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WUNH Durham 91.3FM
Concert report for February 4-February 29

Tuesday, FEBRUARY 4

BLUES NIGHT @ The Stone Church

Tuesday Feb 4, 7:30 pm–11:00 pm


Wednesday, FEBRUARY 5

We Were Promised Jetpacks @ 3SArtspace 

Wednesday Feb 5, 8:00 pm–11:00 pm


Thursday, FEBRUARY 6

Acoustic Tandem at Woodland Farms Brewery

Thursday Feb 6, 6:00 pm–8:00 pm

Missy Raines Quartet @ North Church

Thursday Feb 6, 7:00 pm–9:00 pm

Caroline Gray @Slow Burn Lounge Dover

 Thursday Feb 6, 7:30 pm–10:30 pm

Throwdown Thursday w/Groove Lounge @ The Press Room

Thursday Feb 6, 9:30 pm–Friday Feb 7, 12:30 am

Show at 9:30pm | Free | 21+ 

Plant Fight, Black Hatch @ The Stone Church

Club Listings, Music,  Thursday Feb 6, 10:00 pm–Friday Feb 7, 12:30 am

Doors at 9:15pm // 18+ $5/21+ — $8/Under 21

Christopher Paul Stelling w/Chadley Kolb @ The Press Room

Club Listings, Music,  Thursday Feb 6, 8:00 pm

Doors at 7pm | Show at 8pm | All Ages $12 Advanced | $15 Day of Show


Friday, FEBRUARY 7

Lonesome Lunch with Dave Talmage @ The Press Room

Friday Feb 7, 1:00 pm–3:00 pm

RPAC Music Series @ Rochester Performance & Arts Center

Friday Feb 7, 7:00 pm–9:00 pm

Jazz @ The Dance Hall: Satoko Fujii & Joe Fonda

Club Listings, Music,  Friday Feb 7, 7:30 pm–9:30 pm

Daytona Phillips w/Jake Grazier @ Button Factory Stage 

Club Listings, Featured, Music,  Friday Feb 7, 7:30 pm

doors @6:30pm show starts @7:30 

Clever Girls w/Rick Rude & Greed Island @ The Press Room

Club Listings, Featured, Music,  Friday Feb 7, 9:00 pm

Doors at 8pm | Show at 9pm | 21+

Sweep the Leg @ Thirsty Moose

Club Listings, Music,  Friday Feb 7, 9:00 pm–Saturday Feb 8, 12:45 am


Saturday, FEBRUARY 8

Willy Porter & Tom Pirozzoli @ The Stone Church

Club Listings, Music,  Saturday Feb 8, 6:00 pm–8:00 pm

Something//Something, I Wish I Could Skateboard, Alexander @ Button Factory Stage 

