Today's Hotness: Nuno Canavarro, Ringo Deathstarr, Sunshine Frisbee Laserbeam

>> We've got a surprising number of items for you today that point back to the year 2007, which is odd, but there you have it (and, well, we dropped one from the lineup for tonight, but still...). We were very excited by Drag City's relatively low-key announcement via email 11 days ago of its pending reissue of Nuno Canavarro's mysterious and transcendent 1988 collection Plux Quba, which we last wrote about here eight years ago. The record was originally pressed on a small Portuguese label and reverently passed around among cognoscenti for years, which is how it was brought to the attention of experimental musician/producer Jim O'Rourke in the early '90s, who eventually reissued the dazzling, inscrutable collection on his own ("now limbo-ized") Moikai imprint in 1998. This, in turn, was how we first made the record's acquaintance, and every listen to the otherworldly collection has been a revelation. The Moikai pressing went out of print in 2005, according to Drag City (although Forced Exposure's web site indicates there was at least one re-press... in 2007), and so the label will reissue the set on vinyl and as a digital download on Nov. 20. Plux Quba is the sort of record where if we told you what it was like, it would make no sense, or you wouldn't believe that it was in the least appealing. In 2007, The Sea And Cake's Sam Prekop told Pitchfork he considers Mr. Canavarro's record "the high-water mark, in my opinion, of electronic music...It's a really delicate, beautiful, and really weird record." What's amazing is that this high-water mark in electronic music was largely created in a pre-digital world. It's really quite something. Set aside 27 minutes and click on the YouTube playlist below, as some hero has uploaded the record for everyone's enjoyment. Highly, highly recommended listening. And buying.



>> When we first became a fan of Texas shoegaze behemoths Ringo Deathstarr more than eight years ago, the wait for any new music seemed interminable. In retrospect, things weren't really that slow, but in recent years The Deathstarr has reliably turned out rock albums at regular intervals, with no drop-off in quality. We were jazzed to learn over the summer that the Austin-based trio led by Elliot Frazer is preparing the release of its fifth LP, a 12-song collection titled Pure Mood that is due next month. The album is being heralded by the dynamite preview track "Guilt," a three-minute tour de force that showcases the band's bludgeoning psych power and appreciation for rich ambient backdrops. The lead vocal is handled by bassist Alex Gehring, whose voice is deftly layered over itself, making it nearly as formidable a sonic force as Mr. Frazer's saturated guitars. While there is presently no domestic label announced, the venerable, London-based Club AC30 will release Pure Mood Nov. 20 as a 12" pressed to minty green- or lemonade yellow-speckled vinyl media or CD, and the set is available for pre-order right here. However, a trip over to the Club AC30 digital storefront just now indicates that the entire run of 500 LPs -- 250 in each color variety -- may already be sold out; they are listed as "out of stock," which we suppose leaves open the possibility that the threesome has some LPs on its collective person to sell at upcoming live dates. Ringo Deathstarr plays the Middle East Upstairs Oct. 18 on a terrific bill with Magic Shoppe and English luminaries The Membranes. Stream the aforementioned "Guilt" via the embed below. Club AC30 previously released Ringo Deathstarr's Mauve, Colour Trip and Sparkler LPs as well as certain EPs and singles; check out their entire offering right here.



>> Birmingham, England-based noise-pop titans Sunshine Frisbee Laserbeam and its associated acts are startlingly prolific, so we suppose it was only a matter of time before the band got around to release what it is calling an "acoustic record." But willowy, folksy balladry this is not. Instead, the quartet's recently issued Video Dreams, Vol. 1 rocks about as hard as fans would expect, if a little more weirdly. The nine-song set opens with the swinging "Cool Like A Haircut," which hews most closely to the classic SFL sound of any of the songs here. The tune's choppy guitar playing, treated with a crisp slap-back reverb, provides a jaunty counterpoint to the straight-forward drum beat. In its final minute, "Cool Like A Haircut" morphs, rising up off its tight groove and entering into an engaging ambient swirl that hints at the weird music that follows. Check out a video for the aforementioned "Cool Like A Haircut" right here. Additional highlights includes the title track, whose deconstructed, lo-fi reverie hangs its toes over the edge of a persistent haze of abused ride cymbal, murmured vocals and guitar drone, and the wacky instrumental "Ralph Visits A French Bakery," which sounds like the soundtrack to a hot interlude during an episode of "Ren & Stimpy." Video Dreams. Vol. 1 was self-released by the band Sept. 13; stream the entire set via the embed below, and click through to download the entire thing for any price. Sunshine Frisbee Laserbeam's prior full length was a self-titled collecton issued in 2013; in the interim it released a number of digital singles and EPs, all of which are available via Bandcamp right here. One band principal stated on his personal Facebook page in August that the act has a number of releases slated to come out, and it appears there may be something coming for Halloween, so fans should remain vigilant.

