Built to Spill, Hop Along, and Alex G @ the Paradise (10/3)

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After the release of last year’s Untethered Moon, a tour by Built to Spill was highly anticipated. Touring again this year, they are joined for the east coast leg by freak folkers Hop Along and lo fi rockers Alex G, playing in Boston Tuesday night at the Paradise Rock Club. The bands proved their strength as a group, seamlessly moving from Alex G’s pained crooning and pedal board extravaganza to Hop Along vocalist’s Frances Quinlan’s effortless belts and, of course, Built to Spill.

This bill was especially interesting because each band is effectively led by one defining member on guitar and vocals. Although the bands vary within the “indie rock” umbrella, they are each uniquely defined by one member: Built to Spill’s Doug Martsch has been performing music written by himself and the band’s original drummer’s sister, Karena Youtz, for over 20 years. Frances Quinlan originally performed Hop Along as a solo act, describing it as “freak folk”, a genre defined by pastiche and avant-garde artistry; Alex Giannascoli, the man behind the Alex G moniker, has been a multi-instrumentalist since he was a child. For all these differences, each band on this bill somehow evokes feelings of nostalgia and melancholy, seemingly penning each song for each listener specifically.

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Alex G came out of the gate strong to a large audience, especially for a chilly Tuesday night. Anyone familiar with Giannascoli’s extensive Bandcamp discography knows his scrubbed down, lo fi bedroom tunes that come off almost like a slightly better-produced Daniel Johnston b-side. Live, Giannascoli is almost vibrating with contained energy and dressed like a skater who escaped from a 90s skate video. The backing band fleshes out his sound to make it sound fuller, his voice almost phantasmagoric. The band played songs off everything from 2010’s spectacular release Race to last year’s DSU. With 13 albums and EPs, the band has a lot of material to choose from.

Similarly, Built to Spill played material spanning the entirety of their 24 year tenure as a band. Songs from There’s Nothing Wrong With Love (“The Plan”, 1994) and Keep It Like A Secret (“Big Dipper”, 1999) were enthusiastically received by the audience, even inducing sing-alongs. Normally that’s the kind of thing I’m averse to, but you really can’t blame people for loving a jam as good as “Big Dipper.” Also well-received, though perhaps less well-known, was a new song that I can only find online in shaky YouTube videos, dubiously titled “Strangers Inside.”

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Sandwiched between these two stellar acts was Hop Along, who didn’t miss a beat keeping pace. The audience was admittedly rather rowdy, with one rather loud and likely drunk patron shouting incoherently in approval between songs. Quinlan quickly retorted that she could wait for him, proving that in addition to an incredibly powerful and raw voice, she’s got a cool wit too.

Not every band can manage to stay great for a long time–many bands fizzle out after their first or second release, if they even get that far. It speaks to the caliber of Built to Spill, particularly their unbelievable songwriting, that they are still releasing moving music after 24 years. Their melodies are often haunting, sounding at times like a ghostly Dinosaur Jr. record played at 45 rpm. The band has consistently released music that is fantastic in a variety of ways: the songwriting and musicianship, the lyrics and the snarling guitar solos–they all combine to create some damn fine music.

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Porches Sells Out @ The Sinclair (10/05)

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This past Wednesday, vcialis 40mg I was lucky enough to be able to attend the sold out gig with Porches, try Japanese Breakfast and Rivergazer at the Sinclair. I was very nervous to attend this crazy of a show. Coming straight from school, see I was not dressed nearly as trendy as I needed to be. Luckily I was able to stop into Urban Outfitters and purchase a UO Boxy Fit Hoodie Sweatshirt. $54 later, I was ready to rock.

