It didn’t take long for Paradise Rock Club to fill to the brim with enthusiastic fans ready for Duckwrth’s performance. A fan beside me raved about how energetic he was once he got onstage; I hoped this would be the case,

Before Duckwrth came on, Ben Carr, best known by his stage name CARRTOONS, appeared on stage. Notorious for being a multi-instrumentalist and producer, the New York artist proceeded to expertly sweep through his keyboard and produce cheerful, bright tunes from his song “On My Way,” simulating being lost in a mystical forest. Pulsing drums and crashing cymbals pursued not long after, sustaining the high energy. Not too long into his set, Carr turned around and slid on his electric bass, which was met with cheers and elation from the crowd. Playing to a New York-inspired hip hop beat, CARRTOONS busted out some groovy scales throughout the fretboard.

Other bangers of the night were a runthrough of remixes CARRTOONS created as a tribute to his favorite artists such as Butcher Brown and MF Doom, adding his own spin to it. He gave a shout out to a fan who had bought his album, and then finished off his set by ditching the bass for a mic and singing samples from popular hits of today.

With such an elevating start, the night was only expected to get better – and it did. After a brief intermission, Duckwrth’s backup band came onstage. The lights began to dim, and they shifted into full gear with drum fills to build up the anticipation. The crowd erupted into whoops and screams the minute Duckwrth bounded onstage, as he grasped the mic from on its stand and continued to elevate their energy with some impassioned dancing. He opted to wear a traditional suit and tie with stylish ankle boots, but this was only the first outfit we’d see. He encaptivated the crowd with the energetic number “I’M DEAD.” He especially shone on his song “BEG,” with the stunning female background vocals of Olivia Walker, aka JustLiv, enhancing it. “You can travel the world, all seven seas / Can’t find the love as pure as we / But I gotta go, and you gotta leave / Won’t you save some space for me / I beg you, please.” The duo’s harmonies were perfectly in sync.

In addition to songs, Duckwrth slipped in some entertainment as a bonus. For example, he sarcastically posed on a stool, cigarette in hand. With his suit and red curtains drawn behind him, it could have passed for a movie poster. Mid-song, he imitated scrolling a phone, saying, “It was 11:30 and I was a bit tipsy. So I saw Kiana, and I text her, ‘wyd Kiki?’ And you know what she said to me?” He egged the crowd on, before gesturing to JustLiv to launch into the honey-sweet chorus to “Eleven Thirty.” JustLiv deserves a shoutout for enhancing the entire setlist that night with her smooth vocals, as well as keeping the crowd hyped when Duckwrth took a water break.

Duckwrth disappeared from the stage for a brief moment, during which the drummer amped up the crowd with a drum solo, before reemerging in his second outfit of the night: a long black robe, with the collar outlined in white and a white swirl pattern embroidered on the sleeves. His hype song, “Power Power,” got the crowd singing and jamming along. “I said, ‘fuck it’ / Put it in hours / And when they dropping off all that drip for free / You know you got power.” Duckwrth bursted with confidence, bouncing in time to the band’s electric rock tempo.

His final outfit change revealed a fitted white shirt underneath the black robes. Duckwrth’s performance of “Crush” was especially phenomenal, passing the vibe check of an upbeat R&B love song — which explains why it is one of his top streamed songs on Spotify. “I can just watch you dance all night / And you would never let me down / You could never let me down (crush) / I can fall in love with you all night / And you would never let me down / A crush is my favorite sound (crush),” he sang out to the crowd, making sure to cover all areas of the stage.

When he left the stage for what was supposedly the last time, the crowd chanted for an encore, which was eagerly delivered. Duckwrth gifted the audience with a new song that was not on his album yet, expressing his appreciation for their energy and support as the night came to a close. He only succeeded in amping everybody up for his upcoming EP 

Duckwrth’s stage presence is riveting

WRBB’s Sabrina Ruiz shot Yves Tumor’s April 3 set at Royale

Yves Tumor gives an intense performance of “Kerosene!”

Guitarist Chris Greatti during a melodic guitar solo

Mood lighting casts onto Yves as they perform

Chris Greatti (left) and Yves Tumor (right) jam onstage (B&W)

Chris Greatti (left) and Yves Tumor (right) jam onstage (color)

Photos: Yves Tumor shreds at Royale

As the world becomes more open to the LGBTQ community, many artists have been made to feel especially connected with their music and fans. The same can only be inferred from KALI and Claud’s sets Sunday evening at Brighton Music Hall.

KALI opened the show with their supporting band. They had all coordinated outfits, with the drummer and guitarist wearing matching white dress shirts with black ties, and KALI following suit with a black and white checkered shirt. The sweet twist to their music is the punk-rock inspiration of distorted guitar and effect pedals paired with indie pop. KALI passionately shouted out the words of “Too Tired” as the band backed them up. During a brief pause as they readied for their next song, somebody (in a very Gen-Z move) yelled out for their Snap, to which they laughed and responded that they didn’t have Snapchat.

After getting the crowd moving for “I Just Wanna,” with a bouncy keyboard mix and the thumps of a snare drum, the band briefly left the stage, leaving KALI with all of the spotlight. “I hope you like sad songs,” they said, to which the crowd responded with cheers. In one smooth move, they switched guitars and launched into “Again,” keeping their eyes closed as they sang. The crowd resonated with lyrics like “we always follow the same old trends,” mutually understanding the experience of saying we won’t do something until we do it again.

The band returned after their solo set, and delivered a punchy riff for “Back to the Start,” KALI’s most streamed song from their EP 

 that was just released last year. By the end of their set, the crowd’s loud applause and whoops stayed true to KALI’s hope that their second to last show would be memorable.

Claud made quite the entrance shortly after, running onstage and pumping their fists in time to “Eye of the Tiger” playing in the background, hyping up the audience instantly. “Iconic,” somebody remarked. The air was buzzing with excitement as they dived into “Cuff Your Jeans,” a hit song from their album

Claud could be considered the love child of Clairo and Crumb, with the way they mix elements of alternative indie and bedroom pop while still maintaining a beat. Being a nonbinary member of the LGBTQ community, they have garnered a fanbase who looks up to them and their songs. Claud also took the time in between songs to interact with the crowd.

