TICKET GIVEAWAY: A Giant Dog @ O’Brien’s 5/25/16

Photo by Sean Daigle

Photo by Sean Daigle

O’Brien’s Pub has a rager planned for next Wednesday: The Dazies, Zip-Tie Handcuffs, Black Beach, and out-of-towners A Giant Dog will be rounding out a high-octane night of rock ‘n’ roll.

The members of A Giant Dog aren’t newcomers to the music scene, having started their musical journeys back in high school in Houston, TX. But with their latest LP, Pile, (Merge Records) the group are embarking on a tour this summer to bring their “Sex & Drugs” and “& Rock & Roll” to the masses.

If you haven’t worshiped at the feet of locals The Dazies, Zip-Tie Handcuffs, OR Black Beach, that’s really the biggest sin you’ve been committing. And we’ve got a sweet hook-up to help fix that in the form of free tickets to the gig on 5/25.

HOW TO ENTER:

  1. Fill out the form below with your name and email address (If you can’t see the form down there, fill it out here).
  2. Listen to A Giant Dog’s new music below and wait to hear back from us–we’ll contact the winner on 5/24.

Thanks and good luck!

Don’t want to wait? Get your own tickets here!

 

(And no, we’re not giving away an actual giant dog. Maybe next time?)

Drew Thomson and the Line Between Fact and Fiction

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“The more I try at something, for sale unhealthy generally the worst it gets, capsule ” posits Drew Thomson on his songwriting style.

If that’s the case, help Thomson hasn’t been trying very much at all lately. In the last two years he released the blistering Negative Qualities LP with his band Single Mothers, a solo self-titled 7”, a limited-release solo cassette, and a slew of digital releases via Bandcamp. His forthcoming effort from Blacktop Records, Live at Apt. 2B, captures a recent performance of his solo material (complete with terrific “my girlfriend hates your band” banter) at Blacktop HQ in Tillsonburg, Ontario.

“Ben, who runs Blacktop, is spearheading the musical scene [in Tillsonburg], bringing a lot of bands to the community that he lives in that normally wouldn’t play there,” details Thomson. “I just believe in what he’s doing, and he asked me if I’d be interested in putting out a release with him. It was really small and it’s just one mic in the middle of the room. I’m happy to put this out with him.”

Three of the five songs from the performance—“Stoya”, “Please”, and “Parade”—were all released in the back half of 2015, which saw Thomson releasing five EPs in as many weeks.

“I’m a constant writer, so I just write lyrics all the time. And I’m extremely impatient, so the whole Bandcamp series came out of me having a lot of time on my hands. A lot of those songs I’ll never play again or I’ve already forgotten how to play. Most of the lyrics just came off the top of my head.”

Thomson’s lyrics, both on Single Mothers and solo releases, sound like they were penned by a bookworm that’s been hanging out in the wrong bars (or the right bars, depending on who you ask). Over the years his tales have touched upon collegetown excess, less than romantic encounters, and the listless, inebriated drift so commonplace somewhere north of age 20. As with any confessional-style writer detailing scenes fit for The Lost Weekend, a question begins to emerge of where Drew Thomson the regular guy stops and Drew Thomson the character begins.

“…most of the songs just kind of seemed in a darker area of my personality, but that’s just one part of who I am. It’s just the part that’s easiest to write about. It comes naturally to me, but people kind of make you one dimensional, and the songs can’t define my whole personality. It’s definitely become an exaggerated facet of that part of who I am. But it’s not an intentional character, although it’s kind of turning into that. I’ve kind of become that character unintentionally. I wish I kind of designed it better,” he says, laughing, “because there’s a lot of… say my girlfriend’s parents hear these songs and say, ‘Wait—who is this?’”

However, amidst the often dark subject matter does come some levity. One standout on Live at Apt. 2B is “Stoya,” written from the perspective of fan that is absolutely convinced the pornographic actress is in love with him, sending “secret codes only I can read” through her films.

“I just thought it would be funny to write a song about a guy thinking that some porn star or someone famous was actually obsessed with him instead of being obsessed with someone else. Stoya is just such a beautiful name, and I thought that’d be an interesting song to write. It’s one of my favorite songs I’ve ever written, actually.”

When asked if he regrets any of his writing, Thomson responds in jest.