Rivergazer, the “London-born, New York-bred project” of Kevin Farrant, took to the stage first to an already packed room before later pulling double duty shredding guitar in Porches. Right from the get go, the crowd fell silent as the majestic synth leads filled the room. All the people in attendance who were planning to rudely talk over the opening acts suddenly fell into a trance as Rivergazer’s booming drum machine and deep basslines powered through tracks from their 2015 release, Only 4 U. Farrant’s hand motions during the set were mesmerizing. It looked as if he were trying to spell the soaring lyrics out for us in sign language. The set had other surprises like Aaron Maine joining the band for a song so Farrant could focus solely on his keyboard, as he was typically manning his keyboard and the drum machine. Before Rivergazer’s set had ended, Farrant let the crowd know that their final song was a song to “squeeze your butt cheeks together,” which got a large laugh. The song was real groovy and definitely warranted the butt squeezing. I tried to listen to the lyrics but I found myself not being able to hear the lyrics because I was too focused on listening to Farrant’s instruction.

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Japanese Breakfast, on tour from Philadelphia, took to the stage after Rivergazer got things hot. This was the last date of their tour with Porches & Rivergazer and during that time, Michelle Zauner mentioned how she’d witnessed two men grow mustaches, shave them off and then grow them back again. Playing through their album Psychopomp in its entirety with a cover of Dreams by The Cranberries sprinkled in, the band fired on all cylinders. The band’s arrangement rotated throughout the set as guitarist Nick Hawley-Garner would rotate from playing synth back to guitar. Bassist Peter Bradley would also make this rotation throughout the set, abandoning the bass to rip the keys. This made their entire set so dynamic with beautiful harmonies and quiet yet powerful songs of grief. At times, Zauner’s riffs became so heavy that the raw and beautiful pop band became reminiscent of early Smashing Pumpkins. Michelle Zauner, a former student of Wellesley College, shouted the school out and received applause and ravenous support from a small group of fans who most likely attended that school which seemed to bring a heartwarming smile to Zauner. If for some reason, you missed the sold out gig and weren’t able to see Japanese Breakfast, you messed up. Quit your job, drop out of school and follow their tours. This band will blow you away.

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Porches came out to close out the evening, and as soon as frontman Aaron Maine even stepped on stage to set his guitar up, half of the iPhones in the sold out room were whipped out with the intent to capture his image. I’m surprised there was no world record broken, as I can assume that there was easily a total of 45 minutes of Snapchats taken during the set. Seemingly soft-spoken and mysterious, Maine was vocally thankful about the show being sold out. “You did it. You bought the ticket. You sold out the show.” The drummer of Porches never misses a beat. The complex, dance-y, electronic beats were performed so tightly that I suspected him of being a very advanced, humanoid model of drum machine. The rhythm section of Porches never disappoints. Maya Laner accompanies the drummer by shredding dazzling and hypnotizing bass lines that are done both on bass guitar and midi pad. Ripping right through most of the acclaimed Pool, Porches seemed to earn a standing ovation during every song performed. Well, I mean it’s a standing room only venue so technically all the ovations this evening were standing but you know what I mean. The audience was in the palm of Porches’ hand; as Maine swayed his hips back and forth, the audience mimicked his every move. Maine goes right, sea of trendy beautiful concert-goers goes right. Maine goes left, sea of trendy beautiful concert-goers goes left. While Maine assumed the role of the maestro during the set, he stopped a few times to smell the beautiful bouquet of flowers accompanying the group on stage. He later handed them out to a few feral fans. Leaving the show that night, you could see how happy that small gesture made a few select fans, as they were clutching their flowers tight and exiting the venue.

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Just last month, Water was released. Water is “a new standalone insight into the music that formed the melodic skeleton of Pool.” While at the show, we did not get any Water versions of any Pool songs, the band did perform one of the previously unreleased tracks that is available on this release. The live rendition of Black Dress was a lot fuller than on the album, as these songs are seemingly darker and deconstructed but gives great sense of the creative process of the group. For any Porches fans like myself, I can highly recommend this release.

Towards the end of the set, Maine shouted out one of their previous Boston shows at the Elks Lodge further down in Cambridge. He was vocally thankful for the AC & ventilation of The Sinclair compared to the sweaty evening with Frankie Cosmos. If you’d like to reminisce and feel nostalgic of that gig, you can right here.

