You Oughta Know: The Varying Expression of Kyle Bent

Kyle Bent is an independent rapper and music artist based out of Boston. Since his youth, he has made significant progress over the years, making a name for himself through his impactful music. He puts together songs with deep meanings behind them. What makes him so unique in the music industry is his inspirational spiritual expression embedded in his artistry. 

Bent’s music is an expert amalgamation of the motivational, honest, uplifting, and energetic styles. He has toured with such well-known artists, including Nelly, Joyner Lucus, Hopsin, and Mick Jenkins. In times of this global pandemic isolating people and making us feel so alone, Bent delivers a message through his music of togetherness and unity, reminding us that we are not truly alone and still have each other.

Bent was born in 1997 in Jamaica and moved to the United States at the ripe age of two. In the third grade, he was introduced to the world of rap and hip–hop through a close friend. Bent became intrigued by the art of freestyle rapping and started to dig a little deeper, which then led to his own songwriting, working to hone his skill each day. 

When Bent was just ten years old, he went and formed a rap duo with a friend of his, and the two lasted for about a year. During that time, however, Bent was working on his artistry and learning how to record and engineer, skills he later used to produce his first records. That is until he met Tarik McFarland, who began working with him to help develop him as an artist after seeing Bent’s talent. 

Bent released a music video in 2014 titled “Mind Control,” which brought him over 100k views on YouTube. The video was featured on MTV, Music Choice, and On-Demand as well, earning him a lot of visibility. In addition, it caught the attention of some well-established hip-hop blogs, which brought him even more traction. 

Bent went to Bridgewater State University and, in February of 2016, released another music video called “The Higher Power.” The song became an instant hit gaining thousands of views overnight which added a good foundation for a promising position in the scene. With powerful lyrics such as:

The point is to make a difference every minute/
All we have is now, so make the seconds count while you living/
There’s no restarting this adventure/
Go and get the life you envision/

The song, in addition to having an amazing beat, carries powerful lyrics with the intent of showcasing his profound ability to instill a sense of clarity in those who have lost hope along the way which shows that he has a deeper understanding of how the world works.

As an artist, Bent’s focus is transcending boundaries and stereotypes surrounding rap music and creating a positive impact. The plots in most of his songs often cover current social issues, especially related to the urban communities, while expressing the strengths and limits of youth empowerment and activism. This is also reflective through his day today day conversations with the people he works with, states the music producer at Marmoset Studio who worked with the artist on licensing of his many albums. The producer adds that even though the artist maintains his mainstream appeal his lyrics are uniquely sculpted from his learning of his Jamaican identity and focus on self-reflection that everyone should identify about themselves.

He achieves this by penning meaningful songs that talk about finding your true potential and connecting with your true inner self. His songs have a spiritual touch to them which are devoid of any swear words geared towards uniting people from all walks of life and moving away from stereotypes associated with rap music such as swearing, talking about drugs, money etc. 

On his track “Just a Little Bit,” which was released in 2017, you can understand his desire to take all of those little steps to make something big happen. However, he gives it a cheerful undertone and an uplifting message to take opportunities and create goals, making small steps at a time and eventually achieving great success. 

Bent worked with Lyrica Jada and put together a song called “The Money,” which was inspired by the social injustices that occur due to the need for money. With lyrics like:

Make the money then we let the money make us / 
Missing birthdays just to get your cake up / 
We want world change but change is what changes us / 
Things only gon’ change up once the people wake up /
Once the people stop letting money rule us

Bent shows his disinterest in the fads of pop culture or overuse of the same rap cliches where money is “good.” This song demonstrates how money changes people when we say that we want to be the ones to change things if and when we have money. Money creates the want for more items and power instead of making the changes we set out for initially.

Bent’s intelligence and honesty influence his community and fan base, known as Bent Nation. They are a group established from all walks of life, not a specific demographic. But they all share his motivation of creating a better and positive world for everyone through his music.

You can find Kyle Bent’s music at Spotify, Bandcamp & all major streaming platforms. It is a pretty safe bet that Bent isn’t going anywhere and will continue to deliver his impactful message, eventually bringing more and more people together to unite despite differences and propelling his mainstream success in the years to come.

