Hey, we're throwing a party. On The Download is teaming up with ace music blog Ryan's Smashing Life for a midweek dance party on Thursday, February 17 at Great Scott. The night features an electronic troika of OTD faves: BEARSTRONAUT, THE CINNAMON FUZZ and DIRTY BOMBS, with DJ sets by Ryan and I, my first non-pill DJ gig in ages.
For those who missed our tweet on Friday night: Methuen post-hardcore veterans CAVE IN announced they will perform Thursday night at Great Scott, jumping on the Scott Kelly (Neurosis) / Wino (Saint Vitus) / Keith Bennett show in Allston. Originally, Cave In's Stephen Brodsky was slated to perform a solo set, but hey, looks like they're getting the band back together (temporarily).
Skimask. Live it, learn it, love it... then follow them down to North Carolina on their December tour -- doesn't even matter that the venues aren't listed on the flyer below, because the Boston noise-punk trio apparently doesn't just play venues, THEY PLAY CITIES. Phlipcam above from last night's show at Great Scott, when Skimask offered a mid-show sonic suckerpunch beatdown between local cats the Beat Awfuls and Atlanta girl gang the Coathangers.
Urban Dictionary defines “sexcrement” as . . . well, you can look it up for yourself. Within the grizzled Massachusetts underground, however, SEXCREMENT are defined by Schlitz-drunk death-metal brutality filtered through rock perversion. “Well Hungover,” off this year’s XXX Bargain Bin Vol. 1 EP and following in the smutty footsteps of previous singles “Whiskey Tits” and “Granny Tranny Midget Fetish,” continues Sexcrement’s twisted sonic fantasy in which you feel as if you were being dragged across a sea of broken glass while leathery dudes in jean jackets get off to it.
Nothing quite like rolling into your local sometime after midnight, expecting the live show to have finished up and looking to find a quiet, late night bar scene... only to get bitch-slapped in the dome with five fingers of rock n' roll awesomeness. Last night I barged into Great Scott looking for a pickleback or six, and what I got was the neverending live ruckus that is a Slim Cessna's Auto Club show.
Saturday's Young Adults' 12-inch release party at Great Scott felt like one of two things, maybe even both: a changing of the guard in the Boston scene, or just a really cool garage rock show where everyone got shithammered and reveled in the notion that all four bands on the bill could have headlined. Doesn't matter, anyway.
All that was missing from last night's Misfits cover set at the Born of Fire Halloween show was Glenn Danzig abruptly running next door to buy kitty litter at Unleashed. While Misfits tribute shows are pretty standard fare for this time of year, this one was pretty intense. Best line of the night: When Acaro singer Chris Harrell noticed his glued-on devilock was starting to loosen, he quipped "Hey, my hair is falling out, just like Danzig."
Live at Great Scott -Surfer Blood - Swim from Great Scott on Vimeo.
A few weeks before tearing up SXSW and playing what felt like every single Mike's Hard Lemonade-sponsored party imaginable, Florida's post-grunge teenage rock and roll lads Surfer Blood rolled into Great Scott on March 2 for a much-hyped and very sold-out gig with Turbo Fruits.
There’s something about Woven Bones’ static garage sound — sharing that fossilized Jesus & Mary Chain DNA with the likes of modern noise-polluters A Place To Bury Strangers, the Vandelles and Screen Vinyl Image — that always makes me close my eyes real tight and envision armies of skeletons dancing disjointedly across graveyards.
With Massive Attack across town displaying their usual flair for the tense dramatic at Orpheum Theatre, last night’s Matthew Dear show at Great Scott was a lesson in indie electronica.
Combining a young showman’s attitude and a seasoned crooner’s timing, the Ghostly International co-founder and avant-pop chameleon proved he’s a bit more charismatic as frontman of a full electronic band than he is as a DJ buried behind laptops and a mixer.
Everyone is all worked up about CMJ down in the Dirty Apple later this week, but the spirit of the NYC music fest is alive and well tonight along Harvard Avenue in Allston. Three Four shows, three four venues, nine a gazillion performances, and all worth your time; here's what's on our Allston radar tonight, for those not attending the Drums at the 'Dise, Phoenix at Agganis or even the Afghan Whigs' Greg Dulli at the Brattle Theatre :
The beauty in CONSTANTS’ powerful music has always been about timing. The explosive Boston-based post-rock (for lack of a better tag) trio know when to bludgeon you with metal riffage and guttural lightning-bolt screams and also when to pull back the forceful sonic coating and pace themselves in lead-footed thunderous pummel.
The Year Million might be comprised of a bunch of Sabres and Rangers fans, but the alt-rock quartet has burst onto the scene like Milan Lucic across the blue line ever since changing their name from Spectator earlier this year. Last night the Boston dudes hosted their CD release party at a very dimly-lit Great Scott — perhaps the ghost of HG Wells at play — and here they are performing the second track of their set, “The Salt.
Although electronic music is all the rage, with more “-waves” than Cape Cod, Boston has always been a town built on noisy, fuzzy, deliberately sloppy guitar-fueled alt-rock. Allston’s YOU CAN BE A WESLEY (full disclosure: bassist P. Nick Curran is a Phoenix contributor) are the next to emerge from the city’s underground, built on the strength of Saara Untracht-Oakner’s seductively searing morning-after vocal howl and a gritty sound nodding back to the alternative nation of the early ’90s.
UPDATE: As reported over the weekend, Evan Dando and Juliana Hatfield's rumored Nov. 1 show together at Great Scott has been confirmed, and the $20 tickets go on sale tomorrow at noon. New York's the Candles, a recent touring partner of Dando's, are the opening act. To get us all in the mood, two appropriate Dando/Hatfield mp3s have become available: a remastered "My Drug Buddy," which first appeared in the 1992 Lemonheads album It's A Shame About Ray, and "Waiting For Heaven" off 2001's God Bless The Blake Babies