Sidney Gish on Songwriting, Ed Buys Houses, Local Music and More

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via Bandcamp

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

Jen Gloeckner on Her Third Album, Vine

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

Tyler, the Creator-Flower Boy

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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

30 Years of Appetite for Destruction

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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

Waxahatchee-Out In The Storm

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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

Captain, We’re Sinking-The King of No Man

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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

Coffee Date:Tigers Jaw-Spin (Reanimator-No More Coffee For Tigers Jaw)

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Coffee Date is a new column that features discussions of beverages stemming from leaves and beans.  Whether you brew your own or need a hip barista pouring it in front of you, we’ve got you covered for brands to try at home, coffee shops with some personality, and what you should try or avoid from your regular coffee chains. Today, we also cross over into a review of Tigers Jaw’s latest album, and the coffee that came with the presale.

Tigers Jaw’s decision to pair with Reanimator Coffee for the release of their fifth full-length isn’t anything new.  Modern Baseball and The Menzingers have also previously paired with Reanimator, but Tigers Jaw seems like the best pairing.  They’re the musical equivalent to a nice cup of coffee on a rainy day.  Spin sees the band at their most fully-realized, and Reanimator made a nice brew to compliment it. Continue reading

Adult Mom-Soft Spots

When Soft Spots was announced, I’d just about forgotten about Adult Mom.  Sure, Steph Knipe’s project had some catchy tunes, and they released one of my favorite records of 2015, but looking back on Momentary Lapse of Happily, it’s replay value was limited save for a few songs.  Knipe has not only improved as a songwriter, they’re much more vulnerable and personable on Soft Spots.

The most noticeable change to this Adult Mom album is the warmth of the production.  “J Station” is incredibly homey, while narrating a despondent breakup.  Even the closing track, “First Day of Spring,” despite Knipe discussing their not being ready for warmth, sounds like a friendly record to play under your covers on a cold day.  “Full Screen” has many more fleshed out tones than the barebones of Happily.  The touches of xylophone and synthesizer expand the track in the minutest way to perfectly compliment Knipe’s melancholy acoustic song.  “Drive Me Home” is another example of a song that builds around Knipe’s repetitive, manic vocals.

Besides being a better sounding record, Knipe is much better as a lyricist on Soft Spots.  There are much fewer cheeky, cliché references like “it’s okay to kiss girls!” on Happily, but there’s still a tongue-in-cheek nature to a song like “Full Screen,” which begins with Knipe asking:

“Do you full screen your porn?

Do you think about me

as you watch her crawl across the floor”

A song like “J Station” shows Knipe developing stories through their songs recalling one more go with an old lover, but ends with perhaps the coldest line of the album: “I’ll be sad you were ever in my life in the first place.”  Knipe’s vocal performances on these songs are much more emotive than on their debut or Sometimes Bad Happens, and it really puts Adult Mom ahead as an interesting artist within the punk community.

On their second full-length, Adult Mom really takes the next step into creating remarkably comforting music.  Listening to this record sounds like the way Chris Gethard describes The Smiths during Career Suicide, as the type of music that could only grow and the meaning could expand through the ages, as a constant spot that only grows to take on new meanings as you grow older.

James Crowley

PWR BTTM’s Ben Hopkins Accused of Sexual Assault

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Ben Hopkins of queer-punk duo PWR BTTM has recently come under fire following accusations of sexual assault.  Following the accusations, the band released a statement, a number of shows have been dropped, Salty Artist Management have dropped them, touring members and support have dropped off their upcoming tour, and a woman came forward in an anonymous interview as a victim of Hopkins.  The band’s sophomore album Pageant was released today.

National Sexual Assault Hotline – (800) 656-4673
The Trevor Project – (866) 488-7386
LGBT National Help Center – (888) 843-4564
National Coalition of Anti-Violence Programs – (212) 714-1141

Old Menaces: How To Abandon Your Fanbase, While Still Making Millions

 

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The date is October 4, 2009: Blink-182 has recently reunited.  They’re finishing up a massive tour with Fall Out Boy opening for them at New York’s Madison Square Garden.  Before FOB launch into their signature closer, “Saturday,” Pete Wentz declares, “This is the death of the emo haircut,” before handing his bass to a stagehand.  Mark Hoppus enters the stage.  Wentz sits down, and Hoppus shaves his head.  Wentz jumps up at his cue, and screams his parts in “Saturday” like he always does.  You could say this is the moment that everything went wrong.  You could say Blink-182’s original breakup was the moment it all went wrong.  You could also say Green Day’s American Idiot was, or even Dookie, or New Found Glory releasing “It’s Not Your Fault,” but for the sake of argument, Mark Hoppus shaving Pete Wentz’s black locks was the moment that ruined it all. Continue reading