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A great concert changes how you listen to the bandâs music. All of a sudden, when you play a song, it comes alive in a way it never did before. And thatâs what happened when I saw The Head and The Heart. When I listen to âWinter Songâ by Head and the Heartâthe moment the gentle yet powerful voice of Charity Rose Thielen comes in (a minute 19 seconds into it)âI hear the wild mix of enthusiasm and wonder of the crowd that day. When I watch this video of Josiah Johnson playing guitar in a garage, I also see him alone on the stage, just after saying, âCan you believe they didnât have cups backstage?,â taking a shot from the bottle, and singing the most intimate song of the night. And I still canât listen to âRivers and Roadsâ without getting chills.
That night, The Head and The Heart had people clapping at their first song, âShake.â But they didnât have that much energy. A few songs in, they admitted they were a bit tired from Halloween after having stayed up so late. âMakes for a rough day,â explained Jonathan Russell. Johnson tried to run around the stage clapping for one of the next songs, but it wasnât the right night for that.
When they played âWinter Song,â the more mellowâand betterâpart of the concert began. With the help of Kennyâs piano-playing and Tylerâs drumming, the music still felt loud and active. But the Head and the Heart proved that you donât need to make a huge scene on stage to have a powerful show. There were no rapidly changing lights, background visuals, or passionate speeches about loving Boston. And there didnât need to be.
The concert, from this point on, was intimate and moving. When they played âRivers and Roads,â many people swayed back and forth with arms around each other. And during the encoreâthe classic moment when a band leaves the stage, the lights stay off, and after five minutes of applause, makes another grand appearanceâthey dedicated a song to a couple who married a week ago. âThe world's just spinning / A little too fast / If things don't slow down soon we might not last. / So just for the moment, let's be still,â they sang. And during the entire song, except for swaying back and forth with each other, the crowd did remain still.
They ended with the song, âDown in the Valley,â a soft song with vocal harmonies the crowd either knew or learned that day. Itâs a song perhaps about leaving, about trying new things, about a longing for some kind of stability and peace in a forever changing world. Or maybe about finding that stability down in the valley with whisky rivers. Whatever the meaning, the last words of the songâand I canât really explain whyâseemed perfect for the end of the show and still resonate with me after the show. âLord have mercy on my rough and rowdy ways.â
Harvard Square isnât just a mecca for shopping, dining, and cute coffee shops â itâs also brimming with record stores, all within short walking distance. For the next few weeks, Iâm going to be exploring the area in all its vinyl goodness. Why has Harvard Square managed to keep so many record stores afloat? How do these shops distinguish themselves from each other? Does the area cover all the bases for avid record hunters, or are there gaps in the market? I donât have any answers for you right now. But hopefully, by the end of this stretch, Iâll be able to provide some insight into why this stop along the Red Line has been so attractive to vinyl sellers and consumers alike.
Letâs start with a place thatâs already got it all figured out: Planet Records. From the minute you step inside, itâs apparent that Planet Records truly understands the vinyl buyer. This store has succeeded in âbrandingâ itself like a boss, and all other record shops should take note. Walking into Planet Records is, quite literally, like roaming onto a planet made of records, and the shop is situated just far enough from the hustle and bustle of the heart of Harvard Square that it can adopt an eclectic, independent, and âon-the-fringesâ mentality. In early 2012, Planet Records was doing so well that they moved from a tiny basement to their current address on 144 Mt. Auburn St., just a few blocks away. With this clean and spacious new location, it doesnât look like theyâre going anywhere any time soon.
Not to anyoneâs surprise, the store is well stocked with used records from all the normal genres â rock, R&B, jazz, folk, classical, and electronic â as well as more recently released (but still used) records. It also offers a sizable collection of CDs, DVDs, artist box sets, and videos. Where Planet Records really excels, however, is on the experiential front. The interior decoration is colorful, quirky, and even comedic at times. Certificates from the âUniversity of Vinylâ bestowing a Bachelor of Record Collecting degree? Check. Giant poster of a hamster? Check. Thereâs even merch stashed underneath the CD bins if you want to rock a Planet Records shirt on the daily.
While flipping through the storeâs inventory (and simultaneously checking out the wall deco), I happened upon the record Tripper (2011) by Fruit Bats, an indie folk-rock band that has been making music for over a decade but hasnât quite gotten the attention they deserve. With its soft, rambling tunes, Tripper isnât an album thatâs trying anything terribly new in the folk world. After a couple listens, though, the jaunty acoustic guitar, tinkling piano melodies, and occasional synth flourishes start to become infectious. Frontman Eric D. Johnson, who had a brief stint with the Shins from 2007 to 2011, clearly has a knack for writing pop hooks and breezy vocal lines.
And Planet Records clearly has a knack for shaping the vinyl shopping experience. The shop has managed to adjust to the modern day and age without losing the charm of an old-fashioned record store, striking a nearly perfect balance between sophistication and tongue-in-cheek humor. (Oh, and major bonus points for their epic write-up of the time Courtney Love visited their store and dropped $100 on a Gregorian Chant box set earlier this year.) Planet Records is a testament to the potential for record stores to be so much more than just a dusty time capsule, and itâs this type of innovation thatâs going to drive the vinyl industry forward â against all odds.
