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SUMMARY:Between the Buried and Me / The Dear Hunter
DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 7:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. Please note: bags or backpacks larger than a purse are prohibited.\nTickets on sale Fri. 1/19 at 10AM! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \n*** \n \n*** \nBetween the Buried and Me \n \nWebsite\nFacebook\nTwitter \nWhat if dreams could be broadcast for the purpose of entertainment? Could you consume the innermost thoughts of another person on screen? If you could\, what does that say about an attention-starved audience? More importantly\, what would become of the dreamer?\nBetween The Buried and Me pose those questions and more on their two-part eighth full-length and introductory offering for Sumerian Records\, Automata. The North Carolina quintet—Tommy Giles Rogers\, Jr. [lead vocals\, keyboards]\, Paul Waggoner [lead and rhythm guitar\, backing and lead vocals]\, Dustie Waring [rhythm and lead guitar]\, Blake Richardson [drums]\, and Dan Briggs [bass\, keyboards]—explore these themes by personally smashing boundaries once again. Automata marks the band’s first proper double LP-spanning concept. Moreover\, they continue to expand their ever-evolving style\, upholding a tradition of progression in the process.\n“We never want to repeat ourselves\,” affirms Paul. “We’re always trying to do something different\, and this album fell right into that sort of pattern. We push ourselves into new places\, while retaining our basic sound. Musically\, we go somewhere that’s fun and challenging. We never know how it’s going to turn out. These are uncharted waters for us. We’ve never written an entire piece and presented it in separate parts like this.”\nTommy agrees\, “This many years into our career\, we want to continue doing things differently.”\nThis approach cemented the group as progressive music’s most unpredictable outlier since its formation in 2000. Among many milestones\, they released 2007’s watershed Colors followed by The Parallax: Hypersleep Dialogues EP in 2011 and The Parallax II: Future Sequence a year later. 2015 saw Coma Ecliptic elevate them to new heights yet again. Not only did it bow at #12 on the Billboard Top 200 (a career high for the band)\, but it also garnered widespread acclaim from Noisey\, Revolver\, Alternative Press\, and The Guardian who welcomed the album with a rare perfect score. In between\, they launched countless sold out headline tours and support runs with the likes of Mastodon.\nNow\, they break more ground with Automata.\n“Lyrically\, I wanted to write something that I treated as a puzzle until it comes together at the end\,” continues Tommy. “For as deep and dark as it is\, there’s a positive outcome\, which we’ve never had. The story follow a protagonist whose dreams are used as entertainment broadcasted by a company called Voice of Trespass. Most of the record takes place within that dream. The character thinks it’s all real.”\n“Even though it takes place in the future\, there are a lot of parallels to modern society\,” adds Paul. “Oftentimes\, we turn athletes\, movie stars\, and musicians into commodities. We forget that they’re real people with problems and issues. They’re society’s escape from reality as we use them for entertainment. Hence\, society plays a role in their downfall\, be it drug dependence\, isolation\, or even suicide. Society perpetuates mental illness with those expectations.”\nAutomata – Part I unveils the first six songs comprising the entire body of work. Stretching near seven minutes\, “Condemned to the Gallows” kicks off this journey. Acoustic guitar builds in epic fashion before sweeping distortion takes hold followed by unpredictable rhythms and a seismic vocal performance which\, as Tommy puts it\, “sets up the whole story.”\nElsewhere\, the trudging eight-minute guitar symphony of “Yellow Eyes” spirals into the melodic bliss of “Millions.”\n“There are a lot of moments where we totally venture away from the traditional formula of what a progressive metal band can do\,” states Dan. “There are all these little moments where we’ve done something we never did before. ‘Millions’ is the perfect example. It’s four-minutes of straight melody—another first.”\nWith Automata Part I\, Part II\, and the myriad of visuals on the horizon\, Between The Buried And Me realize their potential to its fullest—and go one step further.\n“All of our music should build up to the newest record\,” Tommy leaves off. “That’s what happens with Automata. You can take little snippets from our past throughout this album. It sounds like Between The Buried And Me\, but it’s still new. We hope to keep the music industry on its toes. This is part of doing that.” \n*** \nThe Dear Hunter \n \nWebsite\nFacebook\nTwitter \nIt’s been almost a decade since Casey Crescenzo brought The Dear Hunter — both the band and the character of the same name — to life with his 2006 debut full-length\, Act I: The Lake South\, The River North. Although it was evident from his stint as singer of The Receiving End Of Sirens\, the record revealed Crescenzo’s incredibly inventive and ambitious musical flair\, something which has been evolving ever since. The two albums which followed — 2007’s Act II: The Meaning Of\, And All Things Regarding Ms. Leading and 2009’s Act III: Life And Death — cemented the now 32 year-old as a maverick\, idiosyncratic talent whose music\, while fitting a modern aesthetic\, was also from a bygone era. \nAnachronistic and timeless in equal measure\, the narrative of The Dear Hunter existed in both the past and the present\, its detailed plot standing simultaneously as an age-old and new age fable. As that tale progressed\, so did Crescenzo’s art\, his experimental compositions blurring the line between different genres to create a sound that was — and still is — unique to the band. But then\, halfway through the six envisioned Acts of the Dear Hunter narrative\, Crescenzo’s attentions shifted. Between 2010 and 2011\, the band recorded a series of nine four-track EPs known as The Color Spectrum. Later released as a single volume edition\, each EP was a musical interpretation of a color from the visible spectrum\, showcasing the increasingly far-reaching ambitions for Crescenzo’s musical vision and his inventive interpretation of the world around him. Two years later\, the more mellow and straightforward fifth full-length Migrant showcased a different side to the songwriter’s talents\, and last year he composed and recorded his first symphony Amour & Attrition. With such a storied musical repertoire\, its clear Crescenzo is no ordinary musician.\nNow\, six years and two albums after The Dear Hunter released Act III: Life And Death\, Crescenzo has returned to the narrative of the anti-hero who shares the band’s name\, applying all of the knowledge and experience of the last ten years to this new chapter. Picking up where the story left off — with the eponymous protagonist assuming the identity of his late brother and returning home — Act IV: Rebirth In Reprise is an album that explores the complex notions of who and what we are\, and which attempts to answer its own questions through the wanderings and wonderings of the album’s protagonist. Yet as the plot and the music weave their way through these fifteen songs\, it’s clear that they transcend the boundaries of the Dear Hunter story. This is as much about a return in real life as it is the fictional story.\n“Revisiting something that was six years removed from my life\,” explains Crescenzo\, “and going back to doing these records was actually a suggestion of my manager and friend Mike Marquis. We got talking about the title of the record and it really just made sense\, both within this story — which is about this character returning to a familiar place as a different person — but also in terms of the music\, which was returning to a familiar place as a different person for myself. So it was the perfect middle ground of describing conceptually\, and as far as the plot goes\, a story\, but also a very perfect paralleling between my personal life and the story of the record — that revitalization and rejuvenating that comes from revisiting something with a newfound perspective.”\nThe result is the band’s most orchestral and multi-layered set of songs to date. Both nuanced and euphoric — sometimes at the same time — their very essence breathes life back into a story that has been on pause for over half a decade\, reigniting the lives of the characters with heart and aplomb. That’s something Crescenzo insists could only have happened by taking a break from the world with The Color Spectrum and Migrant. The distance that making those records afforded Crescenzo means that of all the albums The Dear Hunter has made\, Act IV’s soundtrack to its main character’s physical and philosophical journey is also the closest Crescenzo has come to realizing the true musical vision inside his head.\n“I was trying to do it on Act I\, Act II and Act III\,” he says with a slight sigh of fake exasperation\, “but I could never get to the point where I was just in a room with an orchestra playing these parts\, because I didn’t know how to do it. It was this thing that I always wanted to incorporate into what I did before\, I always wanted this and I was always upset that I didn’t get it. This time\, I could apply this knowledge that I actually possess into this music. It was one of the most exciting experiences of my life because the orchestra is such an integral part of that album from start to finish\, as far as weaving in and out of the music and gluing it all together.”