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SUMMARY:Haywyre & The Opiuo Band
DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 6:30 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale Fri. 1/13 at 10AM! \nTickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nHaywyre \n \n[Website] [Facebook] [Twitter] \nHaywyre consists of Martin Vogt\, who has been studying piano since the age of six. His interest in the production of various genres of electronic music and piano instrumentals began growing when he lived in Austria; there\, he was exposed to jazz and hip-hop for the first time. Shortly after moving back to the U.S. in 2008\, Haywyre was created. Now\, his mission can be defined by providing his listeners with music that presents variety\, originality\, and ideas stemming from his jazz and classical knowledge base. The most general description to Martin’s sound can be described as memorable melodies and (jazz / classically influenced) chord progressions in the context of progressive electronic music. Synthetic and organic elements combine in works inspired by artists such as Noisia\, Flying Lotus\, KOAN Sound\, Hans Zimmer\, Clint Mansell\, Austin Peralta\, and Abdullah Ibrahim. His main compositional tool is the piano; countless nights are spent drafting harmonic and melodic outlines by improvising. For live performances\, Haywyre also includes his akai mpk 88 to perform the melodies while triggering the stems to the rest of the pieces. His guitar work can also be heard in many tracks (and sometimes other instruments\, such as the Duduk\, as well). So far\, he has mastered every release himself (except the Draw The Line EP). \n*** \nThe Opiuo Band \n \n[Website] [Facebook] [Twitter] \nFor New Zealand native Opiuo\, making music has been an undeniable passion that encapsulates his every moment. His incredibly original\, against the grain style is often referred to simply as “funkadelic bass music”\, a term he supports wholeheartedly. The producer who now calls Australia home first gained international recognition in 2010 with his single “Robo Booty” from his debut album “Slurp and Giggle”\, which was a finalist for Best Dance/Electro Release at the Australian Independent Music Awards that year. His music has since reached the #1 position on the iTunes\, Hype Machine\, Beatport & Addictech charts. Racking up 5 million plays on his Soundcloud page\, Opiuo swept the 2013 UK Glitch-Hop Awards with 5 wins. His latest full-length album “Meraki” was a finalist for the Best Electronica Album at the New Zealand Music Awards 2014. \nOpiuo’s unique take on electronic music has captured the attention of music lovers around the entire globe\, with sets at Coachella (USA)\, Glastonbury (UK)\, Shambhala (Canada)\, Lightning In A Bottle (USA)\, Boomtown Fair (UK) as well as headlining tours across Australia\, New Zealand\, N. America\, Europe\, Asia\, Israel and India. He’s shared the stage with some of music’s elite including Bassnectar\, Moby\, Pete Tong\, Bonobo\, & The Glitch Mob to name a few. Whether he’s equipped with his solo setup of various drum machines and synths\, or performing 100% live as The Opiuo Band\, his explosive live shows never disappoint. \nAs a remixer Opiuo’s credits span far & wide\, from Gwen Stefani to Kimbra\, Pretty Lights to Infected Mushroom\, KOAN Sound to Shapeshifter and many more. With such a grand scope its no wonder Opiuo’s musical meanderings are heard the world over. \n*** \nFreddy Todd \n \n[Website] [Facebook] [Twitter] \nWords will inevitably fail to properly describe Freddy Todd. Genre-busting could be an understatement. You can’t pin him down with lexicon like lazer-bass and glitch-funk; these phrases fall way short of capturing the expressiveness\, fearlessness\, and space-traveling qualities of his music. Hearing his music is akin to being abducted by an extra-terrestrial cruise liner where everyone is tripping on space acid. And if you are lucky enough to witness him produce\, you’ll see that he fittingly looks just like the captain of said space cruiser\, both hands intently gripping his electronics like the instrument panel on the flight deck. \nLet’s bring this back to earth real quick. His motown\, soul\, blues\, jazz\, funk\, hiphop (and techno for that matter) roots are a given\, being born just outside of Detroit in Southfield\, MI in 1990. Freddy moved out of his parents house immediately upon turning 18 lusting for the world and the creative juices it has to offer\, living briefly in Ferndale\, MI at first\, then to the outskirts of a rougher part of the city of Detroit near 7 mile and Lahser for two years to live with his then-band “Tone Poets”\, producing for Scrummage hip-hop queen “Breezee One”\, and wrapping up his second full length studio LP on Simplify Recordings\, followed by a year in Chicago. After living in the midwest until the age of 22\, his sights were set on the golden west. Moving cross-country and living two years in the Bay Area\, living in both the hood of West Oakland followed by the Oakland Hills while writing and releasing the “Golden Tremendous” album and starting his next EP. After soaking up the Cali vibes\, he returned across country for some more wholesome less-congested living in the blue ridge smokey mountains of Asheville\, NC to be closer to family\, where he currently resides. \nFreddy Todd is truly a master of his craft not only in the studio but on stages across the globe. Without any pre-recorded sets\, Freddy has the skills and the audacity to perform on the fly mixes of 100% original material tailored to his specific audience\, mood\, and venue each night\, be it a theater in northern California\, a club in the back alleys of Detroit\, or an outdoor festival in the bush off the eastern coast of Australia (occasionally on special nights with his live drummer forming the FT Live Band/Duo). His earth shattering\, meticulously programmed beats & rhythms\, his lazer crunk\, funky psychedelic bass & sound design\, and his brain tingling\, intelligently soul-soaked synths\, melodies\, & field-recorded samples are sure to shake your consciousness as they blast through airwaves out of top notch sound systems across the universe while Freddy serenades you with 100% live & improvised get-your-booty-on-the-floor analog Moog synthesizers & keytar\, loop triggering\, and occasional drums & percussive elements. Be careful where you don’t look.