Fracture Type on Chunky Riffs, David Lynch and Avoiding Perfection

Fracture Type

Credit: Ginny Cummings

You and your friends are scouring the woods up to no good. You come upon a bucket full of… something. Naturally, you all begin drinking its contents. What could go wrong? This is the basis for South Shore hardcore outfit Fracture Type’s debut music video. It’s equally revolting and intriguing. As the effects of the mysterious sludge begin to set in, the video similarly dissolves into chaos. Shot by Ginny Cummings (with help from Grace Wilson and Lautaro Mantilla), it’s a fitting introduction to a band that’s full of tricks and committed to going against the grain. Fracture Type, which is also the name of the debut single, is comprised of Kevin Grady (lead vocal, guitar), Tony Mannion (guitar, vocals), Talon Reckert (bass, vocals) and Jeff Pezzone (drums). We recently had the chance to chat with Kevin and Jeff about the forthcoming album, inspirations and red herrings. 

Allston Pudding: Over the years you have both been a part of several bands (Obsolute, Mammoth, Cherno), how did you arrive at Fracture Type?

Kevin Grady: We were previously named Fault Mine, but nobody knew what we were saying when we said that. A “fracture type” is just the way something breaks. Jeff actually has a broken ankle right now…

Jeff Pezzone: Very cartoonish like slipping on a banana peel, but it was wet dirt-sand.

KG: After graduating from UMass Amherst, we moved back to the South Shore and found Tony. He brings ambient, atmospheric textures with his guitar, mixed with my chunky riffs. Rather than having a rhythm and lead guitar we just have “Chunkman” and “Spaceman” [laughs]. 

Artwork by Abby MacLeod

AP: Your bio mentions this being the culmination of years of work, when exactly did Fracture Type start? 

JP: In late 2016 we started jamming. We recorded drums back in 2018 and took our time [finishing it up]. Once we had everything done, we didn’t want to just put it out. I’ve been in enough projects to know that’s not how it works. You have to put in the groundwork first.

AP: What are some challenges of working in a group of perfectionists?

KG: We put a lot of effort into not over-editing our music. There’s no vocal tuning, it wasn’t recorded to a click. And that scared us. A lot of the music we listen to is all of those things. It’s like when that really good band comes out with their second record. “Why is this not as good?” Often it’s because they didn’t over edit [their first record], maybe due to the budget, but there’s a certain charm there. Jeff and I are software engineers, Tony is a doctor, we’re all very by-the-books and equations. But we don’t want that to govern our lives… music is a great way to embrace the imperfections.

AP: Who are your main influences or inspirations?

KG: Deftones, Radiohead, Pianos Become the Teeth

JP: Tool, My Bloody Valentine

KG: As far as local bands that have really got us hyped: Kal Marks, SEED, Fiddlehead, Pet Fox, Dead Wait.

Fracture Type

Credit: Ginny Cummings

AP: Can you give me a little background for the song itself? Also how it relates to the video?

KG: Fracture Type, the band and song, is very stream of consciousness. I tend to write way too many lyrics. I also like to throw in a lot of red herrings, because I try to re-interpret them myself. Every time I read my lyrics I think about them differently. Kind of an ode to David Lynch, where he figures out his work after he’s done with it… My current interpretation is an experience of going along with something that you doubt and realizing that it does have value. There’s a scary sort of “a-ha” moment of me accepting the fact that so many things in life are out of my control. 

JP: Control is always a theme. We all go to therapy, and specifically my focus is trying to not get too bogged down with things that I cannot control. I don’t write the lyrics myself but I think we all agree with that.

KG: Oh, I’m glad my lyrics are relatable [laughs].

AP: In the video, what is in the bucket? Why is the bucket there? Where did the bucket come from??

KG: It’s up to you to decide! Our bassist Talon is a restaurant manager and has access to a huge immersion blender. So we just got all the grossest stuff we could find and threw it in. Another example of a red herring. I don’t even have an interpretation for that one yet. Just a gross bucket full of shit.

AP: With the album on its way, what are your plans for the rest of the year?

JP: We have three or four songs not on this album that we are looking to get recorded soon. Our priority right now is building an infrastructure, a scene and getting an army of fans to come to our shows. 

The debut self titled single by Fracture Type is streaming now! Check out the new music video below and follow Fracture Type on Facebook and Instagram!

 

MUNA Kick Off 2022 for Gateway City Arts

Last week, MUNA took time between stops on their supporting tour with Kacey Musgraves to headline a show in Holyoke. The event marked the first live music performance at Gateway City Arts of the 2022 after several weeks of cancelled and rescheduled shows. Lou Roy opened with a captivating preview of her forthcoming debut album Pure Chaos, adding a cover of Avril Lavigne’s “I’m with You” for extra measure.