Premiere: Kickstand Boyfriend's Christ's Night Out

Maybe you weren't expecting your next indie pop savior to be a teenager from South Jersey. Yet straight out of Magnolia comes 19-year-old Kevin Rogers, who has built up a band around a charming collection that streets tomorrow on rising micro-indie Como Tapes. The act is called Kickstand Boyfriend, and the arresting record is called Christ's Night Out, and if you like the lilting wistfulness of The Coctails and Archer Prewitt's solo work, or even the chiaroscuro catharsis of contemporary Boston hitmakers Kal Marks, then Kickstand Boyfriend is the band for you. Christ's Night Out presents a window into the youthful ennui and disillusionment of post-lapsarian life in small-town Jersey; in press materials Rogers speaks of losing friends to addiction, of, in effect, innocence reduced to cinders. The ominous bass line and mildly venomous vocal on "Born To Be Destroyed," and the increasingly forceful drumming of "Journey Home High Priest," darken the mid-section of the collection. But elsewhere breezy guitar chords, clean leads and Rogers' resigned tenor win the day, and limn the proceedings with an (albeit moody) lightness that is Kickstand Boyfriend's most appealing quality. The wonderfully realized "House Rules Waltz" is a highlight of the set, as is "Lying In A Coffin," a surprisingly bright and nearly cheerful number in spite of the lyrics "I'm just lying in a coffin... and all my best friends are already dead / they're in my head." Situated at opposite ends of the record, "The Pines" and its freeing instrumental foil "The Pines Part II" sparkle with something like optimism.

Attentive readers will recall that Como Tapes in March issued a solid, posthumous collection from the Oberlin-bred indie act Diocese, which we wrote about here. The label releases Christ's Night Out tomnorrow, but it is available for purchase now via Kickstand Boyfriend's Bandcamp yert on "nightclub pink" cassette and digital download. Christ's Night Out is being fêted with a release show tomorrow at The Fire in the great city of Philadelphia, with support from Choice Blanket (members of which back Rogers in Kickstand Boyfriend), The Noises That Sounds Make and Gregory Michael Jordan; all the details about the show are right here. The record was recorded at Gradwell House with former Up Up Down Down Left Right Left Right B A Start [this!] guy Dave Downham overseeing mixing and mastering. Kickstand Boyfriend previously released a demo EP via Bandcamp early this year; the set was called Chocolate & Pornography, but it has already been deleted from the Interzizzles. Other "demos and throw away songs" from last summer met a similar fate. But what you can listen to right now, dear rock fans, is all of Christ's Night Out via the Soundcloud embed below. And if you are in Philly tomorrow (it looks like it is an early show?), you know where to be.

Kickstand Boyfriend: Bandcamp | Facebook

Today's Hotness: Alta Mira, I Am Dive, Lower Dens

>> Alta Mira heretofore in these electronic pages warranted only a sidelong mention as billmates with local dream pop heroes The Hush Now at PA's Lounge a year ago. But we enjoyed their set and made a mental note to keep an eye on them, and we're glad we did, as the Clifton Park, NY-based indie rock concern has just released to the wilds of the Internerds one of the most delightful songs of the year, a rare, perfect pop song. "Good Enough" delivers bright guitar pop smoothed over lightly percolating bass and tempered with the laid-back tone and overt melodicism of The Sea And Cake. The tune is uptempo, perky, studded with handclaps and dolled-up with quick cascades of "ohohoh" that slide by like ice coming off your roof. "Good Enough" is from Alta Mira's newly minted sophomore set I Am The Salt, which was self-released by the band last weekend. As of today, the rest of the album is available to stream at the act's Bandcamp yert, and we look forward to taking the pulse of the rest of the collection; Alta Mira sounds like they are hitting their stride, just in time to rule your spring time. The band was in the Boston area last month playing at The Rosebud, but hopefully they'll be back sometime soon now that the record is out. Stream "Good Enough" over and over and over via the Bandcamp embed below.

 
>> As if we haven't been enjoying enough of a dream-pop resurgence lately in the States, it seems there is mutual appreciation for the form across the Atlantic. Or at least that's what we're led to believe based on what we've heard recently from Spain's I Am Dive. The Seville-based duo has announced it will reissue in the US an EP, Constellations, next week via Norman, Okla.-based Slanty Shanty Records. The band, a collaboration between Seville music veterans Esteban Ruiz and Jose A. Perez, trades in floating acoustics with a tasteful continental, digital sheen. A digital promotional track, "A Morning Walk," commences with a warm, pumping synth line that conjures images of drizzly streets in foreign ports of call. Indeed, despite the pair's Spanish heritage, "A Morning Walk" has much in common with pastoral and downcast Northern English outfits like The Engineers or Epic45, both groups that deliciously combine melodrama with the fuzzy introspection of damp seaside living. Perez's guitar lines melt away into the background, adding a tantalizing layer of delay to the proceedings. At the same time, I Am Dive incorporate the same sort of stark, programmed beeps and whirs that are sprinkled throughout Lali Puna's impressionistic Teutonic mumbles, making the Spanish band's four-song release a very compelling fusion of dream-pop elements that have really only come together in the last decade or so. Stream "A Morning Walk" via the Bandcamp embed below. Constellations was originally released in Spain last year on Foehn Records; it will be released by Slanty Shanty April 10, and you can download it for free right here. I Am Dive already has a new EP, Tides, available at its Bandcamp page and you can listen to it right here. -- Edward Charlton


