Show Us Yours #28: Mutes

It's been some time since we've checked in on 'gazey indie punks Mutes. Time was the Birmingham, England-based act was a project propelled by just one dude, erstwhile and surnameless Johnny Foreigner guitar tech James, and its music was the stuff of gauzy dreams. That approach yielded captivating results and resulted in a couple EPs and digital singles over the last two years, many if not all of which were scrutinized in these electronic pages. Mutes' first EP as a quartet and on a proper label dropped earlier this summer, bearing a familiar name -- Starvation Age -- but a notably expanded sound. The short set presents five tracks, including new iterations of two of Mutes' more placid earlier guitar reveries, and builds to a roaring finish via an agitated, propulsive title track. With such dynamic growth on display, we thought it high time that we check in with James to learn about where the present, enlarged iteration of Mutes makes its magic, and what the rising band has in store for the future.

And an over-large tangent: our truest readers will note that this episode of Show Us Yours is not the first to feature a spacemate of Clicky Clicky faves Johnny Foreigner: way back in January 2009 in Show Us Yours 10 we featured hitmakers Calories, who at the time shared a different space with Johnny Foreigner. We suppose this is an example of high-quality acts tending to gravitate toward one another; we're told that Sunshine Frisbee Laserbeam -- perhaps the most visible heir to Calories -- still practices near Johnny Foreigner (and Mutes) even now. We're grateful to James for taking the time to show us around the spot and for giving us an update on all things Mutes. Read our full exchange below.

Clicky Clicky: So why do you use this practice space? What is it about the space that makes it the best place for Mutes right now? Did you have to change spaces once Mutes became a full-band project, or are you still in the same spot?

James: We use it because we share it with Johnny Foreigner (who [drummer] Jr [also drums for]) so it's convenient and more spacious (having two kits in one room is not preferable). And it's run by a couple of really cool guys, Matt and Nigel, who rent out the rooms at an incredibly good price. There's always cold beers in the fridge, it's 24hr access and, most importantly for Josh and I, we can leave our gear there and use our own amps. If I ever have to so much look at a Laney valvestate head perched upon a generic Marshall 4x12 again I will shoot myself. I never had a space when I was doing it solo -- I'd rent the hourly room there for £5 an hour, which is super cheap.

CC: Is there an idiosyncrasy or quirk to the space that has affected the sound of one of your songs, or even the overall Mutes sound?

J: Mmm, I'm not sure. I think the general energy of the place -- the ease of access and the laid-back atmosphere -- allows you to chill the fuck out when rehearsing, which lends itself to creativity more than "we have two hours here and we still need to find some breakables." We're gonna record more with our 8-track in there hopefully -- then we'll see!

CC: You walk into your rehearsal space. What's the first thing that you smell?

J: Stale smoke and sweat.

CC: Was there some question in your mind that led you to fill out the band with additional members? And if so, what was that question?

J: I never intended to 'go solo,' it just sort of happened as a by-product of that first EP. I figured it would be a waste to put it out and sit around, so I got the sampler, watched a lot of Grimes live videos, and went for it. It just so happens that the next batch of songs I wrote needed real drums, although when I recorded Starvation Age I was still the only member of Mutes. But I always wanted to be in a band with other people. Playing solo can be a depressing and expensive experience, especially when you aren't exactly cranking out hits.

CC: Do you think that whatever we can agree to call the indie rock scene has progressed to the point where there is less bias against one-man bedroom pop bands? Do you find that folks like radio programmers and club promoters take Mutes more seriously now that it is more of the standard many-dudes-with-guitars formation?

J: I think promoters are more reluctant to book solo acts because simply put you have 1/4 the pulling potential of a full band. I played a few more solo shows when we were going through a lineup change and it reaffirmed why I stopped them in the first place -- it's a pain keeping an eye on your gear, you can't split any costs, and you rarely get paid because you don't have the manpower (i.e. Jr) of a full band. So yeah, being a full band has absolutely aided us in terms of getting shows and stuff.

CC: We spoke off-line about this, but we thought we'd raise it here as well. One thing that confused us about your terrific recent EP Starvation Age was that you recycled the title from a two-song digital release you did in 2013. Which we suppose is no worse than Weezer putting out multiple self-titled albums. But what about the title speaks to you so much that you wanted to use it twice?

J: I think I used it back in 2013 because it sounded nice, and those two songs ended up going on this full EP. But the title definitely has relevance to the release and its lyrical content. I think I came up with the title when I was going through a bit of a horrible phase of food-avoidance and just generally feeling like I was lacking as a human being. Plus I took down that 2-song thing before this was announced and I didn't really think anyone would notice (you were the only online site who covered that first release, ha).

[At this point the interview had gone somewhere unexpected. We were concerned by James' frank statement regarding his troubled relationship with food, concerned for him personally, but didn't want to delve more deeply into his private life than this interview, supposedly about his band's practice space and music, warranted. We talked this over with James, who was comfortable expanding on his remarks for publication. -- Ed.]

J: This was around 2 years ago, and it's better now. I think anxiety and a persistent uneasiness in my stomach, on top of issues I had with my own body image, all contributed towards it. I have a somewhat stressful relationship with eating, but not to the extent that I'm worried about it. I've certainly been in close quarters with people who do have more serious issues, and I wouldn't wish it on anyone. I love food and I hate food, too. I've put myself in positions where my appetite has been dictated by guilt rather than nutritional need and that can be particularly stressful on people you're close to. It's important to recognise these problems, I feel fortunate to be in a position mentally where I've never succumbed to it fully, but I would urge anyone who needs help, or even just advice, to speak openly about it as soon and as much as possible. Disordered eating is complex and can be hard to admit to yourself. It requires support and understanding, no matter how trivial it might seem if you're not going through it.

[Before continuing on, we wanted to amplify James' sentiment that those struggling with their relationship with food should seek help. These are real issues; food avoidance was classified as a medical condition under the latest revision of the Diagnostic and Statistical Manual, the DSM-5, in 2013. If you or someone you know needs help, we urge you to contact a health professional. Now. And now, back to our regularly scheduled interview... -- Ed.]

CC: One of my all-time favorite bands did a non-comeback comeback record, and the last song leads with this awesome line "I have to finish this song, or the world will remember me wrong." You made a crack on the Mutes Facebook about releasing the new tune "Knotting Off The Vein" because "Death could be around the corner," and it made us wonder whether you actually, you know, consider things like mortality and a legacy and all that. Maybe you were just taking the piss (is that still a phrase people use?...)

J: I was half-taking the piss! I think when you're a band as small as we are, and unable to play as much as we'd like due to real adult life, the only thing you can do is write and release as much as possible to fill that activity-void. I also have become recently acutely aware of my own mortality, it keeps me up, so that's definitely on my mind a lot recently. I do think music, and art in general, is the closest you can come to ensuring your own immortality, provided what you're doing doesn't get forgotten with you. But it's an over-saturated space, and we're all baying for attention, so I don't know how successful anyone but the most influential of us will be in actually 'living forever through art' or something. But at least we're all immortalised on the Internet!

CC: What does the rest of the year look like for Mutes?

J: Hopefully more shows here and there, and lots more writing. We've got about 13 songs that ned finishing up, and more will be rearing their heads in the interim, so hopefully we'll be able to record again sometime soon! And sign that mega 360 deal we've all been holding out for.

