POND didn’t disappoint, taking the crowd on a cosmic adventure of sound, starting with a strange trip through the mind of opener of Kirin J Callinan.
PREVIEW: Together Grooves Into Its Eighth Year
Photo by Ben Stas
While the danceable rhythms and grooves of techno and house beats are near-constant soundtracks to the dark dance floors of European cities like Berlin and Amsterdam, the United States is a little more reserved when it comes to its nightlife scene.
New York, Miami and, of course, Detroit have all had vibrant, loyal electronic dance scenes over the years, but it’s hard to imagine a similar scene taking off in Boston, where the 2 AM curfew – a ghost from a not-so-long-gone Puritan era – plus the 12:30 AM subway shutdown serve to limit the local nightlife. But in the case of Together, it’s not how much time you have to work with; it’s what you do with that time that counts.
Entering its eighth year, Together has been bringing some of the biggest names in dance music (and not-so dance-y music) to Cambridge. Last year, clubs and stages around town were graced with stellar sets from DJs like Chicago’s the Black Madonna, Bicep, Ben UFO and others. Live sets came courtesy of names like Jon Hopkins, Fatima Yamaha and (one of our personal favorites) Floating Points, who kicked off the festival at the Sinclair accompanied by an unbelievable visual display which matched photosensitive fabric with stunning laser grids. The goal of the festival is to commemorate the crossroads of music, art and technology; in that aspect, it thrives in comparison to other local festivals.
Photo by Ben Stas
During the week of 5/14 to 5/21, Together will host another strong lineup of some of dance music’s most beloved and rising acts. Magda and Solar kick off Sunday’s opening party, followed by Nine Inch Nails touring member Alessandro Cortini on Monday. Tuesday night holds what might be the gem of the festival: a Discwoman showcase featuring the desert-dance vibes of Avalon Emerson and the idiosyncratic ambient techno of Umfang. A Hessle Audio showcase on Wednesday sees Ben UFO, last year’s closer, return to the festival.
While the first half of the week averages about one show each night, some decisions might need to be made from Wednesday to Saturday. For instance, Thursday brings a tough choice between “We are Your Friends” legends Simian Mobile Disco and the stunning live work of Jacques Greene at Middlesex, Stones Throw’s Dam Funk and Boston legends Soul Clap at the Sinclair, and one of the festival’s few vocal acts, Princess Nokia, at Middle East Downstairs… and that’s not even all of the offerings that night.
Friday sees the conceptual compositions of Pantha Du Prince (Brighton Music Hall) scheduled against deep house legend Kerri Chandler and Detroit Swindle (Mid East Downstairs), as well as Matrixxman (Mid East Upstairs). If you want to support local artists, check out this Matrixxman show, where Visceral, a back-to-back duo of local DJs Lychee and Manv, will spin to start things off.
Photo by Nick Minieri
The highlight of Saturday is definitely Com Truise, whose new album drops next month, and Clark, whose new album is just a few weeks old, playing together at the Middle East Downstairs. Of course, DJ Bugalu (of Sharon Jones and the Dap Kings fame) will be manning the decks at Soulelujah while NY stalwart Mike Servito will be at downtown’s Goodlife, making two good alternatives to what will likely be the most well-attended show of the week.
While bouncing around these different spaces, be sure to keep an appreciative eye out for the visual displays and art installations. A dedicated crew of engineers spend a few months each year building, developing and programming these vibrant displays, working with the specifics of each venue. Expect dazzling LEDs and mind-bending projection mapping, with all installations purpose-built for their respective venues.
Unlike so many festivals where the divide between performer and audience is strictly defined, one of the coolest aspects of Together is the blurring of that line. It’s a festival built on its accessible interactivity (it’s called “Together” for a reason!) Each year, the crew at Mmmmaven hosts special workshops and non-concert events at its office in Central Square during which attendees can learn about music production techniques, the latest in studio technologies and more. You don’t have to be into house, techno or other electronic sub-genres to find a workshop on how to make the most of your Ableton recordings useful. Additionally, for Saturday’s always-popular record fair local collectors and musicians (including international artists like Martyn and Beautiful Swimmers) bring in crates of their old LPs so you can go through and see if there’s any new wax you want to pick up. This is especially useful since it can be tricky to find a large selection of for-sale dance music on vinyl when living in Boston.
