WECB MUSIC REPORT

noreply@blogger.com (Siobhan Nichol Robinson) — Thu, 19 Apr 2012 15:03:00 +0000

WECB is on the hunt for a new Assistant Music Director!

Us: WECB Music Staff. Listening to music. Judging it. Writing about it.
You: Enthusiastic, dedicated music-obsessed Emersonian. Interested in blog maintenance, co-hosting the New Music show, and being an awesome assistant.

Sound familiar? If so, grab an application in the basement of the Ansin Building and turn it in by April 21.

And if management's not your style, you can apply to be a part of the Music Staff at the beginning of the fall semester. And if you don't go to Emerson and are reading this anway...you're out of luck.

Civil Slingers, Howler, and Quilt @ Great Scott (4/7/12)

noreply@blogger.com (Siobhan Nichol Robinson) — Wed, 18 Apr 2012 21:19:00 +0000

Sure, it’s fun to see a gig with a bunch of like-minded acts playing music that can be filed under the same exact micro-genre. But sometimes a show featuring three distinct sounding groups -- like the one that went down at Great Scott on April 7th -- can translate into an equally cohesive experience. Especially when you’re at the best sounding club in Boston.

Read more »

Xiu Xiu - Always

noreply@blogger.com (Siobhan Nichol Robinson) — Sun, 08 Apr 2012 22:04:00 +0000

If you like music that will push some buttons Xiu Xiu's new album Always might spark your interest. With songs like "I Love Abortion" and lyrics about molestation and Satanic genitalia, the work of this band requires an open mind and a little adjusting to. The album moves between heavy synths and soft pianos as a piece latent with pushing the envelope both musically and lyrically. Jamie Stewart's strange styling never lacks a new angle that experiments with shrill vocals sporadic beats and sirens that choicely contrast their content. Stewarts gets a kick out of pairing raw lyrics with soft instrumentals while the less controversial the content the more wacky he gets with the music.

I'd say if you're ever tired of listening to music that all sounds the same, take a break with Always and bank on something different. With inspiration drawn from some darker places and songs concerning political and social issues there is a lot to this album that will at the least get your attention.

By Suja Ono

Oberhofer Show Preview - Brighton Music Hall 3/22

noreply@blogger.com (Montana Hauser) — Thu, 08 Mar 2012 21:00:00 +0000

With "oohs" cooing away, its too much for any indie pop loving human to resist. Brad Oberhofer, namesake and main scallywag of Oberhofer brings indie rock an energized pop flair, a good break from the genre's sometimes lazy monotony. Starting as a one man act, Oberhofer's melodic and zesty recordings garnered deserved attention, while gaining support he tacked on a few members bringing equal live energy to his lo-fi pop.

Recently returning from Europe, and newly cultured, Oberhofer's hitting Brighton Music Hall in a few short weeks. Last time I caught them they rocked the sweaty New York crowd at 4Knots alongside Titus Andronicus and Davila 666. Get a taste with "Away Frm U" and "o0O0o0O0o."

Check out this unofficial video, it may doth tickle your fancy...

http://www.youtube.com/watch?v=6B2odgXgyh4

Thursday March 22nd, Brighton Music Hall, 8pm $12 w/ Pond

Goldfrapp - The Singles

noreply@blogger.com (Sasha Prell) — Wed, 15 Feb 2012 21:25:00 +0000

I first heard of Goldfrapp back in 2005, when duo Alison Goldfrapp and Will Gregory released their enchanting dance-pop album Supernature. Saturated in complex synths, steady beats, and Alison’s signature sensual soprano vocals, I felt as though I’d fallen into a glossy electro dream. Eager to lounge in more lush digital landscapes, I checked out their previous releases Felt Mountain and Black Cherry, which did not disappoint. 2008’s Seventh Tree brought acoustic guitars and a folky, relaxed vibe, while 2010’s Head First picked up the pace with a Xanadu-esque toe-tapping collection of retro tunes.

Including tracks from all five albums, The Singles gives a real sense of Goldfrapp’s evolution over the past twelve years. For current fans, the compilation includes two brand new tracks: the delicious synth-pop of “Yellow Halo” and the cinematic “Melancholy Sky”. The Singles serves as a pleasant retrospective for old fans, and an excellent introduction for new ones.

noreply@blogger.com (Siobhan Nichol Robinson) — Tue, 14 Feb 2012 16:43:00 +0000

valentines for satan from ninetales on 8tracks.

