My Favorite Releases of 2015

Gracie – Gracie
This was also the year I started listening to the Fat Creeps, so it was very comforting to be able to follow them up with Gracie Jackson’s solo project, Gracie. Gracie Jackson has acquired a demurred confidence and a penchant for strange guitar tunings, finding influence in Sonic Youth, folk, and grunge. Jackson has gathered a backing band full of friends and fellow Boston musicians and has recorded this debut steadily, only having previously released one song on their Bandcamp in October 2014. Gracie’s brooding allure pull you into the trepid waters that are Gracie’s smokey vocals, rich guitar and themes of nostalgic despair. The album feels both hollow and hopeful, as the listener senses Jackson being guided more by feeling than logic, like when she spills “Climb the ladder, what did you fall for? Climb the ladder, he makes me feel more” on “Jesse”. Gracie is very rich and drippy. It has a big sound, big like the room of destruction Gracie is calmly standing in the middle of on the album’s cover. The themes of angst and despair are reminiscent of 90’s grunge, but more woodsy and eerie at times.
Sun Young – Sun Young
I am low-key obsessed with IAN, so that low-key obsession crosses over to Sun Young, fronted by Damien (bassist of IAN). Sun Young is a three-piece that makes a groovy freak pop that investigates family, life, and identity. I was able see Sun Young twice this year, once in a kitchen and once in a basement. Both times I was enthralled by their semi-goofy manner and grunge-y avant-pop. I’d been listening to one of their earlier EPs a bunch, so I was excited for the release of a ten song EP featuring re-recorded versions of 4 of the old songs and some of the newer ones I’d seen live. Very cool effects on the vocals and guitars, and the general composition of the music makes it more interesting than most. The songs go from happy to sad, but never lose hope, like on “Hell’s a Place Like Cherry Hill”. There is something about Sun Young that really stands out to me, and I wish I could figure out what it is.

Mommy Long Legs – Assholes EP & Life Rips 

My super cool friend, Donna, sent me a YouTube vid of Mommy Long Legs slaying KEXP. They are a group of true punk rock prom queens out of Seattle, WA making that special brand of feminist punk and pop I love so much. Crunchy guitars, group vocals, and a comedic angle is what Mommy Long Legs uses to address their feminist agenda and issues with people. They eat all Girl Culture and throw it back up at you. In March they released the Life Rips EP. On which, they cover slumber parties, being afraid of your horoscope, and sororities. Many of the songs come from extreme views on people and jokes. They make big characters out of “Yuppie Moms” who wants an “Oprah Mocha Frappuccino right now”, among other stereotypes. Then they released the Assholes EP, which is just as fun but a bit heartier and less fictional, but very direct. Like on the track “Assholes” where they chant “You can take your asshole and put it in your new car, and drive it in a wormhole, cuz in the end we’re all alone” at some hypothetical asshole modern man. The track that stands out the strongest to me is the anthem like “Weird Girl” that declares “I wanna be a weird girl, a freak girl. I want to freak you out cuz I’m a freaky fucking girl.” I like music that reminds that nothing really matters, so just do and be whatever you want and have fun.
Chastity Belt – Time to Go Home
These Washington natives are making waves with their sophomore album, Time to Go Home. They’ve written the feminist anthem of the year with “Cool Slut”. With lyrics like “We just wanna have some fun /Grind upon everyone.” Chastity Belt is letting girls know that it is okay to do whatever they want and just have some fun. They are writing for the modern girl. They started off writing joke party songs, but have since moved onto more witty and emotional party songs. One of Chastity Belt’s main goals is to encourage more girls to be in bands. Guitarist Julia said “I’d like teenage girls to be able to relate to this album and listen to it and think ‘Oh! I could be in a band too.’”
Ben Katzman’s Degreaser – Venus in Pisces
On Ben Katzman’s new album, Venus in Pisces, he contemplates growing up and breaking up. He is able to take the most universal problems and emotions of people in their young twenties and turning them in to complete Rock n’ Roll. It’s like Glam Rock with more easily relatable topics. Astrology runs heavy throughout the album, hence the title, and the lyric “You’re only keeping me around because your Venus is in Gemini” on “You Shred (But You’re Really Just Playing Me)”. The track “Sad Boi to Bad Boi” summarizes the whole album, the concept of transitioning from Sad Boi 2 Bad Boi, and being a Bad Boi who sometime feels like Sad Boi.

Colleen Green – I Want to Grow Up 

On this album Colleen sheds her D.I.Y sound and adopts a bigger rock persona with stronger vocals, heavier guitar, a drummer instead of a drum machine, and a bassist. The album is called I Want to Grow Up, and you can tell she really means it. The most major step the punk songstress takes in growing up on this album is identifying that she needs to. All of her releases have shown progression, but this album was the most drastic. The biggest change was the studio recording, it makes the songs sound clearer and fresh. The themes of the album cover figuring out what her problem is, getting healthy, and even dying alone. Colleen's realest and maybe most personal song to date, "Deeper Than Love," is an almost haunting account of her past and fears about relationships, featuring lyrics like "How can I give you my life when I know you're just going to die?" It digs deeper, but still keeps the good old fun CG punk charm. The most empowering song on the album is the closing track, "Whatever I Want," where Colleen realizes that she doesn't have to be scared, her world is a design of her own, and she can truly do whatever she wants. It’s super awesome to see Colleen do new things. Colleen Green focuses on being the best she can be, and Colleen Green continues to be the best.

