John Dorney is no stranger to the Boston area — he went to the Berklee College of Music and is excited to be making his return to The Lilypad, a venue he used to go to for jazz improv performances every Monday via The Fringe, making this the debut of his original music in Boston. “I’m very excited to reconnect with old friends and play this new music in a new place, he said”
Dorney will be playing songs from his debut EP, Here Now, that has indie-folk influences with a splash of pop melodies. Inspired by Blake Mills, Geese, and Bob Dylan, he said he “sounds like Tom Petty-ish mixed with Waco and some weird sound exploration.”
When people listen to his music, he wants “people to feel calm, zoom out, and look at the bigger picture,” which is evident from his lyrics. His favorite line that he’s written is in ‘Take It As It Comes’: “Kick me on the floor; it’s good for business.” His POV on that line is for people to accept him as he is and that he’ll do the same for them.
Dorney did mention that Boston has changed since he’s been back and that it’s inevitable. But, he has his favorite places in Boston: The Tourist Trap in Allston and the Isabella Stewart Gardner Museum. For local artists, he’d love to collab with Bermuda Search Party and Brady Dallas Jones for their unique vibes and sound.
Norwegian singer/songwriter/producer AURORA created a breathtaking spectacle out of a packed MGM Music Hall last month with her ethereal and emotionally-charged artistry. The show delivered on its promise to transport the audience into a dreamlike realm by combining angelic vocals, stunning visuals, and immersive soundscapes into an unforgettable evening. Adding to the enchantment was the extensive use of fog and backlighting, at times it seemed like AURORA was radiating with the light around her. Another unforgettable element of the show’s magic was the massive screen behind her, which served as a canvas for stunning visuals. Opening with intimate footage of AURORA herself, these visuals perfectly mirrored the music, pulling the audience further into her fantasy world.
Check out the rest of Vika’s photos from the night below.
New year, new gigs, folks. When Joey Del Ponte from Mallcops got in touch with us about a new gig series he started helping put together, we got excited. Yes, of course we’d love to co-sponsor a set of shows that hype up some of the best local talent around. Working with Ian McGregor from Know Your Scene, they chose Deep Cuts in Medford as a venue.
Know Your Scene has an established history of booking shows like this, as well as putting out a series of mixtapes to help showcase local talent. “[It] began in 2016,” he explains, “at Firebrand Saints in Kendall Square(RIP) as a community night showcasing up-and-coming local bands and creating a networking hub for musicians. Over the years, the event found its way to other beloved spaces like Charlie’s Kitchen (no longer hosting shows), State Park, Zuzu, and Plough and Stars. Now, eight years later, with a venue of my own, it’s time to bring it back—bigger and better, with even more friends.”
McGregor is excited to get back to booking gigs. “We’ve joined forces with Allston Pudding, Sickjoke (Joey of Mallcops curating these gigs), Our Lady of Pinball (bringing the games), Light of Day Records (bringing the vinyl), and Topo Chico (bringing the bubbles). It’s a celebration of music, art, and community—bringing the scene together like never before.”
The first two gigs in the series will be January 7 with Dog Lips and I Want A Cat and January 21 with Makeout Palace and Frogs in Medford. DJ Ztoto will provide some extra tunes between sets. We’re pumped to be a part of this. See you there or see you square.
Mannequin Pussy have made a name for themselves as a real-deal, take-no-shit punk band. On their latest, the John Congleton-produced banger I Got Heaven, the Pussy posse got harder by embracing softness. Their dynamic range leads them to rich territory on dreamy numbers “I Don’t Know You” and “Split Me Open” but that’s not to say there’s not some Very Heavy Shit going on here, as the back half contains some of the gnarliest, thrashiest stuff in the MP ouvre. Their approach is best seen in microcosm on “Loud Bark” which starts as a twinkly sway and erupts into fiery screed. Every song here is a new branch on the same tree, a brilliant continuation and revamp of MP’s sound and sensibility.
I get chills at at least three distinct moments during this song. Hell, I can give myself chills just thinking about it. The Lemon Twigs’ retro-shtick had yet to pierce my hide—on the scale of classic rock reverence, theirs was edging a little too close to the Greta Van Fleet end of things for my liking—but the sheer force of charm that is “My Golden Years” was an armor piercing round aimed directly at my power-pop heart. Yes, they’re still wearing flared jeans in their videos, but they found a way to use their influences as a great painter uses color: take the bridge as The Beach Boys, dress up as The Who right before the last chorus, and make the whole thing sound like Big Star. From the confectionary descending line that opens the tune to the layered harmonies that send it off on a cloud, I was powerless against the clockwork-perfect guitar pop the Twigs cooked up here.
Live Show of the Year: Waxahatchee @ Orpheum
The “You Don’t Understand What This Means to Me” Award in Niche Excellence
At his vastly oversold show at the Vic Theater in Chicago, Michael Angelakos ended his set by saying “We’re Passion Pit from Boston,” elicting the most aggressive and lonely cheers from myself and Allston Pudding editor Dillon Riley as the lone Bostonians in the room. After years of being “Brooklyn’s Passion Pit” it took the seminal indie pop band a trip to the Paris on the Prarie to finally claim their ancestral heritage. You Don’t Understand What This Means to Me.
No one is really sure what happened with MJ Lenderman’s fourth album, but clearly he did something right. Manning Fireworks proved to be a smash success, so much so that it brought MJ Lenderman and the Wind the opportunity to perform on Jimmy Kimmel Live! Recorded in Lenderman’s hometown of Asheville, NC, the record technically clocks in around 38 minutes, but those familiar with the record know the closing track “Bark at the Moon” can skew the runtime. Album flow and ambiance were carefully considered, taking notes from their previous live release to capture the essence of a seamless live performance.
Lenderman’s lyrics are the absolute strongest aspect of Manning Fireworks, but there truly isn’t much lacking from this record. The wordplay is hard to miss, but there are some that stand out; references to Lightning McQueen, Guitar Hero, Men In Black and the fictitious “Himbo Dome” all pull the listener back in, asking “did I really just hear that?” The silliness of Lenderman’s lyrics are interwoven with the emotion and passion of a natural songwriter, mixed in with the beautiful ensemble of lap steel guitar, keyboards and chunky guitar tones. Even if it’s not usually your speed, check out Manning Fireworks because it may just surprise you.
Magdalena Bay describes their music as “synth pop straight from the simulation,” and I feel like I don’t need to say anything more beyond that.
“Killing Time” is the second track of their sophomore outfit Imaginal Disk, and one of their more “normal” sounding songs from an outside perspective – that is until they pull the bait and switch. What starts off almost like a sincere homage to the band Tennis takes listeners for a ride as the subtle intricacies start taking on new shapes and forms. Around the halfway point, quietly jarring noises start to bleed in and out of the track, briefly pulling your attention away from the rest of the music before letting go and grabbing you again. The beautiful vocals about trying to fall asleep start to turn into a nightmare, which is so consistent and alluring throughout the whole record.
