Back on Monday night, I checked out The Raveonettes’ show at The El Rey Theatre. Although I like their latest album, Observator, more than some critics did, I admit I mostly went to check out opener Melody’s Echo Chamber, my favorite new band of the moment. The young band came out quietly, two girls and two guys dressed in paisley apparel befitting their swirling psych sound, akin to Broadcast plugging in with Tame Impala, whose Kevin Parker produced their excellent self-titled record (as well as his own new album, the amazing Lonerism, seriously check out both of these albums now if you haven’t yet). They played most of their sole record, starting with standout “Endless Shore,” which reminds me of Lush as much as any other artist, putting them firmly in line with classic shoegazers. Even without a drummer, piping in those titanic drums found on the record, the quartet played through most of the record pretty flawlessly, once stopping a song when a loop didn’t come in right or something like that. While witnessing the music press try to make sense of this hot new band, I’ve realized that a lot of times describing a new female-fronted band becomes an exercise in naming other well-known female-fronted bands from the last 20 years — there are only so many, given the tendency for female artists to be presented as solo artists society’s favoring of male-fronted bands — and that tends to be limiting. Melody’s Echo Chamber are a very good band; they do sound a bit like Broadcast and Stereolab, and if you have a problem with that, you’re nuts.