MUNA gave their all to a crowd that had lined up in the winter cold hours early to see them. The particularly energetic thrashing from guitarist Josette Maskin prompted the hitherto unanswered question, “does anyone know an ergonomic way to headbang?” The night’s setlist included staples from the band’s two LPs, but notably featured the unreleased, “Kind of Girl,” in addition to a performance of their most recent single, “Silk Chiffon,” with Lou Roy re-emerging onstage to join in. With this stop along the way to the more arena shows, MUNA proved that they are at home on any stage, and their alluring charm was a great way to usher in 2022 for Gateway City Arts.

Everybody’s Winning with The War on Drugs

With the remnants of Saturday’s blizzard piled high on the sidewalk, concertgoers lined up outside to catch night one of The War on Drugs’ two-night stint at the House of Blues. After canceling the tour’s shows in Nashville and Atlanta, the band dropped the opening acts for the remainder of the tour, encouraged all patrons to wear masks for the entirety of the shows, and limited their access to the stage. Even some of the band members masked up. The nearly sold-out crowd didn’t seem to mind as lead singer and guitarist Adam Granduciel and company launched into “Old Skin” to kick off the evening.

The track started with an arpeggiated piano and subtle synths before building into an expansive Full Moon Fever-style rock ballad. After, the band jumped into “Pain” from their 2017 album A Deeper Understanding. The track highlighted the band’s dynamic. Each member had ample space in the mix to show their talents, but the spotlight was ultimately on Granduciel, who ripped through a blistering solo to end the track. However, he made sure to spotlight the other six members as often as possible by telling anecdotes about many of the band’s members throughout the evening. Granduciel recalled meeting saxophonist Jon Natchez when he was nine and how bassist David Hartley is trying to become “the future coach of the Boston Celtics.”

The Massachusetts native also had a few family shout-outs, including dedications to his brother and parents. “I haven’t seen my mom in three years,” said Granduciel, pointing to her in the reserved seating section. “This one’s for her.” Other than the occasional acknowledgment, Granduciel kept conversation to a minimum.

The performance was equally restrained in terms of theatrics — no massive screens, pyrotechnics, or elaborate stage design. Instead, everyone was treated to a road-hardened unit that knew how to play off each other. For instance, Granduciel scaled back his playing to highlight the acoustic picking of guitarist Anthony LaMarca on “Harmonia’s Dream” and allotted time for the synth and piano playing of Eliza Hardy Jones and Robbie Bennett on several tracks, including the aquatic keys they added to “Red Eyes.”

It’s been mentioned to death, but the band really does conjure up Springsteen, Dylan, and Petty. Granduciel acting as bandleader furthered the Springsteen/E-Street Band connection. However, none of those artists could straight up shred like Granduciel. This was especially true with “Under the Pressure” and closer “Thinking of a Place,” as he unleashed an entire range of bends, hammer-ons, and vibrato.

“Time surrounds me like an ocean / my memories like waves,” sang Granduciel on Allston Pudding staff favorite “I Don’t Live Here Anymore.” It seemed to remind the decidedly older audience members of a different time. A time when rock music dominated. When Dylan and the Boss — both of whom are alluded to in the track’s lyrics — held our collective attention. At least for the night, the audience could relive those days and just keep dancing in the dark.

Mint Pillow’s Glittery Synthwave Circus

By Harry Gustafson

mint pillow

When last we checked in with Mint Pillow almost two years ago, the synth whiz was just releasing his second eponymous EP, a five track collection that showcased the producer’s eclectic style and influence palette that includes nu-jazz, breakbeats, hip-hop, and downtempo electronica. Fast forward to the present and he’s back with Mint Pillow III (via Crift Records), the next entry in the EP series.

This time around, it feels like Mint Pillow has narrowed in on some other influences, mainly the neon sheen of 80s-influence synth and vaporwave dance music. The songs on MPIII tend to shift a gear up from their predecessors, feeling like the score to a forgotten sci-fi flick abounding with Tron-style speeder bikes and the glammed-up grit of a cyberpunk fever dream. The Star Wars referencing “Dagobah Stomp” serves as a keen indicator for the types of influences Mint Pillow might have surrounded himself with while making theses songs. 