Mannequin Pussy – Kiss me tender demos 

I love these three songs by Philadelphian punks, Mannequin Pussy (the whole EP is under 5 minutes). “I am not ashamed to be lonely, but I’m afraid to feel it so deeply.” Guitarist and vocalist, Marissa screams in way that completely transfers what she is feeling, the exertion of pent up anger makes a relieving and positive vibe. She is so strong and, what’s a different word than aggressive but just as powerful? Assertive, energetic, and dynamic are what’s coming up when I just searched for synonyms, and they fit. The drums and guitars swirl together in a fury. It’s punk with a drive, they work hard and know how to play the s of their instruments, and won’t take any, like on “Anything”: “Don’t you try to lie or mis-treat me/ I want this more than anything/ I want it more than you.” Very excited for these demos to be made into an album in 2016.

Tomboy – Sweetie 

Featured on my list last year, and probably any list of favorites I make until the day I die, Tomboy is one of my favorite bands. Formed in Boston, Tomboy is now spread along the East coast. Sweetie, their first full length, they tackle and conquer cat-callers, assholes, and relationships with dominance, grace, and wit. The sound of this album is just so strong, the fierceness and determination of Madeline's vocals carries the songs messages and themes. The rowdy drums and fuzz-strong guitar give them a sound similar to all of the strong female-lead rock bands of the nineties. These feminist are inspiring. On "Sweetie" they are calling some unknown figure out for treating them like some 2-D toy object. After they call him out and say "No!!" that is not what they are or what they are there for, they assert this with wicked lyrics such as "You call me sweetie/ but that's not what you mean/ 'look pretty with that smile'/ well, I think you're fucking vile." And they can see threw them: “You read my mind, well I read your diary.” The songs may have some anger in them, but it's an anger that makes you dance, then when you are dancing you have fun, so the joke is really on any asshole that has ever wronged Tomboy. They are sort of an angry-pop that makes you have fun. It's beautifully written and simple, the smooth track ends album in impeccable standing. Every girl in the world should listen to Tomboy.

Tall Juan - Why Not 

BUFU Record’s supreme rocker Tall Juan, previously seen in The Beets, is an extremely tall and lanky Argentinian rocker who is known for being a lover of the Ramones. He released a two song cassette for “Falling Down” late last year, and released it on a 7” again in 2015. Then he released It’s True, which doubled in length from two songs to four. Both of these EPs were recorded by Tall Juan’s friend and roommate Mac Demarco. Why Not is three originals and one Ramones cover that features Dee Dee Ramone's wife Barbara. The songs are fast and fun with guitar and drums that do not stop. It is lo-fi poetry laced with Ramones influence. Saying the Ramones influences Tall Juan feels like I’m putting too lightly.

Erica Eso – 2019 

If Cloud Becomes Your Hand is avant synth rock, then Erica Eso is avant synth pop. From the mind of CBYH composer and synther, Weston Minissali, comes Erica Eso. Erica Eso is not an alter-ego, it is an explorative Brooklyn-based pop group. They’ve combined their transcendent musical affections to bring you some of the freshest and most exciting pop I have heard in a long time on their debut album, 2019. Erica Eso features many elements modern pop. It is very clean dance music, with existential feminist themes, no unnecessary sounds, and a calm pace. It has an electronic R&B vibe. Autotune is used on the already very high pitched vocals to keep up with the synths. It’s the most tasteful use that I have ever heard. When I asked Weston about Erica Eso, he said this: “Erica Eso is my baby… or maybe duel identity is more appropriate… or maybe she’s pregnant with me… It has been such an intimate process writing and now performing this music, it really has been unlike any other project. I started to imagine this loner voice cruisin’ all sexy and fragile over loose synth rhythms and crackles”. Minissali is able to achieve amazing harmonies with the synths and every instrument. 2019 draws attention with its pop melodies that sound strong but fragile, like glass.

Tredici Bacci – Vai! Vai! Vai!

Tredici Bacci is the smoothest, sultriest, and most Italian pop ensemble in Boston. They are one of the only bands doing what they are doing right now, and if they are not the only ones, they are definitely the youngest. It’s a 14-piece orchestra that is describes as an1970’s Italian film soundtrack. On the latest TB tape, Vai! Vai! Vai!, they’ve made the soundtrack to a fictional lost film. This one sounds bigger than The Thirteen Kisses EP. The horn, the keys, the strings, everything sounds augmented, like everything was paid more attention to in the studio. I like how Tredici Bacci is basically band leader Simon Hanes’s way of praising Ennio Morricone, because I know all I wanna do is praise my idols and make fan art all day, and it cool he’s got other people to help him do that. It’s like spaghetti western, but in reverse. Because instead of being western stuff made by Italians, it’s Italian stuff made by Americans. Tredici Bacci is melting the world of composition with the world of more abrasive abstract style, and a prime example of how much depth there is in Boston music.