There was a lot going on the night of Holy Ghost!âs first headlining show in Boston, to say the least. The Red Sox were battling for the World Series championship, mega-rapper Drake was in concert over at the TD Garden arena, President Obama had spoken at Faneuil Hall earlier in the day, and of course, Halloween was right around the corner. But none of the above stopped a young, PBR-guzzling crowd from gathering at Cambridgeâs The Sinclair to catch electro-pop duo Holy Ghost! on Wednesday evening. Some even arrived in costume â glammed out in tutus, glitter dresses, colorful tights, and other zany getups â perhaps in the spirit of Halloween, perhaps just to match the synth-soaked vibes of the Brooklyn band. Â Â Â Â
Holy Ghost! is billed as a collaboration between Alex Frankel and Nick Millhiser, who last month put out the album Dynamics as a follow up to their 2011 self-titled debut. With their crisp, 80s-inspired synthpop, youâd expect the pair to recreate their sound on stage from behind a computer, DJ style. The audience came to dance, and that would have easily gotten the job done.
Instead, Holy Ghost! rolled onto stage with a full six-person band and so much equipment that band members had to watch their step when moving from instrument to instrument, lest they knock something over. Not to any detriment, though â this gave the show a casual, jam-session feel that suited a band influenced by disco but not at all wrapped up in the eraâs showiness (despite the platform of multi-color lights at center stage). It was all about the community, and the infectious pop streaming from the stage certainly brought on the dancing and good times. Â
The bandâs hour-long set was unsurprisingly rife with upbeat crowd pleasers, including favorites from both Holy Ghost! and Dynamics. Although it took a few songs for the crowd to really start grooving, the opening stutter-stop to âDo It Againâ elicited cheers and tangible excitement. Frontman and singer Alex Frankelâs solid vocals, the occasional robo-voice droning in the background, and slick beats took hold of the night from then on, continuing with the newer âBridge and Tunnelâ and âIt Must Be the Weather.â (âThis song is not about baseball,â Frankel joked before launching into the latter.)
Adding yet another band member on stage to man a theremin, Holy Ghost! returned for an excellent encore with âDumb Disco Ideas,â the catchy eight-minute single off Dynamics. This funky, slow-building track was only more hypnotizing when performed live, closing out the show with its sing-along chorus and buoyant splashes of synth. The band â exchanging laughs with one another mid-song â seemed to be enjoying themselves just as much as the energized crowd, and it was this type of laid-back ease that encouraged everyone to open up and let loose.
âYouâre winning 6-1 at the top of the eighth⊠Congratulations!â Frankel announced before bidding his last thank you and exiting the stage with his crew. World Series champs or not, though, the Boston crowd was all smiles. There was a special feeling of unity in the air, and it really had nothing to do with baseball.
Laidback Luke. The name is like Jack Sparrow; upon hearing it you get shivers. Youâre struck by a feeling of awe and admiration, captivated by the images that pop into your head at the sound of those three syllables. Names donât build merit and prestige on their own; the image of who they represent reflects those personâs deeds and qualities. Letâs face the facts, Shakespeare (and more specifically Juliet, had it right). âWhat is a name? That which they call a rose by any other name would smell as sweet.â In Julietâs eyes, Romeo represented desire; he was associated with love. In the eyes of the electronic dance community, Laidback Luke represents talent. He is associated with having basically perfected the art of mixing.
Hands blurry because they move so fast, Laidback Luke has gained the respect of the entire dance community for his ability to seamlessly mix songs, genres, and everything in between. Festivals want to showcase him, labels want to sign him, and clubs want to book him. Heâs collaborated with some of the biggest producers and artists out there: Swedish House Mafia, Steve Aoki, and Chuckie. Heâs performed on the main stage at Ultra Music Festival and this year he was ranked the 31st best DJ in the world. He has proved countless times that he has what it takes to rock any sound system, and luckily enough, partiers in Boston were able to catch him performing at The Estate on the 24th. There seemed to be a general agreement that this would be a night to remember, and it truly was.
Young Colombian talent Moska warmed up the crowd, preparing them for the massive show to come. Itâs always difficult to open for a big name, yet Moska successfully controlled the dance floor with a continuous spiel of gritty, buzzing bass lines and fat electro drops. By the time Luke came on stage, the crowd was chanting and cheering, pressed up as far as they could be against the stage. The setup for the performance was different than most nights: foam cannons and various lasers had been set up, an indication of the mayhem that was soon to follow.
The 31st best DJ in the world kicked things off with a remix of "SexyBack" by Justin Timberlake, and the crowd absolutely roared when they heard the classic bass line hook. The lasers went haywire, foam shot into the crowd, and The Estate thundered with the combination of stomping feet and blaring speakers. It was one of those moments in life that sends chill up your spins, and you canât help but grin; seeing all these beautiful people coming together to enjoy music is something special. Differences set aside, everyone is there in that specific moment of bliss. Itâs one of the greatest feelings in the world, and in the fact that the conductor of such a happy symphony was Laidback Luke made everything all the better.
Thereâs always two sides to DJing: song selection, and technical skill. You might have the best mixing skills in the world, but if you pick awful songs, youâre sure to lose the crowd. On the reverse side, if you know the perfect song but canât transition into it, the dance floor will also empty. Bridging the two is quite difficult, especially when the songs you choose in the movement span various genres: hip-hop, house, dubstep, and trap. But the people of The Estate did not need worry that night. They knew they were in good hands. Literally.