URL:https://royaleboston.com/event/haywyre-the-opiuo-band/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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SUMMARY:Devendra Banhart
DESCRIPTION:Show moved from The Sinclair to Royale due to overwhelming demand! \nBowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale now! \nTickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nDevendra Banhart \n \n[Website] [Facebook] [Twitter] \nDevendra Obi Banhart (born May 30\, 1981) is a Venezuelan American singer-songwriter and visual artist. Banhart was born in Houston\, Texas and was raised by his mother in Venezuela\, until he moved to California as a teenager. He began to study at the San Francisco Art Institute in 1998\, but dropped out to perform music in Europe\, San Francisco and Los Angeles. Banhart released his debut album in 2002\, continuing to record his material on the Young God and XL labels\, as well as other work on compilations and collaborations.
URL:https://royaleboston.com/event/devendra-banhart/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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CREATED:20170124T160927Z
LAST-MODIFIED:20170124T160927Z
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SUMMARY:The Protomen\, MC Frontalot & Bit Brigade
DESCRIPTION:18+ \nLeague Podcast & Rock On! Concerts Presents….
URL:https://royaleboston.com/event/the-protomen-mc-frontalot-bit-brigade/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Special Events
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DTSTART;TZID=America/New_York:20170317T180000
DTEND;TZID=America/New_York:20170317T180000
DTSTAMP:20260409T163321
CREATED:20170116T195250Z
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SUMMARY:House of Pain
DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 7:00 pm \nThis event is 21 and over. \nTickets on sale Fri. 1/20 at noon! \nTickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n***\nSt. Patrick’s Day 2017\nHouse of Pain \n \n[Facebook] [Twitter] \nOn the heels of their widely heralded reunion show at KROQ’s ‘Epicenter 2010’\, EVERLAST and DANNY BOY have decided to get the band back together in celebration of their 20th anniversary. That’s right\, HOUSE OF PAIN is back\, more focused than ever and extremely excited to kick-off a worldwide reunion tour in 2011. \nIt’s hard to believe that the rowdy Irish Americans got started way back in 1991\, but for the past 20 years the group has maintained a high profile – topping the Billboard charts as a group and with solo efforts. It was a turn of a new decade when HOUSE OF PAIN changed the face of hip-hop with their self-titled debut album\, going multi-platinum and launching one of the most memorable songs in hip-hop history with “Jump Around”. Now it’s the start of another new decade and HOUSE OF PAIN is ready to do it all over again; the group aims to bring their fiery live show to fans all over the world\, reclaim the throne as hip-hop’s best and celebrate what has allowed their successes over the past 20 years – the fans. \n“It’s been 20 years and we are very excited to go out there and do this again\,” comments Everlast. “The catalyst was definitely the KROQ Epicenter show this past summer. We had already been working together on the La Coka Nostra record and did an event with [UFC President] Dana White but it really came down to seeing the crazy response from the crowd in LA when we went into ‘Jump Around’. After that\, we went home thinking about it and now is the time to act on it. Every show is going to be like an anniversary party. It’s going to be crazy.” \nSince HOUSE OF PAIN disbanded back in 1996\, the members have kept their star power and went on to huge successes. EVERLAST has maintained an incredibly successful solo career that includes a triple platinum album\, multiple Top 10 hits (including the #1 smash hit “What It’s Like”) and a Grammy for the song “Put Your Lights On” which was recorded with Carlos Santana. Danny Boy changed focus from music to art and launched an extremely successful art company\, multiple clothing lines and ultimately brought the reunion about by forming the group LA COKA NOSTRA that featured the original lineup from HOUSE OF PAIN alongside rappers Slaine and Ill Bill. \nAfter experiencing all of the solo success\, it becomes obvious that HOUSE OF PAIN isn’t a group reforming to cash in on current musical trends. HOUSE OF PAIN is reforming because of the passion that they have for their music. They are back to celebrate with their fans across the 20 years that have spawned tremendous success and undying anthems of rebellious teenagers everywhere. They are back to show young fans everywhere just how raucous and dirty hip-hop can be – to prove that it doesn’t matter your age\, race\, religion or whether you’re into hip-hop\, rock or metal. HOUSE OF PAIN has crafted a 20-year legacy that speaks to fans from all walks of life. \nSo get out of your seat and “Jump Around.” \n*** \nSlaine \n \n[Website]\n[Facebook] [Twitter] \nIf you believe Life is hard yet one of