\nThat’s certainly an understatement. Aside from a couple of brief pauses\, Act IV is almost one continuous piece of music. Whether it’s the gracefully powerful lilt of “At The End Of The Earth”\, the frantic\, almost King Crimson-esque 9 minute epic surge of “A Night On The Town” or the angular guitars of “King Of Swords (Reversed)” — which Crescenzo says drew inspiration from unlikely sources such as ELO\, Talking Heads and Michael Jackson — it all creates a sense of dramatic momentum to parallel all the physical and metaphysical action that takes place across this record’s ambitious 64 minutes. Initially written and recorded at Crescenzo’s self-built studio in Port Angeles\, Washington (where he now lives) with the rest of the band\, once their parts were done\, Crescenzo then set about finishing the rest of it himself.\n“I tracked most of my guitar and then I finished writing the scores for the orchestra\, so before I even got in to doing vocals\, my girlfriend\, my dog and I drove down to California and tracked the orchestra.”\nPlayed by the community-based Awesöme Orchestra collective at Berkeley’s Fantasy Studios\, it means the album truly is the culmination of everything that preceded it. As such\, even though it’s part of a fictional narrative\, it doubles up as the band’s most autobiographical album to date. That might seem like a paradoxical concept\, but to listen to Crescenzo explain it\, and it makes perfect sense. As Crescenzo points out\, “There were always these big pillars of the story that I wanted to tell as far as broad strokes. It’s always had Point A and Point B on a grand scale\, but I like to grow as a human being\, a songwriter\, a lyricist\, and I didn’t want to bind myself to the outlook and my feelings and my personal headspace at 22\, when I started writing this\, knowing that it would be years and years and years before I’d ever get to the sixth part. I didn’t want to control the creativity of the 32 year-old me at 22. I left a lot of wiggle room so I could pull on the new experiences I’d have as an adult and through the years it would take to finish it. So a lot of the detail is told from the last six years of my life going into Act IV.”\nAs such\, the personal growth that Crescenzo experienced in his own life shaped those moments. For a start\, he wanted the band — completed by Nick Crescenzo (drums\, percussion)\, Robert Parr (guitar\, keyboards)\, Nick Sollecito (bass)\, Maxwell Tousseau (guitar\, keyboards) and Andrew Brown (keyboards) — to have more input into the development of the songs. Secondly\, he found his attitude towards the people who initially inspired the characters had changed over time — and so had the characters as a result.\n“Looking back on the way that it started\,” Crescenzo remembers\, “the story was rooted in such an intensely bitter place I was able to demonize whoever I wanted through the fiction of it. What’s really interesting is that\, just by coincidence\, in this story and in these characters who have been somewhat demonized in my mind relating to real life people\, there are these moments somewhat of redemption for these characters. It was like I knew I wasn’t going to want to make that record until I was in a personal place where I had sort of gotten past the initial bitterness and the grudge I’m incapable of not holding. If I had written it all as younger man\, I think it would have been bitterness from the beginning to the end\, and there would have been no room for my growth or the growth of whatever character I’m putting in there.”\nThere are still two more Acts planned\, as well as a graphic novel in the works\, but for now\, the life of the Dear Hunter — both the character and the band — is fully consumed by this newest part of the story. It’s been a long time in the waiting\, but that’s precisely why the pieces have all fallen so perfectly into place. “Honestly\,” Crescenzo chuckles\, “just the act of making this record after so long\, and making the record I said I was going to make and not damning the younger version of me to having lied\, is very cathartic. And when it was done\, I had no idea what to do with myself. All of a sudden\, I was finished with this thing I didn’t even know if I would get to. I was blindsided by the finality of it.”\nOne listen\, and you probably will be\, too. \n*** \nLeprous \n \nFacebook\nTwitter
URL:https://royaleboston.com/event/buried-dear-hunter/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20180404T193000
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SUMMARY:The Black Angels with special guest Black Lips
DESCRIPTION:Bowery Boston presents \nThe Birds and The Bees Tour \nDoors: 7:30 pm / Show: 8:30 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. Please note: bags or backpacks larger than a purse are prohibited.\nTickets on sale Fri. 1/19 at 10AM! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \n*** \n \n*** \nThe Black Angels \n \nWebsite\nFacebook\nTwitter \nDeath Song is the first full-length release in four years from The Black Angels – Austin’s five-piece psych rock masters – and their debut for Partisan Records.  \nWritten and recorded in large part during the recent election cycle\, the music on Death Song serves as part protest\, part emotional catharsis in a climate dominated by division\, anxiety and unease. “Currency\,” a strong contender for the heaviest song the band has ever put to wax\, meditates on the governing role the monetary system plays in our lives\, while slow-building psychedelic earworm “Half Believing” questions the nature and confusing realities of devotion. \nRecorded between Seattle and Austin\, Death Songfeatures production from Phil Ek (Father John Misty\, Fleet Foxes\, The Shins). The 11-track collection offers a sharply honed elaboration on their signature sound – menacing fuzz guitar and cutting wordplay\, steeped in a murky hallucinatory dream.  \nThe band will tour extensively behind Death Song\, including a headline set at one of the first-ever shows at new NYC venue Brooklyn Steel on May 2nd. Full itinerary below for “The Death March Tour”\, which begins in Nashville. The band will be supported by A Place to Bury Strangers. \nSince forming in Austin in 2004\, The Black Angels have become standard-bearers for modern psych-rock\, and the New York Times has said they “play psychedelic rock as if the 1960s never ended\, and they are absolute masters of it”. The band has toured with Queens of the Stone Age\, Brian Jonestown Massacre\, the Black Keys + more\, and played festivals such as Glastonbury\, Fuji Rock\, Primavera\, Harvest Fest\, Coachella and Bonnaroo. Two of the band members co-founded Levitation Festival (formerly Austin Psych Fest) in 2008\, which has since grown into one of the best-reviewed and expertly-curated festivals in the country (returning in 2018). \n*** \nBlack Lips \n \nWebsite\nFacebook\nTwitter \nThe story of the Black Lips began in Dunwoody\, Georgia\, a quiet\, conservative suburb of Atlanta\, in the year 1999. Born of a mutual love of Link Wray\, The Stooges\, and The Ramones\, and sealed through a shared dedication to defiance\, the band formed after childhood friends Jared Swilley and Cole Alexander were kicked out of Dunwoody High for separate\, yet equally bad\, behavior. The former classmates took their love of\nmusic and restless energy and channeled it into their newly found free time\, and joined by\nfriends Ben Eberbaugh and Joe Bradley\, the Black Lips started playing shows around Atlanta\, at house parties and bars. They spent this time honing their sound – garage rock infused with blues\, psychedelia\, and punk\, plus a healthy dose of reckless abandon – and released their first 7-inch\, “Ain’t Coming Back\,” in 2002 on Die Slaughterhouse records (named in homage to the flophouse den they called home). Shortly before the band was set to head out on their first ever national tour\, Eberbaugh was tragically killed by a drunk driver. Devastated but determined to carry on in Eberbaugh’s honor\, the Black Lips hit the road as a trio just a few days later.\nIt’s been 15 years\, but that passionate dedication to touring has never left the\nband. The Black Lips have released eight full-length albums since that first tour\, and have\ntraveled the country and the world extensively\, making a name for themselves as an electrifying\, must-see live act. It helps that the same mischievous spirit that helped speed up their exit from the educational system is still very much alive\, thriving in its new environment on stage\, resplendent with punk rock theatrics and miscellaneous bodily fluids\, amongst other things. The band’s energy and unique “flower punk” sound helped them build a rabid fan base\, and after releasing their first two albums through Bomp!\, they put out the critically celebrated Let It Bloom on In The Red records. This record garnered the Black Lips features in Spin and Rolling Stone\, and they were soon signed to Vice Records\, subsequently releasing Los Valientos Del Mundo Nuevo\, an ambitious album recorded live at a bar in Tijuana\, Mexico\, in February of 2007.\nIn their decade-long tenure with Vice\, the Black Lips have evolved from wildly crooning over fuzzy\, raucous music at house shows full of kids to wildly crooning over fuzzy\, raucous music at international festivals in front of thousands of fans. They have toured consistently\, with their zeal for travel taking them all over the world\, and not without some international adventure: In 2009 the Black Lips went on their first (and last) tour of India\, playing shows in Bangalore and Mumbai before chaos struck in Chennai after the band ditched their toned-down presence in favor of classic Black Lips capers\, including some not so well received Lips-locking.  