.: The Zombies

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January 14, 2015

Today's Hotness: Pile, Leapling, Odessey & Oracle

>> Oh, hey, we're back. We missed you, too. How's your mom? Are you working the same place? Your hair got long...

>> Happy new year, and happy new Pile. Stereofork got the nod yesterday for an exclusive on the Boston grunge titans' terrific new track "#2 Hit Single" -- taken from the forthcoming set You're Better Than This (let's just let that title hang there meaningfully for a second... maybe a second more...) -- and in doing so perpetuated the irritating trend of large music publications being more about firsties than journalism. Had Pantsgum bothered to do 10 minutes of research (we get it, music writing is hard, guys), it could have told you that the reason the preview tune is called "#2 Hit Single" is because the title "Number One Hit Single" was already used. Indeed, that tune appeared on Pile's wonderful 2010 LP Magic Isn't Real; you can hear it right here or at the embed below. "#2 Hit Single" -- also embedded below -- echoes the slashing rhythm of the earlier tune's opening guitar riff, but inverts the melodic elements as it introduces a call-and-response between fronter Rick Maguire's vocal and the annihilating instrumentation of the verse. The aggressive jam abruptly ends after 145 seconds, and then is gone into the proverbial night like a deranged mugger. Pile's new record You're Better Than This will be issued March 3 as part of a Exploding In Sound's exceptionally strong first quarter release schedule, which also includes bugcore heroes Krill's powerful A Distant Fist Unclenching. Pile's newest was recorded in Omaha and features electrifying and hyper-roomy production that recalls the biting sound of early Jon Spencer Blues Explosion records, and we think Clicky Clicky readers are going to find a lot to like on it, particularly the wild, rootsier sound of tunes like "Fuck The Police" and the ambitious, awe-inspiring closer "Appendicitis." Pre-order You're Better Than This on vinyl, CD or cassette via Pile's Bandcamp wigwam right here.

>> December seems like a bad time to promote an album. Not only is there an endless round of "Best of 2014" lists and year-end nostalgia, but nearly everyone is on vacation and not listening to some great new indie rock. In jeopardy of being lost in the late-year shuffle were certain late-season singles from Brooklyn four-piece guitar poppers Leapling, whose album Vacant Page is seeing a February 10th vinyl co-release via Inflated Records and the mighty, aforementioned Exploding In Sound. Big news, right? The second single "Silent Stone," released around the holidays, is a stone-cold killer cut of spacey, free-jazz guitar rock. "What have I been told? / Leave me in the cold" sings guitarist Dan Arnes in a soft, plain-spoken, everyman voice that brings to mind Death Cab For Cutie, albeit sans the excessive verbiage. That confused sense of resolution wraps itself around the song, guiding what are at first surfy guitar lines that mutate into bum-note guitar solos and pick scrapes that dance around tight, trained hi-hat work. Best of all is a breakdown at the two-minute mark, where the bassist has a chance to shine with oblong chops. The lead guitar channels Wilco's avant string mangling circa A Ghost Is Born, while the complex, steady chords ground the exposition. Perhaps best of all, Leapling is a hard band to define, and that’s what makes them special. Consider the act a crucial addition to EIS' stable. The first 150 copies of the vinyl edition of Vacant Page come on colored splatter vinyl, so don't sleep on this promising album. Pre-order the set from Inflated Records right here. -- Edward Charlton

>> Man, how this writer digs indie rock ambition. Take, for instance, the recent inbox find of France's Odessey & Oracle, a baroque-pop unit whose namesake is The Zombies' 1968 masterwork (the misspelled "odyssey" is also an homage, to the poor grammar of The Zombies' original album art artist). The French outfit's latest album Odessey & Oracle and the Casiotone Orchestra is a lofty, lo-fi love letter to the over achieving '60s pop scene, one that (thankfully) pays tribute without the wholesale recycling of old sounds. Out on vinyl and CD via Carton Records, the album is a technicolor trip that highlights the arrangement genius of those original bands while guiding the sound somewhere new. "I'll be floating far into dreams" they sing on opener "2016," which shapes ukulele strums into a progressive dream-pop track. While the cheesy-sounding synths may startle at first, they ultimately add to a pleasant home-grown vibe -- inadvertently recalling the playful, Casiotone genius of The Unicorns in the process. Album cut "Esprit Du Ciel" applies the band's native tongue to lush male vocal harmonies, while "Alphabet" and "Fixing The World" tone things down via gentle female that defuse the more complex and classical analog synth work of tracks including "Invention #7." Wide-eyed, accomplished, orchestrated and in love with an era that deserves the attention, Odessey & Oracle and the Casiotone Orchestra is not only a fun addition to the baroque-pop canon, but a great reminder of what made that scene so special. Order the album right here. -- Edward Charlton

February 24, 2014

Regolith A1E1: Reuben Bettsak Is A Songwriter

Our inaugural songwriter for the Regolith series is Boston indie scene mainstay Reuben Bettsak. Mr. Bettsak lives in town and has been party to the local music scene here for more than a decade, during which time he has performed in acts including The Nationale Blue and Big Bear. He presently plays in noted psych-pop outfit Guillermo Sexo, performs and releases music under the name Emerald Comets, and is part of the spectral New Romantic revivalists Future Carnivores. As a songwriter, Bettsak is as prolific as they come, and if you think it is just a coincidence that we chose to kick off Regolith with such an efficient and deadly songwriting machine as Bettsak, you are wrong. Regolith is not for the faint of heart. Or at least that is what we assume -- Bettsak is the first to go through the process with us, during which he is writing and recording completely new music under a Clicky Clicky-imposed 30-day deadline. In our intake interview below we dig into the basics and background of who Bettsak is, what he does, and how he works. The sands from the Regolith 30-day hourglass began falling Feb. 15. As noted in our introductory piece last week, we will check in with Bettsak midway into his month of work, and at the end we'll wrap up the project with a post mortem on his work, and with a premiere of the results on our Bandcamp page. Giddy up. -- L. Tiburon Pacifico

Clicky Clicky: What is happening with all of the bands you are involved with right now?

