WRBB's Bella Gedeon covered alternative pop band Valley at House of Blues on Sept. 29. Check out her coverage below:

Valley at House of Blues

WRBB’s BellaJoli Gedeon sat down with three of four members of local band The Collect Pond at NICE, a fest: Ben Bonaides on bass and guitar, Danny Moffat on guitar and vocals, and Roger Maranan on bass and keys.

BellaJoli Gedeon: Was there anything that inspired the name “Collect Pond” in particular?

Danny Moffat: The Collect Pond, the project, the band started in New York City, and there is a park called the Collect Pond Park which is named after the former freshwater reservoir that used to be there for a millenia. I like the idea of there being an oasis in Manhattan because it can be such a chaotic city.

Ben Bonadies: For a long time, the Collect Pond was the only source of freshwater in Manhattan. I recently did some reading about this and the way they had to pump water into the city. They built all these crazy huge pipes to bring water from upstate New York because the Collect Pond famously got so polluted. They had to develop a whole new technology of bringing water from upstate New York where the mountains are with clean, fresh, water down to Manhattan to where the people live. I didn’t know that until recently.

Moffat: I mean it was filled with trash, but that’s New York for you.


Moranan: It’s where Chinatown is now, right?

Moffat: Yeah, it’s across from the main courthouse where [Donald] Trump is getting sued, so you see all these Republican rallies in the Collect Pond Park.

I’ll have to visit the Collect Pond. I like to think that Central Park is the heart of the city. That’s great to hear the origin story of the name.

As a Boston-based, it hasn’t been your first time performing in Somerville. How does it feel to be playing at NICE, a fest this year?

Roger Moranan: It’s pretty awesome to be playing with a bunch of the local bands and being a part of the community that we’re participating in, so it’s really exciting to be a part of it all.

Bonadies: It’s really exciting. NICE, a fest is a real inspiration. We’ve seen it grow and the ability for this organization to get all this excitement and people out to see all the amazing talent we have here in Boston, and that plus the amazing vendors, the people selling food, all the love and passion and blood, sweat, and tears that goes into making a show of this size or any size. It’s amazing. NICE, a fest is like my Coachella.

Yeah, I definitely feel like a community.

Bonadies: The Boston music scene is a community, but it takes events like this to really see it.

Moffat: The venues that are putting it on like Crystal Ballroom and Rockwell–they’ve only been doing music like this for like a few years, so this is a very fresh existence. Fresh venues, fresh bands, so there’s a lot of excitement and this year they’ve got the main stage which goes to show that it’s just getting bigger.

It’s really great to see. I was here last year and the amount of people that came out is amazing.

The recent single, “Disassociating (Cigarette Dress),” is enthralling with its clever imagery and attention-grabbing style. Will it be the first time performing it for listeners this weekend?

Moffat: I don’t think it is. No, it’s not. We’ve had a few performances with it, but this is the first time we’ll–it’s the best version of it you know.

Bonadies: It’s the first time performing it live since it’s come out. We’ve been workshopping it live for awhile. Practicing it a lot. Now, it feels a little bit different playing it not just because NICE, a fest, is an amazing event, but it’s cool now that it’s out in the world and people can actually go on their phones and listen to it and to be playing it and bringing it to the NICE, a fest crowd.

Sounds amazing! I did take a listen to the record. It seems that there's a lot of variety on the next album with post-punk and noise rock elements alongside more stripped-back songs, especially towards the final tracks. Is it a mix of the entire band's personal preferences in terms of sound?

Moffat: Yeah, I think whatever comes out comes out. It’s always been the philosophy. We joke that we’re post-genre, but we definitely fall into the indie, alternative, and shoegaze category. My favorite album is The White Album.

Moffat: The Beatles didn’t give a f*ck. You know, that was back then. I think that if you want to try on a different genre. Go for it.

Bonadies: It’s funny. Dylan Riley, also writer, podcaster, DJ, described The Collect Pond as a flying nun band to someone who never heard of us. That’s actually very astute, so maybe we are post-genre. It’s cool that we have more flexibility like this song “Disassociating (Cigarette Dress)”, is our first country song like when Dan brought it to us that’s how we described it. It formed the way we added on to it. I was playing bass on that song, so I kind of wanted to add more of a swing and honky tonk feeling. It’s still us, so it’s going to have that post-punk new-wave feel.

Moffat: The flying nun of the Thames, New Zealand indie punk. I think we probably sound like The Chills. Yeah, this is our first country song. It’s our first song with a synth solo.

The title track, “Lightbreaker (Ladder)” is set to release on August 30th. It looks like there’s a direct association with the album cover. Does it encapsulate any concept or theme of the record?

Moffat: Roger is the resident artist of the band.

Moranan: I think we were looking for how to tie it all together. We did have kind of different material when it came to the songs and the visuals that we were going with. Dan had found the title track and kind of tied everything together. It felt really natural to call it Lightbreaker thematically with the visuals with the music.

Moffat: It was the last song to be added to the album. The cover art is a picture from our tour in Montreal. We played a show up there. We went to a café, but we got stuck in a day of rain for like an hour and a half or two hours. We couldn't escape really because we weren’t prepared for it, so we hung out in the garden for a while and took some photos. That became the cover art.