For that special someone in each of our hearts <3 Featuring punk staples, new Beach Fossils, a soul star, a moody British teen and an up-and-coming three piece from Allston.

(note: The staff at WECB are not, to my knowledge, Satanists. But that kitten definitely is.)

1) Lessons - Beach Fossils

2) Talamak - Toro y Moi

3) First Base (at the Model) - Chandeliers

4) With a Girl Like You - The Troggs

5) Punk as Fuck - The American Analog Set

6) A Sunday Kind of Love - Etta James

7) Teenage Kicks - The Undertones

8) Rock Bottom - Zoo Kid

9) When the Sun Don’t Shine - Best Coast

10) Flame Thrower Love - Dead Boys

At the great price of zero dollars, you can grab the other track from Beach Fossil's new split at RCRD LBL. And Chandeliers' two-song sampler is also free, at their bandcamp.

Blue Series - John C. Reilly

noreply@blogger.com (Montana Hauser) — Mon, 13 Feb 2012 06:45:00 +0000

Well, he's a bit back country, but I never imagined that would go past his spot in Walk Hard. John C. Reilly's two part release, John & Tom and Becky & Tom is soft and sincere with folk guitar plucking and hillbilly crooning. Part of Third Man Records' Blue Series these four simple tracks have Reilly dueting with Becky Stark and Tom Brosseau on three cover songs and an original. Reilly fits in naturally with Stark on their take of Ray Price's "I'll Be There If You Ever Want" and Dolly Parton's "I'm Making Plans" capturing a classic country aura. Yodeling away with Brosseau, the bluegrass tracks are akin to the O Brother, Where Art Thou? performances of the Soggy Bottom Boys. Surely not a world altering release, its interesting to see Reilly in a new role. Is this just another character spot? Hopefully not because I could get into him further pursing this a la Steve Martin and the Steep Canyon Rangers...

Imperial Teen - Feel The Sound

noreply@blogger.com (Sasha Prell) — Thu, 09 Feb 2012 03:04:00 +0000

Feel The Sound, the fifth studio album from San Francisco-based Imperial Teen, is a fun fresh listen. Managing to introduce a ruminating wisdom to the standard indie power pop, without getting bogged down in the process, this album sounds like the more mature cousin of The New Pornographers’ Electric Version. Dreamy vocal harmonies soar over eased-back guitars, toe tapping drumbeats, and punchy keyboard flourishes. Standout tracks include the driving and catchy “Runaway”, the bouncy honking queer-themed “Last To Know”, the darkness tinged “Over His Head”, the lyrically tasty “Hanging About”, and the almost cosmic expansion of “Overtaken.” With a jaunty liveliness, occasionally bewildering lyrics, and hooks aplenty, Feel The Sound keeps you coming back for more, and that feels oh so good.

Los Campesinos! @ The Paradise

noreply@blogger.com (Montana Hauser) — Thu, 26 Jan 2012 02:43:00 +0000

“If you know anything about Los Campesinos! you come here with hate in your heart” proclaimed front man Gareth after tearing through “By Your Hand,” “Romance Is Boring,” and “Death To Los Campesinos!.” “This is not a place for couples. If you’re here, you'll die alone with a lot of cable channels" he advised, not a person fazed by the declaration. We all knew what we were in for, anger and sorrow raging over energy packed chords and beats. Clinging to every lyric, pulsing towards the stage, the house was elated at the glum narrative of Los Campesinos!

Before the group had taken the stage, opener Parenthetical Girls gave us a reason to jive. Androgynous front man, Zac Pennington, slipped into the crowd, meandering about the audience. He came to our level, engaged us eye to eye, and made us move. We dug it. With our full attention Parenthetical Girls gave us something concrete to remember, Pennington dropping his mic carelessly, flinging his drum stick, flopping to the floor through ‘The Pornographer” and “Young Throats.” Pennington continuously slams his free flowing cymbal to the stage and elicits a few giggles with entertaining banter. Pulling of a cover of the Smiths’ “Handsome Devil”, befitting the groups aesthetic, Pennington moved to the upper level of The Dise finishing off the set while seductively resting atop the balcony.

