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DTSTART;TZID=America/New_York:20161003T190000
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SUMMARY:Kishi Bashi
DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is All Ages.\nTickets on sale Fri. 7/15 at noon! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. 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*** \nKishi Bashi \n \n[Website] [Facebook] [Twitter] \n“Sonderlust” is an album forged through heartbreak.  After his two previous studio albums (“151a” & “Lighght”)\, Kishi Bashi was at a musical impasse. “As I sat down to write songs last summer\, I went to all my usual conduits of creation: violin loops\, guitar\, piano\, and I came up with the musical equivalent of fumes”\, says K Ishibashi. “I tried to create orchestral pop recordings that I assumed were my forte\, and in turn I found myself standing in front of a creative wall of frightening heights.”  \nAt this very same moment of musical uncertainty\, K’s personal life was falling apart… He and his wife of 13 years had briefly separated and were struggling to keep their marriage together. In his own words\, “Touring and its accompanying lifestyle took a heavy toll on my soul and my family”.  As an outlet\, K submerged himself in a new musical direction. “Sonderlust” emerged as a direct result of this personal struggle taking place at an artistic crossroads.  \nWith the help of producer Chris Taylor (Grizzly Bear)\, engineer Pat Dillet (Angelique Kidjo\, David Byrne) and drummer Matt Chamberlain (Morrissey\, Fiona Apple\, of Montreal)\, Kishi Bashi has created his most personal and artistically adventurous work to date. “This album is straight from my soul. I questioned everything about what it means to love and desire. The difference between loving someone and being in love.” \n*** \nTwain \n \n[Website] [Facebook] [Twitter] \nSir Kitchen Boy E.P. by twain
URL:https://royaleboston.com/event/kishi-bashi/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20161004T190000
DTEND;TZID=America/New_York:20161004T190000
DTSTAMP:20260405T081636
CREATED:20160516T120046Z
LAST-MODIFIED:20160516T120046Z
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SUMMARY:The Temper Trap
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is All Ages.\nTickets on sale Fri. 5/20 at 10AM! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. 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 Temper Trap \n \n[Website] [Facebook] [Twitter] \nWith their choir boy vocals and panoramic pop/rock sound\, The Temper Trap began building an audience in Melbourne\, Australia\, where the band first rose to local acclaim after playing St. Jerome’s Laneway Festival in March 2006. The Temper Trap released their debut EP that same year\, and word of the group’s potential soon spread to other continents. Veteran British producer Jim Abbiss (who previously worked on the Arctic Monkeys’ debut) saw enough promise in The Temper Trap’s material to fly to Australia\, where he gathered the musicians into Melbourne’s Sing Sing Studios and helped ready their debut album\, Conditions\, for a 2009 release. Conditions Remixed “Sweet Disposition\,” a U2-styled anthem\, was released that September as the band’s first single. It cracked the Top 40 in multiple countries and appeared in the Zooey Deschanel film (500) Days of Summer\, which helped the band increase its following in America. The Temper Trap responded by touring heavily\, making stops at festivals like Glastonbury and Bonnaroo along the way. They also reached out to a number of DJs\, producers\, and bands\, asking them to remix material from the group’s debut. The result\, Conditions Remixed\, was released during the band’s fall tour in 2010. In 2012\, the band returned with its sophomore effort\, the eponymously titled The Temper Trap. Produced by Tony Hoffer (Beck\, Air\, Goldfrapp)\, the album featured the single\, “Need Your Love.” \n*** \nCoast Modern \nCoast Modern photographed on July 6\, 2015 in Los Angeles\, California. \n[Website] [Facebook] [Twitter] \nSometimes the only way to get ahead is to stop following the leader\, and start running your own race. Coast Modern flies out of the pack with a refreshingly uninhibited sound for disenchanted dreamers everywhere. Building on an admiration for the spirit of misfit alternative bands and the fearless ethos of modern hip hop\, the duo creates alternative pop with a wink that aims to push the genre into the future. \nSeattle-native Luke Atlas and LA-local Coleman Trapp met while working as Los Angeles-based songwriters\, fellow rats in the race to land songs with mainstream pop artists. After more than two years of peddling some great\, some terrible\, and some very weird creations at the gates of the mainstream\, they received little more than fleeting glances. Watching so many of their creations die on the operating table left the two burnt out and questioning their path. \nWith just a backpack and a tape recorder\, Coleman escaped his over-saturated hometown for the mountainous serenity of Denver\, CO. What was meant to be a quick\, head-clearing vacation soon turned into months as Coleman blended into the community\, taking a job at a family restaurant\, and enjoying the simple pleasures of a “normal” life. \n“I realized I didn’t desire the trappings of music industry success that drove me for years\,” recalls Coleman. “I actually started thinking I might never go back.” Without the pressure of writing-on-demand\, he began messing around on a borrowed acoustic guitar and recording tossed-off ditties on an old cassette recorder. The pure\, child-like enjoyment of writing only for himself led Coleman to a realization: maybe he’d overlooked a path that was right in front of him the whole time. \nSoon\, warbly tape recordings began appearing in Luke’s inbox. “At first I didn’t think much of them because they were so different\, but they kept randomly getting stuck in my head” says Luke\, who further encouraged Coleman’s experiments. On a whim\, Luke created a production around one of the acoustic demos and sent it back. Coleman was thrilled. “It felt like this could be something\,” says Luke. “I told him to get his ass back to LA.” \nReturning with renewed vigor and a rusted-out car hood after a Mile-High winter\, Coleman quickly called a meeting with Luke. With their new musical experiments buzzing in their heads\, the pair discussed creating a personal project based purely on the whims of their creative spark\, wherever that led them. “After we stopped shooting at an invisible moving target and had no agenda\, that’s when the sound came\,” explains Luke. And Coleman\, who had not so much as even sung “Happy Birthday” until a few years prior\, began finding the confidence to take frontman status\, lending his vocals to the tracks that began to take form through a playful\, stream-of-consciousness process. \nOne of the first songs they plucked from the ether together was “Hollow Life.” An anthem for restless souls everywhere\, the lyrics drip with the same frustration the duo once felt for their city\, while Coleman yearns for a simpler life away from it all. “Racing towards a dream on the horizon / Gimme something better than this Hollow Life\,” he sings over plinking marimba mashed up with angular fuzzy bass and booming 808 kick drums. \n“The song is about finding distance from what is hindering you\, whether it be physical or mental distance\,” explains Coleman. “But we’re no gurus. We’re just trying to let people know that we’re here figuring this shit out too.” \nOn the other end of the duo’s musical spectrum is the bouncy tribute to nascent romance\, “Dive” and the psychedelic\, “Comb My Hair.” Digging deeper\, there is the group’s wistful meditation on the passage of time\, “Wild Things\,” and\, “Frost\,” crackling with imperfection from Coleman’s original Denver basement tapes. Clearly Coast Modern are capable of covering a large swath of musical territory\, yet a strong\, self-aware voice and a sense of groove tie them all together. \nWith their destiny now grasped firmly in their own hands\, the duo are reveling in the freedom of their newfound artist status. At the will of their muses instead of the tidal flow of the pop world\, the group can create the genuine\, self-assured music that had been locked inside. Coast Modern is what happens when you let go of what you always thought you wanted and embrace the unexpected; when you stop chasing and start taking the lead.
URL:https://royaleboston.com/event/the-temper-trap/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20161005T193000
DTEND;TZID=America/New_York:20161005T193000
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SUMMARY:Goldroom + Autograf
DESCRIPTION:Bowery Boston presents \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.\nTickets on sale Fri. 7/15 at 1PM! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. 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*** \nGoldroom \n \n[Website] [Facebook] [Twitter] \nUnder his professional nom de plum Goldroom\, Legg’s found considerable success as a producer. But at heart\, he’s a songwriter. His influences (the non-electronic ones) veer toward the likes of Tom Petty\, Al Green and Ryan Adams. In his own music you can hear hints of French disco\, bass lines inspired by New Order and angelic vocals layered over (as Legg describes) his “nostalgic production tones.” It’s sonically grand\, sure. But at heart: real songs\, with real emotions\, evoking loneliness\, the ocean\, the West Coast. \nLive\, Goldroom has brought his music to life both in live form\, with full live band\, and in the more traditional form of DJ appearance. 2015 was a landmark year for Josh\, with the first year of his High Seas tour\, festival performances around North America through the summer (including LA’s FYF at sunset) and his Waiting To Ignite Tour of North America. \nHaving signed to Downtown Records in 2015\, Goldroom is currently working on his debut album which he intends to release in the second half of 2016. \n*** \nAutograf \n \n[Website] [Facebook] [Twitter] \nIt’s about leaving your mark on the world. It’s about leaving your Autograf. \n*** \nEau Claire \n \n[Website] [Facebook] [Twitter] \nEau Claire’s journey has been nothing short of exciting in the past year between chart topping releases and performances at clubs and music festivals throughout the US and Mexico. She stands out with her captivating stage presence and unique musical style combining her own blend of house\, nu-disco\, and indie dance.  \nWith several major label remixes to her name including releases on Warner Brothers Records and Elektra/Atlantic\, Eau Claire has established herself as a standout producer and DJ\, creating a special niche with her unique blend of indie-dance\, house\, and nu-disco.\nShe’s received support from major music outlets including DJ Mag\, Idolator/SPIN\, Indie Shuffle\, and LessThan3 and has been quoted by MOARRR magazine as “one of the most talented US newcomers this year”.
URL:https://royaleboston.com/event/goldroom-autograf/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Nightclub
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DTSTART;TZID=America/New_York:20161006T190000
DTEND;TZID=America/New_York:20161006T190000
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LAST-MODIFIED:20160614T110001Z
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SUMMARY:[SOLD OUT] Descendents
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \nThis event is all ages!\nSOLD OUT! \n*** \n \n*** \nDescendents \nDescendents at The Standing Room. Photograph by Lisa Johnson. \n[Website] [Facebook] [Twitter] \nHot off the announcement of Hypercaffium Spazzinate\, their first new album in 12 years\, Descendents have shared the details of a headlining North American tour this fall. The dates kick off September 15 in Minneapolis at First Avenue and wrap up November 12 in Portland at Roseland Theater. Tickets go on sale June 17 at 10am local venue time. Descendents will also perform at both Riot Fests in Denver and Chicago. Hypercaffium Spazzinate is set for release on July 29. \nAs previously reported\, Descendents have shared a new song “Victim of Me”. Click here to listen. Descendents’ first Epitaph release since Everything Sucks in 1996\, Hypercaffium Spazzinate\, began taking shape after the band ended an extended hiatus to play live in 2010. Though still tight\, they lived apart: singer Milo Aukerman — whose cartoon rendering famously serves as the band’s logo — was now living in Delaware\, bassist Karl Alvarez and founder and drummer Bill Stevenson were in Colorado\, and guitarist Stephen Egerton had settled in Oklahoma. So the album came to life over three years as the band sent tracks back and forth\, occasionally meeting up in Karl and Bill’s adopted hometown of Fort Collins. Adopting such a protracted process meant not having to rush things\, allowing for some of their sharpest songwriting yet. \nEvery Descendents album is an event. Formed in 1978\, the band’s first releases have proven historic\, and all the ones since have only further refined the Descendents concept. Punk\, pop\, buzzing\, summery\, heartfelt\, defiant\, adolescent\, and wise all at once — the Descendents. Twelve years have passed since there’s been new Descendents music. Finally\, here comes their long-awaited album\, Hypercaffium Spazzinate. \nPre-orders for Hypercaffium Spazzinate are available at https://lnk.to/descendents. \n*** \nBeach Slang \n\n[Website] [Facebook] [Twitter] \nWe’ve been waiting for a while and finally it’s here. Over the past two years Beach Slang have proved themselves as a band who can write memorable songs\, share that energy live and create a community of like-minded fans but they’ve always been missing one important element: An album. Luckily the band’s full-length The Things We Do To Find People Who Feel Like Us is the culmination of their collective career and picks up where their two critically acclaimed 7-inches\, 2014’s Cheap Thrills On A Dead End Street and Who Would Ever Want Something So Broken? left off. The feelings of youth and vulnerability 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. 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 celebrated pop-punk act Weston while drummer JP Flexner\, bassist Ed McNulty and guitarist Ruben Gallego also played in buzzed about projects such as Ex-Friends\, Nona and Glocca Morra respectively. 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. “By and large we subscribe to the idea of “if it isn’t broken\, we’re not going to fix it’ so\, yeah\, we came at this recording in very much the same way\,” Alex explains when asked how they approached the new songs from a sonic perspective. “I mean\, we had more time to make this album\, which is a cool thing\, but time can also be a strange overthinker. Really\, we’ve just always wanted to make our things sound like well recorded live records.” he continues\, adding that the biggest difference this time around is the fact that engineer Dave Downham stepped up to co-produce this album and the fact that the band has finally found a full-time fourth member in guitarist Ruben Gallego. “Having both of them and their ears involved definitely helped a lot. I hardly listen back to things in the studio. For me\, if it feels right\, it’s a keeper. But\, yeah\, there’s something pretty alright about striking a balance.” Obviously there has been demand for a Beach Slang album since they exploded onto the scene\, however the band was very careful not to rush out something before it was totally ready. “I write every day regardless of what else is happening. And what we wanted to make happen was as many live shows as possible. There’s an importance in that\, a necessity. Rock & roll isn’t meant to exist on computer screens\, you know?” Correspondingly the hundreds of shows that the band played between this album and the EP is all now automatically embedded in their recorded output. “I’m hardly concerned about our music being technically precise. I want to make sure it has soul\, that it’s honest. The imperfections…that’s the really good stuff. We don’t ever want it to be perfect.” While The Things We Do To Find People Who Feel Like Us further expands on Beach Slang’s unique sound\, it also showcases their sonic diversity. From the shoegazing sheen of “Noisy Heaven” to the downbeat dreaminess of “Porno Love” and refracted rage of “Young & Alive\,” the album is a fuzzed-out masterpiece that takes influence from the past while staying rooted in the present. “Certainly we are going to sound like Beach Slang because\, you know\, we are but we didn’t want to make this record a xerox of anything we’ve done. That stuff has no guts\, you know?\,” Alex explains. “Even if you go from the first EP to the second EP there’s a nice\, little arc and range of things happening. I think that’s even more true of this record.” “There’s a line in that first song ‘Throwaways’ that goes ‘there’s a time to bleed and a time just to fucking run”: I’ve sung that line so many times between developing and writing the thing and I still get that little-hair-standing-up-on-my-arm moment every time I say it\,” Alex says. It’s probably because the sentiments that he’s expressing have never been a choice. “Certainly there’s an element of nostalgia inherent in the writing because a good bit is reflective but it never lodges in the past; it’s more of a battle cry to now and where we’re going. Look\, growing up and getting serious is wildly overrated stuff. Don’t listen to it. Jump around with a guitar. Play records loud. Never retire from being alive. Move on it.”That movement is alternately beautiful and crushing. It’s blazing and plodding\, silent and deafening but always progressing and pushing toward that barely visible beacon in the horizon. The Things We Do To Find People Who Feel Like Us is just a giant step closer to our destination. \nNight Birds \n \n[Website] [Facebook] [Twitter] \nNight Birds is comprised of four thoroughly modern morons from the New Jersey shore. After one listen it will only seem right that these guys spawn from the same state that brought you such class acts as the Misfits and Adrenalin OD. This high-octane surf-inspired punk rock band formed in the spring of 2009 following the demise of bassist Joe Keller’s band\, The Ergs! While perhaps best known for their extensive touring and electrifying live performances\, Night Birds continue to excel in the studio – crafting fresh\, powerful recordings influenced by punk/hardcore greats of yore. To date\, the band has released a handful 7″ EPs as well as three full-length albums; their 2011 debut album\, The Other Side of Darkness\, 2013’s Born To Die In Suburbia (both on Grave Mistake Records)\, and 2015’s Mutiny at Muscle Beach on Fat Wreck Chords. Tuneful and aggressive\, yet far from formulaic\, the music of Night Birds is both attuned to the times and rooted in the classics.
URL:https://royaleboston.com/event/descendents/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20161007T180000
DTEND;TZID=America/New_York:20161007T180000
DTSTAMP:20260405T081636
CREATED:20160908T180344Z
LAST-MODIFIED:20160908T180344Z
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SUMMARY:Corey Fest
DESCRIPTION:18+
URL:https://royaleboston.com/event/corey-fest/
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:20161008T180000
DTEND;TZID=America/New_York:20161008T180000
DTSTAMP:20260405T081636
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SUMMARY:Tom Odell
DESCRIPTION:92.5 The River presents \nDoors: 6:00 pm / Show: 7:00 pm \nThis event is 18 and over.\nTickets on sale Fri. 6/24 at noon! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. 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*** \nTom Odell \n \n[Website] [Facebook] [Twitter] \nTom Odell will release his second album ‘Wrong Crowd’ on June 10 via RCA Records (USA) and Columbia Records (UK). The album is the follow up to 2013’s million selling\, number 1 record ‘Long Way Down\,’ a record that led to Tom being given the highly prestigious Ivor Novello Award for Songwriter of the Year.  \n‘Wrong Crowd’ consists of 11 new songs; a deluxe edition of the album featuring four extra tracks will also be available. The album was produced by Jim Abbiss\, who has also produced records for artists including Arctic Monkeys\, Kasabian\, Adele.  \nThe video for “Wrong Crowd\,” shot in South Africa\, was directed by George Belfield (Arthur Beatrice\, Richard Hawley\, Kwabs) and features a brief section of another unreleased track from the album — “Constellations.”  \nWinner of the 2013 BRIT Awards Critics’ Choice\, Tom Odell released his debut album ‘Long Way Down’ in 2013. The album has sold over 1 million copies to date. His singles “Another Love” and “Real Love” both hit the UK Top 10\, with the latter — a cover of a track by The Beatles — used for John Lewis’ Christmas TV ad campaign of 2014.  \nTom said of the new album\, “I wanted the songs to sound big and dramatic; big strings and melodies emphasizing the songs further — rich in musicality and holding nothing back. The album follows a narrative of a man held at ransom by his childhood\, yearning for it\, yearning for nature- a desire for innocence in this perverse world in which he now lives. It’s a fictional story but the emotions and feelings are obviously ones I have felt — though the stories are elaborated and exaggerated. I wanted to create a world with a heightened sense of reality.” \n*** \nBarns Courtney \n \n[Website] [Facebook] [Twitter] \nOriginally born in Ipswich\, Barns Courtney spent most his childhood in Seattle before returning to his native UK aged 15. He was recently spotted by The Libertines’ Carl Barat\, with whom he’s collaborated on a track; he will be supporting on forthcoming Libertines shows. He’ll also be supporting fellow local Ed Sheeran this autumn.
