Detailed, isolated and alien in its excellence; the record succeeds on all fronts.

Sometimes listening to an album for a review can feel like a chore. Most music worth coverage is at least passable, but forcing yourself to listen to mediocrity for a few days on repeat can get pretty exhausting. Typically, by the time I’m finished with a piece I have no plans to revisit the album at hand. This is in no way, shape or form a reflection of my experience with Big Thief’s newest album 

. Every single time I played the album this past week I’ve found myself excited to jump back in and peel the layers of this nuanced masterpiece. The band’s third album is a landmark achievement that, given their repertoire up to this point, puts them in the conversation for the best working indie band right now. Period.

, though not a totally alien incarnation of Big Thief, is noticeably different from the band’s previous albums. For example, on their past two records, chief songwriter Adrianne Lenker has penned some of the most descriptively personal and heart-wrenching lyrics of the decade. This time around, the songs are more abstract and open to interpretation. Most of the tracks are presented as vignettes of characters. Lenker calls out to ghosts like 

 to comment on sorrow, love and feeling like an outsider. Through this examination of people and relationships, themes of humanity and alienation permeate the record. The record is not only a shift in lyrical style, but musical direction.

, feature standard indie-rock instrumentation like crunchy guitar, bass and drums. When it came time to record 

, the group relocated to a 10 acre barn-turned-studio in rural Washington. This gave the group a much needed opportunity to experiment and diversify their sound. Moreover, that sense of detaching from the commotion of urbanity can be felt through the music’s delicate and lush, folksy approach. Take a song like “Cattails”, which features warm acoustic guitars reminiscent of the country. Or perhaps “Century,” with its brushed drums and hushed vocals. Although the songs sound simple on the surface, don’t be fooled. The band, which is made up of Berklee alum’s, have filled 

with deceptively complex grooves, sonic experiments, and songwriting wonders.

firmly cements Big Thief in the canon of legendary indie rock. The album ever-so calmly demands listener’s attention and reflection. Detailed, isolated and alien in its excellence; the record succeeds on all fronts. It’s an easy contender for best of the year, and a work that we’ll be listening to and re-examining for years down the line.

Big Thief prove they are the best working indie band on ‘U.F.O.F’

The record comes across as a display of mastered dynamics and mood, not songwriting chops.

A collaboration record from Marissa Nadler and Stephen Brodsky is, on its face, an unlikely collision of musical worlds. Nadler rose to relevance in the mid 2010’s with a slew of ethereal, 

; whereas, Brodsky is a legend in hardcore punk and metal circles for his trailblazing work in the late 90’s with 

. Any overlap between the two would seem a bit odd, until looking a little deeper. Nadler’s breakthrough record 

was produced by Randall Dunn, who has engineered metal titans like Wolves in the Throne Room, Earth, and the almighty Sunn O))). She is also signed to the famously eccentric label—Sacred Bones. Beyond the metalcore and doom, Brodsky also has a wealth of subdued solo work. Suddenly, 

 feels less like an anomaly and more like an organic collaboration between two prolific sound searchers.

comes as a spring album. The music it contains sounds more like the soundtrack to driving down a lonesome highway during the coldest, gloomiest period of winter. The songs, firmly grounded in the world of folk, swirl like a snowfall with lush layers of vocal harmony, synthesizer, reverb-washed piano, and—as the name of record implies—droning guitars. With this abundance of instrumentation in the mix, Nadler & Brodsky carefully walk the line between minimal “less is more” moments and over the top layers of dreamy immersion. Though, what comes with so much emphasis on atmosphere, is a challenge to differentiate and pick out highlight cuts.

Surprisingly, if there is one song off this album that stands out in terms of quality it is the cover of Guns ‘N Roses’ “Estranged.” The monstrous GNR ballad is elevated to transcendent heights as the duo’s version slowly grows into a droning masterpiece. Starting off sparse with just acoustic guitar and vocals, then finishes out full of feedback and fuzzy synths. Axl Rose’s lyrics are given the weight of a great poet thanks to Nadler’s angelic reinterpretation of the hook, “Nobody ever told you baby/how it was gonna be/What’ll happen to you baby?/Guess we’ll have to wait and see.” Another track to note is “For the Sun”, which features a chugging guitar line that seems to have Brodsky’s fingers all over it.

Across the board, it is Nadler’s icy croon that steals the show. Her vocals range from hushed, whispered bits to epic, opera-esque moments. Thus, the record comes across as a display of mastered dynamics and mood, not songwriting chops. Brodsky’s ominous experimental flourishes effortlessly contribute to the dark mood. Ultimately, 

is a curious little exploration of sounds that is worth giving a try. It’s an album that won’t be on many end-of-the-year lists, but that’s certainly not what Nadler & Brodsky set out to do. The record is simply a sincere collaboration that presents enough intriguing ideas to placate.

Marissa Nadler & Stephen Brodsky release full-length ‘Droneflower’

 for WRBB, original Habibi member and guitarist Lenny Lynch spoke to me about the band’s upcoming Boston show saying, “This should be a real treat. We’re all ready now to jump back in and play all over the place.” That excited energy certainly came through in Habibi’s exhilarating show last week at Allston’s legendary Great Scott. A feeling of nostalgia and genuine joy permeated their set, and I couldn’t help but smile through the whole thing. Between songs the ladies cracked some jokes, debated the setlist, and reminisced about their last performance in Boston a whole seven years ago when a drunk fan jumped on stage. Before I get too ahead of myself though, it must be noted that behind every great headliner should be an interesting opener. Luckily, we got one.

