Notes From The Underground: Aüva's Day One in The Studio at Mad Oak with Benny Grotto

Aloha readers. If you caught our post a few weeks back about sending Aüva into the studio in a mystery donor's dime, and even if you didn't, well it's time for an update. The young and talented Boston indie pop sextet entered the hallowed halls of Mad Oak Studios with esteemed producer Benny Grotto Friday to record new music, and we've got a report from singer and keyboard player Miette. It turns out the band and the studio are neighbors, so Aüva was able to literally just push its gear down the street to make the session, which seems like something The Monkees would have done, so we like it. Anyway, we'll have additional notes from the band in the coming days. For now, read Miette's take on day one.

Our first day in the studio, we pushed all of our gear over in a shopping cart from our house which is actually right down the road. Making our way to the studio we were surprised at how well it was disguised in what looked like a garage from the front right around the corner from the tattoo shop and venues we have all been to before. When we met Benny he was super nice and made us feel very comfortable right off the bat. His conversation was casual but professional and we didn't waste any time in getting right down to business discussing our instrumentation and process. The studio itself was amazing, with gorgeously warm toned wood floors and panels surrounding. The monitors and mixing board were super nice and there were so many different compressors and preamp options throughout the mixing room.

We all took a seat on a black leather couch at the back of the room that was placed perfectly in front of the monitors and talked about our recording plans for the day. After some conversation we collectively decided that it would be best to play through all three of our songs live and focus on getting the best drum takes. We sang the vocals in the mixing room in front of the window in between the live room and mixing room so we could see the rest of the band and they could see us. Benny is also a drummer so he had some cool suggestions for Michael in order to get the best possible drum sound. We played one of the songs without a click to really get the feeling of the way we are used to playing it and it ended up going really well. Another really cool thing about this studio is that the lights in the mixing room had color changing capabilities so we were able to have the room be whatever color we wanted which really helped us get into the feeling of the music a little more. Overall, the first day was very productive and we had such a good time working with Benny and in that space. Can't wait for tomorrow [Saturday -- Ed.], we'll be tracking bass, guitar, and keys. -- Miette

Aüva: Bandcamp | Facebook | Internerds

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Together Again: Clicky Clicky Presents Two Nights of Adventurous Electronics And Under-Pop May 18+19

Review: Doug Tuttle | It Calls On Me

Doug Tuttle's free-and-easy new solo effort, his second, presents nine concise nuggets of sunny psych-pop, each one highlighting his arrangement chops and smooth voice. Like many albums from artists recording for Trouble In Mind, It Calls On Me applies charming production choices to tried-and-true '60s instrumentation, here resulting in a vibe that is equal parts Laurel Canyon and English folk. Mr. Tuttle's bona fides derive from his previously playing in New Hampshire-based droning garage concern MMOSS, and his new collection distills much of that group's bleary sprawl into economic tunes that shower listeners in analog tape warmth and positive vibes. In an election year contextualized by our crumbling environment, Tuttle's new collection of cool strummers is a most welcome reprieve, although it would stand strong even in a more utopian clime.

Upbeat opener "A Place For You" pairs 12-string strumming to plaintive questions, subtle melodies and judicious tambourine. During its final 40 seconds, a squiggly electric and harmonic guitar solo overruns the tune with a well-placed moment of delirium. It evokes The Monkees's more solemn moments, or a hipper Wilco at its most '60s-informed, or even something by the enigmatic Kelly Stoltz, as the elegant, mid-heavy production suggests the precision of both Stoltz and sometime-Wilco member Jim O'Rourke. It Calls On Me’s title track, an album highlight, deftly weds steady riffing, lo-fi soloing and relaxed vocals to concoct something of a bedroom homage to Blue Oyster Cult's "Don't Fear The Reaper." Which is not something this reviewer knew he wanted... but now he knows.