After the same sex smooching and\nalso Alexander baring his butt to the rowdy crowd\, the tour’s sponsors pulled out and the band was nearly jailed\, their passports confiscated by the disgruntled promoters. According to Swilley: “The first few shows\, we were being really reserved because we didn’t want to offend anyone\, but they kept telling us to do what we wanted…I guess “do whatever you want” didn’t include kissing each other\, and I think Cole mooned the crowd\, which is a huge no-no. We had to physically wrestle our passports back from the promoters. It was the scariest 15 hours of my life\, but we got out of there.” The band ended up taking a 200 mile cab ride to the next province and hopped a flight to Berlin\, narrowly escaping Indian prison.\nUndeterred\, the band jumped at the chance to become the first Western punk band to tour another notoriously conservative continent\, the Middle East\, just a few years later. Why?  “It was important for a number of reasons\,” Swilley says of the tour. “We’ve always wanted to push boundaries of where we go. Plus\, a lot of people told us we couldn’t do it\, and anytime someone tells us we can’t do something\, then we kind of have to. We have O.D.D\, oppositional defiance disorder.” This time\, their shows went off without a hitch\, and Black Lips played shows for crowds in Jordan\, Cyprus\, Egypt\, Lebanon\, Iraqi Kurdistan\, and the United Arab Emirates in 2011 in support of that year’s release of their record Arabia Mountain\, produced by Mark Ronson. The title was\nactually a reference to a mountain in Georgia\, but that didn’t stop the Lips from playing\nthe record all over the Middle East\, to enthused fans and without causing any further international incidents. “Everyone was really nervous about us going there\, but it really went off without a hitch\,” adds Swilley. The band also hasn’t abandoned plans to become the first rock band to play on all seven continents\, hoping to hit their last remaining one\, Antarctica in the near future\, and disregarding Metallica’s claim of this achievement: “Just when we were securing the funding\, Metallica sniped us. They took a boat\,\nprobably a gold plated Versace boat\, down there. But they actually didn’t play on land\, and they didn’t play with amps\, so technically they haven’t played Antarctica. Metallica hasn’t beat us yet.”\nFor their ninth studio album\, the Black Lips have teamed up with Sean Lennon\,\nwho got on board to produce Satan’s graffiti or god’s art? in 2016. The Black Lips had formerly worked with Lennon on Arabia Mountain\, where Lennon played theramin on several tracks. The band moved up to Lennon’s studio compound on a remote farm in upstate New York\, and spent several months living and breathing the new record. This removal from the outside world\, plus the return of beloved early guitarist Jack Hines and the exciting addition of new members Oakley Munson on drums and Zumi Rosow (the first female Black Lip) on saxophone\, infused the project with a focused\, intoxicating liveliness\, similar to the spirit that had brought the Black Lips to life in the first place\, way back in 1999. Only this time\, the band is drawing from nearly two decades of experience and musicianship\, and the newness is tethered by familiarity: Munson is a longtime friend of the band\, and Rosow has been playing live with the Black Lips for several years now. There’s even a dash of kismet: unbeknownst to the band\, after being off the grid for some time\, Munson had just recently moved to a cabin a short distance away from Lennon’s compound\, and the first time his phone ever rang after he plugged into the wall\, Alexander was on the other end\, asking him to play.\nAll of this excitement and immersion created the perfect storm for the Black Lips’\nmost musically evolved album to date. “It was a really beautiful experience. We were very far from civilization\, and we were all living at the studio. We weren’t going home to our own beds every night; that was our whole world\, 100% of the time\,” says Swilley of the experience. “Making this record was the most wonderful few months of my life. It\nwas by far my favorite time recording an album so far…It was just magic.” The Black Lips were joined by Saul Adamczewski of Fat White Family\, who helped co-produce the record with Lennon\, plus another rather magical guest: Yoko Ono. “She’s very cosmic\,” Swilley says of the celebrated artist and musician\, who makes an appearance on a few of the tracks. The final product is urgent and thoughtful\, reflecting the growth the Black\nLips have experienced since bursting onto the scene (once or twice quite literally on fire)\,\nbut it’s also true to their original blistering\, careening take on rock n’ roll: fuzzy\, dirty\, and rife with three and four part harmonies. Satan’s graffiti or god’s art? proves that while they may have grown up a bit and changed a few things around\, the Black Lips are still as creatively unhinged and exhilarating as ever.\nSatan’s graffiti or god’s art? is out May 5th on Vice Records.
URL:https://royaleboston.com/event/black-angels-black-lips/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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SUMMARY:[SOLD OUT] James Bay
DESCRIPTION:SOLD OUT \nPlease note: tickets are NON-TRANSFERABLE. The original purchaser of the tickets must pick up their tickets at will call night of show with valid ID and will be required to enter the venue immediately. No exceptions will be made. \nBowery Boston presents James Bay \nDoors: 6:30 pm / Show: 8:00 pm \nPlease note: bags or backpacks larger than a purse are prohibited. \n*** \n \n*** \nJames Bay \n \nWebsite\nFacebook\nTwitter \nJames Bay is the definition of a modern day rock star.  Following the release of his debut album Chaos And The Calm\, featuring—“Hold Back The River” and “Let It Go”— BAY was nominated for “Best Rock Album\,” Best Rock Song\,” and “Best New Artist” at the 2016 Grammy Awards. In the UK\, the record became the “Biggest New Artist Album Release” that year and has been certified Gold in the United States\, Germany\, Australia\, Switzerland\, platinum in Canada\, Ireland\, Netherlands\, Sweden\, double platinum in the UK and has sold nearly 3.5 million albums in global consumption\, and 2.7 billion streams worldwide. Receiving the BRIT’s Critics Choice award in 2015\, BAY has gone on to receive a win for “Best Male Solo Artist” at the BRITS\, International Newcomer at the ECHO Awards\, “Best New Act” & “Best Solo Artist” at the Q Awards\, “Most Performed Work” at the Ivor Novello Awards and was nominated for “Best New” & “Best PUSH” at the MTV EMA’s and a MTV VMA for “Best New Act.” On the other side of the globe\, he has received a nod for “Best International Artist” at the ARIA Awards in Australia. In addition to selling out shows and performing at festivals across the globe\, BAY lent a new version of his song “Running” for the 2016 Sports Relief charity\,  is an advocate for the international non-profit Wateraid\, designed his own signature line for Topman\, and Epiphone created the Limited Edition James Bay Signature “1966 Century” Guitar in his name. \n*** \nDavid Ryan Harris \n \nFacebook \nDavid Ryan Harris. “Sounds like a law firm\, tastes like analog tape\,” says the soul singer/songwriter and guitarist. “I heard music\, melodies and stories in my head as a child. It never went away and I hope it never does\,” he says.  \nBorn in Chicago and raised in Atlanta\, David was drawn to the blues after hearing songs by Son House\, Robert Johnson and others. Growing up at a time when Prince\, Parliament-Funkadelic\, Stevie Wonder and other musicians were stretching the boundaries of popular music\, he began to understand that music could not and should not be limited by our often narrow views of what it should be.  \nIn 1991\, David co-founded Follow For Now\, a band that combined all of the influences that had been shaping his musical vision: Bad Brains meets Stevie Wonder and Public Enemy in Memphis. While the band had a short life\, it was David’s launching pad\, as it allowed him to taste the fruits of such a strange mess of musical ingredients. He signed to Columbia Records in 1997\, released a self-titled record and began to spread his wings as an artist\, writer and producer. In 2000\, he signed to Elektra with the band Brand New Immortals. Shortly after releasing an album\, the label folded and the band followed suit. \nToday\, David Ryan Harris calls Los Angeles home\, but is internationally recognized for playing guitar and singing in John Mayer’s band from 2004-2012. He has also had the pleasure of writing with\, playing with and/or producing artists from Dave Matthews\, Cassandra Wilson\, Derek Trucks\, Santana\, Marc Broussard\, and Guy Sebastian. Most recently\, he produced and co-wrote six songs on Indie.Arie’s album\, Songversation.  \nSince his major label days\, David has independently released many singles and solo albums\, including the wildly popular 2007 LP\, The Bittersweet. On October 23\, 2015\, he released his fourth full-length album\, Lightyears\, which includes co-writes with Derek Trucks\, Susan Tedeschi\, Tyler Lyle and Joe Gil among others. The LP also features guest appearances by John Mayer\, Indie.Arie and Nikka Costa. “Lightyears is me sending up a flare into the darkness from where I live\,” says David. It’s a soulful look into my life. My past and how it informs my present. My sense of hope\, my sense of humor.”
