Today's Hotness: California Snow Story, Dikembe,Gold Muse

>> It's been nigh on a decade since we last had something substantive to say about indie pop luminaries California Snow Story, but that's not because we took our eye off the proverbial ball. Indeed, the Scotland-based act has been on hiatus pretty much since we first wrote about them here in 2007. But its timeless, genteel pop has stuck with us, particularly 2007's terrific tune "Suddenly Everything Happens," so our desire for new California Snow Story material has never waned. We were jazzed to see bread crumbs on social media late last year suggesting the band's return, and said return transpired late last month, when its winsome, understated sophomore long-player Some Other Places arrived. The set opens with the breezy strummer "Motorway," whose instrumentation and poignant melancholy establish an appealing mood that persists across every one of the albums' 10 tracks. Escapist reveries and optimistic longing rule the day, something underscored by even the song titles: "Our New Sun," "Her Ocean Airport," and "Railway Station," to pick a few. That latter track is an album highlight; it foregrounds acoustic guitar, and its simple vocal harmonies and electric leads tidily punctuate a perfect pop gem whose cool air echoes -- among other things -- the sound of contemporary groovers Ultimate Painting. California Snow Story was formed in 2001 by Camera Obscura co-founder David Skirving, who was later joined by Spanish vocalist Sandra Belda Martãnez, Japanese keyboardist Madoka Fukushima and, occasionally, drummer and vocalist Melanie Whittle. Shelflife Records released Some Other Places as a digital download May 27, and it can be purchased via California Snow Story's Bandcamp wigwam right here. The band has indicated a release on vinyl remains a possibility, so keep an eye on its Facebook page. Shelflife previously issued the band's One Good Summer EP in 2002; the band's debut LP Close To The Ocean was released on Letterbox Records in the UK and Philippines in 2007. Stream all of Some Other Places via the embed below.



>> Due to work commitments, the mighty Dikembe's new releases and tours tend to come at this time of year, something that helps set a rhythm to our modern lives. So there was a certain satisfaction that accompanied the news that the Gainesville, Fla. emo goliaths will release next month a new LP Hail Something, the band's third and its first to be released domestically via its own Death Protector Collective subscription service. The set was preceded by a flexidisc single touting two ferocious album tracks "All Wrong" and "Awful Machine." "All Wrong" is remarkably effective given its concise build and straightforward, three-chord foundation; Dikembe's finely tuned dynamics and fronter Steven Gray's mournful growl apply all the color the song needs, and the results are spine-tingling. "Awful Machine" stretches out a bit further and touts chugging guitars and splashy cymbals. But its fine appointments in the second half -- the dry acoustic guitar and the undertow of delayed and reversed guitars -- proclaim the strength of the quartet's composition. A third new tune, "Just Explode," is also streaming at Bandcamp, and you should be able to listen to all three via the embed below. If you'll indulge the tangent, artist-based subscription services are something that we've followed (and certain of our esteemed colleagues including the great Koomdogg have written about) since the turn of the century. In those early days, technical glitches created hurdles to providing really fulfilling digital subscriptions, but the march of technology would seem to have alleviated most old concerns. So in a way it is surprising more artists don't avail themselves of this type of platform, and we're hopeful to see more efforts like Dikembe's emerge. Hail Something will be released in the U.S. July 12; the set will also be issued on Dog's Knight in the U.K. and Lost Boy in Australia. Lucky American fans will be able to see the act perform live during an 11-day jaunt that kicks off July 18 in the nation's capital; full dates are posted below. We previously reviewed Dikembe's debut LP Broad Shoulders here in 2012 and sophomore set Mediumship right here in 2014.

07.18 -- Comet Ping Pong -- Washington, DC
07.19 -- Aviv -- Brooklyn, NY
07.20 -- Amityville Music Hall -- Amityville, NY
07.21 -- PhilaMOCA -- Philadelphia, PA
07.22 -- The Mr. Roboto Project -- Pittsburgh, PA
07.23 -- Mahall's -- Lakewood, OH
07.24 -- Downstairs (at SubT) -- Chicago, IL
07.26 -- Nostromo -- Nashville, TN
07.27 -- The Shark Tank -- Tallahassee, FL
07.28 -- Loosey's -- Gainesville, FL
07.29 -- Will's Pub -- Orlando, FL



>> Boston noise-pop leading lights Gold Muse recently released to the wilds of the Internerds a third digital single, just in time to help promote their very enviable slot opening for Philly 'gaze gigantes Nothing at Cambridge's Sinclair last weekend. Both new numbers, "Trick Of Time" b/w "Waves," are jarringly urgent, pretty, dark, and bracing. Continuing a trend first charted on "Kiss The Sun" earlier this year, the visceral rocker "Trick Of Time" features increased vocal interplay between Deb Warfield and guitarist Dan Parlin. That said, no song element is superfluous, and every one feels necessary: Justin Lally's syncopated drumming, William Scales' rapid-fire bass line, the skeletal guitar, the bending synth tones. At greater than six minutes, "Waves" is the foursome's longest foray to date, and it manifests certain of the band's post-rock impulses. The rhythm plods at first, the arrangement -- anchored to a dry acoustic guitar -- is spare, and the vibe is morose. But Ms. Warfield's simple organ enters at the midpoint and transforms the song into a rarified elegy that suggests turn-of-the-'70s Pink Floyd in the best possible way. It's a new direction, and both songs present exciting new ways forward for Gold Muse. Moreover, the release represents a bit of a departure for the band process-wise, as these are the first songs the band recorded with area hit-maker Brad Krieger. Indeed, the sessions, if memory serves, were the last done at Hanging Horse studios original Norwood, Mass. location. There hasn't been any indication of when Gold Muse's next release or live performance will transpire, but we will certainly keep readers apprised. In the meantime, listen to the terrific "Trick Of Time" b/w "Waves" via the Bandcamp embed below.

Previewage: You're Jovian Returns With Sparkling Pop "Revelations," Tour Hits O'Brien's Pub June 6

From an outsider's perspective anyway, You're Jovian feels like an intermittent project, so it is cause for much rejoicing when the Virginia Beach, VA shoegaze four surfaces. Although the band led by fronter and guitarist Elliot Malvas seems to come and go, it makes up for its ephemeral nature by routinely recording incredible songs. Over the weekend the latest iteration of the quartet (which has been together since November) took to the airwaves of Norfolk, VA's WODU for a live session. There You're Jovian premiered new tunes "Ball And Chain," "Pieces" and "Endless Possibilities;" that latter tune echoes in a pleasant way the sound of early Lilys circa the bootleg The Station Tapes, for those of you keeping score at home. One new number you didn't hear was the uptempo and bright gem "Revelations," which is, well, revelatory, and available now as a digital single on Bandcamp courtesy of the good people of Funny/Not Funny Records. It rides a cycling 12-string lick supporting sentimental lyrics and tasteful backing "ooohs" and "las." The chorus has a massive but soft hook, and then, suddenly, the song ends -- all too soon. The cleaner, more "pop" production feels like a fresh path for You're Jovian, and perhaps nods to anglophile influences held dear by Mr. Malvas, who told WODU the band is working on writing more constructed music that a live ensemble can really get behind.

Sadly, based on other remarks during the radio session, the band isn't playing "Revelations" on this tour, but there is other new music to be heard, although the only way you can acquire it -- for now -- is to go to a show. Fortunately, a very rare tour kicks off tonight, and those able to see the band rock should be able to get their hands on a new show-only cassette titled Singles. You're Jovian performs at O'Brien's Pub in Boston's Allston Rock City neighborhood Monday (that's June 6) with The Guilloteenagers and Motto; you can buy tickets ahead right here. Fans not in Boston, or even fans in Boston, should try to be in New York the prior night, as You're Jovian is slated to perform there with with colossal Clicky Clicky faves Infinity Girl. In unrelated, Post-Tour But Still A Big Deal Show News, You're Jovian will open Kurt Vile & The Violators' July 25 show at The NorVA in Norfolk, VA. Hot, right? Stream "Revelations" via the embed below, and be ready to stream it several more times right after that: it's that good.

