Review: Guillermo Sexo | Eclipse

Boston psych-pop veterans Guillermo Sexo returned last week with Eclipse, a cool but reliably electrifying sixth set that presents more focused, yet more expansive-feeling jams. Despite 2016 being the band's 10th year, the long-playing record -- the band's second with Boston and New York-based Midriff Records -- surprises with its further refinement of Guillermo Sexo's signature sound, and delivers a closer binding of intent, theme, and instrumentation.

Eclipse (paradoxically, given its name) reveals a thriving quintet more strongly embracing space rock -- and the reverberant space surrounding it. While the sonic signifiers -- the reverb, the glistening guitar tones, and so forth -- are all there, the album even addresses space thematically: songs like the rousing opener "Distant Star," "Eclipse," and the wonderful video for "Graffiti Sky" not only convey a sense of romance and adventure, but also underscore that on the new record, more so than on prior efforts, space is the place. So the rugged edge of the band's punkier past -- as captured on 2006's Oh Wow -- is smoothed away; the charming English folk influence manifested at least as far back as the haunting "Settle Down" from the band's terrific 2010 LP Vivid Nights is played down. Even the delicious fuzz that powered 2013's Dark Spring is on the new record reserved for strategic moments. There it is, driving the ripping response sections countering the siren call of co-fronter Noelle Dorsey's vocals in album highlight "Vision Owl," there it is, again, in the thrilling conclusions of that song and the corking closer "Heavy Shadows."

Songs such as the cool "True Shell" -- whose ambient opening feels indebted to Dark Side-era Pink Floyd -- float in clean, airy reverbs conjured in Boston-area studio 1867's massive 50 x 50 x 30 live room. Focusing more intently on space rock isn't the only way Guillermo Sexo consolidates its sound on Eclipse. That yen is also manifested in the arrangements of its 10 tunes. Indeed, the record proffers tighter compositions -- for the first time since 2011's Secret Wild, no track exceeds the five-minutes-and-change mark. And so, far from stifling the Guillermo Sexo sound, its core elements -- bandleader Reuben Bettsak and guitarist Richard Murillo's dueling guitars, Noelle Dorsey's otherworldly vocals, the throbbing rhythm section -- feel in full bloom within the more concise settings (another paradox?). That said, the LP's most anthemic tune, the sparkling stand-out "Hyperconscious" -- which if memory serves was given a mind-bendingly good live airing last July at Great Scott -- is longer than five minutes, and wouldn't suffer a bit if its brilliant 75-second coda went several more.

Midriff Records released Eclipse as a digital download FRiday; it can be purchased from the label here or via Bandcamp here. The download is available in a bundle with a t-shirt designed by noted Boston artist/musician Ian Adams; bundles are limited to 280 pieces. The record was celebrated with a release show earlier in the month at Firebrand Saints in Cambridge, Mass. The quintet's next live appearance is June 17 at Somerville, Mass.'s Thunder Road nightclub; the bill includes Sidewalk Driver, Pale Monsters and -- curiously -- the similarly pallored Pale Hands. Stream all of Eclipse via the embed below, and watch the blast-tastic video for "Graffiti Sky" right here.

Guillermo Sexo: Bandcamp | Facebook



Related Coverage:
That Was The Show That Was: Infinity Girl, Lubec, Guillermo Sexo, Havania Whaal | Great Scott | 9 July
Regolith A1E3: Reuben Bettsak Presents Emerald Comets' Inside Dream Room
Premiere: Emerald Comets | Emerald Comets EP
Review: Guillermo Sexo | Dark Spring
Review: Guillermo Sexo | Bring Down Your Arms EP
That Was The Show That Was: Guillermo Sexo Record Release Show with Soccermom, Night Fruit and Young Adults
Review: Guillermo Sexo | Secret Wild

Today's Hotness: Robert Robinson, Fridge Poetry

>> We've been listening again and again to a full-length issued earlier this month from a fellow named Robert Robinson called Connecticut River. It's a ridiculously engaging melange of bedroom pop, free-k folk and ambient exploration that somehow becomes more mysterious even as it reveals more and more of itself over the course of repeat listens. Clicky Clicky gets particularly jazzed about acts that create, furnish and inhabit singular sonic worlds, and Mr. Robinson and his Connecticut River Band (we are assuming the band exists, but would also not be surprised were it mirage) beautifully express a certain insularity or reverie with their loose, expansive compositions. Sometimes, as on the meandering instrumental album highlight "Chill Buds" or opener "Hocus Pocus," the songs stretch toward a distant horizon. While "Song for Popop" is a folksy and minimal bit of slow-core that recalls contemporary work by New Dog, the bulk of the proceedings has a free and psychedelic bent that makes the set as unpredictable as it is enjoyable. Indeed, the dazzling "Slice Raga" faintly echoes the finer moments of the Deerhunter oeuvre, and "Birds Majesty" sounds like an outtake from Pink Floyd's The Man + The Journey. Some light Googling tells us the prolific Mr. Robinson is the primary songwriter from long-running Western Mass. psych folk foursome Sore Eros, which is perhaps best known for its 2013 split 9" -- yeah, you read that right -- with notable Philadelphian Kurt Vile. But Connecticut River is so very impressive, it doesn't seem like it is simply tunes that are Sore Eros seconds or cast-offs. The set was released by Northampton, Mass.'s Feeding Tube records as a digital download Nov. 6, and we highly recommend it to your attention. Stream all of Connecticut River via the embed below and click through to purchase.