“Have you ever been mad?” Claud asked the crowd. They exclaimed in response. “Yeah. Yeah I’ve been mad.” In cue, they played, “That’s Mr. Bitch to You,” a crowd pleaser. “I won’t let a straight man throw me off,” Claud sang confidently into the mic. During a pause, they introduced the audience to Donut, a frog that had been traveling with the band on tour. “Donut is gay,” they said, to which everybody cheered in support.

“Jordan,” “Tommy,” and “This Town” were other successes that didn’t miss with the crowd, especially when they changed the lyrics of the latter to “Walking up and down a hall in Boston,” in comparison to Chinatown in the original. 

KALI joined Claud onstage later in the night to help them perform, “I Wish You Were Gay,” the ultimate anthem. The support and eagerness radiating off of them were contagious. Claud continued to keep the audience entertained, by telling a story about a haunted keyboard they witnessed in a show in Arizona before finishing the night off with “Soft Spot,” to which everybody was singing along.

Having grown such a supportive fanbase in a short amount of time, it can only be expected that KALI and Claud will continue to flourish in their music as they continue their journey in young adulthood.

KALI and Claud take pride in their identities at Brighton Music Hall

After a long Monday, the crowd waited in anticipation to start the week by being swept off their feet at the Paradise Rock Club. It would feel like an eternity before the show lights dimmed, and the opening duo took their positions on stage. They had chosen casual outfits for the show, with the woman of the duo pairing a lacy top with a long skirt, whilst adding extra flair with an intense makeup look, and the dude with a graphic tee and oversized flannel hanging off his shoulder. Introducing themselves as Lowertown, Olivia Osby and Avsha Weinberg began the night with their most popular tune, “Best Person You Know.” What made their setlist stand out was the range of unorthodox topics. In “My Dog,” Olivia sang about how her dog Randy is always by her side, and in “Debris,” she mulled over the weight unsuppressed memories bring. Avsha took a moment to thank the audience for being there for Lowertown’s first time performing in Boston, though he was born in the city.

While they initially had a shy stage presence, the duo began to warm up to the supportive crowd. By the time they reached “Sunburnt,” their chemistry was evident, as the two danced in time to the drums and guitar notes pinging the air. Now fully grabbing the crowd’s attention, they smoothly glided into “Alone Again My Friend,” a weighty track bemoaning the isolating feelings quarantine had brought last year. The two leaned into each other as they played their guitars, soaking in the beautiful blend of the instruments and cheering.

The quirky, personalized lyrics give off what indie rock should be about: energetic vibrations and writing about everything and anything from the heart. With Olivia’s soft-but-with-an-edge voice lacing with Ashta’s baritone vocals, each song had something new to bring to the table. The crowd was already cheering for one more song during intermission (although they sadly didn’t do one), marking a promising start for the young duo and their career.

Hester Chambers of Wet Leg. Photo: Sabrina Ruiz

After a wait nearly twice as long as the first intermission, Hester Chambers and Rhian Teasdale of Wet Leg bounded onto the stage. The crowd could feel the drums beating in their chests as they moved to “Wet Dream,” and then “Chaise Dream,” Wet Leg’s top songs. They provided a cheeky, refreshing sound with lyrics teasing intimacy and desire. Hester and Rhian twirled in circles as they played their guitars, huge smiles prominent on their faces the entire time at the simple joy of being there.

Rhian Teasdale of Wet Leg. Photo: Sabrina Ruiz

While their stage presence was buoyant and high-spirited, they were very quiet when directly addressing the audience, making it difficult to hear them at times. The tune briefly shifted to a more mellow and surreal atmosphere halfway through during “Obvious,” as the keyboard with alienating, spiraling sound effects complemented Rhian’s singing. “Oh No” and “Angelica” kicked the energy right back up again, and it was contagious, as the crowd furiously moved their heads in time to the rhythm. Wet Leg continued to reflect off the theme of a humorous, flirty attitude, and nobody was complaining. Overall, the night was a success as people took the edge off by grooving to new age, zestful indie music — a breakthrough is only to be expected within the next few years from these dynamic duos.

Lowertown and Wet Leg bring a new breed of indie to Paradise Rock Club

Indie rock band alt-J startles the new year with their fourth album 

The album wraps listeners into a surreal experience reflecting on lost memories and sentimentality — ultimately becoming the band’s most personal and open-hearted release yet.

“The Bane” sets a strong start to the album. The song opens with smooth, melodic guitar trills and builds up to a cinematic moment. A choir of voices comes in a minute later, followed by a group humming, “I sold my soul.” Alt-J uses their signature experimentation with sound to include an underwater gurgling effect that fits with the lyrics, “I’ll dive in, swimming and drinking.” Drums add an extra kick to the already wondrous track, with a shift towards a singing-focused section that transports listeners to some sort of dream state. A collection of mixing sounds occurs again, before trailing to seconds of silence.

“U&ME” is next, and while the track gushes more waves of indie and is perfect for cruising, it is slightly repetitive and more prone to be dismissed (although the distorted guitar does add a sweet twist). “Hard Drive Gold” is a more striking song driving a message of hustling, with an upbeat chorus of “Don’t be afraid to make money, boy.” Vocalist Joe Newman relies on his unique storytelling throughout these tracks, especially in “Happier When You’re Gone,” which has an eerie beginning and a scratchy, slowed down tempo. The lyrics are the most haunting here, as lead singer Joe Newman sings about “Benzo timelines, cuts smiles to straight lines,” and “It’s not easy, it’s not easy, homelessness at home.” By maintaining a relaxing pace to the song, the band brings on darker undertones. The song’s blues inspiration brings images of fields, countryside, and isolation to mind.

“The Actor” follows another dire narrative of a man pursuing an acting career in LA, only to fall into a life of drugs instead. The most striking line, “I’m at the deepest end of an empty pool,” reflects the man’s suffering. This leads into “GET BETTER”, with has a stripped back acoustic guitar instrumental. This song isn’t any more lighthearted, as a man reflects on his lover who has passed on. Newman sings about “Your Nutella I’ll keep in the cellar, you were always a fan of that spread,” and the man pretending she is still in another room. The song ends with a recording of a woman laughing and echoing the line, “get better,” before ending with a click.