URL:https://royaleboston.com/event/tom-odell/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20161011T190000
DTEND;TZID=America/New_York:20161011T190000
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SUMMARY:Marian Hill
DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over.\nTickets on sale Fri. 6/24 at noon! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. 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*** \nMarian Hill \n \n[Website] [Facebook] [Twitter] \nAct One\, the debut full-length from songwriting duo Marian Hill\, was written and produced in its entirety by Jeremy Lloyd (music/lyrics/production) and Samantha Gongol (music/lyrics/vocals). The multi- talented duo\, who have been collaborating in one form or another since high school\, have shifted the classic paradigm of a woman on a stage and a man with a piano to a woman on a mic and a man with a laptop — and the results are seductive and vivid. Tempting paradox with a blend of blues and bass\, acoustic and digital\, classic and modern\, Marian Hill have arrived. \nTwo years ago Sam and Jeremy wrote and recorded “Whisky” over spring break in Jeremy’s parents’ basement. When they released it for free on Soundcloud later that summer it was the only song they’d written for the project\, and in a little over a year’s time they had recorded their first EP in a bedroom\, amassed millions of plays on various platforms\, sold out shows across the country and featured in high profile commercials. They signed to Republic Records in early 2015\, released the Sway EP\, and settled in to write and record their debut album over the course of the following year with a plan to push their unique sound to its fullest potential. \nFor the first 50 seconds of “Down” you might think you’re at a supper club in the 1920s\, but when the bass drops out of nowhere you couldn’t be anywhere but 2016. Act One then takes you on a journey through the complexities of modern relationships\, with each song inhabiting a specific and charged relationship lyrically\, melodically\, and sonically. “I Know Why” constantly transforms and reinvents itself as the vocals grapple with a secret while “Mistaken” is the hardest of sax trap with a classic songwriting backbone. “Same Thing” is the saddest part of the album\, a haunting ballad depicting serene resignation of a doomed relationship\, but castanets rise from the ashes as “I Want You” closes out the night in a pure moment of optimistic electricity\, a glance across a crowded room that changes everything. \nMarian Hill’s one of a kind sound is present throughout — blues harmonies blend with sparse hip hop drums\, horns blast under classic vocal melodies\, and soloistic vocal chops sit side by side with clear\, intimate lyrics. You’ve never heard this before\, yet it’s surprisingly familiar. And it’s only the beginning. \n*** \nVÉRITÉ \n \n[Website] [Facebook] [Twitter] \nIt’s been less than two years since VÉRITÉ performed her first live show\, but she’s already packed in a career’s worth of highlights. Performing at massive festivals like Lollapalooza and Firefly\, surpassing 12 million streams on Spotify with a pair of critically acclaimed EPs\, crisscrossing the US and Europe for her own headlining shows\, and opening for big names like Stars\, MS MR\, and Tove Lo; she has amassed a mountain of media praise everywhere from Buzzfeed and Billboard to Nylon and SPIN. \nVÉRITÉ began her music career while working full-time as a waitress at Applebee’s in Times Square. Over the course of nearly two years\, she crafted the ‘Echo EP\,’ a stunning debut which showcased her unique brand of poignant\, emotionally intense alt-pop. SPIN praised her “incredibly strong club-ready cuts\,” naming her one of five new artists to watch\, while BuzzFeed hailed lead single “Strange Enough” as one of the best songs of the summer. Upon its release\, the track hit #1 most viral on Twitter and earned her the #1 spot on Hype Machine\, along with additional love from Harper’s Bazaar\, Refinery29\, Idolator\, and more. She followed it up with the ‘Sentiment’ EP\, which TIME called “gorgeous\,” with “complex electronic arrangements” and “rich and ethereal vocals.” \nVÉRITÉ self-funds every aspect of her career\, following her own design and operating outside of the major label system as a truly independent success story. She’s about to hit new heights with the release of her most mesmerizing collection yet\, the ‘Living EP.’ Recorded with an all-star cast of producers including Stefan Graslund (Charli XCX)\, Tim Anderson (Banks)\, Zach Nicita (MS MR)\, Peter Thomas (Betty Who)\, and James Flannigan (Kodaline)\, the EP showcases VÉRITÉ’s remarkable growth and sophistication\, as she spins dark\, vulnerable confessions into infectious\, danceable anthems. Opener “Underdressed” reveals a new edge to her haunting\, silky vocals\, while the reverb-laden guitars of “Constant Crush” give way to pulsing percussion and hypnotic melody lines\, and the minimalist “Gesture” strips everything back down to its absolute rawest\, ending with a gorgeous stack of a cappella harmonies.” It’s hard to believe we’ve only just met VÉRITÉ considering all she’s already accomplished\, but as she continues to reveal new depth and nuance with each release\, it’s clear we’ll be getting to know her for a long time to come. \n*** \nSHAED \n \n[Website] [Facebook] [Twitter] \nSHAED is the exciting newest edition to the Photo Finish Family. A Washington DC based head-bobbing pop project comprised of multi-instrumentalist twin brothers Max and Spencer Ernst and powerhouse vocalist Chelsea Lee. Lee’s vocals weave divinely through the Ernst twin’s pop-sensible production that can make anyone move. Their debut single\, “Just Wanna See”\, is a genre bending slow jam that has received international praise and favorable comparisons to bands like Florence & The Machine\, Sia\, Justin Timberlake\, and Sylvan Esso.
URL:https://royaleboston.com/event/marian-hill/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20161012T193000
DTEND;TZID=America/New_York:20161012T193000
DTSTAMP:20260405T081636
CREATED:20160606T144502Z
LAST-MODIFIED:20160606T144502Z
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SUMMARY:KONGOS
DESCRIPTION:Doors: 7:30 pm / Show: 8:15 pm \nThis event is all ages.\nTickets on sale NOW! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. 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*** \nKONGOS \n \n[Website] [Facebook] [Twitter] \nThe brothers KONGOS — multi-cultural\, multi-faceted\, multi-instrumentalists — craft a unique and irresistible sound spawned from shared DNA\, diverse influences and spot-on melodic and lyrical sensibilities. On “Lunatic\,” their 12-song Epic Records debut\, the band’s talent shines on “Come With Me Now”; the title an impossible-to-resist aural summons\, the rock-alt crossover tune kicking off with the accordion\, jumping into foot-stomping\, staccato rhythms\, slide guitar\, and soaring epic soundscapes reminiscent of U2. “I’m Only Joking\,” whose lyrics hint at the album’s title\, hits the mark with decisive tribal rhythms and Pink Floyd-esque mysterious modern rock. Thanks to an earlier self-release of “Lunatic\,” KONGOS are already stars overseas\, playing their numerous hits off “Lunatic” for crowds of up to 65\,000 at South African festivals and touring the Republic with Linkin Park\, and the UK and Europe with AWOLNATION and Dispatch. With a Feb-March North American tour with Airborne Toxic Event and alternative and rock radio hot on “Come With Me Now” and “I’m Only Joking\,” (not to mention “Come With Me Now” in promos for NFL\, NBA and ESPN)\, 2014 is quickly shaping up as the year the U.S. catches KONGOS fever.  \nKONGOS’ life story is as cinematic and captivating as their songs. The siblings\, who range in age from 25 (Danny) to 32 (Johnny)\, were born to popular ’70s South African/ British singer-songwriter John Kongos (“He’s Gonna Step On You Again\,” “Tokoloshe Man”). Spending their early childhood in London (all were born there except Danny)\, then South Africa before settling in Phoenix in the mid-90s\, the boys were exposed to a wide variety of sounds. “We listened to everything from classical and opera like Puccini to African tribal music to 60s and 70s pop and rock\,” says Dylan\, who cites African bassist Richard Bona\, Béla Fleck’s Victor Wooten\, and singing players like Sting and Paul McCartney as influences. His rhythm section partner\, Jesse\, who studied Jazz at ASU (as did Johnny)\, remembers learning boogie-woogie and classical piano as a child before getting into African drums\, then jazz greats like Jack DeJohnette. As KONGOS grew together as a rock band\, Jesse loved the vibe and feel of Zeppelin’s John Bonham\, and currently admires gospel and hip hop drummers like Aaron Spears and Carlos McSwain. Danny also boasts a myriad of influences\, ranging from Jeff Beck to Mahmoud Ahmed — “the James Brown of Ethiopia” — for his use of unconventional pentatonic scales. Johnny\, who is a student of jazz and classical piano\, cites Keith Jarrett as a hero\, while his accordion playing draws from various world styles\, including South African maskandi and Qawwali music.  \nDespite the immense and wide-ranging familial talent\, the brothers were never groomed to be a “family band\,” and as Jesse notes\, “our parents wanted us to learn music like you do Math or English.” But the siblings joke\, “we got to a point where we didn’t want to get a real job so we stuck with music.” Johnny adds\, “Hey\, most of the family bands everyone knows have been hugely successful!” Of course\, the Jackson 5\, Beach Boys\, the Osmond Brothers and more recently minted family bands like Kings of Leon do seem to have an advantage inherent in the DNA. That said\, despite inborn talent\, KONGOS are all about hard work and humility. Interestingly\, each brother writes separately and brings completed songs to the group. Additionally\, they don’t necessarily sing their own songs. Live\, Jesse and Dylan share lead vocals\, while on “Lunatic\,” Johnny and Danny also sing: “It depends on whose voice works for that song\,” says Dylan. “It’s a lot of rehearsing to find where each voice fits; like Danny has a high register that’s nice.” To make the family and musical dynamic smooth\, Johnny notes with a laugh: “We are a democracy with an occasional dictator. Everything band-wise is done together\, but recording we give the power to the songwriter. As for the day to day organization and business\, it’s a total democracy.”  \nClearly\, it’s a formula that works\, and on “Lunatic\,” they put all the pieces together into a cohesive whole. The brothers use a family recording studio — Tokoloshe Studios — named after their father’s hit song. Completely self-contained\, they write\, produce\, engineer and mix/master their music as well as direct\, shoot and edit all their own music videos. Hardly hermits\, since debuting at a high school talent show in 2003 (covering “Eleanor Rigby”!)\, beginning in 2007 KONGOS played out incessantly\, focusing on building a following in Phoenix\, garnering local airplay\, West Coast tours\, and eventually coveted slots at SXSW and CMJ. The years of dedication paid off: In 2011\, hanging in the studio\, the brothers decided to email a few songs to South African radio stations. 5FM\, the biggest Top 40 station in South Africa\, playlisted “I’m Only Joking\,” which hit No. 1 on the rock chart and was the most requested song for 11 weeks in a row. “In retrospect it was one of those crazy stories; the guy opened the email and played it on the radio and it changed everything for us in South Africa\,” recalls Johnny. “We didn’t expect anything like what happened.”  \nWhile live is where KONGOS’ uplifting\, universal musicality reaches the masses\, the studio is indeed a second home for the brothers — as kids\, at their father’s home studio in London\, Elton John’s or Cat Stevens’ group was often the house band\, while the elder Kongos worked with Mutt Lange to program Def Leppard’s drums for “Pyromania.” The total lifelong musical immersion makes “Lunatic” — and KONGOS — a rare breed of band. Fluent in numerous styles and eras\, still\, at the end of the day\, a rock band. “We’re making rock and pop music and our more obscure influences may only come out when we are attacking an extended solo\,” they explain. “But we definitely relate to bigger bands like Daft Punk\, Coldplay and Queens of the Stone Age.”  \nThe band also agreed that they were happy with “Lunatic” being a diverse record: “We each have different styles and personalities\, so we embrace that. We have a KONGOS sound which is not exactly assigned\, but we have an essence\, a picture in our mind of what it will sound like.” The press concur\, praising the band’s “classic rock elements\, African rhythms and Balkan beats” and their “incontestable youthful talent…[and] emotional outpourings.” The bottom line? KONGOS “want to write music that we like listening to.” Fortunately\, with tastes as diverse as theirs\, that’s a winning proposition for fans of all ages and predilections. \n*** \nThe Joy Formidable \n \n[Website] [Facebook] [Twitter] \nThe Joy Formidable have never been one to shy away from a challenge. Proving that time and again by holding their own as support for legendary artists and acts from Sir Paul McCartney to The Foo Fighters and The Black Keys. \nOnce described by Rolling Stone as “wickedly bracing and Himalaya-huge;” the fantastic live band would now face the self-appointed challenge of ensuring their onstage energy and ability to connect with audiences translated via recording. That is the challenge that TJF took on for their upcoming third release. “We realized we needed to build a space and do it ourselves\, go back to being three people in a room again” said Ritzy (Rhiannon) Bryan regarding the band’s decision to self-produce the new record. \nTwelve months later\, the band have made an album that has “musically and emotionally put them through the wringer” but as the band explains\, “it’s fine for it to hurt\, to finish a record feeling exhausted\, we needed a good purge” \nContinuing on the path of taking matters into their own hands\, the group set out to build the right team around the new music by getting the legendary Alan Moulder to mix the album (The Killers\, Nine Inch Nails\, The Smashing Pumpkins\, etc) and by starting their own label and teaming up with Caroline Records as new partners for the release. \n” We wanted to work with people who feel as strong as we do about music\, who listen to albums\, love the art and let that take control.” “On this album\, we’ve been lucky enough to feel that same enthusiasm from everyone involved.” This self-starter approach has been a staple of TJF for quite some time\, building consistently since the band moved back to North Wales. \nThe Joy Formidable started right away by launching Aruthrol – a unique 7” vinyl singles club\, showcasing a series of new songs sung in Welsh; built a studio – The Red Brick – in the hills they roamed when they were growing up. They have since used that studio to write and record an astonishing new album\, an evolutionary step forward from its predecessors The Big Roar (2011) & Wolf’s Law (2013). \nThey also completed their first short film score for Greg Jardin’s ‘Floating’\, an urban love story about a character made entirely of balloons. It’s an emotionally resonant score\, with all the underpinnings of The Joy Formidable\, Ritzy’s atmospheric guitar work\, and Rhydian’s piano-led melodies\, interlaced together to compliment the themes of loneliness\, vulnerability\, persistence and humanity at the film’s core. \nThe band’s love for soundtracks is highlighted by their recently recorded and released interpretation of Angelo Badalamenti and Julee Cruise’s iconic theme for Twin Peaks. “It started off as a distraction in the studio that gathered momentum\,” says Ritzy. “It’s a great and unusual piece of music and a great and unusual piece of television; we’re excited about the new episodes.” \nAudiences will be treated to a preview of some new material during the band’s later summer / early fall festival appearances. A full worldwide tour will follow and the album itself will be here for us all to enjoy in early 2016. \n*** \nArkells \n \n[Website] [Facebook] [Twitter] \nArkells met in school. They are a critically acclaimed rock n roll band\, known for their classic songwriting\, electric live show\, and workman like touring ethic. Their new album\, High Noon\, was produced by Tony Hoffer (Beck\, The Kooks\, M83) and these collection of songs are the band’s most unabashed effort yet – politically charged\, heart on your sleeve lyrics combined with adventurously modern and throwback production stylings.