Before Habibi took the stage, the audience was treated to a set from Leggy, who are worth noting for their fiery riffs and infectious melodies. They describe themselves on Bandcamp as, “Cincinnati lush punk.” Leggy’s set simultaneously channeled the in-your-face attitude of punk and the ethereal effects of ear-piercing shoegaze. I hadn’t heard of Leggy prior to the show, but ever since I’ve had their track “Taffy” on repeat. After they set the tone, it was time for the main event.

In that same interview with Lynch, she informed me that the band’s new record was going to be amazing. When an artist says their new album is going to be great, I typically take it with a grain of salt, but I couldn’t help but believe in the power of Habibi. At the show they debuted a few of these new songs and, after hearing a hint of what is to come for myself, I can now absolutely stand by Lynch’s statement: Habibi’s forthcoming record 

 be amazing. Expanding upon the band’s blend of surf riffage, Detroit garage-rock thunder, and 60’s girl-group harmonies these new tracks’ melodies are still stuck in my head. This melding of styles from across the musical spectrum feels like a natural extension of the groups 

 ethos. It’s really no surprise these new songs are awesome; Habibi is a band that’s significantly grown since their last album six years ago.

Of course, Habibi also played all of the anthems off their 2013 self-titled debut. Tracks like “Detroit Baby,” “Siin,” and of course “I Got the Moves” got the crowd singing along and shimmying like a summer night beach party. It certainly made me forget we were at a dive bar on a Tuesday. They also played a few cuts off their latest EP, 

, and further showcased their eclecticism.

Ultimately, the show was wonderful, and I see it as the foreshadowing of something bigger on the precipice for Habibi. It’s clear the group is evolving into their next style-bending incarnation. Their comeback is imminent, and they have lots in store for old and news fans alike.

Habibi brings an exhilirating set to Allston

The problem is that, unfortunately, underneath all the scuzz and distortion there aren’t any memorable songs.

Last month I had the pleasure of seeing Show Me the Body tear apart Northeastern University’s After Hours with their ferocious blend of hardcore punk and abrasive noise. Mosh pits, to administrations horror, inevitably broke out. Prior to the performance, I had considered Show Me The Body a very experimental, forward-thinking group. The set, with its abundance of sludgy breakdowns, informed me that Show Me the Body is actually much more rooted in the world of simplistic, in-your-face, hardcore punk than I initially thought. I also couldn’t help but wonder how that live sound would translate to their new record 

checks all the boxes for what a great noise punk record should have. The thing is chock full of heavy riffs, rife with political dissent, and sprinkled with special touches like spoken word interludes. The problem is that, unfortunately, underneath all the scuzz and distortion there aren’t any memorable songs. Show Me the Body seems to have overloaded the record with studio experimentation and indulgence, forgetting the songwriting magic of their 2016 breakthrough 

. Despite the fact I’m walking away unsatisfied this time, doesn’t mean there aren’t brilliant moments on 

For instance, the opening track “Camp Orchestra”. Taking its name from the ensembles formed in Jewish concentration camps, the song sets a dramatic and serious precedent for the record. The track dramatically builds on a singular riff before launching into a galloping rampage. It’s a wholly creative opener, well done Show Me the Body! Take songs like “Camp Orchestra,” “Arcanum,” and “Badge Grabber” then contrast them with disappointments like “Not for Love.” The primitive sludge and fuzzed out vocals are not nearly enough to hold me, even for the two-and-a-half-minute runtime of the track. Even when they debuted the song live back in After Hours I recall thinking, “I hope they expand on this idea come the release of the album.” They did not.

What it comes down to is that I find myself bored with this album. It’s hard for me to say, as I famously champion noisy punk music like 

. Yet, after three listens I really have no desire to come back to it. If I’m in the mood for something heavy and experimental, I’ll absolutely throw on the band’s first album 

though. I do recommend seeing this band live however. They’re undeniably a force to be reckoned with. Sadly, this record does not justify that statement. Ultimately, 

persuades me that Show Me the Body is, at its heart, just a macho, hardcore band, not a transcendent experimental group.

Show Me the Body’s ‘Dog Whistle’ doesn’t pack a punch

WRBB’s Joey Molloy caught up with Lenaya “Lenny” Lynch of Habibi to talk about Detroit, eclectic influences, lazy music journalism, and Habibi’s imminent comeback. Be sure to check them out at Great Scott on April 16!

[Lynch, noticing the area code of my phone number] Are you from Livonia, Michigan?

Yes, I’m from right around there! Detroit is sort of my home city and I know the scene there pretty well.

Yeah! So I’m from Harper Woods which is sandwiched in between Detroit and Grosse Pointe. It’s really little, I hope it’s still a city. Then I moved into a house in Hamtramck. It was always rough in Hamtramck, but there are sweet parts of it. I lived in this place called 

. It’s like in a back alley. This older Ukrainian man Dmytro Szyslak, who’s kind of like this outsider artist, made this huge art installation out of his house. It’s pretty hard to describe. A lot of that old crew was flourishing. It was such a cool place to be. I’m really glad my roots are in going to rock shows all the time.

So what prompted you all to leave Detroit?