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We came. We saw. We sold out the gig. According to Maine, we all came together to “act freaky on a Wednesday,” which is a perfect summary of what went down. Each time Porches comes to Boston, the crowd of seemingly hypnotized people letting loose and grooving gets bigger. It’s an incredible experience and again, if you missed it, I’m sorry. As the band performed their final song, Underwater, the first track from Pool, Maine began to wave goodbye to the crowd. This was very hard for a lot of us, as goodbyes are never easy; however, I assured myself that this was not a goodbye, it was a see you later. As we anxiously await the return of Porches, we can relive some of the action below.

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PREMIERE: Halfsour’s Charm School

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In anticipation of Halfsour’s EP release show tonight, we’ve got a premiere of the aforementioned EP, Charm School. With the start of “Ten Year Tenure,” guitarist Matthew Mara’s guitar punches you straight into the EP with no warning. Charm School doesn’t lose momentum with each song: attacking its listeners with poppy riffs, complementary vocals, Zoë Wyner’s bass grooves to make you move uncomfortably and drums from the maniac disposition of Ian Gustafson.

To answer Wyner’s question “why would you stay?” to begin the EP, we say: Halfsour, duh. Stream Charm School below, and get to the gig. Copies of Charm School will be available tonight on vinyl and cassette via Too Far Gone Records/Disposable America, but if you can’t make it, order one on bandcamp. See everyone tonight!

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Halfsour EP Release Show with Big Eyes, Kindling, Laika’s Orbit, and Dæphne

October 12, 2016
Middle East Upstairs
472-480 Massachusetts Ave
Cambridge, MA 02139
Doors @ 7:00pm | All Ages | $10

 

 

Interview: Shea Rose Covers Sinéad O’Connor and Announces New EP

By Cliff Notez

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Photographer: Joel Benjamin, Album Artwork: Jeff Manning

Shea Rose drops her mind into her heart and shows us why some songs are unfortunately timeless

Sinéad O’Connor originally wrote the song “Black Boys on Mopeds” in 1990 about police brutality in the United Kingdom. The song came as a part of O’Connor’s record I Do Not Want What I Haven’t Got. 7 years before this album was released, in the London Borough of Hackney, the community had begun to urge for public inquiries into unjust policing in the area. Within that time frame, in the entrance of Stoke Newington’s Police Station, Colin Roach, a 21-year-old black British man died  from a gunshot wound. No public inquiry was ever satisfied, but an inquest into the incident was conducted in which the verdict of Roach’s death was ruled a suicide. O’Connor dedicated this debut record to Roach’s family. Just a year before the release of this record, Nicholas Bramble was killed in a road accident after being pursued by police for stealing a moped that he owned. This song was said to have been written for Nicholas Bramble, a 17-year-old black boy who was unjustly pursued by police, causing his accidental death.

Shea Rose is a Boston born singer songwriter and graduate of Berklee College of Music. Since her graduation she has been anything but stagnant. Racking up award Nominations from the Boston Music Awards, including Artist of the year for (R&B/Soul/Urban Contemporary) in 2011 and Artist of the year (Pop/R&B). Her diversity in award nominations is a tell tale of her wide variety of talent, but there is much more to Shea Rose and we get to embark on that long journey with her soon! Almost 3 decades after the initial inspiration, and half way around the world, unfortunately, this Black Boys on Mopeds is still very relevant, and Shea took some time to talk with us about why she decided to shine her light on this song and its subject matter once again. Rose reminds us how music often times offers artists a platform to speak on injustice.

Allston Pudding: Why did this song, by this artist, become your choice of voice on these issues?

Shea Rose: I first heard “Black Boys On Mopeds” about ten years ago while living in Kingston, Jamaica.  I’ve always felt a timeless connection to this song and the message.  I was struck by its relevance then and that was fifteen years after Sinéad O’Connor released the song in 1990.  Here we are 26 years later and the same brutality, corruption, and violence toward black men that Sinéad wrote about is still happening with no fair justice or recourse.