Photo by Nick Minieri
A great way to connect with and keep track of the festival is to download the Together app, available for both iOS and Android. It’s got profiles on all the performers, links to their Soundcloud accounts so you can check them out, the full schedule, alert notifications that let you know when a show is about to start (which is very useful the week of the festival!), plus a sleek overall design that benefits the user experience. With the many varied events and sets happening through the week it’s a great way to keep informed.
Although week-long passes for the festival are gone at this point, there are still tickets available for individual shows. Some require advance tickets, while some (usually the shows at Middlesex Lounge) are pay-at-the door. Whether you are a lifelong fan of dance music culture or an outsider looking to see what’s up with the scene, Together creates a friendly environment for you to get down.
Photo Courtesy of Together
Allston Pudding will be on the ground throughout Together updating on all the fun that comes down (as well as dancing our asses off!) Stay tuned into our Twitter and Instagram for looks into the venues and keep ’em peeled the week after the festival for our full review.
Photo Courtesy of Together
REVIEW: Black Lips with Surfbort at Brighton Music Hall (5/8)
On May 8, Atlanta garage rock legends the Black Lips played at Brighton Music Hall, just three days after releasing their eighth studio album, Satan’s Graffiti or God’s Art? Produced by Sean Lennon and starring his mother, Yoko Ono, on the opening track, SGOGA proves that the Black Lips still have some tricks up their sleeve. In addition to the band’s new producer and collaborator, other changes to the Black Lips include adding full-time saxophonist Zumi Rosow to the lineup, the return of guitarist Jack Hines, and the debut of drummer Oakley Munson.
Opening for the Black Lips was Surfbort, a four piece punk band from New York. Hopping on stage around 8:15pm, Surfbort immediately dived into a loud and lightning paced 30 minute set, playing songs including “Trash,” and one about, “waking up and being like, where’s all my shit?” Throughout the performance, Sean Powell fueled the crowd with his relentless drumming, and guitarist Alex Kilgore thrashed along the stage–––but the star of the show was vocalist Dani Miller.
From the moment she stepped up to the microphone, Miller filled the room with her massive stage presence, flashing the audience with her toothy grin in between powerful bursts of singing. After several songs, Miller flashed the crowd again, this time peeling off her red and white striped Coca-Cola dress and stripping down to her underwear, a cropped Mr. Music tee, and a pair of combat boots. Miller’s antics continued throughout the set, as she later jumped over the metal barricade and into the mosh pit, dragging her microphone cord behind her to sing and dance among the crowd. After the song had ended, Miller returned to the stage, taking a swig of her Budweiser before venturing back into pit once more to end the show.
By the end of Surfbort’s performance, the venue had come alive. The oversized mosh pit swarmed with punks garbed in studded leather and patch covered denim, and the floor was beginning to pile up with empty PBRs. The Clash played over the speakers while the roadies checked the instruments and microphones, cranking them all way up.
The Black Lips appeared around 9:30pm, strutting on stage to entry music straight out of a spaghetti-western and waving to the crowd as they kicked things off with “Sea of Blasphemy” followed by “Family Tree.” Two songs is all it took for the band to top Miller’s strip routine, as vocalist and rhythm guitarist Cole Alexander dropped his baggy pants to his knees, showing it all as Rosow blew her saxophone between his legs. About halfway through the set, they slowed things down, asking, “who here likes country music in Boston?” followed by twangy porch-rocker jam “Drive By Buddy.” But this moment of relief didn’t last long, as Munson pounded on his drums and the band launched into one of their rowdiest and best known songs, “Katrina.”
Drenched in green light, the Black Lips shook and sweat all night. One of the most active members of the band was Hines, striking power stances and teetering on the edge of the stage, while vocalist and bass player Jared Swilley rocked back and forth with the microphone stand. Following a rocking performance of “Boomerang,” Swilley desperately searched for a drink, gulping down the remainder of his coffee cup, chugging the last sip of his beer, and cracking open a fresh bottle. With his thirst seemingly quenched, Swilley charged into “Stone Cold,” leading the band in a boot stomping performance of the last song on their setlist. When the song was over Alexander began to wrap things up, but after some confused murmuring the Black Lips played a few more including “Noc-A-Homa” and “Raw Meat” to conclude the set.