the best gifts anyone can be granted\, you’ll understand the journey of Slaine. The hard knocks and struggle of this Boston native may sound like good tidbits for a novel\, television or mini-series. Hailing from the Dorchester area with deep connections in South Boston\, Slaine’s life was patterned somewhat of a gypsy moving around often. Despite not having a normal home foundation\, Slaine aspired like other starry eyed kids to become a force in the entertainment industry. Mapping out his plan to obtain his goals\, Slaine packed his bags and moved to New York City and enrolled in the School of Visual Arts. After only seven months\, an unfortunate altercation between Slaine and a school employee resulted in his expulsion at the school. \nThe incident was a major setback for Slaine that suspended his dream of becoming a filmmaker. Although dismayed and discouraged\, Slaine prevailed over his setback and proceeded towards his pursuit into the entertainment industry via another way…music. His love for hip-hop was discovered at the early age of nine. “I started writing rhymes when I was nine years old\, I use to record on my boom box with a pair of headphones plugged into the microphone jack. I felt they were just words on a page because I didn’t have an outlet to perform them.” Determined and focused\, Slaine spent his nights as a club promoter to survive in the hard lonely streets of New York City. At the same time\, he began recording and being managed by hip-hop legend MC Shan. While recording a demo in a studio operated by the Lordz of Brooklyn\, SLAINE was introduced to Danny Boy O’Connor of House of Pain. \nThe introduction lead into him being signed to a production deal with DJ Lethal of House of Pain which led to the mix tape release ‘The White Man is the Devil: Volume 1’ and the formation of Special Teamz with Boston rap legends Edo G and Jaysaun. Special Teamz dropped a self-titled street CD after that\, which garnered critical acclaim and allowed the group to tour in Europe. In a very short time\, SLAINE had gone from living in poverty with a drug habit to traveling the world and working with hip-hop icons such as DJ Premier\, Ill Bill\, House of Pain\, Cypress Hill\, The Alchemist\, and a host of other talented artists. He also became part of the collective LA COKA NOSTRA\, alongside Ill Bill and all three members of House of Pain – Everlast\, DJ Lethal\, and Danny Boy. La Coka Nostra’s debut album\, “A Brand You Can Trust” debuted at #84 on the Billboard Top 200 and #6 on the Rap charts\, sending a message to the masses that the group’s brand of gritty hip-hop was exactly what fans of the genre had been waiting for. \nSlaine’s name continued to grow far past his hometown of Boston due to the exposure he has received in publications such as The Source\, XXL\, The New York Times\, The Boston Herald\, and has performed sold out shows across the globe. SLAINE has been nominated for a Boston Music Award and received 4 trophies at The Mass Industry Committee’s hip-hop awards including one for Best Lyricist. \nAs his music career expanded\, a personal battle with drugs became a focal point that reared its ugly head. After overdoses\, hospital visits and a whirlwind of drugs and violence\, SLAINE finally checked into rehab. Instantly\, he found himself with homeless drug addicts and realized he was no different than any of them. “Everybody had a story to tell. That was where the idea and the hunger for “The White Man is the Devil” was born. “The White Man” is a cocaine reference\, not a declaration of self hate.” \nSince conquering his addiction\, Slaine’s was presented with new and exciting possibilities…Acting. A chance of a lifetime presented itself through an unexpected ally\, hometown hero and Academy Award winner Ben Affleck. SLAINE made his acting debut with his portrayal of Bubba Rogowski in Affleck’s return to screenwriting and directorial debut “Gone Baby Gone”. The film was critically acclaimed and led to Slaine being offered a larger role as a bank robber in the blockbuster “The Town” featuring Ben Affleck\, Jeremy Renner (The Hurt Locker)\, and Jon Hamm (Mad Men). He is also been in films\, “The Crack Down” and “Bad Blood” and in the upcoming movie “Cogan’s Trade” with Brad Pitt\, Ray Liotta and James Gandolfini. \nWhile Slaine’s acting career has allowed him to blaze new paths\, his venomous lyrical attack burns hotter than ever on his debut solo album\, “A World With No Skies 2.0”\, which drops on August 16th \, 2011 through Suburban Noize Records. With hard hitting lyrical content\, and vicious delivery\, “A World with No Skies 2.0” instantly takes hip-hop back to its grimy roots on the streets. To execute his dark musical vision\, Slaine enlisted the help of his La Coka Nostra brothers Everlast and ILL BILL\, as well as Cypress Hill’s B-Real and Vinnie Paz of Jedi Mind Tricks to create a dark hip-hop album that hits squarely in the jaw. “Even though I started my career as a solo artist by hustling my ‘The White Man is the Devil’ mixtapes\, I think people are more familiar with me from Special Teamz and La Coka Nostra\,” commented Slaine. “With this album I set out to create a soundscape that brings you into my world as an individual which is a bad place to be. It is hard\, dark and aggressive from the beats to the lyrics\, and a deeply personal trip through my life and the things that made me who I am today. A ‘World with No Skies’ is a look into my psyche and a vision of my dreams\, nightmares\, and realities.” \nDespite his ups and downs throughout his career\, Slaine’s living his life to the fullest. “I love making music that means something to me\, I am grateful for all the experiences that I have had—good and bad. I am lucky to be alive\, but my past also made me who I am today.”