Lily Konigsberg & Kassie Carlson - Muriel: Utter Perfection 

Muriel means utter perfection. This tape project on feeding tube is a solo spilt. The first side is six songs by Lily Konigsberg (of Palaberta) and the second side is three songs by Kassie Carlson (of Guerilla Toss). This project sounds like a theory, like building one. The recording process is a learning process. Side A, Lily’s, has an eighties science fiction feel. Feels like it’s swarming around you. The tracks sound like techno music was dismantled and put through a filter. At some points there is an utterance of grand synths, like on “Swept by SH”. The vocals are heavily filtered and effected, and are on the verge of becoming an eerie chant. Along with some creepy keys, this side has a chaotic and otherworldly aura. Side B, Kassie’s, is intimate pop. It is recorded by Kassie and features her vocals, a drum machine, and which ever other instruments she plays. The drum machine gives the three songs a good beat, which gives an upbeat feel, even on the morbid “Nobody Loves Me”, with a retro twist. Kassie’s music is about feelings, like feeling something hyper-real or interpenetrating feeling, very specific. Such as the levels of body language. She writes great lyrics and that gets more of a light shown on it here than in gtoss. Everything she write has meaning, no random lyrics. Hopefully your familiar with Kassie’s other solo music, under the name Jane La Onda, this tape and the Jane tape are my two favorite tapes ever. Some things I am excited for and hoping for in 2016 are: seeing Birthing Hips live, recorded Bong Wish, and a new Free Pizza record. This article will probably be re-published in my zine.

NICE GUYS/FREE PIZZA SPLIT TAPE.

Very cool new fast and punky tape courtesy of Boston’s own BUFU Records. This spilt features one local punk staple and one that once was local, but now international. One side features two new tunes and one ballad by Allston bad boys Nice Guys. Their side is loud and lo-fi. “Reels of Fire” is rolling and tumbling through fuzzy riffs and heavy drums. At just under a minute, “Best Buds” does not let this tape skip a beat as this song keep shouting at you. They end their side with a semimental lullaby about how they “miss my Free Pizza”. Nice Guys is what garage punk should be: rough and fast and fun.

Free Pizza absence from Boston has surely been felt since they moved to Florida then Germany, but that is just what makes this tapes so sweet. Their three tracks are just like the friendly n’ fun punk Free Pizza you remember. You might even know some of the songs if you’ve seen them live, like “Oh Yeah That Deep Breath.” Free Pizza is so cool because all of the music is so happy, positive, and easily applicable. The lyrics and hooks are catchy, simple, and have the perfect amount of garage rock mixed in with an arty pop. It is very easy to feel good and hopefully while listening to Free Pizza.

Guerilla Toss - Flood Dosed

They recently announced their signing with DFA Records, and they’ve been playing a lot of shows with their new lineup. Even though they live in New York it still feels like they are playing just as many Boston shows at the same venues. And now they’ve released three new songs!If you’ve seen Guerilla Toss in the past few months, then some of the tracks might sound kind of familiar. The EP introduces a gentler Gtoss. “Realistic Rabbit” features vocals the echo through whatever spaceship is was recorded on, then speeds up into Kassie chanting accompanied by a saxophone and the groove heavy rhythm section. “Ritual in Light” sounds reminiscent of 367 Equalizer by going in and out of burst of hyper calls and dour recitatives, and the bass and guitar sound deeper than ever. “Polly’s Crystal” is very rhythm heavy, cool, and fast. Most importantly, Kassie sings on all of it! She always has, but her vocals are heard more than ever before and it’s amazing! Kassie is so clear, it still sounds Avant, but not screams. It is hard to speculate what the lyrics mean, but you can understand every word. People can listen to them and try to find their own meanings, which I think is something people do with Guerilla Toss a lot,  by channeling their own energy into the band, like when seeing them live or just listening at home. That is where that certain level of spirituality associated with Guerilla Toss comes into play. There are more effects, more psych, more jams, and same amount of funk. New age more than no wave. New age jam-psych with rage is what you could call it. The music sounds just as nuts as ever, but it’s a different type of nuts. It’s always exciting to see bands you like doing new shit. This was billed as just a taste of the new Guerilla Toss direction, because their first full length EP since Gay Disco is going to be out in early 2016, and I feel like it is going to get more eyes on it. DFA is based out of NYC and they announced their signing around the same time they moved, which feels like a big deal. Because now they are actually getting help with publicity stuff. If you go on the website of Pitch Perfect PR, Gtoss is listed as one of the clients. And in their bio it describes their signing with DFA as “the next logical step in the band’s mission to becoming the world’s largest rage-psych phenomenon”. It’s like a whole new era in Gtoss ritual. They only made 300 “Flood Dosed” tapes, so order one while you can!

Hi, Guerilla Toss!