You're Jovian: Bandcamp | Facebook | Soundcloud



06.02 -- The Blind -- Virginia Beach, VA
06.03 -- Tea Bazaar -- Charlottesville, VA
06.04 -- Paradise Lost -- New Brunswick, NJ
06.05 -- Shea Stadium -- Brooklyn, NY
06.06 -- O'Briens Pub -- Boston, MA
06.07 -- Kung Fu Necktie -- Philadelphia, PA
06.08 -- TBA -- Washington, D.C.
06.09 -- Golden Pony -- Harrisonburg, VA
06.10 -- Charlie's American Cafe -- Norfolk, VA

Previously:
Today's Hotness: You're Jovian
Today's Hotness: You're Jovian

Today's Hotness: The Fuzz, Gold Muse, Lubec

>> While media reports decry the slow-down of the Chinese economy, the vast nation's production of top-tier indie rock seems to continue unabated. Or at least that's the impression we get based on the output of de facto flagship label Maybe Mars, which has a dynamite 2016 planned. Among the label's first releases of the year is the long-player The Root Of Innocence from indie rock quartet The Fuzz (a/k/a Chinese Fuzz or Fazi). The 11-track set was released Tuesday, and the lead preview track was the dreamy, synth-led treat "0909 II." The song's icy keys and sparkling guitars communicate a love of '80s UK darkwave, perhaps even an affinity for A Flock Of Seagulls. We admittedly know little else about The Fuzz, but comparing two versions of the band's "Control" -- one from a 2014 compilation and the other from the new record -- gives some indication of the band's artistic development. The compilation version (from Maybe Mars' collection The XP Sound Vol. 1) is a big, guitar-driven rocker. But this version that opens The Root Of Innocence is more atmospheric, reverberant and mysterious. The English language Internet tells us The Fuzz hails from Xi'an, capital of the northwestern Chinese province of Shaanxi (thanks Wikipedia!). The Fuzz will tour China in March and April to support the release of The Root Of Innocence, according to Maybe Mars, and the tour aims to visit about 40 cities. The band also intends to record its next record during the tour. If you happen to have the good fortune to be in China this spring, keep an eye out for the band. For the rest of us, streaming The Root Of Innocence will have to tide us over for the time being.

>> Relatively new 'gaze-pop four Gold Muse this week released a second digital single, which is not only notable for its great songs, but also because it shows a promising level of productivity for the Boston supergroup. Considering the easy pace at which certain of Gold Muse's members' other bands have released music, fans have reason to be pleased. As we've reported elsewhere, Gold Muse formed only last year, and is comprised of current or former members of Swirlies, Soccer Mom and Earthquake Party!; it took Soccer Mom about five years to release its only LP, and in about the same amount of time the still-quite-active Earthquake Party! has released but six songs. Gold Muse's rate of output appears Pollardian by comparison! The act's terrific "Kiss The Sun" b/w "Your Floral Crown" digital 1-2 presents a decidedly moodier side of the band, in contrast to its terrific first single. Deb Warfield's vocals and the exercised bass in the verses of "Kiss The Sun" deliciously echo classic Unrest, although the frantic jangle and explosive distortion of Dan Parlin's guitar propel the song somewhere altogether more dynamic. Darker still is the Parlin-sung "Your Floral Crown," which is led by an ominous, ascending synth melody buoyed by parallel bass work from Will Scales. Reverbed guitar sparkles faintly in the mix of the chorus, while a characteristically desperate vocal from Parlin is foregrounded, and the song soars to a dramatic conclusion across the back of some droning guitars and Justin Lally's bashing of the drum kit. It's a very strong single, and Gold Muse thankfully already has plans for a third, which it will begin work on this very weekend at Norwood, Mass.'s storied Hanging Horse studio. Which is not the only thing in Gold Muse's date book for the next 48 hours: indeed, Sunday the band plays night #4 of Magic Magic's current residency at Boston's Great Scott rock club (also on the bill are Boston treasures Hallelujah The Hills and Twin Foxes). Coincidentally, at Hanging Horse Gold Muse will work with hitmaker/engineer Bradford Krieger, who is presently playing in Magic Magic (in addition to his own project). It's all very serendipitous. Get that feeling by streaming "Kiss The Sun" b/w "Your Floral Crown" via the embed below, and click through to purchase the tunes.



>> It's been a while since we've heard from dream-pop heroes Lubec, but the brilliant Portland, Ore.-based trio return at long last next week with an EP it has been teasing since last summer. Dubbed Concentration and featuring pop hits "Late Bloomer" and "Many Worlds" ahead of the title track, the initial plan was for a vinyl and cassette release (as we wrote here in July), but plans on the former fell through. The music, of course, was very much worth the wait: the three songs on Concentration continue Lubec's winning ways, all sparkling guitars and massive melodies and the dueling vocals of guitarist Eddie Charlton and keyboardist Caroline Jackson. "Late Bloomer" in particular feels like a milestone for the band, with Ms. Jackson's vocals in particular literally and figuratively echoing the classic Slumberland sound, and Mr. Charlton's splashes of guitar and expansive, reverbed picking leading the songs through effervescent verses and arresting choruses to a deliciously jammy final minute marked by deftly arranged dynamics where big strums and explosive drums from kit-minder Matt Dressen trade off. Touchy Feely releases Concentration in a limited edition of 100 cassettes on Feb. 5. Lubec plays a release show for the cassette that very evening at Portland hot-spot The Know with support from Post Moves and Seattle's Versing, and full deets for that show are right here. Lubec plans a return to the studio in March to begin recording an LP with producer Dylan Wall that will be the follow-up to the band's titanic album The Thrall [review], which was among our favorite albums of 2014. We're hopeful Lubec will get out for another east coast jaunt this summer; keep hope alive by streaming the terrific "Late Bloomer" and "Many Worlds" via the embed below, and click here to grab your copy of the tape before copies are gone.

Today's Hotness: Lowlands, Melt

>> The music of French label Beko Disques, best known as a purveyor of tasteful, weekly digital releases, has already graced these electronic pages a number of times, as evidenced by these pieces about The Bilinda Butchers and Mooncreatures, among others. The label shows no signs of slowing down, and in 2015 continues to conduct quality research into the dreamier neighborhoods of post-punk, largely at the intersections of faraway ambient and relatively immediate pop sounds. Which is also an apt description of the newest release from New Zealand's mysterious Lowlands. Coming in the wake of other shorter releases on Beko, the new, self-titled set presents a pastiche of Korg synths, acoustic guitars, and even a "Tibetan singing bowl." That alone should be enough to indicate that Lowlands -- which, according to its Bandcamp page, paradoxically makes its music "on a hill across from a city" -- takes its sound very seriously. Opener "Rift Valley" commences with an eerie, delayed clamor (could be that singing bowl?) before layers of crisp and spacey guitars mingle with cool spoke-sung vocals, affecting a sonic posture not unlike that of '90s legends Flying Saucer Attack. The succeeding tune, album highlight "Winter 1_Space Beyond Space," is proof positive that Lowlands can slyly insert a great traditional pop song within the warp and weft of its ambient drone. The song's sunny, bouncy bass guitar, whooshing digital synth waves and a boyish, upbeat vocal echoes the pep of The Shins, which is hardly the first singing touchstone one associates with ambient fare, thus making it a pleasant surprise. "You Are The One" immerses slinky '80s heartland rock vibes in endless reverb, and underscores that Lowlands is just as interested in experimenting with genre as they are with its apparently endless arsenal of electro-gadgetry. Finally, just in case the listener got too comfortable within the album's placid sound forest, Lowlands launch into "Today’s Revelation," a relatively clean slice of new-wavey pop replete with brittle post-punk guitars; the tune sound like something that could have been found on Minks' excellent, rainy Captured Tracks debut By The Hedge. In sum, Lowlands' record represents another Beko homerun, and strengthens our belief that there is actually a wealth of diversity within the world of ambient dream-pop, and plenty of unique ideas yet to be mined. A cassette version of the release sold out in mere weeks, but the record is still available as a digital download for any price via the Bandcamp embed below. -- Edward Charlton



