Clicky Clicky Music Blog's Top Songs of 2014: Dillon Edition

[PHOTO: Quinn Banford] This was the first year I can remember in which the sheer volume of incredible music actually overwhelmed me. This is not a complaint, mind you, 'cause you know, there are things far worse than falling behind on the hype cycle merry-go-round. But it certainly made reassessing the highs a more trying process. In all honesty, 100 tracks might not be enough to fully detail how deep this year's roster of shit-hot tracks was, but the 10 below perhaps shine brightest.

Note that a concerted effort was made in compiling my list to exclude tracks that will be represented among my top albums, barring one (slight) exception. This limitation was imposed with an aim to both challenge myself and expose (or re-expose) you, dear reader, to as wide a universe of music as possible. I'd like also to highlight four tracks that just missed the cut and that warrant mention. Those are, in no particular order, Whirr's towering nü-gaze specimen "Ease," Kal Marks' queasy, existential stomper "It Was A Very Hard Year," Soft Fangs' buzzing lo-fi stunner "You're The Best," and Playlounge's powerful emo-gaze anthem "Zero." Thanks again to Jay and Eddie for making my writing look so good by association, and to all of you for reading. Here's to next year's list being even harder to concoct than this one.

1. Ovlov -- "The Great Crocodile" -- Little Big League/Ovlov Split EP [buy]

In our review of this split, we mused about this track potentially becoming Ovlov's defining statement. It's now safe to say it's the year's defining statement as well. A ridiculous 6-minute scorcher, "Crocodile" often feels like an HD scan of one's favorite Dinosaur Jr. tune circa You're Living All Over Me, but fronter Steve Hartlett’s high-register yearnings are crystal clear and as a result perhaps even more emotionally potent than Mr. Mascis' mumble. Plus, the bass is turned up far louder than J would ever allow.

"...it's in your way to walk around beneath your sound."



2. Beach Slang – "Get Lost" -- Why Would You Ever Want Anything So Broken? EP [buy]

In our most humble opinion, no band dealt in wide-eyed nostalgia better than Philly's Beach Slang in 2014, and "Get Lost" is perhaps their high watermark thus far [arguably -- Ed.]. Retelling stories of nights spent at basement shows with a figurative voice heavy on descriptors but light on specifics, the song does an unbelievably good job of replicating that time in an indie kid's life where every chord change feels crucial. It's a situation certain of the CC staff still lives out on a weekly basis.

"...who called the cops?"



3. Charly Bliss – "Urge To Purge" – Soft Serve EP [buy]

We've had our ears tuned into NYC power-pop concern Charly Bliss for a bit now; we're like two degrees separated, in a sense. And we reckon it won't be long before everyone is tuned in, 'cause they have all the proverbial goods. The three-song sampler the act issued this year was a winning combo of sweetly-sung melodies and crunch-y, exacting guitars. It's precisely the kind of a thing that demands repeated listens, especially this second tune, which features some nifty boy-girl harmonies and a killer fuzz-bassline that bounces around like a Super Ball.

"...I cannot help you/I never wanted to..."



4. Krill – "Unbounded Nameless Future" – Steve Hear Pile in Malden and Bursts Into Tears EP [buy]

Jay’s albums list poured plenty of praise on Krill's interpretation and usage of academia within their churning, post-punk attack, so let's instead unpack the sonics that made Steve Hears [review] such a vital release. Namely, the completely bonkers drum work the now-departed and Brunched Luke Pyenson unleashed at the tail end of this, the EP's penultimate track. Beginning around 3:30 Pysenson delivers easily the most stunning drum fill of the calendar year, a backwards roll across the kit that kicks the song's pained final chorus in the ass, hard. The new dude they got is pretty damn good, too, incidentally.

"...I only got two months in..."



5. Ava Luna – “Sears Roebuck M&Ms” – Electric Balloon [buy]

Speaking of Jay's list, he also ripped/riffed on the misnomer that is art-funk, which I'm inclined to agree with. Either way, Ava Luna's Electric Balloon [review] was an absolute stunner of a record, capable of interpolating seemingly divergent styles of music with ease and grace. The thing could also rock out, as evidenced by "Sears Roebuck M&Ms," a track that rests some utterly bat-shit stream of consciousness lyricism on a restless, body-heaving groove that refuses to quit. The tune is a live staple that we were lucky enough to take in more than once this year, including a particularly memorable iteration in a house in JP some months back.