Club Listings, Featured, Music,  Saturday Feb 8, 7:30 pm–10:00 pm

$7 at the door! Doors at 7:30, Music at 8:00, 

Cold Chocolate @ The Dance Hall

Club Listings, Featured, Music,  Saturday Feb 8, 7:30 pm–9:30 pm

Ameranouche @ Book & Bar

Club Listings, Featured, Music,  Saturday Feb 8, 8:00 pm–11:00 pm

The New Nihco Gallo Trio @ BUOY

Club Listings, Featured, Music,  Saturday Feb 8, 8:00 pm–10:00 pm

Blackalicious w/New Fame @ The Press Room

Club Listings, Featured, Music,  Saturday Feb 8, 9:00 pm

Doors at 8pm | Show at 9pm | 21+ 


Sunday, FEBRUARY 9

Kingdom x The Bulkheads x Homie Juan Kenobie @ The Dover Brickhouse 

Club Listings, Featured, Music,  Saturday Feb 8, 9:00 pm–Sunday Feb 9, 12:00 am

Jon Hollywood + the Blvd @ Thirsty Moose

Club Listings, Music,  Saturday Feb 8, 9:00 pm–Sunday Feb 9, 12:45 am

Plains & FonFon Ru @ The Stone Church

Club Listings, Music,  Saturday Feb 8, 10:00 pm–Sunday Feb 9, 1:00 am

10 PM – $7 in advance, $10 at the door // 21+ 

Lyle Brewer @ Portsmouth Book & Bar

Club Listings, Music,  Sunday Feb 9, 7:00 pm–9:00 pm

Blackalicious w/Oompa @ The Press Room

Club Listings, Featured, Music,  Sunday Feb 9, 8:00 pm

Doors at 7pm | Show at 8pm | 21+ 


Monday, FEBRUARY 10

Bernie Sanders and The Strokes @ UNH

Club Listings, Featured, Music,  Monday Feb 10, 7:30 pm–9:30 pm


Tuesday, FEBRUARY 11

Citizen Cope @ The Music Hall

Club Listings, Featured, Music,  Tuesday Feb 11, 7:30 pm–10:30 pm


Wednesday, FEBRUARY 12

3S Artspace and DJ Skooch present: Wake and Rave #2 @ 3SArtspace

Club Listings, Dance, Music,  Wednesday Feb 12, 7:00 am–8:00 am

Galactic @ The Music Hall

Club Listings, Featured, Music,  Wednesday Feb 12, 7:30 pm–10:30 pm


Thursday, FEBRUARY 13

The Doors: Break On Thru @ The Music Hall

Film, Music,  Thursday Feb 13, 7:00 pm–9:00 pm

Rich Amorim Live @ Slow Burn Lounge Dover

Club Listings, Music,  Thursday Feb 13, 7:30 pm–10:30 pm

Joe Pug w/Matthew Wright @ The Press Room

Club Listings, Featured, Music,  Thursday Feb 13, 8:00 pm–11:00 pm

Doors at 7pm | Show at 8pm | 21+ 

Family Affair @ Spring Hill Tavern

Club Listings, Music,  Thursday Feb 13, 8:00 pm–11:00 pm

Third Martini @ WSCA

Club Listings, Music,  Thursday Feb 13, 8:00 pm–10:00 pm

Janaesound LIVE @ Book&Bar

Club Listings, Music,  Thursday Feb 13, 8:00 pm–11:00 pm

Throwdown Thursday w/DJ Chad Banks @ The Press Room 

Club Listings, Music,  Thursday Feb 13, 9:30 pm–Friday Feb 14, 12:30 am

Show at 9:30pm | Free | 21+


Friday, FEBRUARY 14

Ruby Rose Fox: Me & You & Leonard Cohen @ The Press Room

Club Listings, Featured, Music,  Friday Feb 14, 7:00 pm

Doors at 6pm | Show at 7pm | 21+

Bearly Dead – Valentines Day @ The Stone Church 

Club Listings, Music,  Friday Feb 14, 9:00 pm–Saturday Feb 15, 12:30 am

Adam Lufkin @ Thirsty Moose

Club Listings, Music,  Friday Feb 14, 9:00 pm–Saturday Feb 15, 12:45 am


Saturday, FEBRRUARY 15

Memphous w/ Bazmati Vice and Slack Tide @ The Dover Brickhouse

Club Listings, Featured, Music,  Saturday Feb 15, 8:00 pm–Sunday Feb 16, 12:00 am

Danielle Miraglia / Jen Kearney / Amy Petty @ Book & Bar

Club Listings, Music,  Saturday Feb 15, 9:00 pm–11:30 pm
Soulation w/Clandestine @ The Press Room 

Club Listings, Music,  Saturday Feb 15, 9:00 pm
The Emergency Broadcast System @ Thirsty Moose

Club Listings, Music,  Saturday Feb 15, 9:00 pm–Sunday Feb 16, 12:45 am


Thursday, FEBRUARY 20
David Corson Live @ Slow Burn Lounge Dover

Club Listings, Music,  Thursday Feb 20, 7:30 pm–10:30 pm
Juan MacLean (DJ Set) w/Ryan Obermiller @ The Press Room

Club Listings, Music,  Thursday Feb 20, 9:00 pm
Throwdown Thursday w/Glass Arrowhead @ The Press Room