A minute passed after the band walked off stage, then another. And just when it seemed like there would be no encore, Munson sat back down behind his drums for one more song, with the rest of the band trailing behind him. The Black Lips ended with soulful hoedown jam “Bow Down and Die,” taming what had been a wild and unruly mosh pit just minutes before into to calm and easy going square dance floor as they tapped their feet and slapped their hips. But as the band put down their instruments and waved goodnight, Swilley breathed some fire back into the room, thrusting his arm forward and flipping off the crowd in full punk spirit.
PHOTOS: The Movielife with The Flatliners & MakeWar at Great Scott (5/6)
“You never retire from music, you die,” exclaimed The Movielife frontman Vinnie Caruana to the sold out crowd. Of all of the reunion tours that have happened within the past couple years, The Movielife was one that I never thought would happen. Rewind back to 2001, a great year for pop punk and the year Drive Thru Records released The Movielife has a Gambling Problem. That E.P. became the gateway way drug for me to the fast power chord driven anthems that The Movielife do so well. The band’s set at The Great Scott did not disappoint. Vinnie, Brandon and the rest of the crew brought all of the energy and passion that I wanted to see. Fans were pressed tight against the stage, arms raised and voices loud. I actually overheard a person planning out their stage dive a day ahead. The show’s atmosphere was very much a hardcore show in regards to crowd interaction and the overall energy. Vinnie’s dance moves looked like they were birthed from the OG pit days. Talking with band members after the show, it was refreshing to hear their enthusiasm for the upcoming full length, set to be released on Rise Records this fall. Rise Records is responsible for giving a number of nostalgic bands an opportunity to become relevant again within the current music industry. The band will be touring in support of this new release.
The crowd showed plenty of love for opening act The Flatliners, with fans singing their lungs out. If you had wandered in off the street, you could have easily mistaken them as the headline act. The evolution of The Flatliners’ brand of punk music lends to a more interesting take on the genre, adding variations in rhythm and texture. Brooklyn-based band MakeWar opened the show and had my head bouncing the entire time. They brought an aggressive street flavor to the table. MakeWar will be back to Great Scott on June 22nd along with Nothington.
The Movielife – Setlist:
Walking on Glass
I Hope You Die Soon
10 Seconds Too Late
Face or Kneecaps
Once in a Row
Kelly Song
This Time Next Year
Scary
Single White Female
Hey
Hand Grenade
Pinky Swear
Takin’ It Out and Choppin’ It Up
Ship to Shore
Sailor Tattoos
Jamestown
The Movielife Slideshow:
MakeWar & The Flatliners Slideshow:
ALBUM PREMIERE: Future Spa – Tape Smasher
It’s Thursday, which is arguably the best day of the week to feel like smashing things. Don’t destroy anything just yet, though; put on Future Spa’s latest album, “Tape Smasher” instead. The Boston garage-rock group make noisy, upbeat tunes that are perfect for making it through the end of the week frustrations. Every track on the album is a satisfying nugget of fuzz, and over the course of the six-song release, the group jumps, twirls, and groans through fields of distortion.
The title track, “Tape Smasher” sets the fuzzy tone, with layers of guitar building until the song, and the filtered vocals, pile on until the track reaches its peak. The instrumental slow-build is a big part of the album and on “30 Weeks”, what starts as a simple drum beat builds intro an organized chaos, eventually giving away into one of the release’s guitar solos. The guitar work is also a constant tapestry, mixing grinding rhythm with odd details and tangled solos. It’s a fast album, too – once this record is on, there’s no slowing down. Every song is a jumpy sprint, and by the time the release reaches it’s noisy end with “The Creep”, it won’t feel odd at all to just hit repeat. Just don’t hit that button too hard; let the album be all the smashing you need.
If you like what ya heard, get out to one of Future Spa’s shows. Rumor has it they might have the release on a sweet cassette for you to scoop.
PHOTOS: Boston En Masse Storms ONCE Ballroom (4/29)
Photos by Sarah Wilson
Lina Tullgren performs at Boston En Masse
The third iteration of the Boston En Masse festival, put on by Illegally Blind, made for a great Saturday night. Held in the ballroom of ONCE Somerville, the show featured an array of local talents that spanned genres. Because of the mix of different genres, it was a great opportunity for attendees to see one of their favorite acts followed by someone they’d never heard before. Split between two stages, each act was able to get started right after the other, so there wasn’t any time wasted setting up between sets. It was all tunes.
