India and B. Rhyan of Astronauts of Antiquity are kind of like Billy Crystal and Meg Ryan from When Harry Met Sally—emphasis on kind of. If Meg Ryan was a seductive lounge songstress and Billy Crystal a virtuosic guitarist, the analogy would be much more accurate. As the pillars of AoA, the pair initially crossed paths at an airport while India was rushing to make a flight. Three years later they coincidentally reconnected at one of India’s concerts in Milwaukee. Rhyan was so impressed with her stage presence and talent he couldn’t help but go behind stage and introduce himself. Their connection was strong enough to pry India from her then boyfriend and pit the two together as musical partners and lovers from there on out. Anyone who has heard their music will most likely suggest their reconnection wasn’t merely a coincidence after all.

India

AoA’s sound is nearly unclassifiable. While fans and critics alike dabble in the labeling game, the result is nothing but an alphabet soup of meaningless mash up genres (urban-electro-organica). Every now and then music comes along that simply cannot be pigeon holed into one genre, so why try? The fact of the matter is AoA produce a hip concoction of jazz, funk, electronic, soul, lounge and dub—five genres that magically compliment one another when formatted correctly— in turn providing an unforgettable live experience. This eclecticism stems from the member’s extensive musical knowledge along with the wisdom gained from performing and living all over the world.

The stirring “Supa Soul” begins with nothing more than hand percussion and hooky bass riff, but before the listener can get their bearings the track elevates to a diverse mix of panning guitars and electric organ, all of which support India’s soaring and suggestive vocals. The climax of the song hits with the powerful bridge exhibiting India’s vocal fortitude, a section that actually sounds more like a rock song with layered power chords than the funky dub vibe it begins with. Songs like this one prove AoA’s masterful chameleon-like ability to blend genres within songs, a spontaneous quality that assures their material remains fresh and unpredictable with every phrasing. Other songs like “Soup Du Jour” begin with a melting relaxation and maintain the same vibe throughout, even though the instrumentation and harmonies eventually increase.

Whether genre-altering or not, AoA’s infectious tunes continue to win over fans and rake in the local awards like “Best Band,” “Best Vocalist” and “Best Songwriters.” These die hard Do-It-Yourselfers are currently recording a new album and are looking to get back on tour as soon as possible. Show them some love before they’re nationally known!

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]]> http://blog.ourstage.com/2009/11/21/omnivores-delight-8-astronauts-of-antiquity/feed/ 0 http://blog.ourstage.com/2009/11/20/punk-on-the-rocks-shonen-knife-jeff-the-brotherhood-the-needy-visions-at-great-scott/ http://blog.ourstage.com/2009/11/20/punk-on-the-rocks-shonen-knife-jeff-the-brotherhood-the-needy-visions-at-great-scott/#comments Fri, 20 Nov 2009 17:00:01 +0000 BethanyLeavey http://blog.ourstage.com/?p=23617 Is there a better way to kick-start your week than with a Sunday night rock ‘n’ roll show? The crowd lined up to see The Needy Visions, JEFF The Brotherhood and legendary Japanese pop-punkers Shonen Knife this past Sunday at Allston, MA rock club Great Scott would definitely say “no.”

Local Boston band The Needy Visions opened the show. Astutely described by OurStage’s Sam C. as “Dr. Dog without the folk,” The Needy Visions play pop rock informed by the 1960s psychedelic and garage movements. Features two guitars, bass, keyboard, drums and ambitious five part vocals harmonies, the band managed to sound full without being overpowering. While their harmonies weren’t always spot on, the audience didn’t seem to mind: heads were nodding and toes were tapping all over Great Scott. The Needy Visions are definitely a band to watch.

Jake Orrall of JEFF The Brotherhood

Back in 2006, Jamin Orral left buzz band (and Thurston Moore favorite) Be Your Own Pet at what might have been the height of their popularity. One of the main reasons he gave for his departure was his desire to focus on JEFF The Brotherhood, his band with brother Jake Orral, also formerly of Be Your Own Pet. While some may have questioned his decision at the time, it’s clear now that Jamin knew exactly what he was doing. JEFF The Brotherhood delivers both live and on record. Somewhere between a punk and a rock place,  they play straightforward rock music with a punk attitude and a touch of psychedelic guitar experimentation.  Whatever you want call their music, it is fast and it is loud. Drummer Jamin was pounding away so hard on his kit that he knocked over his floor tom. He quickly assessed the situation and righted his drum without missing a beat. The band is currently touring behind their October 2009 album Heavy Days, released on their own label Infinity Cat.