Is there anything else that listeners should look out for, like show dates?

Moffat: Yeah, we’re going to play Pianos in New York City on October 10th.

Bonadies: Really looking forward to that. Pianos is a really important venue in underground music. I feel like a lot of bands I respect started playing there. I’m excited to go there and play. New York’s always amazing to play

A Conversation with The Collect Pond at NICE, a fest 

NICE, a fest is back, baby! This is its fourth year running, and we’ve been told it’s going to be bigger and better than ever. Mark your calendars and join the crowd because there’s news that some of our Boston-based favorites will be taking the center stage in Davis Square, Somerville from Thursday, July 25th to Sunday, July 28th. With longstanding acts headlining, like Palehound and Vundabar, amongst newly rising performers, such as Divine Sweater and JVK, it’s going to be a memorable time that you won’t want to miss.

NICE, a FEST

MARIS, the LA-based up-and-coming pop sensation, performed her largest show to date at Boston Calling this May. WRBB's BellaJoli Gedeon sat down with the artist to discuss musical influences, upcoming projects, and dancing!

Bella: How’d it feel to perform Boston Calling this weekend?

MARIS: Oh my God! It was a dream come true. It's my first festival and it was the biggest production I've ever had for my music. I got to work with Berklee students, so we had a 10-piece band with dancers. It was so insane considering the last time I performed on the East Coast was in a dive bar. I couldn’t have had a better crew around me and I love everyone on my team and everyone that made it possible. It was a lot of love.

Your latest single, Julia Roberts, is a hit. It’s definitely a song I resonate with.

It’s evident that you use your experience to connect with listeners. Do you find it cathartic to pour those emotions into the music making process?

Yes, I actually think that I was writing songs before I could even write, like before I was literate literally. I always needed music as a place to put my feelings. I’m from Montana. My dad lived in the middle of nowhere, so I used to walk around and sing songs to myself about what’s going on in my life and how I was feeling about things. I always needed music in a codependent, unhealthy way. It’s super cathartic. I will feel like I have feelings under the surface and I can’t get to them, but as soon as I sit down the words will pour out. Then, I’ll look at it from a distance and be like “Oh, that’s how I felt.” It’s soothing and it helps me understand myself better.

That’s amazing. Who are your current musical influences and how have they helped shape the direction you like to take as an artist?

Oh my God, I love so many people! I mean the tried and true. I have the legends on my mind all the time. We’re going to see them today, but The Killers. Prince. Whitney Houston. A lot of my songwriting inspirations like Donny Hathaway or Steve Wonder. Songs in 

 I listen to that at least once a week because I just need it in my life to understand the world. I love Madonna, especially her older stuff. I’m really attached to Cyndi Lauper. I’m inspired by so many of the greats and the legends. Recently, I’ve been super inspired by MUNA and Chappell Roan like a lot queer pop artists. It feels really amazing. My song, “Heavenly Bodies,” is about this girl I was obsessed with in high school. I remember being excited to see how people connected to it and now it’s amazing to see all these queer icons coming up and just shining. It feels like a long time coming and about time.

For sure! There were a lot of style icons that you named too.

Freddie Mercury, I didn’t even mention Queen.

You know, you’ve got to remix it a little bit!

Exactly! I noticed that your music videos use a lot of dancing. Do you like to choreograph your own dances?

Oh, I had the absolute pleasure of working with choreographers. For “False Idol” and “Heavenly Bodies,” I got to work with David Grannum and we rehearsed in his bedroom since he has big mirrors. He was teaching me that dance. I have never been professionally trained, so I felt gawky or nervous in my body sometimes. I was super inspired by an aerobics woman from the 80s. I was super inspired by her videos. For “False Idol,” we went full aerobics. Super simple moves, but more of a workout than actual dancing. I worked with moreBerklee students. Asha and Sophie were the dancers. I sent them a video saying “Here’s the dances we’ve had for these songs, here’s the dances we don’t have yet, and here's what I’ve seen on stage and naturally I’m inclined to do. I want to see your ideas and what you're thinking.” The moves that we added to “False Idol” and “Heavenly Bodies” were the Asha and Sophie special, so I had the opportunity to work with choreographers. I move naturally. I dance all the time, especially in my room by myself. I always dance in circles. In terms of working with real choreographers and people who understand movement of the body, I had the pleasure of working with super talented people.

You're set to have a season of upcoming shows?

I hope so! We’ve got a few lined up, but I want more, more, more!

Are there any plans for working on new material or releasing new music soon?


Yes, I have three songs still that are lined up for the next couple months! And, I have a month of writing and it’s been a whirlwind the past few months and so I know I have a lot on my mind. I’m just excited to see where it goes directionally. I kind of want to maybe start working on an album, but my first album has got to have the time, space, and resource for everything that needs to be done to make it my chef’s kiss. My first baby. I’ll have the time, money, blood, sweat, and tears. I’ll have the tender love and care that it needs to be a masterpiece, but that will happen when the time comes. Obviously, I want more shows, more, more, more!