URL:https://royaleboston.com/event/kongos/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20161013T200000
DTEND;TZID=America/New_York:20161013T200000
DTSTAMP:20260405T081636
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SUMMARY:Beats Antique
DESCRIPTION:Doors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over.\nTickets on sale Fri. 5/20 at noon! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. 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*** \nBeats Antique \n \n[Website] [Facebook] [Twitter] \nCelebrating its tenth anniversary with its tenth studio release\, the Bay Area’s wildly innovative performance dynamo Beats Antique emerges from the studio with a brand new album and stage show to mark the milestone. With legendary sets at some of the most iconic venues and festivals around the world and collaborations with superstars from Les Claypool to Bassnectar\, the next chapter in the trio’s story takes them back to a mysterious world. \nWhen multi-instrumentalists David Satori and Tommy Cappel and choreographer Zoe Jakes dove into development of the new Beats Antique era\, the concept of Shadowbox emerged. Driven by the infinite wonders of the deceptively simple design\, the narrative of shadows and light\, of darkness and contrast\, of reality and surreality propelled the music and vision into new territory. \nCapturing the heart of the Beats Antique sound means skirting that divide between the electric and the acoustic. Balkan melodies strung over crashing cymbals and marching band horn lines run smack into contemporary electronic grooves. It might be the drums and brass or the sweeping psychedelic strings that will take you for a ride down the rails of a steampunk circus. It’s chaos and cacophony on a very tight leash. \nAll three members shared production duties to harness the sound they first stumbled upon a decade ago: far east meets wild west. Bringing in sarod master Alam Khan (son of Ali Akbar Khan) Jakes was able to take her study of Indian classical dance from the stage to the studio. Russian singer Tatiana Kalmykova resurrected an ancient folk language to evoke a haunting fairy tale that feels at home in the shadows. Beats Antique also recruited rising stars of brass house TOO MANY ZOOZ for the horn-fueled funk and punk central to their sound. \nAs always\, Tommy Cappel focused his efforts on the beats and bass production\, while David Satori assembled an armory of stringed\, plucked\, and bowed instruments from far-flung lands to adorn the low-end foundation. All samples were created live in the studio—a hallmark of the lush warmth of a Beats Antique record. \nThe Shadowbox stage show will be teased at Red Rocks and Electric Forest before its full unveiling this fall. Taking the theme of shadow play and expanding the concept forward and backward in time\, the core members dove deep\, influenced by ancient practices of Indonesian shadow puppetry\, falling into the world of wayang kulit\, the eons long tradition of storytelling where epic tales unfold into the wee hours of the morning. \nEnormous lanterns adorn the stage\, casting light upon a maze of curtains where playful new characters dance and fight and rejoice and mourn. Beats Antique is breaking the boundaries of conventional wisdom. Why can’t an electronic music performance encompass a range of emotion? \nThis isn’t a nuclear-powered laser light show from the ever-intensifying optical arms race of the EDM industry. This is one of the earliest methods of storytelling brought from the past into the present. “The digital is there to enhance the analog\,” notes Jakes. “We’re here to tell a story\,” Satori adds. \nBringing an album from the shadows of the studio to the brightly lit stage is what Beats Antique does best. These are storytellers for a digital age—equipped with the newest technology and ancient traditions. This is where the Beats meet the Antique. \n*** \nThriftworks \n \n[Website] [Facebook] [Twitter] \n*** \nErica Dee \n \n[Website] [Facebook] [Twitter] \n“A honey laced voice with peachy summerday melodies over stick-to-your-ribs beats & sub-synth harmonies”. The daughter of Bostonian jazz musicians\, Erica Dee was saturated in music her entire childhood.\nGrowing up on the west coast of Canada she captured her soundscape amongst an eclectic underground hip-hop and rave culture. Erica began performing with DJs and bands when her desire for understanding the full spectrum of her craft led her to study music in college alongside new pop sensation Kiesza. \nErica began DJing her live set in 2007\, which lead to an invite to write and record in Los Angeles by DJ Nu Mark of Jurassic 5. In 2010 she embarked on her first Nation Wide tour with DJ Shadow and released her classic mixtape ‘Golden’\, which combines 90’s R&B flavors with nu house and beat music. She has since captivated audiences from Brazil to Israel\, and supported artists such as Justin Martin\, Thievery Corporation & Quest Love. \n2014 was a big year for Erica\, Berlin inspired 6 new releases with producers Nicone\, Sasha Bremer & Lars Moston on Danze\, Suara & Street King records. Erica has started off 2015 working hard to complete her first solo album which will be released with BBE\, as well as a new project underway with Lars Moston & Daniel Beaumann. 2015 brings new releases including co labs with Chris Lorenzo\, Jason Burns\, & Teeko. Erica’s live show is a refreshing experience; she’s an international soultress that’ll lead you to discover the depths of your own heart\, swooning you with melody\, rhythm\, standout ccapella segments\, and tastefully selected productions. Catch Erica Dee in a city near you!
URL:https://royaleboston.com/event/beats-antique/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20161015T183000
DTEND;TZID=America/New_York:20161015T183000
DTSTAMP:20260405T081636
CREATED:20160627T172638Z
LAST-MODIFIED:20160627T172638Z
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SUMMARY:Blue October
DESCRIPTION:Bowery Boston presents \nDoors: 6:30 pm / Show: 7:00 pm \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nTickets on sale Fri. 7/8 at 12PM! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. 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*** \nBlue October \n \n[Website] [Facebook] [Twitter] \nBLUE OCTOBER is the Texas-based band known for its shimmering melodies and heart-string pulling lyrics\, boasting a powerful line-up of players and one of the most emotionally charged and magnetic front men in music today in Justin Furstenfeld. \nBlue October has charted eight Top 40 singles over seven albums with songs like “Into The Ocean”\, “Hate Me”\, “Calling You”\, “Dirt Room”\, “Say It”\, “Bleed Out” and “Fear” from albums such as 2009’s Billboard Top 200 #13 debut Approaching Normal\, 2011’s Billboard #8 debut Any Man In America\, the Platinum-selling Foiled and most recently Billboard’s #13 debut Sway\, reaching audiences around the world. \nOn April 22nd\, 2016\, Blue October will release their 8th studio album\, titled Home. This album was co-produced by Justin Furstenfeld and Tim Palmer and features mixes from Tim Palmer and Mark Needham. \n“Sway was about finding inner peace and learning to live in a healthy way\,” says Furstenfeld. “This new album Home is about what we do with our time on earth\, how we’re going to utilize that time in a positive way and make it the best we possibly can by bettering ourselves.” \n*** \nDanny Malone \n \n[Website] [Facebook] [Twitter] \ndanny malone is a multitude of sounds coming from austin\, tx. it also may be the name of the mastermind behind the beautiful chaos and sexy-depression you feel from this three piece wall of sound.  \nin a dark room\, down the stairs and into a basement full of thought and diligent work\, you will find danny malone\, charley siess and kenni hede.    \nthe latest release\, speeddreamer\,  was recorded on a 4-track cassette tape recorder (a tascam 424) in a barn in total isolation.  for 2 months\, staying up all the live long night and working all the long gone days\, writing and recording the entire album.  some songs\, like “black cat”  “haunted\, my only”  and “olympia2”\, were written and recorded in the same day. this is one for the headphone junkies.  it’s a slow burn.  \nan album to which one might turn down the lights\, lay on the floor\, and break up with a lover. \nit’s certainly a lo-fi departure from malone’s previous albums\, which were\, fundamentally\, folk based songs\, with starkly different\, but respectively hi-fi production.  cuddlebug being\, at times\, f***ing rock ‘n’ roll\, and at others\, a nostalgic acoustic guitar driven album.  balloons\, in stark contrast\, took an insane turn.  it became a future-folk\, sexy-depression\, dancey – and dark album.  made in a haunted castle in denmark\, it’s innumerable layers of naturally reverb soaked vocals from the walls of the castle\, and found object rhythms (i.e. hand claps\, foot stomps\, piano-lid-slamming\, percussive breathing\, etc… no drums were used at all actually) made a truly unique and new sound like nothing else out there.  and that’s no exaggeration.  it is distinctly its own.   \nand now!  the unmistakable\, lo-fi soundscape of speeddreamer is\, likewise\, comparable to nothing else\, while retaining the undeniable soul and stamp of danny malone.
URL:https://royaleboston.com/event/blue-october/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20161017T200000
DTEND;TZID=America/New_York:20161017T200000
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SUMMARY:FAILURE – 20th Anniversary of ‘Fantastic Planet’
DESCRIPTION:Doors: 8:00 pm / Show: 9:00 pm \nThis event is 18 and over.\nTickets on sale Fri. 6/17 at 10AM! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. 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*** \nFailure \n \n[Website] [Facebook] [Twitter] \n“Thematically we’ve moved from the outer space of Fantastic Planet to inner space\,” said guitar/bass player Greg Edwards of the Failure’s new album\, the band’s first full-length since 1996\, The Heart Is A Monster. “From the dislocation of one’s identity to the complete erasing of it by sleep and dreams. I think we’ve used instrumentation in the service of mood and emotion to an even greater degree than on our previous records.” \nThe band returned from a 17-year hiatus in early 2014 with a single Los Angeles date planned. The show sold out in seconds\, which led to a North American tour\, including a run of dates with Tool and appearances at Riot Fest\, Fun Fun Fun and Cinquanta\, and eventually back to the studio. In a recent interview with Noisey\, singer/guitar/bass player Ken Andrews admits by the time the band announced their first live outing\, he\, Edwards and drummer Kellii Scott were already working on new music\, saying “One thing that Greg and I agreed on very early on\, is that we did not want to reform for just one or two nostalgia tours. We wanted to come back as a full functioning musical force and creatively pick up where we left off with Fantastic Planet. That meant we needed to start experimenting in the studio first\, which we did in late 2013. After a few months\, we came to the conclusion that we were having a good time and that we liked the results\, and that we thought the results were definitely Failure. We’ve been chipping away at a new album this whole time.” \nIn that same article\, Andrews and Edwards said that their approach to writing and recording Fantastic Planet and The Heart Is A Monster have been similar\, saying \n“The songs on Fantastic Planet appear more or less in the order that we wrote them… when\, we do a song now\, we write it and record it soup-to-nuts without moving to another song… It takes longer\, but it makes more sense for us artistically to explore a song completely before you move on.” \n“Trying to follow up Fantastic Planet was a bit daunting\,” said Andrews\, who mixed The Heart Is A Monster with the band acting as producers. “We’ve pushed the bar upward again\, but at the same time\, we’ve kept the signature sound of the band intact.” \nFailure’s SXSW performance\, about which Yahoo Music said “the beloved cult band… thrilled a practically openly weeping crowd of superfans” was the trio’s first live performance since wrapping production on The Heart is A Monster\, included the new song “Hot Traveler\,” which Entertainment Weekly said “had every bit the sonic thickness\, rhythmic thump\, and melodic bite as favorites like ‘Another Space Song’ and ‘Heliotropic.’” \nFailure formed in Los Angeles in the early ‘90s\, releasing Comfort\, their debut album\, in 1992 via Slash Records. Magnified followed in the spring of 1994 with the band’s final offering\, Fantastic Planet\, released in 1996. Fantastic Planet earned a perfect 5-star score from Alternative Press with the magazine saying the album was able “to breathe life into the corpse of contemporary\, guitar-driven rock\,” adding that the band was “willing to stretch the definition of both their instruments and their songs.” The 17-track album is considered one of the era’s most influential and enduring rock records. Over the years\, Failure has become known as a “band’s band” whose songs have been covered by such diverse artists as A Perfect Circle (“The Nurse Who Loved Me”) and Paramore (“Stuck On You”). Tool/A Perfect Circle singer Maynard James Keenan said\, “Failure has been a huge inspiration to me. They say amateurs borrow and professionals steal. Well over the years this pro has robbed those poor saps blind.” \nThe Heart Is A Monster is available June 30 via INgrooves Music Group.
URL:https://royaleboston.com/event/failure/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20161018T190000
DTEND;TZID=America/New_York:20161018T190000
DTSTAMP:20260405T081636
CREATED:20160516T140022Z
LAST-MODIFIED:20160516T140022Z
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SUMMARY:[SOLD OUT] Bianca Del Rio
DESCRIPTION:Bowery Boston & AEG Live 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. \nThis show is SOLD OUT. \n*** \n \n*** \nVIP packages available: \nBIANCA’S GATES OF HEAVEN VIP PACKAGE ($199)\nOne Ultra-Premium Reserved Ticket in Bianca’s “Heaven” Section * \n\nIncludes a Ticket in the First Two Rows\n\nOne Exclusive Invite to the Preshow VIP Meet & Greet with Bianca Del Rio! \n\nIndividual Photo Opportunity with Bianca Del Rio\nSigning-Off – Each VIP Guest Will Receive an Autographed\, Limited Edition “Not Today Satan” Tour Poster\nForget the Lines! Access to the Merchandise Booth for All Your Bianca Del Rio Shopping Needs Before General Public\n\nEssential Bianca Del Rio VIP Merchandise \n\nOne VIP Gift Item Created Exclusively For VIP Package Purchasers\nOne Commemorative Bianca Del Rio VIP Laminate & Matching Lanyard\n\nEssential Drag Race VIP Merchandise \n\nOne Exclusive Drag Race Tour-Tee\nOne Official Drag Race Tour Tote Bag\nOne Commemorative Drag Race VIP Laminate & Matching Lanyard\n\nBIANCA’S SMOKIN’ PURGATORY VIP PACKAGE ($99)\nOne Ultra-Premium Reserved Ticket in Bianca’s “Purgatory” Section *\nOne Exclusive Invite to the Preshow VIP Meet & Greet with Bianca Del Rio! \n\nIndividual Photo Opportunity with Bianca Del Rio\nForget the Lines! Access to the Merchandise Booth for All Your Bianca Del Rio Shopping Needs Before General Public\n\nEssential Bianca Del Rio VIP Merchandise \n\nOne Commemorative Bianca Del Rio VIP Laminate & Matching Lanyard\n\n* Venue seating configurations can vary market-by-market \nVIP PACKAGE DISCLAIMER INFORMATION\nAll package purchasers will be contacted via e-mail a few days prior to the event date. Information will sent to the e-mail address provided at the time of purchase. If you do not receive an e-mail a few days prior to the event please contact BiancaDelRioVIP@aeglive.com \nAll sales are final. There are no refunds or exchanges under any circumstances. All packages and package contents are non-transferable. VIP merchandise will be distributed at the show\, some exceptions may apply. Package purchases are restricted to U.S. & Canadian addresses only. All preshow VIP programs and times may vary market-by-market and are subject to modification at any time for any reason. Information provided at the time of purchase (name\, address\, e-mail\, etc.) is the same information that will be utilized for individual contact requirements as applicable. The artist\, tour\, promoter\, ticketing company\, venue or any other affiliated parties are not responsible for outdated or inaccurate information provided by the consumer at the time of purchase. Commemorative VIP laminates are for commemorative purposes only. The VIP laminate does not gain or authorize access into the venue\, VIP or any backstage areas. \n*** \nBianca Del Rio \n \n[Website] [Facebook] [Twitter] \nBIANCA DEL RIO\, the alter ego of seasoned comic Roy Haylock and season 6 winner of RuPaul’s Drag Race\, is a self-professed “clown in a gown.” This hilariously hateful comic is known for her foul mouth and unapologetic humor\, but her victims hardly have time to feel the sting before she zips on to the next topic. Besides\, Bianca is quick to point out that she’s the biggest joke of all. The NY Times calls her “The Joan Rivers of the Drag World\,” and Joan Rivers herself called Bianca’s humor “So funny! So sharp!” Based on her sold-out world comedy tour\, her first standup special\, “Rolodex of Hate” is now available on Vimeo. \n2016 will see Bianca busier than ever\, with the release of her first feature film “Hurricane Bianca\,” a forthcoming nonfiction book deal and the anticipated launch of a new global comedy tour.