>> While we've followed the career of Lower Dens' Jana Hunter since her haunting 2005 solo sort-of-best-of Blank Unstaring Heirs of Doom [capsule review], and marveled at the wonderfully small scale of her tour-by-boat in 2006, her current outfit seems poised to break big on the strength of its hotly tipped sophomore set. Indeed, the (lower-cased) hype machine is already cranking up for the upcoming Nootropics, which will hit racks May 1st on Ribbon Music. And for good reason, as the album seems rife with intricate instrumental showcases, judging by the already leaked "Propagation" and first single "Brains" (the two songs feature on a 10" with exclusive b-side "Hours" that Ribbon Music is using to promote the full length; details here). Like Philadelphia's Kurt Vile, Lower Dens' precise attention to detail and devotion to a  peculiar style lends the Baltimore foursome a fair helping of both relevancy and individualism among contemporary indie scene-makers. Krautrocker "Brains" makes a kind of sense, given a peek at the album cover featuring an image of early synthesizer wiring. The song latches on to a groove so quickly the listener simply falls in, while the bass and guitar scratch to the beat rather than strike substantive notes; it truly grabs the ear. Following that intro, open-string guitar leads and synth set up a thick stew for Hunter's continually captivating vocals. As much as Hunter coos, there's also often a distinct growl underneath that injects menace into her performance. As the song reaches its end, "Brains" finally breaks from its held chords, in true Stereolab tradition, while distant siren sounds flitter away. It's five minutes that are over too fast. While we find it hard to believe this quota has not already been met, Ribbon Music has announced that the first 50 pre-orders of Nootropics here at Insound will receive a free ticket to a secret NYC show on April 30th. We last wrote about Lower Dens here in May 2010. -- Edward Charlton

Review: Sam Prekop | Old Punch Card [MP3]

Indie pop veteran Sam Prekop is not known for throwing curveballs (figuratively, anyway -- we have no knowledge of his pitching proclivities). His has been a two-decade career marked by consistency; fortunately for the guitarist and singer and his fans, what Mr. Prekop delivers consistently is gorgeous, mannered indie rock and indie pop. Sure, The Sea And Cake -- which Prekop has fronted since about 1994, following the dissolution of Shrimp Boat -- went through its excellent electropop phase in the mid'90s. And, sure, Prekop's eponymous solo debut produced amazing chamber pop such as the piano-led "A Cloud To The Back." But little of this (beyond, as Prekop helpfully reminds us in the press materials, the opening salvo of The Sea And Cake's 2002 cover of Bowie's "Sound And Vision") has prepared listeners for Old Punch Card, Prekop's third solo set.

"The most significant difference, is that I've left the confines of 'song' structure," he states here. Old Punch Card commences with its title track, whose first two minutes comprise an electrical cacaphony that (dis-)orients listeners to Prekop's new sonic realm. Thereafter Prekop's true blue melodic sense offers its warm -- albeit here bleepy -- embrace. Indeed, the deeper one gets into Old Punch Card, the more melodic it becomes. The often skeletal collection -- released five years after Prekop's sophomore solo effort and 11 years after his first -- is devoid of vocals and percussion and contains only one guitar track. Indeed, Prekop has composed nearly exclusively on modular synthesizers an incredibly engaging collection of electronic music/musique concrete that nods affirmatively in the direction of pioneering composer Raymond Scott, Keith Fullerton Whitman's Multiples [review] and even Moikai rarity Nuno Canavarro. Small electronic arpeggios undulate throughout "A Places," breaking through crashing waves of white noise that pound and then recede into space before the song's stirring, elegiac close. Prekop's characteristic restraint is also evident, as his compositions -- particularly the spartan "November September" and "Array Wicket" -- use few elements that hum along within tidy curtains of nearly palpable reverb.

Finally, Old Punch Card is as much about texture, something attributed to his recording the collection entirely in his home studio while wearing headphones. Prekop, who recorded these songs at various times between February 2009 and March of this year, will finally be getting out of the house: the composer will spend Sept. 13 through Oct. 19 touring with The Sea And Cake alongside indie titans Broken Social Scene. We're posting the complete tour dates below. Thrill Jockey Records issues Old Punch Card Sept. 7

Sam Prekop -- "The Silhouettes" -- Old Punch Card
[right click and save as]
[pre-order Old Punch Card from Thrill Jockey right here]

