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The Field Effect

The Field Effect is an interesting band. I think what interests me most about them, as strange as it may sound, is how practical they are. The quartet isn’t dressed up in gimmicks, swayed by image, or even turned on by reverb or lo-fi. While all of those things grab my attention quite regularly, I have a great appreciation for a band that makes songs for people to listen to. And not just for “their” people to listen to, but for every person to listen to. The Field Effect achieves a clean and technical sound, but does so because each component adds a particular mastery to the overall equation. Nick Grieco contributes spider-fingered sophistication on lead guitar, picking the right opportunities to pounce, and others to sit back and fill out the mix. Adam Hand’s attack drumming style gives him a fierce left hand, even when just keeping the tempo, but he’s at his best when he locks up with bassist Annie Hoffman, who maintains an impenetrable low-end while being the most vivacious presence on stage. Finally, Doug Orey’s rhythm guitar is an added extra, as his most pronounced quality is his massive singing voice. Click here to read more.

By: Perry Eaton.

Posted on February 16, 2012 at 3:57 am

Down With Webster: Live in Concert

Down With Webster’s concert last Thursday taught me one thing I really should have known all along: I should never judge a book by its cover. Yet I did judge that book (or band) by their cover. Down With Webster, the hit Canadian band that has nothing short of earned their success, played at The Middle East in Cambridge last week as part of their American tour to a crowd of roughly 100 people. My friend Hanna and I were backstage to interview them and later rock out to their concert.

Click the link to see our interview: http://youtu.be/HBv8_PbQWcE

Before going, I listened to a few of their songs. Standard, really. The first song I stumbled upon was “Rich Girl,” a song I later learned was a cover, and I fell right into love with the music. At first, it felt as if I was back in 8^th grade, going through that boy band phase that everyone seems to go through. Later, at their concert, I realized that was not what I was feeling. Their music – better appreciated live, for the record – was more mature than an All Time Low or Fall Out Boy song.

I will openly admit that this type of music isn’t my favorite. They dip into rap a few times more than I would listen to on my own. That being said, for roughly a week now I have been listening to Down With Webster music nonstop.

Their concert, which I would recommend everyone go to as soon as they get a chance, was an energizing mix of vocals and drums, much like any other band. Where they differed, though, was their passion. In such a small venue, I felt, as many others did, engaged in an active listening experience where it felt as if the concert members were singing to me.

Down With Webster (photo: Hanna Klein)

In addition, the songs are just flat out good – and catchy. This seven member band superseded my expectations in concert. “Whoa is Me” is perhaps their best song, as indicated by the fact that it has been stuck in my head for about a week now without end (no complaints here!). Most of their songs, especially of their new album, sound as if someone mixed together –cue excellent rap song- and the unique, back of the garage band music you fall in love with because the band members are charismatic.

But when some of their lyrics seem stereotypical, then you hear songs like “White Flags.” It’s a murky song, dark and twisted with tales of drinking and surrender. Between the shaking beat and the deep chorus, the song strikes gold. While I might have doubted it at one point, their music is mixed with experiences past and the passion that ignites the stage when they perform.

So while many people many not know who Down With Webster are in the USA, I urge them to take a second look. These men aren’t the typical boy band that we would otherwise look over. I mean, they opened for the Black Eyed Peas. These genuinely nice guys play for crowds of thousands of fans every month. These guys mean business, and they’re not going home until “Whoa is Me” is stuck in your head (SCORE!).

DWW (photo: Hanna Klein)

Posted on February 10, 2012 at 1:33 am

Hit the Lights Review

It’s hard not to immediately like an album you can hold in your hands and admire, physically. After picking up Hit the Lights’ newest album, Invicta, in vinyl form, I was immediately in love. The album cover, the size of a brand new vinyl release fans have waited on for three years, it made everything more exciting to have it in my hands a week before the scheduled release date. It might have been the euphoria continually rushing about from their epic and brilliant set at the Paradise in Boston, but even still, this album had been set up to succeed for a long time.

After hearing the entire album, Hit the Lights manages to mostly live up to the high standards that listeners will have after the prolonged gap since the sophomore album, Skip Schools, Start Fights. Even though two of the three songs on Invicta – EP, the preview EP to this album, are probably the most addicting of the 11 song effort, the rest are all still a huge step up from their previous work.