URL:https://royaleboston.com/event/bianca-del-rio/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20161019T190000
DTEND;TZID=America/New_York:20161019T190000
DTSTAMP:20260405T081636
CREATED:20160711T141846Z
LAST-MODIFIED:20160711T141846Z
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SUMMARY:Saint Motel
DESCRIPTION:92.5 The RivPresents \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 TICKETMASTER.COM\, or by phone at 800-745-3000. No service charge on tickets purchased in person at The Sinclair Box Office Wednesdays-Saturdays 12-7PM. Please note: box office is cash only. \nEvery purchase of a ticket to SAINT MOTEL includes a download to the band’s upcoming Label debut album.\n \n*** \n \n*** \nSaint Motel\n \n[Website] [Facebook] [Twitter] \nElektra recording group Saint Motel has announced the release of their long awaited full-length label debut album. “saintmotelevision” arrives everywhere on Friday\, October 21st. \n“saintmotelevision” was recorded earlier this year in Los Angeles with production from the likes of Lars Stalfors (Cold War Kids\, Matt & Kim) and Tim Pagnotta (Walk The Moon) among others as well as Saint Motel’s own A/J Jackson. The lead single is set for release on August 12th in conjunction with the album pre-order. Further details will be announced soon. For updates\, please see www.saintmotel.com. \nSaint Motel will herald the release of “saintmotelevision” with an extensive North American trek\, presented by “Ones To Watch” featuring support from Jr. Jr.\, Hippo Campus\, and Weathers (lineup varies depending on the market). The tour kicks off Thursday\, September 15th at San Diego\, CA’s House of Blues and continues until November (see attached itinerary). ). As an added bonus\, each ticket purchase includes a digital copy of “saintmotelevision” to be delivered on album release\, as well as digital delivery of all pre-release instant grat tracks. VIP pre-sales start on Tuesday\, July 12th with general on-sales beginning Friday\, July 15th – for complete details\, please log on to www.saintmotel.com/tour. \nIn addition to the “Ones To Watch” tour\, Saint Motel has also slated a number of summer live dates and festival appearances\, including Winter Park\, CO’s Divide Music Festival (Saturday\, July 23rd)\, Chicago\, IL’s Lollapalooza (July 29th)\, Austin\, TX’s ACL Music Festival (October 1st and October 8th)\, and New Orleans\, LA’s Voodoo Music + Arts Experience (October 29th). \n“saintmotelevision” follows Saint Motel’s 2014 label debut EP\, “MY TYPE\,” highlighted by such singles as “Cold Cold Man” and the breakthrough hit title track. “My Type” – which is also featured on Atlantic Records’ “PAPER TOWNS – MUSIC FROM THE MOTION PICTURE” – proved a top 5 AAA and top 10 Alternative radio smash here in the US. The song has garnered over 46 million streams on Spotify and was a top 40 favorite in such European countries as Germany\, Switzerland\, and Italy\, where it received platinum sales certification. In addition\, the “My Type” companion video – directed by Saint Motel frontman A/J Jackson – has drawn more than 12 million views at the band’s official YouTube channel\, www.youtube.com/saintmotelvideo.\nSaint Motel came together when A/J Jackson met fellow Southern California film student Aaron Sharp\, and together launched a new musical project. Bangkok-born bassist Dak Lerdamornpong and drummer Greg Erwin completed the group\, which immediately attracted attention for their striking visual presentations and dynamic indie rock. \n“VOYEUR\,” Saint Motel’s independently released 2012 debut album\, earned national acclaim and massive play on Alternative blogs and specialty radio. Further applause came from the band’s increasingly inventive live performances\, including such audio/visual extravaganzas as “The Kaleidoscopic Mind Explosion in 3D” and the annual Zombie Prom\, as well as tours alongside Arctic Monkeys\, Imagine Dragons\, Band of Skulls\, and Weezer. \nSaint Motel has spent much of the past year in the studio and on the road\, including high-energy sets at festivals including Indio\, CA’s Coachella Valley Music & Arts Festival\, Dover\, DE’s Firefly Music Festival\, George\, WA’s Sasquatch! Music Festival\, and Manchester\, TN’s Bonnaroo Music & Arts Festival. The band has also made an array of major network TV appearances including NBC’s TODAY\, CBS’ The Late Late Show with James Corden\, ABC’s Jimmy Kimmel Live!\, and TBS’ CONAN. \nIn addition\, Saint Motel have also become beloved international pop superstars via multiple European tours\, high profile features in GQ Italia\, Cosmopolitan Italia\, Italian Vogue and Rolling Stone\, being playlisted on BBC1 in the UK\, and live appearances on X Factor (Italy) and the nationally televised 65th annual Sanremo Music Festival.\nSaint Motel is: A/J Jackson (vocals)\, Aaron Sharp (guitar)\, Dak Lerdamornpong (bass)\, and Greg Erwin (drums). \n*** \nHippo Campus \n \n[Website] [Facebook] [Twitter] \nA strange thing happens when freshwater and saltwater rub up against each other. In the ocean\, when left undisturbed\, the two kinds of water will separate into strata that are all but indiscernible from above or below—and when a deep-sea diver is swimming upwards\, thinking they’re just about to come up for air\, they’ll actually hit another layer of clearer\, fresher water that separates them from the atmosphere. It’s a beguiling effect that scientists call the halocline. \nFor the band Hippo Campus\, the idea of the halocline has taken on a profound meaning. Having just graduated high school in 2013\, the four members of the band teeter in that precarious place between being a kid and being a fully independent adult; though they have been kicking their legs as hard as they can to rise above murky waters of adolescent angst\, a whole new echelon of complications lingers just overhead. \nwe rose in the morning\nconfused by what we were mourning\nfor some things are better left in the adolescence of youth\n(“Opportunistic”) \nThe quartet have grasped “the halocline” like a mantra\, using it as their handle on social media and as an inspiration for their lyrics. “It’s the illusion of growing up\,” says Hippo Campus’s guitarist and co-lyricist\, Nathan Stocker. “Like\, you don’t ever\, really. It’s just all these things that happen that sort of signify adulthood\, suddenly.” And with that idea in mind\, they’ve figured out how to perfectly capture that mixture of longing\, aimlessness\, and eternal hope that consumes all young people transitioning from adolescence to adulthood on their debut EP\, Bashful Creatures\, and its follow-up South. \n“We really liked high school\,” bassist Zach Sutton notes\, laughing. As their backstory unravels\, it’s easy to understand why: The four young men in Hippo Campus first met while attending the St. Paul Conservatory for Performing Artists\, a rigorous charter school in downtown St. Paul\, Minnesota that prepares music students for the fast track to college conservatories and it quickly positioned music at the very center of their young lives. \namerican eyes\ncheery cheeks and bloodshot eyes\namerican eyes\nsee good on earth\, and truth in lies\n(“Violet”) \n“Music is such a vague thing. It’s very subjective\, it’s very sentimental\, it’s very abstract\,” Nathan muses. “So a lot of people probably don’t have any sort of training to actually talk about it\, you know. And so going to a conservatory\, we were able to develop our tongue\, I guess\, so we could communicate more easily. Not necessarily when we jam\, because that’s all feeling. But when we’re trying to decipher what it all means\, that’s where the language can come in handy. It’s a pretty mutual understanding.” \nNathan\, Zach\, and drummer Whistler Allen all participated in the school’s jazz program\, while Hippo Campus’s lead singer\, Jake Luppen\, studied classical music and developed his voice by singing opera. \n“Studying classical music allows you to adjust your voice to get multiple tones\, similar to a guitar or any other physical instrument. It’s like another way of singing.” Jake notes. \nAnyone who has heard Luppen sing knows exactly what he’s talking about: he approaches melodies in swooping lines\, making octave jumps and sudden high notes look effortless. The playful elasticity of his voice is at the very center of Hippo Campus’s bright\, optimistic\, and emotionally resonant sound\, and his melodies play a starring role. \nwise me talk the same way my mother taught me\ni walk the same way my father told me\nback straight\, chest out\, just like a soldier\nback straight\, chest out\, just like a soldier\n(“South”) \nIn addition to their prescient lyrics and buoyant melodies\, Hippo Campus have quickly earned a reputation for their rock-solid live shows and the impressive way they can build toward enormous crests before breaking apart into glistening four-part harmonies. Even in the Twin Cities\, where the band quickly trampolined from playing all-ages shows to sharing stages with the town’s largest acts on the city’s biggest stages\, it’s not uncommon to overhear the exasperated question\, “Who are these guys and where did they come from??” \nIn the course of just over a year\, Hippo Campus have skyrocketed. In the Twin Cities\, they became darlings of their local radio station\, 89.3 The Current\, playing the station’s 10th anniversary bash at First Avenue in January. The first time they toured outside of Minnesota at SXSW\, they created such a buzz that they wrapped up their week playing “Suicide Saturday” for none other than Conan O’Brien on his show CONAN. And this summer\, they’ll continue a tireless touring schedule opening for big-name acts like Walk the Moon\, Real Estate and My Morning Jacket and playing in front of tens of thousands of music fans at Lollapalooza. \nThe band is still in the midst of a transition period\, but now they’re not only figuring out how to make the brave leap into adulthood—they’re dangling between being hometown heroes and becoming breakout stars. As they literally grow up in front of their audiences’ eyes\, Bashful Creatures and South are the sound of the four young men from Hippo Campus finally coming up for air. \nwe moved in packs together\, bounded by our oldest brothers\nthe night was ours for taking\, rolling cigarettes and sneaking out\nwe sung our songs of youth and promised that we’d never lose it\n(“Souls”) \n“There were a lot of questions when we were writing Bashful Creatures\,” says Jake. “I think we were asking a lot of questions through the songs\, and just with ourselves in general. Is this what we’re doing? Zach and I were in college\, figuring a lot of stuff out. It was just a very formative time\, and a lot of those songs represent those growing pains. There are a lot of themes in there with brotherhood—that was a big part of us banding together and writing this music\, to kind of push through this really crazy\, formative time in our lives to just be like\, This is what we want to do.” \n–Andrea Swensson \n*** \nWeathers \n \n[Website] [Facebook] [Twitter] \nCameron Boyer (vocals\, rhythm guitar)\nCameron Olsen (lead guitar\,vocals)\nCole Carson (drums)\nBrennen Bates (bass)
URL:https://royaleboston.com/event/saint-motel/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20161021T180000
DTEND;TZID=America/New_York:20161021T180000
DTSTAMP:20260405T081636
CREATED:20160620T090037Z
LAST-MODIFIED:20160620T090037Z
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SUMMARY:Wet
DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 7:00 pm \nThis event is All Ages.\nTickets on sale now! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. 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*** \nWet \n \n[Website] [Facebook] [Twitter] \nHailed for their boundless emotional pop well documented by the New York Times\, Spin\, the Guardian\, NPR\, and multiple other media outlets\, Wet has been greeted with a rousing response. The album’s opening track\, “It’s All in Vain\,” soared to #1 on Hype Machine and cracked the upper tier of the Spotify Viral 50 chart\, with Entertainment Weekly noting the track in its ‘12 Songs To Hear Now.’ Complex named “Weak” among the ‘Best Songs of 2015’ and Disco Naivete anointed the evocative song as the #1 ‘Best Song of 2015.’ “Deadwater” was included on NPR’s prestigious ‘Favorite Songs of 2015’ list\, with the radio network highlighting the band on NPR’s World Café 2016 Preview\, citing their music as “profoundly emotional.” \nMedia tastemakers have reached a mutual consensus on the band’s rapid rise\, with PopCrush citing the trio among the ‘Best New Artists of 2015\,’ Pandora forecasting them as an ‘Artist To Watch in 2016’ and Consequence Of Sound including their upcoming debut effort in their list as one of the ‘50 Most Anticipated Albums Of 2016.’ Don’t You includes 11 tracks and was recorded in a rented house in the wooded confines of Hadley\, Massachusetts where the band relocated to focus on the project. The trio is comprised of the enigmatic Kelly Zutrau and multi-instrumentalists Joe Valle and Marty Sulkow. \nWet met through mutual friends as college students in New York City in 2007. After a few years of informal collaboration (Zutrau came to New York to study painting)\, they didn’t declare their official musical intentions until the summer of 2012. After releasing a few songs on SoundCloud\, including the acclaimed “Don’t Wanna Be Your Girl\,” the band began attracting a diverse and loyal following. Their critically hailed self-titled debut EP garnered industry-wide attention and paved the path for their recent major label release\, Don’t You\, available now. \n*** \nDemo Taped \n \n[Soundcloud] [Facebook] [Twitter] \nDemo Taped\, the moniker of 18 year old Atlanta native Adam Alexander\, is an Electronic Soul solo project dedicated to spreading love and good vibes. Adam strives to spread a general feeling of happiness and love through his upbeat rhythms\, soft vocals\, and unique synth melodies combined with dreamy\, electronic R&B textures. \nIn February 2015 Demo Taped released his debut EP Heart\, made for the girl who broke his. Since then he has gone on to gain the attention of Noisey\, Beats 1\, hype machine\, and more with his hit single Game On. \nSince his first live performance at the Pigeons and Planes No Ceiling showcase he’s gone on to perform his track Polarized with Goldlink\, tour with Vallis Alps\, and most recently support NAO across her UK tour.
URL:https://royaleboston.com/event/wet/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20161023T190000
DTEND;TZID=America/New_York:20161023T190000
DTSTAMP:20260405T081636
CREATED:20160725T090057Z
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SUMMARY:Brett Dennen
DESCRIPTION:Newport Folk® 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. 7/29 at 10AM! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. 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*** \nBrett Dennen \n \n[Website] [Facebook] [Twitter] \nAs common and simple as it is\, “por favor” is such an evocative expression. From Spanish\, it translates to “please\,” a word that suggests a need for something\, a desire to make a change. “Por favor’ was something I kept saying every day in the studio\, and I got the other musicians saying it\,” says Brett Dennen. “We were goofing around\, and Dave Cobb\, my producer\, said it should be the title of my new record. I laughed it off at first\, but then I really thought about it.”\n“When you say please\, you’re asking something to come into your life\,” Dennen adds. “It might mean that you’re weak and need something to make you strong. But you’re admitting to some sort of weakness or some form of humility.”\nThat notion is at the heart of Por Favor\, Dennen’s intimate and revealing new album that Elektra Records will release on May 20. Produced by Cobb\, fresh from his Grammywinning work with Chris Stapleton and Jason Isbell\, the record strips Dennen to his core as a songwriter with nothing to hide.\n“All these songs came from a time of sadness for lots of different reasons. They came at a point when I wasn’t feeling confident about myself\,” he says. “When I’m not feeling confident\, I’m not a nice person to be around. I don’t take care of my health\, my relationships\, my stuff\, and it all cycles into a miserable place. And I have a really hard time admitting that I’m in that place.”\nA followup to 2013’s Smoke and Mirrors\, his sixth studio album dives deep into loneliness\, loss\, and love and all its side effects. It’s the sound of an artist working through his insecurities in song\, and thereby letting go of them. But it’s by no means a sad affair\, nor is it the “rainyday record” Dennen initially thought he was making.\nOften framed by uplifting choruses and bright acoustic arrangements\, these songs brim with optimism\, the palpable sense that the tide is turning. “And I want to love you for the way you are/ Not the way I am/ So let’s go now/ Back to the bonfire where we began\,” he sings over a chugging groove on “Bonfire.”\nOn “Where We Left Off\,” the album’s emotional powder keg\, Dennen lays himself bare over the slack strum of guitar and one of his most unvarnished vocals ever recorded. The opening lines go straight for the jugular: “Everyone knows I’m a happy man/ But I haven’t been right.”\n“Vulnerable was another word that kept coming up when I was making this record\,” Dennen admits. “Is there something I’m scared to say? Can I dig a little deeper\, reveal a little bit more? How far can I go That was my direction\, and once I got that in place\, I started shooting down things that weren’t in that zone.”\n“I kept telling myself that all I have to do is be authentic and make the songs about the lyrics and how they interact with my guitar\,” he continues. “I don’t have to worry about whether they’ll be on the radio or if they’re different from my previous stuff.”\nHoled up at Cobb’s Nashville studio\, with musicians the producer assembled\, Dennen and Cobb worked fast and kept the songs rough around the edges. Dennen appreciated Cobb’s insistence on capturing them in just a few takes. “We recorded it the way people made records in the ’60s – really fast\, all on analog gear\, very few rehearsals\,” he says. “We didn’t do anything more than five times. We didn’t secondguess ourselves – we just went with it. It’s not sloppy\, but it’s in that right place between loose and tight and feelgood but not labored.”\nCobb adds\, “I worked with Brett because of his beautiful balance of wit and melody. He’s very timeless in his writing and you really can hear his personality in every note he sings. The record was made totally live and we recorded all the vocals live with the band. It really was produced as stopped down as possible – we tried to make every note matter.”\nMore than a decade after his selftitled debut catapulted him to stardom\, Dennen was once again attracted to how he made his earliest recordings. “My whole approach was that I wanted to write and sing the songs from the same place that I wrote the first record\, which was a place of trying to discover who I am\,” he says.\nThat marked a detour from his most recent releases. With those he felt like he was exercising his craftsmanship – “being a songwriter for the sake of being a songwriter\,” as he puts it. “I really wanted this new album to come across as a whole piece\,” Dennen says. “I consider it to be a batch of songs that all live together and complement each other.”\nWhich brings us back to the album title. Please.\n“What was I asking for with this album” Dennen says. “I wanted to be a good person and feel good about myself again\, but in a way that I knew it was OK to be sad. That’s part of life\, the ups and downs. But with these songs\, I want to make people feel good about themselves and about life through the good and bad.” \n*** \nLily & Madeleine\n \n[Website] [Facebook] [Twitter] \nMadeleine: \nKeep It Together is our third full length album and it’s a bit of a departure from our last two records. We arranged all the songs with our friends Kate Siefker (drums\, percussion\, synth\, bass) and Shannon Hayden (cello\, guitar\, mandolin\, synth). Working with a closer knit team of just four ladies helped tighten our sound and unify each track into a complete collection. Our live performances with Kate and Shannon will be will be very tightly arranged because they were directly involved in the orchestration/recording process. \nLily and I wrote many of the songs separately and came together to revise/finish them. I hope listeners are able to see our unique personalities through our different lyrical themes. “Keep it together” is a lyric from the first track “Not Gonna\,” which Lily wrote. This simple phrase has a lot of meaning to us: keep your shit together\, keep our relationship as sisters together\, pressure to keep our image a certain way as young ladies. \nWomen\, and young women especially\, are multifaceted\, yet are often trapped in certain roles. As Nicki Minaj has said\, “If you speak up for yourself\, you’re a bitch. If you party too much\, you’re a whore. Men don’t get called these things.” I admit I’m constantly afraid of saying something too “edgy” and offending someone or being “too nice” (what is too nice??) and not being true to myself. Lily and I started making music when we were teenagers\, but we’re adults now and we’re thinking about the future. I don’t want to be afraid of my future because I’m a young woman. I want to do my best to be my best and create kick ass art without hesitation. \nOne of my favorite tracks is “Nothing\,” which I wrote. This song is a dramatization of personal experience. While writing this album I thought about my romantic relationships and friendships and considered how these bonds affect me positively or negatively (or both). I’ve learned a lot about myself through my musical career so far and these songs sort of look back on who I was a year ago and who I’m becoming now. \nLily: \nKeep It Together is the most personal body of work that Madeleine and I have created. It feels especially vulnerable to me because I was a lot more involved in the writing process for this album. Each song represents a moment in time that is either a past memory or an event that I could experience in the future: these songs feel just like little parts of me. \nThis album is very honest too and has a good mix of drama and simplicity. I wanted some of the songs\, like “Westfield” and “Smoke Tricks”\, to feel like simple and steady streams of thought\, which balances out the drama of songs like “Chicago” and “Nothing”. \nAlong with reflecting on the personal bonds that Madeleine and I both have\, I also really wanted to focus more on the bigger picture and write about the experience of being a white woman in America and a college age kid in the 21st century. As I attempt to further discover who I am as an individual\, the way society wants me to define myself is becoming clearer. It seems to me that young people are the same everywhere: regardless of race\, gender\, or socioeconomic class. All young adults are in the same boat\, trying to figure out what makes us individuals and trying to find our value in society. I see the same situations reoccurring within my age group: my peers are dealing with eating disorders\, drug problems\, and abusive/manipulative relationships constantly. \nMadeleine and I are used to answering the same unintelligent questions (“What’s it like being sisters?” “Do you ever worry about picking out the perfect outfits for your performances?” “What do your boyfriends think about dating someone famous??”)\, but I believe with this album\, people will pay more attention to our creation instead of our appearances and our “story” as a band. I can only speak for my own experiences\, but my greatest hope for this album (as with every album we make) is that people will continue to listen closely and relate.