"...Everybody says we’re talking about the new sweet thing WOOOO."



6. Chumped – “Hot 97 Summer Jam” – Teenage Retirement [buy]

We were a little late to the party vis a vis this Brooklyn quartet, having missed out on some previous EPs. But buzz towards the end of the year surrounding the release of Teenage Retirement piqued our interest, and it was "Hot 97 Summer Jam" that solidified Chumped's need-to-know status. A perfect approximation of everything great and fun about pop-punk, and done right, the song presents two-and-a-half minutes of unmitigated fuzz-rock hooks. The longing, hummed-out backed vocals on that chorus get lodged in your skull almost immediately.

"...I would wait for you all summer."



7. Cayetana – “Hot Dad Calendar” – Nervous Like Me [buy]

This year saw a number of insanely satisfying debut records, but perhaps none were more satisfying than Cayetana's. The Philly trio do the punky pop thing damn good, regularly packing hook after tuneful hook into three-minute bursts of charm. "Hot Dad Calendar" rocks hard, with its relatively clean guitar strums and hi-hat skitter setting the backdrop for what is ostensibly a self-actualizing anthem.

"...Kid you'll be ok/you’ll get better with age..."



8. IAN – "I Don’t Care" – IAN EP [buy]

Formerly local trio IAN’s self-titled EP was easily our favorite release of the year from local party-starters BUFU Records. A full-band interpretation of the lo-fi downers Berklee kid Jillian Medford started putting out late last year, the EP takes those folky asides and jolts them forward with abandon. Ms. Medford's jangly tone and idiosyncratic vocal squeaks steal the show, especially on "I Don't Care," the EP's centerpiece.



9. Dæphne – "Driving Down A Country Highway Blasting Weezer" – Family Vacation demo [buy]

Dæphne are somewhat of an unknown quantity even around Boston thus far. As far as we know, few of the reputable local publications picked up on the short, mystical Family Vacation demo the act issued earlier in the year, perhaps due to the fact that its physical release was handled by Texas-based Funeral Sounds. No matter, the demo, and the tune "Driving Down A Country Highway Blasting Weezer" in particular, is an excellent slice of lo-fi dream-pop. That it delivers the kind of math-y and sharp dynamic twists and turns characteristic of contemporary emo only sweetens the deal.



10. Coaches – "amisarewaswere" – digital single [buy]

The imminent sound of something very important, this is. Recently minted Boston shoegaze collective Coaches had a relatively quiet 2014, only loosing to the indiesphere a two-sided digital single, with one of said sides being an instrumental. However, "amisarewaswere" is a gargantuan tune, one capable of establishing a formidable reputation. Boston lost two of its great noisy compatriots this year in Soccer Mom and Young Adults, but Coaches appear poised to step into those large, empty sets of 'gazey shoes.

"...Massachusetts summer nights..."

That Was The Show That Was: Peter Hook & The Light | Royale | 8 Nov.

[PHOTOS: Quinn Banford, special to Clicky Clicky] Fact: it's really hard to stay objective in regards to one of your heroes. New Order was, and in all honesty continues to be, a crucial band for the associates of Clicky Clicky Music Blog, and the sheer ridiculousness of seeing Peter Hook play Brotherhood, one of our favorite records of all time, was not lost on us Saturday night. What's more, Mr. Hook and co. did us one better: he and his outfit The Light (which includes Hooky's son, Jack Bates, on bass) opened for themselves with a handful of tunes from that other world-conquering band he was in, Joy Division. And so we descended upon Boston's Royale early Saturday evening to soak in sounds that in many ways make us what we are.

Opening with "No Love Lost," a selection from Joy Division's astonishing debut EP An Ideal For Living, the seven-song taster set spanned the Mancunian act's tragically short walk across the proverbial stage. One could deem it a primer for the budding Joy Division fan were it not for the fact that everyone in the full house already knew every last word. The band also offered "Transmission," "Shadowplay" and "Decades" in succession, a weighty run of tracks that stand among the truly essential post-punk documents.