Live Show of the Year: Militarie Gun @ The Sinclair
Best Brother/Sister Releases: Cheem, Fast Fashion and Faster Fashion
New England “nu pop” pioneers take it up a notch…and then another notch. Their dual-releases Fast Fashion and Faster Fashion are the perfect complements to each other, feeding off different energy from the same beast.
The first seconds of the explosive opening track “Ride” submerge the listener in lush soundscapes and an immersive audio experience. A perfect blend of dreamy and hard-hitting tracks merge sharp percussion with lead singer María Zardoya’s sultry and soft voice. The eerie “If Only” pulls the listener in like a siren song. One can imagine that the striped production, breathy vocals, and trumpet solo make it best to listen to at locations that pop up when searching for a “nighttime lake” on Pinterest.
Standout tracks “Vicious Sensitive Robot” and “Blur” display The Marías extraordinary talent for building tension up until an addictive instrumental breakdown during the bridge. Zardoya was born in Puerto Rico, and infuses her heritage into two Spanish tracks on the album: the mesmerizing “Lejos de Ti” and the swinging “Ay No Puedo.” The ultimate track, “Sienna,” completes the journey through the sea with themes of longing and what-could-of-been, with Zardoya whispering the lyrics “see her face in the forest, then it disappears” directly in your ear before all sound abruptly stops for the final time.
The Marías’ creative direction greatly enhanced the memorable first impression of Submarine. The band executed photoshoots and video content underwater, sometimes sporting full attire and headphones. They implemented innovative vinyl packaging, such as a plastic sleeve filled with water, to make the front of the jacket look more realistic. Elements like physical media and visuals complete the vision for Submarine and cement it as one of the top album releases of 2024.
No one’s pen is as strongly matched to their production prowess as Glass Animals frontman Dave Bayley. Standout track “Wonderful Nothing” from the band’s fourth studio album, I Love You So F***ing Much, displays that ability well. Though I do not know who is on the receiving end of this so-called diss track, it is clear who won.
Imagine someone writing, “I’d say, ‘Burn in Hell,’ but they’d hate you too” about you. A spacious intro beams the listener into outer space, and the bass drop catapults them into orbit. The mesmerizing instrumental, coupled with Bayley’s addictive pronunciation of words like “delight” and “sucker punch,” create a heavy-hitting track that can’t help but end up on repeat. Viperous bars like “I’m a fly inside of your facial goop, I’m a little hair sat inside your soup” create deliciously disgusting visuals that articulate his despisal.
Live Show of the Year: Twenty One Pilots @ TD Garden
Best Song That Went Viral in 2024 But Was Released 2 Years Ago: Djo, “End of Beginning”
How can anyone ever prefer Morrissey over Robert Smith? One allowed loneliness to morph him into a sad, hateful wretch while the other sat with loneliness and tried to understand it, always approaching it with hope, love, understanding. That’s the beautiful secret hidden in so much of the Cure’s music, a secret that defies the “sad music” label that gets thrown too easily at the band. Robert Smith has always reached out from a place of loneliness with a warm hand instead of walling himself up in resentment. On their first album in 16 years, the Cure didn’t look to change the formula that has worked for them time and again. Smith and co. certainly sound beleaguered from the years, but they play that fatigue in their favor. There’s that loneliness, of course, but there is also immense gratitude and acceptance.
After the album came out, Smith implied that he’s probably going to retire after the band finishes touring Lost World. And he’s earned that. There is so much vulnerability surrounding aging, admitting that it’s difficult to constantly stand on the edge of something so permanent. “And the birds falling out of our skies / And the words falling out of our minds /And here is to love, to all the love / Falling out of our lives,” he sings on opener “Alone.” The beautiful and hopeful “Nothing Is Forever” finds him begging for the comfort of companionship. “Endsong,” which closes the album, may very well be the final Cure song. On the outro, as the curtain closes on the career of one of the greatest bands we have ever known, Smith sings, “Left along with nothing at the end of every song.” Oh Robert, I can’t tell if you’re lying, or simply just a fool. You have gave us everything, with every song. Thank you.
Song of the Year: Kendrick Lamar, “Not Like Us”
It kind of had to be, right? We all had front row tickets for the public shaming of a grown man with questionable values (who is also kind of corny and annoying, to any person with an actual brain), and it was PHENOMENAL. The songs bang pretty hard, too. My personal favorite was “Euphoria,” but “Not Like Us” had the catchiness and club appeal to earn its spot at the top. Wherever you were, if this song was playing, you had people singing along to a line accusing a massively successful pop star of being a pedophile. If that’s not how you win a beef…
Live Show of the Year: PJ Harvey @ MGM Music Hall of Fenway
I desperately want to know the lore of this album. The core of this album is a set of beats that Justin Raisen made with the intention of giving them to Playboy Carti. Instead, they ended up in the hands of the 71 year-old noise legend and Sonic Youth bassist Kim Gordon, who subsequently wrote lyrics centered around a Jennifer Egan novel. It’s hip-hop, sure, but it’s also alternative and dub and really pretty industrial. It’s Gordon shredding over trap beats. It’s rare to hear something totally new in this age, but nothing like this has ever been put to tape before. It’s noise-trap. It’s diabolical music. It’s fun but simultaneously feels like something you’re not supposed to be hearing. Gordon is still one of the coolest people around.
There’s a specific type of song that makes me feel like I’m on an airplane. This song is crafted in such a way that I always feel like I’m floating in the atmosphere, even when it’s on the car radio. Warpaint are always queens of breezy, light harmonies, but the real beauty lies in the production. Elements work against each other, not with. One synth line plays in the back of your ears when a vocal line suddenly plays at the front. And all of the pieces are calming – especially that synth line that plays before the chorus. It’s only a couple notes, but it’s like melodic Xanax – with headphones on, it’s something that soothes my brain immediately. This is a song to cure a headache, to disappear from the world, to listen to on liftoff, or just any other time you need a quick break.
Mahashmashana from November of this year was unexpected. Not because of the album’s tardiness (a ton of big name artists have had album drops post-election news cycle) but because there’s less bloviated symphonic moments than his previous post-Fear Fun records. When the violins are present, it’s exciting — think “A Day In The Life” as opposed to “The Long and Winding Road.” Mahashmashana finds Seattle musician Father John Misty back in his rock bag. Hallelujah.
I don’t make the rules. When Cola release a new album, one of their songs is gonna be my favorite of the year. “Keys Down If You Stay” has a hypnotic groove and punchy chorus that has the same effect on me as a key in a cup of cola.