URL:https://royaleboston.com/event/house-of-pain-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTEND;TZID=America/New_York:20170323T190000
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SUMMARY:The Knocks: Feel Good Feel Great
DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:30 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale Thu. 11/17 at 1PM! \nTickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nThe Knocks \n \n[Website] [Facebook] [Twitter] \nThe Knocks are a New York story through and through. They met as 19-year-old college students\, late one night in a studio at the New School. Ben Ruttner\, known as “B-Roc\,” DJed clubs as a PM day job\, and James Patterson\, known as “JPatt\,” played the organ at a church outside the city. \nWorking out of their bedrooms\, The Knocks remixed Jay-Z’s entire American Gangster album in two days\, calling it American G-Funk. With remixes for Katy Perry and Passion Pit soon following\, the Knocks were declared one of the “20 hottest producers in music” by NME and quickly became synonymous with a certain warm\, retro-future\, disco-kissed touch. Future stars like Ellie Goulding and Icona Pop took note of the Knocks\, asking them to produce for their own projects. \nThey put our their first big hit in 2010 with the filter-house party anthem “Dancing With the DJ”\, and toured the UK with Sleigh Bells and DJ Shadow. Opening for Ellie Goulding on her US debut tour in 2011 and playing the main stage at Ultra in 2012\, B-Roc and JPatt were a bridge between the indie dance world and the mainstream market. \nThey recently hit a touchstone with “Classic\,” a seductive track that whips up the sun-drenched sense of endless celebration. Fetty Wap jumped on for a guest verse\, as befits the way the Knocks style synthesizes anything with energy: hip-hop\, soul\, house\, disco and pop. Their new album 55 is a resolutely DIY dance album that pulses with the heart of the city. It opens with none other than Cam’ron\, Wyclef Jean comes out of nowhere\, Carly Rae Jepsen takes a house diva turn\, and Alex Newell aims his high range like a trigger in SPIN’s Best-101-of-2015 pick “Collect My Love”. It’s an album laced with disco magic and hiphop flow; it’s built for a crowd\, but first it has to pass a bar that’s internal. “Would I spin this?” the Knocks still ask each other\, every time they cut a track. They’ll be spinning this one for years. \n*** \nBipolar Sunshine \n \n[Website] [Facebook] [Twitter] \nBipolar Sunshine is based on a surreal world where anything is possible\, the stranger the better as long as its done with an artistic approach. A Home for the defeated romantic\, the passionately curious but in the mist of all still can see the bright side to every- thing. \n*** \nGilligan Moss \n \n[Website] [Facebook] [Twitter] \nYou could say that Gilligan Moss originally formed in the early 90s in an unassuming pre-school in downtown Chicago. Comprised of Evan and Ben\, the two have used this deep-rooted friendship to form a psychic bond to explore a new vision for what it means for pop music to live in the club. The duo from Chicago\, has a distinct style that fills the cracks between several genres — they are drawn to strange melodies\, polyrhythmic percussion\, and driving\nbasslines. Their goal is to make music that could soundtrack an Ewok dance party as easily as it could a solitary walk home.\nThe project began with Evan\, who anonymously started posting his music to Soundcloud in 2013. His first single “Choreograph” caught a wave of blog buzz\, eventually hitting #1 on the Hype Machine charts. On the success of this single and a remix for Glass Animals’ “Gooey\,” he took to writing a batch of tunes and the resulting Ceremonial EP was released in August 2015 via AMF Records\, an imprint of Virgin EMI.\nWhen asked to go on the road in support of Glass Animals in late 2015\, he asked Ben to join him for the live rig. Once tour came to a close\, they began writing together\, rekindling the spark that formed all those years ago in pre- school. They have done remixes for the likes of Sia\, Banks\, Tegan & Sara and their second EP is expected in mid-2017. For the past few months\, the duo has been camped out in the woods in upstate New York\, perfecting the perfect dance party for the squirrels and birds that surround their studio.