For me, going to New York was something I had always wanted to do. My sister went out there in 1997, so I was always going back and forth. It was really kind of like final destination. Now after being here for 12 years I’m like, “yeah, it really is the final destination.” But you know, when I was young it was like, “If I don’t get out there even just for a year I’m going to be disappointed in myself.” I came in 2007 and I think Rahill came a couple of years after. I had actually never met her in Detroit. I think she had moved to Detroit right when I left for New York, so we were kind of like ships passing in the night. I don’t know what prompted her to come out to New York, I’ve never asked her. I probably should! We’re both adventurers so it makes sense. We met each other here around 2010. This girl Tia from Detroit was playing with her band out here, and we met through being mutual friends of her. We went to her show and immediately hit it off. So the reason we met is still Detroit. We had all these mutual friends and also it’s so nice to meet someone when you’re young and it’s this bright-eyed thing. The attitude is just like, “Let’s hang out next week!” From there we started playing music together.

I saw on the band’s facebook you bonded over psych and garage rock. That was certainly evident in

 at Amoeba. I also saw on the band’s facebook you cite a bond over Iranian culture and music, like that Gagoosh record Rahill picked up. Could you speak on the influence of her on the band?

Yeah! Coming from Detroit, as you probably know, a lot of my friends were Syrian and Lebanese, so it’s part of the fact that we were eating really well and of course listening to good music. It wasn’t until a lot of these Turkish psych reissues started coming out in the early aughts with people I loved like Erkin Koray and Baris Manco. That coincided with me doing a lot of traveling in Turkey. The Anatolia connection with Iran is so clear as well. Pre-revolution Iran you had all these artists and psych-rock groups coming out too. So, Rahill, I think grew up listening to Kourosh Yaghmaei, and I was a huge fan of Kourosh. So it was kind of like, “Oh but you gotta hear these psych songs!” and we came together in that way. And it’s very emotional, he’s one of the most poetic Iranian lyricists. I think we compared him to someone like Leonard Cohen. The songs are beautiful but kind of melancholy. But it wasn’t just that. Being from Detroit there’s always going to be this garage element to whatever we do, and that’s the only way I know to play the guitar. Suzi Quatro is also a huge influence on me, I mean she’s from my neighborhood. She and her sisters had a band called The Pleasure Seekers when they were just like 16, and then later she became 

 Suzi Quatro. Additionally, Rahill loved hip-hop. Then on top of all that, of course, we were raised on Motown and those wonderful harmonies. Basically, there are all sorts of music we came together on, and I think we still have this avid desire to explore. She’s always bringing something new to the table. She just lurks at record shops. I’m always like “What is this? What is this?” So she’s my favorite person to this day I like to share music with, besides my sister!

That’s cool to hear because Habibi has always struck me as a band that seems to be melding lots of styles and musical movements, and now I know that really is the case.

Well, I also think the girls’ rock n’ roll community here is super important. It’s maybe not as small and intimate as Detroit or something, but it’s still really small here. When we started we only had three songs and were just playing in Rahill’s living room. One day she’s like, “Alright! We need a bass player and a drummer!” and I was just like, “We’re not ready!” and she’s like, “Oh, we’re ready!” I just didn’t think the songs were fleshed out enough. She didn’t have a past history of playing in bands, but she was always an artist. She just had this fearlessness that was really great and I think that I needed. From there, we immediately started playing with Erin and Karen who were New Yorkers. Karen is also from Puerto Rico, which is totally evident in her drumming which is very Latin-inspired. Then, of course, we all love The Ramones. Karen is always like, “The Ramones are my all time favorite band!” I think everyone brings something unique to the table.

I read an interview where you talk about how when Habibi’s debut record started to pick up steam, journalists would write about your music in a way that wasn’t accurate. Is it weird to see that and does it still happen?

Yes! When people just don’t even know what they’re talking about. There’s a lot of lazy music writing, and we complain about it all the time. A lot of people don’t know the whole story and put down whatever is gonna make the story sound quick and easy. There’s a lot of articles where we’ll read it and be like, “We didn’t say that? That’s not what it is at all!” I guess that’s just the name of the game though. I don’t know if there’s much you can do about that.

You haven’t come out with an album since 2013. Is this going to be a sort of comeback year for Habibi?

I hope it’s this year! We’re talking to certain labels right now. So we’re in this sort of state of limbo where we have all these amazing songs and we’re so excited to share them with everybody. It takes a minute to get everything straightened out. Then I also look back on that old album and remember we were really young kids, too. We’ve grown a lot as musicians over the years. We’re working with a new drummer right now and we told her to just listen to the record for the parts, but what we’ve found it is that we play things differently live than the record now.

That has me looking even more excited for your show coming up at the Great Scott! It’s kind of a legendary venue around here.

Me too! I can’t even remember if we’ve ever played Boston! I’m doing the math and if we did it would have been like seven years ago, so this should be a real treat. A lot of these cities we’re hitting are super close by, but we haven’t played them in a really long time. We’re just starting to tour again. We took some years off and we’re all ready now to jump back in and play all over the place.

Looking so forward to seeing Habibi back on everyone’s radar! I have one last question for you. On your new EP, you have a killer

. I’ve been needing to know, was that prompted by The Cramps’ version or the original 60’s psych rock nugget?

Yeah! We’re going to sound like such music snobs. We were both really into the 

 doing it until later. I think I had just played it on tour and Rahill fell head over heels for it and suggested we cover it. I was like, “Really? Are you sure? I don’t know.” Then we debuted it when we were playing with Black Lips and King Kong and it had a really warm reception. From there we just kept going with it and when it came to recording that EP we decided to throw it on there.

That makes a lot of sense given your love for garage rock. Thank you so much for your time, and I’m looking forward to seeing Habibi live!

