On a blustery evening in early May, an anxious crowd waited for Molchat Doma to enter the stage. A giant digital screen behind the proscenium flashed and fuzzed in VHS quality, and a familiar band logo font that harkens back to the days of KISS and Iron Maiden illuminated the Boston crowd. Belarus’ Molchat Doma had arrived.
The post-punk trio strolled into Royale’s cavernous ballroom ready to work. In a two hour performance that spanned choice cuts from 2017’s debut С крыш наших домов up to their most recent LP Monument, they danced hard without losing a step. In black shirts, black pants, and shiny black shoes, singer Egor Shkutko crooned in a baritone from beneath a handlebar mustache and willowy brown mane. Shkutko dialed up the swagger to a level 10 as he moved his hips and shoulders like Father John Misty, and gesticulated wildly with his hands and eyebrows like Alice Cooper. The effect was mesmerizing.
Roman Komogortsev (Photo by Dan Moffat)
With keyboards that sound like The Weeknd and a guitar tone (and drum machine) from early The Cure (they briefly played a cover of “A Forest”), Molchat treated the audience to a retro sound that hit its mark. I don’t speak Russian, but a quick google search shows lyrics from their most popular song translated to “life is hard and uncomfortable but it is comfortable to die.” Somehow that seemed fitting for a band from a country with a freedom index of 8/100. While not overtly political, Molchat’s lyrics point to the inequities and injustices faced on an everyday basis.
Whatever it all is, it’s working, as witnessed at the raucous sold out show at Royale on Tuesday night.
With the winter weather finally warming up to a seasonal May climate, everyone is itching to get outside, hear some music, catch up with friends and relax. Fortunately for all of us, Shallow Pools are here to help us ease into the summertime. Deep into a tour supporting their 2021 EP Headspace, the foursome is excited to be back on the road, playing new songs and meeting new fans. We recently got to chat with the band remote from their van in Albany, NY about their evolving sound, queer icons and the importance of being open & proud…
AP: Your new releases are a departure from previous music, is there an inspiration behind this decision? Or just a natural shift?
‘Headspace’ EP Artwork
Glynnis Brennan: Little bit of both. We loved our previous EP Spring, but didn’t like playing it live. When we focused on playing and recording songs we loved our latest EP Headspace was born.
Ali Ajemian: Everything after Headspace is similar but one step further. Now those are the songs that we’re so excited to play live.
GB: We really found something that feels like us, [previous] releases weren’t a good representation of who we are, now it’s so much more.
JG: If you listen to the singles in between the EP’s, you can hear the confusion [laughs].
AP: New bands always experience their fair share of ridiculous experiences or horror stories that you can look back on and laugh at… do any come to mind?
GB: [To her bandmates] Should I tell the bathroom story? Okay, we were playing a show in Buffalo, I needed to use the bathroom in the back and there was a security guard who said I can’t go back there. I even showed him my pass. Then he let all these guys in. So I go back up and he’s like “Oh, I thought you were just a fan.” Number 1: Just a fan?! Number 2: I showed you my pass! He let me in and ended up apologizing but weird things like that where people just assume by gender…
JG: Like, “Oh are you doing merch?” Or, “are you in the band or with the band?”
AA: On the whole it’s been pretty positive though. Hearing from fans after a show that just discovered us, or talking with people about representation. Moms coming up to us to tell us that their kid is trans and we make them feel comfortable. It’s so crazy.
AP: Seeing how two of you are dating the other two, are there any benefits or challenges from working so closely with people you’re already intimately involved with?
AA: We’ve been living together for several years and being in relationships we’ve grown to trust each other. We aren’t afraid to try new things or worry about offending anyone. We really understand each other.
Haley Senft: People always ask, “What’s it like being together all the time??” It’s nothing new at all! [laughs]
JG: Even living together, our writing process was pretty separate with each of us sending each other what we’ve been working on.
GB: Some bands aren’t good friends and like how can you even do that? It feels so foreign because we’re just this unit.
Photo Credit: Katrina Colangelo
AP: How has the tour been going so far?
JG: It’s our first tour. We’re learning a lot. Every night has been great. The bands we’re with have been super nice!
GB: I walk into everything anticipating that someone is going to be mean to me… I have a problem. But every single person we’re on tour with is just so kind. It’s awesome.
HS: The fans have also just been so nice. You never know what to expect but everyone who comes up to say “hi” has been so nice. The venues we’re playing have been so different as well. In just a little East Coast tour we’re getting a huge experience in terms of different types of venues.
