Meowing Into the Void at CatVideoFest

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By Becca DeGregorio

Photo by Matt Sweeney

Upon entering CatVideoFest, the opening line to its press email made some sense: “The cats are back by popular demand.” 

To be upfront, I’m a certified dog person who was a virgin to this event and Youtubing with others in general. So, seeing three quarters of the Berklee Performance Center auditorium filled with old people, young people, people in groups, people not in groups, people looking like students, people dressed like young professionals, and everyone giddy to watch internet cat videos was…a surprise. I took a seat as the lights dimmed and meows seeped from the audience to greet the opening speakers.

“I’ll make this quick because I know not to stand too long between people and their cat videos,” said Will Braden, the host, director and curator of this CatVideoFest, among others. He’s also the mind behind Henri Le Chat Noir, which has been verified by film critic Roger Ebert at the “best internet cat video ever made and won Braden the Golden Kitty Award at CatVideoFest 2012. After showing a brief clip of Christopher Walken asking an ABC News anchor if he “has a computer” so he can watch the Henri videos, Braden concluded his charming, concise introduction with a statement of purpose: “Let’s be honest, we all watch cat videos, but this is about watching cat videos together.”

And then the 75 minutes of back-to-back cat content began (in four parts).

Part I: Drama.

I would’ve labelled this “drama-dy,” but what do I know? I’m just a cynic in a turtleneck spending my Sunday night this way. These cat vids were centered around suspense and pure kitty quirk: cats being spooked by dogs, cats overly enjoying piano, cats being tricked (in all tones of meows), cats interacting with mugs of coffee like “wut r this?” and of course this “petty ass cat” I first experienced watching Desus and Mero one time:

That said, these cats distinguished themselves from the “Comedy” chapter of the programming (more later) by way of making us wait for the punchline. There’s a certain kind of silence that sits in a room of over 200 people waiting to watch a cat crash through a ceiling, and it’s intense. 

Part II: Documentary.

This is where things got a bit abstract. These cats varied widely, from longer 6-minute features to 20-second shots of kittens just…being kittens. That said, there were plenty of fun feral facts in here and plenty of vids I wouldn’t have found on my own, such as a sequence of pumas climbing fences, a how-to on homemade cat food (oddly, not gross) and a profile on a feral cat named Mason (He has kidney disease, gets rescued and becomes a ‘member of the family.’ It’s disgustingly heartwarming, and the acoustic guitar shreds). 

That said, I could’ve done without this Aesop Rock music video. I’ve posted it hear to prove how truly unnecessary it is, and I’m sorry:

Don’t get me wrong. I’m sure Kirby’s a badass high roller of a cat, but it’s just a waste of three minutes for some reason. However, one of my personal favorites followed it: Lil Bub. A time-lapsed video of a carpenter building “Fort Bub” was nothing short of adorable. Then came a slew of clips showing the nuances of these tiny lions: cats sharing, cats not sharing, cats climbing walls, cats denying their humans’ right to use computers and so on. A compilation titled “10 Reasons to Get a Cat” played to these quirks listed and ended with an obvious thesis: “They provide constant entertainment.” This moment of meta made some gray-haired man in front of me chuckle.

Get a cat–or at least help a cat–was certainly the message of the night. CatVideoFest, it’s own social benefit organization, partnered with Boston’s Forgotten Felines for the event. BFF is a local organization that feeds feral cat colonies and also educates on matters of spaying & neutering, adopting and abandoning cats, which is illegal under federal law and punishable in Massachusetts by a fine of up to $5,000.

Part III: Comedy.

Well, it had all been comedy up to this point, but these antics certainly landed hardest. For some reason, this cat on a rotating table killed me for what seemed like 5 minutes after it was over. What followed were cats sitting on weird things, cats tripping babies (dark humor), cats meeting easter eggs, cats sincerely wildin’ and cats in the background of it all who appeared to be thinking, “get it together, man.” There was a cat named Marmalade, and according to an all-caps caption, “HE IS A SURVIVOR, BORN A FIGHTER.” Another caramel floof enjoyed fidget spinners like the rest of us, and this little leopard fell in love with a salt lamp:

Part IV: Classic.

