tongue-in-cheek ribbing has been flung about recently surrounding
chillwave, mostly by way of those who spotted the glossed-over fad as
being just that during its time in the RSS-powered sun. As someone who
was riding the wave pretty hard around this time last year and totally
enjoyed Neon Indian that one time I saw them, I'll keep the quips to a minimum.
Yeah sure, there was a Red Sox/Yankees game last night, but since it was an ESPN national broadcast and not a NESN game, there wasn't any real reason to watch. So hopefully you gorged on DAVE DUNCAN'S local rock equivalent of chicken and waffles -- a tasty little treat we call Boston Accents. Goes down easy, and can be heard every Sunday night at 101.
This past Monday night Sweden’s SKULL DEFEKTS electrified Great Scott with their brand of taut, rhythmic post-punk. The Dfx, as they call themselves, recently recorded an impressive full-length with vocalist Daniel Higgs, a veteran of the American experimental scene, and his former group, Lungfish, were known for their moody, hypnotic approach.
That's the word on the street, and that's what it felt like when we caught an impressive FOSTER THE PEOPLE at the Windish Agency's SXSW showcase last month at Emo's (ignore that buzzing -- we were apparently getting electrocuted while trying to shoot video for you). "Pumped Up Kicks" is already all over WFNX like cleaning guy Pat D on free Bruins tickets, tonight's show at Brighton Music Hall with ROYAL BANGS and GROUPLOVE is way the fuck sold out, and we really need a true summer jam to make up for all that "California Gurls" bullshit last year.
BUFFALO TOM loves MEAN CREEK, Mean Creek loves Buffalo Tom, and we love them both even harder than their combined love for each other. Is that even possible? Who knows. But we do know that we blew our Buffalo Tom load last month when their latest record Skins hit the interwebs and brick n' mortar shops, and hell it's been 17 minutes since our last Mean Creek love letter
Douchebag. Love it or hate it — there is no better word to describe some people. Douchebags come in unlimited varieties — political, sports, work, and more. But the one that truly stands out these days is the social-media douchebag. It’s the guy who comes up and asks, “Are you following me?” Now, whenever you deal with one of those people, there’s a new theme song, courtesy of BROWNBOOT’S “I Can't Wait (To Get Away).
It's easy to hate on PATRICK STUMP. We speak from experience here, having been subjected not only to years of FALL OUT BOY but also because we accidentally caught his first solo gig ever at SXSW last year, where he insisted on playing all the instruments at the same time and . . . bombed.
This time around, we're awarding points for effort, variety, and swell behavior.
On sale Friday, April 8
The Cars | May
26 at the House of Blues, Boston
| $51.25-$76.25 | On sale at 10 am at livenation.com
Summer Jam 2011 | June 4 at the Comcast
Center, Mansfield | $25-$118 | On sale at 10 am at livenation.com
A Perfect Circle
| July 12 at the Bank of America Pavilion, Boston | $28 | On sale at 10 am at
To celebrate their Brighton Music Hall debut Friday night with Obits and Reports, the fine gentlemen of Boston sludge-rock quartet BLACK HELICOPTER have passed along a free download of their rare and out-of-print 2003 debut, That Specific Function (released by Jonah Jenkins off his Traktor7 label).
Hey look, another SXSW post! As we continue our never-ending task of uploading all the shit we shot down in Austin a few weeks ago, I decided to round up a batch of my unedited Drunken Man on the Street interviews with a host of notable performers. Let's start this off with Chris Glover, better known as PENGUIN PRISON, who talks outside High Rise PR headquarters at Moonshine Patio about, among other things, being an electronic funk musician in a sea of jaded indie rock hipsters.
near obsessive compulsion with Facebook paid off in a big way last
Sunday night when I checked my phone before I went to bed -- sad, I
know. I spotted this little gem of a blog post on LCD SOUNDSYSTEM's fanpage at 1:02 AM, announcing that they
were planning a re-release of 1,500 tickets to their
hella-sold-out Madison Square Garden farewell concert.
Some observations, rants, and ramblings, as the 32nd annual Rock and Roll Rumble preliminary week heads into a much-needed day off.
-- Off the top, if you view the Rumble as a competition, you’re approaching it the wrong way. This is, at its root, a Boston music festival, where two-dozen bands get to take over a club for an entire week and play for new faces, different crowds, and not just a room full of friends.
I'm a few weeks overdue for writing about the new Viceversah and Aztech projects, which are unrelated in every way other than that they've both been aggravating my neighbors for a minute now. It's not the first time that these two have hit me off - they've both been sending over mixtapes since before the Bean rap scene got taken over by MCs in flip-flops.
Oh sure, there was the beginning of a Rumble going on last night in Cambridge, but somewhere along the way I found the time to catch two phenomenal post-punk performances around town -- noisy San Francisco trio WEEKEND opened for Wire at the Middle East (next door to TTs Rumble'ing) and a reunited PROTOKOLL threw down in Allston, the second of a two-night stand (and shout!) at Great Scott that saw the once-promising Boston band play their first shows in four years.