"Make Good Time" and "Falling To Believe" -- the latter may be streamed below -- will readily appeal to Byrds fans on a Sweetheart Of The Rodeo-inspired kick, while "On Your Way" echoes the hard-to-grasp mélange of sadness and mystery that defined Love's timeless classic Forever Changes. It Calls On Me's closer, "Where Will You Go," breaks from the rest of the album by abusing its vintage fuzz pedal circuitry. Halfway through the song's stirring 68 seconds, a guitar solo materializes, but it is quicklyand memorably de-tuned, and the song rapidly achieves chaos before sputtering out. It's an appealing diversion that stands out in the persistently pleasing collection of songs. After that short blast, one wonders if the smooth, sanded edges of the rest of the album hold its songs back to some degree, but across the proverbial board the craftsmanship is nonetheless impressive. For those wanting an easy-to-digest listen that combines much of what made mid-'60s psychedelia and early-'70s soft rock timeless, It Calls On Me is great place to start. A tour supporting the record closes out tonight in Portsmouth, NH at 3S Artspace with support from Herbcraft. Order the album right here, and stream "It Calls On Me" and "Falling To Believe" via the embeds below. Tuttle's self-titled solo debut was issued by Trouble In Mind in 2013. -- Edward Charlton

Doug Tuttle: Facebook

Mean Creek Local Losers Release Show With Pile, Ovlov, Heliotropes, The Young Leaves | Middle East | 25 April

We admit that we've always been a bit uneasy about the unabashed sincerity of local indie rock luminaries Mean Creek's music. It's really our own hang-up, and one not worth dwelling on here, and the eight-year-old act's hook-heavy new set Local Losers -- a collection of scruffy tunes whose swell and sweep subsumes years of FM ministrations of Bruce Springsteen, The Monkees and The 'Mats -- provides all the incentive anyone should need to enlist in the Creek Army. Local Losers arrives and departs with the economy of a major carrier's passenger jet, touching down with the fist-pumping, feedback-spangled howler "Cool Town," catching a smoke in the pilot's lounge along with "My Madeline" (whose woozy, bending guitar leads and invigorating harmonies make the tune an album highlight), flipping through magazines over a jumbo vodka tonic while some guy shouts in your ear about the Massachusetts border, and then going wheels up again with the dreamy, yearning closer "Teenage Feeling." That final tune finds fronter Chris Keene sounding particularly vulnerable, maybe even a little scared that the FAA might breech the cockpit and ask him to blow a breathalyzer. The album proceedings are thrillingly brisk (no song goes past the crucial three-minute mark, a calculus once tied to analog jukeboxes and full-flavor cigarettes, a metric that would seem to have outlasted both), richly melodic and persistently rewarding, and the cats over at Old Flame, who released Local Losers April 8, are likely feeling pretty smart right now. Mean Creek's set was issued in a limited edition of 300 LPs pressed to 45RPM 12" flat circles of vinyl [get it], as well as CD [boink] and digital download.

Oh, right, that flyer up there... yeah, Mean Creek is having this totally epic release show Friday night in Cambridge, with a ridiculously stacked bill the very sight of which should induce queasiness and/or hyperventilation. When was the last time you saw heavyweights Pile, Ovlov and The Young Leaves all on one bill? We're looking forward to hearing new music from the lot of them, and particularly The Young Leaves, whose 2010 LP Life Underneath -- now available as a free download -- has recently gone back into heavy rotation at Clicky Clicky HQ. And Heliotropes, too? The Brooklyn-based fuzz docents are the wild card act for us, as we have no more than a passing familiarity with them, but, we mean, seriously: just look at that bill. Just look at it. Here's the Facebook event page -- how about we leave you with some streams and we circle back up Friday night at the Middle East? It's the right thing to do and the tasty way to do it.

In Bloom: Lilys Poised For Massive Resurgence; New Music, Reissues And Live Performances Planned

We suppose all the recent activity should have been enough of a clue that the proverbial gears are purposefully turning in the camp of legendary indie rock act Lilys, but even so the scope of the information brought to light by an interview published by Chickfactor yesterday is breathtaking. Indeed, we don't know which exciting information to lead with: that mastermind Kurt Heasley is resolved to substantially increase the number of all-too-rare live performances; that a new release is almost a certainty (although it may or may not be released under the moniker Lilys); that there are definite (but not yet finalized) plans to reissue three Lilys records over the next year-and-a-half.

