Issue 22 by tastemakers

issue 22

underground northeastern students on music

Bands Blowing Up in 2011 The Faces of Kindie Rock

STAFF QUOTES:

THE TEAM:

“I don’t make taste, I just eat.” – Chris Stoppiello (English) with Jordan Munson (Music Industry)

“Have I done one? Probably not. “ (High Fives Nick Hugon) – Runyon Collie (Computer Science/Journalism)

“I love when Andrew brings out the paddle.” – Alex Taylor (Sociology)

President Editor in Chief Art Director Marketing Director Web Director Features Director Features Editor Interviews Coordinator Interviews Editors Reviews Director Reviews Editors Copy Editor

Staff Writers Aadil Sulaiman, Dinorah Wilson, Jordan Munson, Lauren Moquin, Leslie Fowle, Madi Daigle Marketing Staff Caitlin Kullberg, Trevor Burns, Michael Gasiorek, Alex Taylor, Nathan Goldman

"These are the good times in your life, so put on a smile and it'll be alright."

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Contributors Adriel Tjokrosaputro, Ashley Jacobs, Bianca Falcone, Brooke Daly, Cassie Hebert, Chris Mack, Dan Arias, Dan Thompson, Dan Wilets, Evan Prawda, Felicia Gonzalez, Patricia Concepcion, Grace Munns, Harrison Seitz, Jake Rolf, James McKeon, Jay Cook, Jeff Lewis, Kate Lieb, Kirby Smyth, Lauren Taylor, Megan Pollock, Natasha Perez, Nathan Goldman, Olivia Zhou, Patricia Hunter, Patrick Duane, Patrick Torpey, Rachel Drudi, Rebecca Stadlen, Rebecca Timson, Sean Pierre-Antoine, Shea Geyer

> want to become a

Art & Design Luis Delgado, Chris Bowers, Mariya Chekmarova, Abigail Hanright, Alyssa Sullivan, Brian Cantrell, Anne Latini, David Tschiegg

– Zach Brittingham (Behavioral Neuroscience)

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WHAT'S INSIDE:

4 6 8 10 11 12

calendar

show reviews

local photos

vinyl exclusives

lovedrug

man bands

14 16 18 19 20 21

electronic music

born without bones

what your ipod says about you

i've got music in the dome

24 26 28 30

musicians r us: the faces of kindie rock

underground boston

cd reviews

just a taste of: wires under tension

musician stereotypes

bands blowing up in 2011

2/5

BY NATHAN GOLDMAN (COMPUTER SCIENCE)

THE RURAL ALBERTA ADVANTAGE @ THE MIDDLE EAST

3/9

Certain things can be expected from Asobi Seksu: ethereal textures, ear-grinding distortion, beautiful pop melodies, and some Japanese singing. Make sure to catch these shoegaze vets on their way thr...ough town (perhaps with some proper ear protection).

BY NICK CALVINO (ENVIRONMENTAL STUDIES)

ASOBI SEKSU @ BRIGHTON MUSIC HALL

2/25

Reasons you can’t miss Dr. Dog when they come through Boston this February: they have two dates at the Paradise, are touring with the amazingness that is Seattle’s The Head and the Heart, and you’ll only be able to pick up a four track double 7” of new material at their live shows. No excuses!

BY EMILY CASSEL (JOURNALISM)

DR. DOG @ PARADISE

2/20

Rock N’ Roll music for sore-ears (and eyes.) If you like dancing and general camaraderie, you will appreciate the exciting, energetic sounds of Rodeo Church!

BY ANNA ELIZABETH (COMMUNICATIONS)

THE RODEO CHURCH @ CAFE 939

HOB Green 17 Tour with Flogging Molly

27 GS Tennis, Holiday Shores, Prcelain Raft

PA Plain White T’s

20 PA Dr. Dog, The Head And The Heart

BSO Community Chamber Concert

PA Gane of Four

TT Biffy Clyro

PL Ill Nino, Fashion Bomb, Ekotren

SH Beethoven

CH Melou

MD Emarosa, Chiodos, Go Radio, Recoder

MD Rooney, Eisley, The Old Ceremony

get tacky » •

PA White Rabbits

BMH Baths

MD Deerhoof, Ben Butler and Mouspad, Nervous Cop

RY The New Deal

TT Jesse Malin & The St. Marks Social

HOB George Clinton & Parliament / Funkadelic

PA Tea Leaf Green

PA Best Coast, Wavves, No Joy

HOB Girl Talk, Max Tundra, Junk Culture

PA Dr. Dog, The Head And The Heart

MD Cowboy Mouth, Dash Dip Rock

PL Taproot

february

3/19

After their somewhat awkward pairing with Brand New at The House of Blues, Glassjaw is ready to get down to business properly, this time at The Paradise. Supporting the January release of their Our Color Green EP, giving away a tour-only EP to ticketholders, and showcasing new material off of their (still) upcoming full length, it looks like Glassjaw is finally throwing their fans a bone. Plus, this time you won’t have to put up with Brand New’s, um, diverse fan base.

BY KYLE RISLEY (MARKETING)

GLASSJAW @ PARADISE

3/25

Crystal Castles make their way to Boston with infectious songs that you can’t resist moving to. Every time I see these guys, it turns into an indie dance party of awesome. Bring a group of friends and rock it out all night to Alice Glass’ sweet vocals.

BY MICHELLE BUCHMAN (ENGLISH)

CRYSTAL CASTLES @ HOUSE OF BLUES

MU Black Joe Lewis

BB ELO Experience

PA Smian Mobile Disco

20 ST Ladysmith Black Manbazo

TT The Jezabels

PL A Day To Remember, Bring Me The Horizon, We Came As Romans, Pierce The Veil

PA OMD

GS > HOB > MU > MD > OSC >

BB ELO Experience

HOB Cold War Kids

HOB Pete Yorn, Ben Kweller, The Wellspring

PA Eugene Mirman And Pretty Good Friends, Kumail Nanjiani, Reggie Watts

BB > BOSTON BALLET BMH > BRIGHTON MUSIC HALL BSO > BOSTON SYMPHONY ORCHESTRA CH > CHURCH OF BOSTON

PA The Get Up Kids, Miniature Tigers, Bian Bonz

key

We all went through that stage. Some girl or boy just broke your heart, your parents don’t understand you, it’s grey and rainy in your soul... Don’t miss Bright Eyes’ long-anticipated reunion show at HOB just in time to bring those warm, fuzzy feelings back!

BY ALYSSA MASTROCCO (ENGLISH)

BRIGHT EYES @ HOUSE OF BLUES

3/10

The RAA has a lot to offer, bringing everything from dynamic percussion to songwriting on the complex notion of what ‘home’ really is. Better yet, this will be the first show by this Alberta-byway-of-Toronto trio following the March 1st release of their sophomore album, ‘Departing’.

GS Jeff The Brotherhood, Skimask

TT The Damwells, Apex Manor

HOB Dropkick Murphys, Against Me!

PA Cardiology Tour feat. Good Charlottoe

SH Chopin BSO

RY Victor Wooten Band, Stanley Clarke Band

TT You Say Party We Say Die!, Young Galaxy

HOB Bright Eyes, The Mynabirds

PA Glassjaw

TT Wheat, The Roman, Numeral Three

BMH The Ex

OSC The Low Anthem

PL > PALLADIUM RY > ROYAL ST > SANDERS THEATER SH > SYMPHONY HALL TT > TT THE BEARS

PA Middle Brother

GREAT SCOTT HOUSE OF BLUES MIDDLE EAST UPSTAIRS MIDDLE EAST DOWNSTAIRS OLD SOUTH CHURCH

PL Dance Gavin Dance, wrestledabearonce, In Fear And Faith, Close To Home

BMH Gene Ween

HOB The Pogues, Titus Andronicus

MD Murder By Death, Fake Problems, Buried Beds

march

w e i v re

Andrew Bird with Marissa Nadler @ Tremont Temple, December 10th

photo and article by Alyssa Mastrocco (English) On December 10th, Andrew Bird played at the Tremont Temple as a part of his most recent Gezelligheid Tour. The tour originally started off as five dates in Minneapolis and Bird’s hometown of Chicago, but has since expanded to include a long list of dates both domestic and international. The interesting thing about this tour is that most of the shows are taking place in churches, synagogues or small auditoriums. This is an appropriate match with the name of the tour, which is a Dutch word that Bird described as meaning “cozy” and “quaint.” In a press release for the tour, Bird stated: “I want the audience to be both lifted and comforted as we head into another cold and dark winter.” Despite the enormity of the Tremont Temple church, with a long orchestra section and two towering balconies, Bird managed to create the cozy, intimate feeling he was going for. 6

Fitting with the settings, Bird has been playing mostly instrumental material from his most recent release Useless Creatures. The hour and forty-or-so minute set was mostly that material, along with a few other favorites like “Why?”, “Capital I” and “The Happy Birthday Song” peppered in. He began the show with those older pieces in order to ease himself in, as he called his tried and true songs a way of making himself more comfortable. The audience was treated to a few new songs for an assumed upcoming release. The cathedral ceilings and décor of the church echoed the loops and whistling throughout the mixed crowd. For the sound of the material on Useless Creatures, the venue was a perfect fit.

