Today's Hotness: Funeral Advantage, Her Magic Wand, Break Up Flowers

>> We've persistently loved our idea of what M83 could be more than we actually loved M83 itself. The France-spawned but now LA-based project helmed by Anthony Gonzalez edged close to some sort of New Order-ish ideal (of an electropop band that irresistibly incorporated guitars into a dreamy sound) with its 2008 breakthrough Saturdays = Youth, and particularly its arresting single "Graveyard Girl." But Gonzalez had and has his own desires and agenda, and while these led him to great success with his succeeding albums, they never quite intersected with what we wanted the band to be. This continually crossed our mind in recent weeks as we listened obsessively to the flawless debut long-player from Boston dream-pop gigantes Funeral Advantage. The 10-song set Body Is Dead would seem to take "Graveyard Girl" as a stylistic jumping-off point to a certain extent, and the results are perfection. We discussed two preview singles, "Sisters" and "Gardensong," here in July. But the entire record is replete with dramatic and melancholy dream-pop the likes of which aptly soundtracked certain of our John Hughes-accompanied youths. Body Is Dead opens with the sparkling, perhaps Bloc Party-inspired "Equine," which whispers its secrets into delays and reverbs while a crisp beat propels the proceedings. "Should Have Just" similarly murmurs sweet nothings a la Mr. Okereke, but the tune is spangled by steady tambourine and clean, mesopheric guitar leads. The 10-minute-plus title track warrants special notice because it takes the rhythmic and melodic elements of the rest of the record -- not to mention the serene romance -- to a logical compositional terminus, successfully applying same to create a protracted, steadily spiraling composition of pop ambience worthy of the Kompakt series (someone please commission Axel Wilner for a 20-minute remix of same). Body Is Dead will rate high in our annual year-end list of best albums. The collection is available now on LP and as a digital download from The Native Sound here, and in a limited edition of 100 cassettes from Disposable America right here. Stream the entire, stellar collection via the Bandcamp embed below.



>> When we last wrote about Parisian dream-pop project Her Magic Wand here in these electronic pages in late 2014, the act had just issued "Everything At Once," a single from a planned LP. And while that LP has not yet materialized, the act is set to release later this month its Blossom EP. The short set leads with "Everything At Once," but perhaps more notably the A-side also features a remix of same executed by Grandaddy's Jason Lytle. Somewhat coincidentally, just hours after receiving an email about Blossom from Her Magic Wand mastermind Charles Braud, the Grandaddy reunion was announced; timing! Mr. Lytle's thoughtful and balanced deconstruction of the tune layers in a thin harmony vocal, a recognizable proclivity from the ol' Grandaddy tool set, and elsewhere erects tall walls of dense guitars in the mix. The final minute of the remix swells and burbles with electronic tones, elegantly interrupting the lock-step 4/4 of the original version to create something more nuanced and expansive. The b-side to Blossom features two tunes, "Draw A Line" and "Love Letters," and the entire collection will be released via Darla on 10" vinyl and as a digital download Sept. 18 in the USA (the EP will also be released in Japan and Europe via two other labels). Mr. Braud tells us a full-length is still in the offing, and will arrive Jan. 29. In the meantime, listen to both versions of "Everything At Once" via the Soundcloud embed below, and click here to purchase the collection from Darla.



>> While many in Portland hipster circles continue to champion slick "PBR&B" [Oh my god is that a thing. -- Ed.] acts and clean-cut rock outfits, the city’s DIY scene flourishes unabated in the underground. There a wealth of inventive and expressive guitar pop bands are peaking, achieving a fever-pitch of output, and drawing deserved attention within and without the scene. And there near the fore is the trio Break Up Flowers, whose seven-song, limited-edition cassette Man Made Path streeted Aug. 11 via Brooklyn's strong Mirror Universe Tapes. The matter-of-fact jam "Take Hints" was the preview single from the collection; its spare, gritty guitar and bass lines grind against a steady, tom-heavy beat as fronter Beth Wooten's calm vocals coolly warn "just give me my two cents, just take my some of my hints." Ms. Wooten's singing recalls that marking '90s greats such as Tsunami and the many projects of Mary Timony, as well as modern practitioners such as the mighty Speedy Ortiz – groups literate and thoughtful with a subtle temper and aggression that provide ready inspiration for young women rockers (and, at least in the instant case, by design: Ms. Wooten also heads Portland’s Rock ‘n’ Roll Camp For Girls). Further, Mac Pogue's laissez-faire production work situates listeners in the cassette's earspace like the best of the no-nonsense, realist gurus including Steve Albini. The result? Not only a promising debut from the kind of band we'd like to see more of, but also a hopeful sign of things to come as the reach of the underground extends toward the overground. Man Made Path is available from Mirror Universe now, and you can stream "Take Hints" via the embed below. -- Edward Charlton