Ever since the departure of lead-singer Colin Ross, it seemed like Hit the Lights struggled to find their true musical calling, especially with their previous label pushing them to be a certain type of sound and group. It also had gotten to the point that, according to new lead singer Nick Thompson in an interview with alternativeaddiction.com, the band members realized they were trying to fit into a mold they could no longer fill. It’s hard to imagine Hit the Lights without the raging, honest and killer lyrics and pop-punk melodies, but even that style for them wasn’t the same after the loss of Colin

In all honesty, I hated the slightly new sound and style that this band took on when Thompson filled Ross’ role. I still go back and watch the acoustic version of the “Hidden Track” from the first album repeatedly and my heart melts every single time I hear Ross transition into the bridge; “Here’s the creepy part…oh you’ll see.” It took almost a year for Skip School, Start Fights to grow on me, and even though now I actually like hearing the songs and sing along, the album never remotely lived up to the previous album, This is a Stick Up…Don’t Make It a Murder, which might have been one of the coolest albums of the decade.

How this band, three years after starting on what seemed like a downward spiral, reached Invicta, is still a mystery. The most unbelievable accomplishment of this album is one of the songs included on the EP, “Earthquake,” which is also what the band used for several of their previews and teaser videos. My difficult relationship with Thompson was completely rewritten, with an entirely newfound respect and admiration. Instead of comparing him or the band’s style to the era of Colin Ross, this “new” Hit the Lights can be put into their own individual category again and out of the shadow of the past. “Earthquake” is the best representation of all the new things the band brought to the table as they move on.

It’s clear from “Invincible” and on that that they’ve stepped up their game in numbers. Even when playing live in Boston, they had those extra musicians for more percussion and sounds all around, and the extra guitar and drums come through quite well on all the songs on the album. What “Earthquake” really displays is their brilliant mix of Coldplay-esque percussion, typical punk drum set and vocal style, power rock guitars and moving lyrics. This list of very different things basically sums up to show that, somehow, Hit the Lights has found their home in a little bit of everything.

An even better example of this is “Faster Now” and “Gravity.” The intro to “Gravity” and much of “Faster Now” are very produced, with many eclectic and spacey sounds (a recurring theme on this album). The melodies and harmonies follow the same space-bound theme, represented by the smooth, rolling guitar and vocal line, with a lot of bouncing around sounds and synthesized pings in the background to complete the style. The lyrics (such as, “I’ve been orbiting but you could pull me through,”) complete the theme and add a final layer of an elemental, earthy and tribal feel, supported by the previously-mentioned pounding drums.

This new, elaborate style is almost completely successful on this album, except for the fact that when listening straight through, a lot of the songs tend to blur together and become a little too similar. For the next album, the only advancement they could offer that would satisfy most would be to make a similarly cohesive whole album, but make the songs, or even one or two songs, a little more individual and unique. This, however, is a very minor case, and it only comes from extremely repetitive listening.

The cherry on top of this oddly perfect Invicta sundae is that, despite their fresh style and improvements, hints of the band they got their start from are still there. This is most obvious in a song like “Take Control,” which uses the heavier punk sound, reminiscent of “The Call Out (You are the Dishes)” or “Stay Out.” Hit the Lights will bring back fans of the Ross era largely based on that final factor, but will keep any and all fans based on their huge re-do of the pop sound attempted on Skip School, Start Fights. The one thing that made this new release a success compared to the sophomore effort is their ability to leave behind the expectations of a punk-pop band.

So when fans, new or old, glace at the oddly entrancing (mildly hipster) nebula on the cover of Invicta, it will be hard not to imagine the new world that waits ahead. After having heard the magic that Hit the Lights brought to this new endeavor, it’s hard not to imagine how far they can go if they keep this going, and only climb up from here.