Gracie

Anyone who was sad when the Fat Creeps broke up has zero reason to be sad anymore, with Mariam doing Bong Wish, and Gracie doing her band, Gracie. It’s Gracie Jackson’s solo project, but it is a full band that chose the name Gracie because it fits and Gracie wrote all the songs. A couple of her tracks, like “Jesse”, have been online since October of 2014, but she waited until the time was right to make the debut release. They play a lot of shows, they have a solemn live presence in a very enticing way. The music sounds heavy, similar to some of the Fat Creeps stuff. The heaviness does not weight it down though, it traps you in. So smooth and raw, the vocals on it are very rich and drippy. It has a big sound, big like the big room of destruction Gracie is calmly standing in the middle of on the album’s cover. It kinda reminds me of 90’s grunge, but more woodsy and eerie at times. She exhibits a fresh meld of trepid nostalgia, like when she coos “Things get heavy/ you lose sight/ what was once so dreamy keeps you up at night” on “Youth is a Fire”. It is a soft-pop, but also downright guitar rock. You can get the cassette now from BUFU Records and in September 2015 from Ghost Ramp Records.



BONUS!!
Here is my interview with Gracie herself from the Bostonhassle.com:

Boston Hassle: When did you first start making music and writing songs?

Gracie Jackson: I started dicking around on the piano when I was a little kid, I didn’t record any of that shit, but those were my first hits.

BH: What are some of your biggest inspirations and when do you feel most inspired?

GJ: I don’t really listen to music that much, Neil Young is alright but that’s about it. I feel a sense of overwhelming inspiration when my parents go away for a few days and I get to relax at their house and use their nice computer which has garage band.

BH: What was your motivation to start Gracie?

GJ: We call it Gracie because I wrote these songs, and Erik, Mike and Travis help develop these joints and make them sound dank ripe. I had this crappy band name, but it didn’t resonate with me or the boys so we dropped it. We also considered these bands names: Market Basket Drip Castle, Johann Sebastian Market Basket, and Chicken Connection. I decided to use my own name.

BH: Are there any certain feelings, themes, or messages you are trying to convey to your audiences or find yourself drawn too?

GJ: I write a lot from personal experience, and watching network TV.

BH: How did you meet and start playing with your bandmates?

GJ: Me and Erik (who shreds) have played together since high school. He showed me a lot of great music way back when and saved me from being obsessed with Audioslave. Travis I met through friends who went to Uni with him at University of Massachusetts in Lowell, Massachusetts. He played drums in Fat Creeps too. Mike who plays bass in Kal Marks (who are dope) also plays bass with me. He is a great musician and a lot of fun to play with.

BH: What was your process like for writing and recording your new album?

GJ: Me and Erik recorded a few of the songs off my album a long time ago, but then he moved away and they just got kinda got shelved until the time was right, which is right now. My process? I write a song, figure it out with the band, call my studio guy Doug, who recorded the Fat Creeps albums, I’ve been working with him for 4 million years. At this point he gets the weird way i talk and express what I’m hearing in my head so its really easy to get the sound I’m looking for, and I record it!

BH: If you could collaborate or work with any artist in the world, dead or alive, who would you pick and why?

GJ: I love Cookie Monster’s voice, but I guess if i could jam with someone? Keith Richards taught me a lot of what i know, and Captain Beefheart too, and definitely Neil Young.

BH: What are you most excited about for Gracie’s future?

GJ: My album is coming out soon on a great label, big plans, big ideas. Big ideas. BUFU records hooked it up

SaraLee

pic from facebook

One of the first shows I went to in Boston was a Ride the Snake Records anniversary party where SaraLee was amongst the bands that played that night. And it hit me hard, they were the purest and boldest form of low-fi. The setup is so simple, Sara on guitar and vocals and Lee on drums, but it was so intoxicating. They are my favorite because they were my first, they really showed me that there is so much music out there that is amazing and completely oblivious to me. That was almost a year ago now, and I think they have only played like one or two shows since then, and haven’t released something since 2013, so I am unsure of their status, active wise.

After the show, I went on their Bandcamp and downloaded all of their music and listened to it religiously. The site fairly is bountiful, with 5 releases from February 2011 to the most recent being from September 2013, but their facebook page seemed pretty desolate. Which created a sense of mystery in my mind, because it felt like as soon as I heard them they were already gone.

I’ve seen Lee drumming in Pucker Up more recently. He’s the most intense drummer I’ve ever seen. Pucker Up and SaraLee are obviously very different, but the intensity is the same. At one point it the Pucker Up set, at a part when he wasn’t drumming, Lee got up from his kit, walked around the stage, and then sat back down and started whaling the drums. And I just thought that was the coolest move ever.

Sara’s vocals are so unique and powerful. The music is very natural sounding and reminds me of being in the woods. It’s very calming and strong. The lyrics are simple, deep, and cool. Like on my favorite “So Sorry”, which goes like “I’m so sorry but I can’t go home with you, Things are different, Now they’re new.” The fuzzy guitar balances so well with the resolute drumming. I don’t know if they are going to play or release anything in the near future, but it’s okay because I’m still not over any of their old stuff.