Naoko reaches into the crowd during 'Giant Kitty'

Shonen Knife walked out on stage in matching tunic and pants ensembles to an almost full house and a barrage of applause. Together as a band for over 20 years, their audience runs the gamut from college students in their late teens and early 20s to aging ponytailed rockers in their 40s. After giving a shout-out to Allston, MA, the band got right down to business by kicking off the show with a blistering version of their usual opener “Konichiwa,” urging the audience to “Have a good time tonight,” and asking “Are you ready to rock?”

One person who was more than ready to rock was bassist Ritsuko Taneda. While Ritsuko  joined the band as a support bassist in 2007 when founding member Atsuko Yamano retired, this was her first tour as an official member of Shonen Knife. Her bass sound—reminiscent of early Green Day—and her unbridled enthusiasm, manifested itself in spontaneous headbanging and jumping up and down which made for a great performance.

Ritsuko and Naoko show Allston how to rock

Shonen Knife adeptly mixed material from their new album Supergroup, released on Good Charamel records, in with older material like “Bear Up Bison,” “I Like Choco Bars,” and “Devil House.” The band seemed genuinely surprised to hear audience members shouting for their favorite songs, telling the crowd that they didn’t think so many people were familiar with their material. One crowd pleaser from Supergroup that seems destined to become a fan favorite is “BBQ Party.” Guitarist Naoko Yamano joked about this latest addition to Shonen Knife’s large catalog of songs about food: “We like to eat,” she told the audience, “In America, barbecue is so delicious, so we wrote a song about it.” The pogo-inducing chorus of ‘Pig Out! Pig Out! Pig Out” was one of the show’s highlights.

Their new album also sees Shonen Knife experimenting with heavier styles of music. Naoko explained that Supergroup track “Muddy Bubbles Hell” is her attempt at writing a heavy metal song. Her admission that she was inspired after listening to 70s British rockers like Judas Priest & Black Sabbath drew cheers and “devil horns” hand gestures from the crowd.

'Pyramid Power' with Ritsuko, Atsuko and Naoko

For the encore, the Allston crowd got a special treat: The band invited former bassist/drummer and founding member Atsuko Yamano, who happened to be in attendance, up on stage. To the delight of the audience, Atsuko and the band performed  “Fruits & Vegetables” from their 1997 record Brand New Knife. After Atsuko left the stage, the current members of Shonen Knife closed out the show with one of their most popular songs, “Twist Barbie.”

Shonen Knife will be heading back to Japan for their SPACE bootleg Xmas TOUR 2009 this December.

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]]> http://blog.ourstage.com/2009/11/20/punk-on-the-rocks-shonen-knife-jeff-the-brotherhood-the-needy-visions-at-great-scott/feed/ 0 http://blog.ourstage.com/2009/11/18/cakewalks-your-music-anytime-anyplace-songwriting-contest-artist-entry-deadline-approaching/ http://blog.ourstage.com/2009/11/18/cakewalks-your-music-anytime-anyplace-songwriting-contest-artist-entry-deadline-approaching/#comments Wed, 18 Nov 2009 18:00:30 +0000 Sam C. http://blog.ourstage.com/?p=23256

The artist deadline to enter Cakewalk’s “Your Music. Anytime, Anyplace.” Songwriting Contest is coming up but the contest is far from over! Artists wanting to compete in either of Cakewalk’s Rock or Urban “Anytime, Anyplace” Contest Channels have to enter their song before November 22nd for a chance to win a mobile studio. But don’t forget to tell fans to judge the competition. The best fan predictor from each channel will win an Intel Core i7 laptop plus other goodies from Cakewalk!

Three high ranking artists from each “Anytime, Anyplace” Channel will be selected to win top of the line mobile studios from Cakewalk featuring an Intel Core i7 laptop, Cakewalk’s new V-Studio 100 recording interface and top of the line Cakewalk recording software! To sweeten the deal, the six grand prize winners will be announced at Winter NAMM 2010!

Here’s what’s popular with the fans so far in both “Anytime, Anyplace” Channels. Don’t agree? There’s only one way to let your opinion really be heard: judge now!

The scene was exactly what you would expect —one hundred or so hands-in-pockets wallflowers standing idly in a comfortably sized room, every single one of them gazing in awe of the minimally groomed wordsmith wrapping poetically bound stories of enlightenment and regret through the rafters. Not surprisingly, conversation amongst cohorts was nonexistent, and even breathing seemed to be calculated to avoid tarnishing the trance like spell Tillman had cast upon the audience. Methodical, wise and visibly convectional, Tillman’s vocal delivery validates his status as a folk purist. With eyelids remaining shut for the majority of the set, any onlooker can tell that Tillman’s creations come from deep within, and are designed to be enjoyed privately in order to attain the utmost sense of nostalgia and resolve. Sonically, the inconstant forms and occasional falsetto remind this writer of Jeff Buckley during his more musically skeletal compositions.