With a wide slice of local genres on display, the sonic changes between each act could be dynamic and at time drastic. Those who found themselves vibing to the washed-out hip-hop and R&B of Haasan Barclay, for instance, might not have been ready for the avant-punk experimentalism and intensity of subsequent act Birthing Hips (though if these audience members waited it out, they’d find the fierce groove in BH’s heavy attack). But it was moments such as this – those that showcased the dynamic sounds of Boston’s musical community – that gave Boston En masse its character and made it an event to remember.
Here’s to hoping Illegally Blind keeps this event going for a fourth year and more! Here’s some cool pics of the performers, taken by Sarah Wilson:
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SHOW PREVIEW: Tei Shi @ Great Scott (5/11)
For those who haven’t heard her, Buenos Aires-now-Brooklyn vocalist Tei Shi starts her debut album Crawl Space with the most humble of introductions: a track of her kid self learning to record for the very first time. “I put in the cassette, close the little door for the cassette, press record, and ‘play’ will automatically press,” says her young, clear voice under her father’s supervision. “Then I start talking next to this microphone, and it will record. Thank you.”
“I had found that part, and a bunch more snippets from cassette tapes I used to record myself on as a kid,” writes Valerie Teicher, who pulled the name “Tei Shi” from a riff on Jay-Z and her own last name. The opening track “way to record” is one of several time capsules planted throughout the partly nostalgic album. As for that particular recording with her father, Teicher writes, “We had just recently moved to Canada from Colombia, and there is this mix of English and Spanish being spoken between us (which we still do), but it captured that moment in time for me when I was forming my identity.”
But from these cassettes, an expert, forward-thinking album flows. Aside from the sentiment of young Teicher professing her goal of becoming Britney Spears onto cassette and into Crawl Space, the album is largely packed with polished pop and precise pitch. Teicher tells AP that “Justify“–what this tiny writer considers the albums “biggest banger”–is her personal favorite to perform live at the moment. As long as we’re giving suggestions, the vocals on that track in conjunction with “How Far” should provide enough reason to get you to Great Scott this Thursday.
It’s ultimately Tei Shi’s mix of the old and the undetermined new that grounds Crawl Space. Alongside us, Teicher listens to the tapes of her artistic genesis while also facing North. “Every time I look over my shoulder, I’m getting older,” are the first sung words on the album, followed by “Time is so sad. Tie me to it.” The pain, fun and sheer inevitability of growth provide something to tackle in this album, and in us all. To overcome this, Teicher anchors her music in childhood–”where I feel I was the most unleashed version of myself”–and launches up and over.
Tei Shi plays Great Scott with Salt Cathedral Thursday 5/11. Doors are at 9 p.m. Tickets at $14.
PHOTOS: Real Estate w/ Frankie Cosmos at Royale (5/5)
Nothing is better than the combination of knowing summer is around the corner and listening to some live Real Estate with the band front and center. Unfortunately, the weather didn’t match the vibe as it decided to rain in Massachusetts, but Frankie Cosmos warmed up the crowd as the only opener for the night. They had the perfect mix of summer jams and slow mixes to make you forget that you just came in from a downpour. Frankie Cosmos, also known as Greta Kline, played a mixture of new and old songs, mostly from her most recent album, Next Thing. Her charm radiated through the room, especially when she stopped the show to check a text from her landlord and celebrated when it was good news.
The New Jersey natives, Real Estate, took to the stage with Coronas in hand and opened with “Darling” from their newest album, In Mind. From there, the band rocked the stage and got the crowd going. The crowd, by the way, was huge and the show was sold out for the night, which left people spilling into the lounge. Personally, my favorite point of the night was when they played some songs from Atlas, which is my favorite record from their discography. The set was short but definitely sweet and made me yearn further for some of that summer weather.
Interview: LFOD Radio Records 24 in 24
Have you been looking for some of the best hip-hop that Boston has to offer all in one place? Then you’ve gotta check out the LFOD Radio 24 in 24 project.
LFOD is a local show broadcasting on 91.5FM, focused on building community through collaboration and providing a new platform for New England independent voices. On March 27th, LFOD collaborated with 24 Local artists to record 24 new songs, in 24 hours of studio time [slating an hour per artist/song]. All of the songs were cut at of The Bridge Sound and Stage, located in Cambridge.
We had a chance to chat it up with the LFOD crew and got some words about the experience of recording some of the dopest sounds coming out of Boston right now, featuring artists like Noel Pancho, Darius Heywood, STL GLD and much more.
Allston Pudding: What was the most fulfilling part of this experience?