By: Dee Hibbard

Posted on February 2, 2012 at 7:03 pm

Tall Heights Interview

Tall Heights, a local folk duo, comprising of a guitarist and a cellist (both gifted with top-notch vocals) came in to the studio to perform the entirety of their new EP, Rafters, out now on their site, and stuck around for a quick Q & A with The Upbeat Alternative DJs (http://tallheights.bandcamp.com/album/rafters).
Tall Heights Interview by wtbu
Interview by Natalie Frassica and Sam Gwizd

Posted on January 26, 2012 at 2:15 am

Tall Heights In-Studio Session

Tall Heights, a local folk duo, comprising of a guitarist and a cellist (both gifted with top-notch vocals) came in to the studio to perform the entirety of their new EP, Rafters, with The Upbeat Alternative DJs. Listen to it below.
Tall Heights Session by wtbu
Interview by Natalie Frassica and Sam Gwizd

Posted on January 23, 2012 at 6:40 pm

Dial Up Tour Interview

On Saturday January 14th, the Internet came to the House of Blues in Boston in the form of The Dial Up Tour. YouTube stars LiveLavaLive, MeekaKitty, Nanalew, Olan Rogers, and musical acts Alex Carpenter and Jason Munday took the stage to perform a set of comedy, dancing, and singing. Deanna Archetto and Beth Brodsky got the chance to sit down with Alex and Jason before the show and talk about how they got from behind the video camera to up on stage for a 17-show tour all across the US. You can find more information about Alex and Jason at youtube.com/alexandercarpenter and youtube.com/jasonmundaymusic. Tune into Internet Killed the Radio Star on WTBU to hear their music every week!
Dial Up Tour by wtbu
Interview by Deanna Archetto and Beth Brodsky

Posted on January 19, 2012 at 11:57 pm

Drake’s new album surprises

A lot of people are talking about Drake’s new-released album Take Care. I have to admit when Drake’s first-album Thank Me Later released in 2010 I wasn’t convinced a teen actor from Degrassi could rap. But honestly, there’s a reason why Drake has gotten recognition in the rap scene.

Now, the Toronto actor-singer-rapper has just released his sophomore album with cameos by Rihanna, Nicki Minaj, Lil Wayne, and Stevie Wonder. The long-awaited album, which leaked online before it was released, is finally here and Drake has come a long way from being “that kid from Degrassi.”

In the song Marvin’s Room, a drunken plea to an ex-girlfriend, Drake even mentions he’s “…having a hard time adjusting to fame.” But Marvin’s Room isn’t the only song on the album that’s honest and candid. The album, which is hip-hop and R&B influenced, is a lot more melancholic than what we would hear from other rappers.

Overall, the album is a story about Drake’s rise to fame and he isn’t afraid to express his feelings about it. Now, I wouldn’t claim Take Care is in the running for Album of the Year but Drake is definitely worth a listen. You’ll be surprised with what you might find.

Here are my top five favorite songs from the album (in no particular order):

1. Make Me Proud ft. Nicki Minaj

2. Marvin’s Room

3. Take Care ft. Rihanna

4. Over My Dead Body

5. Doing It Wrong ft. Stevie Wonder

By Alexis Medina

Posted on December 5, 2011 at 4:07 pm

Local record company takes off

By Livia Brown
At first glance, the small studio apartment that houses Topshelf Records looks like nothing like an office. The walls they have built themselves sector off both their workspace and living space. The clutter of mail orders lines the hallway; a drum seat doubles as a desk chair. The do-it-yourself ethos emanates throughout the office where the two co-founders of Topshelf Records both work from. It dawns on anyone who walks in here that this is not an office: this is a home not only for its inhabitants, but a home for music.

In an industry packed with media moguls striving to find the next hit artist and chart topping single, Topshelf Record’s emphasis is on distributing noteworthy music with sincerity. The record label was formed out of a passion for music, and continues to hold the same values that were central to Topshelf’s founding.

Topshelf Records is a Boston-based independent record label that is headed by co-founders Kevin Duquette and Seth Decoteau. Founded in 2005, Duquette and Decoteau started the label with the intention of promoting their own band. After Kevin and Seth’s band went on hiatus, they continued the label as a way to help promote and release their friends’ music. Today, they have expanded the label to include musicians across the nation. Their clientele has grown from just their band to a complete 24-piece roster. Topshelf’s ability to adapt to the industry’s fluctuating mediums and ideals, has allowed them to remain afloat in this ever-changing industry.

Three-quarters of the artists on the label are not signed to a contract. Most of the artists simply come to Topshelf under a verbal agreement of distributing and promoting a particular album. Artists are not tied to Topshelf for any specific amount of time, they are free to come and go from the label as they please. It is the integrity and honest love of music that Duquette and Decoteau share that keeps the artists coming back to Topshelf.