“All of it! Just scrap everything,” he jokes. “Yeah, I don’t regret any of it. Art is art, and this band is my art. When you become too sensitive and you’re censoring yourself you’re not doing yourself justice, because you’re not expressing yourself. If it offends people that’s unfortunate, but it’s never the intent.” a2299646257_10
Listen to and order Live at Apt. 2B digitally or on cassette (limited to 100 copies) from Blacktop Records over at Bandcamp.

PREMIERE: Dinoczar’s Debut Album ‘Sick Wind’

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Dinoczar is a three-piece garage band from Mission Hill made up of guitarist/vocalist Paul Dunne, drummer Aaron Swartz, and bassist Jake Cardinal. Simple, right? We’ve heard all this before, so why bother? Even the band calls their older work “generic garage.” But with their debut album set to be released this week, they’re ready for that to change. The album, Sick Wind, is a coming of age of sorts for the close friends, a whetting of their earlier work into its true potential. That’s the album art pictured above.

Dinoczar has been playing for about two years now, with two EPs under their belts, but only now do they admit their music sounds like them as a band. Dunne and Swartz had been playing together for years, but didn’t call themselves Dinoczar until Cardinal joined in. Or was perhaps more like roped.

During his first course at college, he was approached by Swartz after class who asked him to play bass in his band. Despite not owning a bass, Cardinal met the two for his first practice with them, during which they handed him a list of their songs and told him to be ready for a show they were set to perform in four days.

But that’s the source of the fun. They write, perform, and just make it up on the spot. While some bands would be paralyzed at the thought, the friends in Dinoczar couldn’t care less.

The band has always run with the moment. When they recorded their last EP, Bloody Bobcat, at Q Division, they would sneak off to write lyrics while their other songs were being mastered. Dunne often makes up lyrics the day of a show, sometimes even on stage. The music for Sick Wind was recorded before their last tour—on the road, he would test different lyrics each night.

“Eventually, I found what stuck,” he jokes.

What stuck was a body of work inspired by magical realism of Lovecraft and Borges. The title is a reference to Red Apple and Silver Bells, a dark collection of children’s fables from the early twentieth century.

“I’ve gotten pretty good at embracing the weird, dark aesthetic in my mind that I’ve always pushed back and always been afraid to put out in songs,” he adds of his new lyricism, calling it the “in between where I can connect mysticism and just feeling weird.”

It’s about admitting to himself “alright, my head is a little fucked” but then asking “how can I push this into something where metaphorically I also feel like my bones are breaking?” Sometimes, it’s simply the connection between “Twin Peaks and not being able to get out of bed.”

The three have come into their own with the record. The songwriting is shared by all three.

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Band photo via Facebook. From left to right: Cardinal, Swartz, Dunne

Recently, concertgoers of theirs have approached them, saying they loved their take on metal. While that’s not quite true, it’s not quite wrong either- at the album’s heaviest, it recalls the power and momentum of any Motörhead song.

“As time progressed we’ve gotten a lot heavier,” says Swartz.

“On accident,” Dunne chimes in.

“The album’s very different from what we have out already,” Cardinal notes. “Now anytime when people look us up, unless they listen to ‘Cream’… it’s not really what we sound like anymore. It’ll be really good to have this out there to establish that this is actually what we sound like.”

But their sound isn’t just a one-trick pony; the trio have slowly been evolving to fit in some psychedelia too. Sonically, Sick Wind is exactly what its title reflects. In even just one song, you can find yourself in a sludgy bog of riffs, and the next in an atmospheric chamber of Ukrainian dulcimer. What makes it so thrilling is that it all works.

“We’ve never been good at genres,” adds Dunne, “But I think that’s what changed, going into this album- just finding the right combination of sounds.”

The subtle experimentation in Sick Wind is led by the madness of Dunne, whose sonic tinkering is apparent throughout. A close listen will expose field-recorded cicadas, multi-tracked saxophone, and slowed, distorted cymbals. Inspired by Beatles’ method of recording, Dunne even fashioned a DIY imitation Leslie speaker by holding two recording microphones and spinning around a speaker-filler room on a rolling chair.

This is the band’s process. They produce in the moment, preferring the work to spontaneously make itself. Their job is to follow, and slowly digest what they’re given.

Sick Wind is out this Friday, May 20, for no other reason other than they needed a set release date when they released the video for their single, “Cream.” Now, they’re forcing themselves to meet the deadline.