Q&A with Habibi’s Lenaya “Lenny” Lynch

“To shake your rump is to be environmentally aware.”

Born out of art school academia and the first wave punk scene 

, Talking Heads was a group armed with intellectualism and intention. Unlike their New York City contemporaries, the Heads weren’t interested in the three power-chord formula that hallmarked the punk movement. Rather, band leader David Byrne penned stripped-down rock songs with more emphasis on groove and lyricism. Thanks to charting singles like “Psycho Killer” and “Take Me To The River,” the band had successfully put the music industry’s head on a swivel. Moreover, record executive Seymour Stein worked to distance the Heads from the negative connotations of punk by 

 to rebrand the group as the embodiment of the much trendier “new-wave”. The marketing scheme worked, and Talking Heads were all the rage. Despite the successful start, the band still had bigger aspirations in mind.

When it came to write and record their third record, Byrne was looking to push the Heads into more experimental territory. In a move that would usher in the group’s most productive era, they decided to give more creative control to their producer, the already legendary Brian Eno. Talking Heads was prepared to embark on their most ambitious venture yet and make the crossover to a full-on dance band. Conceptual, paranoiac and irrepressibly groovy, 

was the first undeniable masterpiece from David Byrne and co.

Roaring out of the gates on track one, “I Zimbra” shatters any preconceived ideas fans may have had about Talking Heads. The record immediately challenges listeners with polyrhythms inspired by Nigerian funk icon Fela Kuti. Tina Weymouth’s bass furiously slaps around while Jerry Harrison shreds an incendiary groove. It’s a jarring opener, but it constructs the chaotic framework of the album. Moving forward, “Mind” rocks to a driving bass thump and prickly, staccato guitar lead. The back to back anthems “Cities” and “Life During Wartime” are uptempo pump-up jams urging the audience to move. On these two singles, the riffs are huge, complemented with Byrne’s preacher-like delivery. Across the record, the Head’s phenomenal musicality is elevated to transcendent heights with additions brought to the table by Brian Eno. Nearly every song features his strange synth sounds and left-field percussive elements. It is these little strokes of oddball genius that add up in a big way: for the first time the avant-garde was blatantly infused with dance music.

documents Byrne’s gradual descent into a full on nervous breakdown. As mentioned earlier, “I Zimbra” sets the unhinged tone of the record musically, but also lyrically, as it is composed of made-up words. It may seem that the choice to use made up words for lyrics is an example of Byrne and Eno indulging in art school pretension, but a closer inspection of the record’s liner notes reveals songwriting credit to an “H. Ball.” Hugo Ball was a poet and founder of Dadaism, an anti-art movement that celebrated meaninglessness at the height of World War I. With this in mind, “I Zimbra” transforms into a desperate cry for clarity and order. On “Mind”, Byrne laments about a person unwilling to listen to him. The subject of the song disregards time, money, religion, science and more. “Cities” is equally unnerving and humorous. In this vignette, the subject of the song would desperately like to “find a city to live in.” Perhaps a safe home is all Byrne needs to alleviate his paranoia. Up next the hypnotic centerpiece of the album, “Life During Wartime,” is not only the 

, but the most vivid in its portrait of mass paranoia. Lyrics like “You oughta know not to stand by the window/someone will see you up there” and “I’ve got three passports, couple of visas/you don’t even know my real name” speak for themselves.

is an autobiographical account of Byrne’s descent into a full on nervous breakdown, the second half of the record requires some sympathy. On 

’s B-side, Byrne doubles down on the anxiety. When people get scared, a common consoling phrase is to “just breathe.” As it would turn out, that kind of advice simply won’t cut it for David Byrne. Beginning with “Air,” fittingly the most ethereal track on 

, he proclaims that even oxygen could be poisoning us, slowly deteriorating our bodies. That’s followed by the deceptively existential ballad “Heaven,” which is described as a bar where “nothing ever happens.” It’s a paralyzing song if it catches a listener off-guard. The final stretch of the record plunges into the absurd as Byrne grapples with basic existence. The finale, “Drugs,” finds him in his most troubled state of mind yet. Strung out and scared, he can’t make sense of even the most basic interactions around him. To make matters worse, for the first and only time, the music on 

is too slow to dance to! (Perhaps that’s the real problem at hand.)

gloriously ushered in Talking Heads’ most artistic era. The marriage of ambitious musicality and haunting stories made for an undeniably groundbreaking statement. However, the question remains: what message does David Byrne want the audience to walk away with? Are there good reasons to be living in perpetual fear? Unlikely. After all, this is the same man who gave 

 this year on the joy of life. Perhaps Byrne is suggesting that instead of over-analyzing all of the inexplicable things life throws our way, we’d be better off dancing with friends, or even by ourselves. After all, Byrne’s

 is a bar where “the band […] plays [his] favorite song.”

Talking Heads’ ‘Fear of Music’ turns 40

Help WRBB support the American Cancer Society
and Northeastern’s Relay For Life this month.

Join us in remembering and acknowledging some of our favorite artists that have been affected by cancer.

Grant Hart, drummer and vocalist for legendary punk band Hüsker Dü, is another example of a musician taken too early by cancer. At age 56, Hart passed due to liver cancer. Two years before his passing, Hart expressed hope about a Hüsker Dü reunion and tour. In the wake of Hart’s untimely passing he left behind a wife and son.