Birds & Batteries @ Great Scott, December 10th by Leslie Fowle (English/Journalism) photo by Irja Elisa

Trying to define San Francisco’s Birds & Batteries’ music has been like trying to catch a butterfly, and then pinning that butterfly on cork board for the cruel intentions of science. Likewise, it is almost a crime to anatomize a sound that is in a constant stage of metamorphose live. One minute lead singer/ producer/musical genius Mike Sempert’s folkish voice leaves one longing for better times, then almost without warning, the entire band ditches the nostalgia and absolutely kills in a funky, synthed-out dance beat. So, against my vegan sentiments, I will try to dissect for you the show the now San Francisco locals were able to bring to both Sempert and guitarist Christopher Walsh’s old stomping grounds of Boston. And if you have never heard of Birds & Batteries before, dear reader, I would like to take the time now to say, “You’re welcome.” The mood of Great Scott hitherto had been sleepy, as some listless brother and sister act crooned at the far end of the room. The dive bar was crowded, but for the most part, the music was ignored as small groups engaged in conversation and people waited at the bar for their cheap PBRs. But what was merely ambient music for the crowd soon became the center of attention as Birds & Batteries took the stage.

Indeed it was hard to ignore their opening song, “Lightning” off of 2009’s Up To No Good album—a song recently featured during a glitzy New York party scene in a November episode of Gossip Girl. Not an avid Gossip fan, I had patiently waited through thirty minutes of melodrama to catch one of my favorite Birds &

Batteries songs. And the placement was relevant; “Lightning” is the ultimate party song, and its dark dance-ability is reminiscent of a blurry, fast-paced night in New York City. The episode also featured another song off of Up To No Good, the equally fuzzy but a bit freakier, “Out in the Woods,” a song which almost makes me inadvertently want to do the “Thriller” dance.

The rest of the show featured songs from their latest album, Panorama, released this past October. The album as a whole reads sort of like a funkier version of an old Tom Petty album, full of hard-earned wisdom and sentimentality. Sempert has said he wrote “Strange Kind Of Mirror” after watching an old friend’s wedding from the sidelines. But the lyrics of the song pretty accurately sum up the complicated relationships that we all have experienced in our pasts, “We can only see ourselves/ In the people we love/ And it’s a strange kind of mirror.” Also from Panorama, was the lovely “We’re An Industry,” which includes one of the most unusually romantic extended metaphors I’ve ever heard. If you search the song on YouTube, be sure to watch its neat stop-motion music video made by a few die-hard fans. Also thrown in the mix was a romping cover of The Who’s “Squeeze Box.” If anyone is lucky enough to be in the San Francisco area the first night of Spring Break, February 25th, you can catch Birds & Batteries at Rickshaw Stop. For the rest of us East-coasters, I hear it may not be until next fall that we are blessed with their awesome presence again. In the meantime, check them out on their site: birdsandbatteries.com.

Minus the Bear @ Wilbur Theatre, December 7th by Jeffrey Curry (Chemical Engineering)

“The good news is that we’ve played in Boston more than any other city on the East coast; the bad news is that it’s always been raining when we show up” joked lead singer Jake Snider moments after the lights dimmed at precisely 10:00 PM. The show on Tuesday, however, marked a radical change in their Beantown curse: no rain. The change was not strictly in the form of Boston’s weather, but also in the performance from the Seattle-based indie/post-rock band. Minus the Bear’s most recent record Omni veers away from their previous three LPs and two EPs of prog-spiked indie and towards an awkward combination of funk-infused rock and pop. Following the incredibly strong releases of the playful Menos el Oso in 2005 and the math-oriented Planet of Ice two years later, Omni proved to be more than disappointing. It seems as if Minus the Bear came to this realization as well; even though the tour

was in support of the album, only five of the seventeen songs played at Wilbur Theatre were from Omni. After opening with the strongest song from the new album, “Secret Country”, Snider and company immediately diverted to a four-song tangent of oldies, including deep cuts “Memphis and 53rd” and “Thanks for the Killer Game of Crisco Twister”, two songs I never expected to hear live, let alone within the first twenty minutes of their set. After briefly returning to the present with synth-rocker “Into The Mirror” and its counterpart “Animal Backwards”, the band quickly reverted to their roots again with “Monkey!!! Knife!!! Fight!!!”, followed by some more wellknown songs including “The Game Needed Me” and my personal favorite, “I’m Totally Not Down with Rob’s Alien”. This process repeated until the band momentarily vanished before returning to play crowd favorites “Knights” and an extended “Pachuca Sunrise” in an encore nobody in the

audience will soon forget. It’s been more than eight years since the initial release of Highly Refined Pirates and in that time, Minus the Bear has made many changes to their sound. As their song titles have become much shorter and reserved (unlike their facial hair, on the other hand), the band’s most recent studio effort is suffering from a classic case of Blink-182 syndrome: growing up. Seeing them live, however, proved to be an entirely different experience. Minus the Bear understands exactly what helped establish their fan base: an eclectic library of songs ranging from dynamic tapping-based exhibitions of complete eccentricity to musical paintings of serene and beautiful lands. With Minus the Bear, you never know precisely what you’re going to get, and that’s the fun of it.

L O C A L clockwise from top left THE ANTLERS by Andrew Swartz THE MAINE by Amanda Yee K.i.T. by FBG North

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P H O

O T O S

WRITTEN BY LAUREN MOQUIN (JOURNALISM) PHOTOGRAPH BY LUIS DELGADO (GRAPHIC DESIGN)

Bands have not ignored the fact that the record players have been dug out of basements and have become best selling eBay items over the last couple of years. They are taking full advantage of what many call a trend. Whether record players are here to stay or not, the money that music fans are now willing to spend on their beloved record collection has inspired the idea of vinyl exclusives. When artists create material exclusively for vinyl releases, you know this whole vinyl thing is a pretty big deal.    As soon as vinyl was creeping its way back into the hands of the younger generation, bands’ merch tables seemed to slowly offer vinyl versions of full length albums, which were only sold at shows. It is almost as though it was an experiment.

No one was sure as to whether these vinyl collections were going to expand very far or not, all that was known was that people were all of a sudden spending $15 on something they could have downloaded. It is a little hope amongst the large amount of kids who will probably never think of spending another penny on their music again. Now, with bands releasing material that can only be heard on vinyl, people are not only going vinyl because of the sound, but also just to simply hear original music from their favorite artist.    The incentive to buy records through vinyl exclusives was just taken advantage of by the Toronto band, Fucked Up with their releases of their 12’’ “Chinese Zodiac” series where they released the songs, “Year of the Ox” and “Year of the Tiger”. The band later gave in and offered “Year of the Ox” digitally (for free), as well as on iTunes. After the song was performed on CBC, the song grew in popularity with fans and created the urge to release it digitally, but “Year of the Tiger” is still only found on vinyl. Fucked Up has become a leader in vinyl exclusives though.    This past Record Store Day, Fucked Up released a 7” including a new single and a bootleg from their Daytrotter Session with 11 different sleeve covers. Although other bands might not have gone through such lengths to make their vinyl release quite as special as this, Record Store Day has become an opportunity for many bands to experiment with vinyl exclusives. This past Record Store Day offered exclusive live recordings and EPs on vinyl by bands like Wilco, Built To Spill, Devo, TV On The Radio and Muse. The opportunity to get people to experiment with vinyl has spurred curiosity among a variety of genres.

The aesthetic aspect of an album has also become a reason to buy and enjoy vinyl. The clever and often very personal album artwork put forth is easily passed over during this digital age, but bands have decided to offer specially colored and textured artwork exclusively for vinyl. Maps & Atlases actually released a specially designed vinyl version of “You, Me and the Mountain” that Tastemakers proudly offered at this past fall’s Tastemaker’s Presents. The record has a special black design etched on the B side while all of the tracks can be played on the A side. Another recent special vinyl release was “American Slang” where The Gaslight Anthem created a specially colored vinyl version of the album. Half of the record was gray while the other half warped into a teal color that matched the album cover. The more thought and care put into the design of the vinyl version of the album just adds to the experience and gives the listener a better idea as to how the artist would like the listener to approach the album. It is more of a reason to get excited about a tangible album.    Although vinyl exclusives can be a wonderful thing for bands looking to lure a deeper interest, they do cause a scare to the generation that tends to use iPods as their primary listening device. There are now record players that convert vinyl into mp3s, but that means that one would have to invest in the record player to get access to the music digitally. If vinyl exclusives build enough popularity, getting a record player might become inevitable for one who doesn’t want to be held back from hearing material from their favorite bands. All we know for now is that the vinyl phenomenon is opening minds to record more live sessions and more creativity. To put money to the side for a second, releasing material exclusively on vinyl could just mean more enjoyable music to access.

Where is dragging you?

After downsizing at the majors cut off their upstreaming potential, Lovedrug were without a home while preparing their fourth album. Currently Lovedrug is going the DIY route, producing the album via IAMLOVEDRUG.com. Other acts that were on The Militia Group have moved on, broken up, or even moved into a bubble and put themselves on MTV. Almost 7 years after their debut the band has grown up…but have their fans?