Club Listings, Music,  Thursday Feb 20, 9:30 pm–Friday Feb 21, 12:30 am


Friday, FEBRUARY 21
Noah y Maurizio @ The Dance Hall

Club Listings, Featured, Music,  Friday Feb 21, 7:30 pm–9:30 pm

Rustic Overtones with Bell Systems Live @ The Press Room

Club Listings, Featured, Music,  Friday Feb 21, 8:00 pm
Captain Fantastic w/ Rebels @ the Brickhouse

Club Listings, Music,  Friday Feb 21, 8:00 pm–11:00 pm

PEAK w/ Space Kadet @The Stone Church

Club Listings, Music,  Friday Feb 21, 9:00 pm–Saturday Feb 22, 12:00 am


Saturday, FEBRUARY 22 
New Hampshire Sampler @ WSCA

Club Listings, Featured, Music,  Saturday Feb 22, 6:00 pm–10:00 pm
Big Funkin’ Dance Party @ The Dance Hall

Club Listings, Dance, Music,  Saturday Feb 22, 8:00 pm–10:00 pm

Groovin’ You @ Thirsty Moose

Club Listings, Music,  Saturday Feb 22, 9:00 pm–Sunday Feb 23, 12:45 am

Not Fade Away Band @ Fury’s

Club Listings, Music,  Saturday Feb 22, 9:00 pm–Sunday Feb 23, 12:00 am


Thursday, FEBRUARY 27

The Underground Upstairs w/Brandie Blaze, Esh the Monolith, Bakari J.B. & Undu Kati @ The Press Room

Club Listings, Music,  Thursday Feb 27, 9:00 pm

Black Lips w/ Warish @ 3SArtspace

Club Listings, Featured, Music,  Thursday Feb 27, 8:00 pm–11:00 pm

Throwdown Thursday w/Section D @ The Press Room

Club Listings, Music,  Thursday Feb 27, 9:30 pm–Friday Feb 28, 12:30 am


Friday, FEBRUARY 28
RPAC Presents: Slack Tide’s Birthday Jamtacular @ Rochester Performance and Arts Center 

Club Listings, Featured, Music,  Friday Feb 28, 7:00 pm–9:00 pm

Porch Party Mamas @ Book and Bar

Club Listings, Music,  Friday Feb 28, 7:00 pm–8:45 pm

Recycled Percussion @ The Music Hall

Club Listings, Featured, Music,  Friday Feb 28, 7:30 pm–10:30 pm

Bill Frisell: Harmony @ 3SArtspace

Club Listings, Featured, Music,  Friday Feb 28, 8:00 pm–11:00 pm

Taylor Ashton @ The Word Barn

Club Listings, Featured, Music,  Friday Feb 28, 8:00 pm–10:00 pm

Green Lion Crew @ The Press Room

Club Listings, Featured, Music,  Friday Feb 28, 9:00 pm

The Mockingbirds @ Thirsty Moose

Club Listings, Music,  Friday Feb 28, 9:00 pm–Saturday Feb 29, 12:45 am


Saturday, FEBRUARY 29
Bobby McFerrin @ The Music Hall

Club Listings, Featured, Music,  Saturday Feb 29, 8:00 pm–10:00 pm
Caitlin Canty @ The Word Barn

Club Listings, Featured, Music,  Saturday Feb 29, 8:00 pm–9:00 pm
Bella’s Bartok and Consider the Source @ 3SArtspace

Club Listings, Music,  Saturday Feb 29, 8:00 pm–11:00 pm

Lip Sync Battle 2020 @ The Dover Brickhouse

Club Listings, Benefit, Featured, Music,  Saturday Feb 29, 8:00 pm–Sunday Mar 1, 12:30 am
Martin England & The Reconstructed w/Gunther Brown @ The Press Room

Club Listings, Featured, Music,  Saturday Feb 29, 9:00 pm–11:00 pm

The Pop Disaster @ Thirsty Moose

Club Listings, Music,  Saturday Feb 29, 9:00 pm–Sunday Mar 1, 12:45 am



Cracker / Camper Van Beethoven 

Middle East Downstairs – January 16th, 2019 

In what has been a January tradition for decades, David Lowery stood center stage at the Middle East Downstairs in Cambridge’s Central Square to lead both of his musical endeavors, Camper Van Beethoven and Cracker, in three hours of eclectic genre-bending performance to a sold out crowd. For many musicians, the idea of fronting two entire sets every night on tour is a daunting task, but for Lowery this is par for the course when not working as a mathematics and business professor at the University of Georgia or being a pronounced voice in the movement for more sustainable artists rights.   