>> One can never be sure with the Johnny Foreigner folks -- especially as it wouldn't be terribly unusual for the legendary and Birmingham, England-based fight-pop survivors to issue a song for Christmas -- but at least presently it appears that the final release of 2014 from a member of its cohort is Fridge Poetry's slightly delayed but altogether excellent recent EP, Omstart Sessions. Fridge Poetry, as devoted readers know, is helmed by Johnny Foreigner drummer Junior Elvis Washington Laidley, and is a vehicle for Mr. Laidley's visceral and moving electropop compositions, which rely on guest vocalists to write and sing vocal parts. This latest, five-song set is actually a bit more rock- and guitar-oriented on the front end, but settles into a more blissed and electronic vibe on the final two numbers. The EP is highlighted by the bracing and twinkly emo anthem "Like Poetry," which features dynamite vocals from The Weaks' Evan Bernard, and the burbling closer "Waste Time (CrashDown Redux)." An entrancing video for that latter cut was premiered at Punktastic yesterday, and we humbly suggest that after you've wrapped up your business with Clicky Clicky this day you click this hyperlink and take a gander at said video. Other featured vocalists on the Omstart Sessions EP include Clicky Clicky fave Pete Dixon of Calories and Sunshine Frisbee Laserbeam, Saam Watkins of London emo giants Playlounge, Emmalee Lovelace of Lint, Rob Slater from The Spills and Elos Arma. The EP is available as a standalone digital download, and also in a bundle with a t-shirt or three posters; the shirt art and posters were all designed by South African artist Anja Venter. You can peruse all of your purchase options by clicking through the Bandcamp embed below after you've streamed the EP, which is awesome, and what are you waiting for, and et cetera. Omstart Sessions was self-released Nov. 6. Johnny Foreigner released its titanic fourth LP You Can Do Better in March [review].

Regolith A1E3: Reuben Bettsak Presents Emerald Comets' Inside Dream Room

What you did in the last 30 days: watched "True Detective;" posted several status updates about "True Detective;" feigned interest in international sport and/or affairs; listlessly commuted to that thing you hate; re-committed yourself to Cheez Doodles; listened to that St. Vincent record a bunch; laundry. What Reuben Bettsak did in the last 30 days: his band Guillermo Sexo was selected to perform on the first night of this year's 35th anniversary iteration of Boston's venerable Rock 'n' Roll Rumble; he wrote and recorded 15 songs; caught a cold -- wait, wait, what was that last thing? Yeah, while you were doing whatever, Mr. Bettsak was creating an alternate reality in a spare bedroom, from which he wrote an entire new record. He is ascribing the new set, titled Inside Dream Room, to his Emerald Comets project; the album is the product of his 30 days of work under the auspices of Clicky Clicky's new Regolith series. It's a spectral, sedate, otherworldy collection, one we've streamed a half-dozen times already, as it seems particularly complementary to a Sunday. It sounds like his work, of course, but it also sounds like post-Barrett, pre-Dark Side Floyd, The Album Leaf and a number of other things. Read Reuben's thoughts about the set and the creation thereof below, where you can also hear the record, which, of course, we are thrilled to share with you. Dig all the way to the bottom, and you just might find some clues about the identity of the next Regolith artist-in-his-or-her-own-residence, too. Get into it.

Clicky Clicky Music Blog: How did it go? Do you consider the results a personal success? A failure?

Reuben Bettsak: I'm very happy with the results! I was able to create a lot of songs that I really dig, and these songs created an album. I didn't know that would be the case when I started Regolith. I do think these songs work together both musically, and lyrically. Another great bonus was delving into some sounds and recording techniques that are new for me. For example, I used a guitar slide a bunch, and learned how to play better with a slide... and there's the space blues sort of thing happening on a lot of the tracks.

CC: What were the biggest challenges and frustrations?

RB: The 30-day time limit is tricky because it's not like I had 30 full days of recording time. I realistically recorded material in maybe 15 of the 30 days, and since I have a full time job, bands and life stuff, I was recording in two-hour periods here and there... It didn't prevent me from creating songs, but spending more time on mixing would have been cool.

Another challenge, at first, was figuring out what the songs would be like... I went into this with a completely open slate. I didn't bring any old riffs into it. I rarely have a problem writing songs, but I was recording in our very plain guest bedroom, and it wasn't very inspiring. This is why I drew inspiration from an idea of being inside a dream room. I pretended to be in a supernatural room, in a dream world of sorts. I knew I wanted the stuff to be somewhat different than other songs I've done... Luckily, the music and the lyrics just occurred in a very natural manner. It's one of the most meditative writing experiences I've ever had.

The other challenge was that halfway through the project, I got a bad cold. On those songs, I had to put a lot of effects on my voice to get through it. I'd keep pushing my voice, although I was losing it. But that was only for like three of the songs, and kinda gives some of those songs an intimate vibe.

CC: How were you able to work around these challenges?

RB: Something about this process really allowed me to delve into subjects and symbols that appear on various songs. I didn't intend to do a concept album, but these songs are tied together, and that really helped with the process of creating the album. I totally agree with the concept that creating art/music is therapeutic, and this process was very much like that... being in an isolated dream room.

CC: Did you find that your approach to writing and recording for this project changed over the course of the 30 days, or did you begin by finding an approach that worked (time-wise), and apply that to every idea thereafter?

RB: Good question... In regards to writing, it was always like "lay a guitar or drum machine," and build from there. I totally have to go back and re-learn these songs because I literally played the riffs or parts once when recording. So the writing approach stayed the same in that regard, but I did realize after a few songs that laying down a drum machine pattern made things way more tight. I guess I could have done a click track for the songs I started with guitar, but I didn't. Repetition and short song structures are definitely your friend when doing this type of project.

CC: What song do you think came out the best?

RB: Recording-wise, I think "Collapse Against the Sound" is one of the best-sounding songs. My favorite songs are probably "Unsleeping Eye," "Stolen Kisses," "Revolutionary Earthworms" and "Lost In Our Place."

CC: What song(s) do you wish you'd had more time to work on? Do you see yourself re-doing any songs in the future, in any of your bands?