Even with some technical difficulties, the crowd was intoxicated with LC! and could not be disappointed. Launching into “Straight in at 101” with their xylophone piercing through the chaos and dawning a fans Budweiser sweater, Gareth puts his emotional past up for the taking. Continuing into “You! Me! Dancing!” assisted by some rambunctious crowd members slammed on the near by cymbal and tambourine - howling the sorrow filled lyrics and crowd surfing onto the stage.

Los Campesinos! are exactly what you’d hope they’d be, vulnerable and sentimental. Delivering you the truth about their experiences, putting a pop spin on their fast and angry themes. Steadily gaining momentum through their four records, this kick-ass kick-off of their US tour was charged, a feeling that grew steadily between the band and the crowd. “Boston, this place is always good to us” the band agrees. Los Campesinos!, you’re relentless misery has always been good to us too.

Real Estate/The Babies/Cuffs @ Brighton Music Hall 1/15/12

noreply@blogger.com (Siobhan Nichol Robinson) — Thu, 19 Jan 2012 17:28:00 +0000

Last Sunday night, fans found solace from the bone-chilling wind and crowded into Brighton Music Hall for a night of jangly tunes, effortless melodies and surfy lo-fi goodness.

Cambridge based Cuffs (which includes a member of Big Troubles) kicked off the night with high energy and danceable tracks. Their dreamy, scintillating sound was the perfect opener for the night, and they looked like the coolest professors at your college. This was one of the few times an opening band really captivated me and made me interested in going to see them again.

After that, The Babies took the stage. The Brooklyn band features members from Woods and Vivian Girls, and their alt-country, laid-back vibe was deeply appreciated by the crowd. While their set seemed to run a little on the long side, the use of female and male vocals and the short length of their songs kept their set going from start to finish.

Quickly after they were finished, Real Estate came on to kick off their East Coast tour. While they were sure to perform almost all of the tracks from their latest praised album Days, (reviewed here) they managed to cover all the bases and drew from their earlier works, playing “Fake Blues” (free download) and “Suburban Dogs” from their first self-titled album. Highlights were bassist Alex Bleeker-led “Wonder Years” and “Easy”, the sonic equivalent of a breath of fresh air.

Rarely do I leave a show feeling fully satisfied with the setlist, but Real Estate truly delivered, ensuring older devotees would be just as pleased as new fans. Even if you just dabble in Real Estate, go see them if you get the chance - you’ll leave totally in love with their music.

(Photo: Sean Tracy)

The Babies Interview

noreply@blogger.com (Montana Hauser) — Tue, 17 Jan 2012 13:29:00 +0000

Opening a sold-out show at Brighton Music Hall on January 15^th, The Babies’ Cassie Ramone and Kevin Morby gave WECB a few minutes of their post-show time. Still in the glow of rocking the first night of their East Coast excursion with Real Estate, the four piece has big plans for 2012. After a busy 2011 that included their selt-titled full-length debut, The Babies, a live-recorded release on cassette, Live at The Smell, and a trip to Europe, we had a lot to cover...

Montana: So you just played the first night of your East Coast tour - how’d it go, personal reviews?

Cassie Ramone: I really liked it, I really like Real Estate, and its gonna be really fun to tour with them I think.

Kevin Morby: I agree, same, very good night.

M: Alright, word. The crowd was definitely eating it up, they were really digging it. And at the end of 2011 you came back from Europe, so I was wondering, what are the crowds like over there compared to the US?

K: I feel like they’re more interested in the way of a touring band, cause they’re interested in the fact that we’re coming a long way for them.

C: I don’t know, I mean, I feel like the crowd really depends on the city and the show as opposed to the country or the continent, you know what I mean? Like, we played really good shows all over the country and really good shows all over Europe, but also really bad shows in the US and Europe, we’ve played both good and bad shows in New York City, where we’re from, it it totally depends on the vibe of the show itself.

M: How do you gauge when you’re going somewhere how your crowd will be? Do you know where your fans are or do you just kind of wing-it?

K: I think that we’re young enough of a band that we don’t really know that yet. So, I guess we wing-it. It’s always a surprise, whether its good or bad.

M: Any cultural barriers or mishaps along the way in foreign countries?

K: No mishaps.

C: I mean, I guess just like going to countries or cities where people don’t speak english is kind of a barrier, but it’s also interesting to go somewhere where people don’t speak english.

M: So tonight you guys said it was the 3 year mark of your first practice, right?

