The baby’s a natural so far at music life â she didnât make a peep when the band rehearsed for its year-end hometown show at The Sinclair on Saturday.
The first time I met David Wax, it was over coffee at Diesel in Davis Square and he was just getting started with the off-gig at Toad or Atwood’s or Club Passim. That was about five years ago. Since then, David and Suz and the rest of the David Wax Musem have become perpetual nomads as they’re constantly touring and charming people at festivals all over the place and bringing the room to its knees with "Wait for Me."Suz just had a baby and girl toured all throughout the pregnancy, with her last tour finishing up just THREE WEEKS before she gave birth. She’s a badass, and we talked about that, the latest addition to the band and what 2014’s looking like for Boston’s resident Mexoamericana champs.
Hey Boston! Michael Marotta (the Boris to my Natasha, of Vanyaland/Boston Phoenix/The Pill/etc. fame) and I will be speaking at Berklee College of Music next Monday, 12/2.It’s at the Red Room at Cafe 939. There will be terrible jokes, industry chatter and lots of journalismisms. You should come! My parents might but they looked really confused when I invited them.
The last time I saw Quilt was in Austin at SXSW 2012 and I’m so overdue for a show it’s ridiculous. They’ve got their sophomore effort out on Mexican Summer in January, but in the meantime they’re touring with a 7” in tow and recounting tales of their travels. I caught up with them before their homecoming Boston gig last night, but they’re in Brooklyn tonight, so go, comrades, go!
So, this is fun: Boston.com (aka one of the online homes of TheBoston Globe) launched BDCWire this weekend, which is their new A&E/music/lifestyle blog geared towards people who like to do stuff beyond karaoke at Ned Devine’s and whose musical tastes delve a little deeper than Dave Matthews. I’m stoked that I’ll get to contribute to BDCWire as it grows, and I’m even more thrilled to be working with Glenn Yoder (BDCW’s E-i-C/of Glenn Yoder and the Western States and Cassavetes fame) and Perry Eaton (BDCW’s Staff Writer/my best crowdsurfing buddy forever).
For our fourth record, we have assembled a crack team of ex–United States Army Special Forces personnel who work as soldiers of fortune while on the run from the Army after being branded as war criminals for a “crime they didn’t commit”:
Producing and mixing the record is Charles Newman. With admirable deftness, Charles has walked the line of knowing when to let us run wild and when to politely tell us we’re out of our minds. Charles has been instrumental in guiding us toward an overall, coherent vision for the record (which is Music Biz lingo for “it sound pretty”). Charles has previously recorded with The Magnetic Fields, Future Bible Heroes, Cold Blood Club, and Kris Gruen.
Once again wearing the recording engineer slippers is Benny Grotto, head engineer at Mad Oak Studios in Allston. His willingness to experiment with recording techniques has been an amazing asset for us in the studio. Apart from Aloud, Benny has also worked with Aerosmith, Amanda Palmer, Neil Gaiman, The Ducky Boys, OldJack, Ben Folds, Viva Viva, GangGreen, and—my personal hero—“Weird Al” Yankovic.
Photo by Liz Linder Photography âWeâre on a break.â Those words coming out of anybodyâs mouth â a friend, a lover, a bandmate, a manager, Ross,
Super thrilled to be a founding writer over at Vanyaland for the launch of the site. Vanyaland is the brainchild of Michael Marotta, the outgoing Music Editor of The Boston Phoenix, and it’s a music blog that’ll cover anything and everything happening on the metaphorical airwaves in Boston and beyond.
Michael and I have known each other for quite some time, and we were rivals, technically, for awhile: we were both music editors at Bostonian alt-weeklies, went to the same shows, booked the same bands for showcases and parties and were constantly pushed by the other when it came to trying to provide the best music coverage the city of Boston had ever seen. We’ve always wanted to work together and never could, really, until I started contributing to The Phoenix before it folded two months ago. Now, we get to work together on Vanyaland, and I couldn’t be more stoked about it.
So! I got to catch up with one of my favorite Boston bands, Mount Peru, and we got to talk about what “going on a break” means for a band when it works out for the best. I think it’s pretty fitting given Vanyaland’s relaunch and the fact that this beautiful thang wouldn’t exist without the dissolution of The Phoenix, really, and I’m happy to see that both the old Mount Peru and The Phoenix have led to some pretty phenomenal things.
So, Velah is a band that’s made up of four beautiful human beings who were each in other Boston bands before they found each other, The Acre and Static of the Gods. As happy as I am that everyone involved with either The Acre or Static has moved onto wonderful projects with their respective sonic soul mates, my heart leapt in my chest for a hot minute when Jen posted a track off of Knowledge Machine, Static’s last full-length. This record was so, so huge for me, and as I haven’t imported a substantial number of albums from one computer to the next I haven’t revisited this in quite some time.
The number of times I’ve rolled over the Longfellow Bridge on the Red Line listening to this, the number of times I’ve biked down Elm Street or Hampshire with this in my head, the number of times I’ve seen this live, the number of times I’ve wished for absolution or closure or the impossible while walking down Somerville Ave thinking about a guy who’d never love me to this … it just all came back in a minute. It’s pretty incredible when a song written by a musician who’d eventually become a friend you can’t live without can leave such a mark on your life. And it’s even more astounding that you get to hit “play” and reflect on all of that whenever you want.