The collection of small music clubs on the corner of Massachusetts Avenue and Brookline Street has been a Boston area home for Lowery’s musical appearances ever since Camper Van Beethoven’s early tours booked to the late TT The Bear’s next door in the mid-80’s. Naturally with over three decades of history between the bands and the venue, the crowd was a wide ranging group made of local college students to aged punks and hippies. It had been almost guaranteed that this show fell on the same night as a Patriots playoff match over the past ten years, but the performers were clearly not upset about the football team’s recent season elimination. 

Camper Van Beethoven took the stage first, with their original lineup intact sans Cracker’s Coco Owens on drums who was pulling double duty on the tour. Despite their usual inclination of witty banter they ended up ripping through a blistering nonstop set of deeper cuts from their earlier discography. Only one song was included from their post-reunion albums, while their self titled release saw the highest representation with four selections. Camper’s offbeat college radio hits such as “Take The Skinheads Bowling”, “Pictures of Matchstick Men”, and “Eye of Fatima” anchored the energy of the set well, but it was between these tunes that their musicianship really shone in the form of several medleys. Lesser played punk inspired songs such as “The History of Utah” and “We Saw Jerry’s Daughter” were woven together seamlessly in a mix of six songs that eventually culminated in the crowd favorite “SP 37957” – itself a medley of traditional Israeli folk song “Hava Nagila” and Led Zeppelin’s “Kashmir” with a touch of original CVB weirdness. The second half of the set showcased Camper’s Virgin era records with material almost exclusively picked from Our Beloved Revolutionary Sweetheart and Key Lime Pie. “Summer Days” from 2013’s La Costa Perdida saw the band easing into a hazy recollection of warm weather that stood in stark contrast to the freezing and windy night outside, culminating in a crescendo of violin led prog rock to cap off their set. 

Cracker’s turn on stage similarly saw them reaching back to their earliest material while focusing on the laid back country side of their catalog as David Lowery had strained his voice on a previous night. Two thirds of the set were dominated by tracks from their first two releases - 1991’s self titled debut album and 1993’s platinum certified Kerosene Hat. In recent years, core members David Lowery and Johnny Hickman have added steel guitar player Pistol and keyboardist Paul McHugh to round out their traditional four piece rock sound, which was demonstrated to great effect on the opening cover of Jerry Garcia’s “Loser”. 2006’s Greenland saw representation in the form of a country-influenced reworking of “Where Have Those Days Gone”, which was re-recorded for 2014’s Berkeley To Bakersfield - which saw additional representation with two more songs in the setlist. 1996’s The Golden Age also saw some deep cuts with the fast rock rave-up “Let’s Go For A Ride” and followed by slow ballad “I Want Everything”, exemplifying the diversity that Cracker’s catalog has to offer. Johnny Hickman got his time to lead the band on the recent crowd favorite “King of Bakersfield” as well as bringing down the house with his precise guitar licks on the slow burning closer “Another Song About The Rain” accompanied by excellent interplay between Pistol and McHugh. Lowery finished the show with a solo acoustic performance of “Big Dipper” and thanked the crowd for continually making it out to the Middle East for over three decades; an admirable testament of fan appreciation.   

Submitted by: DJ Justin Rogers (The J-Bird)

Leprous are an interesting band, to say the least. After years of shifting lineups and promising demos, the Norwegian group finally solidified and released an impressive debut in 2009 in the form of Tall Poppy Syndrome. This album’s sound consisted of an intriguing blend of death metal, jazz and classic prog which more closely resembled Ihsahn’s solo material than anything else. This makes perfect sense, as the group's founder, vocalist and keys player, Einar Solberg is the brother-in-law of the Norwegian metal legend himself, and they would gain prominence in Europe as Ihsahn’s live backing band and consistent opener during the early 2010s. Leprous of course used this newfound momentum and released two phenomenal prog metal records back to back with 2012’s Bilateral and 2013’s Coal. 