In fact, this is not even the co-founder’s full-time job. Decoteau works at Bridge Nine Records as a label manager during the week, while Duquette recently quit his full-time job at the Boston Globe to spend more time working on Topshelf Records. When he is not working at Topshelf, he is helping an eco-friendly van rental company, Green Vans, redesign their website.

“Kevin and Seth really stand out as dudes who love music, and believe that the work they put in and the bands they stand behind are a gift and a contribution to the evolution of music.” Andy Reitz, co-owner of Green Vans, says.

As music lovers, Duquette and Decoteau refuse to sign any musical act that they would not listen to themselves. Not once have they deviated from working with a band that they would not want to support. Topshelf Record’s pure passion for music has enabled them to become one of the front-runners of a natural progression towards a community setting between artists, fans, and independent labels.

Jeff Cassaza, owner of Run For Cover Records, lives and works in the same space as Topshelf Records. Seth Decoteau, who works at Bridge Nine Records in Peabody, stores most of Topshelf’s mail orders in the Bridge Nine warehouse. Topshelf even has support on the West Coast. Huntington Beach based label, No Sleep Records, constantly promotes Duquette and Decoteau’s bands. They have created an all-encompassing environment that distinguishes these independent labels from the industry moguls.

“It is sort of like we’re all kind of in cahoots in some way or another, just helping each other out or giving each other pointers on even just small things like a good place to go to get LP labels printed,” Duquette says. “We’re all working with the same kind of bands, musically; we are dipping into the same pool so there is a lot of crossover and opportunity for cool collaborations. Why not build on that sense of community?”

In a “cut-throat” industry that focuses on monetary sales to determine success, these labels have proven that community can overpower competition. Artists on these labels hop from one label to the other for releases. The label owners constantly attend one another’s shows in support, and social media has become a tool to promote one another. It seems as if their community of labels has become a family

Reitz says, “Obviously, labels need a good product to sell, but there’s so much to be said about the people that are working their asses off to promote their bands not just because they want to exploit them for their money, but because they have a genuine personal contribution to make to music as a music lover.”

As music lovers, Duquette and Decoteau understand the need for high quality records. Every vinyl purchase is sent with a free digital download copy. Topshelf provides multiple bundle packages that include t-shirts, vinyls, CDs, and other novelties. They even distribute other independent record label’s records. They make sure there is something for everyone, and all at prices that will match anyone’s budget. CDs range from five to twelve dollars, and vinyl are only a few dollars more. For collector’s they even create specialized pressings of vinyl in different colors.

“The biggest thing for us is we are catering to a niche. The people we are releasing music for have fans that are really passionate about music. As long as we are giving a really good physical product and putting a great deal of effort and time into artwork and packaging, it will always be something people are going to want to buy. Something both musically and physically needs to stand out otherwise there is no incentive,” Kevin says.

Their quality of customer service reaches far beyond the shopping cart button on their website. Duquette spends much of his time making sure fans of the artists and label are content with the products they are receiving. They have created a Formspring, a website that allows people to ask questions, a Tumblr, Twitter, and if that’s not enough, a plain old e-mail account to reach out to Kevin or Seth at any point during the day. The accessibility for consumers into this small community provides a personal level that most companies struggle to achieve.

“I think people can really connect with interacting on a one-on-one level. There are countless people who order ever record from us, just because we have established this is what we are doing if you like this maybe you will like this. People start picking up on that and just giving stuff a chance without ever having heard of bands before. I guess there is a taste-making element to it, where if people are digging what you are producing they will pick-up records regardless of the size of the bands popularity. Might not be something they typically listen to.”

For Duquette and Decoteau, everyone involved in music is on the same level. Connecting to artists, fans, and fellow labels in such a small community allows everyone to feel they play a role in supporting quality music. The accessibility to this community differentiates Topshelf from other labels nationwide. “I think that part of it- connecting with people on a real level-seeing people [who buy the records] at shows and setting up a little distro [merchandise table]. That part of it is really cool,” Kevin says. As avid music lovers, the co-founders do not see any reason not to involve everyone. The company does not run under a hierarchy; everyone is simply part of this music community. They are there to support one another: fans support the artists, artists the label, and from label to label.