Mutes plays a killer show Oct. 9 in Oxford, England with Sauna Youth (responsible for this rager earlier this summer), Poledo and Telegrapher, and the Birmingham act is also on a bill *TOMORROW* supporting Jimmy Whispers that locals should certainly turn out for. The Starvation Age EP is available now as a digital download and limited edition cassette; stream the release via the Bandcamp embed below, and click through to purchase. Also streaming below is the aforementioned, newer track "Knotting Off The Vein," taken from a very good comp recently issued by London club promoter Fools Paradise.

Mutes: Bandcamp | Facebook





Previous Mutes Coverage:
Today's Hotness: Mutes
Today's Hotness: Mutes
Today's Hotness: Mutes

Previous Show Us Yours episodes:
Shapes And Sizes | Dirty On Purpose | Relay | Mobius Band | Frightened Rabbit | Assembly Now | Meneguar | Okay Paddy | Charmparticles | Calories | Sun Airway | It Hugs Back | Lubec | A Giant Dog | Bent Shapes | Krill | Golden Gurls | Earthquake Party! | Hallelujah The Hills | Seeds Of Doubt | The Cherry Wave | Coaches | Night Mechanic | Kindling | Julius Earthling | Hideous Towns | Mittenfields

Today's Hotness: Football, Etc., Diocese, Goodly Thousands

>> Houston emo veterans Football, Etc. have been a known quality around Clicky Clicky HQ for quite some time, and yet here we are just now finally devoting some virtual column inches to them. Over the course of a six-year history, the trio has issued a series of well-received 7" singles and LPs on respectable labels Texas Is Funny and, more recently, the un-eff-withable Count Your Lucky Stars. Across those releases the group chased and most often found a familiar and comfortable sound, one that draws equally from late '90s emo stars like Rainer Maria and the precise brilliance of The Spinanes' early output. And along the way Football, Etc. has proven itself one of the most consistent acts, and as a result its profile continued to rise as those emo revival trend pieces start to pile up. Count Your Lucky Stars this week released Football, Etc.'s latest effort (at least digitally, read on), a very potent EP titled Disappear EP. The four-song 7" contains the three-pieces' strongest work to date, although it doesn't attempt to recreate the wheel. What Disappear delivers is four urgently melodic numbers that glide along fronter Lindsay Minton's clean Telecaster tones despite the persistent unease in her lyrics. Ms. Minton's voice is devastatingly poignant on the opening cut "Sunday," a tune in which she imagines erasing herself to feel better. Everything seems to fall into place on Disappear, which was recorded with the legendary J. Robbins. Stream the entire EP via the Soundcloud embed below, and order it from CYLS right here. The 7" -- which is available pressed to classic black or milky-clear-with-orange-and-blue-splatter media -- was slated for release this week. However, according to the label, pressing plant delays related to the bothersome Record Store Day glut has pushed back the shipping date about a month, which means the band will likely have already been overseas for its short Japanese tour and back before the 7" records ship domestically. In the meantime, fans who made the trek to Austin for the annual South By Southwest branding confabulation had a few chances to catch the band, and Football, Etc. is planning additional U.S. tour dates for the summer. -- Dillon Riley



>> In reviewing its debut LP Detergent Hymns here in January, we noted that Swings are a prolific bunch. This was even more true than we realized at the time, as it turns out that two of the Swings cohort, fronter Jamie Finucane and drummer Dan Howard, log time with another act based out of Oberlin College. The act is presently called BBC America, and we hesitate to call it a Swings side-project as the aforementioned dudes make up the act's rhythm section. Notably, an older and very short-lived iteration of BBC America art-rocked most steadfastly under the name Diocese; was fronted by a woman named Mia Rosenberg; and recorded a self-titled debut that has been making the rounds among the indiescenti of late. Ms. Rosenberg and her singular, elastic voice has migrated west to pursue more pastoral pastimes, a precipitating factor for the name change, but what Diocese left behind after a scant four months shuffling off this mortal coil is a strong eight-song document that relies on some of the same slow-burn intensity and loose instrumental interplay fans have discovered on Detergent Hymns. The sonic freak-out that punctuates the coda on the stunning second track "Matthew Walker" pulls off seething rage in a way few bands that play, moody atmospheric rock such as this can. Stand-out tune "Spoken To" deconstructs before your very ears, but is practically on fire when riding a charged 5/4 meter whose ol' push-and-pull drops off a cliff at the tune's sudden end. Diocese's electric and meandering self-titled effort is being issued posthumously by micro-indie Como Tapes in a limited edition of 75 hand-dubbed, teal cassettes (ask your moms how they work yo) and digital download; order the former here or get the latter for zero American dollars here. And while you can no longer experience the wonder of seeing Diocese live, BBC America (remember them, from the beginning of this paragraph?) are alive and kicking, with guitarist Mike Stenovic up front singing in place of Rosenberg. The act kicks off a short tour tomorrow alongside the also aforementioned Swings. There are two college shows in the Boston-ish area at the end of March (approaching!), so you oldsters start applying your Just For Men now. Inspect all of the tour dates below, and hit the stream of Diocese below that. -- Dillon Riley and Jay Breitling

3.20 -- Gambier, OH -- Kenyon College w/ Sports, Sidebitch
3.21 -- Pittsburgh, PA -- w/ Sidebitch, Glowworms, Blod Maud
3.22 -- Harrisonburg, VA -- Crayola House
3.23 -- Washington DC -- w/ Two Inch Astronaut, Rye Pines, Something Sneaky
3.25 -- Montclair, NJ -- House Show w/ CAVE WETA (NO SWINGS)
3.26 -- Brooklyn, NY -- Aviv w/ BIG UPS, Kissing Fractures
3.27 -- Somerville, MA -- Tufts University w/ Vundabar
3.28 -- Worcester, MA -- Clark University w/ Amanda X



>> The glistening sound of '80s UK guitar pop is alive and well, well, just across the Irish Sea. Dublin trio Goodly Thousands, which formed five years ago in Dundrum, Ireland, exhibits a persistently bright jangle on an EP set for release later this month. The four-song collection is titled Sunshine Hair and its title track is just as its name suggests: breezy and beautiful. The tune succeeds in a big way on the strength of restless and sparkling 12-string guitar picking, crisp drumming and fronter Colm Dawson's emotive tenor. Along with "Sunshine Hair," the EP offers the tunes "Walking Home," "Kiss Me Upside-Down" and "Ponytail." Shelflife will release the Sunshine Hair EP March 24 in a limited edition of 300 vinyl 7" records and as a digital download, and you can pre-order a copy right here. Goodly Thousands' debut single "Honest" b/w "I Wish" was issued by Shelflife in 2013, and is nearly sold out at this point (although different versions of those two tunes and two others are available for free download at Goodly Thousands' Bandcamp right here). Stream the irresistible "Sunshine Hair" via the Soundcloud embed below.