Honestly, a sold final act. I didn’t take many notes because something happens to the brain once it’s travelled a full hour into feline filmography. That “something” let me to forget my notebook. Was it a high? Who knows! But I certainly appreciated this song about owning a normal cat who doesn’t do viral things. “Cute stuff!” my mushy, tired mind thought as I cracked my back and wondered for the first time of the night when this would maybe…end?

And after a truly smart, entertaining Henri video about the superfluous nature of Halloween costumes, it did. The crowd went wild with “whoops” and claps, and I walked out the door (wait for it…) refreshed! Perhaps it was the nostalgically bad video quality, the furry facial expressions, the comedic timing or just the plain timing. After all, these last few weeks have been easy on none of us (am I right, ladies?), and what’s more escapist than a cat video, much less over 60 of them?

I remember midway through one of the ASPCA-style rescue stories taking a moment to sit back and examine the atmosphere of the room. I remember thinking that we’d been sucked into an internet vortex saturated with cats doing the same basic things we do: not listen, not share, snuggle and get sincerely duped. It was calming in the way that watching any movie is. How often do you and hundreds of other strangers sit together and forget yourselves? My answer is not enough.

PS: There was some mascot named Mingus there? Seriously, who is this guy? Let us know, and more importantly attend this event next year for a lovely reset to your stressful life in this stress-inducing world.

Mobile Incubator Parks in Lower Allston

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By Becca DeGregorio

Talking business isn’t always fun, but shove those conversations into a 1957 Shasta camper adorned with an artistically sourced interior and podcasting equipment. Now, you’ve got a vibe.

To Lucas Spivey, this is key. “Style points are real. You can’t teach business–or much of anything–if the person you’re talking to isn’t engaged,” he told us. Spivey is the brains and legwork behind the Mobile Incubator, a traveling office space for artists to seek out marketing advice, record podcasts and generally hang & create. It’s currently on a 15,000-mile voyage around the country and will park in The Grove on Western Ave. from October 24th to November 2nd (in partnership with Zone 3). If you recognize the look, that’s because it’s last location was at the Boston Center for the Arts.

Spivey bought the camper in Oregon, where it had eight bullet holes, three broken windows, 12 bee hives and a missing wheel. “It was junk,” he told us, but after tearing apart the frame and equipping the space with contemporary design elements–such as a mosaic table, laser-cut signage and artist-acquired upholstery–the incubator was ready to…incubate. “The reason a 1957 bright orange camper works is because artists need an inspiring setting in order to stomach business education,” said Spivey. “I wanted to build a place where artists not only felt welcome but desired to come and talk about business.”

Aside from artists, the incubator equally welcomes entrepreneurs and podcasters with it’s full microphone setup. Spivey produces a podcast of his own from the camper called Culture Hustlers where he interviews the artists and makers behind the things we love. 

Check out more details about the Mobile Incubator’s stay on Zone 3’s website. Maybe we’ll see you there since we might just be doing some recording of our own…

PREVIEW: Chelsea Wolfe, Youth Code at the Sinclair (10/19)

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by Jackie Swisshelm

 

Photo by Bill Crisafi

In an act of ultimate spookiness, heavy metal/neofolk artist Chelsea Wolfe brings everything we love about Halloween– hauntings, a thinning veil, enthusiasm for all things goth– to a sold out show at the Sinclair today, October 19th. Openers, Youth Code, will add an extra element of angsty darkness with their industrial dance music.

While the L.A.-based openers are known for pushing safety-code regulations onstage, Wolfe is celebrated for pushing musical boundaries. Her sheer aura, in combination with the specter-summoning marriage of black metal and doom folk, can suck the air from a room. And you’re going to want a spot in that room. Touring in support of Hiss Spun, her most recent, most face-melty album yet, Wolfe is sure to bring some of the biggest amps the Sinclair has seen so far in 2017. Bring your ear plugs, friends.