JG: We’re also learning what we want. Like, oh we probably need someone to sell our merch? [laughs]
AP: As proud queer musicians yourselves, who are your queer icons?
JG: I once saw The Summer Set at Warped Tour. Their drummer, Jess Bowen, is queer and she was one of the first queer musicians I saw.
GB: We were on her podcast and showed her all of these meet and greet photos with her. We’re like, “you’re a gay icon!”, she was like, “me???”
HS: I was big into Tegan and Sara. They were huge for me.
AA: Every queer person doing their thing is a queer icon.
AP: Hard to choose, but I’d probably land on Frank Ocean or-
GB: OH! Sorry to interrupt but Lil Nas X. I would die for him. I could write a dissertation on how important he is. It’s so crazy to see him. Like I’ve cried about it, how awesome it is to see this young, gay, black man doing everything he’s doing.
“Everything is Fine” single artwork. The latest release from Shallow Pools. Streaming now!
AP: I was curious, is there a prankster within the group? Someone who’s super chill or maybe has no chill at all?
AA: I have no chill. [laughs] Like, “Okay we said we would be ready at 12, it’s 12:01 so I’m gonna be really anxious.”
GB: I’m a self-proclaimed “space cadet”. I check out all the time by accident.
AP: That must be great for the both of you.
GB: [laughs] If it weren’t for them I would be floating around. Jess likes to prank a little.
JG: A little.
AA: Haley is there. Like someone needs to drive? Do you need that packed up or set up? Haley’s there.
GB: Haley feels like a very comforting, calming Dad.
AA: Anxious Mom & Comforting Dad.
HS: Everyone else says I have no ears, because if I’m really focusing on something, then all I hear is white noise.
AP: Well that’s very much like a dad. Selective hearing.
Photo Credit: Katrina Colangelo
HS: [laughs] True. Like I got my earmuffs on.
AP: What does the next year look like for all of you?
GB: Right now, we have a few shows left on tour, ending in Jacksonville, FL then we go home.
JG: From there, we’re planning on recording some new songs. We have some songs that haven’t been released yet. Those will come out soon…
All: Very soon! Very soon…
GB: We just recently got a booking agent, so hopefully we will be touring a lot more.
AP: I hope you say “Gay” a lot when you’re in Florida…
GB: Don’t you worry! We say it every show, but I’m gonna go off! Gaygaygaygaygaygaygay. One… two… three:
All: GAY!
Shallow Pools wrap up their tour this month, but you can follow along on their Facebook, Instagram, Twitter for more. Watch the new music video for their latest single “Everything is Okay” below!
This week on the dang ol’ dang ol’ Puddast, man… we’re joined by Ajda the Turkish Queen, who is a bit of a veteran journeywoman among the Boston alternative rock scene, having played in bands like Black Fortress of Opium and a tribute act to the late Ronnie James Dio.
In the episode, we discuss how long you have to rep Boston music before you get your gold star vet status, concerns around playing live as COVID still lingers, the magnificent PJ Harvey, and the it’s-so-bad-it’s-good Turkish Star Wars (truly a gem of Middle Eastern cinema).
Tune in wherever you get your podcasts and be sure to check out the companion playlist for the episode on Spotify. And listen to any one of Ajda’s creative projects, including stopping by Somerville Porchfest this Saturday
Last Friday night The Regrettes came to Boston to give a bright, springy performance featuring their new album Further Joy. Aussie rocker Alex Lahey set the tempo for the evening with a pop-punk repertoire that contained a cover of Faith Hill’s “This Kiss,” as well as a saxophone solo or two. When The Regrettes took the spotlight, frontwoman Lydia Night easily commanded the crowd’s attention as she jumped, swaggered, and sauntered back and forth across the stage while singing and playing guitar. The poppy styling of Further Joy was largely represented in both the song selection and visual theme of the gig, complemented by a cover of Avril Lavigne’s “Girlfriend,” but the setlist was also half comprised of selections from the band’s previous work. No matter which album was performed, the crowd shook the floor as they excitedly jumped and sang along. Even as Night took time mid-set to comment on the previous week’s bleak news, The Regrettes offered Bostonians a welcome respite to experience a couple hours of joy.
One of the most exciting developments to happen in guitar music is the current wave of spoken-word post-punk bands mostly from England. I’m talking about groups like Dry Cleaning, Yard Act, and Wet Leg. Stateside we have Cheekface; Ireland has Silverbacks. Dry Cleaning have stood out from the pack due to their enigmatic frontwoman Florence Shaw, along with the intensely catchy instrumental progressions crafted by guitarist Tom Dowse, bassist Lewis Maynard, and drummer Nick Buxton.
