The moon boys (oh God, do Iran plan to send people in space?) is Iran’s second album. Both were released on Tumult, a very exciting label based in San Francisco.  Unfortunately, I haven’t heard the first one, so I can’t really compare. However, this album is basically made lo-fi pop songs mixed with noisier music. Xinlisupreme going soft? A poppier My bloody valentine?

After a short introduction track sounding like regular (but good) 4-track recorded pop, Four armed star is white noise coming from the lightest Merzbow albums combined with sweet pop and great uuuuhhuuuuuuuuuhhhhhhhhhuuuuuuuuuuuuuhhhhhhh backing vocals. Great melody interrupted by technical problems. Locked up tight is much clearer with only the voice being a little distorted. Nice guitar noodling and a bit of electronics. Towards the end, a second guitar make itself heard with a fucked-up solo. Fading out should be a huge hit. Guitar reminiscent of the most high-octane tunes written by Blur, a second guitar more on the noisy side and vocalist Aaron Aites adopting a Ian Curtis-like croon. Joy Divison perverts Blur before being cum over by Iran label mates Skullflower. Grandiose. Butterfly knife is pop with a Keiji Haino wannabe on guitar and a Pavement chorus. We could go away is a nice ballad sounding as if Bonnie Prince Billy’s band had been hijacked by Jim O’Rourke’s laptop. On Wuthering heights, Iran use clarinet, trumpet, almost oriental guitar melodies and a very mystique sounding voice. Spiritual. The moon shines bright is all guitar feedback, reminding me of God (ie Jutok Kaneko) and some almost as important apostles of Japanese psychedelia. Album closer Long time now is a superb soft song that should feature on any indie-rocker “best of ballads” compilation. For street-cred only.

I mentioned a lot of bands. However, it fails to give Iran credit for their sheer originality. This is definitely one of the most unique and fascinating albums I’ve heard this year. Just as much as Xinlisupreme was last year. Fantastic. Get it or die.