Today's Hotness: Eros And The Eschaton, Amity Beach, Weekend



>> [Photo Credit: Lemon Photography] Late last year a friendly label rep turned us on to the Eros And The Eschaton, a North Carolina-based couple making serene dream pop presented in some charming video clips like this arresting one for "You Know I Do," and this one for "Lately (I've Been Wondering"). Fast-forward to earlier this month and, lo and behold, it was announced that the duo -- Kate Perdoni and Adam Hawkins, who met in Omaha but settled in Greensboro when their van broke down in the central Carolina city -- have now signed to the above-referenced label. And so Eros And The Eschaton's full-length debut Home Address For Civil War will be issued by Bar/None Aug. 13. The bigger surprise is the huge, bold sound of the record's preview single "Heaven Inside." A calm center remains, in the form of the duo's airy vocal harmonies, but the remarkably dense musical accompaniment eschews the subdued sound of the band's self-released, 2012 singles and instead throbs with energy while a vast wall of melodic guitar and white-out percussion smear across the fore of the stereo field. The result is one of the most stirring shoegaze tracks of 2013, just the kind of thing Clicky Clicky is always on the look-out for. Eros And The Eschaton are supporting the 10-track release with a substantial tour in September including an appearance at the annual Hopscotch confabulation in Raleigh, but as of yet there is no date for the duo's live return to the Boston area (its area debut was at Precinct in late spring). To whet your appetite for the release, we've embedded the thriller "Heaven Inside" for your listening pleasure below; pre-order Home Address For Civil War from Bar/None right here.



>> It's been a surprisingly long time since we were last rocked by the fresh-faced indie pop of Amity Beach, whose late 2011 digital single knocked our socks off. The Ontario-based quintet returned at long last this month with pop gold in the form of a new digital single, "Sunday Nights To Infinity" b/w "Avalanches." The pair of songs, released via Bandcamp June 10, are taken from the act's planned debut long-player Bonfire Etiquette. Both tunes are driven by bright, tight guitars. Fizzing tempos push melodies across deft arrangements in a manner that recalls the remarkable pop of veteran Delaware indie pop heroes Spinto Band. "Sunday Nights To Infinity" overflows with lyrics bursting with romantic optimism and nostalgia underscored by tinkling piano embellishments. "Avalanches" runs with a similarly irresistible formula, but is notable for bright horns bolstering the soaring chorus. We can't find a release date for Bonfire Etiquette, and it would be a shame if it were not released in time for the set to be a go-to summer jam that this intoxicating single suggests it will be. Then again, that slightest of bites of nostalgia and loss in "Sunday Nights To Infinity" and "Avalanches" may be even more potent once summer begins to fade. Stream both tunes via the embed below, and keep an eye on Clicky Clicky for news about Bonfire Etiquette.



>>So maybe you live under a rock, or just have a terrible memory, and so you aren't aware of the excellent second preview single from Weekend's forthcoming long-player, a song called "It's Alright." Well, we've embedded it below along with the new album's killer lead track "Mirror," because you need to be up-to-speed on the latest, greatest thing from Slumberland, a label that has been just on fire these last couple of years. "It's Alright" is taken from Weekend's Jinx, which will be issued July 23, and the tune in its earliest moments sounds like a brilliant The Cure outtake circa 1983's "The Walk" 12". However, it is fronter Shaun Durkan's booming but gentle vocals, the song's Keith Levene-styled guitar playing and a big swinging beat that dominate the tune. Pre-order Jinx from Slumberland now on 45RPM, colored-media double 12" or CD. The now Brooklyn-based post-punk foursome play at Church in Boston Oct. 23, and you can bet that's gonna sell out faster than you can say, well, just about anything.