In one of the most dynamic sets to grace The Estate, Laidback Luke let loose banger after banger, transitioning between genres with minimal effort. He rocked the crowd with Diplo and GTAâs monster collaboration "Boy Oh Boy" and then mixed into a throwback sing-along everyone loves, "Milkshake" by Kelis. Every song transition blended smoothly, and every time he would pull the fader Laidback Luke would surprise the crowd with an unexpected hit. His remix of "Heartbreaker" by MSTRKRFT and John Legend had everyone singing along, as well as his sampling of Axwellâs remix of "In My Mind" by Feenixpawl and "We Are Young" by Fun. The song selection was on point the whole night, and it was refreshing to hear a combination of both underground hits and current euphoric anthems.
A high-point in the night was when Laidback Luke played Swedish House Mafiaâs farewell song, "Donât You Worry Child," which evoked screams of joy and claps. Confetti shot into the air and everyone jumped in unison, celebrating the night with popped champagne and foam. Just a few minutes later, the Mix Master cued up the subs and let loose "Mercy" by Kanye West and Big Sean, sending a cascade of low bass waves into the already riled-up crowd. Immediately afterward, everyone was treated with Lukeâs own production Turbulence, a collaboration with King of Crunk Lilâ Jon. At the exact moment that the beat dropped, a neon robot man appeared in the upper balcony cage and sprayed the crowd with foam. It was a mix between classy Project X and Star Wars, a crazy party that spanned three hours. Absolutely no one wanted it to end, and by the time Laidback Luke played his last song and said goodnight, people were already discussing the next time theyâd be lucky enough to fall under his musical spell again.
Remember the scene in Jurassic Park where poor little Timmy watched the water in his cup ripple? Courtesy of a T-Rexâs thundering footsteps, scientists and Steven Spielbergs alike would explain this phenomena as the ripple effect. Now suppose Timmyâs cup is full of beer, (of course heâs grown to 21 years of age since escaping the island) heâs standing before the main stage at House of Blues in Boston, and his beer is getting sloshed from side to side, despite the fact that that there are no dinosaurs around. Courtesy of the DJ on stage and a massive sound system, bass heads would call this The Rusko Effect. Many partiers were lucky enough to experience this ear-shattering musical phenomenon on Tuesday, as bass master Rusko took to the stage at House of Blues for his Lift Me Up Tour. Joined by supporting acts Roni Size and Joe Bermudez, Rusko definitely left his mark on Boston, giving bass fans a wild night to remember.
Joe Bermudez kicked the night off with a standard 4x4 tempo, warming up the crowd with a multitude of EDM hits. His opener, a remix of "Move for Me" by Deadmau5 and Kaskade, was a perfect start to the evening, befitting of the low lights surrounding him on stage. Progressing into more upbeat tunes, Bermudez spun a remix of "Invisible" by Skylar Grey and the Otto Knows remix of "Hide and Seek" by Imogen Heap, having the whole crowd sing along. The great thing about Bermudez's performance was that he achieved a balance of euphoric big room house with dirty electro drops, including popular songs such as "Alive" by Krewella and "Beam Me Up" by Cazzette. The peak of his set came when he let loose the current Beatport-topper "Sound of the Underground" by powerhouse Nicky Romero, which left the whole venue swaying left and right. Mr. Bermudez closed his set with "Stay the Night", a collaboration between German producer Zedd and Paramore lead-singer Haley Williams that left fans eager for the next wave of music.
Next up was Roni Size, a British drum and bass artist from Bristol whoâs set literally shook the stage. Feet stomped, heads rolled, and drinks moved. Literally, moved. There wasnât an inch of the venue that escaped the pulsing sound waves. Pushing the tempo to 160 beats per minute, Mr. Size and his MC treated the crowd to various smashing songs like "Superstar" by Crissy Criss & Youngman and "Take You Higher" by Wilkinson. Even though many people find MCs and hype men annoying, Mr. Dynamite, Roni Sizeâs MC, interacted with the crowd just the right amount, telling them when to jump and cueing them to move their hands side to side in the air. Mr. Size unleashed many more bangers onto the crowd, playing songs by British band Chase and Status such as "Machine Gun" and "International." However, the wildest reaction from the crowd came when Roni unleashed "Sweet Shop," by Doctor P, causing the crowd to morph into one jumping entity that fist-pumped to the deep kicks and crisp snares of Doctor Pâs anthem.
By the time Roni Size finished and Rusko was about to take the stage, fans were in a frenzy. Many took up to chanting Ruskoâs name, demanding he come on stage while the House of Blues stage crew set up Ruskoâs DJ platform. The place buzzed with anticipation, and eventually the crowdâs impatience was rewarded; lights dimmed, people screamed, and the British dubstep artist cued up a notoriously deep opening tune that blasted through the woofers in sync with a foam cannon. Ruskosaurus Rex had arrived. Record after record smashed into the crowd â it looked more like a riot than a crowd at a concert. Rusko had created his own mosh pit in Boston and he commanded the audience like marionettes, hypnotized by the beats he controlled. Playing many of his original productions such as "Somebody to Love" and "Rubadub Shakedown," a collaboration with Rod Azlan, a very animated Rusko danced up on stage in his booth, moon walking and grooving along as he pleased. A dynamic DJ, he has the talent of showing the crowd that he is enjoying the music just as much as they are. Itâs always a mood killer when the DJ just mixes and looks bored, yet Rusko delivered his energy to the crowd and the crowd fed right off of it. It was a marvelous set, rattling ear drums and pumping adrenaline, creating that feeling of bliss that everyone loves. If bass music could leave a footprint in the mud, this is where it would be.
