A Bloody Good Time With CHVRCHES at the House of Blues

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Photos and review by Greg Wong

Last Wednesday night, the Glaswegian synth-pop trio CHVRCHES immersed the House of Blues in the horror-film inspired production of their Screen Violence tour. After a show-stopping set by opener Donna Missal, an amped up crowd screamed their approval as CHVRCHES lead Lauren Mayberry danced and twirled her way across the stage. From beginning to end, Mayberry commanded attention with her spirited vocals and theatrics amid multiple outfit changes. Just as diverse as the visuals, the soundscape CHVRCHES offered included a variety of songs from their catalog scattered throughout the night. The band’s latest album Screen Violence fittingly took center stage, but each of their previous three albums was also represented evenly on the rest of the evening’s setlist. As the show concluded with a (fake) blood-drenched Mayberry standing triumphantly with the text “FINAL GIRL” emblazoned on her shirt, it was undeniable that CHVRCHES have the final word on how to put on a show.

2021 Holiday Merch Roundup!

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By Andrew Bourque


Holiday shopping is stressful. The long lines, the screaming children, rude parents, all the while not knowing what to get your nearest and dearest. Well, before you reach for that tacky off-brand collection of beauty products in the TJ Maxx checkout line, or worse – another pair of socks, please peruse our list of Merch goodies from some of Boston’s favorite local musicians. 

As part of yet another “Bandcamp Friday”, all proceeds from today will go straight to the artist, with the website forgoing its usual cut. So snag a tee shirt, pick up a new vinyl or even some blood! There’s something for everyone out there…

Allison & Moon

Rumors say before they put the shirt on, they were very sad, now they can’t stop smiling! While I can’t promise that is a true story, the concept sure is nothing to wag a tail at. Pick up your Puppy Love tee now!
  

Anna Fox Rochinski

Its cherry picking season for Anna Fox fans with this cherry tee, enamel pin, and limited red vinyl all ready to be plucked off of her Bandcamp page, here!

 

Beeef

Moooove on over to beeef’s Bandcamp to snag a new tee, crewneck or vinyl today! All orders come with an iconic sticker! What are you waiting for!?
 

Blue Ray

Tired of the usual holiday gift options? Look no further than the offerings from post-punk outfit Blue Ray. Varieties of human hair, collectible pennies, a cup of the band’s blood and a social security number could be yours today!
 

Carnivora

Our favorite ravenous rockers from witch city are back with a new tee shirt inspired by their latest single “Reverdir”. Grab yours today!
 

Future Teens

Purveyors of both infectious bops and gosh darn adorable Merch offerings, Future Teens are stocked with varieties of shirts, vinyl, a coffee mug and carabiner for your shopping pleasure!
 

House of Harm

Take back the night with your new “Concealed” tee and crewneck from Boston glam rockers House of Harm. Both available (and more) on their bandcamp page now.
 

Landowner

It isn’t real! It isn’t real! It isn’t real! Or is it? See for yourself when you pick up Landowner’s recently reissued album Impressive Almanac pressed on Black or “Sky Blue” vinyl.
 

Nova One

Stickers, shirts, vinyl, combs – Nova One’s got it all. Head on over to their bandcamp page to snag everything you need to be truly lovable this holiday season.
 

Pet Fox

Is it a ghost? Is it an ostrich? Does it matter?? Absolutely. Which is exactly why you need this shirt. Buy yours today!
 

Really From 

Accent your wardrobe with this killer tee from indie-Jazz artists Really From. Complete the collection with a sleek double sided poster and a selection of vinyl, CD and cassette on their bandcamp page now.
 

SEED

A friend of mine assured me everyone’s ass looks great in these shorts. They aren’t wrong. Complete the ‘fit with a tee and a tote. Grab everything and more from their bandcamp page now!
 

Bandcamp Friday is happening all day but won’t happen again until January so make the decision to support local artists today! Happy Holidays and happy shopping!