Today's Hotness: Sister Palace, Twerps

>> Few bands have enticed this reviewer in his hometown of Portland, Oregon as much as emergent, dreamy rock act Sister Palace. Comiing along in the wake of its mid-2014, sold out The Purple Tape EP is the act’s towering first full-length, Count Yr Blessings. The set will be self-released Feb. 1, at the conclusion of a West Coast tour that kicked off Friday night in San Francisco. The new set has taken much of the scene by surprise, as few local acts have as ably harnessed the sounds of well-aged '90s indie touchstones and channeled that inspiration into something as pristine and powerful as Count Yr Blessings’ lead single "Corporeality." The tune opens with a simple, picked refrain and the lead singer's straightforward, soft vocals. And then there's that thing -- you’ll hear it: a mighty, powerful wordless chorus that not only calls to mind the finer aspects of those Steve Albini-recorded Breeders records, but also packs a melody so honest and serene that listeners will be able to do nothing but listen and nod along in abject pleasure. Maybe it's the great harmony that haunts the passage, or maybe it's the clear, open production capturing Mac Pogue’s drumming, but there’s a timelessness to the tune that suggests great things for this young band’s future. Add to that a creeping harmonic bridge that recalls guitar-band greats like Helium, Come, and the aforementioned Breeders, and you have a recipe for success that also adds something special and original to the Northwestern DIY rock scene. We would be remiss if we did not report that the balance of Count Yr Blessings is equally strong, and that we expect listeners will be hitting repeat on the mesmerizing ballad "Sister Vincent" as well as the understatedly brilliant "Fuck The Nation," which brings back the effective, simple vocal harmonies of "Corporeality." Oh, there's also a surprise '90s alt.rock cover tagged to the end of the set, which is nicely done, and puts a twee spin on something you've heard a million times before. But we don't wanna say too much. Pre-order Count Yr Blessings right here, or grab one from Sister Palace at one of the stops on its present tour -- we’ve listed the remaining dates below along with the album embed, which we highly recommend to your attention. -- Edward Charlton

01/24 -- Santa Cruz, CA -- SubRosa w/ Burnt Palms
01/25 -- Santa Barbara, CA -- Funzone w/ Spring, Waxer
01/28 -- Los Angeles, CA -- Redwoods w/ Badlands
01/29 -- San Luis Obispo, CA -- TBA
01/30 -- Oakland, CA -- TBA w/ Watercolor Paintings
01/31 -- Cottage Grove, OR -- Axe & Fiddle
02/01 -- Portland, OR -- The Know w/ Lubec



>> It's no surprise, Merge Records having a winner on its hands, as that is sort of their "thing" (have you seen its spring release schedule?). But we feel like the forthcoming sophomore LP from Aussie indie pop act Twerps is getting a bit lost in the shuffle, and, well, it shouldn't, as it has all the makings of a classic album (and the band is already influencing a new wave of English outfits, to boot). The Melbourne-based foursome's new set is titled Range Anxiety; it was preceded by a self-titled debut in 2011 and the Merge-issued 2014 EP Underlay. Range Anxiety is replete with inexhaustible melodies, jangly guitars and a beguiling blend of pep and melancholy that recalls the finest work of notable antipodean acts such as The Go-Betweens. Indeed, Range Anxiety nearly comes across as a hits collection, its track listing is so strong. The uptempo strummer "Simple Feelings" recasts The Feelies' mellow and resigned "Only Life" as a jittery pop gem, while the preview track "I Don't Mind" plays it cool from within a quiet cloud of, uh, something? Is that feedback? Backwards masked ride cymbal? Whatever it is, it's nifty, and plays well against the chorus's clean jangle and the tremeloed leads in the verse. Deep album cut "Cheap Education" goes back to the Feelies well again for its firmly cycled three-chord verse, but thrums with a caffeinated intensity that points relentlessly forward. Merge will release Range Anxiety Tuesday, and you can purchase it right here. Stream the aforementioned "I Don't Mind" and the entirely charming weirdo "Shoulders" (which reminds us of a more hi-fi take on the Glo-worm sound) via the Soundcloud embeds below.

Today's Hotness: Screaming Maldini, Mutes, Ancient Babes

>> It snowed here in Boston Sunday, a sure sign that the inevitable seasonal change is coming. But from the standpoint of the blog, there has been even more striking change of late among the constellations of indie rock acts the blog champions. In recent months we've seen Clicky Clicky faves Young Adults and Soccer Mom call it a day, and two additional hometown favorites, The Hush Now and Varsity Drag, are going on hiatus and departing for the opposite coast, respectively. The number of bands shutting down or changing venue feels like an almost generational sea change, and we're left wondering who will be our new obsessions? That feeling was compounded last week with the announcement that Sheffield, England-based indie pop savants Screaming Maldini were hanging up their proverbial boots for good. The act -- then just a trio -- first breeched our radar about six years ago with an email from Maldini mastermind Nick Cox, who invited us to have a listen to hyerpop gems including an early version of the tune "The Extraordinary." The song would later help anchor the band's mind-bending 2010 EP And The Kookaburra, which was released by Oxford indie powerhouse Alcopop!, and additional EPs and an impressive self-titled full-length followed. The band announced early this year a monthly series of free songs, one which we hoped would culminate with some sort of album announcement. But, alas, Screaming Maldini had other ideas. In a statement on its Tumblr last week, the now-sextet stated it would play its final show at Queen's Social Club in Sheffield Dec. 5, with Laurel Canyons supporting. There are a few more installments of the monthly song series to roll out yet, including this month's: a cover of fellow Sheffielders Pulp's "Last Day Of The Miners' Strike." The tune was the only new track included on Pulp's 2002 hits collection titled Hits, oddly enough, and it tells the tale of a labor struggle in the UK three decades ago. One that, Wikipedia helpfully points out, didn't end well for our brothers and sisters in the labor movement. Screaming Maldini's is an appropriately solemn and somber rendition, shuffling drums, slowly rolling piano chords and a strong vocal from Gina Walters, whose exhortations to "lay your burden down" are chilling given the context. Stream the tune below via the embed. We're also including a stream of the band's transcendent pop ballad "I Know That You Know That I Would Wipe Away The Snowflake From Your Eye," because, well, it encapsulates the magic, romance and beauty that came to the band with such startling ease. We don't expect we've heard the last from Mr. Cox, Ms. Walters and the rest of the Maldini gang -- they are just too supremely talented to dissolve into shadow once the stage lights are cut. But, for now, tip a 40 for Screaming Maldini, maximalist pop collosus: they fought the good fight, they transported us to a better place with their music.





>> While the recent news surrounding Birmingham, England-based ambient guitar-pop project Mutes was that it has transmogrified into a full-band enterprise (featuring Johnny Foreigner drummer/Fridge Poetry mastermind Junior Elvis Washington Laidley on the cans, no less), the project's latest release -- a beautifully stirring and delicate EP titled No One Is Nowhere -- remains a solo affair. The seven-song collection wraps ethereal electric guitar loops around gritty acoustic guitar playing, and lays over top James Brown's affecting and spectral tenor. The overall effect is impressionist and wistful, and we stand by our initial comparisons to The Feelies and Flying Saucer Attack, although there is certainly more of the latter here on this new collection than the former. Indeed, the longest tune of the set, the enchanting, six-minute-plus song "Horror," completely eschews recognizable acoustic guitar -- as well as trad song structure -- and instead presents a prismatic mirage of processed and looped melodies and feedback. The gauzy (and even shoegazey) new compositions place a lot of the emphasis on the first-rate melodies and deep zones Mr. Brown is able to conjure. We expect this release may be the last relatively understated collection from Mutes, as all signs point to Mutes 2.0 being a more dynamic and muscular affair. No One Is Nowhere is available as a bundle that includes a Lewes Herriot-designed t-shirt and digital download, and also as a simple standalone download, both of which can be order from Mutes' Bandcamp wigwam right here. Mutes' next live date will be a show Nov. 14 with Clicky Clicky faves Burning Alms at The Oobleck in Birmingham, and we expect that will be quite a good time. Stream all of the tremendous No One Is Nowhere via the embed below, and click through to purchase.