URL:https://royaleboston.com/event/brett-dennen/
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:20161028T180000
DTEND;TZID=America/New_York:20161028T180000
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CREATED:20160626T100013Z
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SUMMARY:LANY: THE KINDA TOUR
DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 6:30 pm \nThis event is ALL AGES.\nTickets on sale Fri. 7/1 at 10AM! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. 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*** \nLANY \n \n[Website] [Facebook] [Twitter] \nWhen the LA-based trio LANY first came together in 2014 their only aim was to work on a couple of tracks together\, demo them\, and have some fun in the process. Living on the West Coast\, singer Paul was putting together a scratch band and played a handful of shows. But by the end of 2013\, he says\, he knew that something had to give. Which is where Les and Jake enter the picture. Paul conceived the idea of enlisting his friends’ help on that brief trip to visit college friends. What none of them knew was that the step they were about to take would turn out to be so significant. In the space of four days\, the trio recorded two songs – songs that would lead\, in what they say seemed like the blink of an eye\, to the formation of LANY and\, not long afterwards\, to the band signing to Polydor Records. Six days after putting the tracks online the band found themselves fielding emails from major-label suitors. “The first question was always: ‘What else do you have? We want to hear more’\,” says Paul. “And we went off and wrote ILYSB\, and said: ‘This.’” \nILYSB marked the moment where LANY reached over the heads of the A&R community and started connecting directly with fans. Put simply\, the song exploded online. You can see why. Encapsulating the band’s “Let it breathe” philosophy\, ILYSB wafts over you like a summer breeze\, the yearning in its lyrics contrasting with the euphoria conjured up by the characteristically minimalist soundscape. A similar alchemy occurs repeatedly in the songs LANY put online – a succession of singles\, and the EPs I Loved You and Make Out – over the course of 2015. Again and again – on songs such as BRB\, Made in Hollywood\, Bad\, Bad\, Bad\, Kiss and those earliest tracks\, Walk Away and Hot Lights – you are taken back to the circumstances of the band’s formation. How they sensed\, without having to say it out loud\, that they were born to make music together. \nIt’s hard to believe\, but\, until very recently\, that magic was being made in a one-bedroom apartment in LA\, the three friends sharing the same room\, with barely enough space to swing a cat\, never mind set up any recording equipment. But that’s also in keeping with LANY’s approach. The music comes first; the band’s domestic circumstances\, well\, they can keep for another time. Moving to LA was\, they all agree\, a crucial step. They weren’t abandoning their roots\, they stress; but it was important for them to get out of their comfort zone. \nThey’re not chin-stroking purists or too-cool-for-school fantasists – on the contrary\, they’re proud of the fact that they studied music\, and nailed the multiple instruments they all play\, at college. In the same spirit\, they’re happy to share a room if it means they can pursue their musical dreams\, on their own terms. “How we started was\, we were friends\,” says Jake\, “but we were also just fans of each other. I always thought Les was the bomb\, and that Paul was the coolest guy ever. So it was like\, ‘Ok\, we seem to sort of love each other! Let’s do something.’” \nAnd they did. Something called LANY. Making music that aims an arrow at your heart. Writing beautiful songs with swashes of synth\, spare percussion\, echoes of prime 1980s FM pop\, of early-1990s R&B\, of new-wave electronica. Combining melody and lyrics to put down roots in your head\, and capture your heart. Recorded in a tiny room on an ancient laptop. Creating songs that are devastating and beautiful\, in a way that you can’t quite explain. There’s an idea. –Dan Cairns \n*** \nTransviolet \n \n[Website] [Facebook] [Twitter] \nIsn’t it funny when you have enough distance to look back and realize there was one accidental meeting\, one look exchanged\, one conversation shared which set in motion a chain of events that changed your life forever? It’s hardly a revelatory sentence—after all\, whole films\, artworks and albums have crystallized these kinds of coincidences and their knock-on effects. Transviolet’s forthcoming full length is not one of those records\, but the sequence of events that brought them to the point of a) creating a collection of songs together and b) for those songs to then be released\, can be attributed to talent and chemistry\, sure\, but some divine happenstance too. \nFor instance\, several years ago Transviolet singer Sarah McTaggart’s mom was seated next to a celebrity hairdresser on a flight. The pair got talking and being the proud parent\, Sarah’s mom ended up bending his ear about her daughter’s band. When she hopped off the flight she insisted Sarah reach out to him via Twitter. “I was like\, stop bothering this poor man\, he was nice enough to talk to you on the plane\, I don’t think he really wants to hear our music!” Sarah laughs. “But she kept asking until I finally sent him some of our stuff.” And you can bet he liked what he heard—so much so in fact\, that when dining with a record exec friend later that week\, said hairdresser mentioned Transviolet. After one listen the exec was hooked\, insisting that they speak with Sarah that very night. \n“They called me at 10.30 PM and I was in my PJs and I thought someone was pranking me because the guy on the other line was like\, ‘We want to sign you\, we want to do a showcase\,” she recalls\, still somewhat incredulous. “I got off the phone stunned. It was super freaking crazy: they called that night and we were signed and moving to LA a month later.” All because someone chose an aisle seat (probably). \nBut this wasn’t the only moment that a twist of chance altered the course their path: their origin story is equally serendipitous. Thanks to her father’s job as an entrepreneur\, Sarah’s family lead a nomadic existence. She spent her childhood bouncing from place to place before settling in Grand Cayman\, where her father’s family hailed from originally. A Caribbean island surrounded by crystal cerulean water sounds like paradise\, but removed from her friends and the “normal” high school existence\, Sarah felt isolated. Although she arrived late to artists like The Beatles\, Nirvana\, Bob Dylan and Radiohead—“those timeless songwriters whose music really seems to transcend time and space”—it was at this point in her life that these artists really resonated. \n“I clung to that kind of music because I moved around a lot as a kid and didn’t really fit in or I got sick of trying to fit in\,” she explains. “So I’d escape by listening to songs like ‘Across the Universe’ or ‘Lithium’ or ‘Creep’—these artists\, they get me. I became obsessed with lyrics and songwriting and that’s when I knew it was what I wanted to do.” \nIt was around this time that Sarah picked up the guitar. She cut her teeth playing open mic nights on the island\, eventually uploading her material to a site designed to bring musicians together. And here’s where the other random split second decision triggered a crucial set of events: instead of listing her whereabouts as the Caymans\, Sarah wrote San Diego on her profile. She’d set her sights on the SoCal city and it turned out to be something of self- fulfilling prophecy because when multi-instrumentalist Michael Panek logged on to search for a female vocalist\, he narrowed his search to his area in—you guessed it—San Diego. A sucker for “90s jams” there was something in Sarah’s songs that appealed to this leaning. “Her lyrical style reminded me of Death Cab For Cutie\,” explains the Rochester\, NY native. But more than that it was her innate sense of melody that reeled him in. \n“There’s a lot of good singers out there who can write crappy lyrics and get by\,” he explains. “But there was something about her that had substance\, it was a real visceral connection.” Despite the fact that Sarah immediately admitted she wasn’t based in San Diego\, the pair quickly forged a musical partnership: Michael would email his music and Sarah would apply her words and melodies. She introduced him to Alt-J; he played her Sigur Ros. This was at the top of 2011 and by the end of it she’d uprooted her life and moved to San Diego. Was it a shock to meet each other in person for the first time after the intimacy of long distance songwriting? \n“Luckily in those emails we were both pretty honest about who we were\,” says Michael. “She was exactly who I thought she was going to be—except she was a lot shorter. I think the first thing I said to her when I hugged her was like\, ‘Oh you’re so small!’”\nIt wasn’t long after the airplane-Twitter-phone call exchange that the duo upped sticks and moved to LA. Once there\, Transviolet truly solidified thanks to the addition of Michael’s high school buddies and former bandmates\, drummer Jonathan Garcia and guitarist Judah McCarthy. What followed was an incredibly fertile period: they signed to Epic and penned some 60-odd songs which were eventually whittled to a svelte debut album scheduled to drop next year. \nBut it was the quartet’s first song\, which they popped online in the summer of 2015\, that announced Transviolet’s arrival and really whet appetites for more. “Girls Your Age” is a bewitching slip of a song with Sarah’s voice at once recalling the Lana\, Lorde and Imogen Heap: sultry\, measured\, assured. The song gained instant online traction. People clicked play and clicked play again. Katy Perry praised the lyrics\, Harry Styles tweeted his support\, Ellie Goulding selected it for a spin on Beats1 and Twin Shadow delivered an exclusive remix. “Girls Your Age” soon became a bonafide viral sensation with over a million plays on Spotify alone. \nUnflinchingly personal\, it was also an apt introduction to the band. “It was my coming of age story\, I wanted to put something out there that was raw\, it wasn’t trying to be anything\, it was just a true account of how I felt growing up and the turmoil that surrounded that\,” states Sarah. “You’re trying to figure out who you are and at the same time the world is telling you feel this and be that and want this and you’re caught in the crossfire.” \nTheir four song eponymous EP (released this past September) further underscores what’s in store. “Bloodstream” is a straight up toxic love tune\, while “Night Vision” expresses the flip of this. Elsewhere “New Bohemia” is unabashedly anthemic\, but the lyrics are anything but throwaway. “I feel like every individual has the power to change the world\, we decide on a daily basis what our world looks like and every decision we make effects our reality\,” explains Sarah of the song’s message. “I wanted to write a song that inspired people to speak up and take action and to take responsibility for our generation and take a stand for something that you believe in.”\n“For all of us it’s more than just the music\,” Michael concurs. “We think it’s important to spread positive messages and have a nice effect on the world around us.” While Michael describes Sarah and him as yin and yang—her lyrics and melodies\, his beats and arrangements—the addition of John and Judah should also not be underestimated. Sarah credits them as being essential to the development of their sound\, which they’re now honing \nlive on their first ever tour (they made their stage debut back in September 2015). The foursome are a tight unit and it works. “There are no divas\, we all look at each other as equals and there’s no such thing as stupid ideas\,” affirms Sarah. “I think that safety is what allows us to feel so free in the writing process because no matter what\, the other three people are always going to back you up. Those stupid ideas are what sometimes lead to the brilliant ideas.” \nFate may have leant a helping hand\, but Transviolet don’t need luck to take this to the next level.
URL:https://royaleboston.com/event/lany-the-kinda-tour/
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:20161029T180000
DTEND;TZID=America/New_York:20161029T180000
DTSTAMP:20260405T081636
CREATED:20160726T150815Z
LAST-MODIFIED:20160726T150815Z
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SUMMARY:Jamestown Revival
DESCRIPTION:92.5 The River Presents\n \n  \n  \n  \n  \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.\nTickets on sale Fri. 7/29 at 10AM! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. 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*** \nJamestown Revival\n \n[Website] [Facebook] [Twitter] \nThe story of Jamestown Revival feels suited for the dog-eared pages of a timeless American novel.  \nChapter one opens with Jonathan Clay and Zach Chance meeting in Magnolia\, TX at 15-years-old. Fast friends\, the duo attended college together\, started Jamestown Revival\, and traded their home state for Los Angeles\, CA in late 2011. By 2014 they released their debut album UTAH (which included the hit single ‘California’)\, built a committed fan base with countless road shows\, and received critical acclaim from the likes of Rolling Stone and The Wall Street Journal. They were named iTunes “Best of 2014: Singer-Songwriter Album of the Year\,” graced the sound stages of Conan and The Late Late Show with Craig Ferguson\, and performed at some of America’s legendary music festivals including Coachella\, Austin City Limits\, Bonnaroo\, Bottlerock Festival\, and Willie Nelson’s Fourth of July Picnic.  \n“UTAH opened a lot of doors for us and put us on the road for the first time\,” says Zach. “We learned how to play for a crowd and how to perform.” \nBut when it came time to record a second album\, the band found themselves in a different place.  \n“This album is like chapter two\,” agrees Jonathan. “The story begins at the point where we decided to head back to Texas. We wrote many of the songs when we were entering a different phase of our lives. We settled back into Austin\, and my wife and I had our first child. That was a big shift. It was all about leaving behind our last bastion of adolescence\, if you will.” \nThis process resulted in The Education Of A Wandering Man [Republic Records]\, an album that looks back at the journey of the band’s past. The record chronicles the lessons learned and the experiences that color the life-lived along the way.  \n“This album is a snapshot of our observations and learnings over the past four years. Our education has been gained not in a classroom\, but in our experience\,” Zach and Jonathan write in a letter to fans announcing the album.  \nMusically\, the record remains loyal to Jamestown Revival’s indie rock/alt country aesthetic while also reaching into new creative territory. \n“You can hear all of our influences on the new album. It feels like a late night drive after a show. There’s some Motown\, rock ‘n’ roll\, and even a little country. We paid homage to a lot of the people we listened to while stuck in a car between gigs\,” says Zach.  \nTapping into almost a lifetime of natural chemistry\, the band started sharing musical ideas while sitting on Jonathan’s porch before holing up in a Hill Country farmhouse a few hours from Austin for recording. Producing themselves alongside longtime collaborator Ryan Lipman\, the sessions lasted only two weeks\, and Jamestown Revival emerged with 12 new tracks. \n“It was a bunch of good friends in a relaxed setting making a record\,” says Zach. “It never felt like a nine-to-five. We could have a smoke outside\, play horse on the basketball hoop\, and hang out and wait for the muse to find us.” \nThough the record came together quickly\, nailing down the first song proved more difficult. After wrestling to overcoming the pressure\, the band emerged with their first single “Love Is A Burden\,” kick-starting the creative process.  \n“We wrote that song about our last single ‘California’\,” admits Jonathan. “When we started writing\, all we did was compare every song we wrote to ‘California.’ We never thought anything lived up to it\, and that started to squelch our creativity. This piece of music that did amazing things for us became like a lead weight. ‘Love Is A Burden’ is about the successes\, the failures\, the triumphs\, and the fears of the past really starting to weigh you down and having a hard time moving on. It’s a metaphor we related to a relationship you can’t move past in the lyrics. As far as inspiration goes\, the chorus just popped in my head\, and we ran with it. After all of that overthinking\, it was done in ten minutes.” \nAlbum opener “Company Man” captures the heartbreak of corporate greed. “My family’s got some land where we birthed the idea of Jamestown Revival\, and we’ve both been going there together since we were kids\,” says Jonathan. “”One day my family gets a call that there’s an oil company who wants to put a pipeline right through the property. They were doing it under the protection of ‘public domain’. That piece of land is sacred to us\, but ironically\, nobody else cared about it until there was something to gain.” Company Man speaks to that feeling of helplessness and frustration. \n“American Dream” comments on similar themes\, while “Head On” explores the claustrophobia of the concrete jungle. Elsewhere\, the acoustic-driven “Back To Austin” serves as an upbeat love letter to their hometown. Throughout\, the record speaks to themes inherent to the meaning within its title The Education Of A Wandering Man. \n“The Education Of A Wandering Man is actually an autobiography by classic western novelist Louis L’Amour\,” Zach says. “He traveled the world and lived a fascinating life. Jonathan and I read the book years ago and fell in love with it. It’s like looking back on a life unplanned. That really resonated with us when we were making the album. The more you travel\, the more perspective you get. Our travels have been an education.” \nFor Jamestown Revival\, the album is simply a continuation of their ongoing story. “We’ll be writing and telling stories until we’re six feet under\,” Jonathan leaves off. “This album is just the next step on the path.” \n*** \nJonny Fritz \n \n[Website] [Facebook] [Twitter] \nJonny Fritz\, the singingest\, songwritingest\, leather workingest man from Montana/Virginia/Philadelphia/Nashville and most recently\, L.A. has come out with yet another beast of a record. This time teaming up with Jim James as producer and Taylor and Griffin Goldsmith and Joshua “Ole Hed” Hedley as the band. All five of them\, busy as they are\, found 3 days to make this new “piece”. The entire thing recorded outside\, on top of a mountain in East L.A. It’s a real polaroid of a record and now that Jonny has recovered from a hip replacement\, ATO will be releasing it and Jonny will be touring it. Because that’s how this works.