URL:https://royaleboston.com/event/the-knocks-feel-good-feel-great/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20170324T180000
DTEND;TZID=America/New_York:20170324T213000
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SUMMARY:Jessi Live Concert!
DESCRIPTION:Korean R&B/Rapper \n18+ \nVIP: 617-733-0505
URL:https://royaleboston.com/event/jessi-live-concert/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Special Events
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DTSTART;TZID=America/New_York:20170325T190000
DTEND;TZID=America/New_York:20170325T190000
DTSTAMP:20260409T163321
CREATED:20170210T153933Z
LAST-MODIFIED:20170210T153933Z
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SUMMARY:Zveri Concert
DESCRIPTION:Party Time Boston Presents.. \n21+ \n7:00pm Doors\n8:00pm Show
URL:https://royaleboston.com/event/zveri-concert/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20170326T190000
DTEND;TZID=America/New_York:20170326T190000
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CREATED:20170110T183438Z
LAST-MODIFIED:20170110T183438Z
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SUMMARY:Minus the Bear
DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale Fri. 1/13 at 10AM! \nTickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nMinus the Bear \n \n[Website] [Facebook] [Twitter] \nOver the course of their 15-year career\, Minus the Bear have carved out their own unique musical world. This isn’t to say they’re impervious to outside influence. They’ve borrowed components from a wide swath of genres—the brainy clangor of New York’s proto-punk scene\, the cerebral buzz of IDM\, the poptimist evaluation of hip-hop and R&B\, and the grandiose visions of prog rock—but always managed to defy classification. Throughout the first decade of their existence\, every new album offered a new musical approach\, as seen in the idiosyncratic fretboard gymnastics of Highly Refined Pirates\, the glitchy loops of Menos el Oso\, or the modernized Fripp-inspired wizardry of Planet of Ice. By the time the band entered our current decade\, their knack for reinvention yielded to an emphasis on refinement. Albums like OMNI and Infinity Overhead searched for a middle ground where their myriad of stylistic approaches could all work within the context of a single record. \nOn their sixth album VOIDS\, Minus the Bear started with a blank slate\, and inadvertently found themselves applying the same starting-from-scratch strategies that fueled their initial creative process. “There was a lot of change and uncertainty\,” says guitarist David Knudson. “I think the general vibe of emptiness\, replacement\, lacking\, and longing to fill in the gaps was very present in everyones’ minds.” Change was everywhere. Keyboardist/vocalist Alex Rose took on a more prominent role in composition and handled lead vocal duties on songs like “Call the Cops\,” “Tame Beasts\,” and “Robotic Heart\,” drummer Kiefer Matthias joined the fold\, producer Sam Bell lent a fresh set of ears in the studio\, and the band returned to their original label home at Suicide Squeeze Records. Minus the Bear were no longer swept along by the momentum that had driven them for the last fifteen years. Instead\, they reached a point where they could recalibrate and redefine who they were as a musical entity. The resulting album VOIDS retains many of the band’s signature qualities—the hedonistic tales of nighttime escapism and candid vignettes of adulthood\, the savvy up-tempo beats\, the layered and nuanced instrumentation—while simultaneously reminding us of the musical wanderlust that initially put them on the map. \nAlbum opener “Last Kiss” immediately establishes the band’s renewed fervor. An appropriately dizzying guitar line plunges into a propulsive groove before the chorus unfolds into a multi-tiered pop chorus. From there the album flows into “Give & Take”\, a tightly wound exercise in syncopation that recalls the celebratory pulse of early Bear classics like “Fine + 2 Pts” while exploring new textures and timbres. “Invisible” is arguably the catchiest song of the band’s career\, with Jake Snider’s vocal melodies and Knudson’s imaginative guitar work battling for the strongest hooks. “What About the Boat?” reminds us of the “math-rock” tag that followed the band in their early years\, with understated instrumentation disguising an odd-time beat. “Erase\,” recalls the merging of forlorn indie pop and electronica that the band dabbled with on their early EPs\, but