MURIEL: Utter Perfection

Muriel means utter perfection. This tape project on feeding tube is a solo spilt. The first side is six songs by Lily Konigsberg (of Palaberta) and the second side is three songs by Kassie Carlson (of Guerilla Toss). This project sounds like a theory, like building one. The recording process is a learning process.                 Side A, Lily’s, has an eighties science fiction feel. Feels like it’s swarming around you. The tracks sound like techno music was dismantled and put through a filter. At some points there is an utterance of grand synths, like on “Swept by SH”. The vocals are heavily filtered and effected, and are on the verge of becoming an eerie chant. Along with some creepy keys, this side has a chaotic and otherworldly aura.                   Side B, Kassie’s, is intimate pop. It is recorded by Kassie and features her vocals, a drum machine, and which ever other instruments she plays. The drum machine gives the three songs a good beat, which gives an upbeat feel, even on the morbid “Nobody Loves Me”, with a retro twist. Kassie’s music is about feelings, like feeling something hyper-real or interpenetrating feeling, very specific. Such as the levels of body language. She writes great lyrics and that gets more of a light shown on it here than in gtoss. Everything she write has meaning, no random lyrics. Hopefully your familiar with Kassie’s other solo music, under the name Jane La Onda, this tape and the Jane tape are my two favorite tapes ever.

Bong Wish.

Photo by Molly Dower

There are plenty of psych-rock bands in Boston, but Bong Wish is the only one that truly feels like it was transplanted straight out of the 1970’s. They’re like a breath of slightly weed-scented fresh air. Bong Wish has only grown since their start. First, it was just former Fat Creeps member, Marian Saleh, recording songs in her bedroom, then grew into a 3 piece, now there is primarily 4 members, including a flutist, with additional bongettes constantly jumping in and out of the mix. Mariam cares about spirituality, love, and growing, which bleeds into the music. The harmonies and melodies of the vocals and guitars forms a tough bond. Bong Wish sounds reminiscent of the 70’s hippie dreamy tunes, but with more a dark sharpness that creeps up on you before you know it. Bong Wish only exist a live physical format. No recordings yet, but expect some soon. For now, catch them at one of the many shows they’ve been playing. The live show is an extravagant and psychedelic experience.

Tredici Bacci

                Tredici Bacci is the smoothest, sultriest, and most Italian pop ensemble in Boston. They are one of the only bands doing what they are doing right now, and if they are not the only ones, they are definitely the youngest. It’s a 14-piece orchestra that is describes as an1970’s Italian film soundtrack. 

The motivation of the band was to investigate one very specific type of Italian music, and to explore composer/conductor/ electric bassist, Simon Hanes’, interest in Ennio Morricone and all things Italian. I like how Tredici Bacci is basically Simon’s way of praising Ennio Morricone, because I know all I wanna do is praise my idols and make fan art all day, and it cool he’s got other people to help him do that. It’s like spaghetti western, but in reverse. Because instead of being western stuff made by Italians, it’s Italian stuff made by Americans. Tredici Bacci is melting the world of composition with the world of more abrasive abstract style.

You really need to see Tredici Bacci live. Listening to them is only half the experience. When you see them live it can feel electric, like a movie, which is exactly what I think they’re going for. It’s so smooth and European, it makes you feel like a smooth European. There is so many of them! And they sound fresh and energetic about the music they are making. It’s a powerful! And they are all so talented and look like they’re having so much fun and act sort of goofy, which just makes for a very positive energy.

On the latest TB tape, Vai! Vai! Vai!, they’ve made the soundtrack to a fictional lost film. This one sounds bigger than The Thirteen Kisses EP. The horn, the keys, the strings, everything sounds augmented, like everything was paid more attention to in the studio. Tredici Bacci is the prime example of how much depth there is in Boston music. 

“Well, I Like Joey Ramone Cause He’s Tall and Handsome. He Looks Like a Poem to Me”: Riff Randell, the Ultimate Fangirl

Being a fangirl takes up so much of you. You just love whatever it is so much that you can’t stop thinking about it and you feel so emotionally invested you get so proud almost like it’s your child, or else you feel hopelessly in love. And you think it must be a figment of your imagination because there is no way anyone else could have created something so perfect for you that you must have somehow made it yourself. And in the Ramones’ 1980 rock comedy Rock n’ Roll High School (which has the perfect amount of Ramones performing with minimal Ramones acting) , protagonist Riff Randell is the supreme fangirl. Riff is cool. Riff is punk. Riff is confident. Riff is a nerdy Ramones fangirl.

 The movie takes place in 1980, but everyone at the high school, except Riff, acts like it’s the 50’s. The stuffiness of the adults and the way they talk about rock is so exaggerated. Which makes it so great and funny, it’s not taking itself seriously. So it’s really funny to watch the up-tight square adults straight out the 50’s have confrontations with Riff, the super abrasive modern rocker. The film exaggerates Riff using the wildest ideas 50’s of teenage rebellion. It’s funny that Riff is seen as so rebellious, when all she is guilty of is literally listening to the Ramones. But she is proud of her punk trouble maker status and get almost excited when she gets in trouble, like it validates her as a punk. Even though she is really just a nerdy fangirl with a big ol’ crush on Joey Ramone.