Live Show of the Year: Omni @ The Rockwell
Best Podcast Episode about Dinosaur Jr.:Bandsplain (Yasi Salek and Kevin Drew)
When I was a teenager I fell in love with the book Our Band Could Be Your Life, which inspired me to be in a band. Hearing OBCBYL‘s material through the conversation of Yasi Salek and Broken Social Scene frontman Kevin Drew had me dying. Hearing Drew sardonically react with “geez louise” to Salek’s passionate retelling of the history of the Massachusetts rock dinos is podcast gold.
Have you ever heard something for the first time and just known that it will forever change the way you think about music? The first Body Meat song I heard was 2019’s “Nairobi Flex” and it stopped me dead in my fucking tracks. Footwork, R&B, trap, the tricky offbeats of Uganda’s Nyege Nyege Tapes, the mutant dembow of Lisbon’s Principe Discos…all refracted and spit out in a way that felt, yes, chaotic, but also strangely natural. That this music was coming from a guy in a Philly basement messing around on a supposedly cracked version of Ableton on an even more cracked laptop screen made it that much more special. Body Meat has leveled up at least two fold since then in scope and vision and production then (his latest Starchris either coincided with a video game he coded from scratch or vice versa, in any case there’s thematic tie-ins between the two), but that spirit of brazen yet thoughtful rendered music omnivorousness remains a key component of the Body Meat project. To count the galaxy-brain moments here would be a fool’s errand, but when the marimbas kick in on “Crystallize” and the whole song suddenly shifts into a straight ahead pop 4/4 beat I still can’t help but say some dumb shit like “hellyeah” or “fuck yeah” or “let’s fucking go” out loud like a jerk. And I’ve listened to this thing at least a hundred times. Never before has someone sounded so cool talking about “selling like 12 of your swords” like they’re on a D&D quest.
We are living in a post-Challengers (2024) world, and that world finally has its very own bisexual boyfriend anthem. Six Sex is an influential figure in Buenos Aires’ Perreo Rave scene (think raunchy pop rhymes meets system rattling dembow meets techno-inspired day glo sheen), and she-along with producers Dauner and Luca Eck-also make for great ambassadors. The undeniable “U&ME” and its instant classic mod-inspired music video feels like a proper introduction to the Argentine star’s flirty and propulsive sonic world. Six Sex flips between English and Spanish here, making a meal of hooks like “my boyfriend is GAY” and “my ass is TOO BIG” over stuttering rave stab kicks and air raid synths like she’s playing the role of every Beastie Boy at once. They’ve never had to navigate geometry quite like this, though.
While Philly shoegazers blue smiley’s run was cut tragically short by the passing of band principal Brian Nowell in late 2017, their alchemical blend of heaving post-hardcore vigor, queasy synths, and other gritty experimental textures remains a key influence in indie rock et al. A crucial reissue campaign from Topshelf Records brought the group’s two sole albums back to print last year, along with a helping of demos and live cuts that pointed towards a now mythic follow-up to 2017’s beloved return LP that will sadly never come to pass. Those bonus sketches were a nice salve, but they lacked the singular, teeth-grinding tension of the group’s full band attack. Imagine my surprise then when “pond”, a purported return outtake, popped up on the timeline with little advance warning. A hard-charging, train-going-off-the-rails style stomper complete with an absolutely insane hyperspeed bongo run (?), the short number (even by their standards) is further proof of blue smiley’s otherworldly gift at flipping guitar music into something more.
Hannah Sender
Album of the Year: BIllie Eilish, Hit Me Hard And Soft
Live Show of the Year: Sabrina Carpenter, Short ‘N’ Sweet Tour @ TD Garden
Top 5 Songs That Made Me Want to Crash My Car
“Good Luck, Babe” by Chappell Roan, “Alley Rose” by Conan Gray, Girl, “So Confusing (feat. Lorde)” by Charli xcx, “I’m Confident that I’m Insecure” by Lawrence, “Wildflower” by Billie Eilish (I did, in fact, crash my car to this song).
The Secret of Us album made Gracie Abrams my #2 artist (according to Spotify Wrapped). Her lyrics, vocals, the music, and the quieter parts of her songs were everything. My top songs on this album are “Free Now,” “us.,” “I Love You, I’m Sorry,” “Risk, and “Let It Happen.” I may or may not have gone to NYC for 3 hours to see her play this album live and it was worth the 13 hour bus ride.
Griff’s “Tears For Fun” reminds me of the duality of emotions. Sometimes things don’t go our way and we sit in those emotions and wonder if we’ll “always be collecting our tears for fun.” Her vocals and lyrics make me think about these things and I love the song!
Best Element of a Concert: For Wyn & the White Light’s debut album release show, there was a scream room (technically scream hallway) where you would go in and scream in a reverb-y room to release any negative energy to make room to grow and heal!
I don’t think there’s been a week that I haven’t listened to Two Star & The Dream Police since Mk.gee released the LP in February. It’s become very clear I’m not the only one obsessed with the album, as listeners have supported the album so wholeheartedly that he ended up on SNL this fall. His unfathomable guitar skills and experimental approach to music on the LP has left guitarists dumbfounded and his loyal listeners in awe. I was lucky enough to see him play the album at The Sinclair and it was a show that will always remain to be one of my favorites.
In a drought of fun and whimsy, Claire Cotrill (Clairo) made it her mission to bring back the joy we all needed with “Juna.” The song alone makes me want to go dancing and buy a new dress, and it had the same effect on many TikTok users throughout the summer. The track is a perfect soundtrack to the beautiful moments in life, the experience of love and the confident feeling that Cottrill aims to feel on “Sexy to Someone.” On October 30, her Boston audience was lucky enough to hear the song twice as Cottrill twirled around in her Wednesday Addams costume.
Live Show of the Year: Mk.gee @ The Sinclair and Clairo @ Roadrunner
After my first listen of Olivia Rodrigo’s “girl i’ve always been,” I was tempted to find the nearest polka dot dress and open field for frolicking. The track is reminiscent of Joni Mitchell’s more playful work and is one of Rodrigos’s most relatable releases yet. The unapologetic nature of the song allowed for girls everywhere to be comfortable in their own skin despite what others may think of them.
It’s no secret how much I love Waxahatchee. Katie Crutchfield has been writing some of my favorite albums since American Weekend dropped in 2012, setting the indie rock scene ablaze with her lo-fi and emotional tunes. We’ve watched her songwriting and production grow over the years hitting a high with 2020’s Saint Cloud, unfortunately releasing just shortly after the COVID-19 pandemic ravaged the world. During the pandemic shutdown, it felt like Waxahatchee was finally getting the praise from mainstream media that they have always deserved, and they came out of COVID-19 more popular than ever. Tigers Blood is an obvious follow up to Saint Cloud, and I mean that in the most complimentary way possible. Where Saint Cloud was mostly about finding love and sobriety, Tigers Blood is a love letter to Crutchfield from herself. It’s introspective and beautiful, and I had it on repeat all year long. I’m so happy to see Crutchfield finally get the Grammy stamp of approval with a nomination for Tigers Blood.