Check out MARIS' new single "Julia Roberts" 

MARIS discusses Julia Roberts, aerobics dance, & playing first festival at Boston Calling

Local band Paper Lady wrecked havoc on Boston during Day 2 of Boston Calling. The self-described indie-rock collaborative project is a product of the Northeast DIY scene, consisting of members Alli Raina, Will Davilla, Rowan Martin, Kenzo Divid Castille, and Brady Dallas Jones. Most recently, they dropped their latest single, 

WRBB's BellaJoli Gedeon grabbed a quick interview with the band before their set!

Pictured Left to Right: Brady Jones, Will Davila, Alli Raina, Alex Castile, Rowan Martin, Kenzo Divic

BellaJoli Gedeon: I’ve had the pleasure to watch you perform at a couple venues like The Tourist Trap and The Crystal Ballroom at NICE, a fest. Do you consider playing Boston Calling a stepping stone in your band’s success?

B.J.: Absolutely. It feels that way. It’s definitely the biggest thing we’ve played. At least from what I’ve seen in my life when I’m going around telling people about the things that I do, you talk about you’re a musician and that you play shows and stuff. They’re like “Oh yeah, cool!” and they roll their eyes. Now, when I say “We’ve played The Crystal Ballroom” and “We’ve just played Paradise Rock Club. “Now, we’re playing Boston Calling.” People start reacting to how you’re a musician a little bit differently. That has been the biggest aspect of it feeling like a step up. People are taking what I do and what we do a little more seriously which is cool.

That’s awesome. Are there any bands or artists that are here at Boston Calling that you’re excited to share the spotlight with?

A.R: We’re so excited to see Alvvays. They were the bands that we bonded over so much as a group. We saw them live altogether when they played with Alex G in Boston. It was a dream show to see for us. When they got added to the lineup, it was so crazy. It was so surreal that that happened.

B.J: I’m a big Khruangbin fan. I just like listening to them. I feel like they really influenced how I played guitar, especially when the first song I played on recording I was listening to a ton of Khruangbin. It feels really special, especially because we’re not on the same stage, but we’re playing right before them. I’m hoping that we can make their set. I’m just so honored and touched. Yeah, I’m really excited for that one.

As a band you’re obviously influenced by Alvvays, are you also influenced by Alex G or any other bands and artists in particular?

A.R. Oh, yeah. We used to cover “Bobby.” “Bobby” would go so hard, especially at The Tourist Trap and basement shows. I would play bass and Will would be holding the microphone and walking around the stage. And, I would just be singing it as a duet and he would just be going up to each of us and just kind of like putting his hand on our shoulders and stuff.

A.R.: Yeah, Alex G is huge for us. Yeah. Big Thief. Alvvays. Alex G. Some older influences like The Sundays, Broadcast, and Mazzy Star. Rowan’s really into The Smashing Pumpkins. Just that kind of dream pop and dream rock from like the 90s. More recently, we’re also inspired by Wednesday. That kind of countrygaze genre is having such a moment.

A.R.: Yeah, countrywestern.
R.M.: Feeble Little Horse.


I really like Wednesday. I like the alt country vibe. I also got to see Big Thief at Roadrunner and Alex G at Paradise Rock Club, so that’s really cool.

A.R.: We got to like meeting him afterwards because our boss at the time was like friends with him. We shook his hand and we told him about Paper Lady. He was like “Paper Lady, that’s a great name. It was also a full moon. We were crying and jumping up and down and screaming.

W.D: Shout out to JJ Gonson for that. She’s like the best.

From listening to your recent EP, Traveling Exploding Star, it seems that you embrace noise rock mixed with a dream pop sound. The concluding track “Violet” transitions from a calm, ethereal sound to a raw, heavy sound. It’s dynamic. Are there any particular inspirations behind this unique blend of genres? Haha, I guess you answered this question.

R.M: I don’t remember if there were any specific influences, but over time when I started playing in Paper Lady it was me and Alli and two of our friends on the violin and cello. “Violet” was such a delicate song. Then, we adapted it together and it stayed delicate. There was all this energy on the drums and I think it all came from playing together. Alli used do this scream all the time in jams, so we started messing around with that. And, I think it just came from this. I don’t know if I came from this specific energy. I felt so good to just have this explosion at the end. I started messing around. I really like Sonic Youth and how Thurston Moore plays guitar. I started messing with my slide and making these weird sounds or running my guitar against an amplifier. Yeah, I think it came from Alli first doing this crazy sound that she makes and all of us following along intuitively which I think has become a big theme in how we write. It’s like following along to a specific energy that of us puts out.

K.D.: I think the cool thing about that is that it’s always similarly chaotic at the end, but it also always feels very different. It never sounds the same. It’s part of the set that we can kind of forget where we are if we haven’t already done that. We completely lose ourselves in the music. It’s a great experience.

B.J: I think it’s a very raw expression. I remember playing it at least in my brain. I like to think of it as therapy time where I get to explode. There’s this awesome Miles Davis video that it makes me think of in the 80s where in the end he stops playing his trumpet and he’s laying on the ground and screaming into his trumpet microphone. I think it’s such a great feeling of transitioning from a really beautiful song to a primal release of all these emotions.

Since the EP is nearing its one-year anniversary, are there any new plans for new material?

B.J.: We’re making an album and we’re recording it ourselves. We’re mixing it yourselves.

K.D.: We’re almost done.
B.J.: We’re almost done with it. We don’t know when specifically when it will be out, but we’re super excited about it. We’re going to perform a song from it today.