Bilateral saw the group honing their songcraft and learning to balance the fine line between melody and fist-pumping heaviness over 10 engaging pieces of great sonic variety. It is one of the few gilded recipients of popular review blog Angry Metal Guy’s 5.0 perfect score and for good reason. Coal was similarly strong and further showcased the group’s artistic evolution by presenting catchy and engaging hook-centric songs that each evolved and climaxed perfectly; all while maintaining their careful blend of aggressiveness tunefulness. At this point in time, Leprous had cemented themselves as modern prog metal mainstays and the collective prog metal community waited with great anticipation for their next masterpiece.

2015 gave us The Congregation, which many fans viewed as a disappointment. The band still retained their signature songwriting style which had been honed over their short discography but featured simpler “verse chorus verse” song structures and an ever-growing reliance on Einar Solberg’s angelic falsetto to produce sufficient ear-wormy hooks. I personally view it as the strongest Leprous album, as it offers a delicious salmagundi of the band’s ever-present pop-sensibility and their prog metal roots, and leverages the sparse sinister moments to create gargantuan climaxes. Seriously, the pinnacles offered by the penultimate moments of “Slave” and “Moon” are legitimately amazing, but I digress. I can certainly see how this shift in style could come as striking to long-time fans, but it felt consistent with the group’s logical sonic progression. 

It makes perfect sense then, that on 2017’s Malina, Leprous threw away all notions of being a prog metal band and released an indie-pop record, but a damn good one at that. It utilized the aforementioned elements and intricacies of the band’s sound and appropriated them for the context of a very direct rock album. The album reeks of solid craftsmanship and makes great use of Solberg’s vocal prowess and the then-new addition of a dedicated cellist to create deserved moments of clarity amongst radio-ready hooks and soul-searing climaxes. As to be expected, many fans of the original, metal-friendly Leprous were once again disappointed. Gone were the heavy Norwegians that embraced the darker side of prog, replaced with an impressive group of musicians who instead placed their focus on songcraft and utilized the vast soundscape of their former genre to do so. If anything, 2019’s Pitfalls fits firmly within this context and produces reasonable results.

As with all of their releases, Pitfalls is expertly written and performed. Each song oscillates between mellow verses and powerful choruses that build toward a characteristic emotional zenith. However, the sonic palette of Pitfalls is markedly more subdued than their other records, even in comparison to Malina. Many of the songs are built around straightforward percussion loops, complete with sparse synths and an elegant cello for Solberg to rest his seraphim melodies upon. These softer sections generally give way to bombastic guitars and louder dynamics which either land a stunning hook or hit home a poignant climax. 

Yet, despite the relatively simple song structure and instruments on display, each track is filled with subtle instrumental flourishes that reward repeated listens. Take single “Alleviate” for example; the song opens on a simple synth loop, which soon gives way to a mellow vocal melody. The track gradually builds, adding hushed percussion and restrained guitar flourishes until the final chorus erupts with Solberg’s impassioned falsetto towering over appropriately punchy guitars for a stunning climax. The song resembles a contemporary pop-piece far more than the prog metal Leprous of yore.

Many of the 9 tracks on Pitfalls follow this permutation in one way or another, but many also forgo the thrilling climaxes that marked the band’s earlier work. For the most part, they’re executed with a song-writing maturity and grace which speaks to the band’s experience. “I Lose Hope” uses this formula for a moody synth ballad, accented by engaging cello lines and interesting vocal harmonies. “Observe the Train” is markedly similar but comes across as a little bland. Despite being well-written and performed, these tracks don’t quite produce anything especially alluring over their runtime. On the other hand, “Distant Bells” utilizes this new Leprous blueprint possibly greater than any other track. Like any great piece of climax-focused music, it expertly leverages its sizeable length to deliberately build towards yet another immense sonic apex, easily the strongest on the album. This track stands as a testament to the possibility of their new sound and the pairing of the band’s signature “ah’s” and “oh’s” with their novel appreciation of sonic texture makes for an album highlight.