âThey gave everyone a camera to appreciate the same moon,ââ sings Travis Alexander from Ghost Thrower in one of their newest songs, âApple.â. To all the Instagram and Facebook fiends out there, heâs making fun of us. âEveryoneâs trying to take the same picture and get a million people to like it,â he explains. Ghost Thrower, a band for over two years, have grown up with this album. Donât worry, theyâve retained their punk rock sound and even the occasional teenage angst. But from honest reflections of the drinking and party scenes to commentary on the loneliness of digital popularity contests, the songs now have more depth. With their new self-titled album, Ghost Thrower have redefined themselves.
Ghost Thrower will be playing at Great Scott, Travisâs favorite venue, on November 18, 2013.
Recently, I had the wonderful opportunity to speak with Travis and understand some of the stories, personalities, and meaning that went into the newest album.
Nitesh: How would you describe your music?
Travis: The closest thing I can think of is Experimental Pop.
Nitesh: I have you newest single âHalloween in Brooklynâ stuck in my head. Does it refer to a particular moment? Did you ever crawl the whole way back home again?
Travis: [laughs] Itâs actually just about a night I did have a few years ago in Brooklyn but itâs also almost giving the people what they want. I feel like Brooklyn is still full of these pretentious kids who just do a lot of drugs and get fucked up all the time. If you do drink, youâve had that night. If you donât drink, that might be the reason youâve stopped having that night. Itâs basically just about having a few too many.
Nitesh: How does Halloween in Brooklyn compare to Halloween in Boston?
Travis: Well you know itâs funny, every Halloween, thereâs been something going on. Last Halloween, there was Hurricane Sandy. The year before that, when I wrote the song, there was a freak blizzard. I havenât experienced a good Halloween in Brooklyn yet. I donât know if there is one. In that respect, Iâll say Boston kills. Iâve lived in Boston for eight years, so Iâd say Boston is my home. Boston is better for all holidays, all sporting events. Itâs just a better city. People from Boston love being from Boston. They love coming together. Here [in Brooklyn], itâs just a different story.
Nitesh: Describe your best night in Boston.
Travis: Iâve had so many! They all kind of make me sound like a degenerate, but Iâve been kicked out of the Model more times than I can count. I couldnât even begin to tell you. My last band, Therefore I Am, did some reunion shows last December. We broke up and got together three years later to just do those shows. Those two nights were probably the best nights Iâve had.
Nitesh: What about with Ghost Thrower? Whatâs your favorite venue to play in Boston?
Travis: Great Scott. Hands down. Itâs got a good location, your friends always come out. You can always count on it to be a good time. The people who work there are super nice. Itâs not a very huge place, there arenât many places to hide.
Nitesh: Howâs it feel, as a band, to release your newest album?
Travis: It feels awesome. I think our first release was something I did in the studio myself. I was transitioning between two bands and it was very angsty. I feel like a lot of people thought we were just the angsty pre-teen punk band. And Iâm really happy to put this out, to put a new spin on it. Hopefully people get a different vibe from us. Itâs kind of like a fresh start.
Nitesh: Is there any sort of theme that runs through all the songs on the album?
Travis: I mean thereâs a love song on the album, but it pretty much goes out to all the kids who think theyâre too cool to do the things they used to do. I feel like thereâs a very big âtoo coolâ thing happening. And these songs let you know that youâre not too cool. And if youâre singing along to this, youâre kind of making fun of that. Itâs supposed to be kind of an ironic theme throughout. When I use the word âyou,â Iâm speaking to the quintessential pretentious hipster. And itâs cool because I am one. Iâm not talking down, I just think everyone needs to realize, weâre all the same.
Nitesh: Whatâs your favorite track on the newest album?
Travis: I think I want to say âApple.â Itâs probably the quintessential piece for poking fun at the current generation of 20-something who are more interested in taking pictures of their food than eating it.
[laughs]
Trying to show people that they are living an awesome life instead of just living it. Everyoneâs trying to see who thinks they are cooler than they are. It goes back to what I was saying earlier. Weâre all the same. Itâs all just a popularity contest amongst people our age now.
Nitesh: What are three things most people donât know about you?
Travis: I am actually really responsible and hard-working. A lot of people assume Iâm a party animal, which I am, but I am very capable of separating the two. I am huge into conspiracy theories. And even though I seem like a bummer through music, I want to live forever.
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Outside of singing, playing guitar, and writing songs for his band Ghost Thrower, Travis Alexander owns and runs three unique small businesses. Using wood that often comes from lumber yards around Boston, he creates custom guitars and sells them through his business Venture Guitars. He re-straps vintage watch faces through his business Throne Watches. And he runs a gift-giving service calling Awesome Boxes, wherein he helps choose the perfect collection of items for a gift-wrapped mystery boxes.