K & C: Yea, yea.

M: So you’re all from different bands, but what made you want to come together and form The Babies three years ago? What was it about each other or something that made you want to come together?

C: Well me and Kevin were just friends for a little while and then one night we were hanging out at this bar together and we were going to go to this other bar that was a ten minute walk away and I was like, ‘do you want to stop and get road sodas?’ and then Kevin was like, ‘whowa, we should start a band called road sodas!’, like OK sure? But then we actually took it up and practiced, and me and Kevin played together the next week, just the two of us and then we decided to become a real band and change the name to The Babies, cause Road Sodas is kind of a silly name, I guess.

K: Yea, it started very casual, just friends playing guitars together, and then sort of evolved into something bigger.

M: What do you guys think, as opposed to the other bands you’re each in, what does The Babies bring that your fans can see thats different from your other acts?

K: Aesthetically different, I play bass in Woods, so if you came to see a Woods show, I’m playing bass and I’m not singing and playing guitar like I am in The Babies. So to come see Woods you see me play bass and you see me play guitar in The Babies.

C: Yea, in the Vivian Girls I write all the songs and I don’t play as much lead guitar, I play either chords or solos. Where as in The Babies its just a different method of songwriting, I play lead guitar a lot which is really fun, and it just has a totally different aesthetic than both Woods and Vivian Girls which is really cool for us to do.

K: Just a different band, you know? When it comes down to it, its a completely different band. So its fun to have that conjunction, like in one band I can do something different.

C: Yea, we don’t consider it a side project, it’s just another band, you know what I mean?

M: Right, right. So in the Spring you released your self-titled debut, and then in October you came out with a Cassette [Live at The Smell]. What made you guys want to release a live cassette as opposed to just a digital release or anything like that?

K: We just got asked, like a small cassette label in LA saw that we were playing in Los Angeles and asked if they could record it and put it out, and we were into it, so.

M: Yea, definitely a good idea, I dig it.

K: Totally.

C: Whenever somebody asks us to do something and we’re into it we’re like, why not?

K: Yea, they’re a cool label and they’re cool people and we’re also very into cassettes. It’s cool to have an actual printed nice cassette, you know, and it’s a document of that night of ours in Los Angeles and it’s cool that people can listen to it and hopefully enjoy it.

M: And it was a good night overall?

K: Great night. Yea.

C: Great night! Yea, really good. I love The Smell, that’s where we played when that cassette was made.

K: That was my first time at The Smell, and I’d heard so much about The Smell, from bands like Niko Niko and No Age, but I’d never been there. And then we played our show there and it was great, its cool that it was recorded, my first night at The Smell.

M: So our show is about new music, so we wanted to cover you guys, but what kind of new music are you guys into?

K: Well, speaking of Los Angeles, we have a very good friend who has a band called White Fence and in Brooklyn we have a couple of friends who play in a band called Widowspeak and

C: Theres also Crazy Band from LA, they’re good friends of ours,

K: Crazy Band is great. We actually played with Crazy Band and White Fence at The Smell show where the tape was recorded. I also, I really like everything thats happening in San Francisco right now, like The Fresh & Onlys.

C: Fresh & Onlys are like one of the best bands around today, they’re just so incredible. A real inspiration.

K: I like Real Estate, obviously.

C: Obviously! Theres just so much good music around right now, its hard to just pick a few. You know what I mean? I feel like a lot of people are really jaded about music today, but I think that theres actually like so much great stuff coming out and I’m really thankful to be living in a time where theres an abundance of great music.

K: Yea, same here. And also, its done on a scale thats not like, all about making money, its nice.

M: Yea, that’s an awesome way to look at it. So, well, since this is the kick off of your east-coast tour, and then what? Mid-west, Canada?

K: Well actually, after we end our shows with Real Estate we’re going further South and playing a couple more shows and then we’re gonna go to Los Angeles the last two weeks of February and record a new record.

M: Word, that sounds good! Great, well, any final works?

K: Well, peace in the new year! No war!

Sounds good to me.

Keep their social media poppin' over on Facebook plus tweet, retweet or build a nest for them via twitter.