Tastemakers (TMM): Tell us about your when you want to look back on your past new record and the IAMLOVEDRUG and say, "I was a part of that". effort. TMM: What has the word "label" meant Thomas Bragg (bass): We met, we to you? became friends, we traveled, we played TB: Not much. Change and control feel jokes on each other, we got a little really positive. crazy, we loved, we lost, we drank, we JMG: Right now the word "label" is fought, we became better friends and irrelevant to me. The important thing for us is really focusing on our art. somewhere in there we wrote a lot. Jeremy Michael Gifford (guitar/ JC: It seems to be somewhat of an synth): Honestly, this is our most oxymoron. With this next record, we are important record. We've pushed the label, so it ourselves … this album is an exploration is definitely leaning towards the cooler of places we weren't able to go to end of the spectrum. before. We've matured as a band. This MS: Depends on whether you are referencing a record label or a label is our rebirth. Michael Shepard (vocals/guitar/ “We don't sit around in piano): It's important to us because we feel as though this is a new beginning for our kitchens listening to us and for our sound. We're excited and ourselves saying, want to be able to share it with everyone. We aren't the type of artists that are "wow listen to how satisfied making art for ourselves: We cool we are" don't sit around in our kitchens listening to ourselves saying, "wow listen to that someone brands you with. Either how cool we are." Our fans have stuck way, the order of succession [with each with us through the many years of ups release] would be as follows: Excited, and downs. We owe them this record Hopeful, Morose … and now that we and, through this PledgeMusic.com are "label-less", on the eve of our fourth campaign, the fans are making this album, we're excited again. I guess everything really does start where it record a possibility. James Childress (drums): The songs ends. are so important to me. We have done TMM: What does Ke$ha mean to you? our best to capture our Sony? Militia Group? emotions and make it into musical candy. We want people to move and feel JMG: Is she the one with glitter on her face? A militia is a body of citizens a little sexy when they listen to it. There comes a time as a musician organized for military service. JC: I know she is a singer, I can’t remember if she’s

WRITTEN BY ANDREW PHAN (PHARMACY)

cute or not. Militia Group... [those are] two words that I have removed from my vocabulary. TB: Gimmicks and dollar signs, Playstation... MS: Doesn't mean much of anything to me. Honestly, I'm not even sure what you're asking. TMM: If love is her drug, what is yours? MS: Oh I get it. JC: (Laughs) I think you know. JMG: Glue. Elmer's to be exact. TB: Music, makers, Monopoly (Beatles of course) and other "m" words. TMM: At the end of that song she says she likes (someone's) beard. Do you like beards? TB: Keith, a guy doing merch with us for a while, used to let only his neck beard grow. JC: I do like a badass, handlebar ‘stache. Michael can grow a nice mostache. MS: My girlfriend likes it when I grow a beard. I knew a guy once with a real mostache, not one of those bullshit mostaches, but the real deal. He was from South Dakota. JMG: Michael, you do look pretty good with a beard. You don't see too many bowl cuts these days. If I saw someone with [one], I'd salute that man. I just get jealous of facial hair because I can't grow it. To hear the new album, be sure to head to IAMLOVEDRUG.com. 11

WRITTEN BY MADI DAIGLE (MUSIC INDUSTRY) ART BY CHRIS BOWERS (GRAPHIC DESIGN)

In general, I have a bad memory. I’m good at remembering state capitols, numbers, facts – useless things. When it comes to people’s names, my childhood, directions – the important stuff – I suck. However, my 80 year old lady brain aside, I do have some specific memories of my childhood and most of them revolve around boy bands. I remember sitting on the bus one day and seeing a kid with a “HANSON SUCKS” patch on his backpack. Not just a temporary peel-off sticker, a PATCH. That shit is sewed on there good, no turning back. I remember looking at that patch and feeling seriously upset by it. How could someone hate something I loved so dearly? I also remember my first concert. My cousins invited me to see *NSYNC. As my aunt drove us there we belted out “Tearin’ Up My Heart” and “I Want You Back”. I still have the *NSYNC hat I bought hanging from my bedpost (at home, I didn’t bring it to college with me, jeez). I will never forget 12

their sweaty, beautiful faces – with the exception of Chris Kirkpatrick, he was gross – dancing and singing in perfectly choreographed harmony. I listened to my HANSON cassette so many times it eventually just stopped working. “This I Promise You” was the soundtrack to my first awkward slow dance. I still have my HANSON fan club membership card, and more than one “official” *NSYNC handbook. I took all the quizzes in my Zac Attack book to find out whether or not Zac (Walker) Hanson and I were soul mates. I used my normally useless memory to remember the fact that Zac likes Twinkies, lazar tag and Legos, just in case he ever asked me to hang out. I was a fan girl. As you can tell my obsessions with HANSON and, to a somewhat lesser extent, *NSYNC were unyielding. Even in the face of defeat. Ask any child of the 90’s and they’ll tell you: whichever boy band was your favorite said a lot about your elementary school social status. The height of HANSON’s

popularity was slightly before my time, so by the time my obsession was in full bloom it was pretty uncool to like “the boys who sounded like girls and had long hair” – hence the blasphemous “HANSON SUCKS” patch. It was slightly cooler to like *NSYNC, but I always felt that The Backstreet Boys were what the “popular kids” liked best. But it’s like my mom always told me, “The popular kids are going to be the ones that do nothing with their lives! You just wait, you’re going to be so much cooler than them when you’re older.” I’ve found that the old woman, per usual, spoke the truth. This sentiment has not only proved true in my own life (I’m super cool), but also in the careers of boy bands. Although the Hanson brothers were definitely not the popular kids, they ended up having a pretty legitimate music career. While HANSON created their own record label, released three really solid albums, basically saved Africa, got married

and reproduced like rabbits, the “popular kids” faded into the abyss of drugs, alcohol and reality television. HANSON, *NSYNC and The Backstreet boys were only the tip of the iceberg when it came to boy bands. They were a phenomenon that surpassed Gigapets, Lisa Frank Trapper Keepers and Skip Its combined. The Backstreet Boys, *NSYNC, 98 Degrees, O-Town, New Kids on the Block , LFO and the million other boy bands set records and commanded the charts from the mid 90’s to the early 00’s. However, like any other fad, they slowly

began to lose their place at the top due to the growing popularity of R&B and Hip Hop-inspired groups like Destiny’s Child, Usher and Nelly. Just as we can assume that fads will eventually go out of style, we can also assume that history often repeats itself. It’s no secret that the recent popularity of artists like the Jonas Brothers and Justin Bieber is strangely reminiscent of the golden days of boy bands, and unfortunately some boy bands of yore, a.k.a man bands, have taken their cue. Whether The Backstreet Boys and the New Kids on the Block realized just how desperately they needed money to pay for drugs/rehab, or they genuinely missed making music together (probably not), two of the most influential boy bands are back in the game and taking advantage of every last nostalgic twenty-something. Technically the Backstreet Boys have been back at it since their 2005 (inaccurately titled) album Never Gone and the New Kids on the Block followed a bit later with

their 2008 comeback release The Block. The music industry has changed a lot since BSB and NKOTB were at the height of their career. The days of making millions off of record sales are gone, and with records like theirs there is no way they would be able to keep up their expensive drug habits. So the only logical solution was to embark on the NKOTBSB 2011 Summer Tour. However, with AJ McLean recently checking back into rehab, the nearly sold out tour dates may be too good to be true. There’s no denying that boy bands were a huge part of the 90’s that just can’t be ignored. Few things make me so instantly happy as listening to “It’s Gonna Be Me”, and belting out “I Want It That Way”. With bowl cuts, fanny packs and frosted tips there are many things that the 90’s got wrong, but music was not one of them. With members of The Backstreet Boys and New Kids on the Block passing/approaching the 40 year mark, I’d rather not have my fond musical memories tainted by watching man bands with receding hairlines sing their old pop hits – it’s just awkward and depressing. I did, however, see HANSON at the House of Blues around a year ago and there was nothing awkward or depressing about that. (Zac… call me.)

The Electric Guitar & A Ross and Rachel Story WRITTEN BY CHRISTOPHER STOPPIELLO (ENGLISH)

Everyone and their sister plays a guitar or has at least gotten one as a present, which now acts as decoration on the wall. For more than 50 years electric guitars and rock have been the face of popular music, but is that all changing? Electronic instruments have become so diverse and readily available that anyone with a computer can create complex songs, which, back in the 1960s, would have taken a synthesizer the size of a small dorm room to make. In fact, the computer is not even necessary anymore as Damon Albarn has proven with the recent Gorillaz album, "The Fall", which he recorded on the road using just his iPad and a handful of instruments. With a young musicianâ&#x20AC;&#x161;'s first steps into music being as easy as few clicks in the iTunes store, we may be seeing a replacement for the Fender Squier as everyone's first instrument. But has the guitar always had dominance over other instruments? The six-string is an instrument most are familiar with. Born out of necessity, the electric guitar was invented for jazz guitarists vying to be heard in ever growing big bands in the 1930s. The evolution of body styles, tones, amplifiers, and effects were the result of a natural growth from the realization that turning a guitar string into an electric signal made it easy to manipulate. Electronic music, on the other hand, has some surprising origins. Much like the electric guitar, electronic music began as early as the 1920s. One of the earliest electronic instruments was the Theremin. Though it is not a household name, the Theremin does get widespread and frequent use today. A far less known contemporary of the early Theremin is the, out-of-production, Ondes Martenot, whose