I’ve always found Sinéad O’Connor to be ahead of her time and bold in her voice.  When she made it center stage in the music industry, she decided to use her platform and celebrity to shed light on social injustice and systematic oppression across the globe. Why her?  She took the industry head-on and chose to speak her truth. That takes courage.

AP: What was most present in your mind when recording this record?

SR: “Black Boys On Mopeds” is the very first song that I can say I dropped my mind into my heart and sang from it.  I tried to record the song several times with guitar and voice, similar to the original, and I wasn’t doing it any justice. Producer Simone Scazzocchio suggested I sing the song with no music, no click, just straight through acapella.  I did several takes of the song this way and it allowed me to open up and liberate the story and message of the lyrics. The arrangement and production were added after my vocal performance.

AP: This is a pretty lyrically dense and tense song, and singing acapella must have helped you to really focus on exactly what you were saying. Was there any specific lyric in this song that really stuck with you and why was it important to you?

SR: The lyric of the chorus, “England’s not the mythical land of Madame George and roses/ It’s the home of police who kill black boys on mopeds,” struck me when I first heard the song.  This was, of course, a provocative and true statement about the senseless killing of young black boys and men.  Sinéad O’Connor takes it a step further by explicitly naming political figures and institutions, exposing the system for what it is:  corrupt and hypocritical.  “These are dangerous days, to say what you feel is to dig your own grave. If you were of the world they would love you.”  Such a true and timely statement.  It’s what I feel is the most powerful, potent, and universal lyric in the song.

AP: What’s next on the docket for Shea Rose?

 SR: I’ve spent the last few years working on a project called D.T.M.A. (Dance This Mess Around), which we are releasing over the course of the next few months. During the time frame of creating this album, my career and personal life took a few dramatic turns. I was offered a major record deal and I turned it down. I realized that this project became representative of my struggle to conform in order to get that major record contract, and the freedom I felt turning it down and truly discovering my own identity. This album, similar to my recording of “Black Boys on Mopeds,” was part of my journey towards establishing [to myself] my voice and self-identity as an artist.

AP: Sounds exciting, tell me more! What can we expect from this project?

SR: Well this project won’t be released in the way a traditional album would be, all at once. We’re revealing one track at a time over the next four months, beginning this Friday, October 14th with the single “Do I Really Wanna Be (A Rock Star).” Every song will be accompanied by its own fashion-forward cover art and a video interview that will hopefully give you a bit of insight into my journey and what each song means to me. This album is not just a presentation of a piece of art I have worked on, but very much about the actual work and process that I and all my collaborators went through to make it. We want to expose that process to the public, presenting the process as the art.

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AP: What is the music like sonically and thematically?

SR: This album is a journey that highlights three important themes – identity, transformation, and self-acceptance – and the growing pains of moving through each of those stages, feeling isolated, trying to fit in, and eventually finding my true voice. I was inspired by many styles of music, ranging from 90’s Hip Hop to Folk Ballads like “Black Boys on Mopeds,” and even Punk Rock musicWe’ve put years, tremendous work, and so much personal pain and celebration into this record. I am beyond excited to reveal it to the world!

 

Shea Rose’s first single from D.T.M.A. will be available at SheaRose.com and on Bandcamp this Friday, October 14th!

Shea will also be curating the RISE Music Series at the Isabella Stewart Gardner Museum with co-curator Simone Scazzocchio October 13, 2016: Amel Larrieux featuring Jake Sherman

 

REVIEW: Nylo, Yuna at the Sinclair (10/3)

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Most shows share a few of the same components: an opener, a headliner, an audience, an aesthetic. But it’s the differences between these pieces that create a whole experience. On Monday, October 3rd, an indie-pop/R&B singer-songwriter who goes by Yuna headlined at the Sinclair. Detailed below is one of these experiences.

Venue Vibes: Walking up to the Sinclair on the night of October 3rd, you’d have heard English spoken with several different accents. In between opener Nylo and headliner Yuna’s sets Michael Jackson tracks, songs like “I Have Nothing” by Whitney Houston, and a remix of Amy Winehouse’s “Back to Black” boomed overhead. Most audience members intuitively sang along, some with their partners and friends, some with only their $12 cocktail. Liquid courage aside, dozens were apparently feeling uninhibited enough to keep on groovin’ long after Nylo’s danceable set. Overall, positive vibes for a Monday night.