RB: "Dreams of Oblivion" has so much potential. I do like this version, but some of the more catchy punkish songs like "Dreams of Oblivion" and "Manic Dreams" would be ideal with real drums. I'm really digging on the vibe of this album and the songs. These songs would not have been created without this process, and I'm so happy that they now exist. I also LOVE the lo-fi vibe.

For sure a lot these songs will be part of the Guillermo Sexo or Emerald Comets repertoire in the near future. I'm actually toying with the idea of having Guillermo Sexo re-imagine the album by recording it in a studio. I think there would be some other songs, or maybe it would be shorter, plus Noell would sing some of the stuff. Who knows if this will happen, but either way, songs like "Stolen Kisses (Visit the Archives)," "Wide Awake in Someone Else's Universe," and a few others would also sound cool if re-imagined by a band in a studio.

CC: We saw you mention the possibility of playing some of these new songs live soon. When and where are you going to be playing?

RB: Yeah! I'm playing an Emerald Comets solo show on March 26th at O'Brien's, and will play a couple of the songs from Inside Dream Room for sure. I just have to re-learn how to play them, and figure out how to perform them live.

CC: Are there any songs you did for this project that you couldn't re-create live?

RB: "Paper Tiger" and "Lost Pieces" would be nearly impossible. Some of the others would be doable as a full band with more than one guitar. Doing the songs "Inside Dream Room," "Bittersweet," or "Collapse Against the Sound" solo would be tough.

CC: If there was one person or piece of equipment you could have brought in for the project, who or what would that have been?

RB: Real drums would have been cool. Also, having a bass player like Bo (Barringer, of Future Carnivores) or Elliott would have been cool. I almost borrowed a bass and used it on some of the songs. It could have been cool, but given the time limit, I went without bass. I did manage to get some decent bass-type parts on my guitar or on the Nord lead keyboard.

CC: Did you learn anything about how you write and record music? What specific or quantifiable lesson, if any, did you learn that will help you in the future?

RB: I'm definitely getting better at recording, and the best thing is being able to get sounds that you imagine in your head into the recordings. I've always loved working quickly, and on the fly, but this definitely re-affirmed that working quickly without over-thinking or overanalyzing can yield some very rewarding results, and possibly some of the best songs written are written in this manner.

CC: If you could travel into the future and speak with the next Regolith participant, what one piece of advice would you give them?

RB: 1. Plan how you will record the songs, but do not worry or think about what you will be writing, or what it will sound like.
2. Short songs and repetition are your friends.
3. Make a decision ahead of time. Recording precision vs. quality of "song crafting," and the amount of material you want to produce. There has to be some sacrifice there.
4. Experimenting can be very rewarding.
5. Trying new things, like new ways of singing, or using a guitar slide, or something you don't usually use, can also be rewarding. I approached it as if it was a completely different band.
6. Have fun!

Thanks so much L. Tiburon and Jay and Clicky Clicky for inviting me to do this. It has been such a rewarding experience.

And there you have it, folks, Regolith Artist 1, Reuben Bettsak, is in the can. Stream all of the new music via the embed below, or click here to visit the brand new Clicky Clicky Music Bandcamp to stream the whole kaboodle there. Bookmark that page, too, because that is where we'll be posting all future Regolith music from here on out. Speaking of which, how about three clues as to the identity of the next Regolith artist-in-residence? 1. 2. 3. You'll be hearing more about that very soon. -- L. Tiburon Pacifico



Related Coverage:
Regolith A1E2: Reuben Bettsak Writing Songs Under The Gun
Regolith A1E1: Reuben Bettsak Is A Songwriter
Premiere: Emerald Comets | Emerald Comets EP
Review: Guillermo Sexo | Dark Spring
Today's Hotness: Future Carnivores
Clicky Clicky Music Presents... N O F U C K I N G W H E R E : 11 Boston Bands Perform Ride's Classic 1990 Album
Review: Future Carnivores | Future Carnivores
Review: Guillermo Sexo | Secret Wild

Today's Hotness: Andy Sadoway, Skyjelly, Pastel Colours

>> To a remote observer it may appear as if Boston indie pop heroes Bent Shapes are going through a sort-of wilderness phase, figuratively wandering the desert with one arm thrown over the shoulder of Jesus and the other over the shoulder of Jim Morrison, and, since we're just making shit up now, a superfluous third arm thrown over the shoulder of the equally superfluous Val Kilmer. Anyway, longtime Bent Shapes bassist Supriya Gunda recently (and amicably) left the band to focus on other projects including the whipsmart quartet Lost Twin, and now we have before us a new solo EP from Bent Shapes drummer Andy Sadoway. The good news is that the state of the Bent Shapes union is strong, they continue to play shows (like last week's hotly tipped Bleeding Rainbow gig), and we're told there is new music coming, so everyone just keep your shirts on -- everything is cool. In the meantime, this EP from Mr. Sadoway isn't going to write about itself. The short set certainly sounds like a winner, if its title track is any indication. "Str8 Sh00ter" is built up like a house of cards from flappy acoustic guitar and minimal, tom-centric drumming, with lots of nifty, tremeloed electric guitar sprouting across the stereo field. Its resolutely breezy and somewhat innocent sounding surf-pop reminds Clicky Clicky of both the terrific (but, sadly, perhaps defunct?) Chicago act Distractions and zero-year left coast pop duo Jan And Dean. The Str8 Sh00ter EP also includes the Sadoway-penned and performed "You Kept Things In Tact," "Don't Mind," and "Leave Some Space." The four songs were recorded at Mystic Steamship just outside of Boston. The EP will be released by Father/Daughter Records March 25 as a cassette and digital download, and you can pre-order your very own right here right now. Father/Daughter also released Bent Shapes' full-length debut, which we reviewed right here last August. Stream the tune "Str8 Sh00ter" via the Soundcloud embed below.