>> The world lost a powerful force in aggressive dream-pop when Boston's Soccer Mom called it quits last year. That band's singular pairing of contemporary, house-show bombast and clean-toned, forward-thinking shoegaze (a la Swirlies circa They Spent Their Wild Youthful Days in the Glittering World of the Salons -- another Boston landmark, of course) filled this reviewer with both pride and awe. Imagine, then, our joy at identifying another act chasing a similar, noble aesthetic. We speak of New Jersey quartet Melt, whose recent powerful, glistening demo "Change" dazzles with its quiet urgency and rich melodicism. On the tune, the quartet – about which we presently know little besides the fact that the band has played shows in Boston and Brooklyn – alternate between a spectral, jangling verse and a post-hardcore half-time stomp during the chorus. That verse of "Change" stuns as well, doubling the watery guitar lines by the second measure, and creating a real six-string tango that crisscrosses over the sighing male vocals like shoelaces. The Swirlies connection (which we admit is nebulous, it's all just really just great music, right?) manifests in the root notes of the bass in that section. Here, starting with a B-flat major chord, the foursome elevates to a C minor before the bass unexpectedly drops to an A natural major during the third root. A restless bump halfway through is delightfully disorienting, and the odd nature of the chord choice leads the listener to reconsider their own melodic logic, which is a fun takeaway. Moreover, it makes the case that Melt can be counted among outfits such as Swirlies that aren’t afraid to nurture a subtly exploratory compositional spirit while still bringing the straight up rawk. If this already well-mixed recording is what Melt considers a demo, we sincerely hope that their first official material will remind listeners of why expansive bands like these are so important in the first place. Snag "Change” for a buck via the Bandcamp embed below, which of course you should also stream the tune early and often. Speaking of Soccer Mom, the band reunites for one last cacaphonous hurrah at the end of the month: it says goodbye May 29 at Great Scott in Boston. The night also includes sets from Infinity Girl, Chandos and Coaches, and complete deets and a ticket link are available for viewing right here. Swirlies, of course, have also just announced a series of summer dates with a very compelling line-up, and those tour dates can be inspected right here. Now if only Melt good get an opening slot or two on some of those east coast dates... -- Edward Charlton

I WILL WRITE A MYSTERY FOR YOU TO SOLVE: An Oral History of Lilys' Astonishing Eccsame The Photon Band

|| by EDWARD CHARLTON || [updated] This month marks the 20th anniversary of the release of Lilys' powerful and mysterious Eccsame The Photon Band, a unique collection even among the oeuvre of Kurt Heasley, the band's notably restless songwriter and only constant member. For our money, it is certainly one of the most engaging -- if underheard -- indie rock albums of the '90s. Like a lot of great music, the album's creation owes a debt to that rare and singular cocktail of youth: chance, environment and a positive open-mindedness shared among the four men who created it. "Behold and open to the light," translates the title -- a sentiment that seems to have guided the principals behind it from the foursome's very first minute together.

As we listened to Mr. Heasley, drummer Harry Evans and producer Rich Costey tell the story of the album, we found that Eccsame The Photon Band was a roughly month-long flash of exhaustive inspiration -- a gnawing, melodic, experimental expression that sprang into being so suddenly it felt as if it were over nearly as soon as it had begun. Despite that, the music and production contained therein has continued to resonate with those involved, as well as with a fanatical cult following attracted to its atypical dream-pop charms. Among those, cryptic lyrics, crestfallen textures, occasional moments of loud guitar and a spiritual and devastating silence all continue to stun. To mark the aforementioned anniversary, Clicky Clicky spoke with Mssrs. Heasley, Evans and Costey about the summer of 1994, discussing a wide-range of topics including the philosophies, drum sounds and even the studio weeping that birthed a rare and unique aural document.

"I can't deviate out of the moment -- you get into the game of expectations, then you get into the game of disappointment," Heasley tells Clicky Clicky from his present home in Los Angeles. The sentiment arrives early in our conversation about the album, and it quickly becomes apparent that Eccsame was (and is) something of a mission statement for just that mentality.

The genesis of that notion came two years prior to the creation of Eccsame, spurred by some of the negative reception to Lilys' magnificent and now-legendary 1992 shoegaze debut full-length, In The Presence of Nothing. "I had no idea people would listen to this," he says of that collection, "Much less feel so strongly [about it]. It was ultimately just a group of friends making something in a basement for a few hours. I took it as the most extreme feelings [from some in the scene] of being left out of their own party."

Disappointed, but confident in the power of his on-the-fly approach, Heasley began to see how the band's process might function in the face of more standard and predictable musical norms.

In the wake of the flawless, power-pop injected A Brief History of Amazing Letdowns EP that was released the next year, Heasley made some life changes that would further create the conditions for an experiment like Eccsame. "I had new urban experiences because I had moved from Lancaster [Pennsylvania] into Philadelphia proper, living with some incredible people," he said, "Joey Sweeney let me sleep on his girlfriend's couch for weeks. It was just this ongoing live/work/play space and the amount of literature, cinema and old records that I was being turned on to for the first time was great. There, I had the feeling of going from 22 to 23, and the prevailing wisdom that 23 is the best worst year of your life. Slowly, there were responsibilities creeping in and the realization that 'this is not a dress rehearsal.'"

At the same time, the alternative/grunge zeitgeist of the prior several years was beginning to breed bad vibes. Not only did Kurt Cobain's death in the spring of '94 mark a dramatic shift in the mood of rock culture, but recent records by Talk Talk's Mark Hollis and Pale Saint's Ian Masters alerted Heasley to the loss of fidelity and subtlety in those buzzing times. "Those gated drums in '92," he exclaimed with a sigh. A trip to a Broadway production later that year would also make an impression on him. "Listening to what a five-piece pit orchestra could do literally blew me apart. Working from that level where everyone plays their part and has mastered themselves revealed a new world."

In the winter following the release of A Brief History Of Amazing Letdowns, Heasley began sketching out some fresh ideas. Those recordings would ultimately be released on 2000's Tigerstyle Records split with Aspera Ad Astra. As a historical document, the four songs reveal a remarkably clear vision of the minimal, dreamy sound that would ultimately define Eccsame -- what Stylus Magazine writer Andrew Unterberger described as "Not influenced by shoegazing as a genre, but rather as a principle."

It was time to enter the studio.

That summer, spinART Records agreed to provide five weeks of time at Studio .45, a converted turn-of-the-century Colt firearms factory in Hartford, Connecticut. It was also at that point that Harry Evans of power-pop standouts Poole and producer Rich Costey entered the picture.

Evans had known Heasley for a few years by '94, and had played on every Lilys release beginning with Presence. The two first met due to being physically larger guys in the scene who looked similar and both showed up at the same music store. "I was shopping there and somebody called me (Kurt's nickname) 'Wally' and I was like, 'no, I'm Harry!'" Evan says, laughing, "We happened to be at the store at the same time eventually and recognized each other due to that mix up. We started hanging out and eventually he asked me if I wanted to play drums for him. He played me "February Fourteenth" and I was like 'What the hell! Of course!'"

Following the release of A Brief History and the subsequent shows for that record, Heasley approached him with an idea. "Kurt was like, 'I want to make a record, and I want it to just be you and me.' He booked a lot of time. I hadn't heard any of the material, but he said we could learn it in the studio. Having faith in anything Kurt does, I agreed immediately," Evans reflects. That summer, the two loaded up a van with gear and made the trek to Hartford. There, they met producer Costey and engineer Mike Deming. Costey had been chosen based on work he had done with scene compatriots The Swirlies.