Dry Cleaning has been touring their 2021 album New Long Leg since last July. In between legs of their tour, they’ve been busy writing and recording their follow up LP. We gabbed with guitarist Tom Dowse ahead of their upcoming show in Somerville on May 15th.
“Someone said that when you see us live you can see the metal in it more. We’re heavier live.” A metalhead at heart, Dowse is big into the doom sub genre, the band Sleep, as well as late 80’s thrash metal such as Nuclear Assault. Dowse says he’s excited to play in Massachusetts, where some of his favorite metal acts are from, such as local legends Orchid and Converge.
They’ve been riding the momentum of their breakthrough post-punk single “Scratchyard Lanyard,” which generated instant success upon release in 2020. Dowse says Scratchyard Lanyard “opened up a little window into the world” for the band because of its popularity. The music video, directed byRottingdean Bazaar, also struck a chord with audiences worldwide. Dowse’s window metaphor is apt; as singer Florence Shaw looks through a window.
Before their debut album New Long Leg dropped, Dry Cleaning established their reputation as a solid live band via their electric performance on KEXP Radio. But it very easily could have never happened. The KEXP spot was recorded on March 10th 2020, mere days before lockdown.
Says Dowse, “That KEXP session we did was miraculous, really. The circumstances around it, and what it did for us, the exposure we got from that. It was before [New Long Leg] came out and the KEXP session was the thing people knew about us the most.” Check out the song “Magic of Meghan,” a song about the end of a long-term relationship coinciding with the Meghan/Harry wedding, queued up below.
They followed it up with a second showcase on the station in March 2021.
New Long Leg LP was released in April of 2021. They began touring in July of that year and in November 2021 they made their US television debut on The Tonight Show starring Jimmy Fallon.
“I got nerves in a bad way,” says Dowse. “Only because it was such a big deal. Over in the UK we watch [US late night TV performances]… we don’t really have anything like that in the UK… Some of the performances you get tend to be defining of the band. I remember seeing a version of “Wolf Like Me” by TV On The Radio on Letterman. It was totally different from the album and punk. I was like ‘WOAH!’ I still watch that video. It was a great performance. The opportunity wasn’t lost on us to get the same exposure.”
In the last several months, Dry Cleaning traveled all over the UK, while battling corporate venues who skim profits off the top. Dry Cleaning also swung through Europe and now North America. Dance yourself clean with Dry Cleaning when they bring their spoken-word post-punk to the newly minted Crystal Ballroom on May 15th in Somerville. The show starts at 8pm with openersFake Fruit. Resale tickets are availablehere.
After another terrible week of more political horror, fans flocked like wild geese to the Royale this past Thursday for the long awaited, and several times rescheduled, Dynasty Tour from multi-genre powerhouse Rina Sawayama.
Opening with a DJ set from Drag Queen Coleslaw (@coleslawinthecorner) the crowd was hyped up with classic pop bangers “We Can’t Stop”, “Complicated”, “Untouched” and “All the Things She Said”. Throughout the tracks, Coleslaw would play off of the audience while moaning into the microphone or simply twirling on stage much to the crowd’s delight. When it came time for Rina, Coleslaw began breaking down their setup, but not before stopping for an impromptu photo shoot in front of the stage backdrop, which also elicited cheers from the concertgoers.
Credit: Meg Meyer for Rina Sawayama
As 10 pm approached, the anticipation grew and grew almost to a breaking point. And then there she was. Sleek in a blood red body suit complete with matching high heels, Sawayama commanded the stage from the moment she appeared. Beginning with SAWAYAMA album opener “Dynasty”, the crowd was immediately hooked. Then she was joined by two backup dancers for album favorites “STFU”, “Akasaka Sad”, “Paradisin’” and “Bad Friend” which kept the energy alive throughout the first half with Sawayama leaving the stage at one point to change into a white cut off tank and baggy cargo pants.
During a brief interlude, voices spoke out over the crowd about ongoing injustices in our world. Women’s, POC’s, LGBT’s and immigrant’s rights were the main focus before shifting to climate change and protecting the environment. In a tongue-and-cheek turn of events, following this Rina launched into singing “Fuck This World” with the intent aimed at those fighting against progress around the globe.