But if you’re one of the many who didn’t score tix to probably the best Halloween party that’ll hit Boston this year, just crank up the volume on these heavy af tunes off Hiss Spun so that no one can hear you cry.

Chelsea Wolfe, Youth Code
Thursday, October 19

The Sinclair
52 Church St
Cambridge, MA 02138

Doors 8pm  | 18+ | $25
Facebook event | Tickets- SOLD OUT

Japanese Breakfast, melancholic reflections (The Sinclair 10/11)

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By Abigail Miglorie
Photos by Sarah Wilson

Japanese Breakfast sold out at The Sinclair on Wednesday, and now we can see why.

This line up of Philly-based bands gave you a little taste of everything: from the spirit of the beehive’s gliding shoegaze whorls, Mannequin Pussy’s head basher rage, and Japanese Breakfast’s soul biting vocals made this October night more of a mirror reflecting the day of prevailing shoegaze and pop-punk that called for you to hear more than just the music being played.

The lights on stage faded to shades of purples and blues that accented Marisa Dabice’s of Mannequin Pussy’s eloquent silk dress and black electric guitar that radiated in the light, Rivka Ravede’s from the spirit of the beehive’s gnarly scorpion guitar strap and circle-rimmed glasses, and the glow that highlighted Michele Zauner of Japanese Breakfast only defined the ether in which her music resides.

These bands are trying to speak to you not just through music, but by the language their music speaks.

This underground world of beer holding twenty-somethings that filled the floor that night is giving bands like Japanese Breakfast the space to challenge and experiment with the barriers their genres create in their live performances. For the spirit of the beehive, their slow yet imploding shoegaze riffs painted a picture of quiet mayhem that gave the gazing crowd the space to reflect. Mannequin Pussy called for you to feel (how could you not with that screeching guitar and manic voice?). Japanese Breakfast concluding the night with melancholic reflections by those syrupy bass lines and grappling vocals, made you feel like you were trapped in darkness while seeing light simultaneously.

This tint of dreamy psych punk the bands performed was more groovy and dissonant than what perhaps their albums gleam, calling for the audience to be receptive to the deep-cut moments their albums spew. Inevitably, a dreamscape that morphed life’s lingering darkness and perplexing truth was born.

The spirit of the beehive displayed how the band manages staying balanced on the ground and going off the deep-end all at once, something all three bands seemed to show both sonically and lyrically. The textured landscape of layered fuzz, warm bass lines, and gooey drum lines brought to the surface by the spirit of the beehive seemed to address the underlying questions that Mannequin Pussy seemed to follow.

Though Mannequin Pussy presents an already thrashy coil of punk and escalated noise that is quite clear in their album releases, their live performance thwarted more chaos that called for the audience to let their guard down and to fall into the jagged edge of Rubice’s biting vocals and drummer Thanasi Paul’s sharp drum lines.

I couldn’t help but keep my head low and melt into those gliding riffs and yelling drums that make their punk hit “Romantic” that song that you can rely on to alleviate inner angst and mind trapping fog. I was intrigued how exactly Japanese Breakfast’s celestial, melancholic sound would blend and counter Mannequin Pussy’s jagged grunge feel; the way the band screeched truth masked behind gritty rage…

To hear Rubice carefully craft each song to quick bursts of 90s tinged alternative rock with her rapturous vocals manages to pull you through the caustic hardcore plunges that she is singing to you. A lot is happening at once, carrying and transforming chaos in all the right ways that made me think the set belonged in one of Allston’s beloved basements where sweat drips from the walls and where guitar strings become broken.

The parallel of Japanese Breakfast against these two bands contrasted the experimental distortion presented throughout the show while still compacting a lot for the audience to carry in each song.

Opening with the dreamy ‘Diving Woman’ off of the band’s latest LP Soft Sounds from Another Planet, untangled those loud moments embellished throughout the show so far. The audience gaped with open eyes at Zauner as she melodically transcended the crowd into a swaying haze evoked by her lyrics and sonic reverb. Her atmospheric voice over synthy and slow rock arrangements seemed to drive the bass line in ‘Road Head’ to make it something of a melancholic swoon that bites at the heart, that then digressed the 14-track set list into a tapestry of sound that told a narrative of life’s turmoil, expectations, and pressures.