Oops I chose Waxahatchee again. But honestly, no song hit me as hard as “Right Back to It” this year. It makes me want to get married, so this can be my first dance song. I hate the idea of marriage. That’s how much this song has changed my worldview. Katie Crutchfield and MJ Lenderman both have very unique voices, and their voices together sound magical. Slow dance with your loved one to this by a lake to get the full “Right Back to It” experience, or at least I think that’s what people should do. I haven’t tried it myself (yet).
Live Show of the Year: MUNA @ Newport Folk Festival
“Come right on me / I mean camaraderie / Said you’re not in my time zone / but you wanna be / Where art thou? / Why not uponeth me? / See it in my mind / Let’s fulfill the prophecy.” Shakespeare could never.
This year, iconic Texas noise rock group, The Jesus Lizard, released their first studio album in 25 years, Rack, and stopped at Roadrunner with Pile to celebrate. Following their initial disband in 1999, The Jesus Lizard have come back to prove that age really is just a number. Despite not being a traditional household name, they have found their audience over three decades and continue to sink their teeth into younger crowds.
The Jesus Lizard started back in the late 80s and quickly became known not just for their eclectic sound, but their incredibly unhinged live performances. Singer David Yow was known for breaking the rules of the performative fourth wall, jumping into the crowd, taking his clothes off, licking audience members and using any means necessary to create an unforgettable atmosphere. Marching behind the unseemly actions of Yow is the rhythm section, consisting of guitarist Duane Denison, bassist David Sims and drummer Mac McNeilly, all of whom keep the train chugging along while contributing to the chaos.
Before the set even started, Yow stepped up to the microphone, pointed out a member of the crowd and exclaimed “Billy Bob Thornton, everybody,” before jumping from the stage to playfully assault the entire front row. Giving high fives, pulling hair and using anything to balance himself, Yow took every opportunity to give the people what they paid for. The antics continued when he grabbed a security guard’s hat and wore it sideways for half a song, spit water onto the crowd and even played a solo game of dizzy bat with the microphone stand during “Boilermaker.” It was clear that the group was prioritizing their fans, new and old, especially when they treated the audience to not one, but two encores. Regardless if you have ever even heard of The Jesus Lizard, capitalize on any opportunity to see them while they’re still around – you won’t be disappointed.
Well, we’ve only gone and bloody done it again. Our staff got together and tried our best to make a comprehensive list of what we believe to be the 30 best albums that artists from Boston and New England released in 2024.
This process is never easy. We start with a list of ~70 releases and everyone involved sits down to listen through the full list. It’s fun, but arduous. We try to throw in as many differing genres as possible, to make sure we’re capturing the diversity of culture and sound of our local artists. Then, we vote.
One really cool thing that we noticed about the final list (and shortlist, too) is that it is filled with many artists who released their first full-length or extended projects. That is a good thing. That makes us hopeful. That shows that more people are picking up guitars, or drums, or synths or whatever, and just trying to make something cool happen.
This year, everyone at Allston Pudding feels very honored after winning Music Publication of the Year at the Boston Music Awards. Allston Pudding is really just a group of individuals who really love supporting local artists. We believe that this city’s music scene is really where it’s at. We see so much passion and dedication from the artists here who try to create spaces for art and creativity to thrive. It’s never been more vital than now.
Make sure to support local artists by buying their music, merch, and tickets to THE GIG. See you out there.
Alexander only knows how to write bangers. It feels like we include them on this list every year, and that’s for good reason – they continue to churn out beautiful tunes over and over. Lucky Life is no different. There is the classic twinkling guitar but some fun distortion moments, talk singing, string instrumentation, and beautiful piano melodies that set this album apart from their previous ones. We’re already looking forward to covering the next album whenever that is due to release!
Boston-based 3-piece Barefoot Young make mid-2010s Buffalo Exchange-core all their own. If you’re keeping score, you’d notice th’ Young are killing it out there: Production quality is on point, they play venues like Baby’s All Right, and they make the kind of big tent indie rock that could easily slot into the festival circuit. You can hear the instant appeal on earworms like “Talk” (it’s the slips into falsetto for me). Let’s hope Sleep Score racks up more points and begets even bigger stages for them in 2025.
Beeef, which is comprised of Allston Pudding’s founders, are unsurprisingly influenced by blog rock. Someone Still Loves You Boris Yeltsin guitars are floated throughout, let’s “Sink/Let it Swim” in “Narragansett Bay.” Take-offs on Pavement vocals are felt in songs such as “Hummingbird” and “Observational Eros.” Beeef’s lyrics are the x-factor, that writer’s touch is felt with insouciant one liners that lodge themselves in my head for days. “I try to have some peace of mind cuz after all it’s hard to be pure, you know,” as the narrator allows themselves not to worry, and then the clean guitar tones shift to distorted guitars in the chorus is a brilliant maneuver. There’s clever joy (and pain) experienced all over this lived-in sounding record. Dropping five long years after their previous record, Bull In The Shade, Somebody’s Favorite is a generous play through that is so layered that if there are diminishing returns on repeat listens, I haven’t experienced it yet. It’s the kind of record that could be somebody’s (my) favorite.
Boston’s BRICKLAYER were like a comet: burning so bright and so brilliantly they simply were not long for this little dance punk world. We’ll always have the memories though, and also their self-titled LP, which thrashes and sparkles and shimmers and shines with the sort of infectious energy that seems rarer and rarer as indie rock en vogue continues to downshift. BRICKLAYER (the album) kicks off not with a starter pistol, but a bic lighter and a hasty cig by the bulkhead door at the basement show, and things just get funkier from there. The chuggy “Sticky Fingers” retells failed teenage rebellion (via an aborted shoplift from the Providence Place mall) over doom-y garage rock hammers while the bubbly “Gay Breakfast” sprinkles some space age keyboard texture over that bowl of Lucky Charms.
This album felt like love at first sight to me. Sometimes you have to sit with an album for a bit, but once in a while, you’re enveloped in just a few moments. I’m not an expert by any means, but I think there is a concept in Buddhism that presents the idea that when you first meet your soulmate, you won’t feel butterflies, but instead, an overwhelming sense of peace and calmness. So I think this album was my musical soulmate for the year, because it only took a few seconds listening to this album to just feel like I was meant to be listening to it. It is the group’s first full length album, and the core duo of Olivia Sisay and Ben Walker have created a more-than-compelling introduction. It’s the confluence of excellent anthemic songwriting to give the album it’s 90s/Garbage-tinged quality, brilliant production that gives every instrument rich, dreamy texture, and a touch of that je ne sais quoi when you hear a band and you know they’re really cooking up something special.
