Today's Hotness: Fennesz/O'Rourke, Cold Pumas, Sneeze, Flout

>> This reviewer is an expert on neither the vast, sprawling output of Tokyo-based Jim O'Rourke (long a mainstay of both Chicago and New York's experimental and avante garde scenes) nor the stirring oeuvre of Vienna's electronic sound sculptor Christian Fennesz, but he is certain of one thing: these artists deservedly command massive respect from a devoted global following. But even novitiates will find appealing the melodic warp and textured weft of the duo's forthcoming Editions Mego set, It's Hard For Me To Say I'm Sorry. The two-track collection, due June 24, spans an LP and captures the familiar signatures of each composers as the sides unfold. Based on the preview excerpt -- a generous six minutes extracted from the amorous "I Just Want You To Stay" -- the unfolding occurs at a slow, Steve Reich-ian pace. The tune's soft churning reveals endlessly delayed melody lines, otherworldly, convulsing synthesizers and a guitar sound that resembles industrial sawing. The sum of the parts calls to mind peers in the contemporary ambient electronic artists such as Tim Hecker, particularly his Virgins album, as well as the gifted stable of artists that annually populates Kompakt's compelling Pop Ambient series. "I Just Want You To Stay" largely floats throughout the excerpt, a whorl of melodies cinematic and futuristic. At least for O'Rourke, the song could signal exciting new territory for the endlessly restless and creative compositional mind to explore. Editions Mego is offering It's Hard For Me To Say I'm Sorry as a vinyl LP, CD or digital download; pre-orders are already available right here. Stream the excerpt of "I Just Want You To Stay" via the embed below. -- Edward Charlton



>> Despite having been released four years ago, love for Brighton, England quartet Cold Pumas' debut long-player Persistent Malaise endures, and quite strongly in certain strata of the American undercosm. This reviewer has noted the continued inclusion of Malaise shoulda-been hits "Fog Cutter" and "Sherry Island" on late-night Portland house party playlists, alongside related efforts of Cold Pumas fronter Dan Reeves and his label Faux Discx. It was heartening to learn earlier this spring that the band are still at it, apparently further tweaking its mechanized noise-pop for a pending Faux Discx and Gringo Records release The Hanging Valley. Due July 1, the set includes nine new tracks; based on two fetching preview tunes, the group remains faithful to its favored motorik rhythms and wistful bummer-pop. Leading preview single "A Change of Course" is strikingly more dense and melodic than what we've come to expect from the band; it takes the two-chord pull formula of earlier tunes such as "Sherry Island" and compacts it to fit a sub-three-minute pop framework that echoes the more shoegazey side of early Deerhunter. It may very well be the best thing the Brighton combo has released (to date). Second single "Fugue States" stretches into a longer runtime, and employs open, ringing chords alongside a rambling, Ian Curtis-styled deadpan that reminds listeners that Cold Pumas know their classic gloomy post-punk inside and out. Based on these two rich samples, Clicky Clicky can only expect that the forthcoming The Hanging Valley will be as timeless and tasteful as its predecessor. Faux Discx is offering the record in a limited edition of 1,000 vinyl LPs (half of them black, half of them an undisclosed color), as well on CDs and as a digital download. Pre-order the set right here, and stream both preview tracks via the embeds below. -- Edward Charlton





>> Sneeze effectively predicted the au courant grunge-rock house-show wave currently gripping swathes of the American underground with its releases dating back to 2011, and now the celebrated Boston power trio stands at the ready to cement its O.G. status with a forthcoming new EP, Rot. The short set arrives this fall -- yes, way off in the distance on September 23 -- via Glory Kid Records, which also released the three's excoriating slay-fest Wilt in 2014. Rot's lead single "Food" doesn't deviate far from the act's established, thrashy punk-pop template, but its more lively feel and chunky, bristling distortion and feedback connects its efforts at least spiritually with those of some of the genre's current DIY stars, including Oakland's mighty Happy Diving. Indeed, the humid, overdriven guitar production and ever-crashing cymbals that are the hallmark of Happy Diving producer Jack Shirley and his Atomic Garden studio are prominent here, although for Sneeze the sound was realized by Western Mass.-based, hit-making engineer Justin Pizzoferrato -- known for his work with everyone from Dinosaur Jr. to Parquet Courts to Kindling. So the vim, hooks and production of "Food" makes it a pit-ready bomb of a tune that packs enough smarts and chugging melodrama in its brief minutes to drive the crowd to the merch table, where they'll hopefully be lucky enough to get their hands on one of the only 300 LPs being pressed (200 to traditional black media and another 100 to transparent black; the set will also be available as a digital download). Pre-order Rot from Glory Kid right here. -- Edward Charlton