Opening track “Jeepers Creepers” delights with its driving dance beat that props up some goofy lyrical ad-libbing, one of the few moments where you’ll find the human voice across these tracks. One of those other moments comes on “Freaked Me Out,” where we hear some simple spoken word vulnerability about feeling bad vibes. While used sparingly, these light vocal elements help ground the wide landscape of synth textures, helping MPIII to become something more concrete in theme than a simple collection of the producer’s most recently completed beats. 

mint pillow

Tracks with nu-disco elements are interspersed among a few downtempo explorations, but what is consistent throughout the songs is Mint Pillow’s keen ear for layering synth melodies. He never overstays his welcome on any tracks, opting for more economical track lengths to avoid repetitive song structure. A personal favorite is “Good News” which checks in at a whopping 1:26. It’s almost a tease at that length when the beat is so tight, catchy, and danceable.

To coincide with the release, there will be a limited first run of 25 cassettes available for purchase, which you can find online at Bandcamp or in person at Vinyl Index at Bow Market in Somerville or Deep Cuts Deli in Medford. 

Listen to Mint Pillow III on your preferred streaming service, and be sure to buy the album on Bandcamp. Mint Pillow will begin performing at his residency at State Park in Kendall Square in February, as well as at a residency at Vinyl Index. 

Wander into Nature with a New Video from Gold Dust

 
Gold Dust holding acoustic guitar

Photo by Gretchen Williams

Astute readers will recall that we named Gold Dust‘s self-titled debut LP one of our favorite local releases of 2o21. Taking a break from the din of his other projects–namely the beloved shoegaze outfit Kindling–Gold Dust’s sole member Stephen Pierce revealed himself to be one hell of a folkie. An avid collector of private press and mainstream folk, Americana, and psych rock records both domestic and international, it was only a matter of time before Pierce took a crack at a sound he’s long admired. While the heads always knew there was perfect pop beneath Kindling’s headrush of noise, it’s a minor revelation to hear Pierce’s excellent voice crystal clear for the first time. Especially when doubled into a Young-ian chorus.

Gold Dust‘s bucolic sway sounds like the perfect accompaniment for a stroll (or maybe a trail run) through the endless green hills of Western Massachusetts, so we’re pleased to premiere a new video for “Run Into Clouds” that features Pierce doing just that, but you know, with an acoustic guitar in his hands. 

Pierce had this to say about the song:

“Sometimes when you get to the top of a mountain, you’re looking out at a blanket of clouds: Nothing below, no cars, no valley, just other peaks popping through in the distance, a radio tower or two, maybe one of those ungodly cell phone things disguised to look like a tree. Sometimes, that’s freeing, in a way – It’s just you and the place you’re standing – all the heartache, responsibilities, obligations, and other anchors of reality – those stay down below. I’ve got really into trail running these last few years – There’s a mountain that rises over Easthampton that I find myself on top of most days, up a rutty trail and across the cliffs and back down and back home. I’m really grateful for the view, looking out over the cliffsides, especially on those shitty days into fog or clouds; the way you rise above cloud cover on those rainy days. It’s like the earth below has vanished or I’ve come out on the other side of some distinctly different reality, however temporary it may be.”


Gold Dust is out now. You can grab it on vinyl, cassette, CD, or digital right here.

Bedbug Goes Full Band With New Single

 
Bedbug Album Cover

Bedbug cover art

There’s no easy way to say this, but Bedbug is a full band now. Trading their signature acoustics’n’bleeps approach for something a little louder and more sprawling, Allston’s most beloved bedroom pop band has officially grown up: they’re an indie rock band now. In lieu of  drum machine loops and double-tracked guitars, Dylan Citron is now aided by members of Really Great and other esteemed projects in the pursuit of something perfect from now on. 

But fret not! Despite the added muscle, Citron hasn’t abandoned their trademark diaristic lyricism or intimate perspective at all. In fact, their approach remains largely the same, with the new backing band simply adding outlines and penciling in the spaces that were left a bit more threadbare before. Which isn’t to say that previous Bedbug efforts left us wanting, but the increased heft in this re-recorded version of 2016’s “songs about ghosts” (of which we are pleased to be premiering below) is a welcomed revisit of a classic tune. Confident, but approachable, Bedbug mk. 2 feels both like a fresh start and a spirited continuation of musical tradition that’s long been celebrated by these digital pages. Think of the sadly defunct Up Records as you listen along, and smile. We can’t wait to hear what’s next.