only claim to fame for most today is its use by Radiohead guitarist Jonny Greenwood. Both of these early electronic instruments have a voice like a violin crossed with a flute but offer two very different playing techniques. Today, electronica is associated with dance music, but that is a relatively recent characterization. In the beginning, electronic music was the toy of composers with a penchant for tinkering and brainy art music. Electronic instruments were used to color in orchestras or paired together to create ambient sound explorations. In the 50s, the genre saw some mainstream exposure through science fiction scores such as 1951's "The Day The Earth Stood Still". As time passed, it fought its way out of the halls of scholarly exhibitions and into the realms of popular music. In the 60s and 70s, rock musicians such as Pink Floyd, The Who and Yes began dabbling with electronic instruments as they created complex, immersive rock operas and psychedelic soundscapes. In many ways, the electric guitar and electronic instruments were beautifully balanced during this era, but then the 80s came along, and everyone started dancing. Electronic music began to flourish with new wave, synthpop and the emerging techno scenes. The electric guitar on the other hand decided to assert itself by growing long hair and squeezing into tight pants. Glam rock, metal, and hard rock claimed the guitar as it riffed hard through the decade. The two were separate but equal, but then the 90s brought grunge, pushing electronic music even further away. The two were discouraged from intermingling and forced into the ghettos of

industrial music like Nine Inch Nails. Electronic music began exploring the depths of the dance halls with DJs spinning house and trance in the clubs. In a lot of ways, trance is very true to the origins of electronic music using computer and digital based instruments to make vast sound textures, and not necessarily focusing on melodic phrasings. In the 1990s the gap between the electric guitar and electronic music might as well have been Kiss versus disco. Of course there are always exceptions to the rule and a lot of underground bands were mixing the two, but it required a big name to reunite them again in the public. Radiohead's 2000 masterpiece, "Kid A", showed the band dropping the instrument for which it was known in favor of drum machines and synthesizers. The album began the new century by synthesizing the music of the last century combining rock, jazz, electronica, film scores and dance music. "Kid A" certainly was not an unanimously received album, and it was not the first to use a lot of those sounds, but it did so for arguably the largest audience electronic music of its type had seen, debuting at number one in both the United States and England. The following decade brought a variety of new music embracing guitar rock, electronic music and other styles. The two now share openly. Numerous electric bands have incorporated electronic music styles, such as The Books: a "folktronica" duo of electric guitar and cello backed by prerecorded tapes. Issue 20 of Tastemakers covered the 8-bit revolution and how rock music is getting an obsolete makeover. Yeasayer's last album, "Odd Blood," mixes electric guitar with sampled

Electric guitar Origin Electronic music 1920

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materials to perfect what the 80s did wrong. Then, there is Canadian outfit Holy Fuck, which utilizes live instruments to recreate electronic studio productions. The electric guitar has also masterfully made its way into electronic music through artists like New York City's Ratatat. The band melds DJ inspired electronic production with hard rock riffs and blaring guitar solos. Interestingly enough, the electric guitar has made its way into classical music. The post rock movement, most notably Godspeed You! Black Emperor, utilizes the electric guitar and other rock instrumentation to perform classical style compositions. Conversely compositions like the score for 2005 Japanese animated film "Final Fantasy: Advent Children" combined orchestral and choral arrangements with electric guitar to produce a score that is more rock than anything. The electric guitar and electronic music have had their ins and outs. The most consistent thing about electronic music is its constant progress. From analog devices recreating radio static to digital circuit boards and MIDI software, electronic music stands only to become more refined and accessible. Nostalgia keeps the electric guitar alive, on the other hand, no matter how much it changes. Are electronics killing the guitar? Most likely not, but they are sure getting in between it and the rock.

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WRITTEN BY V.J. TURSI

“I’ve worked and played with a lot of bands, and I definitely prefer bands who put in a lot of hard work. My theory is: Work hard, and have fun. That’s what being a serious musician is all about.” – SCOTT AYOTTE (BORN WITHOUT BONES)

SOME MUSICIANS are in it for the frills: fame, money, women, respect and notoriety. Some musicians, however, are in it because it’s all they can ever think about. To some musicians, music is like a drug, and once they’ve caught that itch, it doesn’t go away. Fortunately for music enthusiasts of all kinds, a man by the name of Scott Ayotte of Born Without Bones has quite the serious affliction for music, and he doesn’t plan on slowing down with it anytime soon. Born and raised in Milford, MA, Scott learned how to play the guitar when he was ten, and has kept on pushing forward since. From playing the guitar, he moved on to learning percussion, bass, and piano, as well as honing his vocal skills. During his high school years, he made a few solorecordings at home, followed by playing a few 16

small, local shows. Eventually, he moved on to play with a few different bands, including the late Telfair, which unfortunately fell apart before they were ever able to tour. During his senior year, Scott recorded a demo under the name Born Without Bones, entitled Say Hello. The demo was passed amongst friends and family, and just circulated for a little while, but showed serious potential. Scott eventually graduated high school and attended UMass Lowell, but knew all the while that music was truly what he was after. ---------------------

“College was awesome, but I was still thinking about

touring all the time. If you’re in college, you can’t tour. You can’t really even record a record. I just wanted to do it 100%, because, I think if you’re going to do something, that’s how it should be.”

--------------------With Scott's acknowledgement of the fact that /Say Hello/ wasn't what he was truly searching for, he began thinking about just playing small acoustic shows off of the demo for the time being. He ended up doing it for a while, touring all across the US except for much of the west

coast. Afterwards, Scott knew he had to make the album fulfill it’s unrealized potential, so he took some time off, and went to re-record the demo with the intention of turning it into a more polished and official album. With the demo, everything was done in a very hectic environment with Scott still being in high school and having little money or free time to coordinate schedules. Scott decided that the re-recording would be done every day over a two and a half week period, in a legitimate studio. With his full attention directed at fixing this up and making it really shine, Scott was able to schedule collaborative input from other artists and keep things moving at a proper pace. With a few new songs, and a good re-hashing of the old ones, Scott took his demo and transformed it into a serious album, keeping the same name: Say Hello. Just as the demo evolved into a full and beautiful album, Scott has progressed into a better-rounded and self-conscious artist. While on the road, lessons about what it takes to survive as an artist were certainly learned. Marketing plays a big part in keeping any artist or group from starving. A large majority of the money made on tour (and in general, for unsigned bands) comes from merchandise sales and, in order to maximize that, you have to market yourself. Unfortunately for smaller bands, it's a little more difficult to garner interest from show attendees, and the marketing aspect plays an even more important role. Scott realized this quickly, and decided that his best bet was to not only take a positive attitude through the whole ordeal but to be outgoing and interact with his fans as much as he could, and most importantly, give away his music for free. ---------------------

"What if you went to a show and you were like, ‘Whatcha got?’ and they responded with, ‘Well, here’s a free full-length album’? Then you would definitely buy something [else], right?"

demand money for his music, he thought it best to simply ask nicely, and rely on the respect from the music community and his intense marketing efforts to fill his wallet. ---------------------

"You don’t necessarily need these giant marketing budgets, and you don’t need to pay somebody to put your banner up on their website for promotion of your record. Now, if you do really anything, people will hear you. Instead of paying to put your banners up there, those websites will be making offers to you."

--------------------It was this positive attitude and the fact that Scott ran off of respect and love for the music that made a difference for him. From experiences like driving all the way down to Jacksonville, Florida, and going on tour as far out as Tucson, Arizona, Scott has carried his influences with him everywhere. From Ryan Adams, Saves the Day, Brand New and Green Day to John Mayer, Matchbox 20 and Bright Eyes, the influences are audible and in-your-face. When listening to the songs on /Say Hello/, the listener can really pick these out, and that's one of the best parts of the music: nostalgia through connections. Well, that and the fact that Scott’s massive heart can be heard throughout each and every song. Scott is

one of the hardest working musicians out there today, and certainly provides a refreshing look into what it takes to start a successful music career in this day and age. ---------------------

"Yeah, I’m not afraid. If you don’t like my songs, then you don’t, but if you do, then you do and that’s awesome. I’ll play anywhere, I really will. All I want to do is just play music."

--------------------With the support of family, friends, and most importantly, new fans, Born Without Bones’ newly reworked Say Hello was a big success. Making bigger-than-expected sales on Bandcamp and iTunes, the album has been getting some acclaim, with some really great reviews and feedback from the media and fans alike. The band has also expanded, and added two new members to the lineup. Scott is now accompanied by Kevin Fitzgerald (of Sleepwalkers and formerly Pull Through) on percussion, and Jim Creighton (formerly of Therefore I Am) on bass. Scott met both of them through friends and playing with other bands, and the new lineup is sure to only make Born Without Bones that much better. They are playing multiple tours throughout the beginning of the year, plan on releasing the album on vinyl very soon, and Scott is already working on fine-tuning some new material. From a proper Tastemaker’s perspective, Born Without Bones’ juice is certainly worth the squeeze.