City and Colour @ House of Blues

noreply@blogger.com (Montana Hauser) — Wed, 07 Dec 2011 06:33:00 +0000

“We’re City and Colour and were from Canada” Dallas Green said softly into a microphone as he and two band mates each stood on three Persian rugs, their shadows illuminated by a royal blue light in front of a packed audience at House of Blues this past Friday. For the first four songs, with the band precariously balancing hits from both Little Hell and Bring Me Your Love, Green remained relatively quiet, only expressing his gratitude at the audience’s enthusiasm. It wasn’t until the middle of the show when Green began talking. Turns out this lead singer, who croons beautiful medleys of heartache and love, is also quite the comedian. Jokes about Canada? You’ve got it. But perhaps the most effective speech of the night was when he asked the audience to put away their cameras and their phones. “I’m not mad,” he began quietly, “I’m just disappointed.” “I just don’t want you all to focus on wanting to remember this so much that you don’t actually get to experience it. Experience it now. Let’s remember that we were here.” Cue the swooning of hundreds of 20 something year old females in the audience.
There was no denying that City and Colour is an extremely sincere, yet polished band. If one were to close their eyes during their concert, it would sound like they were listening to a studio recording. That’s how flawless Green’s voice is, and how it remained through out the entire hour and a half set-smooth as silk without a single kink. At times it was hard to comprehend how a single voice can possibly pack so much punch. It has the ability to splinter even the happiest heart as he naturally riffs through lyrics like “And I’m afraid/to sleep because of what haunts me/such as living with the uncertainty/that I’ll never find the words to say/which would explain/just how I’m breaking down.” Though the five-person band filled the House of Blues with great sound on songs like “Little Hell” “The Girl” “Sleeping Sickness” and “The Grand Optimist’ the real highlights of the show were when Green was left standing alone with his acoustic guitar, illuminated by a single yellow spotlight. It truly says something about an artist when they have the ability to quiet over 1000 people just by singing a little tune, alone on stage. To hear an entire audience softly sing “What makes a man?” in two parts as Green strums away on his guitar is truly an out of body experience. And it all comes down to what he said right before going into “Coming Home”- “Thank you is a simple phrase, but when I say thank you I mean it. They don’t play me on the radio. I’m not in magazines. We’re all here because you heard one of my songs and you told someone else about it. You are the 95% and I am the five. So…thank you.”

Video.

Words: Regina Mogilevskaya

Crystal Stilts at Great Scott (11/29)

noreply@blogger.com (Siobhan Nichol Robinson) — Fri, 02 Dec 2011 19:27:00 +0000

Ever wondered what it would sound like if Ian Curtis escaped the dreary grayness of Manchester and spent a weekend in southern California? Probably not, but it would sound just like Crystal Stilts. The Brooklyn quartet channels Joy Division’s melancholia but on top of the gloom is a glittering, thick layer of beachy sunshine, and they graced Boston with their presence Tuesday night at Great Scott.

For some bizarre reason, there were three opening bands on a weeknight. My boyfriend and I caught half of Girlfriends’ set and were thoroughly unimpressed, so while the next band took the stage we sought refuge from the PBR-drenched bar and got some coffee. Thankfully we returned just in time to catch CS, who all looked like bizarre, somewhat drugged-out estranged uncles who drop in plastered at a family reunion. So, they were pretty cool.

They started their set with the first two tracks of their latest album, In Love with Oblivion. “Sycamore Tree” captures the menacing charm of Curtis’ vocals and pairs it with dancey, surfy bass, and “Through the Floor” is very much in the same vein, but with some added hand claps.

Black Taxi 'We Don't Know Any Better [[Free Song]]

noreply@blogger.com (Montana Hauser) — Sat, 26 Nov 2011 18:03:00 +0000

Black Taxi have a lot to offer, they're catchy, upbeat, and pretty darn groovy. Their second full length, We Don’t Know Any Better proves this four piece has massive hopes and a good deal to accomplish. Song after danceable song makes this album undeniably fun, but I found it at times to be a bit confusing. "Tightrope" opens the record and, lets be honest, it's one to jive to. It might not be dubbed the most unique of tracks because it clearly draws from pop rock influences, but it’ll hook you in, and you’ll be bopping and shuffling before you realize it's happening. "We Don't Know Any Better" throws a wrench in the trajectory of this album. As a completely different style tune, it brings in more noise and less pop, and is where the directional confusion begins.