Though performing most of her track list from Soft Sounds from Another Planet, she did play ‘Everybody Wants to Love You’, ‘Heft’ and ‘Jane Cum’ off her 2016 LP Psychopomp. But her latest project is what I think insinuates spiritual transformation throughout each Zauner’s songs. It’s cool that Japanese Breakfast is on tour for Soft Sounds from Another Planet because I think now Zauner is ready to address and alleviate the deeper questions of life’s pain through these meditative performances that call for recollection. This performance addressed pain and healing in an eclectic array of sound that is lyrically and rhythmically serene, despite the casted shadow that lingered in her voice. Psychopomp told a narrative, Soft Sounds from Another Planet is exploration and expectancy.

This evanescent show offered moments to dig deep into a narrative. Where our minds are stained with aching memory. The shoegaze cry numbs the pain while making you feel all at once, those screeching punk riffs that bring hurt and alleviation to the surface, and those pitfalling basslines of loss and healing… that, perhaps, make you feel in the most cathartic and warm way. 

 

REVIEW: Weaves Bring Versatility, Fun to Mid East Upstairs

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By Harry Gustafson
 
weaves

Photo by Brendan George Ko

 
Last Friday night, Weaves shook the walls of the Middle East Upstairs with their energetic live set. Fresh off the release of their new album Wide Open, they brought the house down with the help of strong support from Tancred and Lost Dog.
 
Vocalist Jasmyn Burke had a captivating yet unassuming stage presence, letting her soaring vocals do most of the heavy lifting while she gently moved around the stage, nonchalantly rolling her eyes at some of the music’s most energetic sections. She seemed at ease whether singing with a rock ‘n roll wail or with a more reserved, intimate tone during the set’s quieter moments.
 
Her relaxed nature played off the high energy levels of the rest of the band. Drummer Spencer Cole can switch between tight playing and loose grooves, while the bass lines of Zach Bines add a pulsating low end. Guitarist Morgan Waters has a seemingly-endless bag of tricks and licks; at one point, he could be seen raising his hollow-body guitar to his mouth and singing right into one of the holes, which created a strange, but undeniably cool, vocal feedback effect.
 
Overall, Weaves give the impression that they are a unit completely comfortable with each other’s styles and tendencies. This familiarity lets them switch between the very tight, precise rock of Wide Open and the much looser experimentation of their self-titled EP and album. No song felt out of place, and one gets the sense that they’ve developed a strong understanding and comfort with each other’s tendencies when performing. 
 
Weaves touch on such a wide, versatile cross-section of rock genres, from oddly tuned noise a la Sonic Youth to the rockabilly bounce of Wide Open’s “Slicked.” But no song felt out of place, and it was clear that the band has worked out a good set of transitions between new and old. They have a few more tour dates in North America in the coming days before setting out to Europe and the U.K.

Boston Comes Out for Syd (Royale 10/11)

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By Kara Kokinos

It was all too appropriate that the Boston tour date for Syd fell on October 11th – aka Coming Out Day. The singer self identifies as gay and has been publicly out of the closet since releasing The Internet’s “Cocaine” video, but I don’t think that there is any queer branding to her songwriting – and that’s refreshing. Often times there seems to be a certain amount of queer credibility demanded from artists or utilization of elements of gay culture for profit and audience. Sometimes that can take the spotlight, which is what Syd actively avoids in her building of image and songwriting. That doesn’t mean there is any pronoun switching or holding back; her sexuality is just one facet of her lived experience. Clearly that’s more than enough to connect with the masses but to also build a community around her music – there were so many queer POC in the crowd I almost forgot we were in Boston for a hot second.