Rueben Bettsak: Guillermo Sexo is definitely keeping busy per usual. We have a Brooklyn show with Relations April 4 at Shea Stadium, an Illegally Blind show in Boston in May at Middle East up with Blackstone Rangers, Ghost Modern and Wakes. It's likely there will be other shows before these, but we are also working on new songs and are bringing back some old favorites from past albums. We want to change up our set list a bit ... [and] continue spreading the word on Dark Spring. We believe in this album. We want you to believe in the UFOs of Dark Spring...

I've been playing a few Emerald Comet shows here and there to support the free EP (performing solo, but possibly also with the gang that performed on the EP in the future).

Future Carnivores has a March show coming up at Charlie's Kitchen, which should be cool. We have a whole album's worth of stuff recorded, but most of it is in the early stages of recording. We'll see when we can get that out there this year.

CC: What instruments do you play? When did you start playing them?

RB: My principal instrument has been guitar. I started playing when I was... 15 years old. I also played a bit of drums growing up. It's so much fun playing drums, but I rarely rock it these days. I did a lot of the live drums on the first Future Carnivores record, though.

CC: How long have you been writing music?

RB: I've always wanted to write music. I think I knew this when I was 7 years old listening to Julio Iglesias or watching Quiet Riot videos on MTV in Panama. When I started playing guitar, I knew that songwriting would be my main focus. Back when I was 15 years old, I loved Eddie Van Halen, but I was never interested in playing the way he played. Writing music for me is one of the most beautiful, rewarding things in life. It's taken me a while to get to a place where I'm more confident with the songs I write... closer to the vision. But then again the vision always changes a bit, and that's part of what makes it exciting, right?

CC: What are your songwriting influences? Do you feel like there's an influence on these songs that is obvious to you but might not be necessarily apparent to a listener?

RB: I think this is a great question. I feel like there are definitely influences that pop up in the songs I write, and in the sounds my band(s) make. I really do approach songwriting with a completely open slate, meaning I don't try to sit down and write a certain type of song that sounds like any person or band in particular. But there are patterns that creep up that are part of my MO. I love catchy psych-rock songs from bands like The Kinks, Zombies, Guided by Voices and some current bands. I love the depth and beauty that bands like Spiritualized or My Bloody Valentine create. I love the studio experimentation of Sonic Youth, Stereolab, Broadcast and Olivia Tremor Control. So... these things seep in to what I do. And that is rock 'n' roll. I can say that I feel like I really have developed a songwriting voice of my own. I am thankful for this, but I'm always trying to grow and improve as a songwriter.

With this project an influence that might not be apparent to the listener is maybe some classical music. No specific composers, but just trying to create a little bedroom symphony. Although, it is too early to tell. This project could end up sounding like death metal by the end. We'll see.

CC: How would you describe your songwriting process. Are the songs conceived of first, or planned out? Is the process more organic, with single chords or melodies developing into parts, which then develop into songs? Do you have a back catalog of riffs, parts or progressions that you mix and match until they find a home?

RB: A lot of songs are written on acoustic guitar at home. I write a few guitar parts and develop the melodies right away, or I record the music and then develop melodies and maybe record line by line. It's definitely more of an organic process. Some Guillermo Sexo songs I bring to the fold are pretty fleshed out, but the band definitely shapes the way they end up sounding. There are also a bunch of Guillermo Sexo songs that are developed organically at the practice space. We just develop an idea/riff together as a band, and develop it until we have a song. I have a large back catalog of songs. My fear is that some of the really good ones in the back catalog will never be released and then I'll completely forget about them. I try to keep track of everything, but stuff gets lost. That's one reason I'm releasing stuff under Emerald Comets. There is no way Guillermo Sexo can tackle all these songs. It gets overwhelming. I send my band members and (producer) Justin Pizzoferrato so many demos, and they are like "Reuben... chill."

The Future Carnivores process is different. The first two albums were written by recording parts completely made up on the spot, with Bo and I switching turns. I'd lay down a beat, Bo would lay down bass line, I'd record a weird guitar loop, and so on.

CC: Will this project change the way you typically write?

RB: I'm used to writing alone, but I am trying to make this project sound different. It's a good excuse to create a standalone type of album or mini album that has an overall vibe to it. That's cool, because I usually have so many types of songs I bring to the fold. With Regolith, I'm looking to have an overall focus and feel throughout.

CC: Where will you be doing your writing and recording throughout this project?

RB: I will be writing and recording this project at home. I will be doing it with a simple Pro-Tools setup, which is nicer than what I use for my demos.

CC: Lastly, what are your goals/aspirations for this project?

RB: 1. I'm hoping to create some great songs. 2. It's always gratifying to share music with listeners. I look forward to sharing this music. 3. I want Jay and Will to give me a hug and say, "Hey Reuben, these songs don't suck." 4. One of my goals is to not get too carried away with layering. If this happens, I may end up turning in one song at the end of this project. (Note to self: Reuben, don't get carried away with layers. Try to keep it simple!)

CC: Thanks for taking the time to talk with us and devote 30 days of your life to Regolith. We eagerly await our mid-session check-in with you in a couple of weeks to see how it's going, and of course, hearing the finished results.