"I was doing a few records for spinART around that time, and at some point I ended up on a phone call with Kurt," Costey remembers, “He was an interesting character on the phone, and I still remember my first phone call with him -- rambling on and on whilst puffing on cigarettes the whole time. We must have connected somewhat. I liked the psychedelic aspect to [Lilys'] music a lot, based only on the album they had out the year before, and given the general monochromatic, conservative landscape of American grunge at that time, Kurt's music struck me as being a total technicolor garden. I had worked with The Swirlies, whom I think he begrudgingly respected, but those two bands were actually quite different in approach. The Swirlies were fighting their own limitations whereas Kurt never saw or felt any limitations at all... [He] was inventing his own landscape."

Setting up on the first day, Heasley and Evans filled out Studio .45's large, single-room with their instruments. Beginning at dusk, the duo at first had a hard time connecting. "On the first day we set everything up, Kurt was going to guide me through the songs," said Evans, "We started recording really late, but it was just not clicking. The first song we were working on was "FBI And Their Toronto Transmitters." Eventually I got super frustrated. While I had told myself initially that I was going to be really sober and work as hard as possible during the session, we ultimately took a break and I got REALLY high. We went back in and nailed it in the first take. I was like, "Aw, this is really disappointing (chuckles)."

"For the first 10 days Costey probably didn't think they were songs!," Heasley added.

After these initial hurdles, the duo settled into a groove, with Evans adapting to Heasley's ideas and advice regarding drumming. "There was a methodical thought to the way that the fills were put together. He really helped me to curb my ego, and I was willing to say 'I will listen to your ideas.' Ultimately, they proved to be great ideas. I had to be open," Evans remembered.

The songs gradually came together over the ensuing weeks, and many of the album's iconic textures began to take focus -- specifically, the massive, roomy drum sound that many Eccsame cultists rave about.

Costey recited the technical details for accomplishing this with aplomb. "The drum sound was a combination of several things: the hard, open space that the live room at Studio .45 presented; a precisely placed AKG 414 placed in between the kick and snare drums, aimed at the floor... heavily compressed with a Spectrasonics 610 compressor; and also the minimal and incredibly powerful, tasteful playing of Harry Evans. Listening to it today, it seems a study in how a drummer should play to the sound presented to him or her, as opposed to the other way around."

Mike Deming is also credited by the other three as being instrumental to the presentation. "I’ve got to credit him for that drum sound. He was a twisted, evil audio genius. He was crazy and so into what he did on a micro level," said Evans, referencing at least obliquely the album's often overwhelming negative space, best heard in the long, faraway intro and subsequent eruption of focus on "The Turtle Which Died Before Knowing."

Other subtle, genius moments were entirely due to chance. On some songs, different takes were mixed together and the resulting edits created things that thrilled everyone in the control room. "A couple of those moments where the vibrato on the guitar shifts patterns -- we couldn't have planned that, but that's the thing! We were open not necessarily to it being correct, but to it being right for what it was," Heasley said.

Other moments betrayed the quieter vibe with sheer power. "The Hermit Crab," "Kodiak (Reprise)" and "Radiotricity" all rock in places, despite being composed mostly with clean, bass string strums. Costey explains that the amping of the guitars went a long way in lending huge power to a quiet source, "One simple thing Kurt was doing with his guitar sounds at the time was to run two different tremolo pedals into two different amps," he said, "It's really simple, of course, but it made for an off-kilter, drunken, gurgling guitar sound that completely shaped the feel of the record."

Elsewhere, such as on the down-tempo lullaby-pop of "Day Of The Monkey," Costey sampled Evans' drums to create a hypnotic loop, later adding room recordings of him playing along to himself to add to the overall sonic fantasia.

The collaborative aspect between the four also played a key role in the shape of the album. "He had done Swirlies records," said Heasley of Costey, "So I was like 'throw me whatever note you think should be in this melody.' I think you can only do so many records where that special and fun ability exists."

As the sessions wrapped up, it was also clear that the process of achieving the album's menthol-cool psychedelia had thoroughly exhausted Heasley. Much of the tracking came down to the wire, and many of his vocal parts had to be recorded at the end in a prolonged series of takes.

"I spent the final 18 hours of tracking in the vocal booth," Heasley recalled, "By the time we were working on "Hubble" I was completely drained by the process, from all these different drives that went into the album. You can hear me crying at one point. I couldn't even stand, I was propped in a chair." Costey, aware of the strain and the reality of the moment, let the tape run. What followed was personal, uncomfortable and brilliant.

It's apparent when Heasley talks about "Hubble" that the song is special to him, referring to it as the closing sequence of the booster of the space shuttle falling to Earth. More importantly, it's a fitting end to the hyper-productive sessions that produced a collection of songs that were not only spacey-sounding, but physically so. Costey took the tapes to Water Studios in Hoboken, New Jersey and Philip Glass' The Looking Glass studio in New York for the rest of the post-production. There, he added many of the synth textures and final mixing details. SpinART had the album out by the end of the year.

And then... it was over.

"Kurt moved to California, I believe, shortly after we made the record," said Evan. "I feel like nobody really got it, understood it or appreciated it when it came out." No shows were played to support the release, which somehow makes the recording all the more mythical.

Within a year, Heasley transformed Lilys into the mod-rock powerhouse that would define the next phase of the group, with songs like "Nanny In Manhattan" (a version of which was recorded during the Eccsame sessions but lost with the master tapes) broadening the exposure of the band and leading to a record deal with Sire. Evans would continue a successful run as the frontman of indie pop savants Poole, an act that also recorded for spinART. Lastly, Costey would use his resume with bands from the East Coast dream-pop and 'gaze scene to begin work in Los Angeles, eventually engineering and producing a seemingly endless list of big-name musical personalities including Sigur Ros, Fiona Apple, Nine Inch Nails, Muse, Foo Fighters and self-professed Swirlies fans Mew, among many others.

Despite the very abrupt end to the Eccsame phase of Lilys, and the scattering of its participants, it is apparent that the three remember the time in the studio fondly, and all have an unshakable faith in the final product.

"I felt pretty good about the album when we had finished it," Costey adds, "It seemed fresh, inventive, and colorful. Kurt's writing isn't miles away from Syd Barrett territory, but as opposed to Syd, Kurt's lyrics were open and personal. I had hoped that it would be recognized a bit more for what I felt was something pretty unique at that time: Psychedelic indie with heavy fuzz, samplers, and 808s -- but it seemed to never really get the attention it deserved. Kurt went straight to The Kinks' Muswell Hillbillies [as the template] for his next album and finally had his talent recognized, but in the process it had always felt to me that Eccsame was just overlooked."

Most importantly though, the sense of trust between the album's principals appears to be the most defining and memorable part of the era. Listening to Evans and Heasley, in particular, speak of their relationship during that time illuminates a connection between kindred souls, a pair determined to create and build as a unit.

"I could never have that kind of naive trust again. You basically get [it] once." Heasley added somberly.

At times during this reflection, it shows that both might harbor some desire to work together again. In the age of '90s dream-pop band reunions, with acts including Slowdive, Medicine, Ride and My Bloody Valentine thrilling audiences once more, it wouldn't be seem that unusual for an influential lineup of Lilys to get back together, hopefully even for new music.

"He knows that I'm willing to work with him anywhere, anytime. At the drop of a hat, I'm in," Evans proclaimed, ever the dedicated bandmate, ignoring the thousands of miles between them.

That possibility is a dream for this blog, at least, and it is dreaming big that brought together those men in 1994 -- hedging their bets on chance and understanding. But big dreams can live on in unusual ways, and funny enough, it is because of the Lilys that this scribe first spoke to this editor at Clicky Clicky some five years ago. And, because of all of that, it has ultimately brought you, dear reader, to what may not yet be the final chapter in the story of a very special and evolving piece of art.

"Behold and open to the light."