That’s awesome, so it’s going to be your debut.

A.R.: Yeah, debut album. Full-length release.

So, I’ll be checking out your show. I’m really excited to hear your guys perform and it was great interviewing you. I really appreciate the time you took to talk with me today.

Paper Lady on Boston Calling, influences on dream pop & rock sound, and working on debut album

Steve Rondo took the stage at Brighton Music Hall for a second time with his band members on January 20. His show was filled with joy and camaraderie as he was able to share special moments with his fans. Throughout the show, he shared stories about what inspired the tracks of his own as well giving more fun, energetic covers of new and old tunes to the likes of The Beatles, Fleetwood Mac, and even Zach Bryan.

His songs from his first EP Fate Love the Fearless include heartfelt and nostalgic indie rock ballads, especially the song “Matches.” Rondo also performed a single called “Runaway” that his fans enjoyed singing along to. His choice of outfit of a burgundy jacket commemorating his grandfather as well as a t-shirt displaying his latest big accomplishments, namely his performance at Levitate Music and Arts Festival last year, added a personal touch to his stage presence.

Rondo and his band members – Richie Avera, Eric Donovan, Trevor Knowles, and Keeland Smithers – made that Saturday night one to remember. With their lively dances and awe-striking solos, they created an experience for fans to let their guard down and bask in the uplifting atmosphere. It isn’t a new thing for Rondo to keep the spirit of his music journey alive. That night, he shared that he and Aversa frequently performed along Cape Cod after graduating college.

“Tommy,” a song Steve Rondo wrote inspired by “Peaky Blinders” most definitely demonstrates the variety of his creative vision. “Keep Me Close” was another track on the setlist with an interesting backstory – it has elements inspired by The Goo Goo Dolls’ “Iris.” All in all, Steve Rondo certainly has a genuine connection with his fans, since there were smiles and laughter shared throughout his performance.



Steve Rondo takes the stage for round 2 at Brighton Music Hall

Photos: The Mountain Goats 

During July 20-23 BellaJoli Gedeon headed to 

in Somerville, and took some beautiful photos of the performers. Check them out below:

Photos: Nice, a Fest 

Declan McKenna made his way to the Blue Stage on May 27 to perform at Boston Calling. In the midst of starting his North American tour, he made a stop to deliver a performance at the music festival for the first time. He began with one of his many fun, catchy singles “British Bombs,” and the crowd instantly roared for him and his band. They made sure to return the love with powerful vocals and bouncy dance moves.

Photo credits: Henry Shifrin and BellaJoli Gedeon

He continued the set with an older single, “Paracetamol,” but his fans came prepared to shout the lyrics at the top of their lungs. Later, McKenna continued to perform tracks from his debut album What Do You Think About the Car? such as “Why Do You Feel So Down?” and “Make Me Your Queen.” As personal favorites of mine and others, it was an unforgettable moment to sing along to each one. McKenna also included plenty of tracks from his sophomore album Zeros, such as “My House,” “Beautiful Faces,” “Twice Your Size,” and “The Key to Life on Earth.” It was a perfect mix of new and old singles for fans to sing along to.

That hot, sunny day, McKenna made sure to remind everyone to wear sun cream – a genuine gesture that reflected his kind hearted character. Later, he finished up the set with his recurring hit single,” “Brazil.” The crowd excitedly screamed in excitement as the guitar riff introduced the track. McKenna and the crowd repeated the well-known chorus towards the end of the song. It left everyone overjoyed and embracing an experience to be remembered.

Declan McKenna stays cool for a hot, sunny set

On May 27, the four-piece alternative pop band, The Aces, performed on the Happy Valley Red Stage at Boston Calling. While dressed in business chic matching outfits, they came in to perform with a lot of pumped up energy. They even shared the spotlight by encouraging fans to sing along while they sang their past and current hits. During their set, The Aces demonstrated a fun and light-hearted side to their stage presence by exchanging jokes with the crowd and singing a playful-sounding cover of “My Generation” by The Who.

Their set included tracks like “My Phone is Trying to Kill Me” and “New Emotion,” from their sophomore album 

. The Aces also didn’t leave out “Stuck,” a single from their debut album, 

. Still, they made special introductions to their latest record, especially for the title track “I’ve Loved You For So Long,” which they  emphasized relates to the special bond they’ve forged since their start as a band. Cristal Ramirez, one band member, even chipped in during their set, by saying, “Very quickly, I began to realize this song is about our band.”

The Aces showing off their musicality and pure talent isn’t anything new. With the release of 

they’re definitely up to big things and Boston Calling was just the beginning to their upcoming successful season.

The Aces share spotlight with fans at Boston Calling

WRBB’s BellaJoli Gedeon and Henry Shifrin headed to Boston Calling to take some stunning photos of the performers. Check them out below!

The Linda Lindas (photo by Henry Shifrin)

Photos: Boston Calling

Zolita, 28-year-old alternative pop artist, welcomed the Boston Calling crowd at the Blue Stage on May 26 with a heartwarming, yet energetic set. She recently released a single called “Grave” on May 31st in the midst of a tour opening for Bebe Rexha.

Bella Gedeon: What a show! It was truly magnificent.