>> When we last wrote of Warwick, New York home recorder Flout last year, we noted mastermind John DeRosso's skillful embrace of atypical production techniques and the way they enhanced the lo-fi project's charm. That same charm marks his recently released collection Norman Doors, a terrific and understated set that surreptitiously slipped onto Bandcamp with eleven more tracks of beautiful, and beautifully intimate, indie pop. Amazingly, Norman Doors was recorded throughout DeRosso's parent's house on an iPhone 6, yet the songs sound as great as ever, and feature as many overdubs and coincidental quirks as Flout's fantastic 2014 debut, Gims. Early track "Safelight" opens with present and confident vocal lines -- the first intriguing line is "I want a broken windshield" -- before masterful harmony lines shepherd a brief, electric sunshine-pop section replete with a toy synth line that soon collapses under its own communion. Like many of DeRosso's compositions, the success of the piece often rests in its ability to hold back, never outstaying its welcome. "Seven*Five" charts an opposite course, allowing itself time to open up with warm electric palm muting, drums and the laments of an unfolding relationship. "17M" further limns what DeRosso does so well. Beginning with fragile acoustic guitar and soft vocals and with the hiss of the room in the background, the song inevitably erupts into a Guided By Voices-inspired rocker that marries thick and chunky power chords with a simple, flute-like synth and dueling leads. Vibrant closer and set highlight "R.E.A." further illuminates DeRosso's range -- the blazing tambourine, ringing acoustics and smooth, watery vocals prove that Flout needs nothing more than a $100 device and an affordable carrier to capture his minimal pop world in the magic of his bedroom. Norman Doors is available to download for any price right here, and we highly recommend it. -- Edward Charlton

Today's Hotness: The Cherry Wave, The Manhattan Love Suicides, Weird Womb

>> Glaswegian shoegaze demigods The Cherry Wave this week fired a shot across the bow, issuing to the wilds of the Interzizzles the first preview track from its sure-to-be world-eating debut LP Avalancher. The set is slated for release in November, and the new tune culled from it, "Whitey," has us amply excited. When we last checked in with the quartet in August, all that we knew about the forthcoming LP was that it will close with a nine-minute epic titled "Fuzzthrower." "Whitey," by contrast, is compact, kinetic and markedly tuneful. The song evidences that The Cherry Wave seems to have struck an admirable balance in its aural mix: while tunes from its prior EPs often featured crushing walls of guitar, the guitars in "Whitey" are relatively reigned in, allowing room for crisp drumming and steady, impressionistic vocals to find equal footing in the stereo field. The overall effect recalls somewhat the work of North American contemporaries Ringo Deathstarr, with whom, coincidentally, The Cherry Wave played a show late in the summer. Almost abruptly as it starts, "Whitey" winks out. Stream the tune via the Bandcamp embed below, and click through to download the track in exchange for a dollar amount of your choosing. As we said in August during Show Us Yours 21, we expect Avalancher to hit and hit hard, so if you are not yet versed in the wonders of the Wave, now's the time to get into it. Bring on November.