The artist’s voice is so sweet, pure, and light that you almost forget that the DJ has only been a singer for about six years. Syd’s live delivery is a very similar experience to what you receive on her record Fin; the sultry R&B tracks feature enough vocal control to make some of the most established artists jealous. On stage she is just as cocky as her own music demands her to be, songs like “Dollar Bills” and “Body” certainly necessitate an energy that must be as empowering as it is demanding. She didn’t say much between songs but acknowledged that her swagger on stage is a public persona, a distance from what she struggles with in private.

This was the third date of the Always Never Home tour, supporting the February release of Fin and the Royale show was opened by Kitty Cash and Kari Faux. It’s altogether possible that you are already familiar with the ladies’ work without even knowing it. Kitty Cash, who mixed her own set and continued behind the table for Kari Faux, established herself as a DJ with Kilo Kish, opened for Skrillex, and her mixtapes boast all sorts of high profile names, including Solange, Willow Smith, and Vic Mensa. She’s masterful at interacting with a crowd – DJ sets as openers for a non-DJ headliner can be a tough sell – but nothing about the artist’s set felt at all forced. Her series of mixtapes, Love the Free Vol. I-III, showcase an up and coming artist whose beat work is a cohesive, thoughtful journey with an ear for a wide range of talent – ranging from larger gets to those yet to be discovered. Catch her touring with Jhene Aiko later in the fall.

Whoever has been doing the music supervision for HBO’s Insecure deserves a round of applause. Kari Faux is one of a multitude of artists whose music has been featured on the show, including SZA and Kelela. Her songs “No Small Talk,” “Top Down,” and “Lowkey” have appeared on Issa Rae‘s show and if you haven’t heard them live, you haven’t fully experienced them fully. The artist’s live show takes the tracks to a full-realization of their potential. Kitty Cash at the helm added additional elements to the night’s mixes that spotlighted Kari’s vocal ability and bravado. It made you feel bad for anyone who slept on buying tickets to the sold out show. In case you still can’t figure out where you’ve heard Kari Faux’s voice before – she was on Childish Gambino’s track “Zombies” and Matt Martians’ “Can’t Spend the Night.” The latter is one of the founding members of Odd Future and Syd’s collaborator for the Internet; the producer also has served as the producer for several Kilo Kish tracks. This tour has clearly been keeping it all in the family and there are no complaints here.

 

Breaking the Ice with Dan Mazur of MICE

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By Lindsey Anderson
 

As temperatures dip into the 60s and pumpkin-flavored items start their seasonal relationship with our stomachs, my heart flutters in excitement for the loveliest sign of fall: The MICE Expo. 

Last year I experienced my 1st MICE Expo; a friend and I caught the last few hours of the Sunday session and quickly regretted 1.) not coming earlier &  2.)not attending both days. While we zoomed through the expansive University Hall grabbing business cards from artists and scooping up comics, I was in awe of how genuinely welcoming this 2 day event is.   

The Massachusetts Independent Comics Expo, better known as MICE, is an annual 2 day event that showcases a number of local comics and artists. Located just a stone’s throw from the Porter Square T stop, attendees get to spend hours in Lesley University’s University Hall filling their arms with fresh comics, connecting with artists & participating in thought-provoking workshops and panels

Dan Mazur, one of MICE’s co-directors, took the time to chat with Allston Pudding about comics, the program curation process and why folks should head out to MICE this weekend!

AP: What was the 1st comic you read that had a profound impact on you?

DM: When I was a kid, and this was in the 60s and 70s, I learned a lot from comics. It seemed like simple entertainment, but the writers slipped in historical references, politics, even poetry (I remember reading passages of Coleridge’s “Kublai Kahn” and Emily Dickinson’s “Because I Couldn’t Stop for Death” in different issues of Batman). They were also full of cool fantasy and sci-fi concepts, that of course as a kid, you’re being introduced to for the first time.  The one example I always think of was an issue of “The Atom,” a second-tier DC superhero who can shrink.  In this one issue, he shrinks so small that he ends up in another world in a sub-atomic universe, in which he’s a giant, and he’s terrorizing all the people in this tiny world.  That blew my 8 year old mind, and I still think there’s something deep and philosophical about that story. 