Hailing from Saint Paul, Minnesota, Hüsker Dü got their start playing vicious hardcore punk. Over the course of their career, their sound evolved and began to incorporate melodic pop sensibilities. The band had a gold streak of albums beginning with 1984’s Zen Arcade and ending with 1986’s Candy Apple Grey. The records they released in this era are hailed by critics today as some of the best punk albums of all time. Hart is remembered for his excellent songwriting, with many songs that featured lyrical topics previously unexplored in the genre. Hart launched his solo career after Hüsker Dü. His solo career was prolific as he created music throughout several decades. If it weren’t for cancer coming into his life, there is no doubt he would have continued to create and release music.

As one of Northeastern’s largest philanthropic events, we are helping raise funds and awareness for the American Cancer Society at Northeastern’s Relay for Life on March 22, 2019. Our team of staff, DJs, writers, and music lovers, will be relaying and hosting a live radiothon over the air to remember and acknowledge those who have been affected by cancer. Help us reach our goal for this year and please consider donating. Your donation is hard at work funding cancer research to helping someone with their medical fees—every penny counts and means the world to people affected by cancer.

Grant Hart’s Fight

The amateurish grit of early Cherry Glazerr has been polished away, allowing the well-written songs on 

I remember when Cherry Glazerr first became an indie phenomenon. The year was 2014, and I was a sophomore in high school. The world of underground music had recently opened up to me via Bandcamp, the ultimate DIY music sharing platform. At the top of the site’s ‘alternative’ section was 

 by a band named Cherry Glazerr. I gave the project multiple listens, but it didn’t resonate with me. But, unlike most Bandcamp bands, Cherry Glazerr persisted and exponentially developed. That development was showcased on their second LP, 

, a punchy indie rock record full of conviction. Five years after 

, on their third studio album, Cherry Glazerr are nearly at the peak of their powers. Lead singer Clementine Creevy has crafted some of her strongest songs to date, which are complemented by sleek studio production. The amateurish grit of early Cherry Glazerr has been polished away, allowing the well-written songs on 

The record opens with guitar’s ablaze on “Ohio.” The track features an anthemic chorus and incendiary riff. Creevy’s vocals soar as she sings, “…there’s no ground beneath you.” Though it’s certainly nothing groundbreaking, “Ohio” is a fantastic pop-rock track worth revisiting. It’s the second track on the album, “Daddi,” that really displays an evolved Cherry Glazerr. Creevy herself even 

 the single “shows our growth as a band.” Thundering drums gallop over a pristine clean tone guitar before launching into a huge, angst-ridden chorus. Full of conviction and bite, “Daddi” is Cherry Glazerr’s strongest single to date.

Another highlight on the A-Side is “Wasted Nun.” Considering this is quite possibly the catchiest song on 

, it’s impressive how powerful the lyrics are. Creevy addresses the double standards and inequalities women face daily over a grungy hard rock track reminiscent of the 90’s outfit Hole. This idea of disrupting the patriarchal status quo permeates the record. For example, take the line, “I’m an unproductive sin /…You can sue me if I kiss you.” It’s clear Creevy has had enough of being silenced.

, the back end of the record idly coasts along making nearly no impact at all. The songs become much more forgettable, and it makes me wonder what went wrong. For example, not a single one of the last three songs are worth revisiting. “Pieces” sounds empty, like it should have been a throwaway. “Stupid Fish” isn’t exciting, and lyrically uncreative. The album closer “Distressor” is simply a formulaic and mundane indie rock track that plods over a simple arpeggio. Sadly, it’s not the epic closer it could have been. Luckily the B-side does have one redeeming cut, the single “Juicy Socks”. Like the great tracks on the first half of the record, the song features interesting lyric bits, guitar riffs, and overall tightness as a unit. “Juicy Socks” reminded me that although not every track hit, the band really has come a long way.

Ultimately, Cherry Glazerr are not reinventing the wheel on 

. Despite that, their evolution is absolutely admirable. There are certainly a handful of tracks I plan to revisit and will continue to enjoy. The record’s biggest strength is Clementine Creevy’s tactful blend of introspective, rebellious and satirical lyrics. To think this is the same band I rejected back in high school on Bandcamp is shocking, and I’m happy to hear them in their strongest, most bold form to date.

Cherry Glazerr are at their strongest on ‘Stuffed and Ready’

The lore surrounding the album is intriguing but weighs it down with an unrealized, overly ambitious vision.

is a polished, soft rock album that’s great for life’s mellow moments. The smooth guitar, quirky vocals, and callbacks to 70’s AM radio rock are all in full effect. It’s a formula Mockasin has been working to perfect for years now, and this time he succeeds thanks to dreamy production and help from additional musicians. The record contains eight songs and runs 35 minutes. In the short runtime, Mockasin tries to pack in as much quality as possible. Despite his efforts, the album has dull moments. Every track is hypnotic, but most sound the same.

My biggest critique, however, is Connan’s attempt to tell an overarching story. He claims the concept of 

has been in the works for well over twenty years. Mockasin markets 

as a concept album chronicling the relationship between a high school teacher and a student, although the lyrics only vaguely support this. The lore surrounding the album is intriguing but weighs it down with an unrealized, overly ambitious vision. Despite the album’s hollow story, it still has its fair share of terrific tracks and sonic cohesion.

The pre-release single ‘Conn Con Was Impatient’ was an immediate success with its catchy vocal and instrumental melodies. Mockasin’s guitar glides all over the place, a style he and Mac Demarco pioneered in the early 2010’s. That trademark carries 

. ‘Momo’s’, a track featuring a standout vocal performance from James Blake, breathes air into the album. Blake’s deep voice cuts through the mix and contrasts wonderfully with Mockasin’s higher register. The album finishes strong with its final two tracks: ‘Sexy Man’ is one of the more unique songs with its funky groove, and ‘Les Be Honest’ closes the record with layers of ambient synths and vocal harmonies comparable to Beach House.