>> Too often we have turned on to bands just as they are about to toss themselves into a pile of mothballs, and only very rarely have we experienced the thrill of getting one of those bands back. The band's original run was from 2006 to 2009, and a scan of the CC archives suggests we turned onto them about a year before they called it a day. So last week's expected announcement about the forthcoming reunion record from The Manhattan Love Suicides was quite a thrill. The Leeds-based foursome's comeback LP is titled More Heat! More Panic!, and its preview track "(Never Stop) Hating You" is a sure bet to inspire some of each, with its JAMC-inspired guitar cacaphony and candy-coated singing delivering an arresting blend of noise and melody. More Heat! More Panic! is a co-release of brilliant London label Odd Box Records and veteran U.K. label Squirrel Records, which we believe is run by Darren Lockwood and Caroline McChrystal of Manhattan Love Suicides. A limited number of red vinyl+t-shirt bundles alotted to Odd Box sold out in just a day when they went on offer earlier this week, but the Internet tells us that Squirrel still has a couple. Otherwise, a larger number of black vinyl+t-shirt and digital+t-shirt bundles -- as well as simple straight black vinyl or download options -- remain available for pre-order. The release date for More Heat! More Panic! is presently listed at the Odd Box Bandcamp as 26 January 2015, which is a terribly distant date. While away some of the hours in between by streaming "(Never Stop) Hating You" via the Bandcamp embed below.



>> Is there no half- or dim-witted publication out there that won't ridiculously assert that garage rock has "returned?" We find it hard to believe that we've actually progressed so far, as a culture, that this hasn't happened more recently, since it seemed like an almost annual occurrence during the first five years or so of this young century. We don't give any credence to such an assertion, of course: long-time readers know well our position, that there is always excellent garage rock happening (or polka, or trance, or string quartets, et cetera), one just needs to seek it out. But with the recent successes of the widely touted Parquet Courts, L.A.'s Meatbodies, Baltimore's Second Best Westerns and now Weird Womb, we're pleasantly surprised some neophyte -- or, more likely, dozens of neophytes all stealing furtive glances at each other and texting together but not actually talking because real life is scary -- isn't declaring garage rock is "back." Weird Womb's Laziness EP, which was issued by the Boston- and New York-based indie Midriff Records late last month, certainly packs enough beery bashing and blunt-force hooks to legitimately excite the sensibilities of any rock fan. The Brooklyn-based and Arizona-bred foursome's six-song set shakes with a fun, wholly unpretentious energy for almost 16 entire minutes, then it ends because fuck you. The massive EP highlight "Luxury Punks" hits hard with a three-chord assault punctuated by fronter Dakota Pollock's slacker hollering, which sounds always at the verge of an slippery, universe-unlocking, last-call-fueled revelation. Weird Womb play a hotly anticipated local show at Great Scott in Boston Oct. 27, on a bill top-lined by The Wytches; the band has a number of other dates lined up presently, that will lead the band on an unsteady march out to Lexington, KY and back for a pair of obligatory CMJ shows. Midriff released Weird Womb's Laziness EP Sept. 23 on vinyl and digital download, both of which can be ordered directly from the Midriff High Command right here. Try before you buy? Why, sure you can -- the entirety of Laziness is posted to Soundcloud and can be streamed via the embed below. Sounds great right now, will sound even better at the bottom of a 30-pack of Genny Red cans at 3AM on a Sunday morning; choose wisely.

Today's Hotness: Best Friends, Sapphire Mansions, Radstewart

>> Art Is Hard Records continues to command attention, not only for its fine curation and great taste, but also due to brave and unconventional packaging concepts. Perhaps it's because of their singular methods that we sometimes lose sight of the fact that they still function as a tried-and-true label with a steady supply of CDs, tapes and vinyl. Which, of course, brings us to their latest 7", a stunning double A-side for the manic Sheffield, England quartet Best Friends, due Sept. 23rd. One side of the disc, "Happy Anniversary," reveals the scrappy band wearing a bit more production polish that we've heard from them previously, as well as more mature subject matter (their earlier, surf punk-inspired numbers explored such multi-dimensional aspects of the human condition as "Surf Bitches" and "Dude Love"). While there's still plenty of thick, churning guitars, one can't help but notice the way "Happy Anniversary" unfolds – full of space and a crooned vocal. It evidences a band unwilling to adhere to one approach for too long. After its delicate intro, "Happy Anniversary" introduces a descending surf lead and fuzzy flange on the rhythm guitar that each add thoughtful and evocative texture to the band's brand of bash 'n' pop. Best Friends has consistently exhibited a steady hold on the mid-range of their productions, and this thankfully remains true here: the mix is thick and pleasant, the drums splash along, and the chorus follows the guitar line for a great melodic punch. The flip of the single is quick-paced strummer "Nosebleeds," which -- impossibly -- is even more catchy, melodic and direct than "Happy Anniversary." All of which has us wondering: is this the best single of the year? When all is said and done, it will certainly be a contender. Both sides of the cracking single are embedded for streaming below; judge for yourself. Pre-order "Happy Anniversary" b/w "Nosebleeds" -- which comes packaged with a comic drawn by Nai Harvest's Lew Currie, and the option of adding a t-shirt to the deal, as well -- from Art Is Hard right here. -- Edward Charlton





