Look, we have a pretty good grasp on which local bands deserve some introduction, which ones are somewhat known in the scene, and which are undeniably, 110% recognizable bands within Boston unless you’re that guy down the street from us that solely listens to the Dropkick Murphys discography at full blast every Friday night.
If you happen to be our neighbor, we are happy to promise a stupid amount of money for you to a) stop playing “I’m Shipping Up To Boston” for the rest of observable time and b) tune to Guerilla Toss and Pile instead ahead of their appearances at Skull Pop Fest. Both bands certainly fall into the latter category above in terms of Allston Pudding’s collective favorite bands, acting as unofficial ambassadors for Boston’s DIY musicians deserving of the national spotlight over the past couple of years. Although Guerilla Toss has since left us for Brooklyn, the five-piece will be returning to the Middle East Upstairs later this week to assemble Skull Pop Fest, a two-night summer party featuring a co-headlining set from Pile.
Considering how locally beloved both headliners are, Guerrilla Toss singer Kassie Carlson offered to introduce us to the other bands on Skull Pop Fest in the form of conversations, fun facts, mini-interviews, and not-so-mini interviews with the bands themselves, including Listening Woman, Home Body, Palberta, and more!
Palberta
What are some fun facts about Palberta?
- On our first show, we all had the nervous poops and the only toilet available was clogged, so we all had to poop on each other's poop.
- On tour, we sleep in the same bed every night and Lily is always in the middle.
- We were called Alberta for our first show.
- We are currently recording our 3rd full length album!
- Once in Austin, Nina ate a burrito the size of a baby and felt sick/couldn't move for a whole day.
- We have a mascot in our car named Grumpus, who is an angry plastic squash.
- Before Palberta, Nina and Ani had never played bass and Lily had never played drums!
What’s your favorite Palberta video?
Home Body
(Interview with vocalist Haley Morgan)
Where does the name Home Body come from?
Home Body is two words and that's on purpose, and something we've been meaning to talk more about because there's another band now called “Homebody” that's been confusing for people and annoying to us. It has to do with the space between comfort and discomfort, form and formlessness; about accepting what's yours but also naming your own terms. Home Body for us is an active thing, not like a couch potato avoiding the world, but a "this is my flesh and I'll do with it what I want". I think movement is a major theme for us, and in the name of our band, like, you don't want to be stagnant, so how do you find peace and acceptance with yourself while constantly evolving and changing? Is home a physical or emotional space for you? How do you relate to your body? Is it ok to like yourself? Is it even possible to feel comfortable in your own skin?
When and how was Home Body born?
Eric [Hnatow, synthesizers] and I started Home Body in 2011 after dating for six years, initially meeting at Hampshire College. At the time, he was performing solo and starting to feel like he was generating material and stage energy in a vacuum. I was doing public art and event production in Northampton, MA at that time and craving an outlet to express my own ideas instead of just supporting the work of others. I would go see Eric perform and could hear melody lines and had all these aesthetic impulses - performance ideas and stuff - and eventually we started fooling around musically. It took us a while to figure out how to work together sonically and communicate - neither of us are classically trained and know much music lingo, plus Home Body was my first band. We've never been interested in the formulaic boy-girl pretty femme vocals over slick beats thing, and have been more interested in riding the shadowy edge where machines and human sounds collide and are in dialogue with each other.
How does Home Body express itself in practice room and in a room with an audience?
Eric uses an MS2000 he literally bought in 2000. Our Korgs are a decade old too and the lights I manipulate when we perform are the kind that have actual filaments burning, not LEDs. There's something about all the wires everywhere onstage, the circuits surrounding us and tethering us to our machines that we get off on. Like, displaying the physicality present in our music rather than hiding them under slick automations and bluetooth connections is integral to our performance. It feels strangely comforting that the machines we use still need us to be there, press the buttons, change the lighting or whatever. I like figuring out new ways to illustrate and retain a certain humanity.
Wow, that’s a beautiful description. I always thought it was cool the way you used lights to emphasize certain actions or words. The delicacy of the filament is an awesome tangible concept. Where do you think all that magical spiritual feeling comes from?
We are fed enough futuristic, produced, pretty, full-to-the-brim homogenized pop music. What does it look/sound like to present something that's messy, raw, strong, distorted, full of holes, greasy, and confused? In my experience, not shying away from embodying those qualities creates space to be more relatable or honest or something. I think audiences these days crave realness. Or like, a certain spirit of transparency.
https://www.youtube.com/watch?v=-RVyOYnw7xQ
To record is to capture this unit in time, only in sound. What’s it like to do this with Home Body?
Recording is a whole different animal and that's what Home Body has been up to recently. This winter we wrote a bunch of new material, stuff we're really psyched on. It's meaty. And lush. And untamed. For the first time we're recording ourselves, in our practice space in Greenfield, and though there's a huge learning curve, we feel like we're doing the right thing. Our past recordings don't feel like they totally reflect our live, evolved sound and energy. Not paying for studio time and a sound engineer had opened up space where we don't have to take ourselves so seriously. It's playful, and we're able to experiment and take risks. Dig deeper into what we're making and find our own satisfaction in it, instead of looking to others for validation or something. And vocally I find it very freeing to sing these songs without others around. Although as a Virgo I have to chill out and let go sometimes, not be a perfectionist and make sure the songs retain a rawness to them.