Live Free or Die Radio: I was awake for about 30 hours straight from start to finish and there was maybe only one hour I really felt tired. The constant flow of energy with each new artist was unlike anything I’ve ever experienced. Seeing and hearing 24 straight performances of this caliber was incredible. No one took their job lightly and a few of them tore their hearts out in the booth. That energy hasn’t let up at all. It’s great to see artists excited about and sharing each other’s songs, which leads to new fans, renewed focus, etc. The buzz around the project has been crazy and the connections and conversations that have resulted are going to fuel a lot of souls this year. There’s at least five artists shooting videos for their records; Mike Wing already dropped his. That’s the most fulfilling thing to me. This energy we’ve created. The momentum is real and the future is bright.
AP: I’m sure the day of recording these projects was pretty hectic. You fit a lot in 24 Hours. But at the same time, we both know that Boston has a lot to offer musically. What was the curation process like, deciding which artists you wanted to fit in this project? Do you plan on trying to pull this off with 24 more artists?
LFOD: I started LFOD with the goal of not only building a platform for independent voices in New England, but of creating a community and pushing one another to be better. As we grow, we want the artists we rock with to grow with us & vice-versa. Everyone involved with 24 in 24 has history with LFOD in some way. They have podcasts with us, have taken part in the Alumni Cypher, etc. Once you’ve been on the show we keep inviting you back for more. I’m sure we’ll do it again when the time is right. Right now I’m focusing on riding this wave though. We need to let this moment breathe.
AP: What initially inspired the idea for this project and what was the main goal you were trying to achieve?
LFOD: My friend Jim Tierney did this a few times with punk bands in the 90s, so it’s always been in the back of my head. I realized a few years ago that we could probably do it with hip-hop too. After that, patience was key. If I had tried this even a year ago, it would’ve been too soon. The timing had to be right. My goal with the project is to create a piece of work that demonstrates the incredible talent we have up here and acts as a vehicle to take their music to new ears. The idea sounds unbelievable, so you’re going to click play just out of curiosity. And then when you hear what we were able to pull off? Now you’ve gotta tune in to these guys.
AP: There’s A LOT of Hip Hop on this project. Was this intentional? If so, for what reason?
LFOD: Yes- There’s an insane amount of talent in New England right now which our friends at The Record Co., Boston Hassle, and elsewhere do a good job of highlighting (you guys do too!), but we’re focused on the hip-hop side of things. The music is there – all that’s missing is the infrastructure. I believe we can provide that and I’m committed to doing so.
AP: What sort of statement, if any, do you think this project makes for the upcoming Boston Music Scene?
LFOD: This album says that we’re serious. We’re professional. And we’re about to make a lot of noise.
Check out the 24 in 24 projects for new music from some of your favorite artists. Oh, and don’t forget to check out the show tonight, and every Tuesday night, from 7-8pm. If you ever miss an episode, you can always play catch-up on their Mixcloud.
Download: www.LFOD.Bandcamp.com or on iTunes, Amazon, Google, CD Baby, etc.
Instagram/Facebook: @LFODRadio
Twitter: @LiveFreeODRadio
PHOTOS: Dowsing w/ The Exquisites, Save Ends, and Fightsong at Middle East Upstairs (4/27)
Nothing warms my heart more than knowing that Mike Park and Asian Man Records are still supporting fresh, quality bands such as Dowsing. It makes me want to dig into their current catalog more to discover just what I may be missing out on. On Thursday April 27th Dowsing, on tour with The Exquisites played The Middle East Upstairs with support from Boston area bands, Save Ends and Fightsong.
Dowsing’s set was powerful and contained all the feelings that bear the mark of the emo/pop punk genre. The best way that I can describe their music is that you shouldn’t play Dowsing at home on Friday evening while pumped up getting ready to go out with your friends for the night. Instead, the Chicago quartet is the band you put on after you leave your friends behind at the end of a crummy night. Perhaps, you put on their full length “Okay” while hurrying during your commute because you’re late…and also, it’s raining outside. The Exquisites played LOUD mid tempo fuzzy pop-punk music that had elements reminiscent of Sebadoh, Pavement and Dinosaur Jr.
Dowsing Set List:
Wasted on Hate
Get Weird
True Form
Feeling Better
Dissolve
I’m Sorry You’re Great
Outside
Red Legs Kicking
Dowsing (Slideshow)
Fight Song, Save Ends, Exquisites (Slideshow)
Dowsing – “Red Legs Kicking”