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Concert Reviews

Three Blind Wolves

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Three Blind Wolves, hear how they rock, hear how they rock…….And that’s exactly what I did last Friday November 4th in Purgatory at the Masquerade. Three Blind Wolves have enjoyed success selling out shows in their homeland of Scotland and are now gifting us with their first U.S. tour. The band released their first mini album this past March titled  Sound of the Storm on Communion Records. It has been well received and I believe that, judging from the impressive size crowd that sang along with the band.

The show started off with some heavyish guitar that leaned on the moody shoe gaze side then surprised me by taking a jaunty, country twist. The sound transformed into a jangled flowery bouquet of sound accompanied by  the sweet honest voice of Glaswegian, Ross Clark. The band engaged the crowd whose heads where bopping and feet were stomping early into the set. The music was thoughtful and contemplative  but kept the room dancing even when the subject matter went from happy to heart-break. The song Emily Rose was met with cheers and whoots and the set was ended by a song called Sex Is For Losers in which a voice from the back of the room replied,”F*ck Yeah!”

The music of Three Blind Wolves is easy on the ears melodically but pleasantly complicated lyrically. It’s a sound that combines a unique mix of European country and American blues. If you missed this past show, the band is scheduled to play at the Star Bar November 17th.

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Concert Reviews

Jonah Parzen-Johnson at Lilypad

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Jonah Parzen-Johnson has an innate ability to make the baritone sax sound like bagpipes, and maybe that’s why I cried.

Mostly I cried because Jonah tells radiant stories with his saxophone and analog synth, working the brass and pedals to recreate the framework which surrounds his album Remember When Things Were Better Tomorrow: Parzen-Johnson wanted to make “something of myself that’s for everybody else.”

Jonah opened his set with “Stay There, I’ll Come to You,” showcasing the harmony between synth and sax right off the bat. With haunting lilts, the two combined into a ribbon of melody, pulsating inside the ear as well as the heart. Much like the song’s title, Jonah was the one approaching the audience as an experimental troubadour of tête-à-tête.

The back stories and thoughts behind each song tied in so well with the raw, almost throaty sax, developing such strong, emotional resonance with the musical layers. The skeleton shook.

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Concert Reviews

Speedy Ortiz “riiiiise above and gliiiiiide away” at The Sinclair

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The Sinclair was a packed house Wednesday night for the Speedy Ortiz CD release party; as a hometown gig for the Northampton, MA-based band, kinetic warmth buzzed through friends and fans alike as Sadie Dupuis and crew played their freshly-release Foil Deer track-by-track.

What’s a party without some guests, though? That’s where Krill and Mitski come in.

Krill kicked off the night with some tracks from A Distant Fist Unclenching, other goods from Lucky Leaves. Lead singer/bassist Jonah Furman brought to mind early (read: good) Billy Corgan, which I’m not sure he will appreciate. But I think he’ll appreciate this: I couldn’t stop laughing because then I kept thinking about Marilyn Manson telling Billy Corgan that he looked like Charlie Brown.

Opening with “Theme from Krill,” the Boston trio has a knack for rhythm and melody that burrows into your brain. The dreamy bleakness of “Purity of Heart.”  The discordant garage rock and hiccupping guitar and warbly Scooter-ness of “Foot.” Krill’s sound is a good, comfy noise that keeps you wiggling and all that good stuff. Be sure to catch the band at Boston Calling.

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Concert Reviews

Years & Years at Royale Boston

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During winter storm Juno, UK electro pop group Years & Years were forced to cancel the first show of their two-night stint in New York City back in January. After the snow finally melted, they made the rounds again this past March, playing several shows in California, South by Southwest before finally landing in Boston.

Due to popular demand, the show was moved from The Sinclair to the Royale in downtown’s Theater District.

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