Currently, Eccsame The Photon Band is out of print (spinART folded in 2007), and both CD and vinyl copies command steep prices in the collectors' market. Heasley has been negotiating the reissue of In The Presence Of Nothing and two other unspecified titles, and also the release of new music, according to news we reported here in March. Through the murky magic of the Internet, you can listen to selections from Eccsame via the YouTube playlist posted below. -- Edward Charlton



SELECTED PREVIOUS COVERAGE:
In Bloom: Lilys Poised For Massive Resurgence; New Music, Reissues And Live Performances Planned
That Was The Show That Was: Lilys with Prefab Messiahs | Lilypad | 15 June
That Was The Show That Was: Lilys | Lilypad | 25 May
A N D I F O R G O T A L O N G T I M E A G O H O W Y O U F E E L : ten now acts perform selections from the early recordings of Lilys, 1991-1995
20: Lilys | In The Presence Of Nothing
Today's Hotness: Lilys
YouTube Rodeo: Lilys' Amazing "YCJCYAQFTD," "A Nanny In Manhattan," "Baby's A Dealer"
Footage: Lorelei Cover Lilys' "February 14th" | Slumberland 20th Anniversary
Today's Hotness: Lilys
Today's Hotness: Lilys
750 Times The Same Song: It's All About The Lilys

Today's Hotness: Ahuizotl, Glish, Ultimate Painting, Enchanted Hunters

>> It's been more than two years since we first turned onto Cologne, Germany-based noise pop band Ahuizotl. Back in early 2012 we were significantly jazzed by the foursome's Lice EP, and we've been eagerly awaiting new material ever since. Our patience is finally being rewarded, as the quartet at long last announced last week that its debut long-player Integrity Is Overrated will be released Oct. 24 on the Cologne-based imprint Tumbleweed Records. The first preview of the forthcoming set is the quasi-title track "Movie," a compact and downcast slice of strummy guitar-pop that reiterates the best aspects of the tunes on the Lice EP, namely foregrounded guitars, precise rhythms, dreamy synth and yearning vocals. This is not to say that Ahuizotl doesn't have any new tricks up its collective proverbial sleeve. We've had a secret listen to another album track, "I Wanna Be Ignored," an ambitious, eight-minute pop suite that finds the band pushing at the boundaries of its sound in exciting ways. Looking at the 10-song track listing for Integrity Is Overrated, it appears two tunes from Lice also made the cut for the new collection, "Slide" and "Self-Made." All of which adds up to our being very stoked to hear the new set. Stream "Movie" via the embed below, and we'll make certain to alert readers when pre-orders begin for Integrity Is Overrated.



>> While many shoegaze fans hold the synthetic and textured sounds of landmark records such as My Bloody Valentine's Loveless and Slowdive's Souvlaki to be the highest ideal (and justifiably so), this reviewer prefers his dream-pop to work in the scrappier, home-grown vein. The smashing new single from New Orleans five-piece Glish hits right in that mythical sweet spot and is one of the best tracks of its kind to arrive this year. "Stu Hunkington," from the quintet's debut self-titled full-length out on Texas Is Funny Nov. 4, is an exercise in punky, whammy-bar delirium. The tune operates in a joyous, full-bore manner the likes of which have not been heard since perphaps the Swirlies' colossal 1993 full-length album Blonder Tongue Audio Baton (the actual pinnacle of the genre -- wink). Opening with a choppy, oblong two-chord riff, the song launches into a whirlwind of hardcore-influenced drumming, close-but-far vocal harmonies and a clean drum production style geared more toward capturing Glish's house show-styled combustibility more than any attempt at a delicate, dream-like environment. The best part of "Stu Hunkington," though, is surely what's going on in the left speaker. There, the lead guitarist's squealing and squelching lead notes not only drive the composition, but they inject just the right amount of chaotic danger to offset the open-vowel singing and skyrocketing kit. Think of it as a lone, unpredictable gale force wind interrupting the serene drift of a high-altitude balloon. Watch the Texas Is Funny digital storefront here for details on how to order Glish, as those details certainly should be cropping up soon. Stream "Stu Hunkington" via the embed below. -- Edward Charlton



>> We're pretty dang excited for the debut full-length from Ultimate Painting, the London superlative-earning duo of Jack Cooper from Mazes and James Hoare of pace-setting pop heroes Veronica Falls. The pair recently shared a new track from their upcoming self-titled debut, which is due Oct. 28 via the wonderful Trouble In Mind records. That new song, "Winter In Your Heart," provides still further evidence that Ultimate Painting's album will be a real gem. While there is really nothing new to add to our prior report beyond this new tune, we felt compelled enough by its gentle, breezy savoir faire to highlight it for our readers. Similar to what we said about the Ultimate Painting's title track in July, "Winter In Your Heart" explores the group's keen grasp of Velvet Underground-styled pop dynamics. Indeed, "Winter" has the same pure, undiluted warmth that makes the VU's self-titled third album such a timeless treat. It also sticks closely to a formalist song structure, while the up-close texture to the guitars (you can see the strings) and the simple, assured backing vocals lend the song a communal, happily-stoned jam-session vibe that eschews the seriousness of a lot of contemporary indie music. Keep your eyes peeled for the album pre-order details here, and we'll promise to do the same. While you wait, stream the terrific cut "Winter In Your Heart" via the embed below. Incidentally, we're growing impatient for news of new music from Veronica Falls, whose outstanding Waiting For Something To Happen was one of our favorite records of 2013. Here's hoping that, after the Ultimate Painting album cycle is complete, it is not a long wait for news of something new from Veronica Falls. -- Edward Charlton



>> Gdansk, Poland's Enchanted Hunters recently issued to the wilds of the Interzizzles its Little Crushes EP, an exotic, loungy indie-pop offering that sits just right as the lazy days of summers reach a final, comforting end, martini in hand. The four-piece is following up 2012's Peoria album with the new collection, which showcases a unique, woodsy spin on very European music. The tune "Hel" juxtaposes brushed drums with faraway, reverberated finger slides and a wordless vocal melody. Enchanted Hunters go all-in at the end of the track, too, when some unexpected jazz flute closes out the charming piece. EP highlight "Topiellica" makes room for chorused electric guitar, which glides underneath the gorgeous (and presumably Polish-language) layered vocal melodies. The combined effect transports one to a back alley jazz club, as if led by the hand of Bjork or Stereolab's Laetitia Sadier. As with the aforementioned Stereolab, Enchanted Hunters dwell on -- even delve into -- the little details, such as the watery, synthesized strings that play about during the verses of that song. Opener "Sonny" relies on the patterns and figures of various non-percussive instruments to anchor catchy vocals, culminating in a breezy sing-along during the final 30 seconds. It's in moments like these, it becomes apparent that the band is confident enough in its songcraft to not only be mindful of such subtleties, but also keep listeners intrigued throughout all of Little Crushes. Listen to the entire EP below, and buy it right here. -- Edward Charlton

Today's Hotness: You're Jovian, My Psychoanalyst

>> It's been quite some time since we've heard new things from Virginia Beach-based dream-pop savant Elliot Malvas, who creates sublime music under the moniker You're Jovian. And so we were quite excited to receive an email last week with information about the new tune "Whalehead," which we are premiering here tonight and which you can stream via the Soundcloud embed below. The song is layered with guitars that shimmer and bend around Mr. Malvas' gentle vocals. Once "Whalehead" finds its rhythmic footing, after about a minute of atmospheric build-up, its measured strumming and understated singing call to mind the finest moments in the Swirlies catalog, or -- given its insistent rhythm -- perhaps even a heavily psychedelic take on the music of Versus. "Whalehead" turns on the tension between Malvas' opaque, tight strums and his spectral voocals; it's certainly a very listenable number and hopefully it is also a harbinger of increased activity from You're Jovian. Malvas tells us he will be out performing solo gigs this summer, but this will not be a guy-with-guitar thing. Instead, Malvas has recorded the bass and guitar parts of the songs in his set in single takes, and he plays those back on stage through bass and guitar amps respectively while playing the drums live and singing. Which sounds pretty damn compelling. If you can't get enough of that You're Jovian stuff, Fun/Not Fun records released this past spring a cassette and digital download imaginatively titled Demos. It appears the cassette was issued in an edition of 25 pieces, but there is nothing at the Fun/Not Fun page indicating the cassette is sold out, so perhaps you can still snag one right here (where you can also stream the fine tune "Share Yer Moon" via an embed). There is some talk of an east coast tour this fall for You're Jovian, so if you are good little girls and boys Malvas may come right to your town (especially if you book him, hint, hint). We previously wrote about the band in mid-2012 right here.