Sam Prekop: Internerds | MySpace | YouTube | Flickr

09.13 -- Washington, DC -- Warner Theatre
09.14 -- Philadelphia, PA -- Theater of Living Arts
09.17 -- Boston, MA -- House of Blues
09.18 -- New York, NY -- Rumsey Playfield
09.20 -- New Haven, CT -- Toads Place
09.21 -- Northampton, MA -- Calvin Theatre
09.22 -- South Burlington, VT -- Higher Ground
09.24 -- Ithaca, NY -- Historic Ithaca State Theatre
09.25 -- Buffalo, NY -- Town Ballroom
10.02 -- Chicago, IL -- Riviera Theatre
10.03 -- Milwaukee, WI -- Pabst Theatre
10.04 -- Minneapolis, MN -- First Avenue
10.06 -- Winnipeg, MB -- Burton Cummings Theatre
10.07 -- Saskatoon, SK -- The Odeon Events Centre
10.08 -- Calgary, AB -- Macewan Hall
10.09 -- Edmonton, AB -- Winspear Centre
10.10 -- Kelowna, BC -- Kelowna Community Theatre
10.12 -- Victoria, BC -- Element Nightclub
10.13 -- Vancouver, BC -- Commodore Ballroom
10.14 -- Vancouver, BC -- Commodore Ballroom
10.15 -- Seattle, WA -- Paramount Ballroom
10.16 -- Portland, OR -- Crystal Ballroom
10.17 -- San Francisco, CA -- Treasure Islands Music Festival
10.19 -- Los Angeles, CA -- Wiltern Theatre

Today's Hotness: Sea And Cake, All Tomorrows Parties, Bob Mould

>> The new video for veteran, Chicago-based indie rock act The Sea And Cake's "Weekend" is very good -- but the song itself is amazing. The track, from the band's forthcoming long-player Car Alarm, is perhaps the most sonically forthright return to the blissed-out electropop sounds captured on the quartet's peerless 1997 effort The Fawn. This is interesting, because when we reviewed the quartet's previous record Everybody here in April 2007, we noted that the collection reminded us of one of our two favorite records from The Sea And Cake to date, The Biz. The Biz is more guitar-oriented than its successor The Fawn, and we're wondering if Car Alarm might similarly be more electronically oriented than Everybody. We suppose time will tell. And while the video -- posted here to Pitchfork.TV last week -- complements very well the tune's carefree feel, it is hard not to just focus on the gorgeous melodies floating among a clutter of digital tones and held aloft by persistent acoustic guitar strumming. The Sea And Cake's eighth record in fifteen years, Car Alarm will be released by Thrill Jockey Oct. 21. More details and ordering information is online right here. Below are The Sea And Cake's fall tour dates, which include a show at The Middle East Rock Club here in Cambridge, Mass. Nov. 12.

09/27 -- Chicago, IL -- Symphony Center
11/07 -- Philadelphia, PA -- First Unitarian Church
11/08 -- Washington, DC -- Black Cat
11/10 -- New York, NY -- Bowery Ballroom
11/11 -- Brooklyn, NY -- Music Hall
11/12 -- Boston, MA -- Middle East
11/13 -- Montreal, PQ -- La Sala Rossa
11/14 -- Toronto, ON -- Lee's Palace
11/15 -- Chicago, IL -- Empty Bottle
11/28 -- Portland, OR -- Doug Fir Lounge
11/29 -- Seattle, WA -- Chop Suey
12/02 -- San Francisco, CA -- Great American Music Hall
12/03 -- Los Angeles, CA -- Troubadour
12/04 -- Los Angeles, CA -- Troubadour
12/05 -- Pomona, CA -- Glass House
12/06 -- San Diego, CA -- Casbah

>> Esteemed independent radio broadcaster WFMU will air and stream certain live performances from next weekend's sure-to-be monumental All Tomorrows Parties Festival, which is being curated in part by legendary shoegaze quartet My Bloody Valentine and includes performances by it, Dinosaur Jr., Lilys, Mercury Rev, Polvo, Yo La Tengo and many others. WFMU has not yet received permission from all performers to bitcast and broadcast their performances, but it is working on securing as many assents as possible. A list in this blog post seems to say that we'll be able to hear sets from many of the bands we listed above, as well as sets from Bob Mould, Low, Brian Jonestown Massacre and others; hit this link to see what is hopefully an expanding roster. We're gutted to have to miss this festival, so the fact that WFMU has stepped into the breech for all of us out here in radioland is greatly appreciated.

>> Speaking of Bob Mould, the storied songwriter and former fronter of Hüsker Dü and Sugar will publish an autobiography in the fall of 2010. Mr. Mould has signed and agreement with Little, Brown to release the book, which will be written in tandem with veteran rock journalist Michael Azerrad. Mr. Azerrad previously wrote the excellent "Our Band Could Be Your Life" as well as the highly regarded "Come As You Are: The Story Of Nirvana." One of our favorite Mould jams is "Celebrated Summer," which was released by Hüsker Dü as a single in 1984 to promote the album it was released on, the epic New Day Rising. Since the autumnal equinox is just a week away, the song feels appropriate. Enjoy.