Bella: How does it feel to be back in Boston?

Zolita: So good. I love Boston so much. Every time I come here, I’m like, “Oh my God, why don't I spend more time in Boston?” It's so nice and I've been blessed with really good weather. Last time it was snowing, but this time it's so warm.

Bella: It has been really impressive to see the level of compelling stories within your music, especially about queer love. And also I noticed the creative directions that you've been taking in your music videos. 

Bella: And I saw that you recently released a music video for “Crazy Ex” as well as “Ashley” from [your album] Falling In / Falling Out. Do you have any favorite memories from when you were on set?

Zolita: I mean that whole entire series was so exciting to shoot because we shot it where my dad lives up north where there’s this town called Santa Inès. It feels like I’ve been visiting him there for so long, so I've made a lot of connections with the different people in the town. And so it was like such a family affair. We went and shot there because we got to shoot in all these local places and they were so kind to us and shooting crazy acts and like getting to dance, like doing peyote down at the bar was definitely an incredible memory.

Bella: That's awesome. And obviously you'll be touring again with Bebe Rexha. How do you like to spend your time before going on stage? Do you have any pre-show rituals or any post-show rituals that you like to do?

Zolita: I take a shot of tequila, for sure. I definitely feel like I take a little bit of a long time, like 20 minutes for a quiet period to go through the set in my head. And that’s kind of it and then I'll just kind of jump around to get my nerves out.

Bella: Great. Yeah, that’s cool that you get to decompress before shows because you know it’s good to have that space.

Zolita: You know there can be people around you all the time, so it’s good to ask for a bit of alone time sometimes.

Bella: Right! So, a new single is coming out called “Grave.” Later, this month on May 31st. Will you be performing it on tour?

Bella: Had there been anything that inspired you when going into the songwriting process?

Zolita: I feel like I’m always inspired by stuff going on in my life, but also I'm inspired by like video ideas that I come up with or through the storylines and characters that I dream up. I'm inspired by their situations as well.

Bella: Yeah, you can definitely see the level of artistry you take with directing and editing. It’s really awesome. Lastly, it seems like your lyrical themes connect well with your fans. Is there anything that they can expect moving forward?

Zolita: Well, a new EP is going to be coming out in the fall. Yeah, so it's going to be a lot of fun new songs. In the last EP, I feel like I explored a lot about falling in love with my girlfriend. In this next EP, there are themes of being in the relationship and the stuff that comes out in that relationship too. It's not really talked about a lot. We hear about falling in love and we hear about breaking up, but we don’t hear about actually being in a queer relationship and the things that come up with that as well.

Bella: It was great seeing your set and I'm glad you had fun today!

Q&A with Zolita post-performance at Boston Calling

Yves Tumor, 33-year-old music artist and producer, recently made a comeback. 

Praise a Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds)

, their fifth studio album, is a finished product calling attention to their driving force for redefining themselves as an artist.

Yves Tumor consistently incorporates over-the-top aspects of glam rock through their theatrical presentation while bringing about high energy performances with musical influences derived from post-punk and neo-psychedelia. With an unsettling scream and panicked breathing, “God Is a Circle” starts off the 37-minute record, setting the tone for what undisputedly is a dark, thrilling full-length album. The beat-to-beat ticking variation similar to an old film countdown also lingers throughout the track, adding to the horror-movie experience that director, Jordan Hemingway, imagined for the 

. Still, the steady basslines and sporadic distortions give rise to its modern-day fusion between rock and experimental music.

With dramatic changes made to the overall production and instrumentation compared to past projects, Yves Tumor successfully collaborated with record producers, Noah Goldstein and Alan Moulder, to create a genre-bending soundscape. Since releasing 

in 2021, Yves Tumor creatively progresses by blending in more tracks with electronic elements, especially on “Operator” and later tracks like “In Spite of War” and “Purified By the Fire.” Though “Lovely Sewer” is the only song that has a feature on the record, Kidä, a music artist and composer, builds on a soft, delicate quality to the chorus alongside the abrasiveness of Yves Tumor’s vocal delivery. But they didn’t shy away from switching up their singing style to a falsetto on a few singles like “Parody” and “Heaven Surrounds Us Like a Hood.”

Yves Tumor tends to draw inspiration from spiritual themes to lyrically express feelings associated with love and intimacy. 

 isn’t the exception to their recurrent artistic vision. On “Ebony Eye,” overlining the ceremonial synth melodies and ambient guitar chords, they chant “I can’t describe this glowing light / There’s no other way than the pearly gates / I found my holy place.” Yet, the lines “I’ll wait, so we can parlay / We watch the city vibrate / We can do it your way” in “Fear Evil like Fire” unfortunately fall flat for sounding generic. Despite this, the repetitiveness makes it a fun, catchy track that stands out on the record.


Praise a Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds) 

transcends expectations. If not for their fresh, innovative looks, it won’t be a surprise if Yves Tumor continues to receive high praise by being a game-changer within the present rock music scene.