I think the record succeeds, but not in the way it intends to. This is without question one of the most relaxed records I’ve ever heard, and when I say relaxed I don’t mean lazy. The meticulous production and songwriting prove that. But it’s not the artsy concept album about tainted love Mockasin envisioned. The narrative is barely present, and off-putting when it is. Give 

a listen on your morning walk to class, at a lowkey hangout session, or even on a date when you want to keep it cool. It’s in these instances that Mockasin’s vision meets its full potential.

Connan Mockasin gives life’s mellow moments a soundtrack with ‘Jassbusters’

September 20, 2018 at Brighton Music Hall

It’s been nearly forty years since the conception, and subsequent reign, of the single most revolutionary music genre: punk rock. As the decades have trailed on though, disciples of the genre have fearfully wondered, “Is punk rock dead?” Many speculate that if it’s not dead yet, it certainly must be on its way out soon. The truthful answer though, as evidenced by IDLES’ incendiary live show last Thursday, is a resounding “No, and it’s not going anywhere”. For those unfamiliar, IDLES are a Bristol-based band currently shaking the punk scene to its core, offering up some of the most relevant music of the genre in years. They’re currently touring off their 

. Thanks to my WRBB press pass, I was able to witness firsthand the rebellious fury this group is bringing to the table.

Upon prepping for the show, I knew I was in for something special, but nothing could have prepared me for the electrifying, near-transcendent performance that took place. The set began with the slow-burning introduction ‘Collosus.’ Only two members were on stage, drummer Jon Beavis and frontman Joe Talbott. As the song went on, the additional band members assembled. First came bassist Adam Devonshire, adding a deep and ominous groove to the skeletal opener. The crowd was somewhat static, but their suspense grew. Then came guitarists Mark Bowen and Lee Kiernan, one of which was dawning a stunning outfit consisting of just his Calvin Klein underpants. Now fully rallied, they prepared to let loose. The bass and drum groove stopped and silence filled the venue. Then Talbott, after an intense staredown with the crowd, commenced the rightful start of the show with a vicious, “ONE, TWO, THREE, FOUR!” The band detonated a sonic assault of distortion, anthemic vocals, and driving drums. The crowd reacted appropriately by erupting into a full venue mosh pit, reminiscent of a movie barfight, or perhaps a real-life warzone. Beer cans shot through the crowd, soaking anyone who dared get close to the action. From overhead, crowd surfers and stage divers thrashed about.

This energy did not dissipate over the course of IDLES’ seventeen song set. Highlight songs included the anthemic, ‘Mother,’ ‘Danny Nedelko,’ and ‘Well Done.’ I’m familiar with sing-alongs during concerts, but this was something more along the lines of a scream-along. A notable highlight came when the two guitarists jumped down into the pit and used their instruments for a round of, believe it or not, 

When the show concluded, exhausted, sweat-drenched fans filed out of the unassuming Brighton Music Hall. The set was a certain type of chaos that isn’t for everyone, the faint of heart namely, but aggressive music never has been. That’s not to say punk music is exclusive though. In fact, punk has always been about community, and now more than ever it’s pushing for 

. I left thinking to myself punk rock isn’t dead; it’s alive and well in the form of IDLES.

IDLES proves that punk rock isn’t dead at Brighton Music Hall

A highlight of 2018 summer releases has been collaborative projects. There was Kanye and Cudi’s dynamite miniature LP 

, a project that displayed the two at their most dynamic in years. Following that, music-industry power couple Beyonce and Jay-Z, also known as The Carters, dropped their triumphant 

. It only made sense that the trend would carry over into other genres.

Most recently, the patron saints of modern garage-rock, Ty Segall and White Fence’s Tim Presley, have linked up to bless indie-rock fans with a collaboration effort of their own. This isn’t the first time the two have worked together however; back in 2012 they released 

, a trippy and concise psych-rock album that had fans begging for more. The pair’s new record 

, a sprawling fifteen-track endeavor, offers up just as many moments of brilliance as it does disappointment.

As a psychedelic-rock fan, I greatly anticipated the release of 

but with many of the tracks being under two minutes, the record comes off as a rushed and half-baked return. What makes this especially sad is that the first third of the album kicks off fantastically, commencing with the galloping uptempo drums of ‘Beginning,’ which eventually slow down as wavy harmonies and blissful guitars pour in. The track seamlessly segues into ‘Please Don’t Leave This Town,’ which features lush acoustic guitars in the verses and wailing electric guitars in the chorus, making for a soft/loud dynamic that works super well. Sounding like it’s straight out of a 60’s daydream, ‘Body Behavior’ is yet another highlight with its urgent pace and heavenly vocal harmonies. Following that track is lead single ‘Good Boy,’ a song that soars thanks to its gentle tone, unforgettable hook, and wicked solo licks, making for perhaps the best song off the album.

