Foreground: Yoni. Background: the national phallus.
DOWNLOAD: Yoni Gordon and the Goods, "Buried in the Basement" [mp3]
Remember when Brett Rosenberg's first record came out and you thought he might be the next Ted Leo? Remember how wrong you were? Are you ready to play this game again? Because here comes Yoni Gordon, another cocky little prick with an album's worth of songs that're twice as smart as they need to be and catchier than the clap.
The Inside Track -- or some Herald blog or something? -- confirms what MySpace gig calendars have been teasing us with for weeks: the new, improved version of the semi-legendary Allston sleaze-rock dive bar O'Briens is set to re-open within the week. If all goes as planned, dirtbag scum-metal bands will be soaking up the suds in the new space, which has been upgraded to what the Herald describes as "a new interior, cast in copper and plum and complete with two 37-inch plasma televisions."
Alex Onslought, pictured with cash money
Return to the Pit Benefit ExtravaganzaOctober 18 at O'Brien'sPhotos courtesty of . . . who else?
IF YOU GO:
We ourselves have been known to make use of the services of Return to the Pit, especially when we need photos of anything metal-related. Judging by the photographic evidence, Aaron and Carina have consumed more metal than any people we know.
Loving the fact that the Relapse Contamination Tour -- the toughest metal show this side of Mastodon/Converge -- is kicking off in Boston . . . at O'Briens. This is what happens when what used to be called "Underground Metal" moves on up to Ozzfest and MTV2: the new underground metal has to start all over again at the bottom.
If you have any psychedelics lying around that you’ve been saving for a rainy day, do yourself a favor and take them now and head over to O’Brien’s to see Pittsburgh/Northampton art/music collective Paper Rad’s show featuring film, animation, art, and music from PR's Extreme Animals, Doo Man Group, Fortress of Amplitude, plus Providence "experimental organist" Mudboy, and Compound 440r party rap maniacs Big Digits
Our favorite record cover since Swamp Tech.A personal favorite of this here OTD contributor, ALEC K. REDFEARN AND THE EYESORES are more than a mouthful — they’re accordion-driven carnival tunage for the name-your-favorite-itinerant apocalypse. We love how the Providence-based mini-orchestra-pit’s fifth and most recent full-length, The Smother Party (North East Indie), veers from cabaret massacres to drunken-sailor night frights to a foot-stomping post-folk sing-along, then culminates in the 23-minute instrumental cabaret-noise nomad opus “Gutterhelmet Ascending.
The last time we saw Magic People, their looming towers of keys, synths, and theramin combined with distopian dance-beats and fiery warnings screamed directly from a post-apocalyptic pulpit brought us to the verge of total spasmatic sci-fi breakdown. Since then, they've added a flautist, toured the West Coast, and managed a Friday the 13th recording session (with Kevin Micka at Small Church) that spawned their debut album, Keen Whips I'd Wear As Rubies
The name Kevin Omen isn't chiseled on the Harvard Ave concrete the way it oughta be, but back in the '90s he was one of the unsung heroes of Allston rock: there was a time when he was best known for fronting Otis, but OTD's favorite incarnation was the Kevin Omen Signal, a jacknifing, honkytonk-noir roadhouse band that, in retrospect, might be the missing link between early Danzig, Hank III, and Blood Meridian