--------------------This was the main thought driving the release of his re-mastered album. It was decided that the new album would be released on a "pay-what-youwant" basis, which means that anyone could easily just download it for free, rather than pay actual money. This was a huge gamble on Scott's part, especially since he paid for all the recording and expenses incurred out of his own pocket. None of that mattered, to him, though. He knew that if anyone wanted his music badly enough, they could just go onto Youtube or another site and rip his music using free software. So rather than 17

Your Life’s Soundtrack: What Your iTunes Library Says About You WRITTEN BY DINORAH WILSON (JOURNALISM) For any music lover, creating the contents of their iPod, the coveted iTunes library, is an extremely intimate and time-consuming experience. Aside from letting the world know that you are a shameless worshipper of Steve Jobs, your iTunes library can give others insight into your environment, opinions, and preferences. iTunes libraries usually make for very thought-provoking conversation, but there are those individuals (the ones that will argue with you to the death over the relevance of [insert genre]) who take it to the extreme. And these few people can be broken down into three personality types: Perfectionist, CommitmentPhobe, and Wholesome. Perfectionist •Every song and album correctly titled, down to the punctuation. •Songs are in alphabetical order. •Specific days are dedicated to the maintenance of your library. •All song’s genres are appropriately filled in. •A fistfight would most likely ensue if your iTunes library were to be erased. No screw-ups for you! Meticulous about many things in your life, your iTunes library is no different. You've spent many long, hard hours arranging every song title, album artwork, video and genres to perfection, and you’ll be damned if anyone messes with it. Music is an intricate part of your lifestyle and people who value your choices, even the organization of your iTunes library score big with you in terms of personal opinion. Bordering a bit on obsessive-compulsive, you are proud of your library. But you’re also most likely to force innocent bystanders to witness the awesome anthology that is your amazing library of eight billion spectacular songs.

Commitment-Phobe • No one is allowed to go on your iTunes account without your permission. • You continually add and erase songs and playlists in your iTunes library, almost on a daily basis. • You share your music with no person on the face of this earth. • You scour music blogs searching for the hottest, newest songs, and as soon as you find them, they’re in your library. • You would rather spend a night dining in Hell with Lady Gaga’s Little Monsters than allow someone to sync your iPod and add songs that they think you’d like. Why so defensive? The world is not out to destroy your iTunes library nor are they judging your choices in music. Very progressive about your music preferences, you are always on to the next songs, genres, and artists that are hot at the moment. You always seem to have the most information on recent, obscure bands that most of your friends haven’t caught onto yet. But, you should really consider adding some stability to your life, and take a moment to trust others. You might actually discover some great bands if you’d let your guard down and realize that other people might share your impressive taste in music.

Wholesome • You have quirky names for each of your playlists. • You’re appreciative when someone offers to organize your iTunes library. • Everyone you meet loves your iTunes library and wish they could copy your library and all your songs. • You’d willingly share your iTunes library with anyone who asked you. • You download all of your music legally. Everyone laughs when your iPod’s cute little name pops up on the computer screen, but it’s a good thing. Your iTunes library can cheer up the most melancholy of souls and you take pride in it. All of your music is bought, and pretty much the only person you’d look down on is public enemy number one: illegal downloaders. You’re interested in your others’ music preferences and rarely do you make judgments about them. Occasionally, even if they have horrible taste, you learn to love all of your friends’ songs, too. Most importantly, you’re super generous with your music and eager to spread the news about bands. Be careful that people don’t take advantage of you. Of course, none of these generalizations should be taken at face value, but music choices do say a lot about a person’s personality traits. What better way to determine the mental capacity of a person than by seeing just how many Justin Beiber songs are on their iPod?

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I’ve Got Music In The Dome WRITTEN BY JORDAN MUNSON (MUSIC INDUSTRY) PHOTO BY BRIAN CANTRELL (GRAPHIC DESIGN)

SPORTS AND MUSIC: two things that nearly every person has a relationship with in some capacity or another. In many circumstances, these two things have been married together, for better or for worse. No situation makes this more apparent than when you’re at a live sporting event, rooting for your favorite team. The ways in which you’ll hear the music in situations varies - whether it’s during timeouts or intermissions or it’s the halftime show - either way, the music better be both good and fitting for the occasion. Unfortunately, in recent years, there has been an excess of bad and unfitting music at sporting events. The Super Bowl has recently resorted to washed-up rock acts from decades past (The Who, Bruce Springsteen, Tom Petty, etc.) or to the biggest pop acts there are (Black Eyed Peas, Janet Jackson, Justin Timberlake, etc.); since when is the NFL a bland sport with no aggression? The music at halftime for the Super Bowl should be something with a little power, or a little punch − obviously metal is out of the question since there would be a lot of people who wouldn’t be pleased, but what about an act

like Soundgarden or Wolfmother? The NFL isn’t the only organization playing music that doesn’t make all that much sense. College hockey games in the Boston area, such as those of our own Northeastern Huskies, have some suspect musical choices. As much fun as it is to stand around with a bunch of really good friends and sing “Sweet Caroline” at the top of your drunken lungs, it’s not exactly the right music to get your team fired up. The Boston Bruins, however, are a little more on-point. Each period as they skate onto the ice with “Blow Me Away” by Breaking Benjamin blasting through the PA system - a song with quite a bit more energy than “Sweet Caroline.” The NBA has a bit more eclectic mix of music played at their events. For example, an April 8th home game for the Minnesota Timberwolves featured music from the following artists: Van Morrison, Notorious B.I.G., Chemical Brothers, Paul Oakenfold, Kreo, the Commodores, Gary Glitter, T.I., Billy Idol, Buster Poindexter, Jamiroquai, Pink, Lenny Kravitz, Coolio, Green Day, Trick Daddy, Weezer, Gwen Stefani,

OutKast. Chingy, Prince, Todd Rundgren, Will Smith, and Soul Asylum–a true potpourri of music, one that is sometimes perfect and sometimes completely off the mark. So why do sporting events have such a strange collection of musical selections? The people who make selections are just trying to please the fans at that event, but at what cost? Playing boring music that’s not going to get your team pumped up? No one wants that. Consider this piece a call to arms, a plea to all people in control of selecting the music at sporting events: how about we play more music to get the athletes and fans pumped up? We need a little something to help boost the adrenaline. As much as I love Jamiroquai’s “Canned Heat,” I don’t want to hear that while rooting for my favorite teams.

SO YOU THINK YOU’VE GOT WHAT IT TAKES? Breakdown of Musician Stereotypes WRITTEN BY AADIL SULAIMAN(UNDECLARED) ARTWORK BY DAVID TSCHIEGG (GRAPHIC DESIGN)

So you’ve been stuck inside during the long New England winter and you’ve mastered “Green Grass and High Tide,” on expert, so maybe you’re thinking about trying out the real thing. I mean, how hard could it be? You’ll just have to find the right guide to get you going. Well look no further, as the Tastemakers comprehensive musical instrument stereotype guide is all you’ll ever need.

So you’ve decided to learn… Guitar

Congratulations, you’re a dime a dozen. You’re going to spend the most time trying to differentiate yourself from your musical peers, but you will have no trouble standing out among groupies. Yes, learning those power chords will take you an afternoon. Yes, you can probably get laid after that. But if integrity is your thing you’re in this for the long haul. Then again, if you’re only willing to take your talents to the quad, just remember E minor, G, D, A, throw in the occasional “You’re my Wonderwall” and the world, sans-musical respect, will be yours. Otherwise, they say mastery takes about 10,000 hours; you’d better get started. Catchphrase: “This is a little something I wrote last fall.” Idols: Jimi Hendrix, Slash, Jimmy Page, Jack White, Prince, Kirk Hammett

Bass Think about your favorite bands. Think about the names of the members. Having a bit of trouble with the bassist? Did you remember his name last, or even remember it all? That’s okay, it happens to everybody. You should probably just face the reality now that you’re never going to get recognition for anything except from fellow musicians, but that’s just because they know you 20

probably have an inferiority complex and they feel really, really bad. If it’s that important to you, you should know you’re probably going to spend the most time slaving over music theory and an inverse amount of time getting laid. In the end, your talent is going to boil down to arpeggiating guitar chords while you stand behind the guitarist, possibly somewhere in his shadow.

Catchphrase: “Your eyes are like arpeggios… on fire.”

Catchphrase: “You guys just don’t care about music like I do.”

Let’s just get this out of the way: people are going to think you’re dumb. In fact, if you can read this article you’re already breaking the stereotype. Nobody really knows where the stereotype comes from, but there are two things people associate with drummers, dying first and drool. That being said you have a rather steep obstacle to overcome at first. Not only does your equipment generally cost more than your band mates’, you’re also going to spend the most time fine-tuning your skill because without you keeping time, most of your unskilled peers are just going to fall off. Regardless, remember that anything you do on your drum kit is going to look cool, and be prepared to be talked down to by every single musician you meet.

Idols: Flea, Victor Wooten, John Paul Jones, Marcus Miller, that bassist from the band you like

Keyboard First, read bass. Yeah, it’s a lot like that, but a little bit worse, and a little bit better. The great thing about playing guitar, bass or drums is that when you’re getting really in to it, everyone can see your crazy fingering and sweet picking, but on keyboard, it’s not like that. No, even if you’re banging out a sweet rendition of “Bohemian Rhapsody” complete with vocal harmonies and guitar solo on your multiple keyboards, as far as anyone not on stage can tell, you’re just playing one of the prerecorded beats the keyboard came with. It’s not all bad though, once you bring your talents to a piano, the women will swoon. And if Bo Burnham has taught us anything, you should be talking about arpeggios a lot, even if you’re not exactly sure what they are.