Kurt Vile - So Outta Reach EP

noreply@blogger.com (Siobhan Nichol Robinson) — Wed, 23 Nov 2011 20:08:00 +0000

Kurt Vile's So Outta Reach EP is a gloomy yet dreamy release full of fingerpicking, wavering vocals, and repeated phrases. Vile doesn’t take any chances on this one as its sound is in the same folky, moody vein as his past albums, but the dependability is appreciated.

The EP opens with “The Creature”, where Vile showcases his guitar skills and lets his sultry, freakish vocals saunter over the delicate, scintillating notes.

Real Estate - Days

noreply@blogger.com (Siobhan Nichol Robinson) — Sun, 20 Nov 2011 23:40:00 +0000

I'll admit I was nervous about Real Estate’s newest album, only because they have such a strong track record. Their Atlantic City Expressway EP and Reality 7” were both flawlessly arranged and performed with a carefree, meditative ease unmatched by any other band I know. But from the first track off Days, “Easy”, I knew Real Estate had exceeded my expectations.

Days is the natural next step for the Brooklyn based band. Pastoral melodies interlace with gauzy, soothing harmonies to create ten tracks that are sure to put your mind at ease. Even instrumental tracks devoid of Martin Courtney’s hauntingly gorgeous vocals, such as “Kinder Blumen” resonate with the placidity and joy of a day spent in the beautiful outdoors. The album shows that their skill as musicians has improved over the years, as their songs get more complicated and layered with more percussive instruments included.

“Wonder Years” switches it up with bassist Alex Bleeker providing deeper, brooding vocals. It has a very Byrds-esque feel to it, and it keeps with Real Estate’s close-to-nature vibe with some psychedelic sounds thrown in. Real Estate is awesome because their sound fits in anywhere, geographically speaking. “Younger Than Yesterday” has a more alt-country feel to it, while other tracks are more surfy..and yet others channel the chill and grayness of New England. And their songs have a perennial charm - perfect for summer adventures or staying in during a snowstorm.

This is definitely an album you’ll play over and over again. Every track is different from the rest, but Days plays seamlessly. A perfect musical accompaniment for sweater weather, pumpkin spice lattes and hour long cuddle sessions.

The Front Bottoms @ TT The Bear's

noreply@blogger.com (Montana Hauser) — Sat, 19 Nov 2011 18:58:00 +0000

“We’re gonna fuckin’ party tonight” Brian Sella shouted at an equally stoked and rambunctious crowd. There’s no denying that The Front Bottoms folk-punk is too enthusiastic and sincere not to entice you immediately. Rounding out the tail end of their month long tour, The Front Bottoms hit TT The Bear's this past gloomy Wednesday. Although it's only been a few months since the releases of their full-length debut on Bar/None Records,the duo has already been making a solid run. The last time they hit Boston they were were making it through a string of basements. “They played my house and blew everyone away. We put them on first because no one knew them, and they were just better than everyone!” said a fellow concert attendee. This might have been the only show in months that the crowd came above ground for.

Battles Interview

noreply@blogger.com (Lorena Alvarado) — Wed, 02 Nov 2011 18:41:00 +0000

Right before the Battles’s show at Boston’s Royale, I got together with guitarist Dave Konopka to talk about their new album Gloss Drop, music influences, and Battles’s new era post Tyondai Braxton.

What was your earliest musical experience?
My fist show ever was Neil Diamond, when was 5 years old. My parents used to listen to them and I thought it was pretty cool. When I matured a little bit, I remember my first proper show was Fugazi and Shudder to Think. It was really awkward because when Shutter to Think played, Wedren was so flamboyant. It was in a hockey rink and there were all these kids and everyone was like “this sucks!” and I was thinking, “I actually like this, this is almost better than Fugazi”. I didn’t start playing until I went to Mass Art. My roommate played guitar but he was a lefty, so I learned to play with a left-handed guitar. He taught me how to play and we stared a band together called Lynx.

How did you like the Boston scene when you lived here and played with Lynx?

There was a lot of stuff going on, there was an interesting community, but my friends and me were kind of wise asses. When we started playing we were doing math rock; we liked Don Caballero and Helmet. Were we super psyched that we were this weird band coming out of nowhere. It was awesome while it lasted. Unfortunately, then we moved to Chicago to try to get signed. I think we reached the level where we needed to leave Boston to get signed. Back then it was a different story, getting signed was the thing. You would give people your cassettes. Now [with the internet] everything is almost out of control.