“I think it hasn’t really hit me yet,” Swartz says of the album’s imminence. The three have been sitting on the record for about a year now, and setting a random deadline was exactly the self-inflicted kick they needed to put it out.

Mostly recorded at Q Division Studios, the album is being released on Ben Semeta’s label, Basement Sounds, and was mastered by one of their music professors at Northeastern, Jim Anderson. It will be available on both digital and cassette.

“I think everything we’ve done in the past has been so different and more DIY that putting things in other people’s hands is still foreign to us,” says Dunne. “I think this is the first time we’ve found solid grounding in who we are and who we know.”

Allston Pudding is proud to premiere Dinoczar’s debut album, Sick Wind. Stream it below, and be sure to pick up a copy when it officially released May 20 via Basement Sounds.

King Gizzard and the Lizard Wizard Slay the Sinclair (5/13)

Words and Photos: Steve Nisotel

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“Nonagon Infinity opens the door,” are the first words out of front man Ambrose Kenny Smith’s mouth as King Gizzard & The Lizard Wizard took the stage in front of a sold out crowd at The Sinclair Friday night.  The seven piece psychedelic powerhouse from Melbourne, Australia made sure those in attendance were treated to a show they’d not soon forget.

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Touring in support of their new album, Nonagon Infinity, King Gizzard put on a relentless, high-energy performance centered around songs from their new album.  From the opening note until the lights came on, The Sinclair played host to a perfect storm of epic vocals, screaming guitar riffs, and trance-inducing rhythms, courtesy of the bands two drummers.  Referred to as “double drumming,” it is a technique that allows for a lot more freedom and dynamics with the drums, similar to having two guitarists, and is very conducive to the band’s sounds (also commonly employed by psychedelic punk rockers, Thee Oh Sees).
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Not to be outdone, the show’s two opening acts both put on very strong performances.  Touring with King Gizzard is Kenny-Smith’s and guitarist/bassist Cook Craig’s other band, The Murlocs, who compliment them well with their own brand of RnB infused psychedelic rock.  The show also featured local act Doug Tuttle, a three piece from Somerville, rounding out the lineup for what was a high voltage, unforgettable night in Cambridge.

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If you have not checked out Nonagon Infinity yet, the time to do so is now, but don’t stop there.  King Gizzard made one thing clear Friday night; they are best experienced live, and loud.

Nonagon Infinity is available now on iTunes and major streaming services.  Get on it.  They are quickly becoming psych rock legends and we’re happy to have them land on our shores as often as possible.

Photos from the Night:

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REVIEW: Lapsley at the Sinclair (5/5)

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Thursday, May 5th saw a sold-out Sinclair, and Holly Lapsley Fletcher, better known to downtempo electro-pop fans as Lapsley, is to blame. She’s been compared to Adele and James Blake for her broken-hearted ballads and experimental synth soundscapes. Comparisons to seasoned pop artists in their late twenties aren’t fitting, but the 19 year-old Liverpool native is making music with a uniquely millennial mindset. Her glossy, dreamy, raw tracks are a certain kind of accessible only deliverable by someone born in the mid ‘90’s. Her sound plays with nostalgia, gender, and tradition. It’s retrofuturism fueled, computer-powered, vast and vulnerable; and it exudes the energy of someone in their late teens in the year 2016.

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Lapsley’s live performance only further displayed her confidence in this exploration of sound. Her opening track, “Burn” seemed subdued for an opener, but that didn’t stop the odd (yet endearing) mixture of young queers and frat boys in the audience from moving to the music. “Painter” and “Dancing” followed up her opening sequence with icy, airy, delicate vocals, as the artist traded her computer for a keyboard.

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But what really won over the audience seemed to be Lapsley’s velvety smooth, booming vocal stylings, especially on dancier hits like “Tell Me the Truth” and gospel/disco/electronica fusion “Operator (He Doesn’t Call Me),” both from her recent debut LP Long Way Home, out on XL records. Just from seeing the crowd interact during and between these songs, as well as her two-toned finale, “Station,” in which she layered and altered her voice to create a high-and-low set of vocals, it was clear that Lapsley is an artist that represents a new way of thinking about making music with computers. She’s using them as instruments, and that voice-changing mic seamlessly fills the need for an additional vocalist. She’s mixing generation Y’s weird sense of nostalgia for every decade in the past 50 years (she uses a dial-tone effect in “Operator”, was wearing a late 80’s grungy denim trench coat on stage, and covered a Kate Bush’s “This Woman’s Work” during her encore), with our simultaneous sense of self-deprecation and apathy (i.e. lyrics like “If you’re gonna hurt me, why don’t you hurt me a little bit more?” and “Tell me the truth, it’ll hurt less, I guess”). 