Idols: Elton John, Ben Folds, Tom Waits, Jon Lord, Ray Manzarek

Drums

Catchphrase: “Do you want me to play too fast or too slow?” Idols: Neil Peart, Keith Moon, John Bonham, Mitch Mitchell, Roger Taylor

g n i w o l B s d n a B n 2011 i p u

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We all want to know who's going to be the next big thing. That's why we read the blogs, listen to the artists and keep tabs on the things we love. Here are Tastemakers' predictions for the ones to watch in 2011.

Bear Hands

Bear Hands are a Brooklyn-based band that describe themselves as â&#x20AC;&#x153;hyphyâ&#x20AC;? on their myspace page. The word is apt as the band adds triballike beats and synth melodies to a traditional rock lineup with a product that falls somewhere between the sounds of Yeasayer and Vampire Weekend. Having toured their first full-length Burning Bush Supper Club, expect a new album and tour in 2011.

Tennis

Husband and wife duo Tennis continue the recent pattern of surf-rock revivalism, their combination of whimsy and wonder making them more impressive than last year's breakouts Best Coast and Dum Dum Girls. Last year saw a national tour on the back of a single, impressive four song LP that bodes well for debut full length Cape Dory, which should already be on shelves. 21

<< Tigers Jaw Hailing from beautiful Scranton, Pennsylvania, Tigers Jaw have been generating buzz with their November 2010 release Two Worlds. The band’s dual-vocals and unique brand of upbeat, melodic indie rock have them poised for a breakthrough year. Check out “Let Go/ Trashed Floors” or “Smile” and hear it for yourself.

<< The Civil Wars

Despite their name, this folky duo, comprised of Joy Williams and John Paul White, is nothing but friendly towards one another. The two claim there was a deep musical connection the first time they sang together, which is apparent through their seamless harmonies and commitment. Look for their debut full length, Barton Hollow out now.

Middle Brother

We’re suckers for a great indie supergroup, and Middle Brother - made up of John McCauley (Deer Tick), Matt Vasquez (Delta Spirit), and Taylor Goldsmith (Dawes) - could be the Monsters of Folk of 2011. Their self-titled album debuts in March, and if the jangly, folksy first single “Me, Me, Me” is any indication, it could be one of the best of the year.

James Blake

Hailing from London, England, James Blake is poised to break out big this year. The electronic composer was recently named the runner-up in the BBC's Sound of 2011 music poll and has gained attention with his cover of Feist's "Limit to Your Love." His album of minimal, dubstepinfluenced pop will be released in February.

Laura Veirs

Colorado native Laura Veirs has roots in girl punk, but you would never know it listening to 2010's July Flame. Hailed as "one of the best releases of 2010" by the Washington Post, Veirs is on the rise after a decade-long career. Check it out, along with her six other studio albums.

<< The Naked and Famous Already a huge hit in their native New Zealand and around the rest of the British Commonwealth, The Naked and Famous will inevitably make a monumental splash when their addictive buzzing rhythms hit the shores of the USA. Only two singles, ‘Young Blood’ and ‘Punching in a Dream,’ have been released stateside, with a third track available via Facebook.

<< The Head & the Heart

Seattle indie-pop outfit The Head & the Heart spent 2010 taking the Pacific Northwest by storm, gathering tremendous groundswell with impressive outings at Doe Bay fest and for northwest radio institution KEXP, culminating in two impressive opening nights for rescheduled Vampire Weekend concerts. They began 2011 by signing to Sub Pop, so look for them to break out nationwide as the year goes on.

<< BEING

be.ing : The act of realizing one's existence; the mind's concept of one's self. Like a quietly kept secret, Being has been lurking, working with some of the best names in their business. Strap on your space helmet, because when you hear the genre-bending, intricately layered sonic explosions of "Cosmonaut" you might be reaching out to a higher state, you might want to stay in that state of… Being.

Gatsbys American Dream

I first heard “Recondition, Reprogram, Reactivate” when I was fronting a screamo band, looking for understanding in the only home I’d ever known. I found a band with frustration, honesty, witty lyrics that referenced Orwell and LOST, and most of all, thoughtful musicianship in their compositions. They didn’t need hooks or to scream what they preached; they lived it. They were real. Now they’re back.

Alexander Ebert

The lead singer of LA hippieentourage Edward Sharpe and The Magnetic Zeros is releasing his debut solo album Alexander in March. Using only guitar, organ, clarinet, violin and his own voice and body, Ebert created every sound on the album entirely on his own. He’ll be hitting up SXSW solo before returning to the studio for a second LP from Sharpe.

Brad Oberhofer

The project of young acclaimed Brooklyn musician Brad Oberhofer, the band that shares his last name is a quirky departure from traditional rock that relies on Oberhofer’s creative guitar rambling and lighthearted melodic cooing that gives them an inexperienced, albeit unique, pleasant, and very raw sound. Look out for Oberhofer as a supporting act for more established indie names and an eventual headlining tour. 23

Musicians R Us The Faces of “Kindie” Rock WRITTEN BY SUZIE CONWAY (COMMUNICATIONS)

A NEW TYPE OF MUSICIAN is taking over— selling out venues, putting on music festivals and constantly attracting new fans. But instead of an indie-band finally making it big or a YouTube star taking off, it’s a new batch of children’s music artists who are finding success. Growing up, my parents did not play a lot of children’s music for me and I never argued with them. Even at the tender age of five, I thought most children’s music was lame. But new children’s music doesn’t just consist of remixes of “Baby Beluga.” New artists are turning to the children’s music genre, some for their first music success, and others after long careers in the “adult” music world. Artists such as Jewel, The Verve Pipe, and Lisa Loeb have all seen career resurgences in children’s music. So why is children’s music, almost, cool? One explanation is the widening of genres within children’s music. It’s not just Mr. Rogers anymore; folk, reggae, ska, and even hip-hop artists are churning out kids’ hits. Under the new

title of “kindie rock,” many artists have found success, albeit with most of their fans standing well under four feet tall. Now, children’s music even has its own festivals. From April 30 to May 2 of last year, Kindiefest, featuring the hottest acts for the not-so-potty-trained, was held in Brooklyn. Acts such as They Might Be Giants, well known for their “adult” music career, have populated Kindiefest in recent years. The idea for Kindiefest originated from, of all places, Lollapalooza. Seeking out a way to establish a family-friendly environment at the Chicago festival, songwriter Tor Hyams created the Kidzapalooza stage. Also the organizer of Austin Kiddie Limits (an offshoot of the Austin City Limits festival), Hyams’ idea of making festivals kid-friendly has been a popular and profitable one. One of the most successful artists in the new kindie rock genre is Dan Zanes. Beginning his career in the 1980s band The Del Fuegos, Zanes has truly become a rock star for the

under-eight set and their parents. In an interview with Fader Magazine, Zanes was called the “biggest children’s rock star in the universe.” After over ten years of making what he calls “agedesegregated” music, he has been influential in the evolution of the genre. If you don’t listen to the lyrics too closely, you might just mistake his music for adult music. Considering how repetitive and clichéd parents may normally find this genre, Zanes and other artists are looking to change the stereotypes of children’s music. For even younger children and their parents, the Rockabye Baby! series features rock songs with a twist. The albums feature instrumental covers akin to lullabies of artists from The Smashing Pumpkins and U2, to The Beatles, Bob Marley and even Metallica. Here are some takes on some recent kindie albums that are funny, bizarre, and everything in between:

SECRET AGENT 23 SKIDOO EASY

KIMYA DAWSON ALPHABUTT

It seems like a much more natural transition for Dawson into children’s music than other artists. Her vocals and songwriting have childlike qualities to them. However, with an entire alphabet song on the title track “Alphabutt” devoted to butts (d is for doo-doo, e is for elephant doo-doo), it’s clear she has a unique, albeit focused, album for children. The theme carries on in other tracks, such as “Pee Pee in the Potty,” which if I was a mother listening to all the time, would make my head explode. The jury’s still out on whether it’s funny or completely obnoxious, but if you’re looking to be freaked out by kid’s music, it’s worth a listen.

Secret Agent 23 Skidoo is primarily known for his kindie albums. He is a pioneer in “kid-hop,” or children’s hip-hop. I had no idea what to expect listening to a man rapping about kid-appropriate topics (nothing about skanks or grills?!), but honestly the guy is pretty good. Kanye doesn’t have to be nervous, but these children’s raps are pretty catchy and are a little more traditional in content than other recent children’s albums. “Gotta Be Me” talks about everyone being different and “Family Tree” features a pint-sized girl proclaiming she has “more rhymes than Dr. Seuss.” Most indicative of the evolution of children’s music, Secret Agent 23 Skidoo is family-friendly with a twist.

CHAD SMITH & LESLIE BIXLER FT. DICK VAN DYKE RHYTHM TRAIN

And the gold medal for oddest collaboration goes to… Red Hot Chili Peppers drummer Chad Smith and Mary Poppins star Dick Van Dyke. What’s even more peculiar about this pairing is that 84-year-old Van Dyke is featured as a guest rapper. The studio footage alone of him and Smith spitting rhymes is bound to make even the most jaded listeners do a double-take. He later sings such nonsensical lyrics as “I’m a pirate, so be quiet,” to elevate the whole album to a new level of weird. Aside from geriatric rapping, Smith does concoct an interesting album that you definitely won’t mistake for Raffi.