Citron had this to say about the new version of “ghosts”:

“For the last few years, Bedbug has always just been me. Writing music felt pretty personal, and I always felt the most authentic when I was sitting in my bedroom, late at night with an acoustic guitar and a drum machine. But after pouring everything I had into the last record, I kind of felt like I had done all that I wanted to do with the bedroom style. I’ve also always been a huge fan of classic 90’s indie rock. It was scrappy and had a lot of heart. I never thought I’d try anything like this, but if we can capture even a piece of that magic, I’m happy.”


Bedbug’s new self-titled EP will be out on cassette and digital via the venerable Disposable America on March 18th. You can pre-order right here!

Watch Future Teens Turn Smash Mouth’s All Star into an Indie Ballad

 
Future Teens took the indie world by storm with their 2020 cover of Smash Mouth’s “All Star,” garnering praise from Smash Mouth themselves. However, it’s been a while since the world has been able to see this melancholic rendition live. This summer, we got the chance to hear it up close and personal, and we recorded it for you. Check out Future Teens performing “All Star” at ONCE Somerville’s Summer Series at Boynton Yards, documented by ONCE, Treebeard Media and Dead Moon Audio.
 
Watch the peformance below: 

 
 

Premiere: Lea Neu Moves On with New Single “Allston”

Lea Neu

Credit: Erina McSweeney

Before we ring in the New Year, Lea Neu still has something she would like to say. The then-Allston-based, now-Manhattan-residing popstress has recorded a new single. Currently working her dream job as a child welfare case worker in the Bronx, the Emerson grad has settled down and is ready to move on.

Like a middle finger coupled with a blown kiss, “Allston” plays just like a post-breakup song should. It begins slowly, establishing heartache before gaining energy. Seething remarks burn like old wounds reopened. “I usually pick you off the floor, now if you’re crying do you know how to stop?” Neu sings to a past lover. By the end of the song, she has transitioned from brooding resentment to tongue-in-cheek. A thumping drum beat, grooving guitar and bass married with a crisp vocal come together in messy harmony as a lover reconciles their bitter past before ultimately moving on, leaving the other far behind. 

Lea Neu

Credit: Langley Custer

Written by Neu during their last year at Emerson College before moving to Manhattan, the pop singer found themselves dealing with the memories of a broken relationship. “I wrote it as an antithesis to my first song “Cobwebs”. It’s about how when I think about my Allston ex now, it is because I still feel like I need to take care of them because I always did in our relationship,” explains Neu, “[big] red flag. It’s my first “fuck you” song.”

Produced by roommate/podcast audio engineer Katherine Silva, the song features Remy Tyndall on bass and Langley Custer on lead guitar. A slight shift from her earlier releases, “Allston” still retains the cheeky vibe that Lea Neu listeners have come to expect. No longer a B-line hopping RatCity art student, but a busy working New Yorker, Neu may have begun to settle in, but she’s eager to see what’s next. 

“Allston” by Lea Neu is available now on all streaming platforms. Follow Lea on Instagram for more!

Bully Brings Sugaregg to Brighton Music Hall

Last week, Bully made their long awaited return to the Boston area, bringing the Sugaregg Tour to Brighton Music Hall. They were joined by Graham Hunt Band, who kicked off the night with a punchy 30-minute set. Making the most of their time, the Wisconsin four piece played nearly nonstop, only pausing momentarily to sheepily introduce themselves. And the moment the last note was played, the band began grabbing their gear and breaking it down with machine-like efficiency.

With the stage cleared and ready to go, Bully wasted no time, walking on and launching into Sugaregg’s opening track “Add It On.” Released back in 2020 as a solo project by singer and frontwoman Alicia Bognanno, Sugaregg marked a fresh start for the band. But if anyone was concerned how these changes would affect Bully’s live performance, their worries immediately melted away, as the band sounded bigger and better than ever.

In addition to new tracks, fans were treated to songs spanning Bully’s entire discography, including “Feel the Same” from 2017’s Losing and heavy-hitters “Trash” and “I Remember” from their debut album, Feels Like. After a raucous performance of “Milkman,” the band dropped their instruments and walked off stage before returning for a two song encore. Leaving her guitar untouched, Bognanno grabbed the mic for a cover of Mazzy Star’s “Fade Into You” followed by a venomous cover of Mclusky’s “Lightsabre Cocksucking Blues.”