URL:https://royaleboston.com/event/jamestown-revival/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20161031T190000
DTEND;TZID=America/New_York:20161031T230000
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SUMMARY:Sharon Needles Live! With special guest Laila McQueen
DESCRIPTION:All Ages\nDoors @ 7:00pm\nVIP Meet & Greet available starts at 7:30pm
URL:https://royaleboston.com/event/sharon-needles-live-with-special-guests-laila-mcqueen/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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DTSTART;TZID=America/New_York:20161102T190000
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SUMMARY:Daughter
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 NOW! \n*** \n \n*** \nDaughter \n \n[Website] [Facebook] [Twitter] \nQuestion: just how do you go about trying to match an album as peerless\, wholly immersive\, and as widely acclaimed and adored as Daughter’s 2013 debut ‘If You Leave?’ Simple: up the ante on every level. Building on that record’s gloriously dark intensity\, wracked emotion and come-hither diaphanous textures\, ‘Not To Disappear\,’ the new full-length release from the London-based trio — singer/guitarist Elena Tonra\, guitarist/producer Igor Haefeli and drummer Remi Aguilella — is a mighty declaration of intent. Profoundly ruminative and lugubrious\, bold and direct\, it’s arguably even more assertive and compelling than its much-lauded predecessor. \nProduced by Haefeli and Nicolas Vernhes (Animal Collective\, Deerhunter\, The War On Drugs)\, ‘Not To Disappear’ finds Daughter evolving in interesting ways. Recorded in New York\, at Vernhes’ studio in Greenpoint\, Brooklyn\, there are the usual intricate dynamics at play — Tonra’s gauzy\, fragile voice\, delivering powerful\, anguished words detailing her inner turmoil\, fusing seamlessly with Haefeli’s tight\, melodic guitar sounds and Aguilella’s rolling drums — but the sound\, oozing with depth and resonance\, feels infinitely richer. It’s properly intoxicating stuff: “Numbers” soars and swoops through exhilarating crescendos\, as Tonra recites the song’s mantra — “I feel numb/I feel numb in this kingdom” — over and over; and “Fossa\,” like some majestic convergence of Radiohead and Sigur Rós\, is possibly one of Daughter’s most euphoric moments yet. \n“A lot of it started with individual ideas\,” says Tonra. “Igor would write some instrumental stuff\, and I would go away and write more tracks\, learning how to use Logic\, and how to realise something in a fuller way than just guitar and voice. As it moved along it went through various stages\, sounding better and better.” \nThe signature motifs are still very much in evidence\, but there’s a real sense of the trio opening up to new ideas. Although making the record wasn’t the easiest of rides\, co-producer Vernhes was key in bringing the group out of themselves. “Nicolas was wonderful\,” says Tonra. “We’d been living in London\, and demoing and writing here — we’re perfectionists\, pulling in different directions — so it was really beneficial to go somewhere else to record it\, just for a change of scene. Working with Nicolas was a real injection of energy.” \n“I’m a control freak\, so it’s hard to let go\,” adds Haefeli\, “but I found a lot in common with him\, as much in our positive sides as in our faults. He brought a quality of recording that wouldn’t have been possible otherwise. And he’s just a fun person to be around.” \nHaefeli has spoken previously about wanting to expand the band’s sound into increasingly widescreen realms\, and ‘Not To Disappear’ duly bigs it up; this time\, there’s distinctly more dramatic ebb and flow\, as quiet intimacy lurches into thrilling kaleidoscopic expanses\, noticeably more epic and ambitious in scope than the Daughter of just a couple of years ago. “To me\, music is like a very fragile Jenga\,” he says. “You move one piece\, then you have to move another piece to balance it. Elena is much more of a ‘pure’ artist — for her\, it’s always about capturing the ‘moment’. In that way\, we’re polar opposites\, but I think that’s what brings some of the magic to it.” \nMagic is right: this time\, Daughter feel like an entirely new\, different and increasingly fearless proposition\, the alchemy of their music — more resonant and emphatic\, even louder in places — somehow doubly alluring. They go flat-out and turn up the volume throughout\, as Haefeli’s beefed-up\, majestic guitar lines surge and reverberate with renewed urgency and purpose\, cut through by Aguilella’s unflinchingly muscular\, red-blooded drumming — all of it gilded by a gorgeous electronic undertow. \nThe lyrics — always Tonra’s domain — are more forthright\, too\, an even more honest reflection of her ever-questioning state of mind. “Expressing your emotions isn’t a weakness but a real strength\,” she says\, somehow empowered\, her new-found confidence palpable. “I think with this album\, there’s less hiding. I used to hide a lot of my themes in poetry\, but now\, there’s no veil. \n“The first song we wrote for the record\, ‘New Ways\,’ was like opening another window. The album title comes from that song\, and for me\, as the lyricist\, it’s an important message. The older I get\, the more I’m saying ‘this is who I am’.” \n‘Not To Disappear’ has its unexpected bursts of uptempo energy\, as on the propulsive stomp of “No Care” — consciously striving to mix things up\, and about as lyrically direct and embittered (“There’s only been one time where we fucked\, and i felt like a bad memory”) as Tonra has ever been. “I go around collecting memories and feelings\, and when I press record\, stuff just… spills.” \n“Drifting apart like two sheets of ice” sings Tonra wistfully on “Winter” (from ‘If You Leave’)\, and lyrically\, it’s an over-arching motif that carries through here\, with loss\, alienation and loneliness as prevalent themes. On “Alone/With You” in particular\, she’s brutally forthright (“I hate sleeping with you/Just a shadowy figure with a blank face/Kicking me out of his place”)\, laying bare her innermost feelings and neuroses. “Writing has always been a bit cathartic for me\,” she admits. “It’s almost therapeutic — I don’t know how I would be if I didn’t write.” \nFamously guarded about revealing the meaning to her lyrics\, the singer remains keen to retain a little mystique (“I never want to explain things too much — what I’ve said in the song is the most I want to say\, and the rest is up for interpretation”)\, but\, emotionally unshackled\, she seems less worried these days about how her words might be interpreted. “It’s a little bit ‘fuck you’ now\,” she says\, bristling with defiance. “The new songs came out in a way where my writing was different from before. Initially\, it freaked me out because I thought I had writer’s block\, but I realised it was just how my brain was working. \n“On this record\, I’ve gone to places I maybe wouldn’t have been that comfortable with before. I guess there are a lot more sexual references\, that kind of lonely interpretation of sex — I don’t know if many other people have spoken about it that way. But I thought\, if my brain isn’t trying to hide this stuff\, then it obviously means I should talk about it. It feels like I’m being braver\, which is liberating.” \n*** \nVancouver Sleep Clinic \n \n[Website] [Facebook] [Twitter] \nVancouver Sleep Clinic as a name in itself conjures up imagery of long cold winters\, of isolation and remoteness and the sometimes self-imposed reclusiveness in all of us as the days get shorter and we move into the bitter months ahead. The adopted moniker of 17 year-old Tim Bettinson perfectly hones in on this visuality\, and with new track “Collapse\,” taken from his forthcoming debut EP\, the influences of those dark corners inside ourselves interweave throughout his sound.  \nAs we draw closer into the winter here in the Western hemisphere\, VSC feels like it was designed to be delivered just in time for the onslaught of the colder weather. Taking into consideration that Tim lives in Australia\, he set about writing songs for VSC during his winter but what was in fact our summer — timing can be everything.  \nAfter months of assembling lyrics and instrumentation from various maths books\, notes\, whiteboards and bedroom walls\, humbly working with scattered cheap microphones\, an old laptop and an outdated keyboard\, Vancouver Sleep Clinic’s debut EP was born\, a combination of soaring falsetto vocals built upon progressive synthetic instrumentation to create an ambient base for a vessel of emotional connections to be made.  \nBearing messages of sorrow\, humility and hope above all else — songs are written from the heart alone. Together\, let’s create something beautiful.
URL:https://royaleboston.com/event/daughter/
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:20161104T180000
DTEND;TZID=America/New_York:20161104T180000
DTSTAMP:20260405T081636
CREATED:20151208T164235Z
LAST-MODIFIED:20151208T164235Z
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SUMMARY:Marillion
DESCRIPTION:Bowery Boston presents \nDoors: 6:00 pm / Show: 7:00 pm \nThis event is 18 and over.\nTickets on sale now! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. 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*** \nMarillion \n \n[Website] [Facebook] [Twitter] \nTriumphant cries\, collective sighs and sounds that can’t be made fill the air as legandary English quintet\, Marillion announce their long awaited return to North America in 2016. The thirteen date trek\, beginning on Friday\, October 21 in San Francisco – full routing below – marks the band’s first North American dates since 2012. Special Guest\, John Wesley (of Porcupine Tree)\, a frequent particpant in Marillion’s bi-annual conventions\, will support for the run of dates. Tickets will go on sale this Saturday\, December 11 – for details on each date\, visit www.marillion.com \nMarillion will embark on a massive world tour in 2016 in support of their forthcoming 18th studio album. The as-yet-untitled release is scheduled for spring 2016 via partnership with PledgeMusic announced earlier this year. Pioneers of a game-changing business model\, Marillion have cultivated a unique direct relationship with their devoted following\, with crowdfunding efforts and global mobilization. Since 1997\, long before Kickstarter or GoFundMe\, Marillion began a cooperative arrangement with fans\, to pre-order releases and pre-fund tours and conventions\, making them true pioneers of modern music. For more information on the forthcoming album please visit https://www.pledgemusic.com/projects/marillion \nFormed in Aylesbury\, UK\, in 1979\, Marillion have sold more than 16 million albums and are celebrated across the globe for their dramatic style and uniquely powerful sound. The band’s ever-growing following have funded the last five releases with highly successful pre-sale campaigns through their in-house label and Racket Records recording studio. Marillion host a bi-annual “Marillion Weekend\,” recently awarded ‘Best Live Event’ by the Progressive Music Awards\, wherein the global fan community gather with the band for multiple nights of historic performances\, unique events and total immersion in the Marillion culture and community. Marillion continue to perform an average of 100 sold out shows and festival stops globally each year and continue to welcome new members to their uniquely devoted family. It’s time you found out why… Join us 2016. \nMarillion are Steve ‘h’ Hogarth (vocals)\, Steven Rothery (guitar)\, Pete Trewavas (bass)\, Mark Kelly (keyboard) and Ian Mosley (drums) \n*** \nJohn Wesley \n \n[Website] [Facebook] [Twitter] \nJohn Wesley has built a long and varied career as a songwriter\, “sideman” guitarist\, and recording artist. \nHis music has been called lyrically sensitive and musically dynamic. His songwriting style incorporates emotionally-charged vocals that evoke the honesty and intimacy of Roger Waters and Patty Griffin coupled with a melodic yet intricate guitar style reminiscent of David Gilmour\, Alex Lifeson\, Jeff Beck\, and Warren Haynes. \nWesley’s guitar-driven acoustic and electric songs represent the cultivation of many inspirations — alternative\, progressive\, art\, and classic rock genres intertwined with poignant lyrics drawn from the poetry of the common man. What really appeals to Wesley’s fans worldwide is a spark of sincerity and sensitivity so oft absent in today’s mainstream music. \nMost recently\, John Wesley has performed as sideman\, guitarist/vocalist for critically acclaimed UK based recording act Porcupine Tree\, during the In Absentia\, Deadwing\, Fear of a Blank Planet\, and The Incident world tours. He has performed in the band for nine years\, culminating in 2010 with sold out performances at Radio City Music Hall and the Royal Albert Hall. \nJohn Wesley’s professional music career began in the early 1980’s in the Tampa\, Florida area where he founded 1991 Southwestern Music Conference’s showcase act Autodrive. The following year Wesley embarked on a solo career and became the premier opening act for British progressive rockers Marillion on seven consecutive tour legs around the world — especially North and South America\, the UK and Europe — where he played for hundreds of thousands of fans. In 1998\, Wesley embarked with White Lion frontman Mike Tramp on an extensive tour as premier opening act for the prestigious Peter Frampton/Lynryd Skynyrd tour. Following this was several world tours as lead guitarist for Scottish neo-prog legend Fish.  In 2001\, John Wesley was the primary co-writer of Fish’s Fellini Days album.  He began touring as guitarist and backing vocalist for Porcupine tree in 2002\, and has continued his role with the band through four album cycles and over 450 shows. In 2011 he performed guitar during Steven Wilson’s North American Grace for Drowning tour. In 2013\, Wesley toured as lead guitarist with Simon Collin’s Sound of Contact to support the Dimensionaut album. In 2014\, Wesley toured as guest lead guitarist with Big Elf. Wesley has also toured the U.S. and Europe extensively to support his independent releases – performing as opening act for Marillion\, Fish\, Porcupine Tree\, Sister Hazel\, Steven Wilson\, Flying Colors\, The Winery Dogs\, and Blackfield. \nIn 2005\, Wes produced and recorded his fifth studio release\, Shiver\, co-produced by Mark Prator\, and mixed by Steven Wilson of Porcupine tree.  In 2011\, Wesley partnered with UK native Dean Tidey (Feeder\, Muddy Apes)\, to produce his EP\, the lilypad suite.  Wesley’s long awaited sixth full-length studio album\, Disconnect\, was released by Inside Out Music on April 1\, 2014 and the follow-up album is scheduled for release in late 2016.
URL:https://royaleboston.com/event/marillion/
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:20161105T063000
DTEND;TZID=America/New_York:20161105T183000
DTSTAMP:20260405T081636
CREATED:20160614T120026Z
LAST-MODIFIED:20160614T120026Z
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SUMMARY:[SOLD OUT] St. Paul and The Broken Bones
DESCRIPTION:Doors: 6:30 pm / Show: 7:00 pm \n92.5 The River and Newport Folk® present…\n \n  \n  \n  \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian. \nThis show is SOLD OUT! \n*** \n  \n*** \nSt. Paul and The Broken Bones \n \n[Website] [Facebook] [Twitter] \nSea of Noise\, the second full-length album by St. Paul and the Broken Bones\, marks a quantum leap in sound and style for the high-voltage Birmingham\, Alabama-based band. \nProduced by Paul Butler and recorded at Nashville’s Sound Emporium\, the group’s sophomore effort features an expanded eight-piece lineup of the widely praised soul-based rock unit. Longtime members Paul Janeway (lead vocals)\, Jesse Phillips (bass\, guitar)\, Browan Lollar (guitars)\, Andrew Lee (drums)\, Al Gamble (keyboards)\, and Allen Branstetter (trumpet) are joined by Jason Mingledorff (saxophone\, clarinet\, flute)\, and Chad Fisher (trombone). \nThe collection of new original songs is the group’s first release on RECORDS\, a joint venture of SONGS Publishing\, winner of ASCAP’s 2016 independent publisher of the year award\, and veteran label executive Barry Weiss. \nSea of Noise is a successor to the Broken Bones’ 2013 debut album Half the City\, which introduced the group’s blazing mating of ‘60s soul fire – daubed with latter-day influences like Sly Stone\, David Bowie\, and Prince — to Janeway’s impassioned singing and writing. The new album witnesses a deepening and broadening of the unit’s musical reach and lyrical concerns. \n“It felt like it happened organically\,” Janeway says of the band’s development. “With the last record\, it was like doing things with your hair on fire – going in\, recording it live. There’s a sense of urgency to having a record like that. We were only a band for about five months at that point. I didn’t know my voice – I’d never done this professionally. I was just learning more nuance\, and about carrying a melody. You don’t have to go for it 100% all the time. You can draw people in by giving and taking.” \nJaneway says that he and his close musical associate Phillips began to ponder the direction of the band’s second album a year and a half ago. “If we had been forced to go into a studio a year and a half ago\, we probably would have done a better version of Half the City\,” he says. “There would have been nothing wrong with that. But we started evolving\, or changing.” \nWork began in earnest during last year’s Coachella festival in California: “We rented a house in San Bernardino Valley National Park. The week in between the two weekends\, we really started to hash things out. Then we rented out a very hot warehouse in Birmingham where we could write. And me and Jesse and a few of us would send stuff back and forth via Dropbox. That gave me the ability to work on harmonies on the vocals. I wanted to take it up a notch\, in all realms.” \nLooking to such inspirations as Tom Waits and Nick Cave\, Janeway was intent on lifting his game as a songwriter on material for the second album. “I’m married to a woman with a masters in literature\, and I can’t show her lyrics unless I’m pretty proud of ‘em\,” he says. “I had to sit and think about what I’m saying – what do I want to say\, is there anything to say? What’s my perspective as this Southern kid who’s watching the modern world and feeling very much like an alien in a lot of ways. This is more personal. If you’re going to say something\, say something\, and don’t waste your breath unless you feel like you’re saying something.” \nJaneway adds that his reading of the book Just Mercy by Bryan Stevenson\, founder of the Equal Justice Initiative\, played a role in the direction of the work: “I didn’t want it to be an overly political record\, but I feel it shows up a little bit on the album.” \nWith a full complement of new songs in hand\, St. Paul and the Broken Bones entered the studio with Butler\, leader of the British band the Bees and producer of Devendra Banhart and Michael Kiwanuka. \n“Jesse was listening to one of his records and he said\, ‘Everything sounds great\,’” Janeway recalls. “It sounded like a real record – everything had depth\, and was expansive-sounding. Butler ended up being the guy that we wanted to use. Producer-wise\, I think we knocked a home run. He is very meticulous.” \nOn Sea of Noise\, the band’s brawny horn-driven sound is augmented – and displaced — by the use of a string quartet and a vocal choir. The strings – recorded at Memphis’ historic Sam Phillips Recording by engineer Jeff Powell – were arranged by Lester Snell\, a veteran of Stax Records sessions by Isaac Hayes\, Shirley Brown\, Albert King\, and the Staple Singers\, among many others. Janeway says of Snell\, “He did all these classic\, great records in Memphis – he did the string arrangements on them. The strings\, for us\, supply a darker tone. Horns sometimes can’t portray a certain darkness. We thought that would be the best option\, instead of horn lines. We have songs on this record that don’t have any horns at all.” \nEmployed on “Crumbling Light Posts\,” the recurring motif that appears three times on the album\, Jason Clark and the Tennessee Mass Choir were recorded in another legendary Memphis facility. “The Stax Museum let us go in there after hours and record the choir\,” Janeway says\, adding with a laugh. “We said\, ‘Well\, hell\, we’re in Memphis\, let’s just see if they’ll do it.’ It was pretty neat\, I’m not gonna lie.” \nHe says of the finished work\, “Sea of Noise is not quite a full-blown concept record. It is focused in terms of subject matter – finding redemption and salvation and hope. ‘Crumbling Light Posts’ comes from an old Winston Churchill quote\, in which he said England was a crumbling lighthouse in a sea of darkness. I always thought that was a really interesting concept – that we’re falling anyway. In this day and age\, it is the noise that has defined so many things. We’re going to fall to it eventually\, but for now we feel like our heads are above water. It felt anthemic.” \nThe album’s lyrical and emotional richness is heard loudly in stunning new compositions like “Burning Rome” (which Janeway describes as “a letter to God\, if I could write it”) and the startling “I’ll Be Your Woman\,” which knocks traditional soul music gender roles on their heads. Janeway says of the latter song\, “I wrote that with Jesse\, and he said\, ‘If I can write that song\, I can die a happy man\, because I’ve finally made something that I feel can stand up to my standards.’” \nSt. Paul and the Broken Bones\, which toured extensively in the U.S. and Europe behind their debut album\, will put their take-no-prisoners live show on the road this fall. Their most recent concert work included arena dates opening for the Rolling Stones in Atlanta and Buffalo. Some acts may have been daunted by such a task\, but not this one. \n“It was pretty neat\, it was pretty crazy\,” Janeway says. “I love the Rolling Stones\, but my train of thought is\, you gotta try and blow ‘em off the stage. And that’s still my goal.” \n*** \nDiane Coffee \n \n[Website] [Facebook] [Twitter] \nEverybody’s A Good Dog is the first true realization of Shaun Fleming’s Little Shop of Horrors -meets-Aladdin Sane vision\, recorded in a proper studio with an assortment of guest artists\, horn section\, and string ensemble (all firsts for Fleming). The resulting 11 tracks are a sky-scraping sound kaleidoscope\, touched with euphoric instrumentation and dark lyricism. \nJust as Diane Coffee’s debut LP\, 2013’s ‘My Friend Fish\,’ was inspired by Fleming’s move from sunny California to New York City\, Everybody’s A Good Dog took shape after this former Disney child actor and current drummer for Foxygen uprooted again from NYC to the much smaller town of Bloomington\, IN – “spontaneous moves have always helped to inspire my writing” he explains. This downsizing provided Fleming with a blank slate to create – “I missed the quiet. I missed having a fire. I missed the color green.” \nThe songs on Everybody’s A Good Dog capture this sense of clarity\, channeling the New York Dolls or T-Rex at their strutting-est and Meatloaf at his most theatrical\, with shades of Motown-worthy soul. The gentle psychedellia on opener “Spring Breathes” gives way to a pounding prog breakdown\, “Mayflower” leads with a monster funk-fueled horn riff\, while on “Tams Up” Fleming fronts his own one-man doo-wop group.