Listeners: The crowd at the Sinclair was as international as the headliner. It’s rare to see the Sinclair packed with this many different kinds of people, races, ages, religions, and genders, but I’ll save the discussion about a long history of white/male-dominated punk and indie-rock shows for another time. Even Yuna made sure to point out the diversity amongst the people below her, giving a special shout out to her Malaysian sisters and reminding everyone that “we need this respect and tolerance.” Though the venue was definitely femme-heavy that night, there were a good amount of dudes in attendance. Better yet, they weren’t just standing there, being tall and taking up room. They were actually singing along, enjoying themselves, supporting Yuna’s art. Not to mention, everyone was so frickin’ well-dressed.

Opener: Nylo, the 26 year-old self-identified pop/soul/urban artist from Chicago, opened the show with fresh and fitting tunes. With a soulful voice and lyrics that we can all relate to, the singer-songwriter showed that she can really hold her own not just as an opener, but as a performer in general.

Stage presence: As Yuna walked out, people’s phones went up. Her presence is magical and strong. She touched people’s hands in the way that superstars do because she is one. With a kind of sly smile on her face, she sounded so natural in front of a mic and looked so natural in front of a crowd.

Sound/Arrangement: Overall, Yuna had a full, soulful sound in no small part due to the full backing band. Although we didn’t often hear Yuna sing solo, her vocals were skilled and distinctive enough to rise above the musicians behind her. Her lyrics, too, were distinctive and creative, and she brought attention to this by taking a second to introduce some of her songs. For example, about “Time,” (a song she wrote for her mom) Yuna said, “I never won any contest ‘cause I was too young. I was impatient, and she told me it takes time.” She then easily transitioned into the song.

Crowd Favorite: With a quick quip about Usher (who appears on the recording), Yuna dove right into her poppy single called “Crush.” She sang, and the crowd readily echoed.

Show Stopper: “This is not science or math. This is real life,” Yuna said ahead of her performance of “All I Do,” a song about how to fall out of love. It was the only tune she sang solo, save her guitar player, and the lack of a backing band brought Yuna’s skilled vocals to center-stage. And as everyone fell silent, you could feel the crowd recognizing this deep intimacy.

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Zodiac Trax: October Forecasts 2016

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Planetary Overview

Oct 7 3:55AM Mercury enters Libra
Oct 16 12:23AM Full Moon in Aries
Oct 18 3:01AM Venus enters Sagittarius
Oct 22 7:45PM Sun enters Scorpio
Oct 24 4:46PM Mercury enters Scorpio
Oct 30 1:38PM New Moon in Scorpio

Wtf it means:

Libra’s symbol is The Scales, a symbol for equality, balance, and harmony. The Sun and Mercury are in this sign at the start of October, promoting a certain balance for the entire Zodiac, and a reminder that there are two sides to every relationship. We’ll embrace our personal passions as the full moon appears in Aries on the 16th. After the 18th, romance and affection could be kicked to the backburner, in favor of a focus on life ambitions à la Sagittarian influence. But first, Venus transits Scorpio until the 18th, and everyone’s love life may be subject to a lil’ scrutiny, as the Scorpion is ever-searching for the truth and deep connections. Expect these tendencies to intensify as the Sun, Mercury and a new moon also pass into the water sign in the last half of the month.

ARIES | TAURUS | GEMINI | CANCER | LEO | VIRGO | LIBRA | SCORPIO | SAGITTARIUS | CAPRICORN | AQUARIUS | PISCES

PREVIEW + TICKET GIVEAWAY: Margaret Glaspy & Palehound – The Sinclair (10/16)

Art by Alyssa Alarcon

Art by Alyssa Alarcon

Surprise! We’re presenting the Margaret Glaspy and Palehound show this Sunday October 16th at The Sinclair. If you haven’t bought tickets yet… why? Oh you’re waiting for a ticket giveaway okay. We’ve got you on that front. Enter for a chance to win a pair of tickets to the show below. It’s always an honor to present shows with such great musicians and performers like Margaret Glaspy and Palehound, and we want to share this experience with everyone!