>> The music of Boston-based experimental concern Skyjelly rarely, if ever, seems to tread the same ground twice: indeed, unpredictability may be its most distinguishing characteristic. Our unsubstantiated speculation points to this unpredictability being a symptom of the sort of restless pursuit of T+B our college professors advocated in the '90s (that's "Truth and Beauty," to you youngsters not fortunate enough to have been educated by academics who themselves were educated in the 1970s). Or it may be that founding member Skyjelly Jones just gets bored easily (the musical project that carries the Skyjelly brand now also includes Eric Hudson). Whatever the reason, the peripatetic yen of Mr. Jones' songwriting has heretofore come to rest on beautiful, more ambient sounds like "Providence," which we wrote about here in early 2013, and on a new, debut EP, well, it's decidedly weirder. The music on the Skyjelly & Sun EP retains a wide-eyed psychedelia, to be sure, but aspects of the proceedings are surprisingly formalized. Opener "Tea, The Drink" cuts through a funk sample to stride along a solid groove accented by maracas(or some sort of backwards masking that approximates the slanting kiss-kiss of maracas). It's a firm anchor for cooed falsetto vocals and tremeloed rhythm guitar, which dodge gestural, scrawled guitar leads. "Catherine's Rabbi" ups the tempo and the pop ciphering, consolidating a barely there guitar sketch, a canned beat and more weightless falsetto in the four-song set's most conventional composition. "Krilltastic" tantalizes with its Clicky Clicky-friendly title, but the dense rhythm track in the first half of the tune -- which recalls moments of The Cure's Pornography record -- provides an equally strong focal point. Skyjelly & Sun will be self-released March 20, and if you are lucky enough to get a physical copy, it may (or may not) come packaged in a pocket cut from a pair of trousers. The EP will be feted at a release party scheduled for March 15 at the UnchARTed Gallery [boing] in Lowell, Mass. In the meantime, stream the sitar- and WTF-tastic EP closer "Peshawar (Astral)" via the Soundcloud embed below.



>> Pink Floyd never grooved as steadfastly as this, likely because Roger Waters is a rigid bass player. Nonetheless, there is a touch of classic, singles-era Pink Floyd to Pastel Colours' blazing psych-pop nugget "She Can't Decide." Something in the vocals, bass flange, blues foundation, and of course the massive descending chorus echoes Pink Floyd's "Interstellar Overdrive." Pastel Colours' smoking psych-rock number is apparently only their second recording; the Falmouth, England-based quintet debuted with the somewhat more restrained but somehow even more psychedelic track "Hands Like Silk" late last year. "She Can't Decide" is the third installment in Art Is Hard Records' 2014 Pizza Club series, with which readers will surely be familiar, because we write about it, and Art Is Hard's knack for finding brilliant music, often. Coincidentally, another Falmouth act, Goddamn Nobody, was featured as the first single in the 2014 Pizza Club series, and we wrote about that right here. Despite having but a brace of tunes released, Pastel Colours has already garnered a not insignificant amount of radio support, and we are eager to hear what else the fivesome can do. Can they stay true to the psych-pop idiom while keeping its music fresh? Time will tell. For now, stream "She Can't Decide" via the Soundcloud embed below, and click through to grab a download of the track for the friendly price of zero anythings. And, of course, music fans would be wise to keep their ears on Art Is Hard.

Today's Hotness: School Shoes, Withered Hand, Tadoma, Mutes

>> We're increasingly spoiled by the tremendous surprises dropping under our noses over at Bandcamp. Sure, a flat vinyl circle is always going to be our preferred media, but these days nothing is as immediate and sudden as the sensory blitzkrieg and subsequent rush of a digital taster from a hot and fresh band. Boston's latest bedroom dream-pop export School Shoes last month propounded via Bandcamp a perfect pair with its demos "Cults" and "Dress." The brainchild of a gentleman named Ty Ueda, School Shoes' two tracks fuzz and crackle with delicious analog enthusiasm. Both feature such expansive and pristine hooks that even in their demo-ish state they already feel Captured Tracks-ready -- even arena-ready -- in spirit and scope [and remind this blog’s executive editor of a certain incredible Portland, Ore.-based indie rock foursome -- Ed.]. Opener "Cults" is unapologetically exuberant pop. Commencing with a taut, picked guitar riff and snare-centered beat, the tune echoes turn-of-the-decade Brooklynites Beach Fossils with the twitchy anxiousness of the instrumentation. After a dreamy opening, Ueda's voice enters, and it's a real stunner: clear and expressive, but with enough deep cool to keep the frumpy taste-makers happy. Better still, the voice provides a great focal point as the tunes confidently reveal themselves, jangling from a bed of reverb and delay and driving a gently lifting chord progression in the chorus. "Dress" opens with more primal hisses and ramblings before embracing a classic indie two-chord pull and push whose persistence and quiet passion echo the Belle & Sebastian outlier from 1996's Tigermilk, "Electric Renaissance." New-wave bass and double-tracked vocals emphasize the tune's charm, which is amplified further still by the instrumental interplay. All of the instruments work in concert as though School Shoes was a complete live band with multiple personalities, which is very impressive. Stream both tracks below, and click through the embed to grab the demos for further future untethered enjoyment. -- Edward Charlton