URL:https://royaleboston.com/event/james-bay/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180413T180000
DTEND;TZID=America/New_York:20180413T213000
DTSTAMP:20260406T203300
CREATED:20180130T170041Z
LAST-MODIFIED:20180130T170041Z
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SUMMARY:Thirdstory
DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 7:00 pm \nThis event is open to ALL AGES. Please note: bags or backpacks larger than a purse are prohibited.\nTickets on sale Fri. 2/2 at noon! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \n*** \n \n*** \nThirdstory \n \nWebsite\nFacebook\nTwitter \nThirdstory is the stage name of soulful NYC-based group Ben Lusher\, Richard Saunders\, and Elliott Skinner. The chameleonic singers proved their genre-bending talent by stepping behind Grammy Award-winning recording artist Chance the Rapperon his 2017 tour – appearing alongside the superstar during performances on Saturday NightLive\, Late Night with Stephen Colbert\, and NPR’s Tiny Desk. \nReleasing an abundance of awing acoustic covers since 2015\, Thirdstory has cultivated a strong grassroots following\, including over 100\,000 YouTube subscribers. In 2017 they released their debut EP\, Searching – a showcase of the band’s bone-chilling harmonies and awe-inspiring vocal palates. Thirdstory’s debut LP – an 11 song album executive-produced by Malay (credits include Frank Ocean’s Channel ORANGE & Blonde) that blends pop songwriting and powerful vocals with both electronic and live instrumentation – is anticipated for a Spring 2018 release.
URL:https://royaleboston.com/event/thirdstory/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180414T180000
DTEND;TZID=America/New_York:20180414T213000
DTSTAMP:20260406T203300
CREATED:20180110T195634Z
LAST-MODIFIED:20180110T195634Z
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SUMMARY:[SOLD OUT] Rainbow Kitten Surprise
DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 7:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. Please note: bags or backpacks larger than a purse are prohibited. \nTHIS SHOW IS SOLD OUT.  \n*** \n \n*** \nRainbow Kitten Surprise \n \nWebsite\nFacebook\nTwitter \nRainbow Kitten Surprise and all five of its members hail from the mountains of Boone\, North Carolina. With chilling harmonies\, dynamic instrumentation\, and introspective lyrics\, their genre-defying sound takes influence from artists like Modest Mouse and Kings of Leon as much as Frank Ocean and Schoolboy Q.  Independently\, they have over 75 million streams across digital platforms\, and notched over 45 sold out shows on their first U.S. headline tour.  Their engaging and distinct live performances have led to stand out sets at festivals such as Bonnaroo\, Firefly\, Shaky Knees\, Hangout\, Sasquatch\, and Austin City Limits among others.  The band worked with GRAMMY award-winning producer Jay Joyce (Cage The Elephant\, Sleeper Agent) on their Elektra debut\, How to: Friend\, Love\, Freefall\, available everywhere on April 6th. \n*** \nCaamp \n \nWebsite\nFacebook\nTwitter \nEvan plays the banjo\, Taylor plays the guitar and together they slam stages as the power duo Caamp. The childhood friends have been writing songs since 2012 and began performing as Caamp in 2015. In March of 2016\, the duo released their self-titled debut record that has since put them on the map. Caamp is known for their heartfelt sound\, and authentic live shows that leave their loyal crowds with hearts pounding. Taylor and Evan are two good gentlemen\, writing good music\, and plan on… Caamping til’ they croak!
URL:https://royaleboston.com/event/rainbow-kitten-surprise/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180416T190000
DTEND;TZID=America/New_York:20180416T190000
DTSTAMP:20260406T203300
CREATED:20180123T162434Z
LAST-MODIFIED:20180123T162434Z
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SUMMARY:Stars
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. Please note: bags or backpacks larger than a purse are prohibited.\nTickets on sale Sat. 1/27 at NOON! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \nRoyale is general admission standing room only. Tickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office (Cambridge\, MA) Wednesdays-Saturdays 12-7PM. \nSTARS has partnered with PLUS1 so that $1 from every ticket goes towards providing indigenous women and their children a safe and supportive environment through the Native Women’s Shelter of Montreal. \n*** \n \n*** \nStars \n \nWebsite\nFacebook\nTwitter \nSTARS have made their career telling the tales we keep in the darkest\, and most hopeful parts of our souls. Delivering the hard and soft edges of life and love as only this band can\, they returned with two new tracks Privilege and We Called It Love. \nFrom the reflective beauty of Amy Millan’s vocal in Privilege “never got what you want\, never got it” to Torquil Campbell’s contemplative and contrary\, “I don’t believe that people change…but I’ve changed” on We Called It Love\, Stars return time and again to comfort and reassure us that within the experience of failure and fucking up is the path to a life well lived. \nA collective band statement notes\, “We’re back! We have a new album. It was recorded in Montreal and Connecticut with the great producer\, Peter Katis. We love him and thank him for being there for us. It’s our first with our friends at Last Gang. We made this record for ourselves\, for our kids\, and for you. And we are so happy and grateful that you’re still listening to our music.” \nWith approaching 20 years as a band and a storied album catalogue spanning 2001’s Nightsongs\, the romantic upheaval of 2003’s Heart and 2004’s Set Yourself On Fire\, 2007’s In Our Bedroom After the War\, the downcast elegies of 2010’s The Five Ghosts\, the rejuvenation of 2012’s The North and sub-base\, dance club infused No One Is Lost in 2014\, Stars continue to prove themselves some of the finest musical storytellers in the country\, moving through life with their fans. \nStars now returns with their 8th full-length release “There Is No Love In Fluorescent Light”\, out Friday\, October 15 via Last Gang Records worldwide. \n*** \nDan Mangan \n \nWebsite\nFacebook\nTwitter \nDan Mangan is a two-time JUNO award winning & two-time Polaris Music Prize listed musician and songwriter. He lives in Vancouver\, British Columbia with his wife and sons. With Jesse Zubot\, he scored Hector And The Search For Happiness\, a feature film starring Simon Pegg. \nMangan has toured extensively in North America\, Europe and Australia. He released his fourth LP\, Club Meds\, in 2015 to much critical acclaim\, under the moniker “Dan Mangan + Blacksmith” (Blacksmith referring to long-time collaborators). \nIn June 2016\, Mangan released Unmake\, an EP featuring five songs including a cover of Robyn’s “Hang With Me” with two songs off Club Meds reworked\, including “Forgetery” featuring Tegan Quin\, and new songs “Whistleblower” and “Race To The Bottom.”