“By My Throne” and “At the Bottom” fall a bit closer towards traditional alt-rockers, but have a jocular, Leprous spin. The former weaves in and out of dense cello/synth lines underneath dramatic vocal melodies, punctuated by luscious guitar licks. The latter is also quite strong and accomplishes something similar, with Solberg’s aforementioned falsetto deftly maneuvering a constantly shifting rhythm section. It also comes packaged with a considerable musical climax, so I can’t really complain. “Foreigner” doesn’t fare quite as well. Incredibly straightforward, it manages to tick every box of standard alt-rock cliches. The clunky chorus on display “it’s a fight to stay alive, it’s a fight against myself” seems to drone on endlessly despite the track’s sub 4-minute length. 

That leaves us with opener “Below” and closer “The Sky is Red” which—ironically enough—showcase the two aural sides of Leprous beautifully. “Below” is a great example of a chorus-focused track that clearly borrows from the group’s heavier past while maintaining the songwriting chops they've developed over time. The track’s use of cello is particularly stunning and certainly elevates its anthemic chorus. “The Sky is Red” is fantastic for an entirely different reason, as it could stand in for nearly any track from their metal era, but most closely resembles something from The Congregation. The cut is driven by an odd-time guitar riff that beautifully ebbs and flows across its 11-minute runtime; weaving deftly through ravishing verses, dazzling hooks and a truly malevolent ending that perfectly takes advantage of the track’s build and prevailing motif. To put it bluntly, it features the classic Leprous sensibilities and executes them in a wonderful fashion to make for a clear frontrunner on the tracklist.

While Pitfalls is undoubtedly a finely crafted album, the sense that Leprous could be applying their impeccable talent and years of hard-earned experience to something more outstanding cannot help but permeate the release as a whole. While there are true standouts that employ the band’s latest sonic developments to great effect, I still don’t believe these cuts manage to eclipse past hits such as “The Price” or “From the Flame” in that regard. The band has consistently been at their best when merging impressive technicality (half of the members are former session musicians) distinctly off-kilter grooves and heavier timbres with pop sensibility in a masterful way that placed them at the forefront of modern prog. With the exception of the one actual prog-metal track, none of the material on Pitfalls manages to fulfill that promise. 

What makes this discussion all the more difficult is the fact that Pitfalls as a record is wholly compelling. Metal—and specifically prog—has a long and storied history of gradual to sudden changes in artist’s signature sound over time and Leprous have made that transition far more gracefully than Opeth’s Heritage or even The Contortionist’s Language. For many groups, the criticism that their older material is stronger than whatever comes after their natural artistic evolution feels lazy, but with Pitfalls, the band practically proves this point with “The Sky is Red.” The lone track that relies on their older style feels stronger than the rest of the album.

In taking a quick look at the writing credits for this record, the band’s resident operatic demigod  Einar Solberg is attributed solely to penning every number with the exception being “Distant Bells.” Here, the problem arises. Solberg has always been the group’s primary songstress, but over the course of their career, he has slowly taken on more and more of that responsibility. While not necessarily a bad thing, Pitfalls is practically a Solberg solo album. This makes a great deal of sense, as nearly every track is structured primarily around his vocals. Unfortunately, it seems the group has ultimately suffered from this creeping change, as despite being quite strong in its own right, Pitfalls is arguably Leprous’s weakest release since Tall Poppy Syndrome. 

Pitfalls is a solid record with an exceptional listening flow, packed with adroitly assembled tunes that sound immaculate in a pristine mix. I enjoy this album immensely and I’ll be sure to catch the band live whenever they play anywhere in my greater vicinity, but their 2019 release ultimately fails to live up to the incredibly high standards of the Leprous catalog and leaves behind the lingering sense that a collaborative prog metal release would be assuredly more potent.