Tillman enjoying the day with shaggy Fleet Foxes bandmates

Instrumentally, the night was magnificently low-fi—consisting of lead guitar, rhythm guitar, slide guitar, bass, drums and the occasional dissonant recorder/ gong (glorified cymbal) / tambourine / handclaps/ and even car keys. The ensemble was in place merely to support Tillman’s storytelling at times, and— in other scenarios —was there to threaten noise-induced hearing loss. Few times in my life have I witnessed an artist physically contorting with the rhythmic pulse in every beat to the extent that J. did, and it wasn’t before long that the other musicians on stage had caught the same infection. In multiple occasions throughout the set, songs that began in the standard folk vein reached levels of a full blown rock song near their climax, replete with deliberate electronic feedback, chaotic percussion, and a hair-tossing, headbanging front man. He even converted an ordinary ride cymbal into a makeshift gong, hanging it from a mic stand and pounding it with ear shattering devotion while rolling around on the ground.

Tillman @ Middle East Upstairs, Cambridge, MA, 11.15.09

Lyrically, Tillman paints history through anecdotes and fables. With poetic output the likes of “Don’t want to live again / because I don’t want this life to end” and “begging for surrender as the black sky swelled with fire” he emits an omniscient perspective and universal imagery that benefits both audience and subject matter. One highlight of the night was the chilling “There Is No Good In Me.” Beginning as the description of a cold-hearted narrator possessing a “taste for blood,” and having “rendered families from their homes” the piece evolves into an uplifting thaw of a frigid heart though we are left unconvinced of the outcome. Performed live, this song disintegrated into a distorted collection of driving rhythms, leaving the audience member to believe that this song isn’t so uplifting after all. The most soothing segment of the night was J.’s solo encore, “Year in The Kingdom,” the title track off his new release. This song conveys an angle of remembrance of a Kingdom once enjoyed but since forgotten, “I spent a year in the Kingdom / On my way / On my way through the garden” … “I’d give back every night but some / every lay in the dawn / I’d give back my singing voice / for one more day / one more day in the Kingdom.” Fraught with longing, this tune is poised to remind folks in all stages of life to appreciate and make the most of whatever time they have left.

A Year in The Kingdom

The stage banter between Tillman and friends was brief, but charming nonetheless. Whether declaring that his heart would explode if there was any more love in the room, or acknowledging the goofiness of using car keys as an instrument through a sheepish smile, Tillman’s quiet yet noticeable charisma undoubtedly contributed to the lasting bond between artist and fan, and incredible speed at which time flew by. Before I knew it, the one hundred minute set had suddenly dissolved into a meet and greet in the corner.

Perhaps the best part about Tillman’s pieces is that they’re not restricted to any demographics. Whether resounding through the enchanted coastal forests of Tillman’s native northwest, or echoing through the serene Midwestern heartland, his songs just seem to fall into place with the American garden landscape. After all, you have to go exploring in the garden to find the Kingdom.

Tillman’s tour has plenty more dates, check them out here to see if he’s coming to a venue near you!

Have you had a chance to judge in Converse’s “Get out of the Garage” contest? There’s tons of new indie rock and urban talent just waiting to be discovered, and they’re all vying for a chance to play the Levi’s/FADER Fort showcase in Austin this March.

Did you know that by judging Converse’s “Get Out of the Garage” Contest that you could win a trip to Austin to see the winners perform at the music industry’s hottest showcase for yourself?

Converse is rewarding the best predictor, the fan with the greatest ear for talent, with their own trip. To be eligible for the best predictor award you have to judge at least 25 Sort 4 style battles. The more you judge, the better your chances! Learn more on how the best predictor award works here.

Converse is also awarding fans daily gift certificate giveaways to Journeys. So far over 100 fan judges have received these awards, and Converse plans to continue to give out 10 a day until the end of the month. You can win too! So what are you waiting for? Go judge!

Thanksgiving is just around the bend, so I think it’s about time to get into the turkey frame of mind. Everyone knows that Thanksgiving is for, well, giving thanks (obviously). But it’s also a day when many Americans stuff their faces with more food than they can shake a stick at. So the holiday is as synonymous with gluttony as it is thankfulness. In the spirit of stuffing (and gravy and pie), this playlist features five metal songs about overeating. Naturally, some of these songs feature things that you wouldn’t necessarily want on your Thanksgiving plate, such as human flesh (shout to all you zombies out there!).

Get ready to loosen your belt and fill up on these gluttonous metal songs before you hit the Thanksgiving buffet.