Today's Hotness: Future Carnivores, Manors, Scud Mountain Boys



>> A number of things conspired against us providing timely coverage of Future Carnivores' recently issued sophomore set, but none are as remotely interesting as the record itself. Titled Come Inside, the set features 10 generous cuts of the Cambridge, Mass.-based collective's singular tribal space-pop. The songs are largely spun from the same silk as the tunes gracing Future Carnivores' 2012 self-titled debut, which we reviewed here. Come Inside continues the band's love affair with re-imagined New Romantic pop: dreamy vocals swirl over basic, hypnotic grooves fashioned from electro beats and staccato guitar loops, a foundation regularly and significantly embellished by imaginative instrumentation and production. If there is a defining characteristic to Come Inside versus the band's debut, it is that the music has drifted further from verse/chorus constructs to focus pointedly on the aforementioned hypnotic grooves. If you'll permit the aside, it calls to mind Dave Sitek's (TVOTR) interview with Pitchfork in 2006, in which he discusses the importance of repetition ("Through the trauma of birth we're thrown into these repetitions, everything from our heartbeat to our routines, and I think it's identifiable") and hi-hat ("This guy named Fegun who played with Fela Kuti for a while was telling me about the hypnotic effect of music. He's like, 'The most important drum in Afrobeat is not a drum, it's the hi-hat. Because it hypnotizes. And that's what people identify with. It syncs with their heartbeat.'"). It speaks to the confidence of Future Carnivores that Come Inside opens with a six-minute mid-tempo jam whose second-half blossoms into a blissful, psychedelic sound-chakra. "Blame Time" ups the ante on the six-piece's groove fixation via a foregrounded syncopated cymbal cadence. Not that there aren't some uptempo and single-worthy numbers on Come Inside; the quasi-title track "Twice" is a modern dance-floor killer that provides the record's boldest moments, and the slightly more subdued preview track "The Drugs She Fed You Last Night" goes intergalactic when the beat drops out and returns at the close of the final chorus. Come Inside was self-released by the band June 3, and is available for sale as a digital download via Bandcamp. Stream the whole dealy via the embed below.



>> We aren't head over heels over the entire collection, but the recent lo-fi LP from Philadelphia's Manors does feature one song we can't stop listening to, the sweet, spare and spooky ballad "Teeth Dreams." Tangentially, we'll remark here for those who don't know that teeth dreams is a thing, we used to have bad dreams with some regularity that our teeth broke. Ironically, we finally broke one 10 years ago and then the dreams went away. Magic! Anyway, Manors is the nom de rock of Dayna Evans, and "Teeth Dreams" rests in the midst of her record called Fit In. The set features drumming by all-around awesome dood Evan Bernard, whose name should be familiar to Clicky Clicky readers, but "Teeth Dreams" is comprised of just three elements: a Kim Deal-esque vocal track, electric guitar and what we'd guess is melodica. It's the simple vocal and its sad, self-aware narrative that draws us in again and again ("...I thought you'd be the one, but I don't know anymore..."). The tune is filled with beauty and resignation and regret and doubt and is terribly human and affecting. It's perfect for the hot summer days upon us, just the thing to help you pass still hours under a piece of shade and within a wisp of breeze. Fit In was released to the wilds of the Internerds via Bandcamp May 14; stream "Teeth Dreams" via the Bandcamp embed below.



>> We'd be derelict in our duties if we did not inform you that details about the new record from reunited alt.country legends Scud Mountain Boys are now available. The new, fourth set -- the band's first in 17 years, since the release of the harrowing classic Massachusetts -- is titled Do You Love The Sun, and it streets July 9 via Ashmont Records. You can look at the album art and stream three songs (the title track, "Double Bed" and "Crown Of Thorns") at the quartet's brand-new web site right here. Fans who pre-order by July 4 will also receive a numbered, limited edition bonus disc titled Drowned, featuring three Joe Pernice-penned tunes recorded just before the Scuds signed to Sub Pop. Legal drama that surrounded the signing, among other things maybe, kept the songs -- which were recorded with Michael Deming at Studio .45 in Hartford, Conn. -- from ever being released previously. Drowned goes out of print immediately after the expiration of the pre-order period, so that's a pretty good inducement, right? You know, besides this awesome band reforming and recording a record for you? Incidentally, we once gave a Warners A&R rep the very bad advice to skip a Scud Mountain Boys show in Northampton, Mass. in 1995 or so, instead directing her to see the goofballs in The Unband. Live and learn... Anyway, if you know what's good for you, you will pre-order Do You Love The Sun directly from Ashmont and the band right here. The Scuds first reunited in 2011 at the Lizard Lounge in Cambridge; the foursome's next local appearance will be at Brighton Music Hall in Boston Sept. 20.