HAVING CHANGED SO MUCH IN THE LAST TEN YEARS, children’s music and the growing kindie rock scene are taking on mainstream music, finding fans in children and parents everywhere. Catchy, peculiar, or funny, the music is never boring. With new potential fans being born every day and others discovering that children’s music may not be as terrible as they once thought, kindie rock is clearly here to stay.

WRITTEN BY LESLIE FOWLE (ENGLISH/JOURNALISM) PHOTOGRAPHS BY MEREDITH BALKUS Amidst the yuppies and eager medical students of the Greater Boston area lies a powerful countercultural force. On the outside, it is as innocent as a white house in Jamaica Plain, but on the inside it is an ever-changing organism of musical and creative genius: a unique venue, a record label, and a home to usually around eight transient, freespirited inhabitants. The tenants of the Whitehaus are not an elitist bunch. They are, as self-described on their website, a group of “painters, musicians, photographers, videographers, performers, chefs, landscapers, cats, slackers, poets, designers, entrepreneurs, and hair.” They are believers in “yes wave,” an umbrella term they coined to represent a musical trend that really shouldn’t be a trend at all - one that searches to regain the very purpose of music. The “yes wave” experience is, as described by Urban Dictionary, one where “the ultimate purpose is gathering in real space not just to talk, or to party, but to be moved by authentic creative expression untainted by the corporate touch.” If what goes on at the Whitehaus seems hitherto to be what one might call a hippie love-fest, that’s probably because it is - or at least a modern interpretation. And it is awesome. While the Whitehaus is a multifaceted institution, it functions first and foremost as a venue for local and abroad musical acts alike. Since its founding in 2006, its members have

been dedicated to providing shows open to all ages, up to several times a week - and the music is as eclectic as its inhabitants. People gather in the living room of the house, sometimes scoring a spot on the couch, but more often gladly taking their seat on the floor or up the staircase. While this may seem like the perfect rowdy party setting, things at the Whitehaus rarely get out of hand. The Whitehaus has its own form of partying, and the celebration is all about the music. Past performers have included the likes of Dan Deacon and Passion Pit (who, in fact, took up residence at the Whitehaus for a time) but the shows have never really been about big names. These open-door shows got their roots from what the Whitehaus members call “hootenannies,” or, endearingly, “hoots.” In the early years of the Haus, the hoots were events where musicians, poets, and thespians alike could showcase their creative talents to a truly interested and positive crowd. Today, as the Whitehaus expands and gains popularity, practicality has forced them to move away from the small-scale hoots, to what they call “Happenings,” including their annual Blastfest. Occurring in March, the one-day music festival is now in its fourth year. In 2010, Blastfest was hosted in the Cambridge YMCA and featured several artists off the Whitehaus Family Record, as well as local Boston favorites Girlfriends and

Apollo Sunshine. While the Whitehaus is gaining followers and fashionable repute, they still uphold the old values of the hootenanny. The tickets for Blastfest are five to ten dollars on a sliding scale, open to all ages, and audience members are welcome to come and go as they wish. In order to fit all the WFR-affiliated musicians into one day each artist plays about a twenty minute set. No artist is paid for performing at Blastfest either. The Whitehaus is very keenly aware of the fine line that separates “art for art’s sake,” and when making music becomes a job. At the last Blastfest, WFR released their first album, on vinyl only; a 27-track sort of collective of all the talent the label has to offer. With two LPs and four sides, it has a lot to offer, indeed. Included on it are WFR founder and folksy minimalist Morgan Shaker and his band Peace, Loving; a Whitehaus favorite. Another popular selection is the track “Panoptic Yes” by the band Prince Rama of Ayodhya, who have been deemed as Animal Collective’s latest protégés. The trio have since left WFR for AC’s label, Paw Tracks. Member Michael Collins, however, is currently living in the attic of the Whitehaus, after having moved from a Hare Krishna farm in the swamps of Florida. Their music is psychedelic in the highest order, including Sanskrit chants and religious freak-outs. Also included is the equally trippy, as implied by

Slaughter House Gallery WRITTEN BY COLIN PETERS (JOURNALISM)

“Boston. Mission Hill. Slaughter House Gallery! What’s up?!” Bad Rabbits front man Fredua Boakye shouted before they broke into a raucous set at the SlaughterHouse Gallery’s (SHG) inaugural show Halloween weekend. The brainchild of two Northeastern students, SHG’s first show was the result of more than seven months of planning and preparation. The venue exists in the basement of an inconspicuous house on Mission Hill. Any passerby shouldn’t give this house a second look, but the space they’ve created is quite remarkable. It is a fully operational, well-organized, meticulously operated and legally questionable performance space. their name, Truman Peyote. The Jamaica Plain natives are quite adept at creating both captivating electronic landscapes and catchy vocals. Aside from being a record label and venue, the Whitehaus publishes a monthly newsletter directing those more clueless about Boston’s DIY scene to “underground shows and awesome happenings in Boston.” The newsletter, called The Boston Counter Cultural Compass, features almost daily shows to attend, both WFRaffiliated and not. Mentioned venues include more well-known dive bars such as Great Scott, to random apartments’ living rooms which may require some serious research to get to. The Whitehaus is even more than its thousand names; they are the revivalists of live music, and they are believers in the positive yes wave. In a time when college social life in Boston seems to be giving way to more hours in the library and more denied entries from frat parties, the opendoor policy of the White Haus is a welcome reprieve. The good music, good vibes, and good people are just an added bonus. It is encouraged that all “ride the yes wave” at least once.

The first show was perfectly suited for Halloween. A capacity crowd full of costumed music enthusiasts gathered in the cozy basement that is the Slaughter House and prepared for an evening of mischief. Gentlemen Hall opened with a rowdy and engaging set, followed by Boston natives Bad Rabbits, who put on an incredibly exciting show. The evening was topped only by the Boston Police Department’s performance of their own — which included party destruction and arrests. Certainly, this was a show to remember and quite a beginning for SHG. “ Of course, it’s not over until the fat lady sings,” said one SHG organizer who was arrested, “And the fat lady invited cops. She drove up in the paddy wagon,” he said through laughter. Obviously, this was not the end of the Slaughter House Gallery; rather, a frighteningly exciting beginning. For the full story on the Slaughter House Gallery visit www.tastemakersmag.com

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REVIEWS If you would like to submit a review to be considered for publishing in print or online, please e-mail: tmreviews@gmail.com

by Alyssa Mastrocco (English) Black Swan is the story of ballerina Nina Sayers, a soloist in the New York City Ballet. She wins the role of the Swan Queen in the company’s performance of Swan Lake, and the film follows her slow fall from grace as she morphs into a real-life black swan. The story of Black Swan is a beautifully haunting one, and Clint Mansell has succeeded in composing a score to match the mood of the film. The score is largely material composed between 1885 and 1886 by Pyotr Ilyich Tchaikovsky for the ballet Swan Lake. For this reason, Mansell has been disqualified from the Academy Awards. An appreciation for Tchaikovsky’s original composition is important when considering Mansell’s contributions, since the contributions themselves are minimal and artfully placed. Rather than recomposing the entire symphony, Mansell seems to have taken Tchaikovsky’s work and edited it, twisting and rearranging while adding some industrial-sounding effects to highlight both

Clint Mansell Black Swan Release Date: November 30, 2010 Label: Sony Masterworks Genre: Contemporary Classical

by Jessica Andrade (History)

deadmau5 4x4=12 Release Date: December 7, 2010 Label: Ultra Records Genre: Electronic/House M O L DY

S TA L E

E DI B LE

FRESH

2010 was definitely kind to electro-house Canadian producer Joel Zimmerman, better known to the world as deadmau5. Never one to disappoint with his performances, deadmau5, along with his trademark oversized mouse-head, was everywhere this year; from touring the UK, playing several stateside gigs, making appearances at various music festivals, and even serving as the house artist for MTV’s Video Music Awards. Beatport called him the “most influential, relevant and forward-thinking person in electronic music over the past twelve months.” 4x4=12, deadmau5’s third album, is easily his most accessible album to date. The album’s tracks range in style from progressive house, dubstep, trance, and every other electronic subgenre in between. Highlights on the album include album opener “Some Chords” with its slow-building beat and punching riffs, the ten-minute epic “Cthulhu Sleeps,” the fast-paced and pulsating “A City in Florida” and the catchy house beats of “Right

the struggle of the dancer and the setting of New York City. The orchestration is fuller than other incarnations of the ballet as well. Of course Mansell added his own compositions to the score where Tchaikovsky’s original work would not be appropriate, including scenes where Nina was riding the subway or at home. These tracks are equally minimalistic and orchestral but still fullsounding. The closing track, “A Swan Song (For Nina),” is easily Mansell’s most valuable contribution to the score. It combines the original ballet with the anxiety that had been building throughout the film. The original ballet, albeit a masterpiece, fails to reach the level of darkness Nina experiences, and this is where Mansell’s musicality shines brightest. He introduces a level of anxiety that is unavoidable, even when listening to the score independent of the visual elements. This isn’t necessarily bad, unless you’re riding the T alone at night. Recommended Tracks: Nina’s Dream, Night of Terror, A Swan Song (For Nina)