There is an allowed pause before transitioning to the next song. The album reverts back to a more peaceful lull, save for “Chicago,” starting with sound effects of low rumbling and thunder. There is a quiet, longer silence in the song as it takes time to soak. Eventually, a kick pedal begins to emerge with a rhythm change; strings are plucked, and it shifts to clapping. Haunted vocals sing, “An apparition lifts me up,” before resuming a regular pitch. Thematically, the song seems to speak about a memory, or reminiscing.

“Philadelphia” is enhanced with opera singer Christie Valeriano singing back the song title with an orchestra playing in sync, continuing the dream-like sequence. “Walk a Mile” is the longest song on the tracklist at six minutes, filled with soul like the previous track. Although the first two verses are similar, it doesn’t drag; it feels like being caught in a trance, lost in thought. “Delta” and “Losing my Mind” are not as memorable as the previous tracks, but “Powders” is a nice finish to the album, creating a sensation of drifting away and getting lost in the sway of the music. A script is read in the middle of the song, providing a poetic feel. Overall, 

makes out to be a spectacular return of alt-J into the world of music, offering a peaceful haven for listeners with intense material to dwell on.

Listeners are in for a surreal experience with alt-J’s "The Dream"

 shows his ability to be vulnerable with his fans in the most candid way possible. Zucker addresses his songs directly, whether it be a former lover or friends he no longer speaks to. Like his previous two albums, this album encapsulates honesty, raw emotion, and as his title implies, the power of love and its possession.

“Still” introduces the album. In the forty seconds that make up the song, the listener hears the chirping of birds, a mellow instrumental, and voices saying, “Everyone be really quiet…don’t turn the radio on, we’re doing ASMR, one second.” Although this may seem confusing to the listener, the calm and chaotic moments merged together represent the beauty of the unknown, then serving as an effortless gateway into the first official track, “we’re fucked, it’s fine.”

The gentle plucking of acoustic strings and a soft whistle immediately sets the mood for the song. In the outro, he references back to the title: “So, tell me I’m fucked/or tell me I’m fine/am I shit out of luck? Keep wastin’ my time/fuck it,” driving the message of the rest of the album: not every moment will be perfect, but each moment should be cherished.

“Somebody loves you,” is next. The song sounds cheery despite its somber meaning. In this track, Zucker wistfully holds onto the idea that things can work between him and a girl, which he refers to in the pre-chorus–“But oh, what a dream, if we could be subtle lovers in the suburbs/and all I can see/are my philosophies going under.” He eventually admits that whatever happens in the end will be okay, solidifying positivity in the situation.

One of the best songs in the album is “orchid.” Zucker stresses his love for somebody and how beautiful he finds them, yet their relationship is straying and he doesn’t know what to do. The track is soothing with a stillness that captures Zucker’s voice. The distorted instrumental digresses from his usual style, but it pays off.

“Comethru,” the opening track from Jeremy Zucker’s EP 

from 2018, is featured at the end of the album. It immediately grabs the listener’s attention with a lighthearted beat and snapping as Zucker describes his transition into a new lifestyle. “I’m trying to realize/It’s alright to not be fine on your own,” he sings in the pre-chorus, summarizing his relationship with the fame his music brought him.

 demonstrates Zucker’s skillful way of making his listeners understand how he feels, even when intense and complicated. Not every track is memorable, but the ones that stand out do wonders.

Jeremy Zucker’s ‘love is not dying’ is the epitome of expressing feelings through art

Alec Benjamin has been making breakthroughs in his music career since he was eighteen and recording songs in his college dorm. His highly anticipated debut album, 

doesn’t fail to continue showcasing his flourishing talent. Benjamin is recognized for the heartfelt narratives he provides in his music and his successful ability to create content that pulls at the heartstrings of his listeners as he delves into personal experiences revolving around intimate love and self-reflection.

“Mind is a Prison” is a pristine example of Benjamin’s engaging story-telling. In this track, he pieces together a solemn chronicle about being a prisoner of his own mind. For a pop musician, he doesn’t hold back from gracing his lyrics with dark undertones, as he narrates, “So they tranquilized me, analyzed me, threw me back into my cage/Then they tied me to an IV, told me I was insane/I’m a prisoner, a visitor inside of my brain/And no matter what I do, they try to keep me in chains.” He also makes a callback to the album’s title, metaphorically referring to his eyes as his two windows as he decides to just go “where the wind blows,” giving listeners a foretaste of the album’s theme and what the rest of it will entail.

The melodic, snappy rhythm in “Demons” instantly captivates a passionate story about an individual who allows Benjamin to be vulnerable, helping him overcome his demons. Although the lyrics are repetitive, their message does not feel worn out as he expresses how grateful he is for the person’s patience, admitting,“For a moment I thought maybe I was doing alright/So I took your love for granted and left you behind/And I just didn’t understand, you kept me alive.” The acoustic interludes and bridge tie together the softness of the tune with his undisclosed appreciation.

Following a similar rhythmic pattern to “Mind is a Prison,” “Oh My God” continues the theme of reflection on the past. He opens up to his fans about his desire to be “homeward bound” and his disbelief at all he’s accomplished. He sings, “Oh my god, look in the mirror/I was young/nothing to fear once/what have I done, how did I get here?” The listeners are able to experience his incredulity with him and understand how he feels. 

“Book of You and I” charmingly tells the story about a past lover before they fell apart. In his classic way of narration, Benjamin reflects with sorrow, “Don’t tell me that it’s over, the book of you and I/Now you’ve scribbled out my name/and you’ve erased my favorite lines.” Once again, his sincerity and passion is evident not only in his lyric content, but as well as in his distinguished, soft-spoken voice.

“Jesus in LA” is especially one of the best tracks in terms of a memorable acoustic guitar strum to go with Benjamin’s next reflection. Both this track and “Must Have Been The Wind” offer a twist in the narratives by making a switch from third point of view, then to first. In the former, Benjamin isn’t just talking about LA, but also how his possible figurative savior was not found in California, but rather wherever he went to pursue his music career. His main message is his love for being home, something many can relate to. “And it’s a crying shame I came all this way/’Cause I won’t find Jesus in LA,” he sang.