demonstrates the Bear’s ongoing melodic sophistication and tonal exploration. By the time the band reaches album closer “Lighthouse\,” they’ve traversed so much sonic territory that the only appropriate tactic left at their disposal is a climactic crescendo\, driven at its peak by Cory Murchy’s thunderous bass. Not since Planet of Ice’s “Lotus” has the Bear achieved such an epic finale. All in all\, it’s an album that reminds us of everything that made us fall in love with Minus the Bear in the first place\, and a big part of that appeal is the sense that the band is heading into uncharted territories. \nSuicide Squeeze Records is proud to release VOIDS to the world on March 3\, 2017 on CD\, LP\, and cassette. Nick Steinhardt designed the artwork and layout for all formats. The first pressing of the album is available on 5\,000 copies of splatter colored vinyl and 5\,000 copies of 180 gram black vinyl. The LP jacket features PMS inks\, a die-cut cover with a printed inner sleeve and contains a download code. The cassette version is limited to 500 copies and includes a download code as well. \n*** \nBeach Slang \n \n[Website] [Facebook] [Twitter] \nBeach Slang are a band who have garnered a lot of attention considering that they’ve only released two 7-inches\, 2014’s Cheap Thrills On A Dead End Street and its companion Who Would Ever Want Something So Broken? Refreshingly this Philadelphia-based act have built their hype the old-fashioned way\, without any gimmicks or marketing teams\, which makes sense when you consider that frontman and writer James Alex cut his teeth in the Pennsylvania pop-punk act Weston while drummer JP Flexner and bassist Ed McNulty also play in buzzed about projects such as Ex-Friends and Crybaby. However there’s something indefinable about Beach Slang’s music that evokes the spirit of punk and juxtaposes it into something that’s as brutally honest as it is infectiously catchy. \n“When this whole thing started it was like\, ‘Alright\, i’m going to get to hear my sappy little songs played loud and interact with other human beings again\,’ the admittedly shy Alex says looking back on Beach Slang’s existence. “Then one day this really sweet explosion happened and Beach Slang became a thing that mattered to people.” As anyone who has seen Beach Slang live can attest\, it matters to people a lot including the group’s peers like Cursive who hand-selected Beach Slang to open for them on their upcoming headlining tour. “I used to skate with this really sweet girl who would refer to the way I spoke as ‘beach slang’ and I’ve never shaken that off\,” Alex continues. “The really soft parts of your childhood\, I suppose\, have a way of sticking around. I like that.” \nThat feeling of youth and vulnerability also lie at the core of Beach Slang’s music\, which is part punk\, part pop and all catharsis. It references the ghosts of The Replacements but keeps one foot firmly rooted in the present. It’s fun and it’s serious. It’s sad but it isn’t. It’s Beach Slang. Enjoy it and look out for the band’s debut full-length later this year because they’re still just getting started. \n*** \nBayonne \n \n[Website] [Facebook] [Twitter] \nRoger Sellers is a lot of things. He’s a minimalist composer with a knack for making hypnotic\, enveloping songs from a few repeated musical phrases. He’s a gifted musician who is mostly self-taught\, having abandoned formal study because it was draining the life from his work. He’s a self-described disciple of Phil Collins. What he is not\, however — despite multiple press reports to the contrary — is a DJ. \n“I started developing a decent following in Austin\,” he says\, “but most of the time when I would play\, the press would say something like ‘Local DJ Roger Sellers\,’ or ‘Roger Sellers is playing a late-night DJ set.’ I think it was maybe because my live set involves a table full of gear\, a drum set and headphones\, but the average person probably knows more about DJing than I do.’” To combat the misunderstanding\, Sellers printed up stickers reading\, “Roger Sellers is Not a DJ\,” and eventually adopted the alias Bayonne\, changing his name without altering his approach. \nAnd it’s a good thing: Primitives\, Sellers’ debut as Bayonne\, is a rich\, complex work\, the kind with no clear rock parallel. In its winding\, maze-like structures are hints of both Steve Reich and Owen Pallett\, each instrument working a single melodic pattern over and over and over\, as Sellers threads his soft\, reedy voice between