Yves Tumor creates a genre-bending soundscape on new album 

With the popularity of rave culture re-emerging since its heyday, new viral dance hits have also gone mainstream. To find the hidden gems, some nightlife enthusiasts embrace spaces that replay the eclectic, avant-garde tracks celebrating identity. At the moment, recent success from Ethiopian-American singer-songwriter, Kelela, highlights the black, queer reclamation of electronic music subgenres. Returning after a five year hiatus, her second full-length album, 

, marks a period of renewal, demonstrating emotive stances deep within its experimental and R&B glory.

Kelela consistently delivers subtle yet captivating lyrics, which have amassed over her decade-old career. The first track from 

, “Washed Away,” reads poetically. Her soft, ethereal vocals aligned to soothing synths remains hypnotizing even after the track ends. The fade-in kicking off “Happy Ending” also invites a thrill, as it was one of the singles teased prior to 

’s full release. While Kelela announced her upcoming tour last December, the early introduction to 

 proved the album to be a promising project for old and new fans alike.

As a team of masterminds, Kelela and her collaborators bring about mixes that blend house, drum ‘n’ bass rhythms overlining sonically ambient tones. Even “Let It Go” balances melodic layering and seemingly disarranged beats, attesting to their capability to make a structurally complex track come together. The use of repetitive phrases, most prominent at the end of “Closure” and the later tracks of the record, creates an alluring echo effect – but the title track, “Raven,” transports listeners back into reality to acknowledge the vulnerability of Kelela’s words, especially “Through all the labor / A raven is reborn / They tried to break her / There’s nothing left to mourn,” leaving listeners to grapple with the weight of its heaviness.

Intertwining with a well thought-out theme of longing, water in its multiple forms symbolizes her driving force to persevere throughout the record. In “Missed Call” Kelela sings, “Float away, float away on a river into the sound / All the way, all the way through my body kissing the clouds,” a hazy, dreamlike phrase that feels cathartic. With “Divorce,” Kelela also impresses with the soul-baring line “Under the surface, I’m lying / Fighting the time, now I’m drowning.” To accentuate the concept, the album cover for 

 depicts Kelela nearly being submerged under water, something she references in multiple tracks like “Fooley.” 

 represents Kelela anew since sharing her debut album, 

, but underneath there also lies a heartbreaking tale of loss and separation. Still, the record keeps listeners grounded and in high spirits, moving along to dynamic moments of intensity. From start to finish, each track offers an insight into Kelela’s inner world, one that has been rapidly changing since her start in music. As Kelela continues to make her mark within the dance scene, 

 surely will ignite excitement in the crowds. 

Kelela wins over the dance floor with new album 'Raven'

In 2017, Cavetown aired his first livestream on Youtube. Amongst a bright lava lamp on his nightstand and posters behind him on the wall, he answered questions and performed songs for his fans. “Hello? Is this working?” the singer-songwriter-producer asked, looking for a response in the chat room. Robin Skinner, most known for his music project Cavetown, has always shared a genuine connection with listeners ever since posting his original song “Haunted Lullaby” when he was only 14 years old. Today, Cavetown still maintains his DIY style as he ambitiously returns with 

, reckoning with the more bitter than sweet feelings of growing up.

 is a breakthrough record that’s even more honest than Cavetown’s last. But here, he’s taken it a step further by adding more experimental elements – layering vocals of autotune on tracks like “a kind thing to do,” featuring Pierce the Veil’s Vic Fuentes, and “grey space,” where his longtime friend and collaborator, Chloe Moriondo, echoes in. Like past singles “Idea of Her” and “Sharpener” from previous work 

, tracks “worm food” and “1994” go from clashing synths to a cathartic relief of calmness. Skinner opens up on 

 by grappling with heavy emotions enhanced by his own self-criticism.

Unlike almost all of the tracks on the record, “frog” is a fairytale conveying a sweeter sentiment – alluding to the love story “The Princess and the Frog.” In this aspect, Cavetown embraces a nature theme through his lyricism, specifically with “I’m your frog / Kiss me better all night long.” Many fans even line up for his concert, flying pride flags and wearing frog-themed hats to commemorate the single ever since he introduced it on tour last spring. “fall in love with a girl” is another high point on the record with fellow musician Beabadoobee joining him on the track, one that resonates with many LGBTQ+ listeners.

Though tracks “wasabi” and “i swear to god” seem slightly exhaustive, they bring up moments of sincerity from Skinner, who definitely has a lot to say. Cavetown’s discography clearly shows his admiration for animals, which doesn’t stop with 

. For example, he references his cat quite a bit on “heart attack” and “juno.” The reflectiveness of Cavetown’s feelings are cleverly drawn out through the entire music-making process. The upbeat production of “kill u” shows his playfulness even through darkness in contrast to the more soft, mellow instrumentation of tracks “better” and “laundry day,” demonstrating his artistic range.

, Cavetown doesn’t hold back from making noise, giving both himself and listeners a voice to discuss relatable feelings – a talent he’s managed to sustain since the very beginning.

Cavetown’s "worm food" is a breakthrough 

“Alice” immediately engages listeners with its uplifting sound – chirping birds and bright guitar melodies that fill a room.