We’ve loved Palehound even before Ellen Kempner moved to Boston. Her sad songwriting is so ear-catching that it is impossible to attend a Palehound show and leave without feeling every spectrum of emotion. With new tunes on the horizon, seeing them played out at The Sinclair is the best-sounding way for you to experience them for the first time.

 

Margaret Glaspy‘s captivating songs are pushed forward with her raspy voice and fuzzy guitars. They’re perfect pop songs to regain your love for the future of pop music. Get a stripped down sneak peak thanks to the forever awesome NPR Tiny Desk series.

There’s a third performer… WAIT AND SEE

Margaret Glaspy, Palehound and TBA
October 16, 2016

The Sinclair
52 Church St.
Cambridge, MA 02138
Doors @ 7:00pm | 18+ | $12 adv, $14 dos

How to Leave Small Spaces: Car Seat Headrest and Lucy Dacus @ Sinclair (9/17)

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Disclaimer: This review is extremely delayed due to the writer’s extensive feelings on Car Seat Headrest AND her lack of willpower to confront them head-on.

“You have so many songs. Do they remain therapeutic, or do they get stale over time?” The question comes from drummer Andrew Katz. He’s chuckling a bit and reading it in place of the fan who sent it over social media days earlier.

Frontman Will Toledo considers this with mic in-hand. He says something to the effect of, “Yeah.” Some songs grow old, but removing them from the set for a while and paying a revisit later usually does the trick. Then, in the rockstar-slanted attitude of his latest release Teens of Denialhe finishes with, “Whatever, bad question.” The crowd laughs, jumps to “Connect the Dots (The Saga of Frank Sinatra),” and the show’s over.

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The looks of a SOLD OUT marquee outside The Sinclair tells half of this story. Will Toledo is big, and Car Seat Headrest is bigger. If the fleet of hyped talkers that filed in throughout Lucy Dacus‘s opening set wasn’t proof (rude and unappreciated), the sing-a-longs ensued once Toledo took the stage certainly were. With 12 lo-fi albums in the recent past, the Pacific northwestern outfit is a more focused kind of rock band now, and THIS was a rock show to fit: a launch and a departure at the same time. It made me happy. It made me sad, and I think when it comes to the bands we lovingly follow, this simultaneous tug is sort of meant to be.

Among the tall boys holding “tall boys,” Car Seat Headrest opened with the light drum beat of “The Ending of Dramamine” off How to Leave Town, the album commonly referred to as the band’s ultimate point of lo-fi pride. The masterpiece song of years’ past tumbled into today’s hit “Fill in the Blank,” and the set officially kicks into motion. Everyone knew the lyrics, ironically smiling and shouting: “If I were split in two, I would just take my fists so I could beat up the rest of me.” When the applause hit, the band mentions something about “getting destroyed” in New York the night before and that they like Boston better, at least for tonight.

Toledo himself looked like he just rolled out of bed late for his First Holy Communion™, which is an aesthetic I could both get behind and relate to. Messy hair and fitted suit, he plowed through songs off the new album alongside a cover of David Bowie’s “Blackstar.” All were crowd favorites. People literally spewed sentences like, “This is too good.” “I love you.” One man even asked me what I was doing taking notes at a show like this. “Just enjoy it,” he said as I try to jot down a comparison between the song “America” and road trips themselves *chews pen, holds tongue.*

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However, please don’t twist my cynicism over feeling buried in the crowd with the actual quality of Car Seat Headrest live. The performance was high-energy, hilarious and weirdly elevated in audio quality. Toledo’s voice soared further onstage than I’d ever heard over headphones, especially with “Times to Die,” the first song of the set without his guitar in hand. He was awesome on mic, dry with banter, and if I denied being attracted to him the way my mom was (and is) to late-career Paul McCartney, I’d be lying. A real “Teen of Denial” in the flesh.