This Second.” While the album is comprised of mostly instrumentals, the vocal tracks are the real standouts. The eight-minute “Raise Your Weapon” features Greta Svabo Bech’s haunting vocals over a beautiful piano hook that begins as a house-ballad and halfway through the song, transitions flawlessly into dubstep. While deadmau5’s music caters more towards fans of electronic music, the album has the ability to easily cross over to be enjoyed by a pop audience. The album shows a great improvement in his production skills and shows a return to his more house-heavy earlier works. There’s nothing groundbreaking here but the tracks are catchy as hell. Listening to 4x4=12 in its entirety feels like a dance party that just doesn’t quit. Deadmau5 reminds us why he is a master in his ability to command the dance floor. Recommended Tracks: Raise Your Weapon (ft. Greta Svabo Bech), Right This Second, Animal Rights (ft. Wolfgang Gartner)

by Holly Thomann (Linguistics)

Tapes n' Tapes Outside Release Date: January 11, 2011 Label: Ibid Records Genre: Indie rock

Tapes ‘n Tapes is a band that peaked way too early in its five-year career. The Loon, their first album, shot them into the spotlight; their follow-up, Walk It Off, received a luke-warm response; and Outside might just erase Tapes ‘n Tapes from our minds. On Outside they try new sounds like horns (?) and violins (?!) but completely underutilize the exceptional drumming (with the exception of standout “Freak Out”) featured on The Loon and even Walk It Off. Throughout the album it is clear that they are trying way too hard to put something fresh into their music but have lost the charm that made us like them originally. The lyrics are particularly unforgivable instead of whimsically awkward – as heard on The Loon. One cringingly bad moment is on “One in the World” where Frontman Josh Grier lyrically draws his finger over a spinning globe: “Where is my heart? Is it in San Jose?…I don’t want to be alone…I saw you in

by Runyon Colie (Computer Science)

The Decemberists The King is Dead Release Date: January 18, 2011 Label: Capitol Records Genre: Indie Rock

Colin Meloy, frontman of the Decemberists, has always seemed to look outwards for inspiration, culminating in the (somewhat justified) wild excesses of 2009’s rock opera The Hazards of Love. This seems unlikely to change, but on new release The King is Dead Meloy’s focus changes from the literary, anglophile basis of his previous works to something that is unabashedly Americana. It isn’t just the album art, which features a forest scene that looks to be something from the American west, or the guest stars, including R.E.M. guitarist Peter Buck (on “Calamity Song”) and bluegrass/Americana singer Gillian Welch, or even the sparser songwriting, but a combination of all these factors and a more personal style of songwriting that places the album in the vein of American folk classics. The album still features some of the narratives that Meloy has practiced writing about throughout his career, but they are no longer focused on faraway lands and legionaries. “Rox in the Box” is

by Sam Hollands (Communications/Cinema Studies)

Smith Westerns Dye it Blonde Release Date: January 18, 2011 Label: Fat Possum Records Genre: Alternative/Rock/Indie

The young Chicago trio Smith Westerns has cleaned up their act. Where their self-titled debut embraced glam and garage influences, Dye It Blonde, their first album with label Fat Possum Records, owes considerably to a different sound – Brit-pop. The brash, youthful energy that fans have come to know and love is still present, just channeled through more complex and anthemic songwriting. It shows courage for the band to improve the production value to such an extreme, especially when much of what made their sound so unique lay in the deliberately poor quality of sound. Fears that lead singer Cullen Omori’s vocals might be too weak are quelled by “Weekend,” the first single and arguably the most accessible track Smith Westerns has produced. As with their previous effort, the lyrics aren’t always prominent, especially when songs like “All Die Young” bury them so low in the mix. Guitarist

Thailand, I saw you in Bristol, I saw you in Rome and I saw you in Spain and we’ll do it again.” “Freak Out” does have some dancing-in-yourroom-with-music-blaring potential but even this, their clear single, doesn’t wow. Grier seems a little subdued on “Freak Out,” which you would think would be the time to, well, get carried away. “The Saddest of All Keys” and “On and On” are worth a listen, but they don’t really sound like Tapes ‘n Tapes; in fact, a lot of this album lacks a clear connection with their previous works. Honestly, I would recommend to buy “Freak Out,” put The Loon back into your rotation, and maybe attend a live show if you want to listen to Tapes ‘n Tapes.

Recommended Track: Freak Out

about the mining community of Butte, Montana, near where Meloy grew up. The album instead focus on being more encompassing and pastoral, with two songs, “January Hymn” and “June Hymn” specifically describing moments of interaction between nature and the narrator. The Decemberists’ newfound appreciation of American music is readily apparent in the album’s prominently utilized harmonica, relatively simple instrumentals and pared down run times. After the sprawling epics of their last three albums, The King is Dead could seem almost too easy – a way for Meloy and Co. to simply push out a new record with little of the consideration that went into previous works, but as Meloy himself told WFUV radio, “I thought [recording] would be a lot shorter. This was simple. Hazards was very cerebral... academic. That felt very time-consuming, and this one was just as hard. It just goes to show you that no music is easy.” Recommended Tracks: January Hymn, Calamity Song, Rox in the Box

Max Kakacek’s biting riffs and bassist Cameron Omori’s supportive runs are equal players, as are the new addition of keys to tracks including “Imagine, Pt. 3,” “End of the Night,” and “Smile.” In the wake of their first record, critics of the band pointed to the naivety of its members as a detriment to the music, claiming the Smith Westerns as a case of style without substance. If anything, though, it is the zeal with which the group approaches their music and the willingness to experience growth that makes Dye It Blonde a successful step forward, not a careless rehash.

Recommended Tracks: Weekend, All Die Young, Only One 29

WRITTEN BY CHRISTOPHER STOPPIELLO (ENGLISH)

If you are not in the New York City area you probably haven’t heard of Wires Under Tension, but that should start to change in 2011. Though only a two-piece, Wires Under Tension are able to fill any room with a sound that is organic and electronic all at the same time. Using software instruments that multi-instrumentalist Christopher Tignor coded himself, the band performs live, looping and sampling on the spot. They are an electronic band that strives to keep electronic music live. The band formed out of a desire “to experiment with new sounds, get down and dirty with [their] rock roots, and tour a lot.” A song will often begin with Tignor playing classical violin exercises into his software instruments, which he then controls to distort and create unbelievable textures and samples. At the same time, percussionist Theo Metz actually takes over the phrasing with his forceful drumming. Their sound can take you on a journey as you lose yourself in the droning ambience and are brought back to reality with an explosion of horns and drums. They take the spirit of The Books with the depth of Anathallo and add a hint of Squarepusher. Think Mars Volta without the out of tune guitar.    Their debut album, /Light Science/, just got the pressing treatment February 8th on 180 gram vinyl (don’t worry, it comes with a free mp3 download card) from label Western Vinyl. Next month the band will be performing at South by Southwest Music Festival (SXSW) and are currently playing some warm up shows in the New York area. Metz talked to Tastemakers a bit about the ride Wires Under Tension has just begun.

Tastemakers (TMM): The new album has a lot of horns and bass to fill out the sound. How will that translate into live shows?    Theo Metz (WUT): Thanks to a recent Ableton Live endorsement, Christopher Tignor actually plays all the horn parts on a MIDI keyboard, where he can automate loops and so on. We're proud to say that everything on the album is heard live. The live set has been a long process because the album has some dense arrangements and we're trying to be true to it, but we're both getting comfortable with it and its sounding solid. We want to melt faces.   TMM: Do you approach live shows and recording differently?    WUT: We worked on the album first and added what was necessary to make each track work for us, aesthetically and artistically. Once that was completed our goal is to reproduce the album live as best as possible.    TMM: You and Christopher also play together in Slow Six. How is the process different for the two bands?   WUT: Indeed. Christopher is the musical director of Slow Six. He writes the tunes and we come in, read sheet music and help with the arrangements to some degree. The WUT process has been very hands on for both of us. Typically he'll write a riff or a rough structure and we'll develop that together until we come up with something we like. We kind of look at our rehearsal space as a laboratory: some experiments work, some don't. It’s just part of the game. In addition to the human

aspect of WUT there is a prominent computer element that is used for looping, filters, live sampling, dynamics, etc. Though we're controlling it and feeding it live audio, it has become quite the beast to work with. This definitely effects the arrangements and the overall process. WUT is its own entity. We’re already writing new material for our next release. We're both constantly pushing our own physical and technical boundaries with this project its been a lot of fun. I don't see it ending soon.   TMM: Hmm what else? What music are you listening to?    WUT: We've both been listening to a lot of Flying Lotus at the moment.   TMM: What’s the band’s favorite thing to do outside of playing music?    WUT: Tandem Segway joy rides and eating tacos.   Pick up the Light Science on vinyl today and keep an eye out for Wires Under Tension when their summer tour is finalized.

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Across 4 One of the most successful artists in the new kindie rock genre 5 Whitehaus' annual music festival 7 The song played by the Bruins at the beginning of each period 8 The gross member of *NSYNC 11 Lead singer of the band Edward Sharpe and The Magnetic Zeros 12 Up and coming husband and wife duo known for their surf-rock revivalism style 13 The second band Christopher Tignor and Theo Metz are in Down 1 Born Without Bones' juice is certainly worth the ______ 2 The day of Slaughter House Gallery's first show 3 Your personality if you're very meticulous about everything in your life, including your iTunes 6 Jeremy Michael Gifford's drug 9 The device used by Damon Albarn to record the Gorillaz album The Fall 10 Where the band Fucked Up, leader in vinyl exclusives, is from