Dinosaur Jr. and The Lemonheads Scorch House of Blues

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Words and Photos by Dan Moffat
 

It was a cross-generational crowd last Saturday night for Dinosaur Jr. at House of Blues, including punks that grew up with Dinosaur in the 80s to Gen Z gamers who played “Feel the Pain” on Guitar Hero. I fell somewhere in the middle, an older millennial who got into Dinosaur Jr. from reading interviews about Kurt Cobain’s influences.

The merch table was up front and it sported the Dinosaur Jr. team colors of purple, black, and lime green. It’s a trio the band has carried since 1987’s You’re Living All Over Me, and they continue the trend with this year’s live album release Emptiness at the Sinclair (yes, the Sinclair in Cambridge). I was wearing the castle T-shirt that I bought already used at a vintage clothing store 22 years ago. I thought about updating with a freshie but I wear this rag with pride.

 
Ryley Walker opened the night. He turned on the heat, tossed off psychedelic loops and noodled twangy guitar over it, occasionally adding soft vocals. It was a short and succinct set, around five songs total. Another thing of note is that Walker set the tone that the bands will suffer no fools from hecklers. In between songs, someone shouted “Y-M-C-A!” Walker retorted, “Are those the only letters you know?”

Next up was a scrappy looking trio called The Lemonheads, featuring alt-rock professor Evan Dando. The Lemonheads came up in the late 80’s Boston scene and were a large part of punk breaking out into the mainstream circa ’91-’92. Dando’s knack for grunge-jangle pop hooks and chiseled good looks made him a breakout star in the early 90’s, when he clocked in overtime at MTV and graced the covers of magazines far and wide. 

 
The Lemonheads started up with the aptly placed song “It’s About Time” and continued with signature mid-tempo light grunge strummers. Given the formidable number of former Lemonhead members, I was expecting just about anyone from Juliana Hatfield to Murph of Dinosaur Jr. to sit in at some point. Seeing the 2020 reissue of the ‘heads album Lovey, I was also wondering if we would see former guitarist Corey Loog Brennan on guitar (but no). We were however joined by lead guitarist Chris Brokaw (Codeine, Come) which added direction midset to “Rudderless”, as well as the remainder of the performance. Brokaw offered a melodic counterpoint to Dando, and Dando responded by delivering more power and passion into his vocal delivery. We at the Dinosaur Jr. concert stan a good lead guitarist.

As far as track listing was concerned, I didn’t hold out hope for “Mrs. Robinson,” even though it was the band’s biggest hit by far, because Dando has vehemently declared that he hates the song. But it would have been cool if they had at least played their second and third biggest singles, “Into Your Arms” and “It’s a Shame About Ray.” It felt like they withheld too much, and the hits were made more conspicuous by their absence.

 
Finally, Dinosaur Jr. entered the stage. Banter alone would indicate that they were most excited to let us know when they were playing tunes off of their latest album Sweep It Into Space and their first album Dinosaur. Unlike Dando and Co., Dinosaur Jr. had no qualms about playing their iconic singles (“Freak Scene,” “Out There,” “The Wagon”) as well as their beloved cover of The Cure’s “Just Like Heaven” (but they left out Peter Frampton’s “Show Me the Way”).

The gear was a spectacle. It was a showcase for Guitar God J. Mascis’ impressive axe collection, who seemingly switched out for each song – Jazzmaster, then some kind of custom paddle-shaped Tele, a cream colored Rickenbacker bass, and more. A new wand for each spell. The shoegazing was literal as Mascis swayed about, ripping solos from beneath the shadow of a Marshall full stack cave. The shoegaze genre was also a clue for the mixing of instruments and voice, as the singing was about as loud as any individual instrument. Much like on the records, it was hard to decipher the lyrics from behind the guitar swell. Only the extended guitar solos stood out starkly in the mix, and they chopped through like a cleaver.

Perhaps that’s why the rock journalism classic “Our Band Could Be Your Life” by Michael Azerrad added so much to the story of the band. There is a mystique in the music, be it the opaqueness of the lyrics or the singular guitar tone. The history is a must-read companion piece.