Credit: Meg Meyer for Rina Sawayama
Before wrapping up, Rina sat on stage with her band mates for an intimate performance of “Chosen Family”, sang a new track dedicated to her immigrant mother “Catch Me In The Air” before closing with fan favorite “Cherry”. She returned for an encore of album standout “XS”, “LUCID” and her remix/cover of “Free Woman” by Lady Gaga.
The Dynasty Tour continues through May 13th, with Rina promising new music coming soon. Don’t forget, she’s also in the upcoming John Wick 4! Follow Rina on Facebook, Instagram and Twitter for more…
Julianna Barwick‘s voice possesses untold magic. The Brooklyn electronic composer has long used her instrument (well that and a prodigious array of synths, loop pedals, and other machinery) to produce otherworldly ambient music that demands listeners’ attention in direct opposition to how lots of contemporary ambient fades into the background. With a sound that’s often been loosely associated with holism, her latest record is perhaps the first to make a direct appeal to the robust power in coming together. Released in July of 2020, Healing is a Miracle came at an uncertain time in the pandemic, proving to be a balm and bringing a much needed sense of collectivism at a time when it was largely unsafe for music fans (or anyone for that matter) to outwardly seek community beyond their computer screens.
Barwick is a must-see live act, one whose performance is, according to The Guardian, “exquisite in its eloquence, reflection and compassion.” This long delayed run in support of Miracle is sure to be a stunning return for an artist whose last Boston date was nearly six years ago. The record’s restorative tones should sound great reverberating around the cavernous hall at Cambridge’s The Sinclair.
Opening the show is the mercurial French electronic producerMalibu. Having recorded for legendary experimental labels like PAN and Geographic North, Malibu has similarly been carving out a unique space within the ambient sphere. Her latest solo effort, an EP entitled One Life, is filled with the sorts of vocal experimentations and casual if off-kilter pop conventions that have made her a popular collaborator for the Swedish post-internet collective Year001, as well. This is her first ever US tour, and likely one of few chances fans will ever have to catch her stateside.
Julianna Barwick plays The Sinclair tonight, doors at 7, music at 8. Tickets are still available right here.
Last Saturday evening, the multi-talented singer, songwriter, and producer Lights thrilled the early crowd at Big Night Live with a bone-smashingly energetic set. Fans who braved the throngs of drunken Bruins fans streaming out of nearby TD Garden were treated to a fun opening set by tiLLie. The self-proclaimed nightmare pop artist got the crowd moving with her catchy new material, as well as a cover of Britney Spears’ “Lucky,” and tiLLie easily proved herself to be a worthy addition to the night’s billing.
After a quick changeover, Lights immediately blasted into her set with “Prodigal Daughter,” from her new album PƎP, and was joined by the crowd in singing the apt lyrics of the chorus, “baby I’m back!” Lights maintained that electric vibe as she performed songs both new and old from her extensive discography to equal excitement from the zealous crowd. The connection between performer and crowd was quite literal at times, as she frequently strode off stage and onto the barricade to clasp hands with fans as she sang with them. Unfortunately, as she jumped down into the crowd for a final performance of “In My Head” to finish up the encore, Lights fractured a bone in her foot. In a testament to her unrelenting will, Lights never once missed a beat and finished her set by fighting through the pain so skillfully that many didn’t even notice the injury.
At the confluence of dance and musical performance, you’ll find Alison Clancy, a multi-talented artist, ballet dancer, and singer-songwriter. This week on the Puddcast, you can hear Alison talk about her very spiritual relationship with her art, from the physical sensation she has performing to the way she felt the presence of ghosts when recording her song “Mutant Gifts” in a church in New York that she held residency in. This is a very deep, thoughtful episode about our relationship with art, both as performers and as audience members.
You can see Alison perform at MIT on May 6th, when she will be dancing as part of an interpretation Wagner’s The Flying Dutchman “as you’ve never seen or heard it before.” Get your tickets here.
Stream it below, or wherever you get your podcasts. As always, be sure to follow and share if you like what you’re hearing! Plus, you can check out the companion playlist to the episode on Spotify.
On Friday, April 22nd, Cousin Stizz led a stacked lineup of predominantly Boston-based hip-hop talent, including Tony Shhnow (from ATL), Michael Christmas, OG Swaggerdick. Also included were DJs SuperSmashBroz, AllYouCanEat, and Messy Money Sav. While the house wasn’t totally packed, the energy was still there. The crowd was high key enthusiastic to be supporting a bunch of their own.
Check out our gallery from the show below via Flickr.