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The result is obviously a 19 year-old exploring different moody atmospheres, and she’s definitely succeeding. Her only big downfall is that she doesn’t have a bigger repertoire. But she’s got time for that.

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Boston Calling Announces Afterparties

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In another addition to Boston Calling’s seemingly ever-expanding setup, today the festival announced 3 official afterparties to take the stage at the Sinclair after the plaza headliners wind down.

Friday, May 27th brings British guitar rock outfit The Vaccines into Cambridge to get warmed up for its festival performance on Saturday.

Saturday, May 28th keeps the electronic vibes going after Disclosure’s performance with intensely danceable electropop duo Digitalism.

Sunday, May 29th gives superfans the chance to catch a double-header of Charles Bradley and His Extraordinaires’ blend of funk, soul, and R&B, with a performance at the Sinclair following the group’s afternoon set on the plaza.

Pre-sale for all afterparty tickets goes live at noon on Wednesday, May 18th, via Bowery Boston and Ticketmaster. In the meantime, don’t forget to enter our ticket giveaway for a shot at a pair of GA or VIP tickets for the full weekend! 

WATCH: Lady Pills Basement Session

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We’ve been doing basement sessions here at AP for almost two years now, and this just might be the best one yet. It’s taken some trial and error to figure out certain audio and video things, but at the end of the day, it’s all about the band and their performance, and this one is great. Lady Pills are a great new band, and it was a pleasure to have them stop by the basement to play a brand new tune for us.

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It’s a simple yet clever song with an incredible vocal delivery, its gritty, it’s grungy, it’s raw, it’s sloppy at times, but that’s what makes it exciting. Lady Pills are a trio of close friends who clearly love what they are doing, and that energy and spunk is what the Allston basement scene is all about. As bands progress, things undoubtedly change, people move, get jobs, some lucky ones get signed and tour the country, while others end with disastrous break ups. The beginning of a bands trajectory is always an exciting time, and we were lucky enough to catch Lady Pills at that time.

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With just a three song EP on bandcamp, a highly anticipated full length debut in the works, and Boston Calling at the end of the month, there’s no better time to be a Lady Pills Fan. Check out “Irrelevant” below, and make sure to catch them in a basement while you can!
Editors Note: We also got ice cream at Fomu after, so yeah, it was a pretty chill little Sunday in Rock City!

PHOTO FEATURE: South By Psych Fest

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so levitation fest was cancelled at 7pm the night before the festival was supposed to start, discount ppl were disappointed to say the least, viagra order and i have my suspicions about why the fest was cancelled, sale but honestly it would be a waste of time to even go there, because although the fest was cancelled, the vibes were off the charts in Austin a few weeks ago. it was a blessing in disguise because the quick change of plans kept all the festival goers on their toes all weekend, and there was a true sense of unity and spontaneity amongst both the bands and attendees. it was a great scene for sure, and the style was top notch, but no one held a torch to the mystic braves though if i’m being honest, as they’ve quickly become the best looking band in rock n roll, there’s just no doubt about it. i also got to hang out with my BFF all weekend, so i would have been happy just about anywhere, we worked hard and we played hard, but no one worked harder then the sound guys, especially during the king gizz set, hope they got paid well, anyway, here are some pics we took…

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REVIEW: Yeasayer Keep It Weird (Paradise 5/13)

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Brooklyn experimental psych-pop band Yeasayer made their way through the Paradise this past Friday night and delivered an inspiring set that distinguishes them from the few contemporaries they once emerged alongside.

It takes a second to think of any other band that might be similar to Yeasayer. Their sound is so distinctive that anyone who has heard them before could easily pinpoint a new song of theirs. When they gained an initial buzz back in 2009-10 with progressive dancey oddball pop songs like “Sunset,” “Ambling Up” and the now indie classic “One,” they might have been indirectly lumped in with other experimental groups (Animal Collective, MGMT) coming out of Brooklyn at the time. Seven years and three records later Yeasayer are still churning out weird, interesting, yet not overthought alt-pop songs, pushing them out onto their own island of musical wonder and appreciation. 