Final Verdict: “The change won’t be radical, it’s gradual”

Favorite Songs: “Below,” “Distant Bells,” “The Sky is Red”

Submitted by: DJ Sam Graff

Chelsea Wolfe


Chelsea Wolfe

Royale Boston - October 29, 2019

In a departure from her recent metal and doom inspired albums, Chelsea Wolfe’s stop at Royale Boston in support of her new album Birth of Violence was an atmospheric and intimate exploration of her earlier acoustic roots. Never one to remain conceptually stagnant, this solo acoustic show saw her bolster her current stripped back presentation via a single other band member on electric guitar, keys, and synth loops. The lean stage presence allowed for some seasonally appropriate decoration - moody candlelight and sculptures of antler-like driftwood surrounded center stage, flanked by dead tree candelabras. Each song featured a carefully considered lighting accompaniment, often bathing Chelsea’s flowing white dress in swaths of cold blues, earthy reds, and fractured mirror ball dots. 

While half of the set was made up of material from Birth of Violence, long term fans enjoyed the helping of cuts from earlier releases going back to 2010’s The Grime and the Glow. Despite pulling from ten years of material, the set list had a remarkable sense of cohesion owed to Chelsea’s strong and distinctive songwriting. Later into the set the audience was treated to a ghostly cover of the late Roky Erickson’s “Night of the Vampire” and a faithful rendition of Joni Mitchell’s “Woodstock”, which Chelsea admitted she had only been performing for a few nights prior (it should be mentioned that much of the music played during soundcheck was from country musicians such as Townes Van Zandt). Other deeper cuts from her own catalogue such as opener “Flatlands” and encore “The Way We Used To” drew great applause as well - two of the rare times the audience raised the volume of the venue beyond the intimate level held for most of the show. It isn’t often that artists and their audience meet on such a unified wavelength, but Chelsea Wolfe’s recent acoustic expedition was a gothic celebration for both sides of the stage.

Submitted by: DJ Justin Rogers (The J-Bird)



Peter Hook


Peter Hook & The Light

Paradise Rock Club - October 26, 2019

Peter Hook & The Light took the stage at the Paradise Rock Club in Boston on October 26 for a massive three-set show exploring his back catalogue of material with Joy Division and New Order. Despite Joy Division’s seminal 1979 release Unknown Pleasures turning 40 this year, two thirds of the show was focused on playing two later New Order albums from their initial run of releases. Both Technique (1989) and Republic (1993) refreshingly had new life breathed into them through this live context, free from much of their heavy reliance on programmed synth sequences from their original recordings. 

At 63, Hook looked and sounded in fine form, clearly relishing every minute on stage and trading smiles with his son Jack Bates, who trades off bass and rhythm guitar duties. Most middle aged performers are not playing concerts twice as long as people half their age, but this astounding night at the Paradise was clearly par for the course on a tour already booked nightly for several weeks. Peter clearly has been enjoying himself in the years since leaving New Order, and at no point during the two billed albums did it seem like he was performing out of obligation rather than passion. In a tribute to his late bandmate Ian Curtis, the third set began with an abrupt mood change away from the upbeat New Order material and into a set of six Joy Division cuts spanning from both their studio albums as well as a few singles. As Joy Division had famously disbanded before their first American tour, this was a highly unique opportunity for fans of Hook’s former group to hear the closest approximation to the intensity and energy that Joy Division has been known for in their short time as a live unit. Regardless of where the audience fell on the spectrum of punk and dance material, the applause for these songs that have been with fans for decades was a deafening testament to music’s power to touch people. In an age where many artists are coming back out of the woodwork to perform largely forgotten cult classic albums, Peter Hook is a shining case of an artist proud of his legacy and intent on breathing new life into his work.

Submitted by: DJ Justin Rogers (The J-Bird)


Ma - Devendra Banhart

Devendra Banhart


Houston born and Venezuela raised folk singer Devendra Banhart released his tenth studio album, Ma this fall. His voice unmistakable voice and creative mind is highly recognizable in his newest work. It can be argued that Ma, is his most cohesive work to date, with whimsical high notes and tunes in songs such as “Carolina” and “Taking a Page”. Banhart’s guitar finger plucking abilities shine through, showcasing both his instrumental and his vocal abilities. This album is sweet and comforting to bop around to.

