Scattered showers, low sixty-degree Boston weather, and a Monday night might possibly be the last conditions you’d ask for to watch indie-electronic group, Poolside. If their namesake didn’t immediately clue you in and you haven’t yet given their two studio albums, 

, a well-deserved listen yet, Poolside excels at producing tracks best enjoyed while lounging under the California sun with whatever tropical drink of choice you prefer. Despite the harsh indifference of the elements, Jeffrey Paradise managed to turn The Sinclair into a veritable disco with not a single soul refraining from grooving to the music.

Adored by dance music fans and lifeguards alike, Poolside showcased their mastery of laid-back and patient electronic beats incredibly well at this show. I was shocked at first when five people came walking onstage, expecting only the duo of Nikolic and Paradise. However, my surprise quickly faded into excitement as soon as the group first started playing. The choice to have a specific person on drums, congas/steel pan, and saxophone/synth added immensely to the atmosphere of the show. Poolside’s music at first listen might seem overly simplistic, and critics have even gone as far to call it repetitive in some instances, but each song they played couldn’t have been more different from one another. The choice to keep a packed stage was undoubtedly the right call as it allowed the group time to stay calm and collected, thus perfectly embodying their music.

Frequently, the saxophonist would come center stage to belt out a crooning sax solo while trading attention with the conga player who mesmerized the crowd with her rhythmic playing. This gave Nikolic and Paradise the chance to show off their chemistry on-stage as guitarist and bassist, each eyeing the other whenever a particularly good riff reacted well with the crowd. At one point, the duo’s killer falsetto on the chorus of ‘Strange Overtones’ had the crowd yelling and busting out their top-shelf dance moves.

The feeling of intimacy between the band even extended to the crowd thanks to the close quarters nature of the venue. Offering one of the greatest opportunities for the crowd and artist to get comfortable with one another in Boston, The Sinclair provided hands down the best atmosphere for this show. Often, the band would take time in between each song to remark on how enjoyable it was to see such a lively crowd come dance away their worries on a Monday. During one particular gap between tracks, someone screamed out ‘Harvest Moon,’ a reference to their widely popular cover of Neil Young’s classic ballad. Indulging both the crowd and themselves, Poolside immediately jumped into the track and showcased precisely why that song has brought them so much attention. While ‘Harvest Moon’ will always remain Young’s song, it perfectly showcases Poolside’s strengths as a group. It is no easy feat to transform a country-folk ballad into one of the most catchy daytime disco tracks in recent history, but Poolside found a way to do it with ease.

Poolside was easily able to take the situation they were given and make for one of the liveliest shows I’ve seen in recent memory. Do yourself a favor, throw them on at your next beach day and thank me later.

Poolside charms weekday crowd at the Sinclair

, the long anticipated third studio album from 

, had the potential to redeem the French electronic music duo for the letdown of their sophomore LP, 

 However, the duo consisting of Gaspard Augé and Xavier de Rosnay failed to live up to that expectation as they opted to take their sound down a new route instead of creating more of what rocketed them to fame back in 2007 with their first album, 

Back then, Justice was synonymous with in-your-face bass, experimental sounds, and samples that made the listener just want to D.A.N.C.E. Now, that image of the genre-changing duo that introduced the world to a unique brand of electro house has been replaced with uninspired bass lines and tedious vocals like what’s found on “Love S.O.S.”, (“It’s a love S.O.S. / There’s a love, love, love emergency.”)

Don’t get me wrong – this type of music lends itself to repetition and cheesy lines, but when mixed well, vocals can meld into the rest of a track and become nearly as crucial as a pounding bass line. The problem with 

 isn’t that this vital part is missing; it’s just hidden under overused keys and unnecessary singing. One of the singles, “Randy,” is a perfect example of this. As a church choir gently overtakes the piercing wail of a guitar on the two-minute outro of “Chorus,” the beginning of “Randy” hits you out of nowhere, and I found myself bobbing in sync to the bellowing bass. That was until the high-pitched vocals and violin pierced through what hope that song had and left me desperately trying to focus in on that low end over the next six minutes.