>> Vancouver-based chillwave producer Ancient Babes' latest track "Atlantic Avenue/Street" may have a somewhat inscrutable title, but it is otherwise a slam dunk. Nostalgic and icy and beautiful, the song has the emotional immediacy of a vintage John Hughes soundtrack selection, with pulsing synths underpinning cool, measured vocals. While the rhythm and "bass" tracks in the verses are somewhat plodding and monolithic, something about the airy atmosphere and chilled vocals makes the song blow by fast -- its end always comes too soon and as a surprise. Indeed, the greatest surprise is the song's quiet final 15 seconds, during which the synths and electronic beats recede to reveal what sounds like hidden piano and guitar tracks, which twinkle briefly and then wink out like dead stars almost as quickly as they are uncovered. We suppose that aforementioned surprise is ultimately a sign of a great pop song, and we will be interested to hear what Ancient Babes is able to conjure next. Stream "Atlantic Avenue/Street" via the embed below, and click through to download the track. We last wrote about Ancient Babes at the beginning of the year here, when the band had just issued its dark and dreamy Futuristic Demons EP. While we weren't looking, the highlight of that short set -- a tune called "Occult Commando" -- was given the NSFW video treatment early this past summer. Check the video for the cut out right here.

Review: Bent Shapes | Feels Weird

With this long-awaited debut full-length -- and the years of work it represents -- Boston trio Bent Shapes can lay claim to a place among the nation's preeminent indie pop bands. Although we're hard-pressed to think of a contemporary act whose work is as smart, economical and fizzing with energy, and the effort instead leads us back to the early Feelies catalog or Unrest's Imperial f.f.r.r. for meaningful analogues. Since its early days when it used the name Girlfriends, Bent Shapes has shown it can consistently construct bracing pop nuggets, and this facility has carried over from its singles and cassette releases to Feels Weird (a title, fans may recall, that almost became the band's name). Indeed, the long-player -- out Tuesday on Father/Daughter Records -- touts for its full, ephemeral 27-minute duration the potency and immediacy of a brilliant single. This is little surprise, as the majority of Feels Weird has been issued as a single or b-side or in some prior form. But no matter the reason, the collection is one of the most listenable of the year, a sort of pre-emptive Compact Snap! for one of the city's most promising combos.

​​​For as refreshingly minimalist and pointed as the album is, Bent Shapes exhibit a noteworthy range in terms of timbre and songcraft (particularly for a trio leveraging the traditional guitar/bass/drums configuration). The result is panoply of sounds emphasized by rotating lead vocal duties and variations in tension and intensity. There's the breezy pop of "Check My Vitals," the venomous scene crit of the album highlight "Brat Poison" (previously issued as the b-side to the flexi-single released right after the threesome changed its change), ​the uptempo, hip-shaking jangle of "Big Machines" and "Boys To Men," and the staccato power-pop karate chops of opener "Behead Yourself, Pt. 2." ​Evidence of the band's evolution over time can be found in the thoughtful production choices throughout the record. The nostalgic air of "Hex Maneuvers" is limned by the spectral reverb on the guitars​ in the verse, the fury of "Brat Poison" is made more potent with the application of distortion to the vocals and a storming, scalene rhythm conjured by drummer Andy Sadoway and bassist Supriya Gunda.​

Mr. Potrykus stands out as a particularly clever lyricist even in a wicked smaaaahhht town like Boston; he has an uncanny way with meter and melody that colors observations such as his assurance in the brilliantly arranged "Bites And Scratches" -- which, along with "I Was Here But I Disappear," is a new version of song first released in 2009 on a self-titled Girlfriends cassette -- that "the past, you can trust, will mess you up, but hang on to love, it'll be enough to save you somehow." Of, course, his view is not always as optimistic and congenial; indeed, our favorite moments of the record are Potrykus's biting remonstrations in the aforementioned "Brat Poison."

Father/Daughter releases Feels Weird Tuesday; the set is available as an LP (pressed to traditional sad black or bone and electric blue-colored media), CD or download, and pre-orders are being taken right here. Vinyl orders are packaged with a download code and an 11 x 17 poster. The band fetes the album tomorrow night at Great Scott in Boston with a release show that includes sets from Western Mass.-based indie rockers Potty Mouth and the telepathic fear and loathing of next-level bugcore trio Krill. We speculate this show will sell out, so you'd be wise to take the appropriate measures to ensure your intentions at entertainment are met. There are a number of tracks from Feels Weird available to stream, and we've collected embeds of most of them and posted them below. Finally, in case you missed it, we spoke to all three of the members of Bent Shapes in May to learn a little bit more about where they make the indie pop magic; read that feature right here.

Bent Shapes: Facebook | Tumblr | Soundcloud

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Clicky Clicky's Top 10s of 2011: MP edition

[Photo of Shit Horse at Habana Bar, Austin, TX 3/16/2011 during SXSW. Photo by Michael Piantigini.]

Twenty aught-eleven was one of those star-aligning years that gifted me with tons of music I like - This year's list is admittedly pretty heavy on my wheelhouse veterans, but how lucky to still get such strong stuff from bands like Buffalo Tom, Five Eight, and the friggin' Feelies! Having taken to heart The Long Winters' John Roderick's admonitions on top 10 lists (and let's hope he gets that new album out in 2012), I offer these 10 for '11 in alphabetical order. Tune in to Clicky Clicky Radio next Thursday, 8-10 pm eastern, and I'll play lots of stuff from these and other great 2011 releases!

Buffalo Tom Skins (Scrawny)
With guitars big and autumn gentle, these beloved Boston mainstays returned with their strongest album in years, and one that could stand up to the reminiscing of their 25th anniversary celebrations later in the year (reviews: night 1/night 2/night 3). [review/buy]



Eleventh Dream Day Riot Now (Thrill Jockey)
Chicago's legends-in-certain-circles take their time and make records when they're ready. Riot Now turns up after a five year gap and Rick Rizzo's feedback and Janet Beveridge Bean's harmonies were worth every moment of the wait. [buy]



The Feelies Here Before (Bar/None)
This year's lottery of unlikely new albums was won by The Feelies who, speaking of gaps, waited 20 years to make their new one. And it sounds just like The Feelies - and I mean that as high praise. [review/buy]



Five Eight Your God Is Dead To Me Now (Iron Horse)
Long-running Athens, GA stalwarts Five Eight take a stand on their 2011 album. They may offer more grown-up perspectives, but never grew out of a youthful existential dilemma. If we're being honest, who does? They continue to strike a nerve. [buy]



Fucked Up David Comes To Life (Matador)
Huge. Just... HUGE. [buy]





The Rationales The Distance In Between
The debut full-length by these Boston Americana-rockers is a warm, guitar comfort food blanket with pop hooks that keep the songs in your head. [buy]