Some stray highlights from the Dinosaur Jr. set include: Ryley Walker rejoining the stage for a rendition of “The Wagon.” Murph nailing the Ahmed beat during “Freak Scene.” A wicked glitchy tremolo guitar solo during “Freak Scene.” My favorite moment was the three-part harmonies for “Feel the Pain.” The set was screaming out for a showcase moment on vocals and “Feel the Pain” delivered. Given the crisp guitar solo and tight tempo changes, I concluded that if I were to play one Dinosaur Jr. song to an alien, it would be this one.

Also, early in the set, Lou Barlow entreated the crowd to sing “Happy Birthday” to his son Hendrix who turned 12 that day. Though Hendrix was at the gig, Barlow joked that he would spare him from joining onstage. It was fitting that after the band closed their set with “Just Like Heaven”, the PA played “Manic Depression” by Jimi Hendrix.

When the band left the stage, I headed out through the double doors. My ears were throbbing from the self-described “ear splitting country” that often got the band banned from venues in the early days for being too loud. I hoped folks brought ear plugs, but getting the ear drums blasted is part of the fun. And worth it every time.

 
 

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Sylvan Esso Shine at House of Blues

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by Dan Moffat
 
 

Sylvan Esso made their return to Boston on Saturday night, the first of a two-night stand, playing to a sold-out crowd of 2,200 dancing attendees at House of Blues. House of Blues, had a long line to get into the blue double doors which passed by a street meat/pretzel stand. Someone walked by and asked who was playing and I said “Sylvan Esso,” which didn’t register. Someone behind me attempted to clarify with “it’s indie,” but that didn’t seem to help them understand.

What is Sylvan Esso? SE is made up of Cambridge’s own Amelia Meath, who relocated to North Carolina about ten years ago, and DJ/producer Nick Sanford. Meath met Sanford to work on an electronica remix with her New England-based band, Mountain Man, and the unlikely collaboration produced Sylvan Esso. What I can tell you, for the unacquainted, is that Sylvan Esso play a unique brew of hooky EDM-charged pop delivered with a soft Americana voice and visceral beats.

The beats were in full force on Saturday after an engaging and impressive performance from opener Lido Pimienta. Pimienta, from Colombia, promoted a sex-positive message that meshed with the evening’s Planned Parenthood/free contraceptive presence in the lobby. The banter focused heavily on the current fight for pro-choice legislation in this country, which was delivered in a ruthlessly satiric manner.

During the break, the stage tech lit a stick of nag champa that rested on Sylvan Esso’s Juno-6 keyboard. The thin wisp of scented smoke was joined by cascades of fog as the band entered to anticipatory synths. The first song, “What If”, warmed up the crowd as Meath beckoned from beneath a purple tissue-feather coat, followed by “Ferris Wheel,” which kicked things into the next gear and cued the dancing, and then “Train,” which kept the vibe on track. The opening trio more-or-less mirrored the opening of SE’s 2020 album Free Love.

The stage setup was sparse but effective. The bright flickering checkered lights in the background matched Sanford’s flannel pajama pants. A reflective moment emerged when Meath sang while shielding herself with a mirror that she then slowly spread across the darkened crowd like a Bat Signal during “Free.” The song offered a relative pause in an otherwise movement-filled set, as Meath incorporated everything from ballet to burlesque, moving around the stage and coaxing the audience into their world as Sanford bobbed his head, thrusting elbows while adjusting knobs on thresholds, and grooving to the beat as he remained tethered to his rig. We clapped our hands during “PARAD(w/m)E,” raised phone-flashlights during “Uncatena,” and chorused with Meath on perennial favorites “Die Young,” “Hey Mami,” and “Coffee,” which were sprinkled through the set like so many nonpareils. The audience rolled with the ebbs and flows of the set list, participating willingly, prompted by Meath’s trust, charm, and genuine joy.