As “Randy” fades into “Heavy Metal”, a dark church organ sets the backdrop for another one of their elaborate song structures, and we’re reminded of another reason why Justice, despite their flaws, continues to do such a great job of differentiating themselves from the other artists in the electronic music scene. The unique infusion of sacred elements into relentless disco is something all their own and present from the beginning of 

. The first track, “Safe and Sound,” welcomes us once again into the world of Justice with a choir of angelic voices who, at the snap of a finger, are replaced by the most funky bass line of the whole album. Only when their rich voices come back does it becomes obvious that these two concepts are perfect with one another.

It’s clear that Justice took a departure from both vibes they’ve put out in the past, but after listening to this album I still am left with that familiar disappointed feeling I had after 

 Back in 2007, Justice successfully carved out their own niche and inspired everyone with ProTools and a mixer to try their hand at making beats that could get a dance floor moving. While there are those rousing elements in 

, they’re buried deep within overly romanticized vocals and simply aren’t fleshed out to their full potential. When it comes down to it, I want Justice’s music to be as daunting as the cross that looms over each one of their albums, but after these last two albums I feel that reverence slowly fading.

Justice Releases Full-Length “Woman”

The Sleepy Jackson Pty Ltd. and Nick Littlemore

In 2008, Empire of the Sun came onto the scene with their massively successful album, 

, which instantly solidified them as the kings of the ’80s retro-futurism niche. Since then they’ve been making waves, touring the world while performing their sophomore album, 

 as audiences waited in anticipation for the next chapter of Luke Steele and Nick Littlemore’s internationally famous electronic project.

, the third album from the Australian duo, manages to capitalize on the sound that Empire of the Sun popularized six years ago, but unfortunately falls short of doing anything new or experimental. 

 succeeds in revisiting the same feeling that their previous two albums have, but nothing more. After listening through this album multiple times, I found myself expecting the build-ups to culminate in more grandiose sound than they actually do. While tracks like “Friends” and “Before” keep the listener in suspense with their gradual synth beats, the songs feel repetitive and similar due to the backdrops of dance beats that are far too reminiscent of their past two albums. Paired with excessively romanticized lyrics like “Take this journey/ Don’t reject me/ I’ll do whatever you ask of me,” it makes for an album that is simply too cohesive, within itself and the duo’s back catalog.

However, without a doubt, there are some shining moments found within the album. “High and Low,” arguably the best track on 

, is a perfect example of the duo showcasing their incredible skill of crafting a great dance track that launches the listener into a bygone time “where the summer and the late nights last forever.” It’s times like these, when Empire of the Sun can capture an idealized and innocent youth, that make the album worthwhile. Unfortunately, by the end of the hour long album, you realized that the whole concept they’ve centered around is nothing more than a far off fantasy that both you and the duo should have matured past.

It’s hard to blame the duo for crafting an album that’s too laid back, given the fact that much of it was created in Hawaii, but most songs feel like they should be the soundtrack to a GoPro video of highlights from your ex’s seaside vacation. On songs like “First Crush,” Luke Steele’s vocals take the wheel while the core rhythms, the backbone of what gave them their initial success, are given the backseat. It doesn’t help that the intoxicating hit of their first album, 

. Rather than strengthening their album, adding their best work at the end makes the new material feel subpar and the listening experience is left on a bittersweet moment. I will no doubt be keeping songs like “High and Low,” and “ZZZ,” in my rotation, but when it comes down to it, Empire of the Sun just gave me one more way to revisit the nostalgia of 2008 – when their sound was still fresh and their dreamy synth-pop was a unique listening experience.