She is the ultimate fangirl because she just wants to share her favorite band with the whole world. She has felt the power of The Ramones and she knows her whole school needs to feel it to. She blast Ramones over the loudspeakers, ditches school to buy her whole class concert tickets, and makes her gym class do a dance routine to “Rock n’ Roll High School” (which isn’t really a Ramones song in the movie yet, but she wrote it for them, so same dif). She is the object of the main jock’s affection but Riff can’t even pretend to even notice him because he is not Joey Ramone (who was so ugly that it reverted back to being cool and attractive). She daydreams about getting serenaded by The Ramones in her bedroom. She inspires her submissive and conservative best friend, Kate, to open up and be more assertive. She thinks the Ramones make her a better person, so she wants to make everyone else better too by sharing the Ramones.

Riff wants to be IN the band, she wants to be involved. She has a goal, she needs to give them the song she wrote for them. She is full of confidence and knows the second the Ramones read her lyrics she will become their primary songwriter. It’s cool that she wants to write for them. As much as I would want to be involved with my favorite bands, I don’t think I would want to write songs for them because I just wanna hear what they have to say. It’s kinda of intrusive of her, but in a cool way, like she feels she knows them so well that she can write music for them and her lyrics line up with what the Ramones are about. Riff wins a radio contest and gets to meet the Ramones, which is her opportunity to hand them her sheet music. She is so ready and prepared to give them the sales pitch of a lifetime, but when she gets in front of them she melts and gets giddy, like anyone would. But she still has the confidence in her lyrics to put it right in front of Joey’s face. Riff is a very determined fangirl.

Riff Randell the ultimate fangirl because she gets the ultimate fangirl fantasy in the end. At the end of the film when Riff is at school getting tortured by the evil principle, The Ramones roll up singing to tell her they liked her song. Then they roam her high school, which has gone vigilante in wake of their presence, and Riff gets deemed an honorary Ramone. Riff’s dreams came true and she got to become a Ramone.

May 31 Playlist

Ideal World - Girlpool Suck It and See - Arctic Monkeys Virgo Babe in a Maiden Shirt - Ben Katzman's Degreaser Summer Mood - Best Coast Lonely Boy - The Black Keys Joke - Chasity Belt Don't Call Me - IAN Messed Up Kids - Jake Bugg Emma - Tomboy Memorize - Jane La Onda Temptation - New Order Young Folks - Peter, Bjorn, and John

Girlpool

While not as outwardly punk as other riot grrrl bands, this young guitar duo’s music cover everything a girl feels in the simplest, blunt, raw, and smoothest manner. So free with their emotion and, Cleo and Harmony play together harmoniously and cover their childhoods, relationships, and oppression.

Growing up and apart is one of the main themes on their debut album, When the World Was Big. These Philadelphian teens have no drummer and it adds an edge to the guitar and vocal game. You can tell that something between them just clicks on another level, Harmony says “There’s a certain understanding and empathy that we have for each other.”

Chastity Belt

These Washington natives are making waves with their sophomore album, Time to Go Home. They’ve written the feminist anthem of the year with “Cool Slut”. With lyrics like “We just wanna have some fun /Grind upon everyone.” Chastity Belt is letting girls know that it is okay to do whatever they want and just have some fun. They are writing songs for the modern girl. They started off writing joke party songs, but have since moved onto more witty and emotional party songs.
One of Chastity Belt’s main goals is to encourage more girls to be in bands. Guitarist Julia said “I’d like teenage girls to be able to relate to this album and listen to it and think ‘Oh! I could be in a band too.’”

ITS AM-ZINEEE!

Hello! Very exciting! Fanatic is now in paper format! You can now hold Fanatic! I've made a zine! Its cool, its new, its pink! Email me at kcormac15@gmail.com if you would like one.
maybe people will actually go on this now haha

One the founders of the original Riot Grrrl movement, Kathleen Hanna is keeping it alive. She has made her life’s work about feminism and keeping girls informed and encouraged, whether through music, art, zines, counseling, fashion, or public speaking.

Kathleen inspires other people, and a riot grrrl should be inspiring and supportive. After being a victim of abuse, she was a counselor at a women’s shelter, and after Bikini Kill shows she would counsel women who needed it. After performing punk shows Kathleen would be in the back performing crisis counseling, sometimes every night while on tour. But she hasn’t let anything that has happened to her make her jaded. She is sincere and has a sense of humor.

 After Bikini Kill broke up and she was in a low point, she took those pent up feelings a turned it into a self-recorded masterpiece solo album, Julie Ruin.

Then she was a part of Le Tigre, an electronic dance-punk trio which covered Bush era politics, a whole new wave of feminist issues, and supported the LGBTQ community. Currently, Kathleen is fronting the feministic post-punk pop band, The Julie Ruin, sounding more confident than ever and not letting her Lyme disease hold her back.