While all of the above has felt inevitable for some time, in some ways it almost seems too good to be true. "I do see playing live a lot more over the next few years," Heasley tells Chickfactor. He says he loves playing the mod-ish, Monkees-influenced music of his mid-period releases Better Can't Make Your Life Better and Services For The Soon To Be Departed, and that he hopes to find the right line-up in order to perform some of that music live, in order to "materializ[e] the mythology."

With regards to the reissues of old recordings, Heasley confirms what has long been thought, that he intends to reissue Lilys' legendary, 1991 full-length debut In The Presence Of Nothing. Heasley states that not only does he hope to reissue that album (and hopefully the related b-sides? and some rarities? please!), but also two others. We assume, but do not know for certain that, these two others must be the towering EP A Brief History Of Amazing Letdowns and the mind-blowing LP Eccsame The Photon Band, which were released by the now-long-defunct Spin-Art Records. We had been told years ago by someone that the dissolution of Spin-Art had thrown the rights to those latter two recordings into a black hole, although that might have been speculative chatter. Nevertheless, and whatever they may be, three reissues are hopefully a dead certainty. "I am currently negotiating the reissues of 3 records over the next year and a half with Mike Schulman of Slumberland Records. He just sent me some old DAT recordings today that I am looking forward to hearing. We've also talked about recording a new project."

Wait, what was that last thing? We've been aware that Heasley has been steadily working on new music and recording, but in the interview he confirms that and notes his recent work with Nighttime Gallagher (a/k/a former Apollo Sunshine guy Jesse Gallagher), who also abets the present live iteration of Lilys. Heasley's new ideas sound tantalizingly massive, and they may be the most exciting of all of the news broken by Chickfactor. Calling the new music "solar pop," Heasley states, "Whatever it is, it's not just about the music anymore, music is visual and physical, it's a whole show and I have a lot of ideas for the next project that include a big multi-media environment." Amazing.

Lilys played a fairly surprise, barely announced show Sunday night in Cambridge, Mass., in preparation for a performance this coming Thursday at Chickfactor 22 at the Bell House in Brooklyn. According to the Chickfactor site, Lilys are expected to perform some new songs, which like WOAH. As of press time, passes for the show (actually both nights of the two-night event) were still available. Stream some Lilys music below, and get excited for all that is to come. And, hey, did you know we curated this awesome Lilys tribute comp featuring songs recorded by Speedy Ortiz, Lubec, Arc In Round, White Laces, Infinity Girl, Soccer Mom, Cuffs and many more? Cause we did. My, that was a time.

Lilys: Facebook

Today's Hotness: Fonda, Lilac

>> It's an all-too-familiar story: good band releases three records, drops off the map, and the word is the band members are doing "adult" "stuff" like earning a living, starting a family, finishing the advanced degree, et cetera. What happens much less frequently than we'd like has fortunately happened to dream-pop lifers Fonda: after an eight-year hiatus, the LA-based act has returned to making music. Fonda first formed almost two decades ago when core members David Klotz and Emily Cook (now married with children) met in Hollywood. We didn't know Fonda's work the first time around, but its forthcoming Better Days EP's arresting presentation of sounds first made famous by My Bloody Valentine, Ride and Slowdive is quite engaging. We were particularly intrigued to learn that former The Mighty Lemon Drops guitarist -- and former producer for Clicky Clicky favorites The Hush Now -- David Newton was once part of the band, although he is no longer. Better Days closes with the humming, pulsing delight "Summertime Flight," which the band was cool enough to allow us to post for download. The song opens with a subdued verse before bursting open into a strident, elegiac smiler, during which Mr. Klotz and Ms. Cook blissfully harmonize "you've wasted your life, you've wasted your life on me."