Slow Focus, the title of Fuck Buttonsâ third and most recent album, is an apt descriptor of the state a listener has to be in to fully enjoy their music. Â It requires patience. Â You have to let it wash over you in waves, slowly build up and then fade away. Â In a live setting, itâs easiest to enjoy Fuck Buttons if you isolate yourself from the rest of the audience and adopt a meditative state of mind. Â The audience at Fuck Buttonsâ recent show at the Sinclair head-bobbed and danced slowly, each person absorbed in his own world. Â At least one guy had his eyes closed for almost the entirety of the set. Â The songs transitioned smoothly into one another, with intros and outros blending to create one long drone suite. Â Slow focus.
A two-man British outfit composed of Andrew Hung and Benjamin John Power, Fuck Buttons formed in 2004 as a futuristic electronica project that cited Mogwai and Aphex Twin as influences. Â After putting out two albums in two years, the duo took almost four years to release Slow Focus. Despite the fact that their music resides far to the left of the pop music spectrum, two of Fuck Buttonsâ songs were used in the opening ceremony of the 2012 London Olympics, alongside British heroes like The Rolling Stones, The Clash and David Bowie.
Hung and Power were clearly immersed in their own music, with Hung pausing his slow hip-wobbling only to take quick pulls from a beer. Â The two stood across from one another, each man adding his own sounds to the mix. Â Their absorption in their music matched the similarly intent vibe in the audience. Â In fact, neither man said a word to the crowd until the final âThank you.â Â This wasnât for rudeness or lack of interestâHung manned the merchandise table before and after the show, where he chatted with fansâbut because interacting with the audience would have broken the spell.
âJesus Christ, girl, what are people gonna think? When I show up to one of several funerals Iâve attended for Grandpa this week. With you. With me. Someoneâs gotta help me dig.â So howled Joshua Tillman, also known as Father John Misty, on a dimly lit stage at the Somerville Theatre last weekend and itâs been stuck in my head ever since.
The lights were kept low for almost the entire performance, switching from red to blue hues and then going soft to bathe the singer in pale yellow light. The aesthetics were orchestrated to create the perfect atmosphere for his one-man show. His acoustic sound had a much different effect on me than did his album Fear Fun, the first and only that Tillman has released under the moniker Father John Misty. I enjoyed the layered sounds and harmonies of that record, but wasnât especially moved by his vocals. However, on stage his voice cut through me like a knife. Deep and rich, it lingered on a single word for several beats longer than expected, and sometimes slipped into a sweet falsetto that had the audience crowing. I was entranced by its power and caught up in the stories and fragment phrases that comprised his lyrics.
Father John Misty made a point of making his performance unconventional. Instead of using a traditional opening band, he was prefaced by a comedian named Kate Berlant. He also came onstage wearing a giant rabbit head. I found some of his stunts unnecessary, such as when he poured an overflowing glass of wine from a bottle on a table next to him and then drank instead from a plastic water bottle. I just thought that he didnât need it- his dry sense of humor that came out between songs was enough. However, I did appreciate when he wryly played a few songs behind a giant cardboard cutout of an iPhone (I still have a pink razor flip phone).
All in all, I found the performance hypnotic at the time and haunting afterwards. I liked Father John Misty well enough from his album although I wouldnât have necessarily called myself a fan, but Iâve been putting on his music first thing in the morning when I wake up every day since I saw him perform live. Those lyrics and that voice didnât leave me lightly. He certainly seemed like someone who was uninterested in fitting the mold (just check out his website), and Iâm very curious as to what heâll do next.
I first heard of Dar Williams at an open mic at Club Passim in Harvard Square. I was in the middle of an intense infatuation with Joni Mitchell and fresh out of a summer playing violin in a folk band in Colorado, and I was experimenting with songwriting and exploring the local music scene. One woman's performance stood out especially to me that night; an ex-opera singer who told us that she was just learning to play the guitar. Her teacher had given her two songs by an artist named Dar Williams to play: "Iowa" and "If I Wrote You." I had never heard of the songs, but something about the haunting narrative of the verses stayed with me all the way home and when I walked in the door I immediately began to research the woman who wrote them.
As I listened to more of Dar Williamsâ music I saw why I was so drawn to her. Like Joni's, her songs are stories, with lilting details carried by folk-pop melodies. She talks about everything from sex to politics to religion to babysitters. I was very curious as to how her storyteller vibe would translate on stage. Some of the songs on her albums really moved me, but others seemed to pack so much detail that the magic was lost. You can get a fairly good sense of how some artists will be live from their recordings, but she was really a mystery to me.
At the show, Dar was hilarious- she probably had the best stage banter of any musician that I've ever seen. When a small child started whining insistently (and very audibly) in the back, she suggested that the parents bring him downstairs to the green room where there were gluten-free lemon cookies and "plenty of booze." Â Â Accompanying herself on guitar, she carried the melodies on a voice that managed to be both silvery and gritty at the same time. The stories that she told between songs put her writing in context, because they were all told with attention to detail in very interesting ways. She talked almost as much about texture and color and smell as she did about dialogue and people.
She was supported by only one other musician- a keyboardist who also sang some harmonies. Despite the bare stage, Dar kept the show upbeat with many energetic songs and a running commentary. The audience (about a third in their twenties, most of the rest in their sixties) seemed to love it, singing along and laughing at all of her jokes (it was hard not to). As for the translation of the storyteller vibe- I thought that she nailed it. With her conversational tone and vibrant personality, I felt as if I knew her personally at the end of the night. It was almost like going to a poetry reading rather than a concert - something that anyone who has an interest in songwriting should experience at some point.
