![\"Sore](\"http:\/\/www.audiofemme.com\/wp-content\/uploads\/2014\/05\/IMG_9247_21.jpg\")
<\/a>About halfway through their set, someone in the crowd watching Sore Eros open for Pure X shouted, “Somebody call Pitchfork!” The comment didn’t have the mean-spirited air of outright heckling; it almost seemed as if it was meant as a compliment. The Northampton-based band could use the press; they’ve been releasing records since 2009 with almost no traction despite high-profile collaborators like Ariel Pink and Panda Bear. With a penchant for wordplay that goes beyond the palindrome of the band’s moniker and seeps into clever record titles like debut Second Chants<\/em> and 2011’s Know Touching<\/em>, it’s clear that Robert Robinson’s recording project started in pretty cerebral and intimate places. Enlisting\u00a0friend Adam Langelloti early on established Sore Eros as a collaborative duo, and Andy Tomasello joined as drummer. But lately, perhaps out of the same\u00a0restlessness that characterized Robinson’s earliest releases on his label Light Dead Sea, it seems like Sore Eros is searching for something bigger than the scratchy samples and whispered vocals that previously populated their work. The lineup now includes Jeff Morkeski and\u00a0Matt Jugenheimer, and as a five-piece they haven’t sacrificed any of the original intimacy or cleverness, just expanded on their sound.<\/p>\n That’s likely thanks in part to\u00a0old friends like Kurt Vile and Adam Granduciel of The War on Drugs. Both artists have had recent breakouts after\u00a0paying long dues and ultimately releasing the most intricate records\u00a0of their careers. November\u00a0saw\u00a0the release of Jamaica Plain<\/em>, a three-song EP that revisits material Robinson recorded with Vile while the two were living in Boston a decade ago. And Granduciel will produce Sore Eros’ as-yet-untitled\u00a0third studio album, which the band has been recording off-and-on in Philly for the better part of a year. Granduciel’s association with the project might be the extra push the band need\u00a0for\u00a0larger media outlets to finally take heed; at this point, at least the crowd at Baby’s All Right was convinced that the project is more than worth the attention. Sore Eros were unafraid to jam, letting chill guitar riffs unfurl in much the same way that Vile’s solos ramble on last year’s acclaimed Wakin’ On A Pretty Daze<\/em>.\u00a0Robinson is often self-deprecating in a humble-brag sort of way; it’s equal parts endearing and tiresome. But the building blocks are clearly in place for Sore Eros to have the kind of breakout that their friends have enjoyed, whether that means wooing Pitchfork or not.<\/p>\n