We can be easily bought here at Allston Pudding. When an album comes out that is this Boston, we have to include it. Colin Domigan – already a favorite at AP – is back with another collection of electronic tunes that range from EDM to house, eschewing any sense of familiarity between each track. It’s a broad scope for an electronic album, and it’s bangers only. But the real highlight is the deep Massachusetts lore peppering the song titles (and some of the songs). Cheers be damned, this is one for the natives. Deep local references to Kowloon, the Revere Flea Market, the brutalist McDonald’s and Building 19 (RIP) make this one a regional classic. Niche? Maybe. Jams? Wicked.
Donna Revving is the latest guise of Cody Foley, the sort-of prolific songwriter behind post-twee band Ultra Chapelle. At three songs clocking in under ten minutes, Donna Revving’s debut EP plays like the bedroom pop you’d hear if you lived in Kirby’s Dreamland. Sweet, tuneful, and subtly avant-garde, Donna Revving is a promising, tantalizing tease from one of Boston’s rising pop auteurs.
Frances Forever’s much anticipated debut album Lockjaw offers an eclectic mix of indie pop, bedroom rock, and emotional storytelling, continuing with themes present in their prior discography. The album’s sound is characterized by catchy melodies and introspective lyrics, blending upbeat tracks with more somber lyrics. From opening tune “Stuck” to the closing song “Jupiter,” Frances is unafraid to transcend past the stereotypical indie sound.
Gollylagging’s Dry Rot is a statement piece on what the band sought out to be from the beginning. The musical stylings of the group have transformed a bit from their 2021 debut Ain’t That Just the Way!, but the writing was always on the wall with their 2022 single “Hydrangeas,” which saw them take a darker approach to writing. Founding members, Jake Regulbuto and Andrew Garas, have rounded out their line-up following their 2023 three-way split with Dino Gala and going222jail, which has introduced a new layer of complexity to their sound.
The most impressive aspect of Dry Rot is the pacing of the tracks. The lead single, “ATV,” draws listeners in with familiarity of what they may have already been introduced to weeks prior, but also acts as a sample of every different side of Gollylagging – the weird, the heavy, the soft and everything in between. “Sidewinder” follows up with a heavy emphasis on the intricacies of the band; if you listen closely to the verses, you can hear Regulbuto’s screams buried deep in the mix to add a sense of desperation. In terms of pacing, the title track closes out the front half and gives the audience a chance to breathe, relax and even sway a bit to the track that is nearly void of distorted guitars.
The second half starts with “Cleaver,” an uppercut of a track that features some of the most catchy and infectious riffs from Gollylagging’s discography – sometimes less really is more. Complimenting the heavy guitars are Regulbuto’s vocals pulled far back from the mix, which sound as if he’s singing from the next room with everything he’s got just to be heard. “Ginger Snaps” feels almost like an ode to Deftones with the quiet and haunting intro and heavy reverb, but the chorus brings it back to the definitive sound of Gollylagging, really setting them apart from writing a Deftones song. “Numbskull” is the perfect closer, rounding out the EP in the same way that “ATV” opens it. “It’s okay, c’est la vie. I should never trust a soul, I’m such a fucking numbskull,” sings Regulbato before the band kicks back even harder to finish off a refreshingly well-crafted release.
Around 2018, singer Evan Benoit got into a nasty car accident that left him with chronic, sometimes debilitating pain. Now, you don’t need to know that to enjoy the anthemic, country-tinged emo (emo-tinged country?) of his band’s second full-length Ways to Cope, but you’ll start to notice things: the bifurcated coupe on the cover, lyrics about getting better, the struggle to make it up stairs or out of bed. The rhythm section of Evan Yarmo and Matt Bacon keep things moving at a lively clip while the mournful sounds of Zack Glennon’s foundational work on viola and violin and Benoit’s own quivering, barely-holding-it-together vocals fill the album with darker hues. The band’s skill with melody, especially on “Jelly Spine” and “Punchline,” are what keep this from taking a left turn to Bummersville. We’re always Happy to Just See another album these Manchester favorites.
Alt-country had a huge moment in 2024 with artists like MJ Lenderman selling out every venue he booked this year and Allston Pudding favorite Waxahatchee finally getting their first Grammy nomination. hey i’m outside, the new project from members of I Wish I Could Skateboard, jumped on the train but not in a disingenuous way. The band members hail from the south and return to these roots all over the self-titled album. It’s not only one of Allston Pudding’s picks for favorite local albums of the year, but it’s one of my personal favorites to come out in 2024. What can’t these folks do! I’m looking forward to a Beyoncé like genre exploration series of albums, so hit them up via Instagram DM calling for it for me.
Back in the spring, Boston and NYC-based brother duo Joyer released their LP Night Songs. The album consists of a well organized tracklist of shoegaze and slowcore inspired work by Nick and Shea Sullivan. The album title implies when its best to listen to LP, as the lyrics and instrumentals emulate a darkness and introspective mood that resonates with night time. Expansive guitar and cymbal-forward drums make for an intense listen on tracks like “Silver Moon” and “Softer Skin.” Joyer also takes on a warmer sound that combines folk elements with shoegaze for “777” and “Star,” which effectively highlight what can make a night brighter. If you’re a fan of DIIV or Slowdive, you want to tune into Night Songs ASAP.
There’s a lot to feel bleak about in the year 2024, and everyone is dealing with it in different ways whether it’s assassinating a healthcare CEO or putting out one of the best albums of 2024. Kal Marks have never been known for putting out positive vibes with their music, although the members of the band are some of the nicest and most caring people you’ll ever meet. I didn’t have Kal Marks writing a love song on my 2024 bingo card, but it’s a nice change of subject for the album to end on after the noisy pessimism they have perfected over the last decade plus tackling topics including being overworked, having trouble affording healthcare, and income inequality. They continue to put out some of the most exciting noise rock in Boston over a decade into the history of the band, and we are truly grateful for them.
Even if you don’t know Latrell James by name, if you’ve followed Boston’s hip-hop and R&B scene over the past few years, you undoubtedly have encountered his work as a producer. That’s why when he announced Running in Place, his first full length release in almost a decade, it felt as meaningful as Kendrick Lamar dropping out of nowhere. Worth the wait, as it turns out, because James navigates Running In Place with deft skill and creativity. While the title describes the album’s lyrical content, it doesn’t do the same for Latrells James as an artist. He’s too dynamic – in both production and lyricism – to get pigeonholed. He’s equally at ease over a harder trap beat (“Math”) as he is over the more atmospheric and soulful (“Pdb”). The album’s big highs come with songs like “Top Ramen,” which gets tied together with a vocal contribution from ToriTori. If you’re a real percussion nerd, take a listen to the way James plays with hi-hats throughout this album.