I can't end this article without mentioning the opening act, because they were phenomenal. The Rebecca West consists of Cameron Denzen Hammon (vocals), her husband Matt Hammon (vocals, guitar) and her brother Alex Denzen (vocals, guitar). Cameron had one of the best female voices that I've heard in a long time. Even if their songs had been plain, it would have been worth seeing them live just to hear her sing. The songs were anything but plain, however, with unconventional melodies and nearly flawless three-part harmonies. They had a very distinct energy; it wasn't rock, but it had me on the edge of my seat- somehow it just got under my skin. Check out the song "Next Of Kin" off of their 2012 EP "Lost And Found" written about a Bosnian war criminal- you'll see what I mean. You can download the whole EP for free over at Noisetrade!
For a band whose musical output doesnât extend before last year, Californiaâs The Neighbourhood has enjoyed serious success, including a chart-topping single and a tour with breakthrough stars Imagine Dragons.
In many ways, The Neighbourhoodâs music embodies the sound of modern alternative rock.  Despite a traditional bass, drums and two guitar spread, the guitars are atmospheric and often sound like keyboards.  The instrumentation takes as much inspiration from R&B as it does from any older alternative band youâd care to nameâthere are certainly no guitar solos or even many discernible riffs on display here. The emphasis is all on the vocals, which is no detriment to the band because lead singer Jesse Rutherford has a great stage presence and a good set of pipes.  He had no problem in leading the crowd through sing-along after sing-along Monday night, as the band played through the highlights of their debut album âI Love You.â and two preceding EPS, âThank You,â and âIâm SorryâŠâ  It was certainly easy to sing along with the invariably hooky chorusesâthe kind that buzz around in your head incessantly, at least until the next one starts.
Rutherfordâs onstage presence evokes hip-hop swagger as much as it does alternative angst, and indeed on the fifth song of the set he showcased his rap talents on an energetic version of âWest Coast,â an ode to The Neighbourhoodâs home which features the chorus âIâm so West Coast / Itâs a goddamn shame.â  The lyrics seem to critique superficiality as much as celebrate Californiaâs sun and sea, which is impressive depth for a band that is young not only in its musical career but also in its membersâ ages.  The Neighbourhoodâs lyrics contain a healthy dose of angst, even in their song titles (âEverybodyâs Watching Me,â âWhat Do You Want From Me?â).  This lends the band many of its best moments, including the excellent âWires,â a highlight of their set Monday with its moaned chorus of âstraight to hell.â
The band finished the night with their chart-topper âSweater Weather,â which upholds the alt rock tradition started by Weezer and Yo La Tengo of writing songs about woolen pullovers. Â Many of the breathier vocals and atmospheric beats of The Neighbourhoodâs recordings were inevitably lost in their live mix in favor of a more aggressive sound. Â But with Rutherfordâs energy and versatility of delivery, thatâs not a bad thing at all. Â If they continue to put out material in the vein of âSweater Weatherâ and âWires,â itâll only be a matter of time until The Neighbourhoodâs hooks attract the ears of more mainstream listeners.
Well, we decided to try out a fresh face for Sound of Boston. We wanted to provide an aesthetic alternative to our music blog, and we've chosen to do that by creating a special digital magazine version of some of our content. This means you'll be able to hear what the Local Spotlight artist sounds like without leaving the page, see slideshows of photos from our latest concert reviews, and read all about our Record Hunter's latest adventures among the vinyl stacks - now all in a flashier format! Check it out here.
So what do you think? Like what you see? Wish we would stick to good ol' fashioned blogging? We'd love to hear your feedback - hit us up on Facebook or Twitter.Â
If youâve ever had the opportunity to see Tristan Garner live, consider yourself blessed. And if you havenât, then youâre really missing out. The 28 year-old Frenchman absolutely rocked the dance floor at The Estate this past Thursday, delivering banger after banger to a hypnotized crowd.
For over an hour, partiers were treated to original productions, unreleased bootlegs and mashups, and various remixes spanning big names through the EDM and rock scene. Sampling classics like "We Will Rock You" by Queen, Tristan cleverly mixed multiple throwbacks in with deep, pulsing electro beats to deliver a massive show.
Before the show, we caught up with Tristan backstage where we spoke to us about touring, his own personal journey of becoming a DJ, and his thoughts on the recent MDMA fiasco infecting the EDM scene.
TK: We are here with Tristan Garner at Estate! Howâve you been?
Tristan: Good, Iâve been good, just finishing up a short North America Tour. I was in San Francisco for a couple days and I have a couple gigs left in Canada but Iâve been good.
TK: Have you played in Boston before?
Tristan: Yeah actually this is my second time playing at Estate. I love this club; when my manager called me and told me I would be playing here I was very excited.
TK: How would you compare the EDM scene in Europe vs. here in America, where itâs relatively new? What do you think of the crowd?
Tristan:Â I like the way you guys entered into the scene. Itâs really fresh. You guys are absolutely crazy and bring an energy that I canât find anywhere else. Keep going!
TK:Â Do you think EDM is becoming to mainstream?
Tristan:Â When the US entered it was mainstream, but that eventually led to being introduced to new genres like techno, deep house. So no, not really.
TK:Â What we are curious about is your own personal story. How did you yourself become a producer?