Hüsker Dü -- "Celebrated Summer" -- New Day Rising
[right click and save as]
[buy Bob Mould, Sugar and Hüsker Dü records from Newbury Comics here]

>> Our friend BrighAAAAm has been talking about The Flaming Lips' movie-in-progress "Christmas On Mars" for about seven or eight years. And, after seeing some tantalizing footage in the band documentary "Fearless Freaks," the feature film is finally upon us. It apparently began screening recently in New York, although the possibility of a broader release may be hamstrung by the fact that Lips fronter Wayne Coyne insists that the film only be viewed in a special screening room with a custom sound system. Earfarm has more details and awesome video clips right here.

Muxtape No. 12: Things I Need To Do Before The Batteries Die

Welcome to the weekly Muxtape, or at least the various scattered thoughts centering thereon. Seems like the theme this week is remarkable lyrics. Kind of a general idea, nothing like trying to prove a point about Dosh and Gastr Del Sol as we endeavored to do last week. You can listen to all the tracks here. Read on for our musings.

1. The Mendoza Line -- "Road To Insolvency" -- Fortune
(We're surprised by two things: 1) that Shannon McArdle will have a solo record out before former Mendoza Line and life-partner-in-crime Timothy Bracy and 2) that the songs at Ms. McArdle's MySpace cabin are so appealing. If we haven't come right out and said it before, we'll say it now: we always preferred Bracy's tunes to McArdle's in the Mendoza Line canon. Such as this song "Road To Insolvency." The guy can write amazing lyrics, his singing voice is rumpled to the extent of being wholly ace. But this new McArdle stuff is really very good. We saw Large-Hearted Boy hosting an MP3 from the set today, hopefully have time to do a post about it later this week. Ah, what the hell, we already wrote about the tune last week, so here it is: Shannon McArdle -- "Poison In My Cup" -- Summer Of The Whore; right click on the hyperlink and save as.)

2. The Replacements -- "Staples In Her Stomach (Outtake)" -- Stink [Expanded]
(This is the "bonus" track we were most interested in hearing from the recent Mats reissues, as it had been hyped more than once in the books we've read concerning the erstwhile Minneapolis band. And while it is slightly one-dimensional, it doesn't disappoint. It's was appended to the expanded version of Stink, but seems to be more of a piece with Sorry Ma. Another great lyric.)

3. Nosferatu D2 -- "Broken Tamagotchi" -- Nosferatu D2
(When Ben Parker yowls "the telephone is ringing!" in this track the hair on the back of our neck stands up. No one does literate and terribly exercised like Mr. Parker, whose acclaim falls far short of his immense talent. The title to this Muxtape is taken from this searing tune.)

4. Modest Mouse -- "Whenever I Breathe Out You Breathe In (Live)" -- Bootleg, May 19, Some Year
(Originally on the band's first single backed with "Broke," and while the Modest Mouse catalogue has many, many great songs, we tell anyone who will listen that they've never surpassed the excellence -- or at least the annihilating emotional impact -- of the first single. This live version is a nice take on the recording, and it was posted to some music blog a billion years ago when music blogs were shorter and lived closer to the water.)

5. The Swimmers -- "Pocket Full Of Gold (Live)" -- The Hideout, Chicago, 2008
(So we figured we'd post up another live track. We really like The Swimmers record that was finally released this year. The Philly-based quartet was giving away -- for a while anyway -- MP3s of their show last spring at The Hideout in Chicago. "Heaven" was the "big" track from the record, but we are equally as enamored with this rocker. We enjoy those plinky tones at the beginning, and the drumming on this recording sounds particularly forceful, in a good way.)

6. The Trolleyvox -- "Stomping Grounds" -- Luzerne
(And then we figured we'd keep it Philly style. This is from the T-vox's double set released last year. It's a quiet acoustic and violin-appointed thing, a ruminating vocal. This track is about a million miles away from the vitriol packaged above in the Nosferatu D2 track, and truthfully this seems more like an autumnal jam, but it's so purty we'll just leave it here.)

7. Wimp Factor 14 -- "Rebuilding Europe" -- Some 'zine comp
(We've always preferred the Eggs cover from that band's amazing Exploder! release. But even so, we were always intrigued to find and hear the original, and then it finally was posted to BCO or some such outpost of musical musicery, and we were pleased. This track features one of the best opening lines of the '90s: "I don't want to be part of your Marshall Plan...")

8. Unwound -- "Lady Elect" -- Repetition
(This record came out at the end of our college days and even now seems to sum up that period of time well. But even outside of our own context, Unwound seemed to harness the disaffected zeitgeist of the early and mid-'90s, post-grunge indie northwest. It would seem that when Mr. Cobain died, this trio, who we once saw destroy the Khyber in Philly many moons ago, stepped in to carry the mantle of the broken and disturbed. Love the subtle vibraphone -- we think that's what it is -- at the end of this track.)