Following the first five tracks, quality songs are often times replaced with filler. The songs that immediately follow, ‘Hey Joel, Where You Going With That?’ and ‘A Nod,’ are instantly forgettable with their lackluster melodies, dull guitar tones, and bland production. There seemingly isn’t a single redeeming quality to be found on cuts like these. This trend continues nearly all the way through the second half of 

, but fortunately album closer ‘My Friend’ is a focused and touching conclusion. Segall’s vocal chops are highlighted as he croons over some simple acoustic guitar chords, and Presley enters in offering up some complementary back up vocals. Then the song shifts into a final psych-rock jam session with slick riffs and hazy effects. It’s songs like ‘My Friend’ that showcase just how much potential the pair have together.

is endlessly indebted to the psych-rock heroes of yesteryear. Segall and Presley pay reverent tribute to Syd Barrett, Frank Zappa, and The Reid Brothers to name a few. All these elements clash together to create a record that is kaleidoscopic in nature, containing some cuts for fans of all forms of raucous rock n’ roll. Unfortunately, the record suffers from a complete lack of innovation, and at times lazy songwriting. There are simply no new ideas to be found on 

, but that’s okay, as it’s clear the duo had no intention of breaking the mold on this record. Rather, listeners should go into 

expecting nothing more than a great batch of songs to kick back and vibe out to.

Ty Segall and White Fence release full-length ‘Joy’

(Sandy) Alex G’s music isn’t static. He switches between genres, creating anything from lo-fi bedroom pop to country, exemplified in his latest release. You wouldn’t expect country to drag in a huge crowd of Northeast indie kids, but his presence pulled them in like a magnet.

Alex has developed something of a cult following, which was certainly reflected in the crowd. When the doors opened up, fans rapidly pouted in and the Starbucks-turned-concert-venue’s typically mellow vibe immediately bubbled with an uncharacteristic excitement and energy.

The live music began with an introduction from local acoustic pop act Puppy Problems. Their low energy and melancholy failed to prepare the audience for the electrifying performance to come, but no one seemed to have any major gripes with some passable indie music. While they were technically playing music, the show didn’t really begin until Alex and his backing band set up shop on stage.

The first thing one notices when watching an Alex G show could be a few things. Maybe the first thing that really grabs you is their explosive energy and intensity; Alex grits his teeth and sings while hissing guitar and powerful rhythms drive the songs forward. Or maybe it’s how precisely the band plays. But for me, being a longtime fan of Alex, it’s how well his songs translate from record to the stage.

The band’s set was defined by an eclectic range of sounds. One cut would be a jazzy jam session, the next a harsh noise hardcore track. The band ran through their pre-planned setlist of about eight or nine songs, which featured fan favorites such as ‘Kicker’ and ‘Bobby.’

Then, something truly special happened. Alex looked to the crowd and said, “Okay. What do you guys want us to play for the rest of the show?” Fans couldn’t believe it as they shouted out their favorite songs and Alex nodded accepting the request. This continued for six songs. The fact that Alex and the band could pull that off on the spot is a true testament to how refined and well-rehearsed they are.

It’s certainly worth mentioning the incredible talents behind Alex. Guitarist and keyboardist Sam Acchione unleashed face melting solos, riffs with mind-blowing pedal effects, and an overall nuanced playing style that any musician would laud. Drummer Tom Kelley showed his skills with furious blasts, jazz-based time signatures, and on-point hits.

Alex and his bandmates stuck around to chat with fans after the show, keeping it casual and breaking down the barriers between performer and audience even further. No one seemed to leave disappointed and if they were, they were very good at hiding it.

Overall, not a bad way to spend a Friday night.

(Sandy) Alex G @ Afterhours

In the fifty years since its quiet release in 1968, the Velvet Underground’s White Light/White Heat has become shrouded in myth. For those that have no background knowledge on the Velvets, allow me to give a quick crash course on one of the most influential bands of all time. Started in 1964 and hailing from New York City, the Velvet Underground was an experimental rock act formed by Lou Reed, John Cale, Sterling Morrison, and Angus MacLise. At this time, New York was the hub of the art world. The band befriended the iconic pop-artist Andy Warhol, who served as a sort of mentor and artistic director for the band.

For the band’s debut album, Warhol convinced the group to bring in the German model and actress Nico to share vocal duties with Reed. The result was 1967’s The Velvet Underground & Nico , which, despite Warhol’s instantly recognizable “banana” album cover, was a commercial flop. Today, the record’s cultural importance is truly ineffable, as music scholars and critics praise it for its avant-garde compositions, songwriting, and impact. Musicians across the spectrum, from U2 to Joy Division to Kanye West, have cited the record as an influence.

But this is not the story The Velvet Underground & Nico ; this is the story of the strange, abrasive, and anarchic album that would follow a year later, White Light/White Heat . The first thing that’s different about the band’s sophomore record is no more Nico on vocals. The second thing is the absence of supervision from Warhol. After their debut, Warhol lost faith in his musical project and abandoned the group, leaving the band to toil away. This means White Light ’s direction was guided solely by the band, and that direction was deeper into uncharted musical territory.

In September of 1967, the band went into the studio and unleashed forty-minutes of sonic fury. The resulting mix came out raw and rough, tattered and torn. The bass pulses, the guitar hisses with feedback, and the vocals bounce from channel to channel at varying levels of audibility. The black on black record sleeve hinted at the darkness contained inside, but no one could have expected it to be so extreme.

The record released in late January 1968, barely charted for a week, then slipped out of the mainstream, though that was perfectly okay with the band. White Light/White Heat was never made with any intention of reaching the ears of bourgeois home inhabitants or anyone who tunes into popular radio. No, White Light/White Heat was designed for the outcasts of New York’s underworld: the tormented artists, the proto-punkers, and whoever else that dared to listen from the shadows. Despite making the smallest of splashes at the time, the impact White Light/White Heat would go on to have was that of a seismic earthquake. In its wake, the seeds of punk, noise rock, and other experimental forms of music were sewn.