them. On songs like “Appeals\,” the effect is hypnotic: notes from a piano crash down like spilled marbles from a bucket\, as Sellers’ ringing-bell vocals swing back and forth between them. The end result is spellbinding music\, meticulously-crafted songs where each tiny piece locks into another\, and hundreds of them joined together create a breathtaking whole — like dots in a Seurat\, or tiny bones in a dinosaur skeleton. \nSellers’ journey to Bayonne began when he was two years old\, situated in front of Eric Clapton Unplugged at his home in TK. “I’d just watch it over and over again\,” he laughs. “I would get paint cans and bang on them\, trying to imitate what I saw in the video. My parents got me a drum set when I was 6 years old and I became obsessed. I wanted to be Phil Collins for so many years as a child. He was my hero. I feel like you can hear that a lot in Primitives\, that big drum sound\, because so much of the way I play was learned from Phil Collins.” Though Sellers studied classical piano as a child and music theory in college\, rather than developing his skill\, he found both to be deadening. “It became homework\,” he says. “It made me come home and not want to write. That’s not at all how I’d thought about music — it had always been something fun — almost like a kind of therapy. It was an escape\, not a chore.” \nInstead\, Sellers struck out on his own\, buying a looper and slowly amassing a stockpile of tiny melodies. “I found out that I could make these songs really spontaneously and have this really good idea without having to get into the studio to capture it right away. Most of these songs came out of me just fucking around\, hooking up keyboards and experimenting.” The experiments cohered into music that is beautiful and densely layered. The composition of the individual musical phrases may have been spontaneous\, but assembling them to create Primitives was anything but. Instead\, Sellers constructed the songs from a collection of loops he’d built up over the course of six years. Some of those patterns were created on stage at his shows\, where Sellers threads melodies together in real time\, augmenting them with live drums and vocals. Others were written during downtime\, improvising at home. Once he had the basic melodies\, he had to figure out how they went together\, and how to layer them meticulously to make songs that were rich in deep detail but still immediately engaging. \nYou can hear all of that in “Spectrolite”; taut apostrophes of guitar enter first\, pinpricks of barely-there sound that blink like Christmas lights. Bone-dry snare enters next\, but the guitars keep echoing their same hypnotic phrase; it’s followed by grumbling bass and\, finally\, Sellers’ airy\, high-arcing voice; each piece follows their charted course again and again\, but as the song goes on\, it gets more engrossing — it gives the effect of slipping slowly into warm water. “That one came from an older loop that I had\,” Sellers explains. “It was about a stone that my girlfriend at the time had brought me back from Australia\, a spectrolite stone. We had some things happen between us during that time\, so that stone meant a lot to me. I had it with me the entire time I made the record. It’s a song about forgiveness\, and keeping those people who matter most to you close around you\, and caring for those that you love.” In “Waves\,” surging piano replicates the sound of the ocean\, lapping slowly forward and back. Giant tribal drums enter\, filling the blank space\, giving the song a soft\, calming\, see-sawing rhythm. “That’s a song I basically wrote by performing it live\,” Sellers says. “That’s one of my favorite songs that I’ve written because of the simplicity of it\,” he explains. “You feel like you’re in the ocean or something.” But as the song goes on\, it skews darker. “I know that there’s something else\, something else\, something else\,” Sellers sings\, “And I know that you’d be there for me.” As the song goes on\, the object of his affection drifts away\, like a boat toward the skyline. Like all of Sellers’s songs\, it centers carefully constructed music around the soft\, glowing core of the human heart. \n“That’s all of it — emotion\,” Sellers says. “I want the music to carry people in some way\, and I want them to feel what I’m feeling. I want my music to be an emotive expression.” On Primitives\, Sellers creates music that’s nuanced\, layered\, complicated and soothing — easy to get lost in\, impossible to ignore.