AP: What moved you to organize MICE?

DM: Shelli Paroline and I organized the first MICE back in 2010. We were both part of the Boston Comics Roundtable, which was about 4 years old at that point (now having its 11th anniversary), so we knew that there were lots of comic-makers here and no indie comics show, so in a way it was a no-brainer. I think we started it, really, because we both just really loved exhibiting at zine fairs and independent comics shows; they were – and are – among other things, a great, creative social gathering for cartoonists and we wanted there to be another one. Over the years, MICE has become a lot more than a weekend party for independent comics creators, but I like to think it’s still that.

AP: What’s the process of developing the programming for MICE?

DM: It’s a combination of brainstorming ideas for panels and workshops we’d like to see and going carefully through our list of exhibitors to see what special talents or themes we can put at the forefront. For the workshops, there’s a tilt toward creative activities that will appeal to kids, but not exclusively, so all ages might enjoy an animal drawing workshop. There are also more sophisticated workshops that deal with story-telling techniques in comics that are very specific to those who create comics. For the panel discussions, we try to find subjects that will appeal to both artists and non-artists alike, and just to be attuned to what’s going on in the comics world, and the world in general. We really want to show the connection between comics and other topics — this year we have Comics & Islam, Comics & Poetry, Comics & Immigration, among others. 

AP: What are some of your favorite comics you’ve read this year? What comics are you currently reading?

DM: This may sound like shameless promotion, but just about my favorite comic I’ve read this year is by one of our special guests: “Demon” by Jason Shiga.  It has a cute, rounded drawing style but, the story is gruesome, dark and weird. It starts with the main character killing himself and coming back to life over and over again; it has the plotting of a very cool supernatural thriller but so quirky that nothing is ever predictable.  I’m generally not a mainstream comics reader so I’m usually reading mini-comics, like the ones you can only find at shows like MICE, or graphic novels.  This year everyone has been talking about a graphic novel called “My Favorite Thing is Monsters,” by Emil Ferris which is a pretty fascinating comic; sprawling and ambitious. Story-wise, I found it kind of a mess at times but it has some of the most amazing artwork — all drawn with ballpoint pens I think. Definitely worth a look to stretch your concept of what a comic can be in terms of content, style and technique.  Right now I’m really into the books of an Italian artist named Manuele Fior, who does beautiful watercolor comics. Some of his titles are “5000 KM per Second,” “The Interview,” and “Mademoiselle Else” which was adapted from a story by Arthur Schnitzler and looks like a comic drawn by Munch or Bonnard. 

AP: What are 3 big dreams/goals you have for MICE in the coming years?

DM: Goals for MICE include sponsoring events year-round, bringing comic artists to town to do readings and signings, or have local artists put on presentations of their work; essentially to keep indie comics in the public consciousness 365 days a year.  Getting more involved with comics education and community outreach, especially in under-served communities around Boston.  Teaming up with cultural departments of embassies and consulates to bring in more international creators.  Teaming up with the City of Cambridge or other local governments to expand the idea of a comics festival that could go beyond the 2-day event in a single location.  But if MICE just stays as good as it is now, that’d be fine too.

AP: If scheduling & cost wasn’t a factor, who would you like to speak at MICE and why?

DM: The great thing is how many of our “dream guests” we’ve succeeded in bringing in.  Three or four names come to mind, depending on how you count, that we’ve talked about for years but haven’t succeeded in bringing here…..yet.  Alison Bechdel, who is brilliant, and whose work really opened a lot of people’s eyes to what comics could be and do. We even named one of our exhibition rooms after her.  I will boldly predict she’ll be our special guest in 2018 or 2019.  Another is Lynda Barry, who not only is a great cartoonists but one of the most inspiring speakers in comics.  In fact, I saw her and Bechdel together at Wellesley about 10 years ago and they made a great team; we could reunite them at MICE.  Another heroic duo, indie-comics-style, are the Hernandez Brothers, who write and draw “Love and Rockets,” they would definitely be “dream guests” but not impossible.