Review: Krill | Lucky Leaves

Some bands this year will release good records, and a very small number will release excellent ones. But Jamaica Plain, Mass.-based trio Krill has accomplished something exceedingly rare by fabricating -- in a breathtakingly brief 10 hours of studio time -- a whole and quirky sonic universe all its own. A universe that, we imagine, has the same fidelity to perspective and logic as an episode of "Ren & Stimpy." Indeed, the threesome's sophomore collection Lucky Leaves boasts 11 clever and patient compositions, but each is a crooked house of cards, each adheres to an off-world gravity tugging steadily on wiry and sparkling guitar lines, rubbery bass and drumming that approximates the collective cadence of a few wind-up toys running concurrently but intermittently. The sum of all this is a rock critic's dream record, one that boasts a singular world-view from a charming coterie, complete with smart-guy time signatures, syncopation and instrumental interplay, nuance and dynamics, all beholden to a masterful economy. While some bands succeed by doing a few things right, Krill surpasses whatever expectations anyone might have had by doing EVERYTHING right.

This is especially the case with the dub-tastic and twangy preview single "Never A Joke," a potent case study of the curious dynamics and the crackerjack performances that bless Lucky Leaves -- listen to the stumbling drum fill just past the two-and-a-half-minute mark, just prior to the guitar bluescreening into a cascading repetition that sucks the song right down the drain. That dub influence isn't always as explicit, but even so the power and kinecticism of Lucky Leaves is as much due to the wide and deep space left by the economical compositions as it is the clattering rhythm section and technicolor guitar melodies. And swooping over or looping through the airy mixes are the surprisingly direct and occasionally demented vocals of singer and bassist Jonah Furman, whose adenoidal delivery is given substantial weight by variations in tone and texture employed in rendering his losercore declamations. Mr. Furman's singing recalls that of Modest Mouse's Isaac Brock or Clap Your Hands Say Yeah!'s Alec Ounsworth, but Furman at this point is perhaps more relateable than the former and more believably unhinged than the latter. There is no effort to soften the loathing in the stark and harrowing lyrics to "Oppressor" ("...whenever I have a good time, I dismiss my suffering, I'm the oppressor...") or the irony of "Infinite Power" ("...if you wanna feel like a failure, that's your right..."). The latter is tempered somewhat by the follow-on and final track, the curiously content and centered acoustic reprise of the opener "Theme From Krill," but that contrast is perhaps the clearest example of Krill's greatest appeal, a wry but winking (if winking was coool...) humor.

Krill mark Monday's release of Lucky Leaves with a show at Great Scott in Boston Saturday; the bill includes Ava Luna (featuring Julian Fader and Carlos Hernandez, who recorded Krill's record at The Silent Barn in Brooklyn in February), SaraLee and Huge Face. All the details can be found at this Facebook event page; there's another release show in New York the prior night. The record was initially only available on a USB stick embedded in a ball of cheese, on a CD (150 ludicrously packaged in a 12" sleeve, because whatever forever) or as a digital download, but somewhere along the way some wise person ponied up money for Krill to press Lucky Leaves to vinyl. You can review all of your purchase options at the band's Bandcamp wigwam right here; know that there is now vinyl available in a limited edition of 350 units on "barfy"-colored media. In the meantime, click over to Noisey to stream the entire collection or hear the two preview cuts via the Bandcamp embed below.

Krill: Bandcamp | Facebook | Soundcloud

Previously on Clicky Clicky:
Show Us Yours #16: Krill

Today's Hotness: Audio Antihero Comp, Break It Up, COH



>> London's ineptly brilliant Audio Antihero recently unleashed a cracking, 31-track charity compilation, the latest in the label's efforts to leverage the music of its various constituents and supporters to do some good for those in need, in this instance the organizations Rape Crisis -- England and Wales and Rape Crisis -- Scotland. These two entities do an impressive number of things that you can read about here and here, but we think it is important for our largely US-based readership to understand that these services "are community-based, and independent of government and the criminal justice system." It being Audio Antihero, of course the comp has a ludicrous professional wrestling-inspired title, Regal Vs. Steamboat. Given the length and stylistic breadth of the collection of songs -- which is available for a minimum donation of £3.99 -- the set is just short of an unspoken invitation from the label to fans to mix and match favorites, perhaps creating three more traditionally sized compilations. The line-up includes a number of tunes from Clicky Clicky besties, including a thrilling hyperpop gem from Internet Forever and a classic downer from Benjamin Shaw, whose tune "Goodbye, Cagoule World" was recorded live at London's Union Chapel last year as part of Daylight Music weekly Saturday lunchtime shows. Well, consider AAH's unmade challenge met, as we've gone ahead and identified a Clicky Clicky's Choice (tm) version of Regal Vs. Steamboat that spotlights our 10 favorites of the 31, jumping off from AAH helmer Jamie Volcano's own lead-off choice, Low Low Low La La La Love Love Love's "Change The Mistake." Along the way you'll also hear a blindingly brilliant rocker from Glaswegians United Fruit and a similarly vital anthem from Ben Parker's current and ridiculously slept-on project The Jonbarr Hinge. You can stream our truncated, guitar-pop-plus-leaning Clicky Clicky's Choice version via the series of hyperlinked titles below, but once you click through, do what you can to support this extremely worthy cause being championed by Mr. Halliday, who is both a good and amusing man.