The last track of the album, “Must Have Been the Wind,” will make a listener feel simultaneously serene and sad as Benjamin walks them through events that have unfolded in his apartment. He tells the story of checking on a girl who denies she had been crying, claiming that it must’ve been the wind, hence the song title. He adds a twist at the end by singing, “Aim my boombox at the roof, I’m playing “Lean on Me”/Just so that she knows that she can lean on me”, adding a sweet ending to the track.

“Match in the Rain,” “I’m Not a Cynic,” “Alamo,” and “Just Like You” have yet to be released with the rest of the album. But if they are anything like the tracks described, Alec Benjamin will continue to pave the pathway for his success with his musical gifts, as he continues to use his unique style to bring his narratives to life.

Alec Benjamin isn’t afraid to reminisce ghosts of his past in debut album ‘These Two Windows’

If anybody enters Green Day’s thirteenth album 

with expectations of it matching the rugged material from their earlier days, this album would not be their cup of tea. Think of it as just another alternative pop-punk band working to keep the old-school streak of revelation alive, and it may just be passable.

With this being Green Day’s shortest running time in an album, the twenty six minutes are swaddled with angst, riot, and jabs at present-day state of affairs. “Father of All…” introduces the album, with an energetic guitar solo providing a charming throwback to the rock n’ roll nostalgia the band were always known for. But it is when the vocals kick in that the track goes awry. With the studio effects making Billie Joe Armstrong’s vocals out to be indistinguishable, they resultantly takeaway from the track, and when the lyrics are tied in, they only succeed in wearing out the rebellious early 2000s facade of troubled love while not offering a fresh perspective.

The segway into “Fire Ready Aim” is so subtle it could easily be missed. The track blends in with the preceding song, as they are far too similar. The lyrics lack substance, with repetitive backing vocals overtaking the track. The intentions are surely there, with Green Day explaining the song is about their “daily outrage.” The thing is, it has been done before.

It’s only once the third track, “Oh Yeah,” is reached that Armstrong’s vocals surface more, and they ring with the familiar assertion of Green Day. The track is catchy, buoyant, and concurrently solemn, as Billie Joe sings with the pride of being the “shooting star of lowered expectations.” The track, which also samples a portion of Joan Jett’s song “Do You Wanna Touch Me”, touches upon America’s condition regarding gun violence, education, and social media, doing so in the most upfront way as Green Day has done in the past:

“I’m just a face in the crowd of spectators

Dirty looks and I’m looking for a payback

Burning books in a bulletproof backpack.”

“Meet Me On the Roof” matches the energy as “Oh Yeah”, — fast-paced with a nice touch of groove. The song itself is far more light-hearted, serving another typical romance story of a guy hoping for a girl to lower her expectations to be his lover, perceiving himself as not having enough value. In theory the concept is endearing, but once again standard in the music industry.

Bittersweet reminiscence follows in “Teenage Teeanger,” as Armstrong reflects on what it is like growing up “ordinary.” The title serves to emphasize a teeanger as being nothing special. In Green Day’s classic lines,

I was a teenage teenager full of piss and vinegar

I was a teenage teenager, I am an alien visitor

My life’s a mess and school is just for suckers

Of course, the humor is evident, but it seems to be all Green Day has ever done.

For a song with fairly dark lyrics, “Stab You In The Heart” is deceiving enough with its fun guitar tidbits and guitar distortion dosing the track, bringing back an almost-vintage style classic rock and serving as a solid reminder of the angry outlet the album is all about bringing.

“Sugar Youth” is hyperactive and eccentric, but does not add or detract from the album. The lyrics explore a perspective from an anxious person. Much similar to a sugar rush, the song is fast-paced and quickly comes to a close after two minutes.

“Junkies on A High” is one of the better tracks of the album, drawing the listener in with gritty, slower guitar chugging. Billie Joe takes on the perspective of a washed-up nobody, recounting in his lyrics: “Rock n’ roll tragedy, I think the next one could be me.” With the pacing and laid back feel, the track is memorable enough while successfully standing out in the album as a callback to older material.

“Take The Money and Crawl” kicks into gear, shifting from a quiet strum in the beginning to an abrupt, uplifting alteration. It brings on the illusion of wildlife, detailing the issues with money and just how inflated it is in the economy. Similar to other tracks, it also takes on an ominous message, telling the story of the narrator of the song hired to kill for personal gain, in turn receiving their end of the deal. The track’s message of wealth and power is explicit, which can be applauded.

The album ends on the note of “Graffitia,” a song highlighting the tragedies that shadow the town of Graffitia, including poor wagers, neglect, and death. It can be concluded that although musically this is not Green Day’s best work, their refusal to budge from the material and image they’re accustomed to continues to have its spark at moments.

Green Day brings nothing new to the table on ‘Father of All…’

The British electronic music duo Chemical Brothers proved much experimentation was done with the release of 

, their first album in four years. But with experimentation comes a lot of trial and error, and several of the tracks are blemished with a lot of, say, errors.


’s opening track, falls short of even the subpar standard for the rest of the record. The introduction opens up with the same heavily autotuned lyrics that continue to impede the first half of the track, with alternative lyrics eventually sprinkled in, but they are incoherent and repetitive. They feel jammed in and do not mesh well with the beat, which is composed of a mess of numerous instruments. The abrupt Japanese-speaking portion of the song represents their willingness to experiment and be cultural, but again it was more of a blunder on their end.

“Bango” has a beat that could easily pass for the same song as the last, lacking in variety and flavor. The lyrics aren’t very creative and can be considered very generic, overall nonsensical, and leaves an impression of being very disconnected from the overall song.

Although the first two songs bummed out, “No Geography,” the album’s namesake, was a much more listenable track. For starters, the beginning makes use of enchanting sound effects that catch the ear. The background of the song’s development is actually interesting, as the lyrics are based on a love that can survive geographical separation — no matter the proximity, such a strong connection cannot be broken. In addition, portions of the song was based off the poem “Geography” by poet, novelist and activist Michael Brownstein. The electronic beats complimented the rest of the arrangement more strongly here than on previous tracks.

“Got to Keep On” had nothing more than an attempt of a build up, but the lyrics were lazy and lacked in adding layering to the song as the beat droned on monotonously. At moments, it even sounded as if the song glitched, with church bells abruptly being heard at the drop. Forced experimentation and unorthodox methods were evident.

“Gravity Drops” was nothing extraordinary. The beat was sleazy, there were poor drops, and at several moments, the lyrics were out of sync with the music or sounded off key.