Meath, who said it felt very good to be back in her hometown, observed that she went to her old ‘zine store and cried during the day, and recalled coming to this venue when it was the Avalon. The whole set felt important, and the duo held nothing back. A curious moment came during the finale when the elbow-thrusting, mask-clad man behind the decks missed the drop on “Play it Right” and Meath stopped the song abruptly and gestured in a way that suggested Sanford should indeed play [the song] right. He obliged, started again, and we all celebrated when at the opportune moment Mr. Sanford correctly delivered the loop.   

After the encore finished with “Make It Easy,” we eased our way onto the raucous Landsdowne Street. Weaving my around drunk co-eds, it occurred to me how much more the powerful dynamism of Sylvan Esso struck me compared to their recordings, or maybe it’s just the speaker system at House of Blues with its sub-woofers compared to my inadequate iPhone. It was also refreshing that they didn’t just play through the most recent album; instead, they summed up their collective output with considered pacing, dropping their hits here-and-there throughout a decidedly deep set. Sylvan Esso are ones to catch next time around.

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EXIT Galleries Hosts Halloween Block Party With Haasan Barclay, Rilla Force, and Rolex Daytona

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Photos by Joakeem Gaston

Words By Harry Gustafson

haasan barclay exit galleries joakeem gaston

Photo by Joakeem Gaston

Just cuz it’s spooky season doesn’t mean you’re gonna get horrifying vibes. In fact, sometimes you get just the opposite, and the scene turns out to be immaculate. That’s how things rolled out this past weekend at EXIT Galleries small garage space in Allston for a Halloween block party. 

The installation is curated by local artist Sam Fish and really addresses a need for multimedia art spaces, art galleries where musicians can lay their stuff down while an audience busts some moves. The crowd was friendly, talkative, and, most importantly, all there to hear some good tunes. Plus, there was free Topo Chico, which would have been more than enough to drag me out. 

To kick things off, Rolex Daytona played an eclectic DJ set, diving in between hip-hop, electronic, rock, and just about everything in between. Props to Rolex for not just dropping The Cure on Halloween, but for dropping “Cold” off of Pornography – peak goth-era Cure.  

After that, Rilla Force, who might just get the title of busiest producer in Massachusetts, took over on the decks, providing remix after remix of the most danceable tunes in hip-hop. The peak involved an even groovier mix of Missy Elliott’s “Get Ur Freak On”. 

Finally, Haasan Barclay closed out the night with a solo set that featured some new material plus a few tracks that have become standards in his repertoire. Also included were “Curfews” and “Call My Phone,” two singles from this year that represent some of the catchiest material to come out of Boston thus far in 2021 (and the clock’s ticking to top them, folks). Haasan was also decked out in his Sting costume. The wrestler, not the dude from The Police and the superior Dune movie (YEAH I SAID IT). 

And of course, since EXIT Gallery is on a very residential street in Lower Allston, there were some absolutely adorable families out trick-or-treating. Plenty of curious kids stopped by the open garage door to join in getting their grooves on. And that? We love to see it. 

Check out some photos from the even below and keep an eye out for future events put on by EXIT Galleries. 

EXIT Galleries Allston with Haasan Barclay, Rilla Force, and Rolex Daytona 

 

100 Gecs and Alice Gas at Royale

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By Andrew Bourque

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Massachusetts hyper-pop stans flocked to the Royale this past Monday as genre pioneers 100 Gecs arrived as part of their 10,000 Gecs Tour with support from Alice Gas. A chaotic blend of experimental electro pop and hip-hop/rap, few musical acts represent the modern state of pop music like the Gecs do. Within the frenetic energy of their songs lies a communal sense of personal struggle and joy. On the outside, they are boldly loud, proud and ready to get moving. 

Emerging from the darkness in their signature capes/hoods, Dylan Brady and Laura Les took the stage to thunderous roars of applause from the sold out audience. Immediately throwing themselves into an hour long set consisting of hits like “stupid horse”, “ringtone”, “hand crushed by a mallet” and “money machine”. The ground consistently shook as the duo jumped around on stage, encouraging all sorts of debauchery. At one point Les paused the show to ask a mostly confused crowd if they had ever seen Fern Gully. By the hour mark the room had filled with an air so thick from body heat, concertgoers escaped from the club as though from spin class or hot yoga. The smell of a successful night of dancing and overall “Gec”ing was potent. Credit is also due to the Royale bar staff for keeping the counters stocked with cups of cold water throughout the night.