Fonda -- "Summertime Flight" -- Better Days
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[buy Better Days from Fonda at Bandcamp right here]

>> A lot of fizzing 60's jangle (guitars! organ! tambourine!) and a little bit of shoegaze make Lilac's self-titled EP something we've been returning to again and again. The relatively new, San Francisco-based quartet describes itself alternately as "pop religion" and "heavy driving acid grunge dream," neither of which makes sense to us. But the music on Lilac's new EP -- in addition to being remarkable and efficient -- suggests a broad vision that implicates elements of Rocketship and The Stone Roses and The Kinks and The Monkees, and those are all good things. The resulting music is wholly immediate, but if we had to point our finger at a stand-out track from the new EP we'd have to select "Days," which commences with an insistent bass line and the sort of guitar jangle that is hard-wired into our hearts; an over-driven, riotous bridge and chorus around the two-minute mark transforms the song into an undeniable summer anthem. Lilac has been available on ITunes and presumably other digital storefronts since June 7; the EP will be available on vinyl from Omega Records July 19.

Days by LILAC_MUSIC

Today's Hotness: Up Up Down Down, Bad Brains, The Monkees

>> Aloha readers. Please be advised that we're going to be off-line for the rest of June, as we've got a bit of sun and fun lined up. Don't worry, we won't be totally rock free, as we've got biographies of John Lydon and Frank Zappa already thrown in the suitcase. Expect your :: clicky clicky :: service to resume July 1.

>> We've been spinning Up Up Down Down Left Right Left Right B A Start's new long player Worst Band Name Ever trying to come up with an angle for a review since it came in the mail. In the meantime, the band has posted two MP3s from the set at its MySpace carport and at the sorta new, sorta not web site for the record here. One of the posted tunes is "I'll Thank You Later," the video of which we already posted here last month. We're more excited that the band has posted "The Red Loop," however, because it is one of our two favorite tracks from the hilariously titled new collection. Murmered, harmonized vocals drift over a bed of pounding toms and hard-panned, dueling acoustic guitars, and as always songwriter Steve Poponi's structurally beautiful simplicity. Two verses, two choruses, two minutes and twenty four seconds. Download both tracks below.

Up Up Down Down Left Right Left Right B A Start -- "I'll Thank You Later" -- Worst Band Name Ever
Up Up Down Down Left Right Left Right B A Start -- "The Red Loop" -- Worst Band Name Ever
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[for a boat-load more free MP3s and to order UUDD records, hit this link]

>> Pun Canoes is streaming the title track to hardcore progenitors Bad Brain's forthcoming reunion album Build A Nation. It's pretty one dimensional, but that one dimension is heavy. Stream "Build A Nation" here. Build A Nation was produced by Beastie Boy Adam Yauch and will be released June 26.

>> Things we didn't know or already forgot: Rhino is reissuing double-disc, deluxe editions of The Monkees' Headquarters and Pisces, Aquarius, Capricorn & Jones Ltd. If you order them both directly from Rhino you will receive two unreleased tracks from 1967 on a limited edition vinyl single with a picture sleeve. More details here. If you click around you will see that Rhino previously issued similar deluxe editions of The Monkees and More Of The Monkees at some point along the way. Is it true The Monkees outsold The Beatles and The Rolling Stones between 1966 and 1968? Did we read that right?

>> Since we've opened the door on our musical past by mentioning The Monkees above, we may as well also note something else we found very interesting. Fifteen years after releasing the first two parts of its From The Vault series, the Grateful Dead organization has finally seen fit to release the third volume. Three From The Vault streets June 26, and we are sure all of you will throw it right in your shopping carts next to that Bad Brains joint. More information right here. Mrs. Clicky Clicky actually got us a cool DVD featuring the Grateful Dead performing on Tom Snyder's talk show in 1980. The performances were to promote the release of the excellent Dead set Reckoning. The interview portion, which pairs Jerry Garcia with Ken Kesey, was really, really amusing.