Despite “The Universe Sent Me” consisting of lyrics that, on their own, form a promising basis for a great song, the mixing blurred them out and they could hardly be distinguished. “Something something something” served as a terrible filler in the song that resulted in a lot of overlapping.


“We’ve Got to Try” was still repetitive, droned on, and implemented more space sound effects than a song should hold.


“Free Yourself” had a similar theme to “Eve of Destruction,” where the autotune of the ceaseless “Free Yourself” repeats on and on. It did not sound much different from the rest, and the drop only managed to sound scattered before relapsing to the introduction for the remaining 4 minutes.

“MAH” sounded like a haphazard mix of sound and words, although the “I ain’t gonna take it no more” was lost in the maze of techno, making it sound more like the prior tracks.

However, “Catch Me I’m Falling” did well to nicely close the album. The vibrations that carried through the rhythm of the words were much smoother, alongside the techno interludes that did not sound as purposefully burdened with disarranged tones.

 represents an idiosyncratic genre that will always be entitled to having more than one perspective. This would surely be more preferable to those with a taste for electronic music and distinctive techniques being applied, but it is not everybody’s cup of tea.


The Chemical Brothers’ ‘No Geography’ is not the best cup of tea

The crowd was in for a treat when a three-way alternative rock splash from bands Carriers, Duncan Fellows, and Sun Seekers shook the stage Thursday night.

The Carriers kicking off the concert.
Captured by Sabrina Ruiz

Fresh out of Cincinnati, Ohio, Carriers ambled onstage first. The band’s dreamy, positive lyrics flooded the venue. Their smooth transitions allowed them to flow from one verse to the next, especially as the enthusiastic drumming kept their melodic beat alive. Two people began to spin around and dance at the center of the small crowd. The group remained incredibly synchronized, performing their latest releases “Daily Battle” and “Peace of Mine.” Curt Kiser, the mastermind songwriter behind the up-and-coming band, resonated with the audience with his wistful lyrics from “Another Guy:”

“I know that you were telling me something right

My soul needs touched with a holy knife.”

Their music serves well as bedroom music, quiet study music, or even to listen to on peaceful walks in the morning. They successfully opened and left promise for the rest of the night’s performers.

Up next came Duncan Fellows, originally from Austin, Texas. The five-person band shared intimate moments together, like in “Sleeper” where they harmonized their voices onstage. They slowed things down further in “Sway,” where the audience enjoyed a moment of captivating relaxation. “You’re fighting a war, it’s a burn, it’s a drug that you’re fighting for,” they sang in euphonious unison. Guitarist and vocalist Cullen Trevino swiftly raked his fingers across the fretboard and delivered sweet guitar bends, and Colin Harman made a show of hoisting his guitar in the air as he played during the interludes. The versatility of the group was evident as fast-paced licks, hard-edged sound, and gentle strumming meshed together in their songs. The group even expanded their palette enough to cover a Beatles song, “Don’t Let Me Down.” Girls in the audience made it evident they were fans, singing along to the lyrics in “Deathwish Fish” and “Fresh Squeezed.” Harman even dedicated “Cursive Tattoo” to his lover, and the band made a memorable exit with their final song “Coffins” as the crowd happily grooved to the catchy, uplifting beat.

The Sun Seekers close the concert.
Captured by Sabrina Ruiz

Sun Seekers at last took over the stage. Their full-length album is to be released sometime this year. The Nashville band’s music explores melancholy and emotional turmoil, especially in songs like “Good Year.” The keyboardist provided lovely sound effects to enhance the band’s sound. Bassist Asher Horton slapped all the bass notes, and its undertones gave way to the echoing reverb of the guitar. The audience rocked in time to the combined forces, and the subtle, mellow strumming was evident in the midst of the sound effects and drums.

Guitarist Alex Benick even goofed off at one point on set, keeping the environment light. “We’re about to get real serious,” he said. Horton invited the audience to move closer to the stage. “We’re going to sing one of our latest releases. Who likes breakfast?”

He then launched into an improvised song, breaking it down to the audience to eat biscuits with jelly on a bagel. Almost as if nothing happened, the band resorted back to their set. “Sorry about the song,” Benick joked. “Georgia Dust” and “Won’t Keep Me Up At Night” followed as the small crowd continued nodding along.

Influenced by psychedelic music and experimental rock, these bands may be more underground than many other musicians out there. But to those at Great Scott, they know this is only the beginning.

Carriers, Duncan Fellows and Sun Seekers leave a surreal impact @ Great Scott

The adrenaline was contagious as post-rock bands HarborLights and Brutus swept the crowd away at the ONCE Ballroom Tuesday evening.

HarborLights opened the show, drawing in the crowd with their heavily distorted guitars, bass, fast-tempo drumming, and talent. A fight even broke out halfway through HarborLights’ set, as an overly hyped fan shoved people aggressively, even causing a certain innocent bystander to slide across the floor, camera in hand. Guards had to forcibly kick him out as he continued to hurl punches that caught the wind. Audience members allowed their soul to be captured in the music.

HarborLights opens the show with a bang, shot by Sabrina Ruiz

In the small venue, you could be so close to the stage that the guitarists were simply inches in front of you. Fans reached out and clung onto the speakers, swinging their heads in slow motioned headbangs. The crowd soon grew from being a small cluster to a swarm. Ranging from melodic guitar licks to hefty drumming, HarborLights succeeded in starting the show by leaving the audience astounded.

When Brutus took the stage, the crowd roared with applause. As guitarist Peter Mulders and bassist Stijn Vanhoegaerden provided chilling sound effects from their elaborate effect pedals, lead vocalist Stefanie Mannaerts immediately encapsulated the audience with her angelic, beautiful voice in their first song, “Fire.” A hush fell over the crowd as she sang. Unique for her simultaneous role as a drummer and singer, Mannaerts kicked into gear with the drums, angst rising in her voice with the rest of the band backing her up. Then, with slower paced pageos serving as background music, Mannaerts showcased more of her vocal capabilities in “War.” She softly started singing, her voice gracefully ranging in pitch and maintaining high notes before suddenly shifting the tides by allowing the drums’ power to consume the crowd. Between the snare drum and cymbals accompanied by the guitar’s alternate picking, the energy in the room was electrifying. People were able to move freely, momentarily worlds away from reality and focused on the liveliness surrounding them.