Yeasayers persistence since being penned one of internets most buzzed about bands, however much criticized, analyzed, or ridiculed, could never be argued against the evolution of their dynamic live show. This is a major nod at a time when manipulating the sounds of a transcendent record in the studio doesn’t always translate well to the stage. The stage is indeed where Yeasayer takes a consistent turn away from their peers in not just recreating their studio ambience but elevating their pocketed electro pop sound to a full on, dare I say, fun rock show. Friday night Yeasayer was out in support of their fourth studio album Amen and Goodbye, a somewhat of a concept album that they self described as  “collection of strange fables from the Bible of a universe that does not yet exist” yet. Its loftiness in approach makes it easy to critique, but at the end of the day sounds simply like more Yeasayer. For the fans that packed the Paradise and squished up to the front in anticipation of their set, this is fairly obvious and a good thing.

The stage design featured lit stand up cut outs from their very Tim Burton meets Sergeant Peppers album cover inspired by renowned sculptor David Altmejd. Three piece opening band Young Magic, also from Brooklyn, played around the set. Grounded by two drummers, one on a straight kit, the other with drum machine with added percussive elements, Young Magic pinned interplay between the two drummers against spacey dreamscapes vocals . The onslaught of drum work juxtaposed against the subtle bass lines and brushed airy reverb soaked vocals and lightly strummed guitar of charismatic singer Melati Malay. Hints of Phantogram emerged at some points when Malay got peppy, almost rapping some verses against the thumping beats, but their formula never strayed too far from worldly electro-synthesizer-less dream pop. 

From the very beginning of Yeasayer’s set, songs like “Half Asleep” and “Cold Night” immediately made Amen and Goodbye worthy of a listen, or second listen for fans driven to the show to rehear their early career staples. Mid-song comments like “this must be a new one” were rampant but never jaded. The band set up around their freak-show stage was un-ironically in the shape of “Y” with lead vocalist/keyboardist Chris Keating directly in front of their new drummer, and bassist Ira Wolf Tuton, and singer/guitarist Arnand Wilder tiered to his left and right. “Sunrise” and “2080” songs from 2007’s All Hour Cymbals made up the middle part of the set and represented early songs that Yeasayer earned their Middle Eastern sounding branding from. More tidbits of material from Amen and Goodbye followed with the only waning song of the night “Divine Simulacrum” and the bouncy “Dead Sea Scrolls.” “Tightrope” was a mid-set breath of fresh air fan favorite, and the set closed with lead Amen and Goodbye single “I Am Chemistry” that represented just how much Yeasayer can take a somewhat flat song in the studio and light a flame under live. The catchy kids choir bridge melted perfectly back into the chorus that didn’t seam nearly as washed out as it does on the record.

All seemed to be feverishly awaiting “O.N.E” for the encore, but would have to endure three songs starting with sleepy “Uma” first if only to build up tension. Then “Silly Me,” the second single off of Amen and Goodbye, and the perhaps second most plain old fun song of Yeasayer’s catalogue made everyone forget about “One” for a hot minute and got the entire crowd, borderline running man, dancing. The interestingly awkward beat of “Ambling Up” followed suit and seemed to start off rusty before Keating managed to get the entire crowd to sing along to the final chorus lines. Then, finally, “O.N.E.” which however overstated is clearly and by far Yeasayer’s most noteworthy and defining song. Emotional closed eye sing alongs proved that just about everyone in the audience had connected with the feel good break up vibes that permeate the lyrics of “O.N.E.” at one point or another in their lives.

In the end, however much of a critical lens you want to dissect Yeasayer’s newest studio effort with, its easy to see Yeasayer shines brightest in the live setting. Their ability to continue to carve out a place for themselves in the changing musical landscape that they might no longer be trending in relies on the simple fact that Yeasayer’s shows are a lot of fun, and if given more space than the Paradise had to offer, turn into total dance parties. At a time in our culture where everyone seems to be very serious about everything, our politics, our music, or lives, a Yeasayer show offers a sense of escapism that just might be the remedy many of us need to well, get a little silly to.

Coming Together: Boston’s Dance Music Summit

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Boston music fans rejoice- Together has returned! The eight day festival, taking place in venues across the city, has handily established itself as a chief summit for boundary-pushing electronic music, both locally and across the East Coast. Matching a lineup of all-star musicians and producers with some of the brightest local talent, the festival’s strong sense of community and commitment to education makes for a week that will have you thinking as much as dancing.