Today's Hotness: Gondoliers, No Other, Lamps

>> It has already been one of Midriff Records' busiest years, but the little label that just might is not quite through with you yet. Next week the Boston- and New York-based enterprise issues the latest long-player from veteran Boston noise rockers Gondoliers. The album, Gondoliers' third and second of 2013, is titled Tonight's Whispering, and it is filled with the trio's characteristic sinister and off-kilter Sturm und Drang, a singular sound that situates the band along a strange, fantastical axis running between The Fall and Jesus Lizard. The album's titular whispering is elusive, but the album cut "Mackerel Hill" comes closest, and is a rare spot of calm within the otherwise convulsive and electrifying set. The song stutters along within intermittent gravity, shepherded by minimal percussion, a slow, staccato series of jarring and bending guitar chords, and plonking, round synth tones. Above the measured din, fronter John Manson proffers a Slint-styled spoken word incantation. The pace and posture of the song make it stand out among the rest of the music comprising Tonight's Whispering, which Midriff releases Tuesday as a digital download and vinyl LP (the vinyl is a co-release with 100% Records). You can not yet order the record, presumably because the Midriff people are still trying to, like Gary and Wyatt from "Weird Science," hook up the doll. But we think if you go to Midriff's Internet Home Page by mid-week, you should be able to find a buy link there. Fans would be well advised to mark down Nov. 25 in their date books, as that is when Gondoliers will play a record release show at Charlie's Kitchen in Harvard Square; there are more details about the show right here. Gondoliers only recently returned to Massachusetts after what sounded like a very successful campaign touring Europe, bringing the evil robot basement grooves to the people. All of Tonight's Whispering is streaming at Soundcloud here; we've embedded the creepy "Mackerel Hill" below to give just a little bit of the taste of the bass for you as you get up and dance at the LQ.



>> If you are launching a new band and have to pick a sonic square one at which to start, we think you could do far worse than staking your claim to a piece of the scene by emulating Wild Flag. Which is pretty much where we find the fledgling Philly-based indie rock trio No Other, at least at times, on its nimble debut EP, I Believe In Werner Herzog. The outfit, fronted by notable jill-of-all-trades (guitar girl, DJ, show promoter) Maria T, takes its name from an obscure Gene Clark LP. But instead of the indulgent excess of the Byrds co-founder's career-derailing album, No Other trades in stylishly lean post-punk. That Maria T's voice can be favorably compared to that of Velocity Girl's Sarah Shannon (and, yes, Mary Timony's) makes the Philadelphia act's EP particularly easy on the ears. The collection was recorded at Sex Dungeon in Philly, which indiescenti will recall is the facility responsible for awesome records from Fat History Month, Pile and Speedy Ortiz. Included in the No Other offering are three songs, which are available for free to those willing to give over their email address. The promo track "Destruction Song" makes for a tidy statement of intent. Plenty of fuzz on the guitar, ample fizz from behind the drum kit, and burly bass conspire to give the song substantial magnitude and direction, although the vocal interplay in the pre-chorus really makes "Destruction Song" take off. EP opener "Break Away" thrives via a long skein of fuzz bass that goes Hulk during the song's dense choruses, and the final track "DSSN" propounds the set's most danceable beat. In sum, it's a very fine start for a very promising act, and we're eager to hear more. Stream "Destruction Song" via the Soundcloud embed below.



>> Minimal electronic music: we feel like our inbox should be filled with it, a new full inbox every day. Not because our appetite for it is vast, but because 10 years ago we were listening to scads of compelling European electronic stuff, and it seemed like it was going to become a "thing." And we suppose it did, although largely the sort of excellent music that arrives in America on labels like Kompakt and Morr, well, still comes from overseas, and the present wave of American EDM that has supposedly gone mainstream, well, it still seems too removed from indie rock blogs like this one. This is in part because what we typically encounter seems descended from house and techno, so dance music as opposed to head music. And the electronic music we favor, to paraphrase something Mr. Riley wrote last week, aims directly for the head. Which is a long way of introducing Lamps, the nom de guerre of Chicago-based electronic producer, mixer and engineer Keith J. Nelson. What may or may not be his debut offering under this particular moniker is a fine pair of pulsing, droning compositions, "Alpines" and "Cooscoos." The tunes are quietly kaleidoscopic, at peace with their own shifting layers of synth tones, drones, acoustic guitars and beats. For all of its focus on texture and depth, Lamps' songs are notable for their deceptively intricate rhythms. "Alpines" breaks its reverie just before it enters its final minute, hitting a full stop before resuming its hurried waltz time and augmenting it with fat electronic snare cracks and kick drum. "Cooscoos" is suspended along a mesh of time signatures that coalesce under a modulating, mid-range hum and some high and lonesome melodica. If indeed this is Lamps' debut, it is an auspicious one, and even if it is not, it is well worth you time and attention. Both songs are available as a paywhutchalike download via the Bandcamp embed below. Mr. Nelson's musical CV shows he has worn a lot of musical hats (not literal musical hats, although that would be cool, too) in Boston prior to heading out to Chicago, including serving as one part of a duo that ran the now apparently defunct concern Bedroom Singles.