URL:https://royaleboston.com/event/stars/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20180417T190000
DTEND;TZID=America/New_York:20180417T190000
DTSTAMP:20260406T203300
CREATED:20171211T154401Z
LAST-MODIFIED:20171211T154401Z
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SUMMARY:Ministry
DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 7:30 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. Please note: bags or backpacks larger than a purse are prohibited.\nTickets on sale NOW \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \n*** \n \n*** \nMinistry \n \nWebsite\nFacebook\nTwitter \nMinistry’s Al Joursengen\, the acclaimed pioneer of industrial music\, doesn’t muck around\, doesn’t sugar-coat\, doesn’t pull punches.  He’s highly opinionated\, exceptionally well read and articulate on subjects ranging from politics to alien conspiracies to American history to his beloved Chicago Blackhawks/Bulls/White Sox/Bears.  He is an avid follower of NASA scientist David S. McKay\, ancient civilizations scholar Zecharia Sitchin\, astrophysicist Neil deGrasse Tyson\, and Scottish writer/archaeologist/scientist Graham Hancock.  During a layover at the Las Vegas airport this past summer\, Jourgensen spotted U.S. Congressman Adam Schiff\, introduced himself\, and took full advantage of the encounter to let the Congressman know of his views on tax reform and the possible perils of redistribution of wealth\, the current obstruction of the “Russia-gate” investigation by the House Intelligence Committee lead by Republican Chair Devin Nunes\, and to inquire about the status of the possible impeachment of the President\, on not only obstruction and collusion charges\, but for treason. \nYou see\, Al Jourgensen is angry\, really angry about what’s going on in America – sexual abuse and the disrespect of women in our society\, the waning respect for the U.S. Constitution\, the growing acceptance of one’s opinions replacing facts\, the decline of the our leaders’ sense of morals\, ethics and personal responsibility to the country and to their constituents\, and the mad man in the White House. Yeah\, Al is angry\, and that takes us straight to Ministry’s upcoming album AmeriKKKant. \nBefore all of that\, the industrial machine that is Ministry has manufactured immense amounts of sound during its 30+ years of musical artistry. Initially coming into existence in 1981\, Ministry was to be the lifetime passion project of front runner and founder Al Jourgensen. Often associated with ideas and imagery that are easily recognized today\, in part because of Jourgensen’s insanely dreaded hair\, pitch black attire\, vampiric glasses\, and exquisite top hat\, the band has become incredibly symbolic. But like any creature cursed with the gift of creativity\, “Uncle Al” has shed his skin several times over the decades. The development of Ministry and all of Al Jourgensen projects has been purely organic\, which is a huge reason why the masses following his projects are so vast.  \nOften referred to as one of the founders of Industrial Music\, the true outlook of Ministry as well as Jourgensen’s other projects\, is far more fluid than just one specific genre. Surgical Meth Machine\, Revolting Cocks\, and anything Al “Fucking” Jourgensen has produced all explore different realms of sound and thought.  \n    In the year 1981 in Chicago Illinois\, Ministry was initially born. With an original line up of Al Jourgensen doing lead vocals\, guitar\, programming and overall production\, Stephen George on drums\, Robert Roberts on keyboards and backing vocals\, and John Davis also on keyboards and backing vocals. New sounds were constantly being developed in the 80’s especially as technology improved. At first the band had a very catchy\, synth-pop sound. They began by releasing four 12” singles on Wax Track! Records starting in 1981\, and released their first LP “With Sympathy” in 1983 via Arista Records.  \nAs time progressed however\, so did Ministry\, and they quickly developed a harsher\, and even more stylized industrial sound that they soon became infamous for. In the mid to late 80’s the band gained a progressively greater following as it released albums Twitch (1986)\,  The Land of Rape and Honey (1988)\, and The Mind Is A Terrible Thing To Taste (1989). The darker\, heavier sound that Ministry had developed into was often a direct reflection upon modern concepts\, society\, and politics. It was also during this time that Al Jourgensen himself reached one of his many peaks of creativity and branched off into what would be one of his many side-projects: Revolting Cocks. He also began producing a vast amount of other music by artists similar to his realm in one way or another such as Nivek Ogre/Skinny Puppy\, The Reverend Horton Heat\, Nine Inch Nails\, Smashing Pumpkins\, Cheap Trick and Red Hot Chili Peppers. With the release of Psalm 69: The Way to Succeed and The Way to Suck Eggs (1992)\, Ministry hit an all time high in the mainstream musical realm and even received a Grammy nomination. Filth Pig was released in 1994 and by then Ministry had not only grown a solid fanbase\, but a solid reputation as well.  \nFamous for a hellaciously unique talent and sound\, pure heinous insanity while on tour\, and endless energy filled performances at countless festivals\, Ministry had developed a cult following and would go on to release several more records throughout the years before eventually taking a hiatus. On December 23rd\, 2012 then guitarist Mike Scaccia suffered a heart attack and passed away. It was not long after this that Jourgensen took what was to be an indefinite leave from doing anything Ministry related as he could not bare to continue without Scaccia. It wasn’t until recently that Jourgensen decided that if the circumstances were right\, he would consider reawakening Ministry to release something new to the world.  \nNow\, in 2017 Ministry has reunited\, revamped its line-up\, signed to Nuclear Blast Records\, recently returned from a full world tour\, and is now preparing to release their 14th studio album\, AmeriKKKant\, on March 9th 2018. Society and Politics have taken a turn for the insane and frightening in the United States and across the globe\, leaving much inspiration and frustration for Ministry to draw from. Jourgensen remembers his shock while witnessing everyone and everything around him during the recent election process\, and awoke on the morning of November 9th 2016 proclaiming: “We are making a fuckin’ album – right now.” \nAmeriKKKant\, like all Ministry projects\, is an organic reflection of not just the band’s talent and sounds\, but of the society in which we all live and breathe. Jourgensen says “I’ve spoken my piece on the societal conditions that would elect such a blithering idiot. It’s not an anti-Trump album\, it’s like a- ‘did you pay attention in School? Does anybody have any intellectual curiosity anymore?’- album. [It’s] basically just holding up a mirror to ourselves and saying: ‘Look at this\, is this what you really want to be?’”  \nWith a new line up\, incredibly full sound\, and some might say a return to the roots of Ministry\, the band is prepared to release a record that is socially relevant and sonically effective. Fans can look forward to a hearty future for not just Ministry\, but Surgical Meth Machine\, and Revolting Cocks as well. There is simply too much insanity in this world for Jourgensen not to speak his mind and keep our senses alive with his vast array of decibels and visuals: “I’m afraid for the stupidity of not embracing nonsense. I think nonsense is a great escape from the rigors of being in life’s hamster wheel.” \n*** \nChelsea Wolfe \n \nWebsite\nFacebook\nTwitter \n“What I want is to open up. I want to know what’s inside me. I want everybody to open up. I’m like an imbecile with a can opener in his hand\, wondering where to begin—to open up the earth. I know that underneath the mess everything is marvelous. I’m sure of it.”\n– Henry Miller \nDigging beneath the mess of the world to find the beauty underneath is perhaps the most consistent theme in Chelsea Wolfe’s expansive discography—a theme that ties together her ceaseless explorations in unorthodox textures\, haunting melodies\, and mining the grandeur embedded within ugliness and pain. With her sixth official album Hiss Spun\, Wolfe adopts Miller’s quest to become empowered by embracing the mess of the self\, to control the tumult of the soul in hopes of reigning in the chaos of the world around us. “I wanted to write some sort of escapist music; songs that were just about being in your body\, and getting free\,” Wolfe says of the album before extrapolating on the broader scope of her new collection of songs. “You’re just bombarded with constant bad news\, people getting fucked over and killed for shitty reasons or for no reason at all\, and it seems like the world has been in tears for months\, and then you remember it’s been fucked for a long time\, it’s been fucked since the beginning. It’s overwhelming and I have to write about it.” \nHiss Spun was recorded by Kurt Ballou in Salem\, Massachusetts at the tail end of winter 2017 against a backdrop of deathly quiet snow-blanketed streets and the hissing radiators of warm interiors. While past albums operated on the intimacy of stripped-down folk music (The Grime and the Glow\, Unknown Rooms)\, or the throbbing pulse of supplemental electronics (Pain Is