All that said, I watched this set with the realization that an artist I’ve adored for years now is momentarily moving on: from 14-minutes songs, from my $25-dollar maximum ticket budget, from venues where touching the stage is realistic for all sizes. “He’s probably never playing a club this small again,” texted my photographer before the show. The night–rockstar and rowdy in its own right–was excitingly bittersweet because it was the “last” of something. Toledo is likely never recording in his own trunk again (at least not out of obligation), and honestly he’s earned this next stage. However, I couldn’t avoid the significance of “Sober to Death” in the encore. “Hold onto the ghost of my body,” sang Toledo. I put my notebook away, figuring tons of people had taken these same notes, but perhaps on their own favorite bands, before.

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Green Day Returns

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Green Day is back.  After several years on hiatus, the California punk band releases their new album, Revolution Radio TODAY.  To celebrate the new collection of songs and gear up into full touring mode the band released a schedule of surprisingly small shows to take place during the week leading up to the album’s release.  When a band as prolific as Green Day announces a string of club dates, including the House of Blues here in Boston, you can expect tickets to sell out in a minute or two.  We’re not sure tickets even lasted a minute and we reached out just as quickly for our press credentials for the band’s much anticipated return to Boston.  The band’s last treks through the area were in 2010 and 2009 at the Xfinity Center and TD Garden, respectively, in support of their album 21st Century Breakdown.

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California duo Dog Party opened the show with an energetic set reminiscent of early Green Day and got the crowd ready for the main act of the night.  Upon emerging from the smoke to loud cheers, Green Day launched into “Know Your Enemy” and didn’t slow down from there until closing out the set with a solo performance of “Good Riddance (Time of Your Life).”  While the show was clearly a launching point for a larger tour and was to give the band a chance to get back into the swing of things, there was nothing rough about the performance and Billie Joe and co. are clearly focused on this latest jaunt.  There was no phoning it in, impressive after almost 30 years of Green Day (an accomplishment the singer announced from the stage.)  The night felt like a celebration of the band’s career so far and a tease of what’s to come.  They played only 4 songs from the new album (perhaps saving the rest for after release day) and the rest of their set read like a greatest hits collection spanning the aforementioned 30 years of music.  Any casual or die hard Green Day fan likely heard most of what they were looking for this past Saturday.

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The band invited several members of the audience on stage to help them with lyrics before ceremoniously throwing them into the crowd to surf back to their spots on the floor.  At one point Billie Joe made his way to the side of the stage and noticed that there was an ASL interpreter signing the lyrics to a hearing impaired crowd member and brought her center stage to sign for the entire room.  You could tell it was hard for her to contain her excitement and do her job at the same time, but the crowd member was probably understanding if she missed any words as the interpreter rocked out with one of her favorite bands.

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These were just some of many special moments during the show.  A particularly moving singalong to “Boulevard of Broken Dreams” led to singer, Billie Joe, proclaiming, “Oh man, I’m just happy to be alive!”  You could tell he meant it, as there was never a moment where the smiles left the face of himself, bassist Mike Dirnt or drummer Tre Cool (who is “still sexy” after all these years according to BJ.)  If the tour comes back through town later on, make sure to catch it, as the band is back in peak form with this latest release and string of performances.

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Skinny Bones Spooks With “Stupid Slow” Single

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It’s October, fellow skeletons! That means layering up and buckling down to new spooky tunes from Boston’s folktronic finest: Skinny Bones. The synthy duo of Jacob Rosati and Chris Stoppiello will release their next album Ponta Delgada  just days before Halloween this year, hence the picture from October’s past above and the video for “Stupid Slow” premiered today on Impose. Frankly put, it’s capable of eliciting “The Creeps.”

The single itself is a sidestep away from the field-recording-filled Skinny Bones of 2014’s Noise Floor“Stupid Slow” ebbs and flows with all kinds of beeps, boops and whacks, like the sounds of a whimpering computer or an alien struggling to parallel park. Too abstract to imagine? Then maybe just listen and watch the new material unfold below.