Don’t call their ska sound a “revival,” and child, don’t you dare call them a super group. But if you did, then we suppose you wouldn’t be totally wrong. Made up of members of the Sterns, Void Union, and Have Nots, these zany POMPS hit the stage at Great Scott tonight for their first-ever headlining club gig, and the suddenly skanky Allston venue’s checkered dance floor will never have felt so appropriate.
UPDATE: Wendell has to cancel his trip home due to illness. This morning he posted to his Facebook the following message: "Last night, I woke up violently ill, dry heaves, burning up and itching like crazy. Going to see doctor (who I spoke to late last night) this morning. In no condition to travel. I'm terribly sorry for this and have emailed Radio to tell them I will not be there.
Rising up from Lower Allston basements, SPIDER CIDER — with their unique combination of socially conscious hip-hop, funk, and folk — don’t sound quite like any other band playing Boston house shows. On debut EP Basement Speeches, upright bassist and vocalist Kristen Lamb and percussionist Ariel Bernstein — who also perform together as a versatile rhythm duo under the name Bottom of the Well — combine forces with Pete Fanelli on trombone and the lyrical positivity of Jacob Dinklage’s rapping.
The job of an AIR TRAFFIC CONTROLLER is intense. So when former US Navy air traffic controller Dave Munro sings on “The Work,” “Trying to be perfect but I’m not/In this line of work that’s how you’ve got to be/So many details that we need to oversee/Climbing and then descending rapidly,” he’s giving you insight to his heart’s weary cockpit.
It’s long been said that a concertgoer holding up a cellphone is the new flashing of the devil horns, which makes the cover of the LIGHTS OUT’S new record On Fire all the more symbolic of the times: an outstretched arm recording rock-and-roll magic (illegally?) while engulfed in flames, the image laid out on a Kodak print, the very entity killed off by this modern technology.
In the four years since the Silver Jews toured with HALLELUJAH THE HILLS, Jews singer David Berman retired from the music biz to do whatever it is he does otherwise, and the erstwhile lo-fi stalwarts disbanded. Meanwhile, Jah Hills’ Ryan Walsh and Co. marinated in the latter half of the Jews’ oeuvre. The result is “Get Me in a Room,” the first track off new long-player No One Knows What Happens Next, Hallelujah the Hills’ first record since 2009’s Colonial Drones
From the very first riff of RIBS’s rumbling new single “Kiss,” it doesn’t take long for the sonic seismograph to start tracing a zigzag across your headspace. The quartet’s first release since the one-two suckerpunch of last January’s atmospheric Locrian Singles, “Kiss” is a pure growler, a sledgehammer of a tune that wedges its way into your ears and sprawls across four eerie minutes, eventually striking a low-down choral groove that only serves to momentarily stop the song’s pounding ritual.
Jimmy Rossi wants to take you on a trip around the world and back. The December Sound guitarist/programmer and mastermind behind electronic pop joyride AVOXBLUE has returned with his latest batch of icy electronic pop compositions, once again crafting an emotive voyage around ambient highs and lows.
British blogs are buzzing over SUN SISTER, a new noise-pop quartet from Fitchburg, whose 4-track EP Rich White American Kidz is soon to be released by a small Sheffield, England, tape label, Tye Die Tapes. Though “Growing Your Hair Out” is the track of choice for most bloggers, “Sore Eyes” is the one we’ve been jamming on repeat for weeks.
PHOTO BY CHRIS MARCH
ALOUD are Boston DIY defined. Conceived in 2002 out of a Fenway one-bedroom apartment by two 19-year-olds in love with each other and rock and roll, Jen de la Osa and Henry Beguiristain have made music their livelihood for the past decade. Three albums, a rotating cast of bandmates, and endless tours zigzagging the country later, the heartbeat of Aloud celebrates 10 years of tunes tonight at Great Scott on a bill with Spirit Kid, Oranjuly, and Brooklyn’s the Wicked Tomorrow.
Now that Patriots’ Day is in the sunny rearview, outdoor life can finally begin around the Commonwealth. This long-awaited seasonal bloom has found a Sunday afternoon soundtrack in the hazy nu-gaze pop of R.M. HENDRIX’s “Summer Dresses,” a noisy, carefree ode to girls, beaches, and rock and roll that wouldn’t be out of place on a beat-up Maxell mixtape alongside early New Order and the Jesus & Mary Chain.
BEAUTIFUL WEEKEND are here to show us two things: 1) there’s more to Joel Roston than the complex combinations he put together as part of the late Boston hardcore outfit Big Bear, and 2) Noell Dorsey of Guillermo Sexo still has that hauntingly operatic voice even without the catchy shoegaze of that crew. Roston and Dorsey first began working together in 2005 but just recorded their upcoming Beautiful Weekend album, Holy Hype!, over the course of last year.
GENTLEMEN HALL are on a nonstop grind. After 2011 saw the Berklee-bred synth-pop sextet perform at the Billboard Music Awards, secure two Boston Music Awards (including Pop Rock Artist of the Year), and tour the country from here to there, the new year has been all about hustle. The band re-released the When We All Disappear EP for free download last month, kicked off their 13-date Spring Fling tour this week, and are letting the remixers have their way with their already vibrant, glistening brand of electro-pop.
Technically? Not the first time Ms. LeBlanc has released something under her first name. Back in 2001, there appeared an album called This Summer, credited to 15-year-old NOELLE; RCA later re-issued it as Damone’s debut. Now, with a decade of trials and tribulations under her belt, LeBlanc’s new one-off EP Good Ol’ Daze (recorded between Organ Beats albums) takes her back to the start: bedroom-crush lullabies lured into synth-pop reveries.
From the hills of Vermont - with additional ties to Easthampton, Mass, Surry, NH, and Brooklyn - comes "I Shot a Gun," the latest single by Americana collective Wooden Dinosaur. The track sounds like innocent alt-country at first, motoring along with a folksy guitar strum, some pedal steel touches, and even a down-home fiddle solo.