>> It amused this reviewer more than a little when he first read that new Slumberland signees Withered Hand are promoting their forthcoming sophomore long-player, New Gods, with a song called "Black Tambourine." The tune even features Pam Berry of the very same dreamy and legendary institution from which that name is borrowed! However, as soon as the track in question is heard, it's apparent that it is no simple-minded act of hero worship, but rather a promising introduction to a Scottish artist by the name of Dan Willson. Mr Willson creates what Scotsmen toiling in indie rock do best –- honest, inviting pop music in the vein of Teenage Fanclub. If Withered Hand's previous album Good News is any indication, however, the project is a unique signing for Slumberland, seeing as that record featured a much heavier folk-rock sound. However, "Black Tambourine" may prove that Willson has set his sights on the sounds of the '60s; the track is a shockingly good exercise in power pop. Opening with cheery snare work and bouncy bass, the song structure belies the lyrical concern: aging and doing so with grace. "I'm older now, but I feel the same, but I'm not the same," sings Willson, offering a sentiment with which many can surely relate. Ms. Berry delicately accentuates his vocals, then offers greater support in a series of subtle choruses. These sneak up on the listener with their tunefulness -- much in the same way the organ creeps in to nearly match the volume of the fuzz guitar solo by the conclusion. "Black Tambourine" may be a bit of a grower, but when that moment arrives, one won't forget it. With the announcement of New Gods for early next year, 2014 is already proving to be another exciting and unexpected chapter for such Slumberland. It's also worth noting that this is the second release to be released in partnership with U.K. imprint Fortuna POP!, which this year co-released Weird Sister by Clicky faves Joanna Gruesome. So you know, all very good signs. Listen to "Black Tambourine" via the embed below, and buy it from ITunes here. -- Edward Charlton



>> What does Tadoma sound like? It's a great question, because even after spending some time with Nascent Zones, the recently self-released odds-and-sods collection from Philadelphia electronic producer and Tadoma mastermind Joe Patitucci, a simple answer is hard to pinpoint. In 2008 this blog described the music as "Boards Of Canada meets More-era Pink Floyd." But this recently issued collection of never-quite-finished tracks tickles the brain while recalling a broader variety of musical and cultural touchstones. Indeed, Nascent Zones features such a diverse array of instrumental approaches that there is really -- to embrace the hackneyed phrase -- something for everyone here. Some of the loop-heavy tracks nearly approach hip-hop, such as the bouncy opener, while the more ambient pieces often incorporate orchestral elements that only increase their size and scope. Mr. Patitucci describes the idea behind Nascent Zones as "a place or zone you enter and as these zones I am making available are somewhat unfinished, it only seemed appropriate that I use this name." Unfinished or not, many of the tracks feature transporting instrumental melodies and warm, analog production that feels especially cozy in headphones. Two compositions toward the front end of the set, "Rover" and "Contact," express Patitucci's strengths by pairing simple yet non-traditional guitar work with carefully calibrated vintage synths. "Rover" begins with a de-tuned strum that recalls dream-poppers of yore -- and the many whirring noises, simple drum pads, and clean, bleeping sounds remind this reviewer not only of Stereolab or Seefeel, but also of certain moments by the relatively unheralded Philadelphia dream-pop unit Flowchart. "Contact" leans toward early krautrock, as well as the opulent, unfolding guitar tapestries of post-punkers like Durutti Column. Grab all of Nascent Zones for any price here, and stream the entire set via the embed below. -- Edward Charlton



>> There's always moments during the holiday season that grab one sharply by the lapels. Maybe it's the quick pang of nostalgia -- the realization that one's youthful revelry is fleeting. Or maybe, it's a beer in hand and some end-of-the-year reflection during a solitary snowfall. Few music fans go without at least one of those soundtrackable moments this time of year (Boston, you apparently have at least six inches of snow to thoughtfully stand under coming your way Thursday evening), and a recently released single from Birmingham, England's Mutes is perfectly suited for such duty. Helmed by a gentleman named James, as we noted here in April, this project proffers carefully looped electric guitar and subtle, gorgeous melodies that pirouette broadly before fading into the mist they emerged from. The celestial instrumental "Kissing Trees" sparkles quietly, and the entrancing way the guitar tumbles through the melody is proof that quality songwriting always wins. "Memory Serves," which touts spectral and downcast vocals, and echoes Grenadine's chilling 1992 A-side "Fillings," or even a slowed-down take on the hyper-charged hammer-ons of bands like Clicky Clicky faves Algernon Cadwallader or Johnny Foreigner. James' soft vocal establishes a lonely dreaminess, intoning "there's nothing to live for." With all of this in mind, it’s easy to think of Mutes as a sort of John Fahy or Billy Bragg of dream pop -- alone up there on the stage, and all the better for it. Grab the Starvation Age single for any price, and be ready for the next soundtrackable moment. -- Edward Charlton

Today's Hotness: Lady Jane, Natural Velvet

>> As a somewhat solid editor, Clicky Clicky honcho Jay has developed substantial expertise identifying which artists will be most pleasing for this reviewer to consider. Case in point: The assignment of a track from Things We Forgot on Vacation, the upcoming full-length from the Rennes, France-based psych-rock foursome Lady Jane. As far as we're concerned, the record's alluring preview single "Death of a Dandy" is just what the doctor ordered to accompany the shuffling in of autumn. As evidenced by their already extensive back catalog, Lady Jane are no strangers to mid-'60s psychedelic and classic rock, so "Death of a Dandy" is in keeping with the band's vibe. Here they perfectly capture the mood, structure and insanity of original Floyd fronter Syd Barrett's songwriting circa 1968, without delivering just a carbon copy. The acoustic strums, lazy stream-of-consciousness vocal delivery, and gutbucket slide guitars all recall the promise and innovation propounded by Mr. Barrett before his decline and withdrawal from public life. Lady Jane's song is more structured and straight than Barrett's later solo work, which is often what music fans are most familiar with. Instead, it's like an additional transmission from the lost, hallowed period surrounding the creation of Pink Floyd's second album, A Saucerful of Secrets, and specifically its lone, Syd-penned capstone, the beautifully scrambled "Jugband Blues." The Frenchmen carefully transport that delicate era to our own in crafting a composition that would be perfect for a disorienting evening at a hip, smoky bistro. And so Lady Jane not only make us curious about what other talent may be lurking about France awaiting our ears, but also shows that there's still a lot of great new things that can come of a careful study of less-copied composers. Stream "Death of a Dandy" via the Bandcamp embed below. Things We Forgot On Vacation is available here for pre-order now via the Les Disques Normal imprint; both the CD and vinyl versions are slated to for release Oct. 7. -- Edward Charlton