The album is only six songs, but manages to incorporate many revolutionary ideas and sounds across its 40-minute runtime. The title track ‘White Light/White Heat’ is an uptempo, thrilling start to the album, featuring keys that punch through, guitar that bleeds in, and vocals that hoot and holler. The second song, the 8-and-a-half-minute ‘The Gift’ features solely spoken word from John Cale as he reads out an absurd short story in one channel and a noisy, shrieking instrumental blasts in the other.

The third song and my personal favorite of the album, ‘Lady Godiva’s Operation’ fuses groove, harsh noise, and one sweet melody. For listeners that are accustomed to properly mixed music, this one can be a bit disorienting, but luckily track four ‘Here She Comes Now’ calms things down. Lyrically, the song is a double entendre, which adds a raunchy, humorous aspect to the album. Nowadays, we laugh, but in 1968 overtly sexual lyrics would have repulsed many listeners. The final two tracks of White Light/White Heat are pure musical madness: ‘I Heard Her Call My Name’ is a composed chaos so abrasive that even today its harsh sounds can make listeners wince. The final track, the 17-minute-long jam session dubbed ‘Sister Ray’ features two chords, lots of solos, and off the rails studio antics. The session was allegedly so insane that the engineer, out of frustration, walked out midway through and let the band play to their heart’s content.

It may be a challenging album, but its importance cannot be understated. Listening to it is a rite of passage for any punk, noise, or psychedelic music fan. Lose yourself in its layers of feedback and noise, and you just may find yourself feeling rewarded for accepting the band’s challenge to conventional music. More than a challenge though, White Light is an attack – an attack that incited a musical revolution with a spirit that has yet to die out. It’s a spirit that was present when Bowie revealed himself to be an androgynous alien named Ziggy, when The Sex Pistols called for anarchy in the U.K., when Kurt Cobain wrote ‘Rape Me,’ and when Kanye coated Yeezus in crushing layers of static and noise. Ultimately, the power of White Light/White Heat is all around us.

The Velvet Underground’s ‘White Light/White Heat’ turns 50

, the lo-fi epic that recorded on a cheap laptop in his dorm and van that propelled Car Seat Headrest into the indie spotlight. Seven years later, after achieving universal acclaim, he has decided to enter the studio and re-record his precious debut with the help of his band mates and studio team. The re-imagined 

, like its original counterpart, is a triumphant indie rock record that offers a deep and personal glimpse into the mind of Will Toledo.

First off, it needs to be said that this is a polarizing record. Many diehard fans of the original 

 have accused Toledo of stripping the record of its heart and grit. Perhaps to some extent they’re right; there is a considerably noticeable difference in emotional intensity between the two versions. However, the fact doesn’t change that the ten songs on Twin Fantasy are masterfully written anthems about heartbreak, depression, and coming-of-age. In some ways, the updated version is a departure from the original, but that’s not to say it’s without its place and strengths.

 kicks off with ‘My Boy (Twin Fantasy),’ a track that immediately sounds like a watered down version of the original, which featured thundering reverb soaked drums. Fans’ worst suspicions may be coming true, but then, it happens. About halfway through, the track explodes with huge drums, distorted guitar layers, and emotive vocals that cut through like a knife. ‘My Boy’ is a spectacular and anthemic opener that will reel in fans old and new alike.

Track two, the thirteen-minute epic ‘Beach Life-In-Death,’ unfolds like Toledo reading out confessional entries of an old diary. The song is highly unconventional, featuring various loosely connected instrumental sections without a real chorus to be found. The song is lyrically intriguing and full of melodies that make one want to revisit. ‘Beach Life-In-Death’ is juxtaposed by the next track, the one-minute-long acoustic ballad ‘Stop Smoking (We Love You).’ The song is very repetitive, as the only lyrics are “Stop smoking/We love you” and later “and we don’t want you to die/we don’t want you to die.” The A-side of the album closes out with the single “Nervous Young Inhumans,” which is certainly a highlight of the album with its grooving bass and synth lead.

The first side of the record is wonderful, but the last four tracks on 

 are where it really shines. ‘Cute Thing’ is arguably the album’s catchiest song with its slick guitar moves and exhilarating chorus, and will no doubt be added to the band’s live repertoire. The track reaches anthem level heights and compares to songs off Car Seat Headrest’s last album, 

, like ‘Drunk Drivers/Killer Whales’ and ‘Fill in the Blank.’ The next song, ‘High to Death’ builds to crushing emotional heights over its seven and a half minute runtime. The penultimate track ‘Famous Prophets (Stars)’ is the longest song on the album at sixteen minutes divided into three parts, the last of which is a six-minute, heartbreaking piano ballad that builds until the song collapses in on itself and ends. It may be extensive, but every second is worth listening to.

The finale track, aptly titled ‘Twin Fantasy (Those Boys),’ flawlessly concludes the record, featuring Toledo at his most vulnerable as he croons on the verge of tears into the microphone. Many were quick to question Toledo about remaking 

 wondering, “why do it?” It is the album’s final moment that the answer becomes clear: These songs still deeply resonate with him.

 is a triumphant journey of a record. It is the story of love lost, but not forgotten. It is the story of a young man confronting his sexuality and depression. Overall, it is the universal story of simply coming to terms with growing up. On this record, audiences will get inside the head of one of the 21st century’s most talented musical visionaries. Do not sleep on this album, because it’s without question a thrilling contender for the best of the year.