You’re on tour now. What’s it like for Home Body on the road?
We're on a short tour now, debuting many of these new songs live for the first time, and it's been cool so far. But you know, surprising to see what works and doesn't. It seems to really highlight something I've been thinking about a lot with Home Body. Like, where does my energy come from? As a performer it's a lot of constant output - physically and emotionally- and then there's always having to be socially engaged with people at the show, etc to generate his own energy and material and at the same time I was anxious when I was watching him perform because I felt like I could add to it. I could hear vocal lines and I could see aesthetic.
Over the past winter, we've been writing new music and working on recording. This is the first time we've tried recording ourselves in our practice space in Greenfield, which has been a really great experiment. Without the pressures of spending money to be in the studio or feel like I'm potentially wasting someone's time listening to us work things out we are able to experiment more and dig deeper into the emotional content of our work. The new stuff is definitely meatier, deeper and darker. We're really happy with the new material and have been fun trying it out on this tour. I've been thinking a lot about light lately, its form and formlessness, how it can highlight or hide, what it feels like or can look like.
What has been your favorite part of tour thus far?
Last night, we camped out smack dab in the middle of Amish country after playing in Lancaster and that was cool. I love touring and being able to see different parts of the country - the US is huge! And so different place to place! Lots of weird cultural niches. Like this morning driving our spacey looking silver scion past horse and buggies with families riding together, hats and beards, hauling dozens of baskets of flowers...pretty magical. And a total trip thinking about what a different life I lead from the woman in the buggy who was probably the same age as me. And Eric and I cook most of our meals on the road, which is cool and grounding, and means we get to have all these picnics in weird scenic places. Today Eric cooked veggie sausage, broccoli, and potatoes in a church parking lot in Maryland, and we ate next to a bunch of alpacas. Random! I love touring and would do it all the time if the opportunity presented itself. I also love that moment right before I'm about to perform for people who are seeing us for the first time and I feel like I can do or be anything, like a secret agent, they don't know what's coming…
Jaw Gems
Describe yourselves!
We’re an instrumental live beat collective. 2 keyboardists, bass, and drums. We started in 2009.
Describe your music.
Our music is very effects-heavy. Both keyboardists use Roland Junos to manipulate sounds. Everyone runs their gear through Roland SP 404s for maximum manipulation. Our bass player runs his bass through synth & distortion pedals to keep up with the sharp synths sounds of the Junos.
We either bring in our own separate tracks to the table or we record ourselves playing in a room for a couple days and make songs through different ideas we came up with organically.
Describe your name!
The origin of the name comes from grills. We first got together to play a weekly gig at a restaurant and we covered lots of songs from our favorite hip hop artists like the Game & Wu Tang. One day we were talking about their grills and JAW GEMS just came out so it stuck.
ZEBU! (according to guitarist Steve D'Agostino of ZEBU!)
ZEBU! is the dynamic duo of (drummer) Ted Lee and I. Formed in 2003 at Hampshire College in the throws of hippiedom, ZEBU! continues to be the greatest rock band that has ever lived.
ZEBU! has put out 14 albums and draws heavy influence from the Grateful Dead as well as Ted’s colorful array of extensive musical interests.
Ted currently lives in Western MA and owns a record label called Feeding Tube Records that was sort of the first label that ever believed in Guerilla Toss. FTR has helped us put out "Jeffery Johnson", "Smack the Brick", “Kicked Back into the Crypt, a split with Sediment Club", "367 Equalizer", “Live in Nashville”. Guerilla Toss is forever in love with Ted and Steve. Along with Guerilla Toss, Ted has supported a huge number of friends from the Boston scene, including but not limited to: (New England) Patriots, Bang! bros, Bugs and Rats, Colby Nathan, Duck That, Fat Creeps, Free Pizza, KTB, Jane La Onda, and Tredicci Bacci. Not to mention countless bands, not from Boston that have today shaped the Boston area into the eclectic beautiful scene that it is.
I currently live in San Francisco, but often come to the East Coast to play with Zebu and record with Ted.
Currently, we are finishing a brand new record called “The Owsley”, an album heavily influenced by an experience one year ago at The Grateful Dead 50 year anniversary.
CRAZY FACTS ABOUT ZEBU FROM STEVE ZEBU!
- Before Zebu! was called Zebu!, it was called Professor Fish and the Fuckheads.
- One time, Chris Franz and Tina Weymouth from the Talking Heads came to see us play because [Franz] booked a show for their son.
- Zebu opened for The Queers once in Germany and they turned us off in 10 minutes because they said we were too noisy.
FAVORITE GRATEFUL DEAD SONG: "The Eleven”
Listening Woman
(Interview with singer/dancer Katie McShane)
What was it like growing up and being good at guitar or into music? Did you feel singled out because you were a girl? Were you in other rock bands? What were they called?