Tristan:Â My story is quite interesting actually. I used to play in a rock band; I loved heavy metal and stuff. When I was around 14 or 15 my friend showed me the Daft Punk album Homework, and it completely blew my mind. I was like what is this new sound?! I loved it. Iâm French and Iâm very proud to be French for Daft Punk. But I guess that inspired me. I ended up moving to Paris for my studies and slowly started producing. Back then it was more geek-computer type stuff, like programming and everything â it was very complicated to make music. I was more interested in making my own unique sounds than actual DJing. Over time, I went to see big names like David Guetta and Bob Sinclair, and Iâd give them my demos saying âHello Iâm Tristan this is my music please check it out.â Back in 2006 I told my parents that I wanted to quit my studies to focus on my music and it worked.
TK:Â What kind of advice would you give to young aspiring producers?
Tristan:Â I have to two types of advice. First, listen to a lot of music: Rock, Jazz, Hip-Hop, even classical, to give you a really strong background. It helps a lot. It will keep your mind open and make you creative. Second, donât try and copy other people. Focus on your own productions and your own sound, and eventually youâll blow up.
TK:Â In terms of collaborations, who would you love to work with?
Tristan:Â For me, I would love to collaborate with rock bands. Look at Steve Aoki. He just collaborated with Linkin Park. This is a dream for me. Iâd also love to collaborate with some pop bands, like Coldplay. I love Coldplay. I have some really really big collaborations with big names coming up but I canât tell you about it! (Laughs) Just know that I would love to collaborate with artists outside the EDM scene.
TK:Â Where is your favorite place to play?
Tristan:Â It changes, really. I like playing in Japan and I like playing in Asia. I like playing in America. I canât tell which is the best because itâs always different. Everywhere is fun for me, and I play different things at different shows. But I really like LA actually.
TK:Â A question about the inside life of DJs: so many people have the idea that the DJ lifestyle is very extravagant and luxurious, lots of parties and such. However, some DJs have claimed that is actually very tiring and stressful; they have to cut down studio time and personal time. How do you compensate for this?
Tristan:Â Iâm a real party boy you know. I love to party. When I was around 24 or 25 I used to party a lot, but I eventually realized that it wasnât the best thing to do. Itâs not good when youâre drunk or high on a plane all the time. For me, this is my job. It is a profession. That means that I have to deliver and do good work, and you canât do that when youâre wasted all the time. You have to focus on your music, your life, and your career, as well as social media, like connecting with your fans.
TK:Â One last question, the one that is on everyoneâs minds. What is your thought on the recent MDMA problem that has been blowing up?
Tristan:Â Itâs bad, itâs really bad. Drugs are everywhere: on TV, in the movie industry, everywhere. We had this problem like 15 years ago in Europe, and it really killed the scene. The government shut down clubs and all the festivals closed. I donât want to associate drugs to music. If people want to take drugs, thatâs their choice. Itâs your choice if you want to destroy your own life, but please donât associate drugs with music.
TK:Â Thatâs all we have for you Tristan, thank you so much for your time. Good luck on your show and we hope to catch you on tour again sometime!
Tristan:Â Thank you so much, itâs been a pleasure.
Those Darlins, Thick Shakes, Gambles - 10/13/13 - Great Scott
By Becca Chairin
Great Scott is a dark bar with high ceilings, a stage outfitted with giant amps, and a grungy urban feel - just the place you would expect Nashville alt-rock band Those Darlins to be playing at. The band members consist of two frontwomen with guitars, Jessi Zazu and Nikki Kvarnes, bassist Adrian Barrera, and drummer Linwood Regensburg. Together, these musicians pulled off a badass live rock show with songs that otherwise sound mellow on their latest album, Blur The Line.
Zazu, who already sings with a raw and slightly raspy voice, made her voice even rougher so that it sounded almost angry. Despite her small frame and short stature, Zazuâs powerful voice created an intriguing on-stage presence. Her large doe eyes created an intensity between performer and audience that could only be experienced live. In particular, during the song "Mystic Mind," Zazu moved up to the front of the stage, opened her eyes as wide as she could, and stared into the souls of as many audience members as possible all while still strumming away on the guitar. It was freaky experience only appropriate for a Those Darlins show. It was also no surprise then when Zazu started scrubbing up and down her fretboard with a wine bottle.
In contrast to Zazu, Kvarnesâ voice is so smooth that you would almost expect her to be singing jazz tunes. But her Joan Jett haircut and crunchy guitar noise clearly shows that this girl was meant to be in rock nâ roll. She definitely knows how to perform like one, setting aside the guitar for a moment to pull the mic out of the stand and belt out Night Jogger. During In The Wilderness as the whole band sang along for the chorus, Kvarnesâ voice was still the most prominent, making the song an even more badass rock anthem than it already is.
Local band Thick Shakes was the first opening band of the night. Married couple Lindsay and Tim make up two of the three band members, with Tim on guitar and Lindsay on bass and lead vocals. Their music is similar to that of Those Darlins, which made them a fitting opening band choice. However, while Those Darlins had their quieter, more melancholy songs like "Oh God," Thick Shakesâ slow-jam "Polyommatus Blues" was anything but mellow, proving just how intense these guys are during their live set.