Prior to the Gecs, the crowd warmed up with a similarly high energy DJ set from Texas based Alice Gas. With just a few stage lights, minimal setup and a hoodie, Gas managed to have the crowd jumping within just a couple of minutes. Bowing out after a modest 30 minute set, Alice Gas was a prime opener for a group such as the Gecs. 

1oo Gecs continue on their 10000 Gecs Tour with further support from Alice Gas before switching out for Underscores and then Tony Velour. 100 Gecs return to the Royale on 12/12 for another sold-out show. For more information click here. Make sure to follow along with 100 Gecs on Facebook, Instagram, Twitter and YouTube for more!

Maryze & Backxwash Get Possessed in New Video

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By Harry Gustafson

maryze backxwash squelletes

If you check out her previous video releases, you’ll notice that Maryze has been exploring a longtime fascination with witchcraft and the occult. That’s why it felt so appropriate when the Montreal singer teamed up with Backxwash, the rap-metal artist who has been gaining traction, especially after her 2020 album God Has Nothing to Do with This Leave Him Out of It won the Polaris Music Prize for album of the year. Together, the duo made “Squelettes,” which found them treading new ground together in hyperpop territory. 

Today, we turn our attention back to “Squelettes,” which has a brand new video (dir. by Méchant Vaporwave) that arrives just in time for Halloweekend. Shot in the stark contrast of black-and-white, the visual blends themes of magic, fantasy, and horror, kicking off with an elven Maryze sitting atop a rock beside a candle. This moment feels ritualistic, like her French singing is some sort of dark invocation that sets this opening scene in contrast with the second half of the video. 

maryze backxwash squelletes

After a brief flash of color (a quick and fiery blaze set against a shot of a voiceless scream from the singer), we find that we’ve been taken from day i

nto night. And of course, around this time of year, night is when the real fun starts. Maryze’s flowing white gown has been swapped for gothic blacks, and she’s been joined by Backxwash as the pair pose demonically on a dimly lit stoop. Depending on the type of person you are and your relationship with the horror genre, you’ll either delight or reel away at shots like Maryze crawling towards the camera and twisting her neck à la The Exorcist. There’s a great dynamic between singer and rapper: Backwash takes a much more stoic approach in her physicality. She almost seems like some sort of dark master possessing Maryze.

The idea of possession is not too far off from the meaning behind the song, which “personifies addiction as a destructive entity that creeps in and takes hold, becoming inescapable, as well as the loss of self,” Maryze says. There is a very possessive element when it comes to addiction, a feeling like you are not fully in control of yourself or your habits and desires. 

Just like how the choice of black-and-white gives a stark visual contrast to the video, so does the choice of opting to give a song with bright, catchy pop melodies so many horror elements. There’s sometimes too much horror that exists solely for shock value; the “Squelettes” video revels in the fun of witchcraft and demonic possession. 

Watch the video for “Squelettes” below and be sure to listen to Maryze’s and Backxwash’s music on your preferred platform. 

Anamanaguchi Finally Play Brighton Music Hall

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Photos and review by Nick Stalford

Like many bands, Anamanaguchi was stopped in their tracks last March as the world ground to a halt just weeks before their April 3rd performance at Brighton Music Hall. So when the band finally made their triumphant return this October, fans seriously showed up. A never ending line of oddball characters ranging from punks to gamers wrapped around the block in anticipation of the show, now over a year in the making. And for many fans, this wait extended even further, way back to the band’s 2014 performance at The Sinclair (though they more recently played two smaller shows: one at Northeastern’s private venue afterHOURS in 2016 and another at the Boston Center for the Arts as part of Game Over in 2018).