As people, Kevin and Seth’s passion for music and desire to provide something that they would support themselves, regardless of if they owned the label, shows the dedication these two men possess. Kevin remarks, “The biggest thing is we if we don’t like listening to it we don’t want to be associated with it. The moment that changes, I really don’t want to be doing this anymore.” The humble attitude of Kevin is reflective of the honesty and integrity that Topshelf holds as a company.

Topshelf Records exists as a side project that was started by two guys with a deep interest in music; however, the label’s essence exceeds a mere side-project and continues to be built on the sincerity and community they have created.

Posted on December 3, 2011 at 4:00 pm

Retrospek In-Studio Session

The local Boston rap juggernaut Retrospek has been challenging listeners to alter their perception of what “Boston hip-hop” really is since their inception in high school. Their sound is unique to them only, and, since their inclusion in the Boston Phoenix’s 2011 rap class, Retrospek has gained more attention from local and nationwide fans. Their electric influenced boom-bap production, provided by Rah Intelligence, is perfectly accented by the intricate and poignant rhymes of the two MCs, A. Spendcash and JuneLyfe. They came by WTBU’s studios to speak about their new found attention, video production, future products, and their influences in the ever changing rap world.
Retrospek In-Studio by djrapscallion

Interview by James Miller

Posted on December 2, 2011 at 2:44 pm

Rival Schools Interview

Rani and Livia of PB & Jams interviewed Sam Siegler from Rival Schools about 90s bands, the hardcore scene, and Gene Simmons. Check out the transcript below:

Rani: Can you state your name, what you do in the band, and if you were a ‘90s band, who would you be?

Sam: Ok. My name is Sam Siegler and I play drums in the band Rival Schools. And…uh…’90s…if I was a band who would I be?

Rani: Or ‘80s if that’s easier. Or 80s and 90s!

Sam: Oh, well the ‘80s opens up a whole other thing! I mean, I don’t know…the ‘80s, maybe Keith Morris and the ‘90s maybe Kurt Cobain. Something like that.

Rani: That’s legit.

Sam: But still alive.

Rani: Oh yeah, that’s a good point. But Keith is still alive, he’s still kickin’.

Sam: He is, true.

Rani: Alright, what’s one band you guys listen to that people normally wouldn’t expect you to listen to?

Sam: Ummm, I don’t know. I mean there’s this band called The Witch, which is this band – I think they’re from Africa – in like the ‘70s. They’re kind of funky. I could be wrong on the ‘70s and Africa, but I think I’m right on that. But The Witch – really funky. In my mind it’s like these guys just got a hold of some Jimi Hendrix and just started a crazy funk psychedelic band and I think it’s pretty cool. And uh, I listen to a lot of Brant Bjork and Can, but I don’t know if those are too obscure.

Rani: I have not heard any of them, but I’ll have to check them out!

Sam: Yeah! Check them out, check them all out!

Rani: So you guys have roots in the hardcore scene, and I was wondering – what are some positive changes you’ve noticed over the years, and what are some negative changes?

Sam: All of us really came up in the hardcore scene I guess, like the mid to late ‘80s and the ‘90s and stuff, and in some respects it’s definitely changed and in some respects it feels kind of the same. I don’t totally follow it as closely as I used to, but I do see records of a new band or a t-shirt and it kind of looks the same or feels the same. And some of the stuff I’ve heard, you can see a continuity in it. For everybody it’s different I think. For me it was a magical time. It was ’87 and I was 14 or something like that, and I was just going to shows and there was a big mix of kids – like punks and skinheads and straight edge kids and non-straight edge kids – all at the same show, and it was all run by the kids. There was this record store called Some Records that we would all hang out at. You know, it was a real community and all that good stuff. And then eventually it went away because I don’t think these scenes can last. You know, any good thing can’t really last. It got really violent…it got kind of segregated, where the straight edge shows were just only straight edge kids, and the punk shows were only punk kids. In that way it lost a little bit of magic for me. But somewhere today I like to think it’s happening for somebody somewhere. I’m sure there’s some 12 year olds or 15 year olds in a basement somewhere just going nuts and having a show, and that’s how it started for me so that’s cool.

Rani: What’s one of the most memorable shows that you’ve been to?

Sam: Ah, that I’ve been to…these are all memory questions [laughs]. My memory is not that good! Um, I saw the Beastie Boys open for Madonna at Radio City Music Hall in 1984. Man, there’s a lot of noises here – it’s kind of exciting.