Filling in the middle section of the show was Gambles, a solo Matthew Daniel Siskin on acoustic guitar that acted as the relaxed portion of the night. His simple strumming and echoey vocals were surprisingly enrapturing, perhaps because of his exceptional effort to connect with his audience. The highlight from this Bob Dylan doppelgangerâs set was when he unplugged his guitar, hopped off stage, and asked the audience to gather close around him while he played the rest of his set. This closeness felt very intimate and emotional, especially as he played a song inspired by the Boston bombings. Gamblesâ simple yet powerful set showed that you donât need much to be a talented musician and captivating performer.
If I could review this show in one word it would undoubtedly be epic.
The band comes out, dressed in black from head to toe, and breaks out in an instrumental introduction. White flashes of light are perfectly coordinated with intense drumbeats which resonate in the bones of the audience. After a while, Woodkid comes out on stage, taking this beautiful orchestration to a whole new level.
Now usually, the lighting of a set is nothing exceptional. To say Woodkid's light show was an essential part of the performance would be no exaggeration. Of course, we should have expected it, after all, as a music video producer, heâs all about the visual. Columns of white light beamed up from the ground, great towers that transformed the stage into his fortress. And while he could have easily charmed us by projecting his beautiful black and white music videos, instead he played seemingly alien landscapes: mountains and ocean waves, intricate rock carvings and building exteriors. The whole performance is almost as if the Blue Man Group ran into an orchestra, and at the head of it all is Woodkid who, after singing his part, turns to face his band and waves his hands like an orchestra conductor, but with the swagger a rapper.
Throughout the concert, Woodkid retained his signature aesthetic. Save for the dark blue and green of his shirt and one one grim rumble of red light that matched an especially low note of the horns, the performance was entirely black and white, just like his award-winning music videos.
Though his first time performing in Boston, he was not new to the Royale: "I was here once. Yelle had a panic attack." As he sings, he moves from one side of the stage to the other, sometimes conducting the audience themselves, urging them to clap louder and to sing with him. At one point he stops, and says in a hush tone that makes the audience snap to attention, "I have something to tell you... I love you," cleverly introducing one of his hit songs. Later, on Iron, he takes out his earpieces, yelling âWake up Boston!â as the entire crowd jumps up and down, the floor shaking, as if he had just began a dance party.
Before he ends he introduces "his guys" to the audience. When he gets to the steel drum player he jokes, âAlthough it looks like heâs washing dishes, heâs actually playing.â They end the set with the last off the record; âIâll see you on the other sideâ he sings. But after this hauntingly cinematic journey, it feels like heâs already taken us there.
If you do a Google search for Stereo Jackâs Records, most of the results are headlines from 2011 about the store planning to close down to make room for a pizza joint. But donât be deceived, folks. âTwas a false alarm â Stereo Jackâs is alive and kicking. When I dropped in this week, owner âStereo Jackâ Woker was still seated behind the table across from the cash register, and smooth jazz sounds were streaming from the overhead speakers as if nothing had ever happened.
Just a short walk from the T-stop in Porter Square, Stereo Jackâs has been a staple of Cambridge for about three decades. Many locals were justifiably disappointed when the store announced it would be shutting its doors per the landlordâs orders; Stereo Jackâs has built up a reputation as being Bostonâs premier destination for blues, jazz, and R&B records. Rest assured, though. Two years after the announcement, thereâs no mediocre pizza shop in sight on 1686 Mass. Ave.
Instead, youâll walk into a haven of more $1 records than youâll ever know what to do with. Almost half of Stereo Jackâs inventory comprises rock, country, folk, jazz, and classical records that you can add to your personal collection for just a buck. Not only that, but everything else in the store is ridiculously cheap, and in good condition too. Iâm talking $5 to $10 for anything from Cream to Thelonious Monk. Â
My only caveat to you is this: Donât make the trek to Stereo Jackâs if youâre looking for new releases. This is a store strictly stocked with the classics, so even the bins labeled âNew Arrivalsâ arenât going to satisfy your craving for the latest indie buzz bands. In fact, the only touch of modernity is the collection of $2 CDs lining the right side of the shop. (Which is good if youâre one of the two people who still buys CDs, I guess.) Â Â Â Â
Regardless, the wide range of artists and titles available in the shop was overwhelming. I managed to find a record that for the past year Iâve been searching for â Joni Mitchellâs Song to a Seagull (1968) â modestly priced at $5 and its bright yellow cover just waiting to grace my bedroom shelving. Song to a Seagull, the singer-songwriterâs debut, is a classically tinged concept album divided into two parts: âI Came to the Cityâ and âOut of the City and Down to the Seaside.â Itâs often overshadowed by Mitchellâs 1971 magnum opus, Blue, but Iâve always thought it just as gorgeous and just as timeless. With her poetic imagery and intimate storytelling flowing from track to track and that sweet acoustic guitar bleeding into her supple, expressive vocals, the sentimentality of this record makes it a must-listen on vinyl. The simple change from digital to analog turns it into a sort of religious experience. By the time Mitchell starts to croon, âSheâs so busy being freeâ on the album-closer âCactus Tree,â I swear, youâll feel like youâre flying. Â Â
Overall, with washed-out vintage records adorning the walls and not much else to spice up the space, Stereo Jackâs could probably use some redecoration. Itâs got that classic record store vibe, but it might need a little bit more oomph to draw in that coveted wave of younger music lovers. For now, though, âStereo Jackâ seems content with where heâs at. As I was leaving, a man had just hauled in a cardboard box stuffed with hundreds of 45s, looking to sell them to the store. Jack gladly accepted.
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