>> There's a span of years in one's life during which summer feels infinite. That feeling, of course, ceases, and that's among the bummers of real life (trust us, kids, one day you'll be old like your trusty executive editor...). But a new full-length from Derby, England's cinematic dream-gazers My Psychoanalyst practically bursts with that feeling. Which is somewhat amazing, as the sort of fertile optimism its presence here implies is something one would associate with a greener band. But My Psych, as fans are wont to call them, are a seasoned quartet a decade old. Its sparkling new and self-released collection Choreomania has been in the can for at least a year, and previously went by the decidedly un-optimistic name Don't Try (and, since you didn't ask, an equally appropriate yet Pavement-referencing title would be Watery, Majestic). Choreomania, seemingly so named for literal dance crazes that transpired in the middle ages, can be gentle ("So Much Stuff," which touts heavenly "ahhhhhhhs" and is like the second coming... of Chapterhouse), majestic ("Lobadibin," which faintly echoes The Fixx's classic "Stand Or Fall") and even aggressive ("Fist Of Herring IV"). Often it is all of these things at once, as is "Clump Soul," which was issued as a digital single a year ago. My Psychoanalyst's Choreomania takes a marked turn toward harder-edged sounds in its final third. This doesn't make the set disjointed, however; instead, it gives the proceedings a narrative feel, like it is heading toward something. Listeners, however, are never quite delivered to a final destination, as closer "Admission" stretches into the aforementioned infinity for a solid and beautiful eight minutes, perhaps returning listeners to the dream-state or fugue-state that enveloped My Psych in the four years between last year's digital single and 2009's Piecemeal & Envy. Whatever it does, "Admission" has become one of our favorite tracks of the year. Choreomania was released today and it is a tremendous record; calling it a return to form misses the mark, as we're fairly certain it is the band's best record to date. Stream the entire full-length via the embed below, and click through to download the release, which is priced at paywhutchyalike. We last wrote about My Psychoanalyst seven years ago, right here.

Premiere: Soccer Mom's Crushing LP Soccer Mom

We are exceedingly pleased to premiere today the self-titled, full-length debut from the mighty Boston shoegaze foursome Soccer Mom. More than four years ago, we decided this was an important band, and despite the protracted wait (which was honestly little surprise, given the premise of our first feature on them), here today the quartet resoundingly and at long last delivers on the promise of its clutch of early singles and the crushing 2011 EP You Are Not Going To Heaven. Certainly all that time seems to have been put to good use: Soccer Mom is a painstakingly crafted, likely career-defining collection that positions the act for national attention. The LP contains powerful and beautiful music explosively rendered from charred shadow and blinding light. But the biggest accomplishment of Soccer Mom may be the containment itself: Soccer Mom in effect cages the beast, tidily confining -- without stifling -- the visceral squall of the band's live sets in such a way as to reveal the elegant architecture and compelling emotion that comprise the bone and flesh of Soccer Mom's music.

The album sits in a strange place: it sounds like a lot of things -- Soccer Mom typically draws references to Sonic Youth, My Bloody Valentine, Swirlies -- but very few things in the contemporary soundscape within and without its native Boston sounds like its synthesis of shoegaze, post-hardcore and post-rock. While not overtly mathematic or emo, Soccer Mom wields its very considerable charms not just through raw power but also via big dynamic shifts and face-stinging emotions. One feels it as the towering walls of textural guitar crumble into slowly picked melodies in "Orejas," or while the chords of "It's Probably Not Your Fault" stutter, grind and wantonly feedback in the song's final thrilling minute. It's in drummer Justin Kehoe's clever consolidation of new wave and hardcore playing, which skitters like mechanical mice in "Sundown Syndrome," and routinely spurs jarring transitions. And it's in Danielle Deveau's bass playing, which serves as the still point of turning that anchors the record.

The album's emotional impact is firmly indexed to those big dynamics, a key factor in making the music so engaging, even as it comes in a variety of flavors. There's the cool, clinical reportage of co-fronter and guitarist Will Scales' "Hideaway Sands," or his troubling final understatement ("you don't seem like yourself") in the buzzing and grinding "Open Heart Surgery." Co-fronter and guitarist Dan Parlin's desperate, declaratory vocal in opener "It's Probably Not Your Fault" (a title that feels equally sarcastic and sad, but knowing this band it probably is a sound bite from a reality TV show) is just as affecting as his poignant, introspective query "what's a boy to do, but hang around with you?" in the aforementioned "Sundown Syndrome." Many of the songs on Soccer Mom are burnished by the subtly applied vocal contributions of Deborah Warfield, who has in the past served time with the aforementioned Swirlies and collaborated with former Autochrome fronter Jeff Bartell. Notably, instead of weighing the mix down with yet another element to manage, Ms. Warfield's voice, while often barely there, provides a sense of lightness, that, were this a different kind of album, we might even consider uplifting. We extend kudos to recording engineer Shaun Curran of Somerville, Mass.'s Napoleon Complex for executing a very precise mix that, as we stated stated supra, reveals and even illuminates Soccer Mom's music. The band writes terrific melodies worthy of its oft-cited shoegazing progenitors, and now you know.

Soccer Mom will be released Thursday via the New York-based 100m Records as a vinyl 12", compact disc or digital download. The release is being feted May 3 with a live show at Boston's Great Scott rock club; dream-pop titans Infinity Girl, shoegaze behemoth Bedroom Eyes and indie rock upstarts Palehound also perform, making the evening one of the most rewarding you will likely see in a small Boston club this year. Here's the Facebook event page for the show. We are given to understand Soccer Mom will have merch on-hand, including some fetching shirts, so start saving up your shoe-shine tips now. We'll see you Saturday.

Soccer Mom: Facebook | Tumblahhh | Twonger

Selected Related Coverage:
Today's Hotness: Soccer Mom
Clicky Clicky Presents A Benefit Show For Community Servings Featuring Soccer Mom | 3 Nov. | TT The Bear's
Footage: Soccer Mom's Devastating "A Canoe Shy"
A N D I F O R G O T A L O N G T I M E A G O H O W Y O U F E E L
Midriff Residency Night X: Home for Little Wanders Benefit With Soccer Mom
Clicky Clicky Music Presents... N O F U C K I N G W H E R E
That Was The Show That Was: Soccer Mom Record Release Show | TT The Bear's Place | Sept. 23
Be Prepared: Soccermom | You Are Not Going To Heaven EP | 3 October
The New Sound Of Slack: Soccer Mom Surfaces Slowly