>> Baltimore noise-pop concern Natural Velvet released a debut EP to the wilds of the Interzizzles over the summer that has kept our attention for some time. Called Salome With The Head of John the Baptist, the relatively new act's five-song collection is notable both for being affecting and for not fitting tidily into one of a contemporary music writer's many little descriptive boxes. It's rare that this reviewer can't connect some dots and peg influences to any band that describes itself as shoegaze, post-punk or noise rock, but Natural Velvet certainly presents a delightful challenge. Natural Velvet pull together strains of metal and gothic post-punk and pair it -- like a well-traveled noise sommelier -- with the dry, brittle production of the '80s underground. Indeed, at first it seems as if Salome With The Head of John the Baptist is a nostalgic release, but that then begs the question: nostalgic for what? It's hard to put a finger on. The collection's standout song "Salome" opens with a spindly chimes 'n' drums intro that imbues the tune with a cool and creepy mysteriousness evocative of Rodan's epic "Tooth-Fairy Retribution Manifesto." The tune then lurches into a steady, but jagged groove. Perhaps it's the dry, hi-hat-heavy drum style, upfront vocals, or that grinding distortion, but the instrumentation has the same sort of concentrated, performance-focused, DIY conviction present on many mid-period SST releases. Singer Corynne Osterman's speak-sing vocals are a pleasant surprise, as well. With so many contemporary female singers either emphasizing their serene ethereality, diva-like bravado, or pixie cuteness, it's refreshing to hear a woman mutter, groan, and sigh forth. Admittedly, there are moments on Salome With The Head of John the Baptist that feel stiff, but even so this is a promising young group, one that presents a singular approach we've not heard elsewhere in the thriving Baltimore scene. Could Natural Velvet be a new recruit to the army of Grass Widow's dark and sensual take on female-fronted rock? Let's hope so. Grab its entire EP as a pay-whutcha-like download via the Bandcamp embed below. -- Edward Charlton

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

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



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



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



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

Today's Hotness: Lower Dens, Concord Ballet Orchestra Players

>> Bullet points for Jana Hunter that we keep at the ready in the unlikely event we are engaged in conversation about the haunting/haunted songwriter: first, the compelling voice -- it's in the same register as Chan Marshall, but perhaps a tad more desperate and poignant; second, the unsettling quality of her gothic Americana gets under your mental skin, and stays there; and third; she once toured via sailboat, but then there was some sort of boating mishap, and then the tour had to finish by land. We can now add a fourth, which is that Ms. Hunter recently formed the band Lower Dens. The Baltimore-based quartet, commissioned in 2009, significantly fills out Hunter's compositions with a standard rhythm section and second guitar. The aural heft does much to enhance her songs, at least based on the pulsing, reverberant promo track "Hospice Gates." The tune will feature on Lower Dens' forthcoming, 11-song full-length Twin-Hand Movement, which the label Gnomonsong will release July 20. The long player, which was to have been Hunter's third solo set, will be preceded by the single "I Get Nervous" b/w "Johnssong,"; the single is available for pre-order now and will be issued May 31. We first wrote about Hunter here in 2005, where we reviewed her Gnomongsong debut, the collection Blank Unstaring Heirs Of Doom. Hunter subsequently released the additional solo sets There Is No Home (2007)and Carrion EP (2007).

Lower Dens -- "Hospice Gates" -- Twin-Hand Movement
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[pre-order Twin-Hand Movement from Gnomonsong here]

>> Scene-maker and radio DJ extraordinaire Jeff Breeze's long-running improvisational space-rock project Concord Ballet Orchestra Players is back with a fifth record, Palindromes. The set, which features Mr. Breeze abetted by a quintet including our former Junkmedia colleague Martin Pavlinic, is officially released June 1, but you can download the thing for free at Bandcamp right here right now. You're wondering why you need improvisational space-rock in your life. We understand, believe us. But Palindromes is quite engaging, in a non-singles Pink Floyd circa 1966 kind of way. Take, for example, the organ-heavy (and, we'd venture, Richard Wright-indebted) psych-out "Serif Fires," which we are posting below. The composition meanders, but with a purposeful tunefullness that maps structure and indicates the CBOP cohort has well-developed, collaborative instincts, and/or an ear for the interesting. Have a listen to "Serif Fires" below, and download all of Palindromes right here. Concord Ballet Orchestra Players has two pending gigs, the details of which we are posting below the embed.



06.01 -- P.A.'s Lounge -- Somerville, MA
07.31 -- AS220 -- Providence, RI

>> Our practice is to let our reviewers have the last word on the records and shows they assess. Even so, we are compelled to echo Mr. Piantigini's rave here about the latest album from Dutch indie veterans Bettie Serveert. The record is simply a joy to hear, wherein fronter Carol Van Dyk and her cohort find the perfect balance of sentiment, atmosphere and edge, over and over again. While we waited for Pharmacy Of Love to show up in the racks of our local Newbury Comics outlet, we spent an ample amount of time with the Deny All digital EP from ITunes. And we admit being apprehensive when we dropped the disc next to the cash register that perhaps we were buying a bunch of filler, that said EP was going to have all the hits. But we were wrong. Pharmacy Of Love is lean, not-quite-mean, but wholly compelling, and the non-EP tracks "Love Lee," "The Pharmacy" and "Change4Me" stand among the best of the album. What we are saying is this: buy this record. It is not Palomine, to be sure (nor does it have the amazing dynamic range of Palomine), but in terms of songwriting and consistency, it may be as strong.

