Chus + Ceballos,
the A-list DJ/production duo from Madrid, Spain, dropped a set at Royale Thursday night as
strong and imaginative as any I've seen them do in Boston. Beginning precisely at midnight, Chus
Esteban and Pablo Ceballos laid down a train-track choogle as classic in tone
and progressions as those of 1950s R&B - and as up-to-date in surface
textures as an Instagram.
May? I'm not going to bother listing a bunch of innocuously unrelated
events that occured that month, because I barely remember that month
myself. But ODD FUTURE were a thing, that much I can assure you. They
invaded our fair city backed by a wall of media hype, instilled fear into the ritzy on Newbury Street and again into press-type gawkers at the Paradise, and said some crude shit to Fox News that many of us here at the Phoenix can only dream of.
the departure of Tyondai Braxton has effected BATTLES' sound in the
least, that's news to me. Admittedly, I haven't spent enough time with
their newish LP, Gloss Drop, to really make a statement regarding its validity in comparison to Mirrored,
which was on some other shit entirely. But when placed alongside
material from the debut in a live setting, as it was last night at
Royale, their new stuff holds its own.
Williams has come a long way since Barcelona. The story has been well
told, and if you're even a remote fan of WAVVES, I'm certain you've
heard it. But for the uninitiated, a truncated version of the
happenings: Williams and then drummer Ryan Ulsh played Spain's Primavera
Sound Festival in early 2009.
going to attempt to keep the hysterics in check. Forgive me if I fly
off the cuff a little though. A couple weeks ago, when I heard we netted Steven Ellison for a feature,
I immediately got hyper-charged and confessed my worship of him in
front of a room full of my coworkers. So it's not like any of them are
going to take my word for it if I try to dub Friday's Royale gig "Show
of the Year" or anything crazy like that.
Last week we caught up with Steven Ellison, d/b/a FLYING LOTUS, for a fairly rare interview that looked inside the mind of one of the more intriguing experimental artists of 2011's ever-eclectic music scene. Friday night, FlyLo hits Royale on Tremont Street, and we have a pair of tickets to give away thanks to the folks at GHouse and Bowery Boston.
Well, not really. To be honest, I expected the Toronto indie/hardcore band FUCKED UP to be a lot more destructive on stage last Friday at Royale. They have a rich history of being permanently banned from venues, getting the cops called on them, and generally just making everything a giant clusterfuck of tom foolery. They kept their cool (sort of), but the stagediving caused security to eventually wander over to the front of the stage during the song “Police,” naturally.
Wednesday night Royale had probably one of the strangest lineups this summer. Not one band matched the other in any way, and the crowd, mostly there for headliner OKKERVIL RIVER, pictured above, was a diverse mix of ages and subcultural fashion statements.
Baltimore’s FUTURE ISLANDS opened the show with their special blend of powerfully emotive post-wave songs.
Brooklyn-based psychedelic electropop group YEASAYER put on a blinding spectacle of a performance at last night’s sold out show at Royale. Before taking the stage, the lights went out and the speakers blasted Q Lazzarus’s “Goodbye Horses.” This immediately brought on all sorts of Silence of the Lambs quotes from the audience, as well as a few pretty decent Buffalo Bill impressions, all in giddy anticipation for Yeasayer’s heady dance beats.
Our ace music writer Daniel Brockman got the juice from KID SISTER and relayed the good word in this week's Phoenix, but with the Chicago electro-rapper's gig tonight at Royale with Canadian turntablist A-TRAK, we figured now was a good excuse to re-post the video from her 2009 shoulda-been-massive single, "Right Hand Hi."
Bunch of rad shows this week, and so we have a bunch of wet hot American phlipcam action for a gross, muggy day here in Boston. The clip up top features CRAFT SPELLS, which dropped their feel-good summertime jam "After The Moment" early in their set last night at the WZBC Spring Concert at Great Scott in Allston Dance City.
Perhaps one of the more unexpected surprises at last weeked's Coachella Valley Music & Arts festival was the stellar effort put forth by Dutch Danish electronic music producer and multi-instrumentalist TRENTEMOLLER, who livened up the Mojave tent -- the same spot that Cut Copy destroyed two days prior -- with a full-band platform of organic dance sounds, an engaging and interactive progressive house set, and a steady stream of cool, collected energy.
When one-time hardcore screamer Wes Eisold re-emerged a few years ago with Philly/NYC noir-pop electro act COLD CAVE, it caught the attention of everyone from his former insulated circles to indie dance nights (Disclosure: I booked them in Allston in November '09) to regular ol’ folks-at-home watching television, as Radio Shack used brisk stand-in-place stomper “Life Magazine” in its national commercial spots.
Saturday night's Peter Hook Presents Unknown Pleasures show at Royale was no Joy Division gig. But few in the audience seemed to care, and a mere fraction seemed age appropriate to even have had a chance to see the real deal back in the UK more than 30 years ago. But backed by his new band the Light, Hooky on vocals and bass barreled through the entire Unknown Pleasures album and a handful of choice Joy Division cuts -- opening with "No Love Lost," ending with "Ceremony" and creating a sonic high with "Love Will Tear Us Apart.
Saturday night Peter Hook brings his Unknown Pleasures tour to Royale, the fourth of a nine-date stateside trek that finds him resurrecting the landmark 1979 Joy Division album in a live setting. But he arrives with a fair share of controversy. The legendary bassist for Joy Division, New Order, and a handful of other projects first performed the album in May as a one-off for the 30th anniversary of singer Ian Curtis’ suicide.