One thing you should know about bedroom pop artist Layzi is that she is anything but. Carissa Myre, also known as Layzi, has taken full responsibility for the creation of her music, making each track from scratch in the confines of her bedroom. Her latest EP in between brings a more refined sound to Layzi’s discography while still maintaining the warmth and comfort of the bedroom pop sound. in between follows Layzi through the various stages of grief and breaking off from an unhealthy relationship, giving each song a unique style amongst the consistency of Myre’s sound.
Standout tracks of the EP include the lead single “eventually,” “the other side,” and “whenurgone,” which encompass the different styles that Layzi plays with in her writing process. Beginning with a rhythmic play on a bossa nova, “eventually” carries plenty of intricacies that you probably won’t catch until a few careful listens – keyboards, drum rolls, unexplainable sound effects that don’t outwardly present themselves, but instead wait quietly until noticed. One of the more eclectic niches of bedroom pop, telephone vocals, brings itself to the forefront on “the other side,” where Myre uses a specially modified landline telephone to record her vocals with an inherent lo-fi sound.
Pivoting from her comfort zone, Layzi dips into alt-indie rock with “whenurgone,” which features somewhat more modern production. “When you’re gone, it feels like I stop breathing” Myre sings over weaving guitars and the ghostly delays of synth lines, providing an eerie sense of both comfort and dejection. The “in between” EP shows that Layzi knows what she’s capable of, but she still has plenty of gas in the tank to continue writing songs that push the boundaries of what bedroom pop can be.
Vermont-based Lutalo released his debut album The Academy earlier this fall, providing his listeners with a reflection on his past that takes the form of a story book through his captivating, descriptive lyrics. Despite the lyrical depiction of serious topics from his upbringing, he works fairytale characters into his story, such as goblins, knights and dragons. At times, the album takes on a grunge sound in moments of intensity, which is backed by his low vocals and distorted guitar. The more subdued, bright moments feature the higher end of his vocal range and a warmer guitar sound. His impressive singing capabilities and introspective lyrics work together to help the listener visualize the story he is telling with every track. You can catch Lutalo playing The Academy live when he embarks on his first US headline tour in early 2025.
On their follow up to 2020’s We Made Plans to Self-Destruct and Return to the Stars, Mallcops lean into power pop, and the results resemble the comedy and tragedy masks that represent the dramatic arts. It’s cover-to-cover anthems, and the results will have you howling through tears as you sing along with bassist Joey Del Ponte’s vocals. The Somerville four-piece are at their best here as they tap into Fountains of Wayne’s ability to blow the fuck out of a chorus, that one of these tracks – be it “Highway Song” or “Marceline” – stay stuck in your head for the rest of the day. These are songs about feeling far away from the person sitting next to you, about daring to reach across that chasm and, if only briefly, try to hold onto something outside yourself. The way the outro to album closer “Oceanic Love” recycles the indelibly catchy “A-a-all over” that “I Don’t Love You” opens with, gradually fading into the sounds of seagulls cawing at the beach is cinematic album crafting at its finest.
In the midst of her biggest year yet, Mei Semones released her EP Kabutomushi in April 2024. Since the release of her captivating EP, she’s garnered the attention of many, including Flea. She also performed Kabutomushi live for Audiotree and was named as one of Rolling Stone’s “Artists You Need to Know in 2024.” Throughout the EP, Semones combines jazz, bossa nova, midwest emo and more with her impressive guitar skills and stunning harmonies. Semones not only shifts tempos effortlessly, but also switches between Japanese and English lyrics to detail the power of loving someone and the difficulties it can bring. The incorporation of classical string instruments also adds an emotional layer to the tracks “Wakare No Kotoba” and “Takaramono.” You can catch Semones playing Kabutomushi live while she opens for Hippo Campus at the start of 2025.
It seems like Perennial are included on our lists, well, perennially. Any new release from them is practically a shoo-in. Art History isn’t any different from previous Perennial albums, but there’s no reason to fix a format that isn’t close to broken. The band’s newest is another art-rock banger, stuffed with wickedly fast dance-punk tunes. These songs are by nature brutally loud and fast, but the production on them is so crisp and the energy is so infectious that the result is a clean, old fashioned good time. These are songs to dance to in the VFW basement. The band’s love of raucous and eccentric bands like The Hives and Be Your Own Pet is obvious – and the energy is no less pure.
If Burlington, Vermont did indeed become the new de facto indie rock center of the universe in 2024, then Robber Robber’s debut LP Wild Guess may have been its crown jewel. The songwriting wing of in-scene MVPs Nina Cates and Zack James (both of whom spend or spent time in virtually every other VT band of recent note you’ve heard us or others talk about), Robber Robber zero in on a propulsive and minimal-yet-texturally-rich sound that lands somewhere between blistering noise rock and groovy post-punk. The group hit all the usual moves within that purview with wild-eyed glee, but things get real interesting when they stretch and contort these tried and true forms into new shapes like on the drum break-y “Sea or War” or the lumberingly beatific “Backup Plan”.
Recorded over 10 years, the latest release from Allston’s Salty Greyhound is a glittering psych opus. You can feel that patience across these nine songs that hop and skip gleefully between garage (“Dog’s Mouth”), baroque (“Ladies”), and twee (“Milk”) with ease. Fans of the Flaming Lips, Ween, and MGMT will have lots to like here. There’s a real sense of fun and playfulness on these songs, without making the listener the butt of any joke. Salty Greyhound is utterly fearless, inventive, and catchy as hell: all the makings of a future cult record.
Nepotism is alive and well here at Allston Pudding, just ask The Collect Pond, or as we like to call ‘em, The Band That AP Built. All jokes aside, what we have here is a splendid collection of punchy, well constructed indie rock songs whose casual confidence and understated grace should and would be celebrated whether the band featured 2 of our esteemed editors or 0. Their second LP with celebrated Boston label Candlepin Records Lightbreaker finds Dan and the fellas pulling from their usual well of influences (a little kiwi rock jangle here, a little pac nw slack there), while folding in some new wrinkles to nice effect. Peep the bright and pencil-thin synths on “Dissociating (Cigarette Dress)”, the Sage-y flange chords on the terse “Revolution”, or the positively twangy closing suite of instrumental goodness for proof of concept.
-Dillon Riley
Thus Love, All Pleasure
Thus Love’s All Pleasure lives up to the title. The Vermonters have hit you with one of the best rock albums of the year. Chuggy bass lines sit front and center with angular guitars and sly call backs — like the “Panama” lick before the chorus in “On The Floor.” The melodies, arrangements, and production ooze with tough sensuality. It’s as if they went on a Mission to Burma and circled back to Arctic Monkeys and I’m here for it.