“Space” and “Techno” continued to showcase the band’s flair, with Vanhoegaerden providing particularly flavorful bass-heavy intros as Mannaerts passionate vocals remained in synch. The band then mixed it up by backtracking to one of their older tracks, “All Along,” which still displayed their signature grunge sound. The chemistry was evident as the bassist constantly walked nearer to the speakers to be even closer to the crowd, leading to more cheers and enthusiasm. “Justice de Julia ii” served Mannaerts’ raw, genuine voice justice. How she managed to drum while singing with dexterity is unbeknownst.

It would be hard to for a person to tear their eyes away from the stage. Brutus’ humbleness was not lost. Originally from Belgium, they continued to express their gratitude to the audience for welcoming them to Boston in between songs. With incredible talent and a gift of being able to put on an electrifying show, Brutus has the potential to be one of the most influential bands in the post-rock genre.

HarborLights & Brutus prove their savagery @ ONCE

Sony Music Entertainment · November 8, 2019

The Script, known for their signature lyrics and emotional messages, seemed to have lost touch with their sound with their newest release 

The new album lacked the genuineness and rawness of their older material. Overproduced mixes and cliche lyrics overtook the majority of the album, making them seem no different from other bands in the music industry today.

“Something Unreal” is the first song to be introduced in the album. The engaging melody of the piano is quickly cut short by vocalist Danny O’Donoghue. While his vocals are filled with emotion, the upbeat sequence that follows overshadows the rest of the track, making it more pop-sounding and nothing too remarkable or diverse. The progression is redundant as the same lyrics are sung frequently throughout the song.

“The Last Time” is one of the better songs of the album. It resonates more with The Script’s personal sorrow in prior songs. They make use of wordplay of wishing the moment with somebody would last, only for it to result in the moment actually being the last time. At parts, such as the second verse, they say “You practiced leaving many times before, but I guess you’ll get it right today,” or the chorus’ “I’m tryna hold your hand but feeling like my hands tied.” The Script provide words relatable to many people who have had their heart broken.

With a captivatingly mellow and soft lead, “Run Through Walls” starts off strong as Donoghue’s passion is evident in his words. The positivity in the song reflects on the true care friends show when they are needed, as Donoghue reflects on them as being “my shield of steel when I’m too weak to fight.” Aside from another off-putting shift in flow near the two-minute mark, the song does nicely capture its message, although once again, it is not something that stands out drastically.

Similarly, “If You Don’t Love Yourself” has strongly good intentions, but a failure to execute. While meaningful lyrics such as “You don’t lose if you learn from your mistakes” dominate the song’s meaning of needing to care for yourself before anybody else, the track’s mix of repetitive techno and rushed tempo interferes.

“Hurt People” initially starts with a pleasantly acoustic introduction to the song, but aside from this, the song resorts to basic lyrics contradicting each other, an instance being in the rather choppily pieced together breakdown in the lyricism, “You measure the heart by the size of the man, I measure the man by the size of the heart.” The idea of breaking the status quo does not shift the song from its mundane beat and cliche simplicity.

The storyline of love gone wrong threads through the next track “Same Time.” In the chorus, the hollow background vocals drown out the original voice once again, with the first and second chorus not varying and making the song sound like the same, consecutive line repeated.

“Underdog” has all the potential to be an encouraging song for people to feel conquering, but between dull transgressions and a lazy chorus of ‘oohs,’ it is a fairly slow-paced rhythm for what would be considered a motivational song. Donoghue’s vocals are tampered with too much in some segments, with a part close to rap sounding awkwardly placed near the end of the song not contributing much to the song aside from the underdog being, “The only one to walk the walk, talk the talk.”

With better writing and production, “The Hurt Game” is one of the more listenable songs of the tracklist. The Script brings out easily relatable ideas of “’Doing the wrong things for the right reasons” with a lyric style similar to their past songs. Particularly in their verses, “Drinkin’ it all but drowning the meaning /

Cuttin’ it off but still got the feeling” and “We walk through fire to get to water,” it is shown here that they resort to bringing back their more relaxed, emotion-filled content.

“Hot Summer Nights” draws the first connection to the album title, making references to the “sunset girl” and “full moon man.” While the song is very upbeat, it still sounds too similar to material released by other artists, hence how The Script have lost touch with their original sound, at least for these tracks. “I hate saying goodbye to those sweet summer vibes with you,” would be one of the last types of lyrics to be sung in their tracks.

Not to be dismissed entirely, this album could be enjoyable for a romance, drama, or action movie soundtrack. But from The Script specifically, compared to the release of their past content, expectations were much higher.

The Script loses touch with their sound on ‘Sunsets and Full Moons’

Everything Not Saved Will Be Lost – Part 2

Just months after their last album, indie rock band the FOALS made a breakthrough when their most recent release 

Everything Not Saved Will Be Lost Part 2 

reached No. 1 in the UK. After taking a listen, it is unsurprising why.

The record opens with “Red Deserts,” a brief but enchanting introduction, as a dramatic organ similar to what is played prior to a movie rings out, arousing curiosity as the listeners are unsure what to expect. The introduction is intertwined with subtle guitar slides before the track effortlessly slides into “The Runner.” The climatic shift to this upbeat track instigates the album’s theme of inspiration, with motivation and encouragement evident in the lyrics. Frontman Yannis Philippakis explained that Part 2 is a sequel to the narrator’s conquest, starting new and pushing on through the wreck of his prior life.

“Wash Off” maintains the uplifting spirits, as the chorus of background vocals enhance the song’s message of kicking back from the world, the distinct lyrics reflecting on the wistful desire to keep moving. The guitars mingled with percussion mirror the song’s energy, while also coordinating with “The Runner”’s meaning.

Then, the album swiftly changes tides. “Black Bull” is a heavy tension-building riff all on its own, with emphatic drumming synchronized with the vocals– now tweaked with more aggression and condoning a tone of pride. The motives behind this track, according to Philippakis, are to capture the energetic aura the band feels when performing at a show, and they achieve just that.