Leading up to it’s debut year in 2010, the seeds of Together were laid during founder David Day’s tenure as music editor at the Weekly Dig.

“Covering the scene and analyzing everything, it felt like there was something special going on in all these different pockets, but they all shared a forward-thinking attitude to music and tight knit communities,” recalls Day. “I sent an email to 85 people and said ‘let’s celebrate what we’re doing here and give us all a good look once a year.’”

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Citing Barcelona’s Sonar and Montreal’s Mutek as influences, Day and his team put together a multi-day event focused on pulling in massive national and international talent and pairing them with artists from Massachusetts’ small but passionate scene. With Boston traditionally not considered a major city for dance music, it took some time for the festival to really get its footing.

“In the early days, people thought that maybe we were just some kind of EDM thing; that we were going to party and play terrible music,” says Day. “It was a challenge communicating exactly what we were.”  

However, in the ensuing years Together has garnered acclaim on both a local and global scale. From the support of local figures like Mayor Walsh (who dropped the ceremonial “first beat” in 2014) to the significant exposure granted by their partnership with international dance juggernaut Resident Advisor, it has grown in stature from a plucky boutique festival to a major cultural event.

“At this point, not only the community at large understand what we are, but the agents and artists understand who we are,” says Day. “I think people understand that Boston is full of musicians and scientists and programmers and engineers and they’re not coming here to party as much as show off.”

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Unlike many contemporary electronic music festivals, oft-derided for their increasingly generic cash grab lineups, Together curates its artists with nobler intentions.

“The point is to put our musicians on a pedestal next to the world’s greatest so they feel appreciated,” Day proudly notes.

It’s a mission statement that they come through on handily. Local jockeys like John Barerra and Sventh are given placement before crowd-drawing international acts, while the more rock-inclined Strange Mangers and synthpop curios St. Nothing are featured at smaller showcases. With all of these sets included in the price of a pass, they have had great success getting their patrons to explore the exciting sounds coming out of Boston.

On the headliner front, Together’s organizers have consistently curated lineups that reflect current trends in electronic music, and this iteration is no different. After last year’s techno-dominated schedule, 2016’s lineup is focusing on live acts. From the full band experimental electronic jazz of Floating Points to the soulful house of Henrik Schwarz to the gleefully twee synthwork of Giraffage, the bulk of the artists on the lineup will be reproducing their music on the spot rather than simply cuing tracks. While DJing remains an integral part of dance culture, the breadth of technology now available has enabled a more dynamic type of set which is quickly becoming a prefered approach to performance.

“I think a lot of music is heading that way, where you’ll see the new equipment from Roland or the Ableton Push at shows,” says Day. “The new instrument is engaging with the technology to create sounds that have never existed before.”

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Attending the shows is only part of the experience, though. Together also presents a daytime educational series, with programming including artist talks and history seminars, design classes at local laser printing shop danger!awesome, production workshops and the famous “synthesizer petting zoo.” These events- all of which can be attended free of charge- foster a vibe more focused on interaction and community building than simply the consumption of other people’s art.

“The educational component is key,” says Day. “We want to not just put our local talent in front of people but also engage with them and teach them new things. The festival wouldn’t be what it is if we didn’t have the meetups and the skill shares and the discussions that we have.”

Of course, while many of these elements are geared more towards producers or serious dance heads, Day stresses that outreach is an integral goal of their programming and that prior experience with electronic sounds isn’t necessary to participate.

“A love of music is what this is all about,” Day notes. “If you love music, you’ll enjoy these experiences. If you have any questions, please ask us. If you don’t know what Ableton is, we’d love to show you!”

Looking to the future, Day envisions even more expansion. Citing Brian Eno at Symphony Hall as a dream booking, the team are looking to up the scope while keeping the approachable framework that has been so successful. However, when asked about the potential for a more traditional one location stage-based festival, he said that if the audience and funding are there, his team would be up to the challenge.

“We’re pretty comfortable in our own skin now,” Day chuckles. “We know what we’re capable of, and I think that could potentially be a lot.”

With a killer lineup and a passionate community surrounding it, Together is on track for another excellent year.

Together Boston kicks off tonight with Floating Points at the Sinclair. A full schedule, including both shows and daytime events can be found here. Full passes are no longer on sale but tickets to individual shows are still available, some in advance and some at the door.

All photos by Nick Minieri