Kathleen is still a modern riot grrrl because she is 100% in tune with everything happening in a girl’s world. She is waiting for the next movement to occur. Kathleen recognizes that the original Riot Grrls had their flaws, (read Girls to the Front by Sara Marcus), and she is hoping that the next generation can learn and grow from that. visit Kathleenhanna.com and also watch The Punk Singer

Come To My Bedroom / Talk To My Bedroom

Bedroom music is anything that is ultra-personal. Whether it be bedroom pop, punk, or whatever, I usually think of it as usually self-recorded or semi-lo-fi. 

The word bedroom is used because what is more personal to someone than their room? A safe place that is completely their own, cut off from the rest of the world, and free from its judgement.

Colleen Green started her solo career in her room after she moved to L.A. and had been diagnosed with an incurable autoimmune disease. It was a turning point in her life and she channeled that emotion into recording and writing and figuring out how to use a drum machine by herself. Now, 4 albums later, Colleen has moved out of her room and into a studio, collaborating with others on her latest release. 

I really wouldn’t call Sky Ferreira bedroom-pop in the recording sense, but definitely in the sense of content. Sky has been the victim of abuse, and when she was writing her album she thought a lot about the way people are treated and about not letting what has happened to her define who she is. She writes songs based on ideas, not always experience. Her main goal is to be honest and speak to people. She writes simple lyrics to get her points across clearly. Sky Ferreira is taking the most personal events and sentiment and trying to help others. 

Mariam from Bong Wish said she started making music when she felt her life was missing something. She started recording songs in her room on her own. From there the band progressed and came out of her room. Which is a great thing, that she could take something intimate and share it with people. 

I have nothing but respect for anyone who takes their emotions and turn it into an art to help and share other people who have felt the same things.  

Bong Wish Interview

Hey everyone! Do you guys know Bong Wish? Well ya really should! They're a group of lovely ladies that have been playing shows non-stop. They are great and groovy and I love seeing them live. Check out my recent interview with front-women, Mariam, from the Boston Hassle! 

----------------------------------REPOST FROM BOSTONHASSLE.COM--------------------------

Mariam Saleh is the creating force behind the psych-folk dream that is Bong Wish. Not long ago, I got the chance to electronically interview the groovy songstress. Mariam shared her sagacity on spirituality, what's next for the Bongettes, and her advice for those who want to start performing.

Boston Hassle: What first inspired you to start writing and playing music?
Mariam Saleh: It just happened, my life needed something and it was music.

BH: When and how did Bong Wish form?
MS: Bong Wish I feel is always changing form, but with a strong core! The original configuration started with me, Ana Karina and Kristina. I had Kristina on bass and Karina on drums until we realized that the opposite made much more sense.

BH: How has Bong Wish changed, developed, and expanded since the band's start? 
MS: Well it started with just me in my bedroom. Multiple times a week I would record these 'under a minute' songs. I soon found myself wanting more and that's where Karina came in. It was very natural, very sisterly! Our bond was instant, quickly with love and support. Our voices also worked so perfectly together. Kristina came in, and again it was very obvious we all were supposed to be together at this time. Over time the songs lengthened, and the group spiritually became closer. We then came across Molly and like that she was a part of this sisterly connection. We often have Bongettes jump in and out of the mix, it's a very open and loving crew! Anyone can be a Bongette!

BH: Are there any particular themes or messages you try to explore or instill in your work? MS: Spirituality, love and the everlasting journey are messages I feel come across naturally with this group. Growing and sharing is important in our songs and as people.

BH: I read that when you first started a band you were a semi-inexperienced musician. What were some of the challenges that came along with that and how did you overcome them? 
MS: The only challenges I came across were inspiring ones! Getting better at my instruments and learning how to focus on what was important and to not get caught up in rock stardom.

BH: Do you have any advice for anyone that wants to form a band, but doesn't have any experience? MS: Love yourself and give love! No matter what kind of music or performance you want to pursue. Believe in yourself and challenge yourself! Don't give into the pressures of society and what fits in and what's currently cool. Real music comes from within.

BH: What is Bong Wish currently working on? Do you have a release in the near future?
MS: We are currently working on bonding as a whole, becoming more and more in tune to each other. That's the most important thing I think, playing together often and connecting mind, body and soul. We plan to record next month, potentially some demos to share with the world, or maybe even a more full record. Who knows, but for now you can see us play live!

May 24 Playlist

No.1 Party Anthem - Arctic Monkeys Bleak - Littlefoot Ode to Victory - Mac DeMarco California Sun - The Ramones Children of the Night - SaraLee What Condition Am I In? - Miles Kane All the Garden Birds - Palma Violets Tom the Drum - Palma Violets Nobody Asked Me (If I Was Okay) - Sky Ferrira Oh Yeah, That Deep Breath - Free Pizza Everlong - Foo Fighters Be the Breeder - Guerilla Toss Radical or Pro-Parental - Kathleen Hanna Saddest Summer- The Drums Strange Magic - Electric Light Orchestra Wonderwall - Oasis Philadelphia Freedom - Elton John