9. The Sea And Cake -- "Civilise" -- The Fawn
(We referenced our strong feelings for The Sea And Cake's The Fawn Sunday, so we thought we'd throw in a track here from that excellent album. A nice gentle chorus, and wonderful pattering snare drum in the verse under spare piano and guitar. A very handsome package, and a track that could just have easily been on the more guitar-oriented set The Biz, rather than the somewhat electronically tilted The Fawn.)

10. Yo La Tengo -- "Beach Party Tonight" -- Summer Sun
(We were just at the beach. It was nice. Almost as nice as this top shelf Yo La Tengo dreamer. In a perfect world this song would lull us to sleep every night.)

11. Lifter Puller -- "Nassau Coliseum" -- Soft Rock
(We came to this pre-Hold Steady band way late, we admit. This track is amazing, as amazing as anything Mr. Finn has put his name on since. The relentless listing of cities and towns at the end leads up to a bawdy but stirring finish.)

12. The Promise Ring -- "Best Looking Boys" -- Boys And Girls
(So this sort of acts as a chaser of sorts to Mr. Finn's x-rated proclamation above, as here we have one of Davey Von Bohlen's innocent pop confections. It's no "Red And Blue Jeans," but few songs approach the greatness of that amazing track. So here we send you off with a pop song. Have a nice day.)

Today's Hotness: The Jesus And Mary Chain, The Sea And Cake

>> As a teen few things fired our imaginations more than Barbed Wire Kisses, the B-sides compilation from the notoriously surly, riot-inciting and now reunited Scottish act The Jesus And Mary Chain. The remarkable collection is stuffed with narcotic melodies and blasts of static and sonically references Bo Diddly and The Beach Boys. After exploring bands whose music we had presumed to be so extreme as to approach unlistenable -- and finding that in almost every instance that simply was not the case (Minor Threat, Public Enemy, for example) -- we were thrilled by the challenge posed by the dense, dark, trebly tracks of the aforementioned set. We remember circa 1989 an ill-fated vacation (mountain house with a toilet that flushed directly into the yard) during which we had this in our Walkman for days on end. Strangely, it was many years before we hunted down any of the rest of JAMC's catalogue, although we are certain we heard Psychocandy many times before shacking up with Mrs. Clicky Clicky, who has the title in her collection. Anyhoo, it was with great interest that we read Billboard's piece published here Wednesday that describes the forthcoming JAMC box set The Power Of Negative Thinking: B-sides And Rarities. The set will be issued by Rhino Sept. 30, and according to Billboard it is like Barbed Wire Kisses on steroids. Nineteen of 20 Barbed Wire Kisses tracks -- including our favorite, "Everything Is Alright When You Are Down" -- make the cut for inclusion among the box set's four discs, as do a number of previously unreleased tracks. The full track listing is at the link above. The Jesus And Mary Chain play four west coast dates in the U.S. in mid-July; check out the dates here.

>> Given our deep affinity for the band's mid-'90s output, we are always eager to give another record from The Sea And Cake a listen. And while we grow increasingly skeptical as years pass that a new set will resonate as strongly with us as The Biz or The Fawn, stranger things have happened. So we were excited by this news at Pantsfork that the Chicago quartet featuring Sam Prekop and Archer Prewitt will issue Oct. 21 the curiously titled Car Alarm. Longtime label Thrill Jockey will do the honors. You can review the track listing and album art for the band's seventh set, and read some fairly repetitive remarks (TJ, let us know if you need an editor), right here.

>> Some show listings at Earfarm remind us that Icy Demons will issue its third long-player next month. We initially wrote about it early last month here. The post-rock outfit's Miami Ice will be released on its own Obey Your Brain imprint, and the collection features contributions from Tortoise guitarist Jeff Parker and bassist and Prefuse 73/Sam Prekop collaborator Josh Abrams. Icy Demons will play Boston's Great Scott July 27, and if you are out on the Cape that week, fret not: the band plays The Beachcomber in Wellfleet the night before.

>> During our stint at the beach Aquarium Drunkard was getting things done. The blog published a very good interview with Julie Ocean and the first part of an interview with The Hold Steady's Craig Finn. We highly recommend reading both here and here respectively. Fun fact from the Finn feature: J. Mascis plays banjo on the forthcoming Hold Steady set Stay Positive, which is out next month.

Muxtape No. 9: Tired Of All The Largesse

Welcome to the weekly Muxtape. More auditory spelunking into the '90s, and into things that sound like they came from the '90s. You can stream all the tracks at this link, and we've jotted some thoughts about each track below, as is our wont.

1. Coco B's -- "Give Up The Money/1982" -- RCRDLBL download
(After learning of the whole Retriever/Coco B's connection last week we dove into the latter band's stuff and have been enjoying it. After our third or fourth run through this track it finally occurred to us why we dug it so much. Put simply, Coco B's 2008 = Haywood 1994. Even one of the Haywood guys think so. This one is a rocker with lots of guitars; it even has a slight hint of something Walter Schreifels-ish in the vocal.)