URL:https://royaleboston.com/event/st-paul-and-the-broken-bones/
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:20161106T190000
DTEND;TZID=America/New_York:20161106T190000
DTSTAMP:20260405T081636
CREATED:20160614T120011Z
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SUMMARY:[SOLD OUT] St. Paul and the Broken Bones
DESCRIPTION:Doors: 7:00 pm / Show: 8:00 pm \n92.5 The River and Newport Folk® present…\n \n  \n  \n  \nThis event is 18 and over. Patrons under 18 admitted if accompanied by a parent or legal guardian.\nThis show is SOLD OUT! \n*** \n  \n*** \nSt. Paul and the Broken Bones \n \n[Website] [Facebook] [Twitter] \nSea of Noise\, the second full-length album by St. Paul and the Broken Bones\, marks a quantum leap in sound and style for the high-voltage Birmingham\, Alabama-based band. \nProduced by Paul Butler and recorded at Nashville’s Sound Emporium\, the group’s sophomore effort features an expanded eight-piece lineup of the widely praised soul-based rock unit. Longtime members Paul Janeway (lead vocals)\, Jesse Phillips (bass\, guitar)\, Browan Lollar (guitars)\, Andrew Lee (drums)\, Al Gamble (keyboards)\, and Allen Branstetter (trumpet) are joined by Jason Mingledorff (saxophone\, clarinet\, flute)\, and Chad Fisher (trombone). \nThe collection of new original songs is the group’s first release on RECORDS\, a joint venture of SONGS Publishing\, winner of ASCAP’s 2016 independent publisher of the year award\, and veteran label executive Barry Weiss. \nSea of Noise is a successor to the Broken Bones’ 2013 debut album Half the City\, which introduced the group’s blazing mating of ‘60s soul fire – daubed with latter-day influences like Sly Stone\, David Bowie\, and Prince — to Janeway’s impassioned singing and writing. The new album witnesses a deepening and broadening of the unit’s musical reach and lyrical concerns. \n“It felt like it happened organically\,” Janeway says of the band’s development. “With the last record\, it was like doing things with your hair on fire – going in\, recording it live. There’s a sense of urgency to having a record like that. We were only a band for about five months at that point. I didn’t know my voice – I’d never done this professionally. I was just learning more nuance\, and about carrying a melody. You don’t have to go for it 100% all the time. You can draw people in by giving and taking.” \nJaneway says that he and his close musical associate Phillips began to ponder the direction of the band’s second album a year and a half ago. “If we had been forced to go into a studio a year and a half ago\, we probably would have done a better version of Half the City\,” he says. “There would have been nothing wrong with that. But we started evolving\, or changing.” \nWork began in earnest during last year’s Coachella festival in California: “We rented a house in San Bernardino Valley National Park. The week in between the two weekends\, we really started to hash things out. Then we rented out a very hot warehouse in Birmingham where we could write. And me and Jesse and a few of us would send stuff back and forth via Dropbox. That gave me the ability to work on harmonies on the vocals. I wanted to take it up a notch\, in all realms.” \nLooking to such inspirations as Tom Waits and Nick Cave\, Janeway was intent on lifting his game as a songwriter on material for the second album. “I’m married to a woman with a masters in literature\, and I can’t show her lyrics unless I’m pretty proud of ‘em\,” he says. “I had to sit and think about what I’m saying – what do I want to say\, is there anything to say? What’s my perspective as this Southern kid who’s watching the modern world and feeling very much like an alien in a lot of ways. This is more personal. If you’re going to say something\, say something\, and don’t waste your breath unless you feel like you’re saying something.” \nJaneway adds that his reading of the book Just Mercy by Bryan Stevenson\, founder of the Equal Justice Initiative\, played a role in the direction of the work: “I didn’t want it to be an overly political record\, but I feel it shows up a little bit on the album.” \nWith a full complement of new songs in hand\, St. Paul and the Broken Bones entered the studio with Butler\, leader of the British band the Bees and producer of Devendra Banhart and Michael Kiwanuka. \n“Jesse was listening to one of his records and he said\, ‘Everything sounds great\,’” Janeway recalls. “It sounded like a real record – everything had depth\, and was expansive-sounding. Butler ended up being the guy that we wanted to use. Producer-wise\, I think we knocked a home run. He is very meticulous.” \nOn Sea of Noise\, the band’s brawny horn-driven sound is augmented – and displaced — by the use of a string quartet and a vocal choir. The strings – recorded at Memphis’ historic Sam Phillips Recording by engineer Jeff Powell – were arranged by Lester Snell\, a veteran of Stax Records sessions by Isaac Hayes\, Shirley Brown\, Albert King\, and the Staple Singers\, among many others. Janeway says of Snell\, “He did all these classic\, great records in Memphis – he did the string arrangements on them. The strings\, for us\, supply a darker tone. Horns sometimes can’t portray a certain darkness. We thought that would be the best option\, instead of horn lines. We have songs on this record that don’t have any horns at all.” \nEmployed on “Crumbling Light Posts\,” the recurring motif that appears three times on the album\, Jason Clark and the Tennessee Mass Choir were recorded in another legendary Memphis facility. “The Stax Museum let us go in there after hours and record the choir\,” Janeway says\, adding with a laugh. “We said\, ‘Well\, hell\, we’re in Memphis\, let’s just see if they’ll do it.’ It was pretty neat\, I’m not gonna lie.” \nHe says of the finished work\, “Sea of Noise is not quite a full-blown concept record. It is focused in terms of subject matter – finding redemption and salvation and hope. ‘Crumbling Light Posts’ comes from an old Winston Churchill quote\, in which he said England was a crumbling lighthouse in a sea of darkness. I always thought that was a really interesting concept – that we’re falling anyway. In this day and age\, it is the noise that has defined so many things. We’re going to fall to it eventually\, but for now we feel like our heads are above water. It felt anthemic.” \nThe album’s lyrical and emotional richness is heard loudly in stunning new compositions like “Burning Rome” (which Janeway describes as “a letter to God\, if I could write it”) and the startling “I’ll Be Your Woman\,” which knocks traditional soul music gender roles on their heads. Janeway says of the latter song\, “I wrote that with Jesse\, and he said\, ‘If I can write that song\, I can die a happy man\, because I’ve finally made something that I feel can stand up to my standards.’” \nSt. Paul and the Broken Bones\, which toured extensively in the U.S. and Europe behind their debut album\, will put their take-no-prisoners live show on the road this fall. Their most recent concert work included arena dates opening for the Rolling Stones in Atlanta and Buffalo. Some acts may have been daunted by such a task\, but not this one. \n“It was pretty neat\, it was pretty crazy\,” Janeway says. “I love the Rolling Stones\, but my train of thought is\, you gotta try and blow ‘em off the stage. And that’s still my goal.” \n*** \nDiane Coffee \n \n[Website] [Facebook] [Twitter] \nEverybody’s A Good Dog is the first true realization of Shaun Fleming’s Little Shop of Horrors -meets-Aladdin Sane vision\, recorded in a proper studio with an assortment of guest artists\, horn section\, and string ensemble (all firsts for Fleming). The resulting 11 tracks are a sky-scraping sound kaleidoscope\, touched with euphoric instrumentation and dark lyricism. \nJust as Diane Coffee’s debut LP\, 2013’s ‘My Friend Fish\,’ was inspired by Fleming’s move from sunny California to New York City\, Everybody’s A Good Dog took shape after this former Disney child actor and current drummer for Foxygen uprooted again from NYC to the much smaller town of Bloomington\, IN – “spontaneous moves have always helped to inspire my writing” he explains. This downsizing provided Fleming with a blank slate to create – “I missed the quiet. I missed having a fire. I missed the color green.” \nThe songs on Everybody’s A Good Dog capture this sense of clarity\, channeling the New York Dolls or T-Rex at their strutting-est and Meatloaf at his most theatrical\, with shades of Motown-worthy soul. The gentle psychedellia on opener “Spring Breathes” gives way to a pounding prog breakdown\, “Mayflower” leads with a monster funk-fueled horn riff\, while on “Tams Up” Fleming fronts his own one-man doo-wop group.
URL:https://royaleboston.com/event/st-paul-and-the-broken-bones-2/
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:20161107T190000
DTEND;TZID=America/New_York:20161107T190000
DTSTAMP:20260405T081636
CREATED:20160818T125536Z
LAST-MODIFIED:20160818T125536Z
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SUMMARY:AJJ [MOVED to The Sinclair]
DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is all ages.\nNOTE: This show has been moved from Royale to The Sinclair. All previously purchased tickets will be honored. \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*** \nAJJ (formerly Andrew Jackson Jihad)\n \n[Website] [Facebook] [Twitter] \nFor their sixth album\, garbage-pop veterans AJJ chose to reinforce their strengths and leave any limp frivolities behind. They reconvened with producer John Congleton\, who oversaw 2014’s sonically expansive Christmas Island\, but recorded and mixed the album in a mere nine days\,having arranged most of the songs during tour sound checks and down-time in the van. This made for a confident stride into more elaborate arrangements and wider dynamics while staying just as dour. They also opted\, amid some sensation\, for the simplified band acronym (previously Andrew Jackson Jihad). Singer Sean Bonnette told The AV Club that\, among many reasons\, thechange cleared a space for new imagery and allowed their music to define them\, not their band name. As a result\, their new album\, The Bible 2\, is their most ambitious and assured collection of scuzzy punk screeds\, employing even more production heft while sparing none of the vulnerability. The album’s mantra is placed right at the center: “No More Shame\, No More Fear\, No More Dread”. The Bible 2 finds the band choosing intimacy over isolation\, gravity over the vacuum\, the stage instead of the scene. The album is also an examination of boyhood from an adult distance\, putting some of its tumult and pain to rest. It’s also the most impressive work of Bonnette’s\, who has honed his confessional lyrical prowess into a punk inflected mire of Trent Reznor’s unrestrained turmoil\, Jamie Stewart’s profane gallows humor and a touch of David Berman’s surreal quotidian imagery. Opener “Cody’s Theme” rings like Jay Reatard distorted with Neutral Milk Hotel neuroses (“I set the mommy on fire / I set the baby on fire / not even Jesus could stop me”). The character of Cody\, a recurring Bonnette motif\, returns as a kool-aid stained kid navigating transience\, intrusive thoughts and involuntary delusion\, brimming wild with destructive energy and having nowhere to put it. Elsewhere\, cross-eyed metaphors float above the shredded acoustic Pixies tension of “Terrifier” (“Some days you’re a member of Queen / other days you’re a Kottonmouth King”)\, and some of Bonnette’s most intense grotesqueries (“My blood is worse than your blood / this heart pumps baby piss”) get bit-crushed into the lo-fi Guided By Voices pop of “My Brain is a Human Body”. \nBut Bonnette’s narrative skills\, and the band’s growing nuances\, have never been more heartbreaking than on “Junkie Church”\, a tender acoustic tale about affection and companionship on the lowest rung of society (“I used your ribs as ladders / and I climbed up on your chest / and I jumped up and down just like a trampoline” Bonnette sings). Preston Bryant’s synth\, Mark Glick’s cello and Ben Gallaty’s bass are employed to haunting Leonard Cohen-like production ends\, staccato plucks and serrated chords hiving like gnats then quickly dissolving into darkness. \nThis cinematic arrangement also bolsters the power-folk epic “Small Red Boy”\, organ heaves and cymbal swells coloring Bonnette’s vivid story of rebirth. Near the album’s midpoint\, right after spelling out their thesis\, AJJ pounds through the jangly\nthrob of “Goodbye O Goodbye”. The song is a cathartic fever dream\, the band walloping furious chords\, a kiss-off to so many things worth shedding: the emotional heap of a past life\, some long-aching baggage\, any and all expectations. \n*** \nDINERS \n \n[Website] [Facebook] [Twitter] \nOkay\, so Tyler Broderick writes songs and plays them with the friendly rock and roll band: Tristan Jemsek\, Jill Frensky\, Tony Di Domizio\, Erin Ponzo\, Mitchell Keaney and Cesar Ruiz.  \nfluid members/past players:\nRobert Raya\, Nick Shively\, Amanda Pitsch\, Zach Burba\, Bob Vielma\, Kyle Daniels\, Andrew Kendall\, Kyle Burnett\, Christian Reeb\, jalipaz\, Brianna Johnson\, Matt Kimball\, Kristina Moore\, Talisha Royer\, Alex Cardwell\, Logan Greene\, Mari Morton\, Erin Caldwell\, Mike Sherk\, Samuel Regan\, Jason Anderson\, Stephen Steinbrink\, and Patrick Sexton \n*** \nChris Farren \n \n[Website] [Facebook] [Twitter] \nChris Farren will be the first to tell you he’s a “musician’s musician”although he’s not really sure what that means. Maybe it means that the Florida-based musician has been grinding it out for over a decade\, making endless friends along the way. The charismatic frontman of the Naples band Fake Problems has toured with everyone from Against Me! to The Gaslight Anthem to Say Anything.  \nBut as Fake Problems has been eerily quiet since the release of their full-length\, 2010’s Real Ghosts Caught on Tape\, Farren has been branching out and dipping his toes into other waters. He recently unveiled his two-man project with Bomb the Music Industry!’s Jeff Rosenstock called Antarctigo Vespucci\, a refreshingly unpretentious pop machine. He’s also been stripping things down and experimenting with solo material. Farren recently released a split EP with Grey Gordon\, Ducks Fly Together. Without the comfort of a backing band\, the self-made Verified Twitter user is seeing how far he can get on his own\, with nothing but a ton of inspiration and a good reputation. After all\, Chris Farren is a musician’s musician. Ask anyone\, just not him.