1. Low Low Low La La La Love Love Love - "Change The Mistake"
2. Burnt Palms -- "Empty Place"
3. Internet Forever -- "I'll Sleep When I'm Alive"
4. Wartgore Hellsnicker -- "Perfect Competition"
5. United Fruit -- "Go Away, Don't Leave Me Alone"
6. The Jonbarr Hinge -- "Don't Feel So Sorry For Yourself"
7. Salvage My Dream -- "Give In, Give Up (Modern Girls cover)"
8. Princess -- "Junk Mail"
9. Grand Pocket Orchestra -- "No One"
10. David Cronenberg's Wife -- "Drawn Again (Original Version)"

>> While Clicky Clicky will always have at least one ear on the city because it is the former home of our esteemed executive editor, presently Philadelphia is noticeably gathering some of that shifting, cyclical shine that periodically illuminates the music scenes of certain cities, causing folks to weigh appellations like "indie rock mecca." Between the runaway success of the Crutchfield twins (who you know from their shit-hot and totally quality acts Swearin' and Waxahatchee), the buzzing rise from Purling Hiss and the prolonged success of scene mainstay Kurt Vile, Philadelphia's present ascendency is incontrovertible. One could make an argument the aforementioned shine shows no sign of dimming based on the city of brotherly love's latest entry into the fold, indie-pop trio Break It Up. The band -- which includes Easton, Mass.-bred Dan Morse on guitar -- achieves a familiar, '90s-styled sound without a bassist, instead electing to leave aural space into which fluid, textural guitar work blossoms and bounces. The threesome's "New Penzance," taken from its recently released full-length debut Break It Up, is a stunner, all galloping drums, ringing guitars and two-part harmonies. Stream the tune via the Soundcloud embed below, and purchase the entire peppy and bright set, recorded at Philadelphia's Uniform Recording with renowned engineer Jeff Zeigler, via Bandcamp right here. -- Dillon Riley



>> As we've stated somewhere, we've been coming back around to revisit and catch up on the progress of certain of the electronic acts we used to follow when we first started spending a lot of our time writing about music. Some 11 years back we drew an assignment for Junkmedia to review a full-length of minimal electronic compositions from Russian-born Swede and acoustic engineer Ivan Pavlov, who releases music under the guise of COH, among others. We were largely stymied by COH's 2002 release (of recordings made several years prior) titled Mask Of Birth, as this over-long and rather defensive review evidences. There have been at least 17 releases since that time for various projects Mr. Pavlov is part of, but the latest set from COH (which, incidentally, is the Russian word for sleep), Retro-2038, is where we've finally picked up the thread again. In contrast to Mask Of Birth, the new eight-song collection is warm and inviting -- not necessarily the first two adjectives that come to mind when discussing minimal electronic music, we admit. Even so, we can't say enough good things about what we've heard: there is still a variety of textures and tones at play here, but rhythms tend to gravitate largely around a conventional 4/4 and melody is as pronounced in these eight songs as it is in, say, this recent, more banging but brilliant track from the untouchable electronic genius Keith Fullerton Whitman, or even My Bloody Valentine's superlative 2013 surprise mbv. Retro-2038 was issued by Editions Mego May 13, and the record is available for purchase on CD on double LP (drool...) as an import right here. Sure, with the shipping and exchange rate, this isn't a cheap investment, but it is certainly one of our favorite electronic releases of the year so far. Stream the entire collection via the YouTube embed below.

That Was The Show That Was: Roomrunner with Shannon And The Clams | Great Scott | 17 June



[PHOTO: D. Riley] Despite being underage, Great Scott and its community vibe, relatively spacious confines and decent sight lines has fast become a favorite of mine in the city. Plus, they always seem to book the best local gigs. So, I was pretty psyched to head there Monday to witness Baltimore noise-rockers Roomrunner open for hotly tipped psych-pop dynamo Mikal Cronin. What I wasn't expecting was the huge crowd. After all, this was Monday night in Boston.