URL:https://royaleboston.com/event/minus-the-bear/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20170327T190000
DTEND;TZID=America/New_York:20170327T190000
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CREATED:20170127T192406Z
LAST-MODIFIED:20170127T192406Z
UID:10001747-1490641200-1490641200@royaleboston.com
SUMMARY:Bebe Rexha
DESCRIPTION:SHOW MOVED FROM THE SINCLAIR TO ROYALE DUE TO OVERWHELMING DEMAND! \nBowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is All Ages.\nTickets on sale NOW! \nTickets available at AXS.COM\, or by phone at 888-929-7849. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \n*** \n \n*** \nBebe Rexha \n \n[Website] [Facebook] [Twitter] \nEvery dream requires a hustle. Long before she became an inescapable pop presence and one of the industry’s most in-demand songwriters\, Bebe Rexha began quietly hustling hard towards a career in music during her childhood in Brooklyn\, NY.\n“I never wanted to take the easy way\, and I was always willing to hustle\,” she declares. “I started grinding and writing songs back in high school. I was the girl that didn’t go to prom or my graduation\, because I was too busy working with producers and making music. I’d feel at home singing over hip-hop beats and rolling with the boys. It’s where I still have the most fun\, and it’s where my personality comes through.”\nFollowing years of dedication and diligence\, that grind paid off big time in 2013 after she penned “The Monster” in a Harlem studio. The single eventually became a worldwide hit for Eminem and Rihanna—going RIAA quadruple-platinum stateside. Bebe would write and feature on Cash Cash’s “Take Me Home\,” an idea she envisioned back in her bedroom in New York. Relocating to Los Angeles\, she’d go on to co-write and sing on Pitbull’s “This Is Not A Drill” in addition to writing Tinashe’s “All Hands On Deck.” Her 2015 debut EP\, I Don’t Wanna Grow Up [Warner Bros. Records] \, boasted the singles “I Can’t Stop Drinking About You” and “I’m Gonna Show You Crazy\,” which racked up over 52 million Spotify streams in only six months. That same year\, she co-wrote and carried instantly recognizable hooks for the double-platinum “Hey Mama” by David Guetta\, Nicki Minaj\, and Afrojack as well as G-Eazy’s 2016 Billboard Hot 100 platinum smash “Me\, Myself\, & I.”\nTo date\, she’s accumulated over 10 million overall single sales\, 800 million Spotify streams\, 1 billion combined YouTube/VEVO views\, and reached a radio audience of 7 billion in addition to earning praise from the likes of USA Today\, Billboard\, MTV and more. On the road\, she has toured supporting Nick Jonas and scorched the stage of the 2015 Vans Warped Tour\, emerging as one of its biggest breakout acts.\nHowever\, everything set the stage for her 2016 single “No Broken Hearts” [featuring Nicki Minaj]. The unshakable and undeniable anthem introduces her forthcoming full-length album with a bang. Produced by Grammy Award®-nominated production team The Invisible Men\, the track sees her robust\, raw\, and real voice take the spotlight. Over a slick\, smooth\, and sultry bounce\, Bebe delivers a massive refrain freestyled in the vocal booth and punctuated by a fiery verse from Minaj.\n“I had been heartbroken three times that week\,” she admits. “I went to the studio\, and I was crying my eyes out. As soon as I walked to the mic\, it came to me. We captured the first take right when I heard the song. There’s nothing mathematical to my writing. It’s feeling. I turned sadness into an anthem for not letting anything or anyone slow you down. Everybody goes through some sort of pain. It’s good for people to hear that. Nicki was perfect\, because she’s a New York chick who identifies with this. Life’s too short\, so let’s enjoy it.”\nThat spirit courses through her inimitable and irresistible sound. Merging booming production\, cinematic storytelling\, and a powerhouse voice\, she nods to influences as diverse as Michael Jackson\, Lauryn Hill\, Tracy Chapman\, The Cranberries\, and Kanye West. Drawing on her Albanian heritage and youth in New York City\, she stirs up a musical melting pot of her own.\n“I feel like I’m just starting to show who I am\,” she continues. “I’m going even further though. I’m embracing my roots and the artists I love. At the same time\, I want to tell stories. The new music is more about empowerment. You work on yourself\, and you focus on your happiness. That’s the message. I’m saying what I want to say. Life isn’t easy. We’re all going through something. I hope people know they’re not alone when they hear my songs.” \n*** \nDaniel Skye \n \n[Website] [Facebook] [Twitter] \nI am a 16 year old singer/songwriter. \n*** \nSpencer Ludwig \n \n[Website] [Facebook] [Twitter] \n> \nA trumpeter\, singer\, producer\, and dancer who rocks alligator shoes with smoking style and panache\, Spencer Ludwig brings any party to life. Chances are\, you’ve heard his lyrical lead trumpet soaring through the music of multiplatinum-selling indie pop act Capital Cities. Not only did the Los Angeles-born\, half-Filipino vocalist-instrumentalist perform on their full-length debut In a Tidal Wave of Mystery\, but he also crisscrossed the globe with the band\, opening Katy Perry’s Prismatic World Tour and tearing up the stage at Coachella\, Bonnaroo\, and more. Following a whirlwind two years in the group\, he returned to Los Angeles in December 2014 and commenced writing solo material that showcased both his trumpet talents and dynamic\, diverse vocals. On his 2016 solo debut for Warner Bros. Records\, he merges jazz virtuosity and pop style for a sound that simmers and swaggers with soul.
URL:https://royaleboston.com/event/bebe-rexha/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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