2. Versus -- "Glitter Of Love" -- Secret Swingers
(A song filled with many guitar lines we stole at one point or another. After re-ripping our Versus records it was hard to pick which track to include. We thought pulling something off The Stars Are Insane would be a little obvious, so here is a superlative mid-period track from the band's 1996 set. Tons of interlaced guitars and gratuitous movie star references. This one has a big lyrical payoff at the end when Richard Baluyut shouts "we can try to pretend that we're still in love.")

3. Clown Down -- "Living Alone" -- Living Alone
(Before the guys in Clap Your Hands Say Yeah!! who are not Alec Ounsworth were in The Clap, they lived in Boston and had a band called Clown Down. We never saw them live but a friend of ours who is a friend of theirs gave us a CD-R of what were purported to be the band's demos. Turns out the demos were this record, the title track of which you can hear here is one hot bummer. Some nice "oohs" in here; it's surprisingly hard to get those right.)

4. Bedhead -- "Bedside Table" -- What Fun Life Was
(Two band names in a row with an internal rhyme scheme. We also recently re-ripped all of our Bedhead and have had a nice time rediscovering certain tracks. This one is amazingly peaceful at first with its smiling little ride cymbal-enabled trudge around the corners of your mind. Of course, the track has a tumultuous ending, but you didn't just think they were going to stand around with all of those Telecasters and not rock out eventually, did you?)

5. Joey Sweeney -- "Largesse" -- Heartache Baseball
(More ride cymbal in here, that must be why we sequenced things this way. We almost went with "My Name Is Rich," which we think about when we're waiting at a bar alone, or "Fixing Coffee," which we think about when, well, that one's kind of obvious. But this quiet number has a nice feeling of resignation to it, and it seems to go nicely with a morning in the middle of a heat wave. We really like the talking in the background toward the end that stretches the space. One of Sweeney's best lines is in here, namely "Why do you want a disease when you know we could get by on a cold?")

6. Sebadoh -- "Happily Divided (Demo)" -- Bubble And Scrape [Expanded Reissue]
(This has always been our favorite Sebadoh jam. The new expanded reissue of Bubble And Scrape is almost out in the U.S. and it is chock full of interesting extras, but perhaps the best is this demo. Although the demo of "Soul And Fire" is nice as well. We had high hopes for Bakesale after hearing "Skull" on the Hotel Massachusetts compilation, but that record never was able to eclipse our affection for Bubble And Scrape.)

7. Come -- "Shoot Me First" -- Near Life Experience
(Relatively rare instance of journeyman musician Chris Brokaw taking the lead vocal on a Come track, which is understandable: Brokaw's voice is adequate, but Zedek's has always been singularly emotive and powerful. And maybe that's why Mr. Brokaw has so many great lines in this song, as at the time he may have had fewer outlets for them. "When you laugh I can see everything I think you used to see in me.")

8. The Sea And Cake -- "The Sporting Life" -- The Fawn
(Bit of a hard contrast here. This track is as light as "Shoot Me First" is dark. It's sort of got the "Thriller" bass line going. In our opinion this song epitomizes the best of the more electronic efforts from the veteran Chicago foursome. The song has especially strong impact in the context of all of the amazing guitar-based tracks on the band's prior set The Biz, a copy of which should exist in every household in America.)

9. Tricky -- "The Lovecats" -- Vulnerable
(A nice cover and an attempt at an appropriate segue to the Willie Williams jam.)

10. Willie Williams -- "Armagideon Time" -- Version Dread Dub Specialist
(The original version of the track made more popular -- at least to us -- by The Clash.)

11. The Remote Viewer -- "It's So Funny How We Don't Talk Anymore" -- Let Your Heart Draw A Line
(Nice emo electronic jam. We should buy this record; can't recall where this MP3 came from.)

12. Seam -- "Autopilot" -- The Problem With Me
(Very purposeful and well-crafted devlopment in this track. Persistent layering. Hypnotic. The soundtrack to the blizzard of 1995.)

Today's Hotness: A-Sides, The Sea And Cake, Pop Narcotic

>> This is probably a first: VBS visits Philadelphia's Fishtown section to interview the indie rock up-and-comers The A-Sides and capture them performing slices of hot new numbers. The quintet recently disclosed it had signed to Vagrant. It has had a teaser cut from its long awaited sophomore set Silver Storms floating around since last year, so it is nice the record finally found a home. Anybody with any inside baseball on the deal the band had fall through before the Vagrant deal should shoot us an email; we like stuff like that. Anyway, the new A-Sides material sounds like it has taken cues from the stellar closer "Here or There" from the band's excellent debut Hello, Hello (released on Prison Jazz in 2005). Haven't heard "Cinematic" from Silver Storms yet? Here's a link to the MP3; the record is out Aug. 28.