R.E.M. Collapse Into Now (Warner Brothers)
Admittedly, sentimental reasons might have been reason enough for me to put the final R.E.M. album on the list, but this is legit - Collapse Into Now is great on its own terms and is the best R.E.M. album since at least 1996 (put another way: their best in a generation!). A worthy swan song for a band that spent most of their last 15 years in the wilderness. [buy]



Kurt Vile Smoke Ring For My Halo (Matador)
Wherein which Kurt Vile continues to outdo himself with his best batch of songs yet. In the alt-rock (and what-have-you) world, producer John Agnello's credits are untouchable: from Dinosaur Jr to Drive-By Truckers and Sonic Youth to Son Volt (among MANY other greats), he has helped shape the sound of alt rock (and such) for more than a generation. Here, he translates Kurt Vile's stoner daydreams into a lush, earthy headphone cinemascape. [buy]

Wild Flag Wild Flag (Merge)
OK, I'll admit it - if I were numbering the list, this'd likely be number one with a bullet. Has anything so highly anticipated delivered so solidly? Don't see how it would be possible to see them live and not think they're huge rock stars. Now if we can only get people to stop yelling "put a bird on it" at their shows. [buy]


Wussy Strawberry (Shake It)
Wussy's been quietly churning gems out of Cincinatti for a decade (much like co-gutarist/vocalist Chuck Cleaver's band Ass Ponys did for the decade before that), and Strawberry just about snuck out in the last month or so. It's both barnstorming ("Pulverized," for one) and beautiful ("Magnolia," for another). Do your ears and soul a favor and go buy this now and then make your way through the rest of the catalog. [buy]

Bubbling under:
Office of Future Plans - S/T (Dischord)
Obits Moody, Standard and Poor(Sub Pop)
Megafaun - S/T (Hometapes)
And, let's face it - pretty much everything else Merge produced this year, especially Wye Oak's Civilian, Apex Manor's The Year of Magical Drinking, and Mountain Goats' All Eternals Deck [buy]

My 11 favorite shows of '11, in brief and chronological. A bit heavy on the SXSW, as you can see, but it was a fun one:
-Reigning Sound at the Magic Room Gallery - February 17, 2011 [review]
-Shit Horse at Habana Bar - March 16, 2011 (SXSW) [photos]
-Wild Flag at The Parish - March 18, 2011 (SXSW) [photos]
-Eleventh Dream Day at Yard Dog - March 19, 2011 (SXSW) [photos]
-Alejandro Escovedo at The Continental Club - March 20, 2011 (post-SXSW) [review/photos]
-Joe Pernice/Scud Mountain Boys at the Lizard Lounge - August 25, 2011 [review/photos]
-Jeff Mangum at Jordan Hall - September 10, 2011 [review]
-Tommy Keene with Doug Gillard at Church on September 11, 2011 [photos]
-The Low Anthem at Somerville Theatre (and outside) - October 20, 2011 [review]
-The Hush Now/Soccer Mom/Chandeliers at Precinct - October 22, 2011
-Buffalo Tom at Brighton Music Hall - November 25, 2011 (25th Anniversary shows, night 1) [review]

-Michael Piantigini

Review: The Feelies | Here Before

Stubborn and beautiful in their strummy, jittery, Greater NYC pop, The Feelies bless us today with Here Before (Bar/None), an album that stands up to just about any in their prior 30-year/4 album catalog. Which is good, since absolutely no one was waiting to hear how they incorporated dubstep, emo, shitgaze, or indie rock in general into their sound.

That's a comfort. Despite the trepidation of Here Before's (reviewer-bait) opening lines "is it too late/ to do it again/ or should we wait another ten? ...Well you never know/ how it's gonna go..." the band sounds as confident as ever behind Bill Million's strident stumming over Brenda Sauter's round, driving bass and Stanley Demeski's rock solid drums abetted by Dave Weckerman's percussion. Glenn Mercer glides over it all with easy, laid-back melodies and biting leads.

Though hailing from New Jersey, big city-stimulated jitters were the band's calling card. Early single "Fa Cé-La" was a tightly-wound energy shot for a band so closely compared to the Velvet Underground. Hmm... is it OK to compare a 30 year old band with a 40 year old one? They are a clear influence, but The Feelies are a much more fastidious band (score a point for Jersey over New York?). Similar attitude, sure, but less ponderous and more determined.

The intervening years may have calmed some of those jitters in favor of the jangle, and though that's not a bad thing at all, there's a lot of life here: "When You Know" is a reassuring driver, and "Time Is Right" resolves the questions posed in that aforementioned opening track with a simple riff resolving to a catchy, head-nodding cowbell in the chorus. "Time/Right/Now/Tonight" - yeah, it feels right to me too.

Elsewhere, "Change Your Mind" is a warm guitar embrace, "Bluer Skies" is an e-bow-laced optimistic act now plea (and I'm a sucker for a good "ba-ba-ba" song), and "On and On" seems to nod to The Good Earth's "Slipping Into Something's" slow-burn intro. It all sounds and feels so good. I can't wait to pick this up on vinyl.

Some, and occasionally all, of The Feelies have played together in one tantalizing form or another for the two decades following the release of their last album, 1991's Time For A Witness (A&M). In (relatively) recent history, that included a memorable show at Somerville's Johnny D's while Feelies guitarist Glenn Mercer was pitching his fine 2007 album, Wheels In Motion, where the band was awfully close to being The Actual Feelies, with early drummer Vinny DeNunzio and percussonist Dave Weckerman in the lineup, and bassist Brenda Sauter (who's own great band, Wild Carnation, opened) joining in on the encores. Throughout all of these, and other spinoffs like Mercer and Weckerman's Wake Ooloo, they were missing an important ingredient: guitarist/songwriter Bill Million. Million, who up and moved from New Jersey to Florida when the Feelies called it quits in 1992, provides a key element of the band's sound: a strummy base on which balances Mercer's sharper lines.

Feels so good to be writing that in the present tense.

The band is scheduled for the Middle East on May 14th (tickets). There are no openers listed at the moment, so if we're lucky it'll be another "evening with..." show like their last visit there. Two stretched-out sets are hard to argue with.

-Michael Piantigini

The Feelies: Intertubes | Facebook | MySpace

That Was The Show That Was: Sonic Youth, The Feelies | Wilbur

[PHOTO CREDIT: Michael Piantigini | We welcome back to these digital pages longtime friend and occasional contributor Jay Kumar, who you may recall hosts the podcast Completely Conspicuous. -- Ed.]

The last time I saw Sonic Youth was way back in October 1995, when the band was already considered the elder statespeople of alt rock/punk/grunge/whatever. I was supposed to see them play at Avalon (now doing business as House of Blues) on Lansdowne Street in Boston, but the surprise success of their single “The Diamond Sea” caused the promoter to move the show to the larger Orpheum Theatre. In my late 20s at the time, I was struck by how many really young kids (i.e., pre-teens) were there, drawn by the radio edit of the aforementioned 19-minute song.

The audience at Sunday night’s SY near-sellout show with The Feelies at the Wilbur Theater had a decidedly different look: a mix of aging hipsters, college kids and the occasional pre-teen. And while the band is decidedly older -— all five members are 47 or older -— they rock as hard as they ever have.