AP: Scenario: I have never heard of MICE, why should I go & what can I expect?

DM: You should come to MICE to luxuriate in the fantastic & fun art and storytelling that is the DIY & independent comics scene of today — overlapping with the graphic novel publishing industry as well. MICE is small, but in terms of the caliber of the artists that you’ll meet there, it’s right up there with the best independent comics shows in the country (SPX in Bethesda, Maryland; CXC in Columbus, OH; CAB in Brooklyn and a few others). Of course I’m biased, but if you live in the Boston area, you should be too. And cartoonists are just really nice people, if generally a little odd.  Plus it’s free. 

MICE will be held at Lesley University’s University Hall at 1815 Massachusetts Avenue in Porter Square. The hours of the show are Saturday, October 21st, 10 am – 6 pm, and Sunday, October 22nd, 11 am – 5 pm. Admission is free. For more info, check out their website.

Note: Illustrators and artists will have their work available for purchase at the expo so prepare accordingly; I recommend a sturdy tote bag…or 2.

Poster Illustration by Michael Deforge

Alvvays Bring Beeef to the Paradise (10/3)

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By Kara Kokinos

Alvvays is already well established in their status as a cult band and the crowd at the Paradise was more than ready to drink the Kool-Aid.

Welcomed with open arms for their self-titled debut album, Alvvays’ follow up, Antisocialites, has only added to the numbers of the band’s following. It’s amusing to see how much the crowd at the Paradise varies from night to night but there was no mistaking that this night’s audience was young, white, and there to politely head bop with PBR in hand.

Beeef! kicked things off with a slightly folk, slightly punk, but mostly dream pop set. Chock full of Boston references, they could easily fit as the creepily accurate soundtrack to your days of college parties and basement shows. Their set wasn’t the fuzzy or ambient half hour I was expecting from an Alvvays opener, instead I got keyed up pop with a dark twinge that makes the listener want to fall into the all-too-familiar trappings of youth. I highly suggest putting A Beeef CD on in the background for your next night of debauchery. They had me sold on them even before I was notified that two of their members founded this outlet. Oops, suppie guys.

Alvvays answered all of my prayers for a night of low-key dream pop. The opener was a local act and then it was straight into the rest of the night with the headliners. I will preface my review of the night with the confession that Antisocialites didn’t hit me the way that I wanted it to. Overall it is a well crafted, tight endeavor that is somehow simultaneously light and punchy. It has been slowly growing on me but Alvvays sold me on it a lot more with their live delivery of the album. Without the ability to master the bejesus out of their tracks, Alvvays delivered a much less polished and much more human version of almost every song on the album. ‘Already Gone’ was the lone song left out from Antisocialites but I agree that it was for the best – Alvvays has some songs that are lyrical bummers but that one does nothing to hide or package itself as anything but.

Alvvays’ live show is still as laidback as ever, but this does not mean the act lacks energy. None of the band members have a particularly rigorous or dynamic stage presence (there were few words spoken on stage between songs) but their intricate arrangements and dizzying projections gave more than enough to occupy the ears and eyes. It speaks volumes that singer Molly Rankin is able to execute a vocal performance that feels like copy and paste from their recorded material. It makes their choice to add more grit to their live instrumentation stand out all the more for it. I was particularly impressed with the mix of live and prerecorded drumming – drummer Phil MacIsaac laid out some complex rhythms while guitarist Alec O’Hanley controlled drum kit samples by foot.

The crowd showed full attention to the band as they made their way through a set with more than its fair share of emotion built in. I’m not sure if I’m as completely enamored with the band as others may be but their live show got me singing along with the crowd at full volume to more than just ‘Archie, Marry Me.’

TICKET GIVEAWAY: The Courtneys (Great Scott 10/16)

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By Allston Pudding

Photo by Sara Wylie

How many Courtneys make up the band The Courtneys? It’s actually only one. Although that fact may disappoint you, their live set most certainly won’t. After a solid tour earlier this year co-headlining with Jay Som, The Courtneys are ready to take the road again, returning to Great Scott on Monday October 16 with Versing and Weakened Friends. We’re excited for the show, and you should be too! Enter for a chance to win a pair of tickets to the show below.

