By Nick Canton I saw Brendan Canning at the Great Scott last Monday and there was a lot to take in. My only problem with Eksi Ekso is that, while all the pieces were in place, nothing really grabbed my attention. Their sound is great—John Roderick-sounding-vocals, creative synth sounds, horns, they absolutely had my number. […]
Robert Sylvester Kelly is once more ubiquitous. He’s again found his way all over mainstream media, but isn’t there a difference between creating anecdotes within a stretch of time and being relevant?
You Won’t opened up for Lucius at the Sinclair last Thursday evening. Punk-country guitar and drums filled the huge stage, and (take note) any band that drops an in-song Back To The Future reference gets an automatic recommendation from me. Their songs and banter were goofy and self-aware. I don’t know if it was what I would call bashful, but it was never cocky, although the show did take some considerable confidence.
I found out kind of last-minute that Dosh, along with some other highly recommended musicians, would be coming to Great Scott this past Wednesday. I hadn’t seen Dosh before, but I’ve been listening to him for a while, so it was a huge priority that I attend this show.
Cave shows off technical diversity and Wooden Shjips kind of phones it in.
Though just starting out as a rapper/singer, JPRiZM isn’t afraid to let you know right off the bat that he has ambition. Daft Punk levels of ambition…
By Nick Canton Local folk favorites Tall Heights played the Sinclair last Thursday and they brought a full house of devoted fans, as well as some incongruous but interesting openers. Seth Glier‘s music was not for me. That’s about all I can say. To explain why I can’t criticize his music, let me detail […]
By Nick Canton I saw Bent Shapes open for John Vanderslice last Wednesday at Allston’s Great Scott and having had limited exposure to both bands, I came away with a huge appreciation and some new favorite songs. Bent Shapes took to half of the stage—a drum-and-keyboard setup on the left side of the stage relegated them […]
The band’s three singers shared some beautiful moments of harmony that were so incredibly on-point that if this is actually them hungover, as they joked, then I don’t want to see them play with clear heads.
I’m guessing Brooklyn’s Shark? hears the term “surf-punk” a lot, so I’m sorry for that. I haven’t read anything about them using the description, but it’s just the perfect genre-combination to capture what they play. The four-piece relies on consistent chugging (but interesting) bass and drums underneath a rhythm guitar wailing on power…