Touring behind The Eternal, the band’s first release on Matador, SY played a 90-minute set that included pretty much everything from that album. The new material was strong, with “Anti-Orgasm” a standout with its cascading waves of noise. In addition, the band sprinkled in some classics from the 1980s: “Tom Violence” and “Shadow of a Doubt” from Evol, “Stereo Sanctity” from Sister, “Cross the Breeze” and “The Sprawl” from Daydream Nation and the scorching show closer, “Death Valley ’69” from Bad Moon Rising. Interestingly, the band didn’t play any material off its nine major-label albums. For those folks disappointed that they didn’t get to hear “Kool Thing” or “100%,” there’s always YouTube.

Guitarists Thurston Moore and Lee Ranaldo were in peak form, alternately bashing out violent riffs and coaxing squalls of feedback from their guitars. Moore especially was animated, jumping around and looking like he was going to jump into the crowd at times while playing at the edge of the stage. Pavement’s Mark Ibold has taken over bass duties, which freed up Kim Gordon to play rhythm guitar or just focus on vocals, although she still played bass on some songs. Drummer Steve Shelley was impressive, whether he was hammering away on the harder stuff or creating a psychedelic mood on songs like “Shadow of a Doubt.” Perhaps in a nod to the sheer volume of songs the band has written, a roadie brought out lyric sheets that were taped to the stage for Moore, Ranaldo and Gordon for the older material.

Openers The Feelies drew some of the older audience members, similar to its reunion show at the Roxy in October 2008. Although much of the younger crowd at the Wilbur were unfamiliar with the band, which only has four albums and hasn’t released one since 1991, the older fans were shouting encouragement throughout the 50-minute set.

Singer-guitarist Glenn Mercer said few words between songs but bounced frenetically around the stage as he played his similarly winding solos. Thanks to a muddy sound mix, however, Mercer’s already subdued vocals were barely audible. Rhythm guitarist Bill Million (who one audience member rightly noted bears a striking resemblance to talk show host Jerry Springer) kept the jangly chords going and provided occasional backing vocals along with bassist Brenda Sauter. Stanley Demeski was a powerful presence on drums while percussionist Dave Weckerman intently played a variety of instruments including drums, tambourine, cowbell and blocks.

Highlights included “The Time is Right,” a new song the band played last October in Boston, “Too Far Gone” and the one-two punch of “Raised Eyebrows” leading into the sped-up strumfest of “Crazy Rhythms.” Hopefully, the band will release some new material soon because they’ve obviously still got the goods.

The Feelies have been playing sporadic shows in conjunction with the recent reissues of their albums Crazy Rhythms and The Good Earth. No further dates have been announced. Sonic Youth, however, were slated to play another show at the Wilbur with openers the Meat Puppets and Cold Cave.

One note about the Wilbur: What’s up with the byzantine series of checkpoints, wristbands and holding pens that the venue concertgoers undergo? There had to be 87 people staffing this event, and it just resulted in absurdly long lines for the restrooms and overall confusion. And on top of all that, they collected everyone’s ticket stubs. Weak. -- Jay Kumar

Sonic Youth: Internerds | MySpace | YouTube | Flickr
The Feelies: Internerds | MySpace | YouTube | Flickr

Previous Sonic Youth Coverage:
Today's Hotness: Sonic Youth, Jai-Alai Savant, Thrill Jockey
Industry Watchdog: Sonic Youth, UMGI, Gawker Media
YouTube Rodeo: Sonic Youth's "Incinerate"
Review: Sonic Youth | Rather Ripped

Previous Feelies Coverage:
Review: Velvets | Big Star | Feelies | Pixies
That Was The Show That Was: The Feelies At The Roxy
YouTube Rodeo: Half-Way To The Feelies And "Higher Ground"

And Then This Happened: Sonic Youth, Feelies | Wilbur | 11.22.09

Sonic Youth and the Feelies at the Wilbur Theatre, Boston, MA; 11/22/2009; Photos by Michael Piantigini

Review: Velvets | Big Star | Feelies | Pixies

The Beatles weren’t the only trendsetters whose work reissued in September. Their legacy goes without saying, but there’s an influential underground that musicians and record geeks look to that has been –- until the internet, at least –- a sort of shared secret code. This month, there have been a few reissues of bands that represent the missing links between the Beatles and modern/indie/what-we-used-to-call-college rock.

The Velvet Underground practically pioneered the underground leaping from a springboard of some simpler '50s/'60s early pop song structure and launching themselves forward into the avant garde and sometimes backward into the primitive. “Heroin” came out the same year as Sgt. Pepper, and though it was weirder and less accessible than The Beatles's stuff, it has had an impact just as deep. The Velvets already have a comprehensive box set out there, 1995’s Peel Slowly and See, that contains all of their original albums plus singles, demos and live tracks. It is essential. Still, though, this new Sundazed box of reproduction 7” vinyl singles is awfully tempting.

Big Star were, I guess, what happened when you took '60s pop and gave it bigger amps and distortion pedals, and moved it to Memphis in the early '70s. Which is to say, big rockers and tearjerker ballads, all with amazing harmonies. Criminally under-appreciated in their time and suffering their share of turmoil (though not nearly as much as their British power pop brethren Badfinger), their influence has nonetheless been well-documented; Cheap Trick, REM, The Replacements, etc., etc., yadayada… Anyway, after a recent lackluster reissue of the two-fer of their first two albums (the same shoddy artwork, one non-essential bonus track, no thanks), the new box set Keep Your Eye On The Sky is a long time in coming and is finally a release worthy of their legacy. Rhino is really, really good at this reissue business and this set is packed with demos, alternate mixes, and a live disc, and sounds amazing and is simply a must-have.

The '80s gave us The Feelies, who took elements of all of the above, added a healthy dose of post-'70s druggy New York jitters and made it all uniquely their own. How lucky are we that they have recently reunited (their show at the Roxy last year was a highlight) and are (supposedly) working on new material? Like Big Star and so many other influential bands, The Feelies’ catalog was out of print for a long time surviving mostly in used vinyl racks (scarce in its own right) and through online traders. 1988’s Only Life, their third album, was quietly (and we think un-officially -- ed.) reissued last year on the Water label and is findable, but good luck finding any official online recognition of its existence.

So, finally, the band’s seminal 1980 debut, Crazy Rhythms and its follow-up, The Good Earth have been reissued by Bar None, with bonus tracks and everything. Though they are unlikely to be as scrutinized for their sound as the Beatles reissues, these albums have been re-mastered from “digital sources” as the original master tapes could not be located. I’m not entirely sure what that even means, and I have only heard mp3s (from official sources, deadbeats) so can’t comment on the CDs or the vinyl. They sound good to me -- they seem to have a bit more life than what’s been available. They’ve taken a novel approach to their bonus tracks: they want the albums to stand on their own, so the bonus tracks are not on the CD, but available by download with a provided code. According to the press release, they are only going to add a couple of the bonus tracks to the digital versions, so I’d say go with the physical formats. These cats are old school.

