Sometimes it’s hard to move on, even if it is for the best. Such is the case with my obsession with Pavement. While a small part of me hopes that one day they will get back together, I have finally accepted that this probably will never happen. So what’s a girl to do when her favorite band breaks up? She clings desperately to whatever shreds remain. Luckily, these "shreds" are Stephen Malkmus’s new band The Jicks and Scott "Spiral Stairs" Kannberg’s latest project, Preston School of Industry, a.k.a. PSOI. (This title may sound familiar to Pavement fans who remember their song titled, "For Sale the Preston School of Industry.") Though both were co-founders of Pavement, when it came time for their solo debuts Malkmus clearly had an advantage due to his fame as the frontman for the band. Therefore, while there was a good deal of buzz surrounding Malkmus’ solo debut back in February, PSOI’s freshman album was released somewhat quietly in August. Nonetheless, after its release, this album has received solid reviews by critics. As if Kannberg has not been busy enough recording and touring with PSOI, he also finds time to run his own record label, Amazing Grease Records.

So what is the "Preston School of Industry" anyway? According to Kannberg, he named his new band after a reform school for boys near his hometown in Stockton, California. Despite the somewhat bitter breakup of Pavement and his estrangement from Malkmus, a childhood friend, Kannberg has kept his sense of humor. He named the debut album All Must Pass Gas as a play on "all things must pass."

In addition this full-length album, which was released on Matador Records, PSOI also released an EP on Kannberg’s label entitled "Goodbye to The Edge City." PSOI is not Kannberg’s first exposure to songwriting, and this album is clearly remiscient of the songs he wrote for Pavement, especially "Kennel District" and "Date With Ikea." In particular, "Falling Away" and "Solitaire" capture the upbeat element of the record–similar to "Troubbble" on Malkmus’s record, minus any ultra-obscure references. However, Kannberg still has issues to work through with regards to his former band. The record opens with a track called "Driving the Whale Bones Home." This song has poignant tone as it reflects on life on tour in the final days of Pavement, as Kannberg sings, "driving the whale bones home again / 20 hours to go / they played their final show... of a lifetime / does it hurt you to feel this bad?" Unlike Malkmus, Kannberg’s lyrics are much more direct and personal.

Before I went to see PSOI in concert I was little apprehensive that Kannberg would be depressed or totally bitter. Interviews with singer often center on the breakup of Pavement, for which Kannberg seems to blame Malkmus. In particular, he cites that in the end, Pavement was no longer "collaborative" and that the final album Terror Twilight should be looked at as Malkmus’ solo debut. As a result of my research, I was worried that Kannberg not be up to performing and touring with his new band.

Luckily, this was not the case.

The show, which was on November 23 at the Troubadour in West Hollywood, showcased two opening acts–Carlos, a band on the Amazing Grease label, and The Shins.

The Shins were particularly enjoyable to watch, and they sounded like a mix of Guided by Voices and Sunny Day Real Estate. Their debut album, "Oh, Inverted World," came out earlier this year under the Sup Pop Label. Although PSOI didn’t come out until nearly midnight, they were definitely worth the wait.

Now, it is impossible not compare and contrast PSOI and the Jicks. One difference that is immediately apparent is that Kannberg still does not see himself as the star of the show. He set up his own equipment and played the whole set from the corner of the stage, placing bassist Dan Carr, formerly of Creeper Lagoon, in the center. One thing that made the show particularly memorable was PSOI was willing and even happy to play Pavement covers. Kannberg opened with "Your Time to Change," off the Major Leagues EP, and played "Coolin’ By Sound" near the end of the set. Speaking from experience, your chances of hearing a Pavement cover at a Stephen Malkmus show are slim to none.

Another striking difference between the two shows is Kannberg definitely lacks the sarcastic indifference that exudes from Malkmus. While this quality is very endearing in Malkmus, it is a nice change of pace to go to a show where the band actually seems happy that you showed up to see them. Also, while Malkmus has been coming out shell performance-wise, Kannberg still seems more comfortable on stage. When it came time for the encore, Kannberg and his band did not expect an unending flood of applause before coming back on. When they returned, they played a new song called "Time Out For Fun (T.O.F.F.)," for which Kannberg elicited audience participation. Once again, this was a striking difference from a Jicks show, where Malkmus mocks audience members that get too riled up at the show.

While Pavement will always be my favorite band, Scott Kannberg definitely deserves credit keeping the spirit of Pavement alive via Preston School of Industry. Nothing can compare to the amazing songs that resulted from the chemistry between Malkmus and Kannberg, but there is something comforting about the strength of both of their solo projects.

The two projects go in completely different directions, but each capture something quintessential about Pavement. In some ways, the pair reminds me of divorced couple that split their belongings–Malkmus kept the obscure intellectualism while Kannberg got the joviality that is captured in Pavement’s videos.