Tiny Habits, aka 3 voices that blend so well in unison and harmony, have done it again with their debut album All For Something. There’s something so soothing about Judah’s, Maya’s, and Cinya’s voices on this album that makes it the perfect album to listen to when it’s raining/gloomy/cold, so it’s perfect for us Bostonians. “I Don’t Have the Heart” combines an upbeat vibe with sad lyrics literally with the line: “Hanging onto your humor and regretting your sins, why does this feel like the upbeat waiting to fall into a groove again?.” A must listen album for anyone who needs a reminder that music means something to everyone.
Brooklyn-based group Trophy Wife released their debut album Get Ugly on October 4, 2024. The LP had a timely drop, as it carries the perfect amount of angst to make it a perfect fall soundtrack. Lead singer Mckenzie Iazzetta’s powerful vocals convey the intense emotions behind each song’s lyrical content. Get Ugly begins with heavy-hitting guitar and empowered vocals from Iazetta, paired with intricate bass lines by bassist Christian Pace and heavy drum sections by drummer Michael Martelli. As the album progresses, the tempos begin to slow and instrumentals grow quiter, which allows for the listener to draw a tight focus on Iazetta’s poetic lyrics. The LP also gets extra points for the mention of “Simulation Swarm” by Big Thief on “Keep It.” Although the group has relocated to NYC, we’re still strong supporters from the north here at AP.
God bless the rap crew. Brockton’s Van Buren Records have been a scene stalwart for years and their latest Jwet EP sees Jiles, Luke Bar$, invada, Meech and FELIX! return to wax for the first time since 2022’s DSM. The Van Buren boys flex lavishly over beats that are alternatingly menacing and triumphant. Highlight “Rock Music” is a gauzy affair where ET tumbles out coos and jeers while invada displays his command of meter, elocution, and pace. With Jwet the Van Buren crew prove they’re as formidable as any group.
In a just world every alt-pop star would have their own theme song, and now VELVET DREAMING has theirs. “VELVET DREAMING” (the song) kicks off the short-but-powerful second EP from the Boston artist, and its bit-crushed dramatic sweep finds room for some turn of the century electroclash crunch and a wonderfully sour synth line in its punchy sub 2 minute runtime. While VELVET DREAMING certainly wears influences on their sleeves (and in their part-time duties as a DJ), it’s refreshing to hear boisterous pop music like this with the grit still intact. The EP’s closing title track may be the project’s finest work yet, a darkly lit strut that tackles insecurity not with pathos-laden wallowing, but boot stomps and broken glass.
As long as there are basements in which to cultivate it, there will always be young, loud-ass rock bands doing massive sonic damage in the city of Boston. And we will hopefully always be there to report. warmachine are the latest in that long lineage, and their turbulent brand of guitar psychosis could reasonably be filed under shoegaze or post-hardcore or noise or even just ear-splitting (celebratory). browsers castle follows a few loosie demos from last year, and while the sonics have been upgraded (slightly) from those humble home recordings, the end result is a verifiable sludgefeast of pedal manipulation, whether leaning into ambient abstraction or post-punk-y movement. An excellent opening statement from a band we have primed to do big things in 2025, we must say that warmachine’s prowess is maybe still best seen live. On stage is where the group really attacks their instruments as if there’s personal beef between them boiling over, kicking up a racket that’s both bracingly intense and oddly beautiful. Go see ‘em, they play in town a lot.
“I wanna hold you/ like a bazooka baby/ something so criminal/ right there in my hand.” So goes the opening lyric of the lead-off and title track from Winkler’s seven song album, Bazooka Baby.
As classic television show Happy Days and bubblegum Bazooka Joe concern themselves with a romanticized longing for an idealized version of mid-century America, Winkler also delivers a similar brand of rock ‘n roll. Early rock crooner at the sockhop with a modern spin — as if Mac Demarco were mixed like a Sheer Mag record. Winkler are skilled at the throwback as a jumping off point. I hope they can continue to grow into the kind of band that the closing track suggests, the original and groovy keys departure, “get it!.”
Bazooka Baby is a highly anticipated release from a celebrated local band, a pressure that few Boston groups can honestly feel, and Winkler delivered.
One of the best debuts of the year came from Providence’s Wooll, who have given us a remarkably consistent indie record that is far more patient and collaborative than a normal debut record. The band operates as one unit throughout, bouncing intricate guitar rhythms, smooth and dreamy vocals and crisp work from the rhythm section against each other. These are well-worn songs, ones that are never too eager to get the pace going and aren’t afraid to noodle around. These tracks are low-stakes and warm, some small love labors that are just incredibly pleasant. The band teases some shoegaze influences, but never really leaves the realm of agreeable indie. In a rough year, this is just some cozy and enjoyable music.
All I want for Christmas is gloom. December 5th was likely a magical night for many in the Boston area – it snowed for the first time just before Mariah Carey brought the holiday cheer to TD Garden. A few stops down the green line, however, was a show reflecting a different part of winter. Industrial rockers Uniform and death industrial singer Pharmakon brought their December tour to Arts at the Armory on an appropriately cold night in Somerville, and we were lucky enough to catch it.
Both of the opening acts complemented one of the two headliners well. Up first was The Infinity Ring, a regional act that set the tone – if not the volume – of the acts that would follow. The band played an expertly ominous goth folk, occasionally interspersing bursts of noise or rock into prolonged, drone folk. It married with Pharmakon’s performance of pure experimentation. True Body followed, who were closer to Uniform’s more standard rock song structure. The Virginia band played punk songs that were largely midtempo but very high energy. The band wasn’t particularly loud for the style of music they played, but their set was frantically nonstop, there was almost no breaks in between songs. It was a nice counteraction to the drone-folk minutes before.
Pharmakon came on next, to no other musicians and no gear besides a table of electronics and a mess of wires. Indeed this proved problematic at first, as she got frustrated getting her mic to work. However, she started looping a beat that was bracing enough that everyone was already into it. Pharmakon’s new album, Maggot Mass, is probably her most consistently pounding album to date – although there are individual tracks, the pulsating, metrical synth beats across all songs make it feel like one relentless suite. To hammer that home, she played the album in full. Her set was exactly as expected – intense and metrical music that was backing a chaotic vocal performance. Pharmakon’s voice was altered for the entire set, and multiple times she found herself deep in the crowd, singing and yelling directly into the faces of fans in the back or gyrating on the floor. The mix of pulsating music and unpredictable vocals was mesmerizing, a raw and unsettling performance to remember.