>> We recently noted the head of a certain terrific American indie label recommending to the attention of friends an act called Sapphire Mansions; the label is constantly putting out first-rate stuff, so we thought we'd best have a listen. Brooklyn-based pop upstarts Sapphire Mansions are preparing to self-release Oct. 23 a debut six-song EP (eight songs if you buy the cassette, or even more if you buy a CD-R) titled Over America. Despite its title, the short set's hazy but spare indie pop suggests the influence of decades-old U.K. and even Kiwi acts as much as it does bands closer to home like The Ocean Blue and The Pains Of Being Pure At Heart. Sapphire Mansions distinguishes itself via the unconventional application of mixing EQs and reverbs, something that makes the quartet's EP a compelling listen. Often the tracks feel at arm's length, squeezed and swirled, so that what would otherwise seem conventional production assumes a foreign quality via, for example, the mysterious, hissing treble in fronter Jay Hough's vocals, or the mechanistic whooshes surrounding drummer Josh Feldman's snare beats. The overall flavor is one of slight unease, giving Over America an intriguing tension, even a sense of danger, despite the sturdy pop skeleton underneath. The EP is refreshing and definitely worth pre-ordering, so that blasting it on the hi-fi can become a reality come late October. Be the first kid on your block to own one by pre-ordering it at Bandcamp; click through the embed below to find out how. -- Edward Charlton



>> This reviewer often takes a sharp turn in terms of rock music consumption once summer starts to inevitably wind down. Gone are the gleeful and blissed records that encouraged lazy afternoons. Instead -- as if in preparation for the cold -- the harsh, aggravated noise of detached garage singles and the cool, mechanical precision of post-punk suddenly seem the best aural accompaniment. Our good and perhaps telepathic friends at Alcopop! may be feeling the same way, based on its recent announcement that it has signed and will release an EP in October from the spectacular Cardiff, Wales-based slack-core foursome Radstewart. The year-old act -- part of the aforementioned Art Is Hard's constellation of acts, as well -- is just the kind of band the world needs right now. Mixing a sense of The Fall's humorous and wordy motorik antics, a pinch of the Velvet Underground's taste in chords, and the goofball chemistry of early Pavement (which, we suppose, also comes by way of The Fall), this young Cardiff unit has hit upon the perfect indie cocktail. The promotional single "Beer Swindlers" is a fuzzy, grinding bit of tongue-in-cheek noise-punk. The singer's deep but nasal speak-drawl imbues the recordings with an agreeable and easy character, not unlike that of popular American peers Parquet Courts (who have seen great success with their updated, millennial take on the roots of punk and DIY). "Beer Swindlers" can also be found on the group's superb self-released and about-to-sell-out three-song CD, the last five of which are on offer at the band's Bandcamp here. If that short disc (and this video for the sublime "Hot Dog") is any indication of what Alcopop! has in store for us, be ready for greatness; we advise keeping an eye on the Alcopop! store for the appearance of pre-order details. Radstewart have landed a plumb spot supporting Sky Larkin's fall U.K. tour, the dates of which one can inspect right here. Listen to "Beer Swindlers" via the embed below. -- Edward Charlton