Kelsey Blackstone is well on her way to achieving unimaginable heights in her career as a singer-songwriter, and she’s determined to not back down from the spotlight. From performing with a full band to co-founding the 

, she has definitely made her mark on Boston’s local music scene. On April 29, Blackstone was full of energy at The Tourist Trap while introducing her latest single, “Alice.” Every moment, including a surprise saxophone solo, excited the crowd as they sang and danced along to the song. Undoubtedly, Blackstone added personality to her set, demonstrating her remarkable stage presence similar to genre-bending bands like 

“Alice” immediately engages listeners with its uplifting sound – chirping birds and bright guitar melodies that fill a room. Blackstone’s vocals stand out throughout the track without overpowering the intricate piano parts or the heavier bass and drum tones. She partnered up with musician Garrett Goodwin for the release, and the result is a song that Blackstone has said to be about “80% improvisation.” They’re both partly inspired by artists like 

 that fuse multiple music genres, which is apparent through the playfulness of the track’s lyrics and instrumentals. The pre-chorus is witty, especially the lyric “Into the rabbit hole I fell / And baby I can’t tell / Which way is up, which way is down / I don’t know how to get around,” an ode to Lewis Carroll’s “Alice in Wonderland.”

Blackstone’s own adventures are reflected within the lyrics of “Alice.” It’s a song that describes her feelings of not knowing which direction to turn to. She found herself asking for guidance, which eventually sparked inspiration through the songwriting process. “Into this world you never knew / I’m just so damn confused” is a line that relates back to the well-known classic while honoring Blackstone’s personal perspective. Meanwhile, the song remains upbeat and enjoyable to listen to. It’s a hidden gem that future fans have yet to discover, and it wouldn’t be a surprise if Kelsey Blackstone’s “Alice” receives more attention later this year.

Kelsey Blackstone shines on her latest single “Alice”

It’s a distinctive, yet uncommon skill to be able to sing powerfully polished on a recording and on stage, but that’s exactly what Isa Ansin, professionally known as chrysalis, does. In fact, pressing play on any of their songs is nothing short of hearing them perform live. Despite studying full-time amongst fellow young musicians at Berklee College of Music, the singer-songwriter also frequently performs at local music venues in Boston. They’ve even achieved widespread acclaim and recognition for their 

supporting acts for Kat Cunning and VÉRITÉ on tour

In mid-March, they released their debut EP, 

, which consists of five tracks riveting with passion. The minuscule moments of their shuffling guitar and the screech of its strings is what makes each song on the project incredibly raw and unfiltered. Notably, the harmonic build up of their background vocals as well as the eccentric plucking and strumming rhythms of their guitar playing immediately proves the release to be a successful merge between folk, indie-pop, and neo-soul.

Even though their lyrics are quite literal, they include vivid imagery and metaphors that are beautifully clever. In “200 miles,” this writing style is exemplified within the lyric “Something ‘bout leaving you always leaves me feeling less than whole.” It’s essentially a song emulating a memory which anyone who’s dealt with the personal difficulties of being away from their partner can relate to. The song doesn’t hold back from being a reflection on unfortunate circumstances, but it’s delivered in a manner that’s impressively self-aware.

With “july,” their sound slightly picks up speed with brighter instrumentals which encourages listeners to move to the beat. But, there’s no doubt that chrysalis’ voice is a subject in itself. The vocal runs in their songs embellish the vulnerability of their lyrics, yet holds incredible control. “You’ve been the missing puzzle piece I’ve been looking for” is a lyric in the song that is like an eye-opening insight into a love letter. Ansin consistently remains on theme with reference to expressing themselves about their romantic relationship.

The pains of processing unexpected change is also present in their music, especially in “unknown.” The lyrics “Penny for my thoughts? / You’re gonna need a couple dimes” and “I don’t wanna be alone / I don’t fit in the unknown” are heart-wrenching, yet honest. The complexities of accepting loss is a concept chrysalis explores in the verses and chorus. They demonstrate the ability to face their inner struggles regardless of how hard it can be. Towards the tail end of the song, chrysalis introduces listeners to softer tones which sonically transitions into a lullaby due to its whisper-like components.

Their debut single and title track of the EP, “margarita sugar,” has gained more than 15,000 streams on Spotify since its initial release in February. The song repeatedly switches between the narrative of rationalizing a falling out and considering a rekindlement. “Was I crazy to think that you and I were in sync?” and “But I know I’ll see you again” are lyrics that not only emphasize their overwhelming emotions, but demonstrate the depth of their songwriting. They’ve also experimented with a more complex song structure at this point in the EP.

An outpour of feelings which function as a climactic confession is elegantly conveyed in “dreaming in the day.” The song is dynamically diverse with steady beats that are overlapped with the rise and fall of chrysalis’ voice. It begins on a hopeful note with uplifting whistles, but shifts into a somber realization with the lyrics “I made the mistake of skipping the break / I rushed to fill hole and the mess that you made.” The song is like a calm closing scene to what completes 

, chrysalis describes their music to be “very intimate.” They also aim for listeners to consider their songs to be “welcoming” and “something to relate to.” Despite just recently putting out music on multiple streaming platforms, they regularly work alongside an all-queer band in order to maintain a creative, yet collaborative space. Ansin also consistently makes 

 aside from performing shows. In the meantime, there are high hopes for what’s to come next on chrysalis’ future projects.

chrysalis’ "margarita sugar" is an astounding debut EP

As a fan with dyed fuchsia hair eagerly reapplied their lipstick in the reflection of a restaurant window neighboring the Brighton Music Hall, there was an undeniable sense of excitement the crowd felt about Claud’s second-to-last show of their first headlining tour. 