Fans flocked to the merch table and began staking out their spots in front of the stage as soon as the doors opened. But up first was Texas-based DJ trio Wavedash. Taking inspiration from artists like Skrillex, Madeon, and Porter Robinson, the act was a perfect fit for Anamanaguchi’s audience (not to mention their name). Bass boomed and lights flashed as the crowd bounced up and down for the entire set, testing the limits of the creaky wooden floors before settling down for a group selfie with Wavedash to conclude the set.

As crew members disassembled the DJ equipment, Anamanaguchi set up and kept fans entertained at the same time, flashing messages and trivia across their multitude of LED panels. When everything was finally cleared and ready, Anamanaguchi stepped on stage to “[ U S A ],” the first track from their same-titled 2019 album, to roar of approval from the crowd. The band was clearly ecstatic to be back on the road, as the dreamlike strobes lit up their stoked faces. Between songs, guitarist Peter Berkman shared his struggle to understand Massachusetts geography as he attempted to correctly address the crowd: “Boston, Cambridge, Allston, Brighton–––where the hell am I?” Other highlights from the show included the band’s now viral TikTok song “Miku,” as well as “Endless Fantasy” and “Prom Night.” After a brief break, the band returned to the stage for a two song encore of “Meow” and “This Is the End.”

Shannon and the Clams and Delicate Steve at Royale

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By Andrew Bourque

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Shannon and the Clams rolled through Boston last week, making sure to stop by the Royale on the way. Touring their recently released sixth studio album Year of the Spider, the band performed to a rowdy crowd that seemed eager to play off of the Clams. Working their way through their discography on stage, the band played recent favorites “Do I Wanna Stay?”, “All Of My Cryin'” and the title track “Year of the Spider”.

Despite admitting to losing her voice early in the set, Shannon Shaw still managed to command the room with her rich vocal. Shaw would play off of bandmate Cody Blanchard, who would also take command on several songs. Will Sprott played the keys and Christopher Icasiano played the drums, filling in for Nate Mahan. 

However, before Shannon and the Clams would even take the stage, concertgoers were treated to a spectacular opening set courtesy of New Jersey based Delicate Steve. The solo project of Steve Marion, Steve quickly had the whole room in the palm of their hand with some good old fashioned guitar shredding, funky guitar riffs and a memorable performance on the drums from Rosie Slater. One of those opening sets that I wouldn’t have minded seeing go on longer. 

Shannon and the Clams continue touring into the midwest before wrapping up this leg with a stop in Austin on October 30th. For more information on the tour and more click here. 

Third Time’s the Charm: Manchester Orchestra, Foxing, Slothrust at House of Blues

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Photos and review by Emily Gardner

It was hard not to feel nostalgia in the air as Lansdowne Street filled up with drunk, rowdy Red Sox fans and shivering show-goers outside the House of Blues. Despite being chilly, it was clear that fans of Manchester Orchestra were excited for their return to Boston. All three bands on the bill put out new releases before the tour and showcased some new songs for the crowd.

Slothrust was up first. The Brooklyn-based band set the energy for the night with some impressive guitar solos by lead singer, Leah Wellbaum. The trio played songs from their new album Parallel Timelines, but sprinkled in some older tunes for the long-time fans. Next up were Foxing, marking their third tour in a row opening for Manchester Orchestra. This time, the band showed off their newer sound, mostly performing tracks off their new album, Draw Down the Moon. Frontman Conor Murphy kept to the same powerful vocals, but band switched gears to a more pop-like sound, while staying true to their experimental roots. The whole band had piles of energy, jumping and lunging around the stage.

In contrast to Foxing’s high energy, Manchester Orchestra opened their set with “Inaudible,” the first track off their most recent album The Million Masks of God, which starts off slow and dream-like. However, this didn’t set the tone of the rest of their set. It was apparent the band was just as excited as the crowd to finally play tracks off of the new album, with a majority of their set featuring newer work. A highlight of the evening was a solo, acoustic performance of “Telepath” by lead singer Andy Hull. To end the show, long-time fans were treated to two classics from Manchester Orchestra’s second album, Mean Everything to Nothing. Hull gave the crowd permission to mosh before starting up one of their most known jams, “Shake It Out,” and finished out the night with a stripped down version of “100 Dollars.”