Empire of the Sun Releases Full-Length “Two Vines”

Forgive me, retinas, for I have sinned. Had I known that Crystal Castles would turn The Sinclair into a veritable unholy church of strobe lights and electronic music, I would have better prepared myself. But due to a lack of foresight, I am left with white spots dotting my vision and a ringing in my ears.

Crystal Castles, the experimental electronic duo lead by Ethan Kath and newcomer Edith Frances, started their show off with “Concrete,” as an array of strobe lights lit up the venue. Clad in all black, the crowd kept their hands up in praise of the chaotic bass, which dictated their every move. The show itself felt more like an underground rave than a formal event – every few seconds I would try to catch a glimpse of the group onstage, but the blinding lights forced my head down to the point where all I could do was dance along to the glitchy beats.

Their set list was almost entirely comprised of tracks from their newest album 

. “Chloroform,” and “Femen” were crowd favorites, but the violent and industrial sound the band is known for was most present in “Fleece”. The track formed a wall of sound that barreled through the audience like a tidal wave. Although this is the first album with Frances as the singer, the hectic spirit of Crystal Castles was undoubtedly still present. Her stage presence commanded attention – her flailing was only interrupted to baptize herself in bottled water as the crowd cheered on in delight.

On stage showers aside, the most interesting parts of the set came when the group took a break from playing tracks off of the album to meet up in the middle of the stage for improvisational DJing. This is where Kane’s skills really shined as he took each opportunity to showcase his impressive synth skills without the heavily distorted and often times indecipherable vocals of Frances overshadowing his contributions.

Prior to the show, I was hesitant about what to expect, as Alice Glass is no longer contributing, but I was nothing short of speechless and exhausted as I walked out of The Sinclair. I had never enjoyed staring at strobe lights for an hour as much, and when this new incarnation of Crystal Castles decides to grace Boston with their presence again, I will no doubt be ready for round two.

Crystal Castles @ The Sinclair

Nicolas Jaar – “Sirens”
Released September 30th, 2016

, the sophomore album from widely-acclaimed electronic producer Nicolas Jaar, still has the immersive feel which is akin to his other works, but takes on a much more serious tone, grappling with the present issues in our society even if it lacks subtlety and tact. While only six tracks, this LP is unlike Jaar’s previous lengthy works but manages to paint a grandiose picture that interweaves his family’s Chilean history with the partisanship we’re seeing divide the United States today. When he was a child, Jaar’s parents managed to escape the atrocities committed by Chilean dictator Augusto Pinochet – which is reflected in many of the sounds on 

from the gunshots to the conversations in Spanish of Jaar and his father heard on “No” and “Leaves”.

The first few minutes of the 11-minute opener, “Killing Time,” welcome the listener with the soft sounds of a waving flag interrupted by the jarring crash of shattering glass that set the stage for what’s to come. When his vocals finally come in, Jaar’s fragmented singing references Ahmed Mohammed, the student who gained notoriety from making a homemade clock seen to some as a bomb, stating, “Ahmad was almost fifteen and handcuffed/He was just building his own sense of time.” Behind this societal reference, the steady droning of a synth builds and finally culminates in a gospel like chant of the words, “Just killing time,” as the song proceeds into the outro.

Known for having effortless flows between songs, Jaar’s transition into “The Governor” is easy to miss if you aren’t paying attention. In between the socially conscious mutterings of “We’ve created a monster and it’s ready to build/The young one’s a trigger, with a bad habit,” Jaar goes into drum and synth refrains reminiscent of other artists like Flying Lotus, which gives this track a much more upbeat feel compared to what the listener has heard so far. That stark contrast between ambient noises and hard bass lines is all throughout 

and gives the listener a feeling of uncertainty about where the track is going at any given time. It’s clear that Jaar feels that America itself is in a state of ambiguity and chaos, fluctuating between periods of unease and total disarray. The impressive part is that despite this manifesting in his songs, Jaar finds a way to make each track sound like one cohesive piece of music. Even during one of his all-Spanish tracks, “No,” there is a two-minute lull where the classical guitars and castanets sound as if they’re being played off a scratched record until he brings the chorus back to a refrain of, “No need to see the future/To know what will happen.”