Following an absurd pre-recorded stage announcement, the New Order section of the program took over. As noted above -- and on the ticket, mind you -- the band ran threw Brotherhood first and in its exact order, although all the advance warning didn't stop a few fans from crying out for "Ceremony" just two songs into the main event. We're particularly partial to the record's opening brace of tunes, but were just as willing to jump around to "Bizarre Love Triangle" as any other member of the decidedly mature crowd. Indeed, it should be noted our royal we that evening (including shadowy CC mercenary Quinn Banford) were among the few millennials taking in the show. Hooky and his cohort paused briefly following the final reverberating tones of "Every Little Counts" before reclaiming the stage to perform New Order's absolutely essential LP Lowlife front to back. The ping-ponging synths that herald the opening of "The Perfect Kiss” were precisely recreated to great applause, and the song was a notable high point of a performance filled with highs. Hooky and the boys returned yet one more time to run through a jaw-dropping encore featuring a gleeful rendition of "Blue Monday," a selection that elicited some truly inspired dancing from the crowd.

By 9:30 p.m. we were shuffled out the door so the club could change over and cater to a younger nightclub crowd that, were this 30 years ago, likely would have had a few New Order tunes waiting for them among the DJ's cache of 12 inches. The cycle of life... The full set list from Saturday night's show -- to the extent the running orders of the albums aren't internalized as part of your DNA at this point -- are viewable right here. Peter Hook & The Light's tour continues west until they land in Hawaii at the end of the month; thereafter the act heads back to the UK in December, and on to Australia in February. Dates can be found right here. -- Dillon Riley

Peter Hook & The Light: Internerds | Facebook

From The Banford File: Boston Calling In Pictures

You there. Yes, you, discerning indie rock fan. Was our five-part, wall-to-wall coverage of this past weekend's Boston Calling festival just not immersive enough for you? Well, while going over our archived notes from the weekend, we stumbled upon this neat-o photo set from shadowy freelance operative Quinn Banford. You will find therein evidence of good rock music being played, and good rock music being heard. And we think you will agree the photos of Lorde and Spoon in particular really sizzle. It seems essential to share Mr. Banford's work with you. Banford, on special assignment to Clicky Clicky yet again, had this to say about his experience in the field at the festival:

"Carrying around a camera felt a bit odd at times, especially with the flowing amounts of beers waving in the air. The poor camera had no rain coat and the lightning storm was another form of "wet" that it wasn't ready to take on. But my good lad Nick the Nikon had bold plans, and he got those pictures. He pulled through."

Previous Coverage:
Replacements Deliver Blazing Set, Spoon and The War On Drugs Also Highlight Final Day Of Boston Calling
Rain Delay Dampens Boston Calling Day Two, But The Hold Steady, Sky Ferreira And Lorde Still Shine Brightly
Classic Neutral Milk Hotel Lineup Electrifies Night One Of Boston Calling Festival
Boston Calling This Weekend: Five Key Sets To Catch By Bands That Are Not The Replacements
Boston Calling This Weekend: The Replacements Return To Boston For First Show In 23 Years

That Was The Show That Was: Grooms with Hooray For Earth | ICA, Boston | 22 Aug.

[PHOTOS: Quinn Banford, special to Clicky Clicky] In a perfect world, Brooklyn-based dream-pop concern Grooms would be a band on a massive upswing. We hate to classify them as "underrated," as we wish continued success for them and every other act we ramble on about on the Clicky Clicky-sphere, but the Azerrad-approved touring threesome's colossal 2013 LP Infinity Caller failed to breech the overground despite critical acclaim and even a nod from Speedy Ortiz's Sadie Dupuis. New York synth-rockers Hooray For Earth had the band join them on tour for close to a month this summer, including a penultimate stop in Boston Friday night for the similarly penultimate evening of the Institute for Contemporary Arts' current Wavelengths series, which has also featured, among others, the legendary Dean Wareham and notable electronic artist André Obin.