How is the writing process for Battles? How has it changed from Mirrored to Gloss Drop?

We’ve kind of switched the process. When we started we used to write everything on piece of paper. We would jam, but it’d be more of a planned synch. The whole band would sit and stare at this paper and see the whole parts. We did this for Mirrored but when we started Gloss Drop it didn’t’ work. Between Gloss Drop and Mirrored we were doing this waiting period when the forth guy [Tyondai Braxton] was recording his solo album. I was writing things at home and Ian was doing the same thing. Then we would try out different things, like change the key to match up our parts. But we really went into the studio unprepared. We started recording our own stuff in separate rooms and then we would exchange parts. If we tried to jam it’d become chaos.

PUJOL "Nasty, Brutish, and Short" [[FREE SONG DOWNLOAD]]

noreply@blogger.com (Lorena Alvarado) — Wed, 19 Oct 2011 13:10:00 +0000

PUJOL, garage rock from Nashville local Daniel Pujol is slamming you with his philosophies in his latest EP, "Nasty, Brutish, and Short."

Pujol and his band of hooligans have been churning out EP's, full lengths, and singles constantly for the last two years, this being their 10th in that time. Working with some stellar labels, Infinity Cat, Third Man Records, and now, Saddle Creek, they'll blast you with their riffs and hooks, and hold the power of the garage rock up in its raspy glory.

Breaking right into the EP with "Mayday" [[free download]], brings you Pujols signature noise infested growl with rhythmic shredding and to-the-bone groovy bass.

Titus Andronicus @ Northeastern [[show review]]

noreply@blogger.com (Lorena Alvarado) — Wed, 19 Oct 2011 13:08:00 +0000

I would just like to say thank you, thank you to Bill. Who is this Bill? Well, the beautiful young Northeastern scholar who informed me of the Titus Andronicus viewing extravaganza. Thanks to Bill and Tastemakers I got to check out Titus for the second and oh so sweet time. Unfamiliar with the geography of Northeastern, I prowled the streets in search distinct rock concert indicators, loud music, raucous crowd, and confused on-lookers.

Finally approaching the allusive Centennial Plaza, I walked forth embraced by the tunes of electric hip-hop duo, Javelin. Sampling tracks from genres across the board their high energy and extreme enthusiasm made even their version of London Bridge infectious.

Post Javelin I moved from the damp grass towards the stage for the Dodos. This Saturday having been one of impending rain, the sky was setting an eerie mood during the set change - an interesting shift from a typical club setting. Taking the Tastemakers stage just after a five week tour, the Dodos were happy to be completing their run with this final show. Only familiar with the solid reputation of the band, I was disappointed their show consisted of heavy sampling. Although I’m not completely against samples, its always seems like adding members would enhance a live show rather than forgoing them for non-interactive electronics. Either way as the show progressed I became less disillusioned by the samples forgoing my frustration for careless enjoyment. Intro-ing with “Trades & Tariffs” got the crowd jiving with full almost distant drums pulsing through us. Deep double vocals from guitarist Meric Long and drummer Logan Kroeber were bold and strong, supporting the nights frighteningly seductive aura.

After a solid close, it was now Titus’ turn to take the stage. As those close to me shuffled around asking curious questions about the next act, I shook with excitement. This being my second Titus show I knew what they were capable of and was too excited to stay still. Prepping once again, Amy Klein sized up the crowd as she bowed her violin. Pre-show, Klein looks reserved and unassuming, but once the music hits I knew she’d transform into a whole new person.

NORTHERN LIBERTIES [FREE song download]

noreply@blogger.com (Music Department) — Wed, 20 Jul 2011 05:19:00 +0000

I like a new band. And by new, I mean new for me.

Setting: West Philadelphia, July 15 2011, a warehouse by hackneyed railroad tracks.

<a href="http://chernobylcollectivearts.bandcamp.com/track/night-crept-in">Night Crept In by Northern Liberties</a> *

There was a show. My pals and I caught Northern Liberties perform the last set of the night. The lead vocalist, his name is Justin, wore a white collar sky-blue dress, but who gives a shit? With his attachable drumline, he rhythmically jousted his bandmate Marc on drumset. Kevin's sludgy bass vibrated along and into varied outlets of distortion pedals. Their sound was the hazy gaze of garage, the heartbeat of a diabetic candidate, and the sweat of a punk all blended into ear-juice that made people want to shake their bodies. And if NoLibs were spilling into Allston territory, our rats would be shaken too.

