bands -- a real shame. Myrrias state the song, and two others available to stream, will feature on an forthcoming full-length, which we are now very keen to hear, so hopefully momentum is in place to get more music in the proverbial pipeline. If this is the future of Philly indie rock, sign us up. Myrrias' next show is in Philly at Ortlieb's May 22nd. In the meantime, all three songs can all be streamed via the Bandcamp embed below. -- Edward Charlton



>> And more from Philly: from our lofty vantage point it appears as if the focus of any purported '90s revival (to the extent such a thing exists -- a discussion for another day -- and as opposed to the '80s Revival -- Ed.) of the last few years has shifted sub-genres: where contemporary acts once doggedly mined the noise-pop and shoegaze sounds of Sonic Youth and My Bloody Valentine and bands like them, downer grunge and sludge rock now seem to be coming into their own as sonic signifiers. "Wet Bread," from Philadelphia nu-gazers Creepoid, is among the latest songs to wow us, and would seem to have identified a cozy place in the middle. Hot on the heels of the band's self-titled sophomore set on No Idea records, this latest cut features on the forthcoming Wet 12" EP. The short set will be available for Record Store Day later this month via the mighty Graveface records. All four songs are programmed on the A-side, the flip features an etching, and the vinyl is hand-poured by Daniel Huffman of New Fumes. "Wet Bread" rolls out a deep, woozy guitar groove like so much thick pink fiberglass insulation, a sound turgid with distortion. Hooky, spoke-sung male vocals guide the verses and harken back to the slinky, reflective and narcotics-infused croon of, although we hesitate to say it, Kurt Cobain (you know, before he would start screaming during Nirvana's choruses). The EP exhibits remarkable diversity amongst its four tunes: "Blinding Halo," a piano-appointed, atmospheric composition, marshals a marching cadence, eerie guitar feedback, and sampled conversation that again reminds this reviewer of Mr. Cobain's wandering surfer drawl. Closer "Truth" highlights Anna Troxell's vocal, mixing it high as half of a smokey duet, amid bent guitar notes and the tune's generally gnarled glory. -Stream "Wet Bread" via the Soundcloud embed below, and get thee to a hip IRL record retailer April 19 to get your hands on the special one-sided 12" -- Edward Charlton



>> New Zealand noisy guitar-pop heroes Popstrangers are extending a very productive streak in the wake of its excellent 2013 album Antipodes (which we wrote about here and here) and a great 7". Last month the trio announced a new full-length, Fortuna, which will be released by Carpark Records May 27. A winning preview single from the set called "Country Kills" highlights a restless band drawing on a wider array of influences. The tune's choppy, two-chord riff and skittering drum cadence in the verse bash out a pleasing if awkward groove, one that is all the more engaging because of its curious posture. Especially pleasing are the slightly dissonant lower notes on the guitar, which counterbalance the higher tones establishing the groove and take a dynamic downward run at the end of each verse. Unsurprisingly for Popstrangers, the chorus touts a pretty-yet-aggressive, anthemic dimension that feels scaled for the arena. A brief bridge unexpectedly and momentarily steers the song into epic dream-pop; the unexpected, cascading and beautiful tumble suggests Fortuna may be the record that cements the Popstrangers as New Zealand's most vital and original contemporary pop artists. Pre-order the 10-song set from Carpark right here, and stream the completely dynamite "Country Kills" via the Soundcloud embed below. -- Edward Charlton