There’s something about listening to The Courtneys that instantly teleports you to driving in a van through the empty parts of the United States on tour. The heavy bass, simple drums, and catchy as hell guitar riffs make up music that’s not quite indie rock, not quite punk, and not quite pop. It’s unique, fun, and addicting in a way unlike any other band right now.

With related artists on Spotify like AP favorites Stove and IAN SWEET, we needed to check out Versing. Their album just dropped on September 29, and we see why The Courtneys took them out on tour. Their sound meshes well with similar heavy bass and fun guitars, but what Versing have to set them apart: a tilt to the shoegaze side of life.

Weakened Friends are local (enough) heavy hitters. Their new track “Hate Mail,” featuring the infamous J Mascis, makes us eager to hear new songs from them. Honestly how has this band not totally blown up yet? Maybe this will be your last chance to see them in so small a setting. We’re just betting that.

The Courtneys, Versing, and Weakened Friends
Monday October 16

Great Scott
1222 Commonwealth Ave.
Allston, MA 02134

Doors 9pm | 18+ | $10 adv, $12 dos
Facebook event | Tickets

Fuzzstival 2017: A Review

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By Maranda VanDeWiele and Kara Kokinos
Photos by Kara Kokinos

Boston’s 5th annual Fuzzstival was, all things considered, a musical success. Despite some setbacks, including festival organizer Jason Trefts breaking his leg the day before the event started, Saturday’s performances having to be relocated to the Cambridge Elk’s Lodge from the Somerville ARTFarm due to rain and the resulting time crunch – the lineup of bands was incredible. 

DAY ONE 

Thursday night, a crowd of 20 to 30-somethings wearing flannels, high-waisted/high-water pants, jean jackets and bangs shuffled down the concrete stairs leading to the side door of the Elk’s lodge. 

The Central Square Elk’s lodge is not everyone’s absolute favorite spot, probably due to the dank basement vibes, but that didn’t stop the event from being totally worth going to. After grabbing our $3 Miller Lites and High Lifes (from the super chill and nice bartenders), we rounded the corner to the back room where two stages somehow fit side by side. They were low, approachable stages and Dazey and the Scouts had just started playing. They started the show off with a grungy, cymbal-smashing set. They finished on a warm, but emotional note, as they invited all queer folks to the stage and said “this song’s for you.”

It was already less colorful and bright than last year’s Fuzzstival in the Middle East Downstairs, but there was a coziness to it. The two stages allowed for a quick transition between bands and a quick flow to the night.

Blau Blau was on second. They are a newer band on the Boston music bill, but not made up of newer faces. Originating from Mini Dresses, a couple of the members went on to create Blau Blau. My friend described their sound as “modern day Blondie” and I don’t disagree.

Fuzzstival was primarily but not ALL rock n’ roll-based bands. For instance, La Neve performed electronic pop music with unforgiving lyrics that have a direct and impactful, political message. Headed by Joey La Neve Defrancesco of Downtown Boys, La Neve dressed in drag, danced up on a raised portion of the floor, and at one point put on a pink rancher’s hat. This was an added spark to the night.

It was a pretty great set of bands, but those were definitely my favorites. The other bands that played were halfsour, Germ house, Gravel, Kal Marks and set headliners Dent.

I wasn’t able to stick around for Dent, which was a bummer. I’ve loved their performances in the past and also enjoy the usually more serious and creepy element they bring to the stage. It’s been three years now since Eyeballs came out and still very much worth a listen.

The night was cold and perfect for small breaks between sets to chat with bands and other Fuzzstival-goers over cigarettes. There was small-talk about which bands we had seen before and where we had all collectively bumped into each other.

All in all, it felt like that first night was an appropriate warm up to the three days of Fuzzstival. Complete with buzzing vibes of a few nervous bands and some social awkwardness amongst attendees. Ultimately, we all appreciated the greatness of the bands that are a part of our community.