1. “To Taste The Living” by A Vision Grotesque – Now, I’m not a zombie or a cannibal, but the wording of the title of this song makes eating living things sound like an absolute treat.
2. “Devour the Dead” by Dysentery – A step closer to normalcy, this song isn’t about zombies eating live humans. Instead, it’s about eating dead ones. Or maybe not, but I can pretend. If I had to imagine what the musical equivalent of cannibalism woudl be, this song is it.
3. “Dirge of the Flesh Eaters” by Fetal Butchery – I’m a live human being. That being said, I can’t really get on board with mourning any sort of creature that would be a glutton for my flesh, but that’s what this song is about.
4. “Eat Your Weight” by Nobody Lives Forever – In any way you interperet the name of this song, it is very brutal.
5. “Gluttony” by Drunk on Power – There is no mistaking what this song is about, given the song name.

In 2008 musicians Kristen Wagner and Josh Shapiro met in a West Hollywood cafe and decided they needed a change. Frustrated with their former bands, they chose to join forces as musical partners. It proved to be a songwriting match made in heaven with Kristen taking care of lyrics and vocals while Josh pounds out the electro-rock fused backings. Under the moniker Bullet & Snowfox, the duo is heating up the L.A. scene with infectious tracks like “Bad Days” that display a punk at heart attitude and a new wave finish. The handful of the band’s songs circling the web demonstrate a common theme: these kids are determined to make fans dance their feet off and have fun while doing it. Bullet & Snowfox is currently working on new material amid word of the possible involvement of the best DJ/Producers in the biz, Baron von Luxxury. We suggest you bite the bullet and check out the rest of their tracks available on OurStage.

Drew Barrymore and Ellen Page in 'Whip It'

The new millennium roller derby revival is closely linked to the punk community. Both share a DIY ethic, and derby bouts often feature punk or rockabilly bands for added entertainment.  In addition to the bands, exciting moves like body checking and whip assists (not to mention the looming possibility of a crash) make roller derby a popular spectator sport. In honor of Whip It and OurStage’s own derby girl Rainy, I’ve put together some tunes fit for tearing up the track. Keep it clean, girls. Remember: no elbows.

Jersey Shore Roller Girls

by:

The Bayone Bleeders

Funday Steve

by:

Mystic Knights Of The Cobra

Why Do You Do Me Like You Do?

by:

The Jolts

2live like a bomb

by:

The Minus Lo-Fi

Polly Got Away

by:

Clinical Trials

1. All members of the band must be wearing black. Color is not an option.
2. Band members are required to headbang, scream, shred, look angry, act violent.
3. Under no circumstances, should any band member look happy. Smiling is acceptable only if it is, in fact, a maniacal grin in response to a grotesque and heinous crime.
4. Video location is key. Consider a mountain top, boiler room, abandoned industrial park, hell, motorcycle rally, graveyard, bar, cave, crime scene, the woods, car accident, prison or desert as your backdrop. Really, anywhere dark will do.
5. The more closeups of band members playing their instruments the better. Except the bassist. No one cares about the bassist.
6. Bonus points for covering props in blood and/or setting them on fire. This is metal to the max.
7. For solos, it’s best to focus the camera on the performer of said solo. This is just good manners.
8. When considering video themes, stick to war, vikings, violence, politics, sacrilege, inclement weather conditions (e.g. snow, rain, thunderstorms), evil, zombies.
9. Rapid camera changes make for a more extreme video so switch up the camera angle whenever possible. Shake the camera if need be.

Obey these rules to ensure your video is as metal as it can be. Follow all nine of these rules, and you have probably created the most metal video in the history of music videos. Now that we’re clear on the precepts of metal videos, let’s check out some awesome OurStage examples that may (or may not) abide by these rules:

On a side note, check out this post from Away-team.com giving some press to the current Hard Rock and Metal number ones!

Jersey Boys: The Years Gone By

Every musician chases his or her own particular muse. For rappers, it’s verbal dexterity, the gift of flow. For funk/soul purists, it’s the groove. And for the legions of pop-punks out there, it’s hooks. Irresistibly kinetic, irrefutably catchy hooks.

Like every pop-punk band, The Years Gone By focus their songwriting around those powerful chord progressions that define a song. They fill in the gaps with the usual trappings: snotty, call-and-response vocals; wiry and careening guitars; drums and bass driving at breakneck speeds. The strident “Tell Someone Else I Don’t Care” is three minutes of Sturm und Drang, Jersey-style. Guitars scribble across a wash of distortion and crashing cymbals while singer Nickolas Madore leads the fray with a nasally sing-along chorus. “Tear Down the Stars” is a technically precise, if forgettable, ballad that’s perfect for slow-dancing in a suburban high school gym. Look, when you’re a pop-punk band, you gotta keep the teens happy. And in that regard, The Years Gone By pass with flying colors.