Growing up I felt most comfortable in an orchestra, or at home where I played with my brother & sister. I was always terrified to perform though. My male friends had ska bands on Long Island and I would travel around with them, probably living vicariously through them. Playing cello with my friend Paul ended up being the most positive part of my musical youth. Finally, it's my friends in Boston who unknowingly empowered me to ascend the stage.
https://www.youtube.com/watch?v=AGCQkq2SKJY
Where does the band name Listening Woman come from? is it based off the crime novel or something else?
Yeah, Listening Woman is definitely a reference to that novel though the reference stops there. So maybe it's actually a reference to the way the band works, grabbing from anything. At least, that's how my mind works and that's definitely how I created the first batch of songs. Billy suggested the name to me, and I tend to trust his ideas. Listening Woman was supposed to be a one-show band, but we ended up liking it so much that we kept going.
What do you write about lyrically? is it more about the sounds and timbral aspects of your voice rather than the concept or story behind the words or a little bit of both?
That's a good question. In newer material I've been thinking more about timbre and how to use the voice in terms of register. In the past I was just "going intuitive" both with singing and writing words (taking from stream of consciousness material). In some of our newer material several people have chosen to use text from Billy's poetry to create lyrics. In both cases, once we get a song together I think the lyrics & music set up a world or story which is particular to each track.
How do you guys write songs? Is it collaborative? Is it all composed or do you improvise?
It's a mix of people bringing in specific ideas and the band coming up with ways to make things work as a group, so yes it's collaborative. Things tend to be thru composed with the assumption that we will play in an improvisatory way.
Is there a certain style you would like to emulate with your bands? Influences?
I think in each song there are a lot of different styles we're trying to emulate simultaneously. But in terms of cohesive models, that doesn't work for this group because we write based on whatever we get inspired by or interested in individually, and that changes too.
Favorite famous fem performer? Why?
I like M.I.A. a lot, for her music, her clarity and her execution of bold ideas. I'm also a fan of Akiko Yano. You can see her playing in this video with YMO:
https://www.youtube.com/watch?v=s5s6E-RCulM
Favorite non-fem performer? Why?
Maurice White. Incredible commitment, master of the stage, and an amazing band leader.
What would you like your audience members to listen to when they get home later after the show that they may not have heard
That's difficult. Maybe "Gimme, Gimme, Gimme!" by ABBA?
https://www.youtube.com/watch?v=ZL93BV9uTAM
What made you decide to start the fem-identified showcase? I know why its important but I just want to hear your side of the story?
I had to prove to myself that it was possible to consistently have shows where every performer was identifying female. I was playing lots of shows where I was the only lady, and I felt like I was being put on display. I had to challenge that feeling. Now, there's something special about getting together for the fem showcase because there is a community who comes out every month to share the experience.
What are the bare bones details about the showcases?
The showcase is a $5 show that happens on the first Tuesday of every month at the Midway Cafe in JP (on hiatus until September). This year it's been held together by a core group of players who I call on to present their various projects - Brittany Karlson, Wendy Eisenberg, Carrie Furniss, Adrienne Arditti, Evan Raczynski, Angela Sawyer, and more - and players that I reach out to blindly in hopes of welcoming them into this show community. My goal in the next year is to get the word out! Fem showcase is already looking for performers for the "fall season". If anyone reading this is interested in performing, they should send a note to Fem Identified Showcase on Facebook!
Who have been some notable exciting people you have put on shows for with your fem-identified showcase?
I was super excited to have Twins of El Dorado from NYC on the showcase in March. I seriously admire Kristin's musicianship, and was very happy to put on a good concert for her project.
What is Lungbasket recordings? Have you ever thought of starting your own record label? Do you have a favorite label?
Lungbasket Recordings is a label co-run by Alec Watson and Ethan Parcell, who are both currently based in Chicago. I am actually about to start my own label, I'm gonna be announcing that soon. OSR is the only label I've had any interaction with other than Lungbasket and that's been a positive experience.
Can you tell me more about this label you’re going to be announcing?
Sure, my new label is mostly going to support Boston-based artists. The first set of forthcoming releases includes new albums from Particulars, Lichen, One For, Secret Rodg, Billy McShane, and a tape of EKP remixes. This label is not exactly tied to the fem showcase but I will be looking to put out fem showcase performers on the label. I'll also be looking to present books and artwork, in addition to musical projects.
What can we expect to see next and when?
Listening Woman is going on a small New England tour around the Skull Pop Fest, which includes Cloud Become's Your Hand's Record Release show on Saturday June 18th in NYC, and other shows in Portland, Burlington, and Western Mass. Our second full-length album Getting Mystic will be released in October on OSR. A music video will drop very soon in support of that.
We'll be on a big tour at the end of this summer in support of our new album - in the Midwest and on the Southeast coast - so people can look out for that. We'll be touring with special edition pre-releases of the album and a ton of original artwork. Other than that we're already working on music for a third album.
If you could take on another persona what would it be?
Jen Webber, Wedding Planner