Beauty\, Abyss)\, Wolfe’s latest offering wrings its exquisiteness out of a palette of groaning bass\, pounding drums\, and crunching distortion. It’s an album that inadvertently drew part of its aura from the cold white of the New England winter\, though the flesh-and-bone of the material was culled from upheavals in Wolfe’s personal life\, and coming to terms with years of vulnerability\, anger\, self-destruction\, and dark family history. Aside from adding low-end heft with gratuitous slabs of fuzz bass\, longtime collaborator Ben Chisholm contributed harrowing swaths of sound collages from sources surrounding the artist and her band in recent years—the rumble of street construction at a tour stop in Prague\, the howl of a coyote outside Wolfe’s rural house in California\, the scrape of machinery on the floor of a warehouse at a down-and-out friend’s workplace. Music is rendered out of dissonance—bomb blasts from the Enola Gay\, the shriek of primates\, the fluttering pages of a Walt Whitman book are manipulated and seamlessly integrated into the feral and forlorn songs of Hiss Spun. \nThe album opens with the sickening bang of “Spun”\, where a lurching bottom-heavy riff provided by Chisholm and Troy Van Leeuwen (Queens of the Stone Age\, Failure) serves as a foundation to a sultry mantra of fever-dream longing and desire. The first third of Hiss Spun—whether it’s the ominous twang and cataclysmic dynamics of “16 Psyche”\, the icy keyboard lines\, restless pulse and harrowing bellows of Aaron Turner (Old Man Gloom\, SUMAC) on “Vex”\, or the patient repetition and devastating choruses of “The Culling—all carry the weight of desperation\, lost love\, and withdrawal. Wolfe’s introspection and existential dread turns outwards to the crumbling world around us with “Particle Flux”\, an examination of the casualties of war set against an aural sea of static. White noise is a constant thread through Hiss Spun\, with Wolfe finding solace in the knowledge that radio static is the sound of the universe expanding outwards from the Big Bang—a reminder that even dissonance has ties to creation. The electronic thump of “Offering” serves as an ode to the Salton Sea and the encroaching calamities stemming from climate change. The obsession with white noise and global destruction carries over into “Static Hum”\, where the merciless percussive battery of Wolfe’s former bandmate and current drummer Jess Gowrie helps deliver the dire weight of a sonnet dedicated to a “burning planet.” By the time the album closes with “Scrape”\, Wolfe has come full circle and turned her examinations back inward\, reflecting over her own mortality with arguably the most commanding vocal performance in her entire oeuvre. \n“The album is cyclical\, like me and my moods\,” Wolfe says of Hiss Spun. “Cycles\, obsession\, spinning\, centrifugal force—all with gut feelings as the center of the self.” And it’s an album that Wolfe sees as a kind of exorcism. “I’m at odds with myself… I got tired of trying to disappear. The record became very personal in that way. I wanted to open up more\, but also create my own reality.” Every Chelsea Wolfe album is cathartic\, but never before has both the artist and her audience so desperately needed this kind of emotional purging. Sargent House is proud to release Hiss Spun to the world on September 22nd\, 2017. \n– Brian Cook\, 2017 \n*** \nThe God Bombs \n \nWebsite\nFacebook \nJustin Symbol has joined forces with Edrick Subervi and Jabbath Roa to form The God Bombs. On debut EP ‘Hex’ (March 2018) the trio forges a bold new sound that combines elements of electronic\, alternative metal\, hip hop and punk. Industrial beats collide with haunting analog synths and 90s alt rock attitude to create a compelling soundtrack for the new Dark Age.
URL:https://royaleboston.com/event/ministry/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180422T200000
DTEND;TZID=America/New_York:20180422T200000
DTSTAMP:20260406T203300
CREATED:20170925T164142Z
LAST-MODIFIED:20170925T164142Z
UID:10001848-1524427200-1524427200@royaleboston.com
SUMMARY:The Darkness
DESCRIPTION:Bowery Boston presents \nDoors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. Please note: bags or backpacks larger than a purse are prohibited.\nTickets on sale Fri. 9/29 at 10AM! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \n*** \nThe Darkness \n \nWebsite\nFacebook\nTwitter \n2003 gave birth to one of the most extraordinary and best loved rock bands. The Darkness released their debut album Permission To Land to overnight success\, topping the UK charts\, going 5x Platinum and selling over 1.5 milion copies in the UK alone. It spawned a series of hit singles including “I Believe In A Thing Called Love\,” “Growing On Me\,” “Get Your Hands Off My Woman” and “Love Is Only A Feeling.” The album clocked up a series of awards including three BRIT Awards\, two Kerrang Awards and an Ivor Novello for Songwriters Of The Year\, amongst many others. \nThe Darkness played a number of landmark shows\, including a headline set at the 2004 Reading and Leeds Festivals\, as part of a whirlwind career of global touring as international sensations. The band then built upon the success of their debut with their 2005 follow up One Way Ticket To Hell… And Back\, which produced the Top 10 hit “One Way Ticket.” \nIn 2006 Justin Hawkins left the band\, checking into rehab and The Darkness fell apart. Following successful treatment\, the band reformed in 2011 touring Europe and South America in 2012 with Lady Gaga. The band released their comeback album Hot Cakes that year and Last Of Our Kind in 2015. \nIn 2016 “I Believe In A Thing Called Love” was featured in a wildly popular Apple Music commercial starring Taylor Swift. \nThe Darkness have now returned in 2017 with Pinewood Smile\, delivering some of the most sharp-witted\, infectious\, humorous and downright brilliant songs of their career.\nAhead of the album’s announcement\, The Darkness toured Europe in support of Guns N’ Roses. \nAddressing Pinewood Smile and The Darkness’ undoubted relevance in 2017\, Justin Hawkins asks\, somewhat rhetorically of the world at large\, “Why should anybody care? Because if you don’t\, we’re fucked!! History will remember us as the apathetic generation who negligently ushered in a dreadful dystopian age that may or may not come to be known as The Rise of the Arseclowns. We cannot allow this to continue! You may not give a shit about Brexit or Trump\, but PLEASE… give a shit about The Darkness otherwise the last bastion of cultural sensibility will fall and our airwaves will be polluted by meaningless pop purveyed by arseholes and morons… Oh wait!” \n*** \nDiarrhea Planet \n \nWebsite\nFacebook\nTwitter \nThe gravitational pull of Diarrhea Planet is strong; once you get caught in the orbit of its stadium-sized riffs and blistering solos\, it’s hard to escape. The Nashville six-piece has been melting faces since its debut 7” Aloha first started making waves outside the leafy campus of Belmont University\, where its members first met. What started as a dorm room dick joke between two friends bored by the music-business ladder-climbing of their classmates has grown into one of the biggest—and loudest—rock acts to come out of Nashville since their big bros and labelmates in JEFF The Brotherhood. As they toured the country behind their critically acclaimed 2013 LP I’m Rich Beyond Your Wildest Dreams\, the likes of Billboard\, Rolling Stone\, SPIN\, and even BuzzFeed have taken notice. Ignore them at your own peril. \nOn their latest LP for Infinity Cat Recordings\, Turn to Gold\, the Planet boys worked with Vance Powell\, the Grammy-winning engineer and Jack White confidant. Powell used his expertise in recording live sound to capture some of the energy of the Diarrhea Planet live experience—they tracked the main guitar and drum tracks live\, in the same room\, for a record that’s both massive and frenetic. It’s easily the most sophisticated and complex music they’ve ever made\, but still carries the joyous irreverence that minted thousands of RAWK fans across the country. \nThe band’s rhythm section\, which features drummer Ian Bush (a.k.a. Tuff Gus) and bassist Mike Boyle\, is the bedrock on which the foundation is built\, but what makes Diarrhea Planet explode is the raw power of its four guitars. Not one note is wasted\, and each ax slinger plays a role; Jordan Smith writes soaring power pop singalong hooks; Brent Toler brings a classic rock sensibility and chunky\, fuzzy riffs; Emmett Miller’s wields classical training and a wizard-like five-finger pick-less technique for mind-bending\, finger-tapping solos; and Evan Bird is the glue that holds them all together\, capable of playing any part (or instrument) as needed. \nDiarrhea Planet is a nationally touring band\, playing a punishing schedule of more than 200 shows a year. But they cut their teeth in the clubs and house shows of the Nashville DIY scene\, built by the likes of JEFF\, Heavy Cream\, Natural Child\, Pujol\, and shaped in legendary spaces like the old police precinct that would come to be known as Glenn Danzig’s House. As they’ve graduated from living rooms to clubs to festivals\, the energy has remained constant—just ask the ladies in the mosh pit or the crowdsurfing dads you’re sure to find at any Diarrhea Planet show. They’re carrying the torch for the past\, present and future of rock\, and you’d be wise to take notice—everyone else sure has.
