I should start out by saying that Tobacco, the band I went to see on Saturday night, are excellent performers and put on a hypnotic, impressive, and memorable show, because after my review of the opening band, I’m going to seem like a sour puss. Few things are more frustrating for a music lover than a miserable opening band, because it makes the wait for the good band that much more painful and long. Junk Culture, project of Oxford, MS native Deepak Mantena is a primarily sample-based music (“cosmic R&’B” according to his MySpace), of which I am generally in favor.
Being a communications major and self-proclaimed writer since I mastered the grip on my pencil, there are seldom times I find myself at a loss for words. At the risk of sounding cliché, this past Saturday night left me speechless, unable to articulate the overwhelming joy that washed over me being one of the few (well…almost 3,000) lucky individuals spending their “evening with CAKE,” as John McCrea so eloquently put it. And it was just that: a full evening with CAKE in which McCrea, who unlike this writer was at no loss for words, and his fellow band-mates made the audience feel like more than the usual third-party onlookers: we were elemental in this “evening.”
There’s nothing quite like watching a band becoming comfortable with the strength of their own songs, more willing to experiment and throw curveballs to the audience. While Dirty Projectors released Bitte Orca, packed with their most accessible material to date, they still opened their set at the Wilbur Theatre last Monday with “F—ed for Life,” a cut from the odds-and-ends New Attitude EP, rewritten to incorporate the voices of Amber Coffman, Angel Deradoorian and Haley Dekle instead of the crunchy abrasive electronics of the original.
Pavement, a band that in the 1990′s defined what is now referred to as “independent rock”, played to a crowd of about 5,000 at Agganis Arena on Saturday night.
After breaking up in 1999, Pavement announced their reunion tour in late 2009, which brought them to Boston University last weekend.
On Friday night, Broken Social Scene played at the House of Blues in support of this year’s Forgiveness Rock Record.
Last Tuesday, post-rock legends Tortoise loaded the stage of the Paradise with an array of drum sets, a marimba, a vibraphone, keyboards, and other gadgets. While two drum sets is unusual in itself, Tortoise includes three skilled percussionists, and members switched instruments for almost every song. Their last album, Beacons of Ancestorships, was light on the Steve Reich-y marimba sound that they had become known for on the seminal Millions Now Living Will Never Die and TNT, but longtime fans will be pleased to know that Tortoise’s back-catalog is still well-represented in their live show.
This year, Black Moth Super Rainbow frontman Tobacco upped the ante with the release of Maniac Meat, an even dirtier exploration of psyched-out beats and sludgy synths than his first solo album. On Saturday, Tobacco will take the stage at the Middle East Downstairs, armed with analog equipment and a plethora of weird old-school video footage. The MUSE got the chance to ask Tobacco a few questions via email.
Take two guys and put them in New York City. Add two girls from Queens, some 70′s “stoner” rock and some electronic beats and what do you end up with? The start of the Bodega Girls, a Boston-based band that that makes pop music with a major twist.
If you’re at all musically inclined, welcome &- you’ve come to the right place. Boston is a treasure trove of touring bands and musical events year-round. The options can be overwhelming if you don’t know where to look, as they were for me when I came to Boston from Nashville; my hometown is more of a hotspot for country music, as opposed to the younger, hipper and more innovative bands that frequent Boston’s clubs.
Chants of “Chromeo-o-oh! Chromeo-o-oh!” pulsed through the air as the crowd at the House of Blues Boston waited for the Montreal duo to unveil their special brand of 80s-inspired electrofunk.