The A-Sides -- "Cinematic" -- Silver Storms
[right click and save as]

>> News to us: In addition to releasing its very sharp seventh studio record this month, veteran indie quartet The Sea And Cake is selling a digital-only EP entitled Anybody. It is only available via ITunes and includes the three tracks "All In Throws" (which sounds like a bit of a throwback to the One Bedroom record), "Breathless" and "Mis." The Sea And Cake released its most recent full-length Everybody May 8; we reviewed it here. Buy Anybody from ITunes here.

>> Interesting feature here in the Boston Globe about the founder of '90s indie label Pop Narcotic, a Boston-based label that issued a number of important releases including the first Helium single and the excellent double 10" Why Do You Think They Call It Pop? Nowadays Pop Narcotic's Bill Peregoy runs a yoga studio, which recently launched a new class that eschews the more stereotypical yoga class soundtrack music in favor of indie rock. If this happened in our neighborhood we'd definitely check it out -- since we already listen to music all day we might as well try yoga while doing some listening.

>> A well-written if run-of-the-mill overview of the current state of the traditional music industry in the New York Times here. Nicely assimilates a lot of news pegs (releases from Paul McCartney and that 50 Cent fellow, mergers and acquisitions amongst major labels and music publishers). Not a crucial read, but if this is the sort of thing you don't follow day-to-day, it links a lot of occurrences together to give a decent picture of the state of things. Likewise, you should probably read this interview of HypeMachine's Anthony Volodkin over at Wired. It might not make a lot of sense if you don't know what HypeMachine is, but if you do it is pretty interesting. The most fascinating thing to us is that Mr. Volodkin is so darn young. We wish we were half as clever when we were his age... in 1995.

>> The Ian Curtis biopic "Control" won best European film at the Cannes Film Festival. NME has the details. Pitchfork recently posted the trailer, which got us a little excited and a little disappointed at the same time. Watch it at YouTube here.

Review: The Sea And Cake | Everybody [Stream]

Anticipating the release of a new record from The Sea And Cake is a ritualized experience for us, during which we wait in uncertainty like Pozzo and Lucky for signs of a return to one of the band's landmark recordings. In 1995 and 1997 the Chicago-based quartet issued back-to-back records that are pillars of indie pop, the guitar-oriented The Biz and the electronically textured The Fawn. Over the past decade we've done two things more than we'd care to admit: listen relentlessly to those records, and hope that the four horsemen of the indiepopalypse (Mssrs. Prekop, Prewitt, McEntire and Claridge, each Chicago music luminaries in their own right) would finally concoct a third perfect record mining one or both of those records' styles. Today we can report after a four-year wait (since the release of the band's prior effort Oui) that the quartet's forthcoming collection Everybody is as close to a perfect guitar-pop album as The Sea And Cake has crafted since The Biz.

While maintaining a characteristic understated sophistication, the set is touted as The Sea And Cake's "rock record." And indeed the group's gentlemanly pop here is propelled by punchier rhythms and occasionally aggressive -- well, relatively -- performances and production. "Left On" pulses with the inevitability of vintage kraut rock and occasionally unleashes avian shrieking and feedback in what may be the heaviest Sea And Cake tune ever tracked. The show of strength is bracing, but it is little surprise when the band retires to its pop boudoir as the song recesses into silence. "Crossing Line" bursts open with an abundance of sonic fizz in the form of a fuzzed out guitar, resulting in another near-brash track from a group that typically maintains a sort of polite decorum with its compositions. The Sea And Cake states Everybody is relatively straightforward and live-sounding and that there are fewer overdubs than on their other collections. That may be so, but there are still many nice production touches, such as the electronic flourishes in the denouement of the irresistible sorta title track "Lightning."

Everybody will be released May 8; a deluxe gatefold LP will include a 16-page booklet that we imagine will be a delight to behold. The Sea And Cake plan a substantial strand of tour dates beginning May 14 in Vancouver. The full tour is listed below, as is a stream of the African high-life tinged "Exact To Me."

The Sea And Cake -- "Exact To Me" -- Everybody
[it's a stream, just click, and get ready to adjust your volume]
[buy Everybody from Thrill Jockey here]

The Sea And Cake: Interweb | MySpace | YouTube | Flickr

05/14 -- Vancouver, BC -- Richard's on Richards
05/15 -- Seattle, WA -- Neumo's
05/16 -- Portland, OR -- Crystal Ballroom
05/18 -- San Francisco, CA -- Bimbo's
05/19 -- Los Angeles, CA -- The Troubadour
05/20 -- Los Angeles, CA -- The Troubadour
05/21 -- Solana Beach, CA -- Belly Up
05/31 -- Chicago, IL -- Empty Bottle (Two Shows)
06/02 -- Toronto, ON -- Mod Club
06/03 -- Montreal, QC -- La Sala Rossa
06/05 -- Boston, MA -- The Paradise
06/07 -- New York, NY -- Webster Hall
06/08 -- Philadelphia, PA -- Theatre of Living Arts
06/09 -- Washington, DC -- Black Cat

[Click here for European tour dates]
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