Submitted by: Chloe Serena, DJ and News Director

Metronomy Forever - Metronomy

Metronomy Forever


Out of left field comes Metronomy’s new album “Metronomy Forever.” Their last studio album was recorded in 2016. This 3 Year Hiatus has proven Metronomy to be masters of modern electronic music. Not to be confused with EDM. This STRFKR & MGMT styled Band is a blast to listen to. From creative textures to killer vocals, Metronomy has created a truly special album. This album has created a bit of noise on the NACC Chart with peaking at 10 on the Hot 200. Right up there with (Sandy) Alex G, Pixies, and Jay Som. Personally I think the best track on the album is “Wedding Bells” with awesome synth tones, catchy chorus, and a super fun beat that will get anyones feet moving without being too cheesy like some modern artists. They’re currently on tour and are going to be in Boston @ Royale in February and I’m so looking forward to it! If you’re a fan of anything electronic, this album has it all!

Submitted by: Braeden Hale, DJ and Music Director

Only the Blues - Dylan Moon

Only the Blues


Only the Blues, Dylan Moon’s debut album, is bound to surprise and delight. The technical and creative proficiency of the record are that of a seasoned musician, sounding as if Elliot Smith had had the opportunity to grow older, softened a little, and decided to come out of retirement with a psych-folk record in his bedroom with an analog drum machine. The production is impeccable (and all done by Moon himself), and the interchange between chord and rhythm is nothing short masterful, reminiscent of psych masters such as Love. Although currently with less than 3,000 monthly listeners on Spotify, Only the Blues is a nearly perfect debut in both production and composition and appears to be the start of a promising career. Suggested tracks: Death Warmed, A Witch, Song for Jerry, Lines

Submitted by: Hayden Stinson, DJ and Program Director

Dreamo - Teen Body



Yes, dream pop/shoegaze is a crowded genre with an inundation of Galaxie 500 rip-offs. Teen Body, however, provided a refreshing source of indie comfort in their sophomore record, "Dreamo." The Brooklyn quartet managed to craft that dreamy pop sound with a clever blend of subtle shoegaze and catchy guitar hooks. The album title is fitting--according to the band, they coined its name from a close friend who described their sound as a mix between dream pop and emo, hence, "Dreamo." I personally agree. Give a listen to tracks like "Fell off" and "Validation" for an upbeat, catchy rock sound, and ponder about lifes mortal coil with the title track "Dreamo" or the deep and mysterious "Dead drop."   

Submitted by: Teddy McNulty, DJ and General Manager

Run Around the Sun - Sacred Paws

Sacred Paws


Sacred Paws has hit the ground running with their second studio album titled, “Run Around The Sun.” Released on May 31st, 2019, at the end of the Semester from Merge Records, comes an upbeat, jam-band, post punk sound that really gets your head moving and your feet dancing. With an incredibly diverse band composition, Sacred Paws boasts talented guitar, bass, trumpet, drummer and a great vocal duo, courtesy of the uplifting Rachel Aggs and Eilidh Rodgers. Personally, my favorite tracks are Almost It, What’s So Wrong, and Brush Your Hair. All of these songs do sound relatively similar, but that’s what adds to the atmosphere Sacred Paws creates in this wonderful, happy, little album.


Submitted by: Braeden Hale, DJ and Music Director


Modern Mirror - Drab Majesty

Drab Majesty


The third release and most recent release from L.A. neo-goth post-punk duo Drab Majesty is enchanting, catchy, and dark at the same time. Fusing the understated melodic proficiency of its first two release with a fuller and more mature production value, this album is a gem for old and new fans alike. The band’s presence is alluringly androgynous, the drums are undeniably 80s, and the vocals are chilly (with a dash of underlying romanticism). While “Ellipsis” is the standout lead single, the entire album makes for a cohesive and refreshing listen for fans of the darker side of the 80s. Fav tracks: “Ellipsis”, “The Other Side”, “Out of Sequence”.

Submitted by: Hayden Stinson, DJ and Program Director