Today's Hotness: Jeff Zeigler, Boom Said Thunder, Nucular Aminals

>> [UPDATED] That Jeff Zeigler figuratively wears a lot of hats (although for a long time it seemed like he only had that knit one -- Ed.). Despite his recognized renaissance-man status in Philadelphia as a principal in progressive-shoegaze standouts Arc In Round and an in-demand producer (he's the go-to guy for Purling Hiss and The War On Drugs), Mr. Zeigler early this month quietly began posting brilliant solo tracks to Soundcloud. There fans will find the beautiful and abstract compositions "Opportunity (rough edit)" and "Saw The Life." The fractured songs are a departure from the relatively more formal music of Arc In Round; they meld painstakingly constructed ambience and feedback, spectral guitar and voice, space and spare beats into transporting, other-worldly compositions. Each one bears Zeigler's familiar wayward percussion and delayed guitar passages, and expands upon Arc In Round's measured interstitial soundscapes. Zeigler's new music echoes certain tracks off of The Swirlies' oft-misunderstood Cats of the Wild, Vol. 2 album and its head-spinning effect achieved by so much meticulously crafted chaos. Old school Philly types may even reckon that Zeigler's new songs' experimental bent recalls the music of erstwhile Philly peers Diagram. "Saw The Life" commences with subdued acoustic guitar; not long after a dreamy vocal spills into the mix a firm rhythm is established via tumbling, crunchy echoes and clanking guitar sounds. A brief chorus at the end reminds fans of the rare moments in which Zeigler explores his higher vocal range, a move that pleasingly builds tension without losing the smoky cool of his lower register. "Opportunity" adds more electricity with clean electric strums and a vacuum cleaner feedback blow that unhinges the tune and lifts it into the heliosphere. With such high-caliber music at hand, one can only hope that a solo gig in Philadelphia this Monday might be a harbinger of a potential solo record. But in the meantime Arc In Round has its own fish to fry: Friday the foursome revealed it is at work on a sophomore set and will release a remix record collecting stray tracks and remixes Tuesday via Soundcloud and Bandcamp. The collection includes contributions from experimental heavy-hitters Benoit Pioulard and A Sunny Day In Glasgow, among others. Listen to Zeigler’s "Opportunity (Rough Edit)" via the embed below. Clicky Clicky reviewed Arc In Round's self-titled debut long-player here last June. -- Edward Charlton



>> Cambridge, Mass.-based Boom Said Thunder recently issued its throbbing debut long-player Exist, a collection at turns tender, bombastic and then, well, even more bombastic than that. The trio's spartan approach eschews guitars -- and, really, any adornment at all beyond maybe that trill of ghostly keys on "Invisible People" -- in favor of heroic doses of over-driven bass, thunderous drumming and fronter Abby Bickel's out-sized vocals. There may be a formula to it, insofar as each of the 11 songs on Exist attacks directly at gut level (what was that '80s boxing video game? "body blow!" "body blow!" "uppercut!") and then makes quick work to move hips and nod heads. But Boom Said Thunder's strength on the album is using that same point repeatedly as a vehicle to successfully stage heavy moods, define heavy grooves and power big rock numbers from silence to cacaphony and back again. Ms. Bickel's voice perhaps superficially suggests that of Karen O., and the sheer force of the trio's music at times recalls the blunt trauma of Sleigh Bells, but Boom Said Thunder is able to substantially shade its work even with the few tools it allows itself. So the pretty ballad "Violet" taps the same sort of gothic melancholy as Nirvana's "Something In The Way," while album openers "Gold Rush" and "Destroyer" unapologetically rock face with a refreshingly overpowering amount of attitude that evidences a commitment to rocking out so strong that it would make many be-sweatered, bespectacled indie rockers a touch uncomfortable. Exist was self-released March 1, and the band celebrates said release Wednesday with a show at Great Scott in Boston. The album is available as a clear/purple haze 12" vinyl LP as well as a digital download; the band is also selling posters and t-shirts, and all of these are available via Bandcamp. Stream the LP below, that's what you should do now.

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>>Since hoodwinking Portland, OR-based correspondent Edward Charlton into thinking we operate a real publication, we've been needling him to throw insight our way into his adopted hometown's vibrant guitar-pop scene. One of his first tips from the indie rock Valhalla is veteran act Nucular Aminals (a reference to G.W. Bush's less-verbose moments?) and its recently issued "Alice Day" b/w "Come On" vinyl 7". The spooky single, out on Portland's own Hovercraft Records, features two new tunes from the psych-garage quartet and comes in the wake of a pair of long-players for legendary Pacific Northwest imprint K Records. "Alice Day" -- and its sparse arrangement of tense guitar strumming, droning organ, thudding bass and reverbed vocals -- patiently evidences a difficult-to-define sound that nods affirmatively to proto-post-punk and grunge influences (think The Wipers). Its lumbering bass line and fronter Robert Comitz’s sinister vocal melody each add a pleasing spy-noir glaze to the proceedings. Nucular Aminals' music at the very least conjures a singular, out-of-time feeling. Sure, "Alice Day" hints at '60s revivalism, too, but not to the extent the song echoes the parade of formulaic beachgazers that have dominated a wide swath of guitar pop in recent years. Instead, thinking Bleach-era Nirvana toying with a B-52s cover doesn't seem far off the mark. The Aminals recently completed a two-week European tour and will play an official release show for the "Alice Day" single April 11 at Portland's The Know. The single just recently appeared on Bandcamp and you can stream it and buy it via the embed below.

Review: Bedroom Eyes | What Are You Wrong With

Dense, bending chords, drifting vocals and desperate rhythms drive the terrific recent long-player from Boston shoegaze luminaries Bedroom Eyes. The collection, self-released by the quartet July 9, entices with its big melodies, superfuzzed guitars and bass and healthy blasts of feedback and static. All of which make What Are You Wrong With the record we've waited a long time to hear a Boston band make, a kind of golden mean between Dinosaur Jr's Bug and My Bloody Valentine's Isn't Anything. And despite only recently locating the second half of the band to the city and having a very short life span to date, Bedroom Eyes' biting blend of shoegaze and punk is presently among the most intense and captivating in the Boston underground.

The buzz-sawing verses of opener and album highlight "Garmonbozia" pump fuzz-bass sunshine under radiant, shimmering guitars, each verse building to a glorious cacophony in the chorus. As with the entire album, everything is limned with a rich sonic grit. Indeed, What Are You Wrong With succeeds as much because of its rough edges as it does for its uncannily memorable melodies. All sounds are gratifyingly loud and sent to tape that way, allowing the music to smash up against the stereo field in a manner that approximates both the listener being "there" live, caught in the swirl, and one of the more memorable moments of "Kentucky Fried Movie" (for a young teen-aged boy, anyway). The production allows the recordings to shudder with a barely contained energy, bringing to bear Bedroom Eyes' Allston basement show cred in a deliciously visceral way.

Even before it released this long-player, it was already a big year for Bedroom Eyes. The band was named the best underground act in New Hampshire, even when half its members had already made the jump to Boston. What the cognoscenti knew was there was no reason to expect a let-down, as Bedroom Eyes had already unleashed on an eager public of early adopters a tantalizing clutch of excellent demos and compilation tracks, including iterations of "Big Boo," "Soggy," and a thrilling cover of Ride's "In A Different Place" on Clicky Clicky's Nofuckingwhere compilation (still available for free download here).

What Are You Wrong With strongly delivers on the promise of those early tracks, while offering new insights into the rapidly rising band. Songs such as "Weak Back" and "Dissipate" evidence Bedroom Eyes allowing itself to work odd grooves and explore sound and space outside the constraints of verse-chorus-verse inevitability. The blunt-force of the wall of guitar and desperate rhythmic intensity of the former track builds and then breaks down, settling into a quiet lumbering groove of fuzz bass and edgeless feedback that provides perhaps the most satisfying and beautifully pure moments on the record. "Touch Of Sap" has verses that sway and bend, and a pummelling chorus that recalls scene-legends Swirlies. What Are You Wrong With has no filler, just lots of killer. Buy it on CD or as a digital download via the Bandcamp embed below. As we reported here last month, the foursome is already at work on a follow-up, an EP to be released on cassette; we'll keep you posted.