URL:https://royaleboston.com/event/the-darkness/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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GEO:42.3499959;-71.0656288
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180424T190000
DTEND;TZID=America/New_York:20180424T190000
DTSTAMP:20260406T203300
CREATED:20180120T155413Z
LAST-MODIFIED:20180120T155413Z
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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. Please note\, backpacks are not permitted.\nTickets on sale Fri. 1/26 at 10AM! \nTickets available at AXS.COM\, or by phone at 855-482-2090. 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*** \nThe Coathangers \n \n[Website] [Facebook] [Twitter] \nAn all-female garage punk band with an irreverent\, fun-loving attitude\, the Coathangers play purposefully simple\, hooky tunes that borrow from vintage girl group sounds and contemporary teen pop acts as much as the old-school punk and new wave outfits that inform their sound. Hailing from Atlanta\, Georgia\, the Coathangers were formed in 2006 by guitarist and singer Julia Kugel (aka Crook Kid Coathanger)\, bassist and singer Meredith Franco (aka Minnie Coathanger)\, keyboardist and singer Candice Jones (aka Bebe Coathanger)\, and drummer and singer Stephanie Luke (aka Rusty Coathanger) — Kugel and Franco were working together in a dress shop that specialized in wedding gowns and prom dresses; Jones and Luke were earning their living as bartenders. While they could barely play their instruments\, they were eager to take the stage\, and after playing their first show at a house party\, the Coathangers soon made their proper stage debut opening for the Hiss\, and their sense of fun soon won over hometown audiences. \nThey also became friends with fellow Atlanta band the Black Lips\, who gave the Coathangers opening slots that helped them gain an even larger audience. In 2007\, infamous Atlanta punk label Die Slaughterhaus Records teamed up with New York’s Rob’s House Records to issue the band’s self-titled debut album\, and the Coathangers were playing out as often as their schedules would permit\, frequently gigging throughout Georgia and venturing out on short tours. Their second album\, 2009’s Scramble\, was released by Suicide Squeeze Records\, and by the time they put out 2011’s Larceny & Old Lace\, they were playing throughout the country and even toured Europe opening for the Thermals. In 2013\, the Coathangers hit Europe again opening for …And You Will Know Us by the Trail of Dead\, but by the end of the year\, they were reduced to a trio when Candice Jones left the group. Undaunted\, the Coathangers pressed on as a three-piece as they recorded album number four\, Suck My Shirt\, which was released in the spring of 2014. In 2016\, the Coathangers returned with their fifth album\, the well-received Nosebleed Weekend. The Parasite EP followed in the summer of 2017 on Suicide Squeeze Records. ~ Mark Deming\, Rovi
URL:https://royaleboston.com/event/minus-the-bear-2/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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SUMMARY:Kate Nash
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. Please note: bags or backpacks larger than a purse are prohibited.\nTickets on sale Fri. 2/9 at 10AM! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \n*** \n \n*** \nKate Nash \n \nWebsite\nFacebook\nTwitter \n*** \nMiya Folick \n \nWebsite\nFacebook\nTwitter \nI’m from Santa Ana\, California and grew up going to a Jodo Shinshu Buddhist church in Orange County. I played basketball for 9 years and hated it the entire time. \nI went to NYU\, but stopped going to class and would spend all day walking around the city by myself. So I left and moved home and spent the rest of that semester learning how to play guitar from a person I went to high school with. \nI play music because forming thoughts into sounds blends emotional and rational thought in a way that turns me on. I met my band on Tinder.
URL:https://royaleboston.com/event/kate-nash/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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SUMMARY:Echosmith
DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 7:00 pm \nThis event is all ages. \nRescheduled from 11/10/17. All previously purchased tickets will be honored. Tickets on sale now! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \n*** \nEchosmith \n \nWebsite\nFacebook\nTwitter \nOur dreams drive us. They’re why we build cities\, create art\, and pursue love. \nIn 2013\, teenage siblings from Southern California\, ECHOSMITH\, brought a lifelong dream to fruition with the release of their debut album Talking Dreams. As soon as they could hold instruments\, they began playing music together as kids. They traded the living room for Farmers Markets and open mic nights\, while quietly honing their songwriting chops. Those chops were on full-display in the breakout single “Cool Kids\,” which became a runaway success. Supporting Talking Dreams\, they performed around the globe and enchanted audiences everywhere. As those adventures unfolded\, they grew up\, both as people and musicians\, and that growth shines through their 2017 sophomore album\, Inside A Dream [Warner Bros. Records]. \n“We describe our new album as dreamy pop\,” explains frontwoman Sydney. “These songs explore different aspects of our lives—love\, adventure\, heartache\, and living out our dreams. On our first record\, we were simply dreaming of the future\, and we’re inside of that dream now. We’ve lived so much life in a short period of time. I was 15 when we recorded Talking Dreams\, and now I’m 20. This amazing journey of connecting with fans and different cultures all over the world completely changed our lives.” \nDriven by Sydney Sierota\, Noah Sierota [bass\, percussion\, backing vocals]\, Graham Sierota [drums]\, and Jamie Sierota [guitar]\, Talking Dreams earned a prestigious RIAA gold certification\, yielding the double-platinum breakout smash “Cool Kids\,” which notched a quarter-of-a-billion Spotify streams\, and the platinum-certified “Bright.” They took over radio airwaves and performed across television everywhere from Ellen to The Tonight Show Starring Jimmy Fallon twice. Meanwhile\, tastemaker praise came courtesy of Elle\, Rolling Stone\, Nylon\, and more. Simultaneously\, Sydney stood out as a positive cultural force\, whether acting as a brand ambassador for Coach\, designing a line for Hollister\, or dueting on stage with Taylor Swift. \nAlong the way\, the band faced a major change together. After bringing their dream to life\, co-founder\, guitarist\, and big brother Jamie left ECHOSMITH\, transitioning focus to his wife and newborn baby. \n“We had to come to grips with the fact that Jamie left the band\, so we had to find ourselves as a trio instead of a quartet\,” admits Noah. “The process helped us recognize what we really wanted to do musically.” \n“At that point\, we never had another musician on stage with us\,” says the frontwoman. “That literally forced us on a journey of having to discover this sound. We still had electric guitars\, but they weren’t the center of the music anymore. The keyboards\, pads\, percussion\, and vocals became the focal point. We began recording and writing constantly at the same time. We wanted to write as honestly as possible. There were no narratives; it was all life experiences and truth.” \nIn order to bring that vision to life\, the group utilized vintage synths\, keys\, and drum machines\, carefully emphasizing each detail and “making sure we loved every single note and sound.” As a result\, Inside A Dream is awash in shimmering synths\, airy guitars\, and heavenly vocals. Its eleven anthems wouldn’t be out of place blasting from an eighties transistor radio during an episode Stranger Things or booming across massive North American festival grounds as the sun sets for a headline gig. \n“Inside a dream is the culmination of a year-and-a-half of tirelessly working to define who we are\,” continues Noah. “We not only grew as musicians but as people. The stories we’ve told on this album are our stories that we’re living right now.” \nNoah’s finger-picked acoustic guitar on “Goodbye” entwines with Sydney’s breathy delivery before bouncing into a danceable refrain colored by island-style keys and heavy bass. It also represents another evolution. \n“This song was written out of pure frustration with another person who couldn’t make up his mind\,” reveals Sydney. “That indecision was affecting us\, so the message is\, ‘Good luck finding yourself. Goodbye. I have to move on with my life regardless of your opinion.’ It’s a bit darker for us\, but I think a lot of people can relate to that.” \nCo-written with an old family friend Leah Haywood\, opener “Get Into My Car” gleefully nods to new wave influences like The Cure and Joy Division with its cinematic lyricism\, shiny keyboards\, and lush refrain\, “Get into my car. Get into my life. Get into my heart. You know what I like.” \n“It talks about how sometimes you have negative voices in your head\, but then you find that person who makes them go away\,” she says. “That’s totally happening in my relationship.” \nFor “Crazy Love\,” they teamed up with a longtime inspiration\, OneRepublic’s Ryan Tedder\, to make a love song about “what it feels like to be in the crazy exciting love where you get to dance together and do things you see in the movies.” \nThe arena-size drums of “Future Me” propel the equivalent of the grade school exercise of writing a letter to your future self. “Everyone Cries” tackles the craziness of the world head-on.