[laughs]

Sam: You can tell people are at like, a drag race. Hanging out and getting’ wild. But yeah, the Beastie Boys. I actually used to go to a lot of concerts like that. Umm, yeah, I don’t know…let’s go with that one!

Rani: Haha alright! Well this is kind of on a different note, but who are some writers or lyricists that you guys are influenced by or just really enjoy?

Sam: Walter writes a lot of the lyrics for Rival Schools, but for myself, I listen to a lot of different stuff. I mean, I guess Bob Marley is a real obvious one. A lot of reggae stuff is really positive, and some of the good hardcore stuff was really influential. I don’t know, I mean some of the classics like Crosby, Stills, and Nash…Neal Young, probably.

Rani: So you guys have obviously been in music for years. What’s one thing that you’re most proud of?

Sam: I love making records that document certain times in my life, so it’s always fun for me to look back at them and they’re all sort of special in different ways. I was really happy and proud of that first Glassjaw record that I played on. It was a really exciting time, I met my wife there, I met a bunch of new friends there, we were in a really beautiful studio, we made a cool record. I loved the stuff with Youth of Today. I thought that was a really important band. I thought it was a band that was on a mission, that had something to say at that time. So those stand out. And the first Rival Schools album, you know? I mean, I love them all, pretty much, in different ways.

Livia: What are some non-musical influences?

Sam: Well, I guess my family. My father plays drums, my grandfather plays drums – maybe that counts as a musical influence but they were really an inspiration for me. I grew up in New York City in Lower Manhattan and there’s just an energy there. You’re exposed to a lot, whether it’s food or people or music or cultures, and that keeps you open. Or at least for me, I was exposed to a lot of different stuff that I think shows – well, I hope shows – in the way I play.

Livia: Awesome! What is the driving shift while you’re on tour, and what do you listen to while you’re driving?

Sam: Recently on this tour we’ve been listening to a lot of comedy albums. A lot of Andrew Dice Clay. Yeah, different comedy things I guess. The Rolling Stones have been popular as of late. We’ve got two wonderful crew guys out with us who are driving, and uh, yeah…it’s good.

Livia: Do you feel like Rival Schools was a natural progression from your hardcore projects in the past?

Sam: I do, yeah. Even between that I was in this band called CIV, and CIV was sort of like, you know, another step more musically evolved maybe than sort of the real hardcore stuff. I played in Gorilla Biscuits in ’85 and Side By Side in ’87 and then Youth of Today in ‘87, ’88. Then you can see it kind of in Judge where we all kind of learned to play a little bit more. We learned there’s actual guitar leads, like a double bass drum pedal, there’s different things. And then CIV was a little more, you know, exploring some different musical stuff, and it evolved into Rival Schools for me. And for Walter you see it; he was in Quicksand, and you can see his progression. But yeah, that’s the point – it’s to keep moving forward, and it doesn’t necessarily mean get lighter as you get older, but just evolve, you know?

Rani: That’s really interesting, because now, in my head – I don’t know why this just clicked – but it makes sense. I don’t know, the musicianship, I guess…

Sam: Yeah, I read some tweet about our show in Buffalo I guess, and somebody tweeted “Just realized that Walter has been the soundtrack of my life for the last 15 years”. He’s a really good songwriter, and he wrote Gorilla Biscuits and CIV and Quicksand and you know, with other people, but he’s the main driving force behind that stuff. You can see how he’s evolved and how the band’s evolved.

Livia: Well, the last question is: What’s one question you’ve never been asked in an interview that you’ve always wanted to be asked?

Sam: Oh, like Gene Simmons – like how many women have you had sex with?

[bursts out laughing]

Livia: Exactly like that! That’s where we got it from.

Rani: Why don’t people ask that more often?

Sam: [laughs] Cause it’s only for Gene.

Rani: He is a character.

Livia: He’s always on Loveline, and it is the weirdest thing ever.

Sam: I love your Fantasia notebook. [to Livia]

Livia: Oh thanks, I try. [laughs] I kind of like Disney…

Sam: Disney’s alright. It’s popular, it gets around. [pauses] Awesome!

Rani: Well, that’s all we have for you!

Sam: Cool!

Posted on November 20, 2011 at 10:00 am