 such an enjoyable album to listen to. There are countless times where the listener is sucked into that point of reflection, framed behind his otherworldly echoes, only to be surprised with a transition into dance beats that could easily get a club moving. The most unpredictable moment happens right as “No” ends and “Three Sides of Nazareth” begins. A chaotic drum beat sets the backdrop for a story of Jaar meeting an old man on a road who shares with him how each side of the path is burdened with its own set of problems. Jaar is again drawing a parallel to the fact that in America, citizens are always faced with multifaceted issues no matter what side of the political divide you stand on.

As the album proceeds into the last song, “History Lesson,” Jaar’s heavy-handedness comes out again as he sings, “Chapter one: We fucked up/Chapter two: We did it again, and again, and again, and again/Chapter three: We didn’t say sorry.” However, all is forgiven 45 seconds before the album ends when the track reaches a beautiful choir-esque climax, leaving the listener feeling optimistic and with the thought that we can learn from the lessons of the past.

Nicolas Jaar Releases “Sirens”

The crowd that gathered inside The Sinclair in Cambridge, MA on May 12th to see Rogue Wave wasn’t large enough to fill the venue from wall to wall, nor were people elbowing their way to the front to get the closest possible spot, but it was clear that everyone in the audience wanted an excellent view to fully take in the performance. As soon as the lights came on and the band took the stage, a lull came over the crowd and all attention went to the front in a hypnotic stare to see one of Rogue Wave’s first stops on tour for their new album, 

Over the past twelve years the two remaining original members, front man Zach Rogue and drummer Pat Sturgeon, have seen close to a dozen different musicians play for the Oakland based band. However, you wouldn’t be able to tell that from the way they sounded live. Each song sounded just as clear as they do on the studio versions and I’d occasionally find myself with my eyes closed, feeling like I was listening to them for the first time.

Kicking off the show with the opening track from their newest album, “Take it Slow,” Zach’s melodic voice and sweeping acoustic guitar kept the crowd fixated. They continued with hits from the new album like “Ocean”, and “Endless Supply,” showcasing that the band’s distinct fragile vocals and echoing drums has stayed true even after all these years (minus the dance-pop period that was 2010’s 

.) Occasionally Zach would break from playing to interact with the crowd and express his gratefulness for everyone coming out, only furthering the theme of 

that success isn’t to be defined as playing to sold-out crowds in stadiums but rather to a room of people who appreciate your music.

One of the highlights came from when they slowed things down and played “Eyes,” the beautiful, romantic, crowd favorite that had everyone humming along. The creeping guitar gave me a sense of cautious optimism and was a welcome departure from the songs that came before. The rest of the set consisted of tracks off their newest album, each one warming the crowd up more until the excitement culminated in “Lake Michigan,” as the audience clapped and danced along to the unyielding drum beat, a far cry from the typical swaying that had been the status quo just minutes before. Rogue Wave kept the energy going with “Harmonium,” and by the end of the song even the band members were feeding off the energy of the crowd by making full use of the stage.

Their post-set break ended when the band returned for “Publish My Love,” another early hit off of 

where the periods of hushed vocals were quickly followed by the sound of Zach’s roaring guitar. “Like I Needed,” was the second of the three-song encore and at this point it was clear that no matter how many albums Rogue Wave puts out, they’d always be brought back to the early 2000’s to hit all of the crowd pleasers.

Prior to the final song, Zach took a moment to address the crowd about how they wish they could just continue playing in Boston and forego the rest of the tour. That’s why the final song of the act, “California,” could not have been a better choice to leave us with. Maybe it wasn’t so much the lullaby style of song that had me reflecting on the show, but rather the line “Screw California…” that gets repeated as Rogue Wave will always have a home in that intimate venue in Harvard Square.

Parker Brown