URL:https://royaleboston.com/event/ajj/
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:20161110T190000
DTEND;TZID=America/New_York:20161110T190000
DTSTAMP:20260405T081636
CREATED:20160708T133249Z
LAST-MODIFIED:20160708T133249Z
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SUMMARY:[SOLD OUT] The Naked and Famous
DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is 18 and over. \nThis event is SOLD OUT. \n*** \n \n*** \nThe Naked and Famous \n \n[Website] [Facebook] [Twitter] \nIn 2010\, Auckland\, New Zealand’s Thom Powers\, Alisa Xayalith\, Aaron Short\, David Beadle\, and Jesse Wood arrived at the forefront of the international indie pop scene with the sweltering The Naked and Famous debut\, Passive Me\, Aggressive You. Riding on the feverish heights reached by singles like Young Blood\, Punching In A Dream and Girls Like You the album thrust the band into the limelight and onto the airwaves.\nTouring incessantly\, the band settled permanently in Los Angeles to create the follow-up\, 2013’s In Rolling Waves. The sophomore effort cast a darker shadow over their sound\, straying from the synch-heavy formula that had ripped up radio charts yet patiently showcasing their unique skill\, talent\, and scope as artists. \nTNAF set off to tour In Rolling Waves but after just a few months on the road\, there were storm clouds on the horizon. Alisa and Thom’s relationship was the foundation of the band. As they said\, “We started writing songs for The Naked and Famous the moment we got together at age 18.” Eight years later\, their relationship was in turmoil and soon so was the band. \n“It was awful\,” says David. “People were unraveling pretty fast. The shows were tight but no-one was in a good space. People were trying to get off the bus\, dragging their suitcase down the road in the middle of the night in the middle of nowhere! When the tour bus finally stopped\, everyone made for the exit and didn’t look back.” \nThe tour ended\, Thom and Alisa separated\, and TNAF became a group in ambiguous and painful hiatus. For the next year they barely saw one other. Los Angeles is a big enough place to get lost in.\n“We weren’t talking about whether we’d broken up the band because we were so broken as individuals\,” says Aaron. \nEvery band has its leader and source creator. It’s no secret that Thom Powers drives this band. \n“I have a constant fear of failure\,” he says. “My childhood dream was to be a musician and I’m not about to take this for granted. I feel lucky to have fans. I wake up and feel like any moment that I’m not working is time wasted.” \nSo in early 2015\, it was no real surprise to find a batch of new demos from Thom’s Echo Park home studio in the band dropbox and a first TNAF meet-up in many months was convened. \n“The best thing you can learn as a producer and a writer is to stop being precious. To get a grip\, to let go and to learn how to embrace other people’s opinions\,” says Thom. “We all came to this place with a little more maturity and it felt – tentatively – like we had a new path to follow.” \nIt was eventually agreed that working on a new album would become a regular Monday through Friday gig\, the proper turning point coming in August of 2015 when they secured a small studio in Downtown LA to work in. \nAssistance on the album came from only a handful of individuals. Sombear (Brad Hale) has worked on other projects with Thom and contributes production to Higher and My Energy. Carlos de la Garza engineered and Ken Andrews (Paramore) mixed the record. Thom still produces with input only from the other band members. \n“We’ve ended up with a bright and very vocal album\,” explains Thom. “TNAF has always naturally straddled the line between pop and alternative. Like most acts today though\, when we talk about pop we’re only referring to production\, arrangement or mixing. The lyrical content comes from a personal place.” \n“There’s pain and passion behind this art\,” says Alisa\, picking up this theme. “Pop techniques are all about maximum impact. And it’s not like this is an album of bangers but it’s the most immediate thing we’ve ever done.” \nThom reveals the album title came from a lyric in the first song that was finished. Within the song Falling\, it’s a contradictory statement he says – “We’re made in simple forms.” \n“Being a functioning human means living in a constant state of delusion about the simplicity and order of the world. I like summing up the album in this way. There is no singular message. No unity of emotion. The irony also being that an album is a brutally curated collection of ideas.”\nAnd true to the complex and contradictory nature of being in a band\, it is not a name they could all agree on. “Simple forms reminds me of the DMV\,” says Jesse. “But I get what Thom’s saying.” \nBeing a band that can fight with and for each other is not so unusual but that doesn’t mean it is not a triumph to produce a record like Simple Forms at this point in TNAF’s career. \n“We’re still incredibly self-sufficient\,” says Alisa. “We’re lucky to have this. We’re lucky to still have one another.” \n*** \nXYLØ \n \n[Website] [Facebook] [Twitter] \n*** \nThe Chain Gang of 1974 \n \n[Website] [Facebook] [Twitter] \n“My brothers and I were surrounded by music growing up\,” explains Kamtin Mohager\, the shape-shifting singer/multi-instrumentalist behind the Chain Gang of 1974. “Not Beatles albums or anything like that; more like the Persian records our parents played all the time. And when we got older\, it was up to us to discover everything.” Born in San Jose and raised in Hawaii\, Mohager spent his first 13 years obsessing over inline hockey and the idea of being drafted by the NHL one day. A series of life-changing events were set in motion once Mohager’s family moved to Colorado\, however. The first of which involved the final scene from Real Genius—quite possibly Val Kilmer’s finest hour—and its penultimate ‘popcorn song’\, a.k.a. “Everybody Rules the World.” “I love ‘80s music\, but not typical new-wave stuff\,” says Mohager. “Like I’m way into Tears For Fears and Talk Talk\, the other side of the spectrum\, really.” That’s abundantly clear on White Guts\, a record that’s nearly as restless as Chain Gang’s previous collection of early recordings\, Fantastic Nostalgic. The way Mohager sees it\, his first proper release was “all over the place\, from a piano ballad to songs that sound like Black Rebel Motorcycle Club\, Primal Scream or Justice.” White Guts\, on the other hand\, funnels three years of instrument-swapping\, sample-splicing experience into a lean\, focused listen. So while “Stop!” and the rather epic “Hold On” hint at everything from LCD Soundsystem to Talking Heads\, they make perfect sense in the context of deep cuts like the synth-flecked “Don’t Walk Away” and bass-guided “Matter of Time\,” shimmering power ballads that could have been on the soundtrack of Sixteen Candles or Pretty in Pink. What sets the Chain Gang of 1974 apart from other Reagan-era revivalists is Mohager’s innate sense of rhythm\, a skill he acquired at an early age. And we’re not just talking about his parents’ punchy\, groove-riding record collection. We’re talking about family gatherings and traditions that taught Mohager how to make a crowd of cool kids uncross their arms and dance like there’s pistols pointed at their feet. “Everyone lets loose at our shows\,” says Mohager. “It’s a party\, man. If only I had a dollar for every time someone bum-rushed the stage or grabbed one of our instruments.” Things are bound to get worse\, too\, as his live band—a quartet that’s a far cry from Mohager’s original iPod/bass setup—spends the next six months spreading the Chain Gang gospel far beyond its Rocky Mountain beginnings. Or as the man behind every last beat puts it\, “I’m letting the music just be\, and if something’s meant to happen\, it’s meant to happen.”
URL:https://royaleboston.com/event/the-naked-and-famous/
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:20161114T190000
DTEND;TZID=America/New_York:20161114T190000
DTSTAMP:20260405T081636
CREATED:20160725T151639Z
LAST-MODIFIED:20160725T151639Z
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SUMMARY:Balance & Composure
DESCRIPTION:Bowery Boston presents \nDoors: 7:00 pm / Show: 8:00 pm \nThis event is All Ages.\nTickets on sale now! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. 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*** \nBalance & Composure \n \n[Website] [Facebook] [Twitter] \n*** \nFoxing \n*** \nMercury Girls
URL:https://royaleboston.com/event/balance-composure/
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:20161115T200000
DTEND;TZID=America/New_York:20161115T200000
DTSTAMP:20260405T081636
CREATED:20160919T133722Z
LAST-MODIFIED:20160919T133722Z
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SUMMARY:Jim James
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.\nTickets on sale Fri. 9/23 at 10AM! \nNote: ticket price includes a $1 per ticket charity fee that will be donated to My Morning Jacket’s The Waterfall Project fund powered by RPM. Tickets 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*** \nJim James \n \n[Website] [Facebook] [Twitter] \nDefying categorization\, James’ second solo project\, Eternally Even\, co-produced by Blake Mills (Alabama Shakes) and Jim James\, is a heart-thumping call to action. The timing of its release\, smack in the middle of election season\, is no accident. \n“I wanted to make an album that hopefully speaks to the issues of the day\, many of which\, sadly\, are issues we have been dealing with since the beginning of time.” says James. “Most of what I think about right now is how so many things in the world are SO fucked up- our political system is broken and corrupt…our earth is being destroyed by climate change…people are not treating each other with equality and respect… and I think- are we going to make it?  Are we going to figure it out and fix it before it’s too late? Can we ever truly open our hearts and embrace love in all its beautiful forms? I think it’s still possible. I still have hope in humanity. I’m just trying to be a part of the discussion and encourage people to speak out for equality\, to not be afraid to speak out for peace and love. All of us feel afraid at times in these absolutely insane times\, but its important we speak our minds\, cast our votes\, and do not give in to fear and hatred.” \nIn early 2013\, his first solo full length Regions of Light and Sound of God was released and met with widespread critical acclaim. Praised as “truly breathtaking” by Time Out and “magnificent” by Rolling Stone\, the album was followed with a sold-out national headlining tour and appearances on Late Night with Jimmy Fallon\, Jimmy Kimmel Live\, Late Show with David Letterman and Austin City Limits. \n*** \nTwin Limb \n \n[Website] [Facebook] [Twitter] \nTwin Limb is a band from Louisville\, KY formed by Maryliz Bender (drums\, vocals)\, Lacey Guthrie (accordion\, vocals)\, and Kevin Ratterman (sampled sounds\, guitar\, percussion).  \nGuthrie’s accordion does some very sinister things\, underpinning the music with a luxurious darkness that connects folk and psychedelia. It’s the same with the vocals\, as Guthrie and Bender wrap their voices one around the other like they’re telling secrets\, creating another bridge between the familiar and the disarming. \nBender keeps the drums simple and purposeful\, often parsing out her beats in short\, sharp bursts with a precision that never feels forced. Ratterman is the final wild card\, using guitars and samples in unexpected ways that feel both post-punk and experimental. Twin Limb’s debut album\, Haplo\, will be released this Fall\, 2016
URL:https://royaleboston.com/event/jim-james/
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:20161116T200000
DTEND;TZID=America/New_York:20161116T200000
DTSTAMP:20260405T081636
CREATED:20160919T133853Z
LAST-MODIFIED:20160919T133853Z
UID:10001713-1479326400-1479326400@royaleboston.com
SUMMARY:Jim James
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.\nTickets on sale Fri. 9/23 at 10AM! \nNote: ticket price includes a $1 per ticket charity fee that will be donated to My Morning Jacket’s The Waterfall Project fund powered by RPM. Tickets 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*** \nJim James \n \n[Website] [Facebook] [Twitter] \nDefying categorization\, James’ second solo project\, Eternally Even\, co-produced by Blake Mills (Alabama Shakes) and Jim James\, is a heart-thumping call to action. The timing of its release\, smack in the middle of election season\, is no accident. \n“I wanted to make an album that hopefully speaks to the issues of the day\, many of which\, sadly\, are issues we have been dealing with since the beginning of time.” says James. “Most of what I think about right now is how so many things in the world are SO fucked up- our political system is broken and corrupt…our earth is being destroyed by climate change…people are not treating each other with equality and respect… and I think- are we going to make it?  Are we going to figure it out and fix it before it’s too late? Can we ever truly open our hearts and embrace love in all its beautiful forms? I think it’s still possible. I still have hope in humanity. I’m just trying to be a part of the discussion and encourage people to speak out for equality\, to not be afraid to speak out for peace and love. All of us feel afraid at times in these absolutely insane times\, but its important we speak our minds\, cast our votes\, and do not give in to fear and hatred.” \nIn early 2013\, his first solo full length Regions of Light and Sound of God was released and met with widespread critical acclaim. Praised as “truly breathtaking” by Time Out and “magnificent” by Rolling Stone\, the album was followed with a sold-out national headlining tour and appearances on Late Night with Jimmy Fallon\, Jimmy Kimmel Live\, Late Show with David Letterman and Austin City Limits. \n*** \nTwin Limb \n \n[Website] [Facebook] [Twitter] \nTwin Limb is a band from Louisville\, KY formed by Maryliz Bender (drums\, vocals)\, Lacey Guthrie (accordion\, vocals)\, and Kevin Ratterman (sampled sounds\, guitar\, percussion).  \nGuthrie’s accordion does some very sinister things\, underpinning the music with a luxurious darkness that connects folk and psychedelia. It’s the same with the vocals\, as Guthrie and Bender wrap their voices one around the other like they’re telling secrets\, creating another bridge between the familiar and the disarming. \nBender keeps the drums simple and purposeful\, often parsing out her beats in short\, sharp bursts with a precision that never feels forced. Ratterman is the final wild card\, using guitars and samples in unexpected ways that feel both post-punk and experimental. Twin Limb’s debut album\, Haplo\, will be released this Fall\, 2016
URL:https://royaleboston.com/event/jim-james-2/
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:20161118T180000
DTEND;TZID=America/New_York:20161118T180000
DTSTAMP:20260405T081636
CREATED:20160712T142921Z
LAST-MODIFIED:20160712T142921Z
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SUMMARY:Caspian
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.\nTickets on sale Fri. 7/15 at noon! \nTickets available at TICKETMASTER.COM\, or by phone at 800-745-3000. 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*** \nCaspian \n \n[Website] [Facebook] [Twitter] \nOn their new full-length record\, Dust & Disquiet\, Caspian is saying something. “We’re wide awake now\,” we hear in the album’s dead center\, track five’s “Run Dry.” This isn’t the first time Caspian has sung a line of discernible lyrics\, but the clarity—in the tone and thematic sentiment of both the track and the whole record—has never demanded so much attention. \nIn part\, the line is a response to their last record\, 2012’s presciently titled Waking Season—an acknowledgement that even they didn’t know what changes that waking process would mean. In the three years since\, the band suffered the tragic death of founding bassist Chris Friedrich\, and thus felt torn between grief’s desire to hide away from everything and yet knowing immediately that the band needed to continue. But going on meant maintaining a grueling tour schedule\, with the members vacillating between elation and utter exhaustion. “Traveling can create a feeling of separation at times\,” says guitarist and founding member Phil Jamieson. “After a while\, you can forget why you’re out there in the first place. Deciding to do another record after all that was a move to reclaim for ourselves why it is that we do all this: Music is our strongest antidote to feelings of emptiness and disquiet.” \nTo record the album\, Caspian returned to Q Division Studios in Somerville\, Massachusetts\, the stamping grounds where they recorded the highly acclaimed Waking Season (“the Best Post-Rock Album of Year\,” said SPIN Magazine in 2012). They also looked again to the legendary chops of Matt Bayles (Mastodon\, Isis\, MONO\, Minus the Bear) to produce\, mix\, and engineer the record. \n2015 also marks a decade since the band’s inception. Ten years ago\, Caspian played a show as a four-piece band at a small pub in their still-home base of Beverly\, Massachusetts. After months of practicing before their first gig\, never worrying about what it was they were trying to create beyond music that could tell a story\, they arrived at a bombastic sound—guitars from Phil Jamieson and Cal Joss that sounded like a 40-piece orchestra\, stripped-down drums that showed Joe Vickers could literally control chaos\, and a bass sound so big from Chris Friedrich it blew amplifiers almost as often as he changed notes. \nTheir sound only deepened and thickened over the years with the addition of guitarists Erin Burke-Moran and Jonny Ashburn\, and touring-cum-permanent bassist Jani Zubkovs. \nWith a sound this expansive\, lyrics were simply unnecessary. And yet\, 673 shows after their first appearance and on the advent of their fifth studio recording\, Jamieson still says\, “I view us as storytellers and musicians equally.” \nThat focus on narrative has continued across all of their albums\, as otherwise the band would risk becoming a parody of themselves and the post-rock genre they’ve always acquiesced to with crossed fingers behind their backs. “We can do soundscapes\, reverb-drenched drones\, and songs based around a repeating melody that build and build for 12 minutes until we are blue in the face\,” Jamieson says. “It is trying to convey a story through song structure\, use of melody\, and dynamics that has been the driving motivation from day one for this band.” \nThere has always been a fluidity to the arcs in Caspian records\, where words like story and narrative held a loftier\, mythic place in the movement to each album. We’re invited to enter and exit on our own terms\, using the music as a railing to help us wander the dark hallways of our mind. The declarative title of You Are the Conductor (2005) announced that the music would take the listener on a journey\, but where things went would be determined by the mood and circumstance of the listener. Each subsequent record refined and pushed the sounds into more surprising territory\, showing the band’s ability to craft structures that the listener could inhabit—The Four Trees (2007) with its skyward glance\, Tertia (2010) with its fists in the dirt\, and Waking Season (2012) looking for the human in the machine. Raw emotion was always present\, but it remained aloof\, undefined. You felt it\, but the feeling would dissipate just when you thought you could name what it was you were feeling. \nBut with Dust & Disquiet\, the story has changed. \nAs much as grief wishes to be private\, the passing of bassist Chris Friedrich left an indelible mark on the band\, and it’s impossible not to see stark traces of this tragedy across the album. The whole of the record transcends their personal grief\, but as Jamieson says\, “It is and always will be\, now\, an underlying core to everything the band creates.” \nThey are forever marked by loss\, but not defined by it. \nAs such\, Dust & Disquiet showcases a maturation of the quiet/loud dynamic that Caspian has been exploring since their debut EP\, You Are the Conductor. Now\, that dynamic extends beyond a matter of volume\, suggesting a more figurative exploration of polarities such as dark/light\, dry/wet\, and tired/awake. And these elements are not limited to one elongated track\, but rather stretch out over an ambitious and yet patient album that opens with horns and a string quartet (“Separation No. 2”)\, riffs on the wilder\, steel-eyed side of country (“Rioseco”) and classical (“Aeternum Vale”)\, all the while staying true to its epic brand of build-and-release rock (“Arcs of Command\,” “Dust & Disquiet”). \nOn a first listen\, then\, a track like “Run Dry” might seem surprising for a band that\, for the past ten years\, has relied on their textured and explosive style of instrumental music to tell their story. And while this acoustic ballad is noticeable simply due to its unique sonic profile among the band’s catalog\, there is a sobering quality that holds the listener in place. We are brought into their present moment\, and we remain there indefinitely\, even if the song only lasts less than five minutes. It may sound calm\, but there is tension in the song’s desert air stillness. In the end\, the track becomes a piece of an album that is the widest expression of the kind of connective work Caspian has been up to since the beginning. \nIt’s for this reason that the diversity of Dust & Disquiet—from the horns and string quartet that open and close the record to the primal honesty evident in tracks such as “Echo and Abyss” and “Darkfield”—bluntly assures they need no parlor tricks in order to keep their particular brand of instrumental music fresh. “The record has a genuine sincerity to it\,” Jamieson says\, “because we are still using the creative act as a weapon to combat feelings of emptiness and isolation. It is still a mechanism used toward connection to one’s self and to other people in an age of increasing separation.” \nAnd that work is palpable throughout Dust & Disquiet. Images come into focus—the physical world and the world of imagination are one. Most of life is set up to break that connection\, but Caspian is wide awake now\, and they are expressly in the business of reconnecting. \nDust & Disquiet was released on September 25\, 2015 on Triple Crown Records\, Big Scary Monsters (Europe)\, Hobbledehoy Records (Australia). \n*** \nThe Appleseed Cast \n \n[Facebook] \nThe Appleseed Cast has been a band since 1997.\nLawrence\, KS
URL:https://royaleboston.com/event/caspian/
LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts
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SUMMARY:Chus & Ceballos
DESCRIPTION:21+
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LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
CATEGORIES:Concerts,Nightclub
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SUMMARY:Glykeria w/ Kostas Karafotis
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LOCATION:Royale Nightclub Boston\, MA\, 279 Tremont Street\, Boston\, MA\, 02116\, United States
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