You are definitely advised to make sure you get all of the Crazy Rhythms extras simply to hear the demo of “Moscow Nights,” which is even more propulsive than the album version. The demo for “The Boy With The Perpetual Nervousness” has a bit of a darker vibe, though is no less manic. The original single version of “Fa cé-La” is rawer than on the album, and you can hear that the band have not missed a step with the pair of live tracks from DC's 9:30 Club from earlier this year that round out the set. There’s also a reverse bonus track of sorts: the album originally contained their cover of “Paint It, Black,” but it was added by the label without their consent, so they’ve left it off here.

The Good Earth bonuses include another track from the 9:30, plus the non-album tracks from the 1986 EP No One Knows: their straightforward cover of the Beatles “She Said, She Said,” and their hyper cover of Neil Young’s “Sedan Delivery.”

Tickets are already on sale for The Feelies return to our fair city on November 22nd to open for Sonic Youth at the Wilbur. Hopefully, they’ll try out some new stuff –- singer and lead guitarist Glenn Mercer’s 2007 solo album Wheels In Motion and bassist Brenda Sauter’s 2006 Superbus album with her band Wild Carnation were both great records, so they collectively still have a lot to give.

Not having much more to give, apparently, are the Pixies. At the end of the '80s and into the '90s, the Pixies perfected the soft strum/screaming guitar dynamics (before Nirvana et al merged it with metal) combo with melody and wacko lyrics that influenced another few generations. Look, I LOVE the Pixies and have been a huge fan for a long time, and I was beyond excited to see the first round of reunion shows –- I saw a few of them. But they’re starting to wear out their welcome, aren’t they?

They tour for the money, and have not claimed otherwise, but this latest round of Doolittle shows and, especially this frivolous Minotaur box set is really pushing it. Seriously, guys -- $200 for four and a half albums? Or $500 for the super-duper version? Sure the CDs are gold, and that’s good because, well, I don’t know... Maybe you can recoup the price at Cash4Gold?

I’m happy that they too have been getting the attention and accolades that they richly deserve and were just starting to get when they broke up after touring with U2 in 1992, but if you’re going to keep this going, make a new record already. -- Michael Piantigini

The Feelies: Internerds | MySpace | YouTube | at Bar None Records
Glenn Mercer: MySpace | YouTube | at Pravda Records
Wild Carnation: Internerds | MySpace | YouTube
Big Star: Internerds | MySpace | YouTube | at Rhino
Velvet Underground: Internerds | MySpace | YouTube | at Sundazed
Pixies: Internerds | MySpace | 4AD | Facebook | Minoutaur

Today's Hotness: Meneguar, Feelies, Ron Asheton R.I.P.

>> We openly admit that we were largely stymied by Meneguar's most recent release The In Hour, which cast the band's raw indie punk jams in a strange light via uncertain, folksy production (a hilarious comment at the band's MySpace drive-thru reads "I would like to offer to do your next recordings with my cellphone. I guess the sound will be a lot better then [sic] on your current record."). That said, the Brooklyn-based quartet is forever one of our favorites based on the strength of its two prior records, I Was Born At Night and Strangers In Our House. Watching the well-realized performance video embedded above of The In Hour's "We Own We Sell" provided us with some new insight. Watching the guys rock it out into the extended jam and overdubs at the end made us realize "We Own We Sell" is the sound of Meneguar being influenced by a lot of '70s krautrock and acid rock. That doesn't seem like such a bad thing. The video clip apparently was recorded at a studio in Portland, Oregon, but it is unclear as to when. We can only hope a new record is coming. We got a couple search hits to this blog recently for "Meneguar break up" which made us frown. Strangers In Our House was our pick for top album of 2007; here is it's excellent lead track "Table 2."

Meneguar -- "Table 2" -- Strangers In Our House
[right click and save as]
[buy Meneguar records from Troubleman Unlimited and Woodsist/FIT]

>> Holy cow! The Feelies are playing Johnny Brenda's in Philly March 13. This bodes well for future activity from the legendary act, as well as for the social lives of Philadelphians who like to see legendary indie acts play relatively small nightclubs (actually, we've never been there, but it looks smallish in all the videos we've watched). Get your tickets here. We saw The Feelies play Boston's Roxy in October and it was awesome; here's our review.

>> The best memorial you are going to read about deceased Stooges guitarist Ron Asheton is likely this one from a guy whose name we don't even know but whose blog we've read for a year or two because he roadies/guitar techs/(sometimes literally) holds shit down for luminaries including J Mascis, Broken Social Scene and Girl Talk. Said guy, whose name might be David, describes meeting Mr. Asheton while just beginning as Mascis' guitar tech, despite having no skills in that area. Lots of cool little anecdotes packed into a sincere, heartfelt blog post. Asheton's body was discovered in his Ann Arbor, MI home Tuesday morning; he was 60. Billboard has the complete story about Asheton's passing here

That Was The Show That Was: The Feelies At The Roxy

We mention in these electronic pages fairly regularly that we turned on to many great bands during our early teenage years due to Spin Magazine's then-very-reliable assessments of the American underground. In March 2007 we wrote here:

"[w]e rhapsodize about this fairly regularly, but time was you could trust your glossy music magazines to make decent recommendations. And so it was that in 1988 or so Spin or some similar outfit gave The Feelies' Only Life a glowing review so we walked across our suburb to the indie store in the basement of a building on the other side of the train tracks and bought it. On cassette, no less. The band broke up three years later after releasing the excellent Time For A Witness. And then we didn't have The Feelies anymore."

Only Life is an odd place to start with the beloved, jittery New Jersey-based indie rock act, which formed in 1976. But we were simply too young during the band's earlier heyday. Even so, we loved those final two records, and delved into the earlier recordings only after arriving at WESU Middletown in 1994.

Last night at Boston's Roxy the band delivered an intense 70-minute set and two equally robust clutches of encores. It was the final performance of the small batch of dates the band has played since first reuniting over the summer after breaking up 17 years ago. The Feelies noticably hit their stride several songs into the evening when proffering "Deep Fascination" and "Higher Ground" back-to-back. Mercer's icy and over-driven leads sliced through the mix, and as the set wore on drummer Stanley Demeski's pounding grew increasingly louder and insistent. A crescendo of white noise mid-set brought down the house, Mercer's quiet demeanor was occasionally punctuated with caffienated pogoing, and the mysterious Bill Million bobbed and weaved as he coaxed chords and licks from his guitar while the songs cascaded by too fast to keep a mental list. Somewhere in there was what sounded like a brand-new song, and "Too Far Gone" and "Crazy Rhythms" were given mind-bending workouts. The encores drew heavily on the familiar cover tunes that The Feelies have been faithful to throughout its career, including The Rolling Stones' "Paint It Black," The Beatles' "She Said, She Said," The Modern Lovers' "I Wanna Sleep In Your Arms" and The Velvet Underground's "What Goes On." Those latter two acts are perhaps the most obvious precursors to The Feelies sound.

As we reported earlier this year, The Feelies -- or at least laconic and cigarette-shaped singer and guitarist Glenn Mercer -- are working on reissuing of its four records, including Crazy Rhythms (1980) and The Good Earth (1986), which are all out of print currently (curiously, Amazon claims to be able to sell you new copies of Only Life). These will apparently be released by Bar/None. A person we've spoken with who is in a pretty good position to know reports that The Feelies are uncertain about their ability to secure the rights for the final two records, which were originally issued on A&M; which was acquired by Polygram; which was acquired by Seagram's and merged into Universal and folded into the label group's existing Interscope-Geffen operations; according to Wikipedia. All of which apparently makes finding an attorney at Universal that can even figure out that the company owns the master recordings to Only Life and Time For A Witness sound impossible.