Bedroom Eyes: Tumblaaaaah | Facebook | Bandcamp

Autochrome with Nightmare Air and Boom Said Thunder | Great Scott, Boston | Aug. 4

[Flyer Design: Boom Said Thunder. Limited edition of prints will be sold at the show] Saturday evening is one of those all-too-frequent Boston nights when there are too many places to be. Of note in particular to Clicky Clicky readers is the Infinity Girl show at Precinct in Somerville [Facebook event page]. But the more hotly anticipated bill is the one listed above, which -- in addition to sets from the hotly tipped Nightmare Air and Boom Said Thunder -- features the debut of what is being referred to as Autochrome "2.0." Readers will recall the darkwave and post-punk-influenced Boston quartet issued its cracking debut Separation Realms in early spring, and feted it with a dominating performance at TT The Bear's Place at the end of March that we reviewed here. Fans were surprised to learn of the departure not long after that of founding guitarist Richard Murillo, whose prismatic guitar work was a key counterpoint -- the pull to the push, if you will -- to the forthright rhythm section comprised of fronter and bassist Jeff Bartell and drummer Patrick Florance. As Autochrome's long-player embraced elements of minimalism, every player's contribution was weighty (the fourth member, incidentally, is rhythm guitarist and keyboardist Katherine Murray).

So the question of what a new iteration of Autochrome will sound like has been something that occupied the minds of more than a few fans this summer. The band announced recently that Deborah Warfield, who has played with Swirlies and others, has joined Autochrome on guitar, keys and vocals. And additional social network buzz suggests the band has written all-new material for this weekend's show. What will it sound like? What will fans see this weekend? We don't know! Anticipation mounts. And it will certainly be exciting to go find out. What's more, we're also hearing that Swirlies fronter Damon Tutunjian may potentially sit in on some numbers. Which is kind of insane, as we think he lives in Sweden these days. More anticipation. While you're waiting for the weekend to roll around, check out the embed below of Separation Realms.

Today's Hotness: Big Deal, Swirlies, 11:59, Cannons

>> Hotly tipped London indie duo Big Deal have disclosed at long last that its debut full-length, Lights Out, will be issued by Mute Oct. 11. The release will be preceded by a single for the song "Chair" Aug. 30. The barely year-old pairing of Kacey Underwood and Alice Costelloe arrived on the scene last fall with the desperately beautiful and delicate acoustic single "Homework," released by Records Records Records. The new, 12-song long-player was co-produced by Mr. Underwood and a fellow named Dean Reid, which is interesting to note because we reported here last October that the band was working with former Strokes producer Gordon Raphael. Perhaps Mr. Raphael engineered? Who knows. A quick search of Soundcloud turns up a Big Deal track we had not yet heard which appears on the track listing for Lights Out (although we can't say for certain this version will be on the album, of course). The tune is called "Talk;" check it out below. Big Deal spends seemingly the rest of the summer playing UK festivals, so if you are inclined to go to a festival, perhaps check the complete list of engagements right here to make sure you get to see what Big Deal is all about.

Talk by Big Deal

>> The Swirlies mini-tour we first mentioned here last month has announced all of the currently confirmed dates. Sadly, as of yet, there is no Boston performance slated, although there is a faint rumble from Allston about pigs being greased or some such, so perhaps all is not yet lost. But for now, here are all of the dates that are fully pig-greased. In case you've forgotten how awesome Swirlies are, check out the awesome video for "Bell." Every time we watch, we are transported to the back bedroom of a bungalow in Central Pennsylvania, Fall 1993. Magic!

07.21 -- Baltimore, MD -- Talking Head
07.22 -- Washington, DC -- Rock & Roll Hotel
07.23 -- Philadelphia, PA -- Johnny Brenda's (2PM)
07.24 -- New York, NY -- Beekman's Beer Garden (3PM)

>> Billing your band as an amalgamation of three styles is a daring proposition, and it is downright fool-hardy, these days anyway, to state one of those styles is ska. So we were very pleasantly surprised when we listened to two new tracks from 11:59. Firstly, because neither of the upstart trio from Sydney, Australia's songs were ska numbers. But mostly because the threesome plays angular guitar pop in the vein of all the youthful UK greats of the last decade. 11:59 has issued a series of singles and EPs during the last four years, and its most recent is a digital single entitled Ou Est Le Tissier. Released in May and comprised of two tunes, it is the latter number, "Girls Girls Girls," that captured our ear, with its vocal harmonies, guitar attack and uptempo rhythm. You can stream the tune via the Soundcloud embed below, and we highly recommend that you do. We were so moved we included it in our New Music Night DJ set last month. It's a spikey guitar-pop anthem, a perfect anthem for summer nights and beer drinking with the mates.

1159 - Girls Girls Girls by oneonefivenine

>> Philly-based post-hardcore concern Cannons have returned with a new EP that expands the quartet's palate to include not only satisfying, brawny punk but now also quirky Stylophone instrumentals. The collection is called Cuddled By Giants, and it's a bit odd, but it fits with Cannons' personality (Cuddled By Giants opens with a track called "You Might Be Scum," for example), first made evident on the band's crackling 2010 debut Friendly Muscles, which we wrote about here. In the interim between the two releases Cannons downsized from four to three members and released the free teaser The Japam Demos to the Interzizzles via Bandcamp [download]. One of the highlights of the new EP is the hooky hard rocker "All The Glue You Can Huff!," which amusingly alternates la-la-la backing vocals with scritchy, Pond-esque guitars. You remember Pond, right (we hope so, as the Internet can barely remember)? Cannons released Cuddled By Giants May 26, and you can grab the whole shebang at Bandcamp right here for three paltry American dollars. You should do that. By way of appetite-whetting, stream "All The Glue You Can Huff!" below.

Review: Fleeting Joys | Occult Radiance [MP3]

We've been talking about it for more than a year, but the sophomore record from Fleeting Joys is finally here. The elephant in the room when discussing the superlative Northern California-based shoegaze duo is the similarity between its music and the most well-known and inflential portion of My Bloody Valentine's body of work. It bears mentioning and is a useful shorthand, but we expect Fleeting Joys' John Loring and Rorika grow weary of the obvious comparison (they list MBV first among their influences at MySpace) even as they are gratified by it. The aural similarity has led to some pretty silly behavior by seemingly well-intentioned fans. Those who take the time to scrutinize will find Fleeting Joys are more forthcoming with a melodic hook than Kevin Shields' legendary quartet, and while Fleeting Joys don't rush albums out, the duo has released two in the last few years, which is two more than Mr. Shields has released in about two decades. If you are a fan of painstakingly architected and beautifully realized guitar music that bends, pounds and pulses, Fleeting Joys have a lot to offer, particurly on this latest collection.

And of course, listeners who refuse to accept the easy comparison will find there's quite a few bands to which one can point. It's hard to say in which direction the influences may flow, but the crushing opener "The Angels Cannot See You Now" recalls fellow California-based psych-rockers The Warlocks. "Into Sun + Dark" hints at the beginning of Crooked Fingers' cover of Queen and David Bowie's "Under Pressure," but instead of shifting into a traditional rock/pop form "Into Sun + Dark" persists in glimmering, sparkling, drifting in on itself and burrowing under layers and layers of processed guitars. "Dearly Sedated" modulates the main riff of The Swirlies' "Park The Car By The Side of The Road" and adds menacing intensity with pounding, black sheets of sound.

We haven't heard anything about a single being released, but Fleeting Joys has a perfect a-side/b-side pairing in tracks two and three on the new set, the uptempo, pop-leaning strummer "You Are The Darkness" and "Cloudlike Mercury." Both are album highlights, particularly the former. Fleeting Joys released Occult Radiance domestically through its own Only Forever Recordings Aug. 27. Occult Radiance was released in Japan in January on Thomason Sounds with a different track listing and mix. The U.S. release has two additional songs, the aforementioned "The Angels Cannot See You Now" and "Dearly Sedated." The Japanese release is still something of a collector's item, however, as it contains "Closer To My World Without Pain," which is not on the domestic issue. Fleeting Joys debut Despondent Transponder was issued in 2006 and is now out of print. There's no proper freebie promo MP3 from Occult Radiance, but the band has graciously offered up the outtake "Golden Now." Check it out.

Fleeting Joys -- "Golden Now" -- Occult Radiance outtake
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[buy Occult Radiance from the band here]

Fleeting Joys: Internerds | MySpace | YouTube | Flickr