Today's Hotness: Manhattan Love Suicides, This Town Needs Guns

>> When we last checked in on British noise-pop dynamos The Manhattan Love Suicides here in April, the Leeds-based foursome had just issued its Clusterf*ck 7" EP. And at the time we advised folks to watch EMusic and wait for the four songs to show up in the handy MP3 format, because digitizing vinyl is wicked frustrating, yeh. After that we forgot all about the EP until today, when a MySpace alert notifified us that the band had just uploaded a new track from a recently issued compilation titled Burnt Out Landscapes. The compilation -- which was issued by Magic Marker June 2 or Aug. 12, depending on which release date you choose to believe -- is available at EMusic right here, and better still it appears to include all the cuts from Clusterf*ck. All told, Burnt Out Landscapes features 27 tracks including radio sessions and alternate versions including the divine cut collection-closer "Life In Vain." The Manhattan Love Suicides are giving away one of the tracks, "Heat And Panic," for free at its MySpace longhouse. We'll save you the trip and post it below, but definitely hit the link to EMusic to grab Burnt Out Landscapes, because the dozen tracks we've heard so far (damn EMusic account doesn't roll over for another five days) are entirely compelling.

The Manhattan Love Suicides -- "Heat And Panic" -- Burnt Out Landscapes
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[buy Manhattan Love Suicides music from EMusic right here]

>> Time was Pink Floyd's Animals was our favorite record. We were probably 12. We can't remember the year exactly, but we can recall a family vacation to Florida and having to share a double bed with an older brother who did not fully appreciate the awesome air guitar we were unleashing before falling asleep at night with the aforementioned record blasting into our skull via a third- or fourth-generation cassette Walkman. Anyway, this paragraph is not about that record. It's about the Oxford, England quartet This Town Needs Guns, which releases its own record titled Animals in the UK Oct. 13. The set, which we think is the first full-length release from the quartet, contains 13 tracks named after various mammals (and a crocodile, and possibly a marsupial). Faithful readers may recall we posted the track "Baboon" right here in July. The label Big Scary Monsters has made available a second preview MP3 titled "Chinchilla." The cut bolsters our appreciation of the band, which incorporates the exciting guitar work of erstwhile American indie acts American Football and Owls into its own sturdy modern emo framework. "Chinchilla" also touts a punchy drum beat in the verse that seems to constantly threaten to slip off the beat. It's a very enjoyable way to spend four minutes, and we highly recommend this track.

This Town Needs Guns -- "Chinchilla" -- Animals
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[pre-order Animals from Big Scary Monsters right here]

>> Matablog has posted here the tracklist and cover art for the recently announced Belle And Sebastian compilation The BBC Sessions, which will be released by Matador Nov. 18. The set features two discs, the first concatenating BBC radio sessions recorded during the bands "golden age" (in our opinion), 1996-2001. The second disc, dubbed Live In Belfast, contains selections from a December 2001 live date in the nominal city. Personal favorites are strongly represented, with "Seymour Stein," "Sleep The Clock Around" and "Like Dylan In The Movies" appearing on the first disc, and the devastating "The Model" and "The Boy With The Arab Strap" appearing on the second disc. Matablog promises more information and some preview MP3s, so we'll keep our eyes peeled. And maybe we'll watch that Belle And Sebastian DVD from five or six years ago again soon.

Today's Hotness: Coco B's, The Hold Steady, Pink Floyd

>> Loyal readers may recall a couple pleas [1, 2] for MP3s of an old Retriever single from 1995. As we noted in March we finally thought to search for the erstwhile L.A.-based act's stuff on EMusic and turned up a very nice compilation track. And then we forgot about Retriever again until this past weekend, when we wondered what would happen if we simply Googled around a bit for information about the band. And lo and behold, the Internet served up all the information and MP3s we could ask for, and provided links so we could buy even more Retriever goodness. And along the way we learned that Kevin Retriever has a new band you may have heard of called Coco B's, which were featured just the other day here at the RCRDLBL music blog thingamajig. The good news for us is that Coco B's sound just like Retriever, so we're totally on board with the quartet. RCRDLBL has a few Coco B's MP3s you can download at the link supra (definitely pull down and listen to "Give Up The Money/1982," which sounds a bit like a gentler Quicksand). But the link we'd like you to really think about clicking is this one, where you can download a whole lotta Coco B's demos, and also a whole lotta Retriever jams, including the one that got us started on this hunt in the first place, "Q-Tip" (released on a split single with Rock Band #47 in 1995). Since they're offering, we're also linking to "Evil K," the hot number we discovered on the comp at EMusic. Coco B's next gig is June 12 at Alex's Bar in Long Beach, CA.

Retriever -- "Q-Tip" -- Retriever/Rock Band #47 split single
Retriever -- "Evil K" -- Greatest Moments Of Doubt
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[make yourself happy and buy Coco B's and Retriever records right here]

>> Did you know that The Hold Steady's forthcoming fourth full-length Stay Positive will be issued digitally by EMusic June 17? Well, it looked like it was true for a couple shining days, but now an update to the 17Dots blog indicates that the chaps at Vagrant are having second thoughts. Even so, this updated blog post hasn't completely recanted the claim yet, so there is still some hope that in fewer than two weeks you will be knee deep in Mssrs. Finn and Kubler's freshest batch of boozing anthems. We were not initially taken with the lead single "Sequestered In Memphis" (would it kill you guys to turn up the rhythm guitar just a little more in the verse?) but it has since wangled its way into the forefront of our minds with its ultra-simple lyrical hook. The physical release of Stay Positive is slated for July 15. "Yeah, sure, I'll tell my story again..."