On a sidenote, more often than not we are one of the older fans at the rock shows we see nowadays. This was certainly not the case last night, as the adoring and vocal crowd at The Roxy was filled with the largest amalgamation of, ahem, mature hipsters we've ever seen in one place. Word on the street is The Feelies have been recording some of the recent spate of reunion shows, but there is no word now what might be done with them. According to this very good story in the Patriot Ledger, all five members of The Feelies are interested in recording new music, so with any luck the story of The Feelies in the 21st Century is only beginning to be written. The band currently has only one additional reunion date planned, a New Year's Eve gig with Hoboken-based indie legends in their own right Yo La Tengo.

The Feelies -- "Fa Ce La" -- Crazy Rhythms
[right click and save as]
[buy Feelies records from Amazon right here]

The Feelies: Internerds | MySpace | YouTube | Flickr

Muxtape No. 13: Make Those Horses Jump Through Hoops Aflame

First things first: with this 13th :: clicky clicky :: Muxtape, we have decided to now create new mixes monthly instead of weekly. This is partly because we feel like we've been reviewing fewer records because of the process of putting the mix together over coffee on weekends. It is also because come this fall we'll be lucky if we can get a monthly mix up let alone a weekly one. We may or may not have mentioned this, but much like it was last fall, :: clicky clicky :: will be largely dormant in September and October because of a very intense work project that will stretch from mid-September until around Thanksgiving. Unless we find someone we trust to steer the blog during that time, there likely won't be much to look at here (although we're hopeful we'll be able to keep our Twitter feed fairly lively).

Anyway, Muxtape No. 13. We're not sure if there is a theme, but there are a few tracks from the excellent Lounge Ax Defense & Relocation Compact Disc compilation from 1996. It includes a number of hot numbers including Guided By Voices' "Under A Festering Moon" and Seam's "The Prizefighters," both of which you can stream along with the rest of the Muxtape at this link. The playlist and more exposition about the various tracks below.

1. The Feelies -- "It's Only Life" -- Only Life
(We were gripped with a mild case of Feelies reunion-a-mania of late, although not so gripped that we made the trip to New York to see a show. But we took the reunion as an opportunity to re-rip our Feelies discs and revisit them in turn. We turned on to the band when Only Life was released in 1988 based on a review in Spin. An odd place to start with the band, but we were 14 at the time and therefore not really musically aware during the band's earlier (non-)heyday. This is the opening track, and it is fair to say it drew us in immediately. The rest of the record took a bit longer to grow on us, but it became a favorite. We remember re-discovering it during a drive through western Carolina sometime in the last decade.)

2. Palace Brothers -- "Horses" -- Lost Blues And Other Songs
(This track has one of the most unabashedly awesome guitar solos in recorded music. Which is strange, because Will Oldham's music typically never stresses guitar pyrotechnics. But after the p'ar-fully mournful verses the solo is especially transforming. Wait for it, and then turn it up loud. And during the solo the sound of the guitar pick strumming the acoustic playing rhythm starts to sound a little like buried hand-claps. Weird.)

3. Seam -- "The Prizefighters" -- The Lounge Ax Defense & Relocation Compact Disc
(Typically exemplary and quiet seething from Soo Young Park and Seam with a verse that alternately waltzes and inevitably builds. Never quite explodes, but it is still very satisfying. The second guitar in the second verse does something unusual and we don't know what the effect is. This track is so good we're going to post the MP3 as well right here: Seam -- "The Prizefighters" -- Lounge Ax Comp. Right click and save as.)

4. The Magnetic Fields -- "Too Drunk To Dream" -- Distortion
(A drinking anthem from the luckiest guy on the Lower East Side. After having this title written in our little spiral notebook of records to buy (yes, we've got one) for months, we finally remembered to pick it up at Newbury Comics last week after popping in for the Liz Phair reissue. We had high hopes, as one reviewer at the time of Distortion's release made the blasphemous assessment that the set was better than The Jesus And Mary Chain's Psychocandy. Well, it most certainly is not. That said, it is an interesting experiment for Stephin Merrit and there are several tracks that are very good, including this one.)

5. Meneguar -- "Freshman Thoughts" -- Strangers In Our House
(At home the press gets hold of freshman thoughts, they give your sad life away. We realized recently that we'd made little comment about the Meneguar vinyl-only release The In Hour which was released this year. That's primarily because we rarely listen to it. The production is a bit frustrating, and of course we don't have it digitized, so we usually just reach for Strangers, which you will recall was our favorite record of 2007. "Freshman Thoughts" is still ace, and will always be ace. Whoa -- we just got a MySpace bulletin from Meneguar and apparently The In Hour is now available as a CD. Guess we'll have to buy it so we can rock out to it properly.)

6. Paul Westerberg -- "Something Is Me" -- 14 Songs
(We love this song exclusively for the lyric "Something went wrong, my name is Paul." Blitzed genius from the former fronter of The Replacements.)

7. Psapp -- "Tricycle (Live)" -- Morning Becomes Electric Radio Session, June 14, 2006
(Kind of a jarring gear change from the Westerberg cut, but there you go. Galia Durant's voice is so pretty it hurts. This one has a great lyric as well: "I drag my feet and drag us down, you don't want me around..." As the title suggests this is from a radio session which is surprisingly solid considering the band has taken tunes composed electronically and rendered them very nicely with acoustic instruments.)

8. Shannon McArdle -- "Poison My Cup" -- Summer Of The Whore
(We mentioned this track within last week's Muxtape. We love the increasingly dense production here: big toms, big guitar reverb, lurking distorted guitar. And then the airy, buried backing vocals. And then the brief teases of bass guitar. McArdle's vocal is one of her most fetching. Very much looking forward to this record.)

9. Preston School Of Industry -- "The Spaces In Between" -- Goodbye To The Edge City EP
(Quirky space pop from Pavement's Spiral Stairs. This is his best track from any of his bands, in our opinion. Just one hook that spills everywhere with vim and vigor. We wish this song was about 30 minutes long, and maybe had a remix by KLF. That'd be hot.)

10. The Raveonettes -- "Blush" -- Lust, Lust, Lust
(Frightened Rabbit's Imeem guest list contained a Raveonettes track and reminded us of how taken we were with the record earlier this year, when it had almost exclusive ownership of our car CD player. Wall of sound. Distortion. Perhaps this should have been sequenced next to the McArdle track. Oh well.)

11. Guided By Voices -- "Under A Festering Moon" -- The Lounge Ax Defense & Relocation CD
(At first we were enamored of this track during our college radio years because of the sound of an amp -- and its reverb chamber -- being dropped on the ground in the chorus. Which is what we presume makes the repeated crash in this excellent track. But the tune is more than its window dressing. It's a solid Pollard composition. It sounds like cold beer in a can, and then it wanders off like a purposeful drunk at the end.)

12. Radiohead -- "Last Flowers To The Hospital" -- In Rainbows Disc 2
(Thom Yorke does sad as well as anybody. Probably should have sequenced this next to the Palace track, but there you go.)