When we last checked in on Grooms in October, they were headlining a tour supporting the aforementioned Infinity Caller. At the ICA Friday the act revisited a few tunes from the collection, including a particularly vital take on "Lion Name," but focused primarily on delivering new tunes from an as-yet-unreleased new record that has been teased in various social media posts. These newer tunes retain and build upon the things we've come to love most about Grooms: the precise, almost prose-like lyrics of fronter Travis Johnson, inventive and atmospheric guitar interplay and a steady rhythmic approach, which taken together plays at times like a smart, modern take on the sound proffered by Kitchens Of Distinction decades ago. Tunes we know and love, like the Infinity Caller highlight "Very Very Librarian," mixed well with Grooms' newer compositions and made for a more than satisfying opening set. Purchase Infinity Caller from Western Digital right here; two tracks from the record are embedded below.

Hooray For Earth's headlining set affirmed the quartet's status as a big-time and pop-friendly indie rock band. While sound problems hampered momentum early on, the band found its footing in plenty of time to deliver a strong performance, and even had a cool visual display going on the ICA's roof. Tracks from the act's recently released Racy, which minimizes the dancier outliers of its debut in favor of a more guitar-charged attack, rang out into the summer night and elicited the strongest reactions from the crowd. Racy was issued by Dovecote Records July 29, and it can be purchased right here; stream the bouncy single "Keys" via the Soundcloud embed below. The show, held out of doors at the ICA, was an all-around delight, and we can only hope the ICA brings Wavlengths back in 2015. -- Dillon Riley

Grooms: Bandcamp | Facebook | Internerds





Previous Coverage:
That Was The Show That Was | Grooms with Young Adults, Chandeliers, Vegans | Great Scott | 9 Oct.
Young Adults, Grooms, Ovlov and Soccer Mom | Great Scott, Boston | 11 July

That Was The Show That Was | Grooms with Young Adults, Chandeliers, Vegans | Great Scott | 9 Oct.

[PHOTOS: Quinn Banford, special to Clicky Clicky] It's fun to witness the give-and-take between the two preposterously fertile music scenes of Allston and Brooklyn. Grooms, a notable dream-pop trio based in the latter, have played the former a fair amount on bills spangled with local luminaries. Wednesday night at the venerable Great Scott was no different. There the Brooklyn combo bowed a national tour intended to promote its shit-hot new record, Infinity Caller, slotted third in a bill top-lined by Boston-bred heavyweights Young Adults. The mysteriously small crowd that materialized early were treated to opening sets from Vegans and Chandeliers.

Grooms wasted no time hitting their stride, and pumping out should-be hit after should-be hit at a remarkable rate. Fronter Travis Johnson joked from the stage about ingesting great speed just prior to the quartet's set, and, yes, Heisenberg, it was blue. Too soon, indeed. Grooms opened with "Lion Name," much to our delight, and thereafter continued to bring the proverbial and literal noise. Perhaps they were feeding off the energy they knew Young Adults would bring later, or maybe they were extra stoked to be launching the tour, but whatever the reason these dudes really rocked the fuck out. On record Grooms exhibits substantial restraint, but on Wednesday its music was chaotic, explosive and enshrouded in distortion. All of this made the live presentation of new album-highlight "I Think Were Alone Now" even more awesome.

We missed openers Vegans, but did arrive in time for Chandeliers, whose too-brief time on stage was light on banter and heavy on electrifying, math-y rock. Maybe a little *too* heavy at first, as fronter Dan Coulson ripped straight through a string during the trio's very first number. Chris Villon from YA was quick to supply a loaner, however, and the rest of the set went off with nary a hitch. An interesting aspect of Chandeliers' live sound is the treatment that clothes Mr. Coulson's vocals. The sound is distorted and makes his voice sound as if it is coming through a payphone, adding a singular dimension to the oft-busy arrangements.

Young Adults, as is their usual practice, decisively ended the evening with an eardrum-eviscerating performance. It's no secret, of course, that they are very loud -- like "ears ringing for the next business week" loud. But fans know the threesome's shuddering racket isn't simply noise for noise's sake, however: anthemic jams reside breathe from beneath the sludge. The band played tunes from its Born In '91 EP as well as plenty of old jams. Despite battling some serious sniffles, the aforementioned Mr. Villon and his merry men were reliably intense, and blared punk-gaze stompers well into early Thursday morning. -- Dillon Riley