I also missed the memo on the show being a four-band bill, so I walked in the club about halfway into Roomrunner's blazing set and was confronted by a formidable wall of bodies. Total bummer, I thought after making my way to about the tenth row of bobbing humans from the stage. However, Roomrunner being the impressive live act they are, I could still feel plenty of the energy the quartet was throwing off the stage, even from the proverbial nosebleed seats. The band tore its way through cuts off their recently issued debut long-player Ideal Cities during what amounted to an all-too-brief half-hour. The performance -- what I saw of it -- was highlighted by a strikingly volatile take on album standout "Duno." The '90s indie comparisons often lobbed at the group proved apt, at least based on period signifiers such as frontman Denny Bowen's slacker attire and mumbled stage banter.

Doubling down on the night's apparent nostalgia kick, Monday's biggest surprise was the rousing set from '60s-indebted garage rockers Shannon And The Clams, whose hook-heavy jams thoroughly impressed. Based out of California, the act was a heretofore unknown quantity to me. In that regard I was apparently in the minority, as seemingly everyone around me and near the stage shouted back every word to the band while gleefully keeping not one but two beach balls aloft throughout the set. Most importantly, though, I felt the floor shake under the sheer force of the crowd's impassioned dancing, as true a sign of a good set as I've ever seen, or, well, felt. -- Dillon Riley

Roomrunner: Bandcamp | Facebook | Tumblr | Twitter | Wiki

Review: Colleen | The Weighing Of The Heart

The Weighing Of The Heart is a rippling mirage, a quest for a personal peace, a map with vectors pointing both outward and inward, a shifting destination that finally stopped slipping away when former French schoolteacher, now resident Spaniard, Cecille Schott delivered her new, fourth full-length. The set arrives six years in the wake of her 2007 collection, Les Ondes Silencieuses. During her silent span of time, Ms. Schott, the sole member of Colleen, struggled with doubt, writer's block and the development of certain technical skills in order to realize The Weighing Of The Heart. The record takes its title from The Egyptian Book Of The Dead, but in a general sense the name is almost startlingly fitting, as it suggests a testing of mettle that recent press about Schott confirms. And while The Weighing Of The Heart (again, generally) suggests a process, the record itself represents a destination for both Colleen and her fans, a destination that would seem to possess its own singular collection of secrets.

The record is a cool dreamscape of electro acoustic sounds, more often than not neatly arranged across an expanse of aural space like complete skeletons of fantastic birds surfacing under brushes from strata. Although The Weighing Of The Heart is characteristically dreamy and mesmerizing, and is in that sense definitely a "Colleen record," there are significant new elements brought to bear. The other-worldly character of Colleen's music is enhanced by the newest and perhaps most potent tool in Schott's sonic arsenal: her voice. While Colleen's prior records are instrumental affairs (and indeed, here widely heralded debut Everyone Alive Wants Answers was all instrumental samples), on The Weighing Of The Heart she almost exudes beautiful vocals, diaphanous, breathy, so intimate that even when double-tracked it is like she is whispering secrets in your ear, close enough that the hair stands up on the back of your neck. Schott's voice and chiaroscuro lyrical imagery recall that of Juana Molina. And whether it was something suggested by the cadence of the newly developed vocals, is the result of increased technical skill, or is the result of yet some other impulse, the 11 songs of The Weighing Of The Heart percolate with pronounced rhythms, sometimes gently swaying like a boat on the ocean, and at other times crackling and popping like an ancient, dusty automaton. There is even a head-bobbing percussion bridge in the almost-groovy "Going Forth By Day," and "Humming Fields," a bewitching composition whose beautiful chorus chants "in lonely fields I've been humming / only the grass overhearing / cat woke me up with his dreaming," burbles and twinkles across pretty layers of chimes, tambourine and drum.

Despite the contemplative and personal tone of Colleen's music, especially on this new collection, certain of her influences shine through, from Arthur Russell to Laurie Anderson (fans would be wise to stream the amazing "influences mix" Colleen curated to help promote her new record; it is available to stream via Soundcloud right here). The Weighing Of The Heart's "Ursa Major Find" commences with soft salvo of oooohs, but the creaking intrumental bed that takes shape thereafter echoes the melodic texture underlying Radiohead's "Weird Fishes." All that said, it is Schott's own ear for beautiful timbre and her melodic sense -- not her ability to synthesize recognizable sonic referents -- that makes her the dramatically intriguing and wholly arresting artist that she is.

