Singer-songwriter Sidney Gish has slowly been building her presence in the Boston music scene since the release of her debut album, Ed Buys Houses. Still, Gish has been prolific in her short career, releasing large amounts of material in a short time via Soundcloud and Bandcamp, while studying the music industry at Northeastern University. Her songs are often catchy and silly, but incredibly well-crafted, especially when you realize that Gish does everything herself. We got a chance to speak to her shortly after the release of Camino ‘84’s new single, “Sounds Fake But Ok,” which she’s featured on.
BAD: What is it like collaborating with a different artist where most of your other work is solo? Continue reading
Hey, remember being in middle school and taking everything as a personal attack because puberty is probably the most personal attack anyone can ever receive? Ever want to relieve those feelings of awkwardness, unspent rage and rapid-fire mood swings that left your parents looking longing at military schools? No? Continue reading
Before the film adaptation’s release, here’s some insight into Jeannette Walls’ modern classic The Glass Castle.
Spending another week on The New York Times’ Bestseller List and on it’s way to theatres, The Glass Castle continues to be a memoir that holds the public’s attention. If for some reason you managed to escape the media storm surrounding the movie, Glass Castle is the memoir of Jeannette Walls, currently a successful writer and journalist in New York, but once a girl living a rootless lifestyle with two erratic parents. Glass Castle has been out since 2005, but I find when a book holds the public’s attention for this long without fanfare and merchandise of midnight releases and chest tattoos, it’s important to ask why. Continue reading
A loose parody of 14th century novel The Decameron, The Little Hours (dir. Jeff
Baena) features Dave Franco as a runaway who, pretending to be a deaf-mute, starts
hooking up with nuns at a convent. The concept, on paper, could be a dramatic
period piece, but it’s a lighthearted 90-minute comedy. Basically the entire cast is a
comedy powerhouse- Nick Offerman, Molly Shannon, Alison Brie, Aubrey Plaza, Fred
Armisen, and John C. Reilly. Clearly, some effort was made to cast people with excellent
comic timing. Continue reading
As evidenced by his work with SNL and sketch group Good Neighbor, Kyle Mooney has been building a career out of playing a similar type of character over and over again, but I think he does it with enough genuine empathy and admiration that I can’t complain. Mooney excels at cringe comedy, and he does this especially well in Brigsby Bear (dir. Dave McCary), in which he portrays a young man who essentially has never seen or heard of anything. Continue reading
Jen Gloeckner’s debut and sophomore album were both very faithful folk albums, making her recent Vine a major departure from her previous sound. We got to talk to Gloeckner about what the recording process was like, touring, and her next album.
BurgerADay:Your sound on Vine is drastically different from Mouth of Mars. It’s a very Bon Iver-like switch to go from a very organic folk sound to something much more ambient and electronic. Why did you make the sudden shift for this album? Continue reading
Brian Posehn has this joke that he tells about comedians having kids. He mentions that he hates his favorite comics had kids, because they lost their edge and stopped being funny. Now, Posehn’s joke is easy to transpose to other artistic mediums, especially music. Metallica changed their style when they cut their hair. Eminem softened up when he stopped doing drugs. It’s notable that both artists newfound maturity showed detrimental to their music. Tyler, the Creator’s fourth full-length Flower Boy is his most mature work to date, and unlike Slim Shady and Metallica, it’s his best album to date. Continue reading
I’ve never known a time when Guns N’ Roses weren’t one of the biggest, most important rock bands of all time. I was born in 1994, right before the band dissolved into the Axl and company show that they were for most of my life. The first time I ever heard GN’R was about 12 years ago, at my cousin’s baptism. An older cousin lip-synced and air-guitared to “Welcome to the Jungle,” a song that I’ve always had a shifting perspective on. Living in a post-Guns-Reunion world makes the 30th anniversary of Appetite for Destruction that much more bizarre. Continue reading
John Darnielle made a name for himself recording simple songs into a boombox, mostly by himself, some people say that the Mountain Goats lost their touch once Darnielle brought in the rest of the band and began recording more polished albums. Any good Mountain Goats fan knows that the band has only improved as they’ve gotten older, then why did I apply the former philosophy to Waxahatchee? Katie Crutchfield’s debut album American Weekend was such a masterpiece that I ignored the following two albums, until Out In The Storm, which captures the lyrical essence of Waxahatchee, with wider, warmer production. Continue reading
There are plenty of pop-punk bands. Had I been maybe 10 years younger, I’d probably adore Knuckle Puck, Real Friends, or Neck Deep, but I’m a cynical 23 year old. My pop-punk requires a little more substance. Bands like The Menzingers, The Wonder Years, or Modern Baseball are all able to provide this to me. There are unique aspects to the brands of pop-punk that each of these bands provide, where the first three all sort of blend together. Maybe it’s just the Barnett connection to the Menzingers, but my better senses tell me that Captain, We’re Sinking’s The King of No Man really shouldn’t be a record that I love as much as I do. Continue reading