>> We love the weird post-Barrett, pre-Dark Side Of The Moon Pink Floyd catalog, as well as bootleg recordings of the quartet during the period (which were showing up online with surprising frequency this spring). So it was with great interest we read this NME item about Floyd guitarist David Gilmour deigning to perform June 15 with a Floyd tribute act for a performance of the 1970 epic Atom Heart Mother. You know, the one with the cow on it. Atom Heart Mother includes two very long proggy pieces, and then three short songs, one written by each of the writing Floyd members. It is really a wonderful record. One of the shorter tunes is Gilmour's ballad "Fat Old Sun," which was covered by the early '90s Montreal-based four-tracking concern Mennen with great, gritty success. We really thought this track came from a Purr Mama Resistor cassette comp, but we just checked the site and it isn't on any of them. We must have gotten it straight from the source. Check it out.

Mennen -- "Fat Old Sun" -- A Four-Track Joint
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>> Notable British indie rockers Fields will make their live return at the end of the month, playing the Proud Gallery in London June 28. A MySpace blog post indicates the band will be playing new material. Who's going to YouTube some of that for us?

Finding Diagram: Ambient Act Dissipates, New Projects Materialize

Between its web hacienda and MySpace dojo exemplary but sadly defunct abstract dreamers Diagram are giving away a motherlode of music, including all of its excellent three-song History Of The White Flag (Figure 2) EP, released in late 2005. Like many great Philadelphia acts, we first learned of Diagram via the also sadly defunct WhyMe? podcast. Our fandom for the band was rekindled upon hearing a track from their first EP, Fig. 1, bitcast as part of the latest Local Support podcast. The most-recent missive from the trio of Joe Patitucci, David Bohl and Alex Tyson at the Diagram web site indicates the band was to spend the first few months of 2006 writing and recording a new collection of songs.

As that was some time ago, we emailed Mr. Patitucci for an update and learned that the band is done and its principals have splintered into other projects. Mr. Tyson plays with the hotly tipped '70s SoCal rock-influenced act Brown Recluse Sings; Patitucci helms the very promising ambient electronic project Tadoma (link; think Boards Of Canada meets More-era Pink Floyd); and Mr. Bohl charts bleepier, more Kraftwerk-informed electronic territory with Map Of The World At Night operating out of Brooklyn. Fans of Boston's Charlene or New York's Daylight's For The Birds should make a concerted effort at collecting all of the Diagram material they can get their hands on. We'll post one track from each EP and a nice Map Of The World At Night cut below. Local fans will be interested to note that Brown Recluse Sings is slated to play PA's Lounge in Somerville, Mass. May 24.

Diagram -- "I Am Not Invincible" -- Fig. 1
Diagram -- "Surrender To Time" -- History Of The White Flag (Fig. 2)
Map Of The World At Night -- "Arp Rhodes Lullabye Rendered 2" -- MySpace download
[right click and save as]
[buy Diagram EPs, well, nowhere -- they're simply not for sale anywhere]

Diagram: Internets | MySpace | YouTube | Flickr

Today's Hotness: The A-Sides, The Answering Machine, Sigur Ros

>>[PHOTO CREDIT] Our big day-job goings-on have kept us from telling you the important news that you can stream The A-Sides' forthcoming sophomore set Silver Storms in its entirety right now over at Philebrity. We haven't even streamed it yet ourselves, although we did catch the studio version of the Philadelphia indie rock phenom's new tune "We're The Trees" on Jon Solomon's consistently excellent Local Support podcast a week ago. The Philadelphia Weekly here has an interesting question-and-answer with a couple of the guys from the band, and the most up-to-date fall tour dates were recently posted at The A-Sides blog here. The A-Sides will play the Middle East in Cambridge, Mass. on Nov. 4; Silver Storms will be released Sept. 18. We're checking our mailbox every day, oh great promo Gods -- please don't disappoint us. For the 10th time, here's an MP3 for "Cinematic," a track off the new record.

The A-Sides -- "Cinematic" -- Silver Storms
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>> The beer-drinking young folks in Manchester, UK-based trio The Answering Machine are easily as charming as their music, if this video (which takes forever to load) posted at the V Magazine site is any indication. The negative rap on this band is that they are very derivative of The Strokes, but we don't buy it. First of all, The Answering Machine appears to still not have a drummer. Additionally, saying an act is derivative of The Strokes basically ignores 30 years of rock history. But that's a conversation for another day. The Answering Machine recently did a BBC radio session -- you can hunt around the band's MySpace wigwam for the details and a link.

>> The trailer for the Sigur Ros documentary "Heima" has a very Harry Potter vibe working in it. Check it out here. And we mean the HP movies, of course -- we've yet to read any of the books. But the Sigur Ros video is stunning. Generally, we have to be in a specific mood to really get down to Sigur Ros, but this video is pretty inspiring, Spine-tingling even. Is this Icelandic band now out-Pink Floyding mid-'70s Floyd? If not, they're damn close.

>> We're in receipt of the new (or new-ish) Wombats EP. You Ain't No Picasso has the video of "Let's Dance To Joy Division" posted right here. With its iffy lyrics, it's not the sure shot that The Wombats' unstoppable cut "Moving To New York" is, but the track is still amply peppy. And the end of the video has some compelling visual surprises. Check it out here.

>> One of the things getting us through the 13 and 14-hour days we've been putting in at the day job recently is the forthcoming record from indie rockers Pinback. It is called Autumn of the Seraphs and it is due on Touch and Go Sept. 11. We hope to have the time to review the record in full sometime next month, but in the event we don't have the time (a second deadline-sensitive project is already in line behind the current Sisyphean task, and this is all in addition to our usual workload) we can tell you that a lot of the review will or would focus on the tone and energy of the set. Where other bands would use distortion, Pinback just dials back the edge and hits you with the clean. Where most other bands would deploy the fuzz-bass liberally to make their rock points strongly, Pinback uses in many places what sounds like one of those acoustic hollow-body electric basses that were popular in underground music circa 10,000 Maniacs. On top of it all, we love how Pinback's Rob Crow rocks the flight suit for the video for "From Nothing To Nowhere." Check it out here.

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

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

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

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

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

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