\nAt the heart of the record\, ECHOSMITH cling to the message that drove them from the start which is their mission statement “to spread hope and love through music to the whole world.” \n“Music is one of the few things that can unite people\,” concludes Noah. “We hope that’s something we can be a part of.” \n“We’ve really gotten to understand the depth of that mission statement\,” Sydney leaves off. “We were so blessed for ‘Cool Kids’ to blow up and see the world. We got to realize the depth of spreading love\, how important it actually is\, and the lack of love in the world. Our message has stayed the same\, but we understand it more. We go deeper. Life is hard\, but you can find the joy no matter what. That’s what we’re here to show people.” \nIn the end\, Inside A Dream has the power to motivate millions to follow their own dreams as ECHOSMITH did. \n*** \nThe Score \n \nWebsite\nFacebook\nTwitter \n*** \nJena Rose \n \nWebsite\nFacebook\nTwitter
URL:https://royaleboston.com/event/echosmith/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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SUMMARY:20th Anniversary Show - Russian Pop Star: Ruki VVerh
DESCRIPTION:21+
URL:https://royaleboston.com/event/20th-anniversary-show-russian-pop-star-ruki-vverh/
LOCATION:279 Tremont Street\, Boston\, 02116\, United States
CATEGORIES:Concerts,Special Events
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SUMMARY:Unknown Mortal Orchestra
DESCRIPTION:Bowery Boston presents \nDoors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. Please note: bags or backpacks larger than a purse are prohibited.\nTickets on sale Fri. 1/26 at 10AM! \nTickets available at AXS.COM\, or by phone at 855-482-2090. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. \n*** \n \n***\nUnknown Moral Orchestra \n \nWebsite\nFacebook\nTwitter \nThe threads of our past never unravel\, they hover like invisible webs\, occasionally glistening due to a sly angle of the sun. On Multi-Love\, Unknown Mortal Orchestra frontman and multi-instrumentalist Ruban Nielson reflects on relationships: airy\, humid longing\, loss\, the geometry of desire that occurs when three people align. Where Nielson addressed the pain of being alone on II\, Multi-Love takes on the complications of being together. \nMulti-Love adds dimensions to the band’s already kaleidoscopic approach\, with Nielson exploring a newfound appreciation for synthesizers. The new songs channel with the spirit of psych innovators without ignoring the last 40 years of music\, forming a flowing\, cohesive whole that reflects restless creativity. Cosmic escapes and disco rhythms speak to developing new vocabulary\, while Nielson’s vocals reach powerful new heights. “It felt good to be rebelling against the typical view of what an artists is today\, a curator\,” he says. “It’s more about being someone who makes things happen in concrete ways. Building old synthesizers and bringing them back to life\, creating sounds that aren’t quite like anyone else’s. I think that’s much more subversive.” \nWhile legions of artists show fidelity to the roots of psychedelia\, Unknown Mortal Orchestra shares the rare quality that makes the genre’s touchstones so vital\, constant exploration \n***\nMakeness \n \nWebsite\nFacebook\nTwitter \nIt’s the contrasts which stand out in Makeness’ (aka Kyle Molleson) music. Crafting tracks which make a virtue of disparate influences\, Kyle manages to pull off something difficult: making tirelessly-crafted songs which sound loose-limbed and to-the-point. He comes from a Leeds-born scene which\, counting Adult Jazz and Glad Hand amongst its numbers\, haven’t pegged themselves to one musical discipline. That network of like-minded friends\, and the restless ethos cultivated between them\, continues to shape the music Kyle makes on his own.  \nHis debut album\, Loud Patterns\, is the fullest example of this yet. On the one hand\, it’s noticeably indebted to house and techno; there are 4/4 rhythms\, and a no-nonsense directness which nods to the likes of Omar-S and Theo Parrish. On the other hand\, those dancefloor structures are a vehicle for a wider spectrum of sounds. Channeling avant-garde experimentalism and an outsider’s interest in pop\, he embraces the distance between those two poles. \nSpending his earliest years on a remote island in Scotland’s Outer Hebrides\, he was surrounded by Highlands folk music and his dad’s bagpipe bands. Later moving to Dorset\, he spent the majority of his time growing up in England’s South West. It was there that Kyle started a band with some school friends\, which – with a manager and recording sessions in London under their belt – made it halfway to recording an album. \nBut it was in Leeds where he made his most important connections. Moving there for university\, his school friend and regular collaborator Tom Howe had also moved to nearby York. Finding himself in a flat with Harry Burgess\, he was the link between that pair – making a connection that would soon become Adult Jazz. Meanwhile\, he helped to form Glad Hand (then-called Fun Adults) with friends-of-friends drawn from the same circle. \nAt this point\, Kyle’s interests in guitar and folk music started to expand outward. He discovered the music of Caribou\, whose 2013 ‘Swim’ charted a trajectory similar to the one he was following; the sweet spot it found – between left-of-centre pop and club-minded music – struck a chord with the different spheres Kyle was increasingly drawn to himself. At the same time\, Flying Lotus’ output was another big eye-opener; his music\, as well as Teebs and other signees to the Brainfeeder stable\, pointed to psychedelic\, unconventional possibilities for building rhythms. \nCosmic Slop\, an underground institution in Leeds\, was another touchstone. Based on the fringe of the city centre\, it’s a community-oriented party that was started to raise money for their education charity. It boasts a hand-built\, peerless sound system\, a near-pitch black dance floor and a music policy that ranges from Dilla instrumentals to Detroit house. He recalls\, “That place was definitely an awakening in terms of dance music.” \nThe student enclaves of Headingley and Hyde Park\, where he and almost all his friends were based\, was an area that lent itself to being creative. Populated by never-ending terraces of cheap student houses\, the close-quarters living made for easygoing connections and rehearsals. Plus\, the house parties that constantly took place – in the area’s plentiful supply of scuzzy basements – meant opportunities to playing for rowdy\, appreciative crowds. \nEach summer\, he would return to the Outer Hebrides with his extended band mates in tow. His dad built his own studio there\, so they would make the journey to all spend a couple of weeks writing and recording. It became an important hub\, with both Adult Jazz and Glad Hand releasing debut albums from sessions that took place there. \nHaving moved to London in 2015\, which is when he started working on his solo material\, the studio still remains an important finishing-stop for his music. He returned to the Highlands to put the finishing touches to Loud Patterns. Putting the album through the studio’s mixing desk\, he also spent time tinkering with the finer details. “They’ve just got lots of old\, broken bits of gear\,” he says. “At one point\, we had two car batteries and we were holding it up to get the spring reverb to work.” \nThe music on the album\, written and recorded with this record in mind\, manages to deftly flit between his different interests. Coarse\, discordant squeels repeatedly pierce the opening title track\, softened by the chorus’ sweetly-sung vocals. Elsewhere\, ‘Who Am I To Follow Love’ sketches a goofy-pop aesthetic – with wobbly synth-notes and clattering percussion – as backdrop for endearing vocal harmonies. And in ‘Rough Moss’\, there’s a proper\, face-melting club banger. With driving\, non-stop drums and a squirming bassline\, it’s the bedrock for cacophonies of noise: distorted\, strummed guitar chords\, laser-beam synths and blasts of hiss. \nThe album arrives after a series of releases that have established his particular\, in-between approach to dance-minded music. He put out two EPs on Manchester-based imprint Handsome Dad\, a one-off single with Adult Jazz\, the self-released ‘Temple Works’ EP and a limited-edition white label for Nic Tasker’s much-feted Whities imprint. The album is set to come via Secretly Canadian\, a longstanding giant of independent music. Their genre-spanning output is the perfect home for Kyle’s difficult-to-define approach.
URL:https://royaleboston.com/event/unknown-mortal-orchestra/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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