Listen to: Children of the Unholy Cross

*download the entire Chernobyl Arts Collective V1 album, a variety of neat Philly local bands.

Primacy Effect Caracas take away

noreply@blogger.com (Lorena Alvarado) — Mon, 27 Jun 2011 01:16:00 +0000

I’ve spent the best part of this summer traveling around South America. I missed Buenos Aires because of a volcanic hash cloud from Chile, but I got to spend 2 amazing weeks in Brazil pretending to speak Portuguese (which came out as ‘portu-ñol’). One of the highlights of the trip was in Venezuela, where we did our own version of a take away show. We brought our friends and as many instruments we could carry inside a cable from the bottom of Caracas to the top of a mountain. Check it out!

Da Comrade! on DIY [VIDEO]

noreply@blogger.com (Music Department) — Wed, 22 Jun 2011 15:46:00 +0000

I first saw Da Comrade! perform way back in November of 2009. They played at a house in Allston, and I fell hard (both figuratively and literally... I passed out on a pals couch after their set). They had a sax, a cello, grumbling-to-twisted vocals, and one member was sporting a green Eagles cap. Since they were from my hometown, I sized them up, and guessed that they were from West Philly. I was right.

And what does being from West Philly mean? Take any art form (visual, poetic, auditory) and fuse it together with inspiration from comics, records, museums, friends, friends of friends, cultures, beer, newspapers, streets, Ethiopian cuisine, patterns, some Fellini, a dash of architecture, and the "damn, we're broke, lets get creative" mentality.

And this is familiar right? Da! comes out of a DIY supported community, one that helps shape their vaudevillian-doom-metal aesthetic that I've grown to love and play constantly on my musical electro device.

WECB's interview with Da Comrade! last month turned into a thoughtful conversation on the DIY scene, a scene that so many of our favorite local musicians work, grow, and thrive in. Ch ch checkout the video above.

Thanks to Kristy Robinson for her editing skills.

Check out Da ! on social sites. Their working on new record yo!

INTERVIEW W/ Philly's UGH GOD [VID]

noreply@blogger.com (Music Department) — Fri, 17 Jun 2011 22:39:00 +0000

HEY WHOA! This is the deal: A month ago WECB heard that a couple of our favorite Philly bands were coming to town to play in the depths of Allston's DIY scene. We wanted interviews. How did we get them? A couple smiles and a lot of cheap beer. Their visit was that type of what-the-hell-happened-last-night? fun and so, after a month long hangover, we finally got the vid-ocumentation for all of you!

MORE IMPORTANTLY! We talk a lot of positive smack on DIY music, especially on our favorite Boston bands. LETS SUPPORT IT by givin' some funds to FAT HISTORY MONTH and UGH GOD (filmed below) so they can get the hell out of town and on the road for the Summer!!!!!!!!exclamationpoint!

CHECK OUT THEIR KICKSTARTER!

help a homie out: ROYAL BLOOD's 2011 CROSS COUNTRY TOUR

noreply@blogger.com (Molly Young) — Fri, 10 Jun 2011 19:46:00 +0000

this summer, one of WECB's staff favorite boston based DIY bands Royal Blood is endeavoring to head out in a across country tour! for the most part they have been playing exclusively in boston (outside of a few kickass shows at SUNY Pourchase) and are rearing for an escape and of course a wider spread fan base. however, these guys NEED more MONEY than they have to do it.

as a result they have started this kickstarter account with the hopes that they can reach their goal.
they've come up with some seriously inventive rewards for your donation (not just some band tees and cd's-- although those are also available). if you donate now the band will send you: something special and personal from a band member, post cards while on tour, they'll even write you a song for only $100 dollars, etcetcetc.

i dont really think i need to say much else, the band's lead singer/guitarist Brock Ginther has made a lil vid telling you everything --more articulately than i have been doing here.

not convinced?

CLICK HERE TO DONATE! http://kck.st/lbgFWs

A SIDE NOTE: this band is made entirely of emerson 2011 graduates (Erik Magnus, Brock Ginther, and Michael Brierley), and as this is primarily anemerson based blog I EXPECT SOME LUVIN.

i've donated, you should too!