, which will resume in mid-May throughout the UK and Europe, has mainly featured songs from their debut album of the same name. Several pairs and groups of fans stood waiting on the sidewalk, engaging in lively conversations before being let in through the venue’s doors. Claud’s artistry proved it connected to a wide range of audiences that night, as younger and older fans rushed inside towards the stage with anticipation.

Since releasing their hit singles “If I Were You” and “Wish You Were Gay” in 2019, the non-binary singer-songwriter heavily contributed to the release of 

, their band project, with fellow indie musician and longtime friend Clairo, as well as up-and-coming artists and companions, Josh Mehling and Noa Frances Getzug. Claud also experienced more milestones in their music career by 

After the floor lights dimmed and the stage lights brightened, opener KALI brought liveliness to the stage. The crowd instantly roared for the 17-year-old newcomer from Los Angeles, as they performed upbeat songs from their debut EP 

 As they played “Back to the Start” and “I Just Wanna,” a huge fan in the front row proudly held a sign requesting the performer to add them on Snapchat. Though KALI said they didn’t have the app, they happily agreed to take a group selfie with them and the rest of the crowd after finishing their set. Without a doubt, KALI and their audience enjoyed each other’s company before Claud made an appearance on stage.

KALI looks up towards the crowd. Photo: BellaJoli Gedeon.

With a backdrop of Claud’s signature blue and green theme, they raced to the center of the stage and danced left-and-right shoulder bops to 

. Dressed in a blue Rugrats T-shirt over a white-and-green checkered long sleeve and black pants, they started out their set with “Overnight” and “Gold,” singing and strumming on their neon green guitar. Although the vocal tones of these songs were higher pitched in the album recordings, Claud sang with a deeper tone, adding a more personal touch to their performance.

After playing an older single, “Easy,” as well as “Cuff Your Jeans” and “Pepsi” from their latest LP, Claud introduced one of their most unapologetic songs. They asked the audience, “Have you ever been mad?” After fans confirmed with hollers and screams, Claud initiated a following question, “Like really mad?” Then, they bluntly revealed, “This song is about being called a bitch.” As they proceeded to sing 

 featuring Melanie Faye in the recording, they held their middle finger high in the air while jumping up and down. Later, Claud raised a rubber frog with a pride cape for everyone to see. After agreeing with their band that its name was Donut, they announced “Donut’s gay,” which pleased the entire, largely LGBTQ+ crowd.

In between some songs of their set, Claud spent the night having a good time while interacting with their fans. Since a curious fan asked what their drummer’s hat said, they looked back to verify that it was Budweiser. Then, they comically commented, “Not sponsored. Not sponsored!” before continuing onto an unreleased song. They announced, “This is a new song. It’s called ‘Go Home,’ but stay here.” Although it was an unfamiliar song to some fans, it didn’t fail to make them dance along while Claud performed.

Claud performs a song with their band. Photo: BellaJoli Gedeon.

Despite Claud mentioning that they didn’t have funny stories that night, they happened to joke around about a mistaken understanding with a fan and a broken keyboard from visiting a haunted venue in Arizona while on tour. They jokingly commented, “Good thing I didn’t get another keyboard.” Then, they introduced a tearjerker called “Tommy,” their latest single. Their performance, with its painfully relatable lyrics, emotionally moved the crowd.

 they ad-libbed, “Nothing like a Boston summer,” instead of the usual lyric referencing New York. After their fans sang along to one of their more hopeful songs, KALI hopped back on stage to join Claud for a popular favorite, “Wish You Were Gay.” They announced, “Okay. We’re going to play one more song, then walk off really awkwardly.” However, Claud didn’t just play “Soft Spot” at Brighton Music Hall. They rocked it with their go-to dance moves, especially their powerful bounce and hair shake which took the crowd’s breath away.

Claud exudes pure authenticity at Brighton Music Hall

Stormzy isn’t the only rapper who’s at the forefront of UK grime, but he sure is claiming his space within the genre in more ways than one. Following his surprise single “Mel Made Me Do It,” he made a well awaited comeback with his third full length album, 

, a dramatic shift from his older releases with more stand alone R&B and gospel tracks and collaborations from a full roster of upcoming artists and big names.

 speaks for itself as a work calling attention to Stormzy’s talent. He lets fellow creatives shine beside him while conceptualizing new ideas 

 breaking expectations of his artistic path as an evolving artist. His faith often comes up through his lyrics as an insightful perspective on receiving guidance while navigating struggles. With “Please,” Stormzy emphases lines and pauses before sharing subject matter that’s personal – something he effortlessly pulls off on this new album. 

Over the years, Stormzy has collaborated with a long list of rappers and singers while moving up into international stardom. Most famous of these is when he teamed up with Burna Boy and Ed Sheeran for the popular track “Own It” on 2019’s 

. “Need You” and “Hide & Seek” follow a similar recipe to success with their afrobeats influence and theme of professing love for a special someone. Stormzy also won’t hold back from using his platform to denounce racial injustice whether it’s through 

, especially on “My Presidents Are Black,” praising the empowerment of his own communities.