Effortlessly transitioning to “Like Lightning,” the hand claps in the background maintain a confident vibe. With the track’s lyrics “Gotta be like lightning, be somebody new now,” sparking encouragement, the band’s hell-bent determination of dividing and conquering is clear as they tweak their sound to keep their energy.

“Dreaming of” marks the band’s shift to their melancholy and laidback tracks. The introduction starts out almost in a lull, as the title would suggest, with spacey sound effects and echoing reverb. The stroke of energy is still present, but in a more subtle way, the vocals now more hushed. Nonetheless, the guitars’ squalling pitch laced with Philippakis’ remorseful tone expressing having to constantly depart to a new place indicates the group’s genuinity. As he ruefully reflects in the bridge, “You want to push back the hands and start it again.”

Although initially off-putting, “Ikaria” manages to blend well with the prior songs, serving as the soft piano interlude to the album. This classic piece is an allusion to “Icarus” as Phililppakis explains. The context of their album is mainly Greece. Interestingly enough, this track was written as far back as the FOALS’ 

“10,000 feet” arguably has the most engrossing melodic introduction out of the whole album. The beginning molds long-sustained chords over a seemingly simple, yet well-fabricated guitar lick. Bringing back the passive aggression, the lyrics are further polished and complex. With the solemnity of “Cold black diamond, shine again, fall on the fire just to start again, burning star about to come again,” this song is another reference to Icarus, the story of a mythological figure who fell into the sea after he flew too close to the sun on wings held together by wax. In the world of music, it is fascinating to see the varying ways inspiration can be perceived.

The album is captivating enough that the concept of time is nearly forgotten, and soon the next to last track “Into The Surf” is up next. This track is slower, with sorrow and grief. Even then, there is positivity in light of its sadness. With striking words, “I’ll eat up all your pain…I’ll be like water, when you rise, plant a jasmine in the night,” it encapsulates a near-poetic feel.

“Neptune” is the album’s final track. This startling ten minute masterpiece has the astrological feel as “Dreaming of” did, continuing to drastically shift the tide of the overall aggression of the album with its gentle serenade. This changes when the drumming steadily climbs to the chorus, where Philippakis’ zestful voice rings out. The mini, groovy solos following the second chorus continue to add to the track, with descending licks expressing the glamour of a laid back tune. The scratches of the fretboards and bends in the interlude serve well to keep the song alive, with the second verse, “So come on, row me away, on black rivers and rainbows to Neptune, where I can stay” making a final impact.

All things considered, the FOALS sixth album is harder than their previous stuff, and not as poppy. The vibrance evident in each track is enough to keep the listener engrossed for the entire 40 minutes.

FOALS take the UK by storm with ‘Everything Not Saved Will Be Lost – Part 2’

The meager amount of people at the Great Scott in Allston did not do performers TOLEDO and Penelope Isles justice. The few people lingering by the bar congregated to the front when the opening band stepped up to the stage. Instead of introducing themselves, the two guys immediately picked up their guitars: one opting for an acoustic, the other an electric. What was next to come cast a magical spell on the crowd of approximately 30 people. The duo’s music was like soothing medicine, with varied electric and acoustic tones blending beautifully. Together, the bandmates harmonized and remained in sync. Halfway through their set, the group introduced themselves as “TOLEDO,” an indie pop rock band from Newbury, Massachusetts. “Represent!” a member of the audience shouted out, just before their formal introduction was greeted with warm applause.

The smaller size of the crowd did not discourage the duo Daniel Alvarez and Jordan Dunn-Pilz as they continued to play their set with pride. The crowd, mainly consisting of adults between 20 and 30, stood listening, drinks in hand. TOLEDO played heartbreaking lullabies such as their songs “Knot” and “Song Without A Name” (literally). Dunn-Pilz messed around with the effects pedal as Alvarez cranked out mini solos on the electric, ending their set with a bang. The group was goofy and interacted with the audience frequently, providing a positive start to the show.

The main headliner, Penelope Isles, came on stage moments after TOLEDO said their goodbyes. Originally from Brighton, UK, this was the band’s first time performing in Boston, coming as part of their North American tour. The band, founded by siblings Lily and Jack Wolter, are still fairly new in the music industry. Their debut album,

was released merely three months ago. The group launched their set with the eerie introduction to their track “Underwater Record Store,” with vocalist’s Lily Wolter’s lilting voice carrying the tune. Soon enough, the crowd was up and dancing, whether alone or with a partner. The front row waved their arms and swayed side to side carefreely as the band sang their most laid-back songs, “Cut Your Hair” and “Three.” The band switched up the mood halfway through the set, with drummer Jack Sowton producing an aggressive drumbeat. The band also opted for long lasting pedal effects, prolonging the ringing of the amps in songs like “Round” and “Leipzig.” The band’s chemistry was evident with the keyboardist, bassist, drummer, and guitarist working together seamlessly. The group members rocked the night away, letting the music surround them. Penelope Isles channeled their heart and soul into their instruments, showing a deep connection to music that they easily shared with the crowd.

After a few more headbangers, they resorted to their original chilled vibes, a staggering shift that required some recovery for the drunken and lively crowd that was now growing by the minute. The set concluded with pure instrumentals before ending abruptly. Soon, the magic of the night was over.

It would be no surprise if in due time, Penelope Isles amasses more fans throughout the states. The initial stage of creating a name is never easy for a musician, but Penelope Isles’ prominent heart and passion ensures that their music will one day be more widely appreciated.

At Great Scott, TOLEDO and Penelope Isles prove alternative never died

September 30, 2019 at Brighton Music Hall

A night of passion, excitement, and action greeted Boston on Monday evening as Hail the Sun arrived in Boston for their headline tour, accompanied by VIS, Strawberry Girls, and Royal Coda. The small crowd was scattered about, some alongside the walls while others were already eagerly in front of the stage. Bars adorned each side of Brighton Music Hall, and neon lights glowed against the brick walls and on stage.

VIS was the first band to start off the show. Despite the singer’s antics with his dancing and the sequential rhythm of the rest of the band, this reggae band failed to capture the audience’s full attention. They nodded along to the contagious beat of the drum, but it was evident that nobody there was too blown away by their stage presence, with neither the vocals nor instruments overall striking or unique.