Uniform opened their set with “This Is Not A Prayer,” the centerpiece of their truly excellent new record American Standard and probably the best song the band has recorded to date. The ceaseless drum line pounds on for six minutes under Michael Berdan’s trademark growling. “Prayer” is a song designed to be played live, and it was absolutely a pummeling force and a remarkable opening statement. Berdan flailed around on stage for the whole show, indicating that despite the cold weather and the relatively sparse attendance at the Armory, they wouldn’t be phoning it in at all. And they didn’t – it was impressively loud and impressively manic from start to finish. Berdan was very accessible, too, working the merch booth for the first three acts and running right off stage still sweat-drenched to greet fans after their set.
American Standard is very unique from other Uniform albums. While their previous albums have followed a standard ten-ish, four-minute songs, Standard is only four tracks. Side A is solely a 21-minute long title track. “Prayer” is nearly seven minutes, and “Clemency” is nearly eight. “Permanent Embrace” clocks in at a humble four minutes. Their setlist at the Armory consisted of just these four songs. After “Prayer,” the band ripped thorough the monstrous “Clemency,” with a pounding riff that edges on doom metal. The band closed with “American Standard,” a song that starts off with a lengthy call-and-response bit. Berdan held a flashlight to the crowd and growled his part. At first the fans were a bit confused, but one person understood the assignment and growled everything back. Quickly, everyone else was doing the same. In typical fashion, this wasn’t exactly like when a singer lets the crowd sing a chorus. Everything about Uniform’s music is manic and unsettling, and this was no different. The band ripped through the 20+ minute song to close everything out. Beldan left the stage with two parting statements guaranteed to get support: “From the river to the sea, Palestine will be free, and fuck the Yankees.”
To say that Pharmakon and Uniform make miserable music sounds like an insult when it isn’t – both artists brought their gloomy and unnerving best to Somerville, music as biting as the wind howling outside the venue. It was an excellent gig and a great alternative to what most people may consider “December music.” Let the chills run through you.
Allston’s own really great band Really Great are prepping the release of their second album, Be The Light On, following up their 2022 debut So Far, No Good. The band consists of Owen Harrelson on vocals and rhythm guitar, Jake Cardinal on lead guitar, Fenn Macon on bass and backing vocals, and Nick Dussault on drums. The band likens themselves to raucous indie-punk acts like Jeff Rosenstock and Bad Moves. Really Great are kicking their album release off with a new single, out today. The song is called “Skateboard Amp,” and it lives up to both words in its title.
“Skateboard Amp” sets the tone immediately with a jazzy, warm drum intro, before the guitars kick in. This is a guitar-focused song through and through. A wall of distorted rhythm guitar fills one ear, in the other is a gamey, almost chiptune-like lick that takes control of the tune. The lick is ever-present and turns into a solo in the song’s back half. None of this is to discredit the vocals, however. It’s a song about being caught up in the whirlwind of your own mistakes, and Harrelson’s vocals are appropriately nostalgic in the dictionary sense of the word: forlorn without being sad, regretful without being obtuse.
The forthcoming record was recorded and mixed by Matt Schimelfenig, who has worked with acts like Gladie and Slaughter Beach, Dog, and this pedigree shows. The mastering was done by Heather Jones and Jared Taylor from So Big Auditory – who have worked with the likes of MJ Lenderman – and this powerful combination brings out a specific sound that is itself nostalgic. Although this song edges far closer to emo or power-pop, it’s got the feel of those mid-10’s surf-punk bands like FIDLAR and Together Pangea, even if it doesn’t have the speed. There’s a warmness in the production that makes the song feel very lived-in and tender. The vocals are buried within the mixing, the same way that someone feeling despondent might mutter into the wind. There’s a lot buried here, in a nice aversion to overly-plastic production. If you’re like me and you loved that SoCal surf scene, then this song will make you feel, well, nostalgic.
The song can be streamed on Bandcamp here (or below). The album Be The Light On will be out 1/31/25 on Disposable America. You can preorder the album here.
Boston based folk-Americana singer-songwriter Grace Givertz is back with her first new single in nearly four years. “Espionage” grapples with the idea that you are trying to fix or maintain a relationship in an effort that may just be one-sided and doomed from the start. Upon coming to terms with those ideas, one must also move on from these experiences and make room for more, something Givertz deftly illustrates on her new single.
“‘Espionage’ was written at the moment I realized that sometimes relationships don’t come to a bitter and painful end–they’ve just run their course,” Givertz shares. “It’s a song about coming to terms with the truth that there’s no way to fill the cracks in a foundation that was never built.” It’s easy to succumb to this hopeless feeling of being unable to repair a faulty connection, but Givertz doesn’t allow the listener to get bogged down. There is a perpetually hopeful and comforting warmth to Givertz’ music, something fans got to know and love with her 2019 debut album Year of the Horse. As she gears up for the long-awaited sophomore release which is due sometime next year, Givertz’ sound remains tragically beautiful and warm but feels more refined and matured. An acoustic guitar, banjo and a violin are all that’s needed to provide a lush backdrop for Givertz’ rich tones and crisp falsettos.
”Espionage” Single Artwork. Photo Credit: Omari Spears
In the years since her debut album was released, Givertz has managed to cement herself as one of Greater Boston’s most beloved talents. Having performed throughout the city, one thing has become quite clear: if Grace Givertz is performing, it’s going to be a good show. However, even when she isn’t performing, the creative drive continues as Givertz can also be found selling her homemade jewelry line Gracie Makes Things at various markets/pop-ups around the city. She makes earrings out of tiny objects, and she makes us cry with her emotionally complex songwriting. So get ready, because if this new single is any indication, fans are in for a beautiful collection of songs from Ms. Givertz. Listen to the new single below and keep an eye out for more updates from Grace ahead of her second full length release next year.
You can stay up to date with all things Grace Givertz by following her on Facebook, Instagram and her website here!
Indie-pop singer-songwriter Anna Shoemaker recently stopped by Boston to deliver an intimate set on Joe P’s Garden State Vampire Fall Tour. The singer strutted out in a sleek black maxi skirt, knee-high boots, a white long-sleeve, and friendship bracelets to top off the look. She greeted the crowd and dove right into the song “Fields.” Her guitar playing enhanced the magnetic and mellow track, infusing energy into the venue to the crowd’s elation. Shoemaker paused between songs to chat with the audience, sharing that her new album Someone Should Stop Her releases in February of next year, which elicited emphatic cheers. Notable track, “Game of Thrones” really got the floor going with its upbeat and catchy melodies that beautifully contrasted the vulnerable and relatable lyrics.
Joe P stepped on stage soon after, playing an array of songs off his newest rock album, Garden State Vampire. Strobing lights matched the driving sharp bassline on the album’s opening track, “Everybody’s Different,” setting the lively tone. Joe P sported an Ushanka, a floral knit short-sleeve, and black jeans, jumping around the stage the rest of the set. If you haven’t already, make sure to catch Shoemaker and Joe P live before the Garden State Vampire Fall Tour ends in December. Buy tickets here.
Check out all of Samantha’s photos from the show below.