The best news of all for Colleen fans came in recent blog posts by Schott, when she remarked that she has already been playing new songs (and covers) live. Further, after her three shows in Italy this week (including a set of improvised music Friday), she intends to return home to Spain to work on new music: hopefully fans won't have to wait quite as long to hear what incredible music Colleen creates next. In the meantime, stream all of The Weighing Of The Heart -- which was released May 13 by Second Language in the UK -- via the YouTube embed below, and purchase the record here. Colleen's three prior albums and EP are also presently being sold in a special, four-CD bundle for 20 pounds, which is a great deal even when factoring in the exchange rate (although we haven't looked at what shipping would be). Fans looking for the three Leaf-released full-lengths on vinyl are encouraged to check in with Beat Delete, a new-to-us concern that attempts to crowdfund vinyl releases of selected LPs.

Colleen: Internerds | Soundcloud | YouTube

That Was The Show That Was: Lilys with Prefab Messiahs | Lilypad | 15 May



[Photo: D. Riley] "God, I wish someone had told me parking in Inman Square is practically nonexistent," I shouted over the new My Bloody Valentine album as I rounded Cambridge St. for what felt like the tenth time. After a few misguided parallel attempts and a Costanza moment with my buddy, I struck vehicle stowage gold and booked it over to The Lilypad. Not an auspicious start, I thought, but I was seeing Lilys: this was going to be a good night, parking be damned.

Openers The Prefab Messiahs, in all their psych-pop glory, were just finishing up sound check as we walked in. They soon took the stage (read: designated end of the room) and delivered a tight, generously lengthy opening set. The act was a working psych-rock concern in the early '80s and are recently reunited. The formerly Worcester-based Prefab Messiahs remarked from the stage that they'd been busy recording new music with some current Lilys members helming the sessions in Boston. Despite having little knowledge of their music, I was drawn to their goofy charm. They were clearly a group of dudes who didn't take themselves seriously then or now, what with their self-referencing songs about psychedelic cars and orange rooms. Oh, and props to their outfits too, especially the lead guitarist's McDonald's manager-worthy polo shirt.

After a barely audible introduction -- somewhat unusual given chief Lily Kurt Heasley's characteristic fantastical logorrhea -- the current iteration of Lilys launched into its towering shoegaze classic "Claire Hates Me," and it killed. Thereafter was a brief yet satisfying (and quite loud) set that showcased the band's dizzying range. Crunchy noise rock cuts abutted '60s-inspired psych nuggets and trance-y motorik grooves. What initially struck me about their set though was the band's set-up. While shoegaze guitarists are typically surrounded by a vast array of guitar pedals, here was Heasley nailing the dense tones of his storied discography armed with nothing more than a fuzz pedal. Instead Lilys erected their wall of sound with keyboards and dueling guitars cooking up plenty of noise, coating the tiny confines of The Lilypad with layer upon layer of beautiful distortion. It was a fitting end to close the show with the undeniable and heavy "February Fourteenth" -- just as the band had done Tuesday night for its appearance at the Chickfactor 21 festival -- not only because it tested the structural integrity of the venue, but also because it reminded the assembled fans of the the Lilys' singular, circuitous sonic progression these past 22 years. "Have a beautiful evening," Heasley mumbled before disappearing behind the stage. After a traditional post-show burrito, I could safely say I did. -- Dillon Riley

Lilys: Facebook | Last.fm | MySpazzzz | Wikipedia

Selected Prior Lilys coverage:
That Was The Show That Was: Lilys | Lilypad | 25 May
A N D I F O R G O T A L O N G T I M E A G O H O W Y O U F E E L
20: Lilys | In The Presence Of Nothing
Today's Hotness: Lilys
Footage: Lilys' "February 14th" Live at Chickfactor | Sept. 22
YouTube Rodeo: Lilys' Amazing "YCJCYAQFTD," "A Nanny In Manhattan," "Baby's A Dealer"
YouTube Rodeo: Lilys' "Ginger" Live And Awesome
Coming To Your Local Bandstand: Lilys' California Mini Tour