Royal Coda went on stage next. The band took a good moment to get fully tuned in front of the anticipating audience. Vocalist Kurt Travis’ coarse vocals coincided with guitarist Sergio Medina’s wonderfully melodic guitar rhythm as he skillfully alternate picked each note and played impressive scales per solo. The band made sure to play their most well-known song, “Numbing Agent,” which was well-received by the audience, evident in their awakened enthusiasm of applause.

Strawberry Girls (and no, nobody in the band was a girl) built up the suspense before headliner Hail the Sun made their main appearance. They also took significant extra time to tune, likely because they are solely instrumental. The group pleasantly amazed the audience with their phenomenal instrumental coordination, diverging from groovy tunes such as “Spanish Bay” to the signature trills of “Volcano Worship.” It nearly seemed impossible after their set for the headliner to match their level of energy.

The stage darkened, and a couple fans cheered as Hail the Sun’s vocalist Donovan Melero made his appearance amid flashing red lights. Guitarists Shane Gann and Aric Garcia backed him up with low, mellow riffs for “Rolling Out the Red Carpet,” before the drums kicked in and the entire band shifted to full gear. Melero grinned at the audience as they screamed even louder, making sure to maintain eye contact with the audience throughout the whole song. The audience spanned from teenagers to grown adults, each person engaged in the feeling of the music and releasing their inner emotions, allowing their bodies to be free.

It was evident that the passion was alive in the band’s spirits as Melero leapt around onstage, singing into the mic and out to the audience as every song scaled the more upbeat side of the spectrum. Gann captivated his true guitar-playing skills in hits such as “Cosmic Narcissism.”

In a surprising twist, the lighting dimmed once more as Melero swapped places with a member, opting to now play the drums. People let out exclamations once this exchange was evident. The band played the tour’s namesake Mental Knife, with Melero drumming while singing/screaming into a hovering mic above the set. He continues this routine for a couple more songs before returning to solely being the vocalist.

The band kept the audience feeling the adrenaline of their playing with the ongoing solos, with bassist John Stirrat establishing the root of all the noise. The crowd sang along to the lyrics of “Relax/Divide” as the band briefly slowed down. When the band neared the end of their set, people as old as their late 30s crowd-surfed toward the front of the gates. Indifferent guards hauled them over and forced them to retreat. Only two fans succeeded in leaping onstage, headbanging and dancing in time to the beat before hurling themselves back into the crowd.

When the band finished and walked off stage, the crowd slowly began to chant, “

Suddenly, the stage lights glowed once more, and the audience eagerly yelled enthusiastically as the band re-emerged.

“We would love to play one more song for you, Boston. Thank you so much,” Melero announced, before the band played a few more singles made for rocking out to.

With the combination of incredible musicians each contributing their part, Hail the Sun’s Boston date seemed to charm the small community of Boston concert-goers. Although Melero’s vocals were overpowered at times by his bandmates, it is clear that the band will continue to put effort in their upcoming shows.

Hail the Sun bring Brighton Music Hall to life

Weaving together elements of chilling and hard-edged content, 

is the seventh album to be released by the American alternative-rock band Pixies. The band has released 3 albums in the aftermath of their long-awaited reunion, and fans have waited expectantly for their breakthrough as in years past. As the 12 songs on the album translate to various concepts, here is a look at each song’s respective content.

The album opens with “In the Arms of Mrs. Mark of Cain,” a distinct allusion to historic religious readings. In addition to the band’s signature resonating guitar chords, there is a unique blending of the instrumentals accompanying the hollow vocals. The melodic break enables the guitar to heighten the tension of the song, overall setting a thrilling listen.

Next is the album’s main banger, “On Graveyard Hill.” The grungy tune of the band is prominent, from distorted guitar effects to its dark lyricism. Even so, the oddity of the song is clear. The vocalist’s words of acceptance towards death accompany the drums’ upbeat and interludes of frequent guitar squalls, making it all the more enjoyable listen.

A notable thread that continues throughout the album and makes it even more eccentric is the storytelling, covering troubling aspects of love, personal deaths, or conflicted messages. Vocalist Charles Thompson or “Black Francis,” explains that “Catfish Kate” is based on a fable his father told him of a woman who was attacked by a catfish but emerged from the water victorious, wearing a catfish robe. The quirky tale in harmony with the distinguished bassline and a warped guitar tone brings the single to a solid close.

Then, “This is My Fate” opens with a light, twinkling effect before the snare drum kicks into gear in a four-measure sequence. As each refrain line is accompanied by clacking instrumentals resonating to clean guitar picks, the song depicts a more moody but casual tune, displaying the band’s versatility.

“Ready for Love” is a more straightforward and relaxed track, momentarily diverting to a quick-paced drum fill and ensuing solo jamming out the final measures.

The lead guitar’s individually plucked notes works well to introduce the next song, “Silver Bullet.” The crash cymbal is lightly tapped in the background, building up suspense before all instrumentals launch full force into the song, finally residing to a lull once more. The chilling, eerily out-of-place lyrics somehow connect to the wailing guitar and grave vocals.

“Long Rider” and “Los Surfus Muertos” both pay tribute to bassist Paz Lenchantin’s friend Desiree, who had died in a surfing incident. Even with sorrow laced in the words, they fail to diminish the steady beat of the drum and the guitar trills, encouraging the bravery to encounter risky situations despite knowing of fatal consequences.

“St. Nazaire” reflects a beachy rock n’ roll groove, accompanied by aggressive vocals , referencing inspiration from the Allied Attack, before moving into Scottish mythology. The band’s sporadic tellings throughout each track reflects their consistent interest in fables.

“Bird of Prey” is one of the most seemingly ominous tracks, with notes tingling in timely fashion and the lead’s voice merging with the female background harmonics, setting the album’s grunge style once more. “Death Horizon,” the album’s ending single, gives off a similar vibe, with strumming and nonchalantly sung lyrics.

“Daniel Boone,” which the band clarified is not about the pioneer Daniel Boone, is about Thompson driving to the studio and encountering a deer standing in the middle of the road. He imagines what would have happened had he run it over, inspiring the idea of reincarnation. Themes of death and rebirth are explored in this laidback, slow-paced track.

Despite the arising argument that the band has produced more quality content in the past, the spirit and creativity in the striking lyrics does not appear to have ceased. As all artists’ work, each track has its highs and lows, yet the messages and significant notes are to be appreciated.