There hasn't been a night to rival the Great Scott indie-art-rock-kids-spin-hip-hop drunken dancefest that was Dynasty (RIP) until the Certified Bananas kids rolled into Great Scott Thursday night to DJ for an evening rich with hand-clapping, booty-shaking, and mannequin-fondling fun!
Not only do HARRY AND THE POTTERS have a lot more grist for the mill now that the fourth film is out, they also apparently have some competition in the realm of bands inspired by the ubiquitous child wizard. Just check out their new holiday album, which includes their smash hits "Christmas at Hogwarts" and, below, the winsome "Meet Me Under the Mistletoe."
The rest of the show will go on, but according to these posts, Chloe from AIDS Wolf got stopped at the US/Canadian border, and thus they will not be performing tonight. Hope it was nothing to do with anything weposted.
Just another reason to go see Ponies in the Surf tonight. (See below.)
The oeuvre of the bro/sis duo known as Ponies in the Surf used to be recognizable primarily by Alexander McGregor's gentle tendrils of simple Spanish-style guitar, his voice intertwined harmoniously with Camille's breathy songbird chirp. Extraneous instrumentation was usually limited to some sprightly finger tapping.
It seemed to us that after all the fucking hype about Wonderful Rainbow that Lightning Bolt's new Hypermagic Mountain-- which is, like, a totally better record and the one everyone should be screaming "breakout masterpiece" about -- is being strangely kinda slept on.
Matty Trump is a standout producer who has a great track out with the amazing 18-year-old Dorchester MC who goes by the name of LT (who, by the way, is literally the best rapper in Boston right now: everyone who hears him ends up with jaws around their ankles going, "He sounds like a young Jay-Z."). We met Matty in the studio with LT a few months ago; today he checked in to remember the Graveside kids: "Ya, J [Jason Bachiler] was a intern from the studio I worked at, he was a great kid.
Graveside, the Wakefield-based rap group gunned down Tuesday in a Dorchester recordings studio, was not well-known to most Boston rap fans -- we'd never heard of them, either -- but they'd already caught the ear of tastemakers including Hot/WILD 97.7 DJ Mr. Peter Parker and the influential web site BostonHipHopOnline (BHHO).
1. We knew as soon as the emails got to our inbox that at least a couple bloggers would beat us to posting these two songs, but we made the principled stand to actually listen to them before we passed them along. Go figure: they're both really good. The Bloc Party song was utterly forgettable the first time around, but as DFA79 fans havealreadyfigured out, everything sounds better with a really thick bass sound and DFA-ripoff proto-house drums.
1. When Nicke Andersson gave up deathpunking the shit out of Entombed to go MC5-ing with the Hellacopters, it marked one of those seismic subcultural shifts that re-jiggers the singles bin at your local indie record store for a good, oh, four or five years. And for threerecords, at least, the 'Copters could claim a share of the pound-for-pound-best-rock-and-roll-band-around crown.
I am very happy to announce that my annual winter pilgrimage back to the motherland will be commemorated by a split single 7" with the dashing lads of Scamper, with whom I will share a stage January 5th at TT's.
Some stuff we forgot to post last week: for instance, did you know Fiona Apple was conceived in Boston? Not, not as a marketing gimmick, like conceived as in her parents did it here and stuff. Other than that, it was a rather stern Apple in a long, loosely fitted, flowing black dress who kept her mouth shut between songs and, as the old adage goes, let her music do the talking.
The first time we saw Newburyport's Tiger Saw was at a pirate-radio-station benefit last summer, where the rotating-member, oft-acoustic collective dragged their stuff onto the Central Square VFW's floor and headlined the show without a PA, without microphones, without much else than a couple folding chairs and some precisely-tuned instruments.
Harmonix art director (ex-Laurels) Ryan Lesser projecting the metal vibes.
Sometimes we really love our jobs. Like when we waste away an entire weekend romancing the brand-new videogame Guitar Heroin front of the idiot box, slapping the Fisher-Price-style fret buttons of a plastic guitar, recreating “Iron Man” and “Take Me Out” and “I Wanna Be Sedated” and “Symphony of Destruction” – and somehow this is considered work
1. In so many ways, the Christmas mash-up just makes sense. The holidays are a time of pop-culture overload, the airwaves choked with old chestnuts and re-recordings alike, with everyone from Bing to Beyoncé singing about Frosty and Baby Jesus. Between shopping lists and eggnog hangovers, how’s a stressed-out Scrooge supposed to digest them all? Throw ’em in the blender two, three, four at a time.
Boasting a drummer who can simultaneously sing, drum, and play keyboard, a bass player who just recently learned how to play but who already has a sense of melody and rhythm reminiscent of Sir Paul, and a guitarist who tastefully textures his band's pop gems with a gentle twang, the local co-ed trio HATS AND GLASSES are a band to keep an eye on.
We'll admit it -- part of the appeal of that first Iron and Wine record was that here was a dude who was a dead ringer for our beardy friend Metal Mark Thompson but sang wispy wood-nymphish fairyfolk accompanied on little more than a faraway-sounding acoustic guitar. That's funny shit. Mostly, though, we have no explanation for why a guy whispering multitracked Simon & Garfunkel/CSN songs would suddenly captivate someone (namely us) who fucking hates Simon and Garfunkel and Crosby and Stills and Nash.