May 16 Playlist

Kathy Cross - Jim Leonard SUn Theme - Sun Young Kiss Me Again - The Drums Sesso in Futro - Tredici Bacci Schemers - Skaters Wild One - Colleen Green Holy Toledo - Vundabar 700 Parts - Fat Creeps Heart Eyes - Peach Kelli Pop A Pig Who Feeds - Guerilla Toss Even After You're Gone - Secret Lover Pray to God - Calvin Harris ft Haim Time To Go Home - Chasity Belt Ice Cream Cigarette - Size Queen Falling Down - Tall Juan Net Babes - Free Pizza FOMO - Fleabite Rebel Girl - Bikini Kill

Guerilla Toss

             Guerilla Toss is the voice of underground music in Boston. Since 2012 they’ve had nine releases, toured relentlessly, and had lineup changes.  Founded at NEC, Gtoss set out to rebel against the current music trends and investigate musical improvisation. They consciously avoided harmonies and melodies. They have buzz, like they can’t play house shows anymore, too many people wanna come out, so they have to play the bigger DIY places. They’ve gotten pretty big in Boston, a lot of people really like them. But they are not going to be a local band anymore, they are moving to New York.

I think the reason the younger or new-to-Boston crowd is so drawn to Guerilla Toss is because when to come to Boston and get exposed to this scene, Gtoss is one of the first bands brought up. And then when you hear that psych-noise you are just like “Oh my god. What!?” It’s over stimulating. I can’t classify them or give them a genre, and some bands are like that, unlabeled-able. They’ve made sense of all the noise, garage, and experimental jargon Boston has to offer.  Their jams are so good that I can’t even comprehend how they were able to make them, it’s raw and funky.

               

Their more recent stuff sounds more fine-tuned, but not like becoming boring, but almost more organized in a way, like they’re learning about what they sound like and how they wanna progress. It’s more experienced.

              

Guerilla Toss is notorious for their abrasive, physical, and piercing live performances. They are very much live act. You need to see them, or even just YouTube them. Back when Simon Hanes was the bassist, he would just go nuts, like he would get naked and flail around. It was somatic. Kassie Carlson’s energy and screams pierce right through you and you can feel yourself being sacrificed to the music. It’s like they’re completely disconnected but more lucid in the moment than anyone else in the room.  I asked Kassie what it’s like to perform, and she said “In order to be like that you got to disassociate from the people. But when we’re on stage the only thing that matters is the other people.” You can see the band using the performance as a physical release, and so the audience gets physical and let’s go of whatever is inside them too.

             

The members of Guerilla Toss seem to breathe Gtoss. The three longest running members, Kassie, Arian, and Pete, provide a strong core is good which is good for their image. They provide stability, and stability is important to people, like even when others leave you know those three will be there. You can tell they are close by the way they look so strong and confident together.

             

I think about when they tour, and when they get city where no one knows them and they perform, what the audience that doesn’t know them thinks. They must think “What just happened. Who are those people? What did they just do?” Because people in Boston know. And I think the move to New York is good, because now more people will know. There is probably more shows to play in New York, so hopefully that means more well-deserved money to make. They’ve gotten as big as a band can get in the Boston underground and have been crushing it for years. So a new scene to change and develop in can’t be bad.

               

They are going to be releasing new music soon, so you know they will probably tour, so I am sure it won’t be a lifetime before Guerilla Toss plays in Boston again. I can’t even imagine how flipping nuts a Boston Gtoss show will be when they don’t live here anymore.

Back again this sunday!!!

Sunday May 11th's Playlist

Hello. The very first Fanatic of the summer was last night, and I worked very hard on the playlist because I have a years worth of stuff that I wanted to play, so I got to play some of my new favs, but I still have a lot to get through. Here was last night's playlist:

"Sweet Teeth" by Leggy
"JJ's House" by The Lemons
"If You're Crying" by IAN
"Why'd You Call Me" by Colleen Green
"Roses from Peru" by Samuel Boat
"Gay Disco" by Guerilla Toss
"Heaven Sent" by Best Coast
"Horoscope" by Fat Creeps
"Blue" by Tomboy
"An Infinite Loop" by Hutch & Kathy
"Lizzy Come Back to Life" by TV Girl
"Superlove" by Charli XCX
"Hot Topic" by Le Tigre
"86'd in 03" by Bent Shapes
"livin in america" by Jane La Onda
"Handsome" by The Vaccines
"Baby Girl" by Free Pizza
"So sorry" by SaraLee
"IN TH FLESH" Bong Wish
"Diplomat's Son" by Vampire Weekend

SWEETIE - TOMBOY

L-R: Ali, Madeline, Meghan, and Hanna

Without a doubt one of my favorite bands, Tomboy has finally released their full-length EP. It is called Sweetie, and it features the title track which has been on their bandcamp since November of 2013, and a killer re-recording of the most powerful and classic "I'm In the Fucking Band" off of their other January 2013 6 song release of the same name. Everyone has been patiently awaiting another Tomboy release since the success and general love of their first EP. It was probably hard to get together, because even though Boston is Tomboy's home, these ladies live in Boston, D.C, and Canada. And these girls are busy, they all play in other bands and Madeline is an actress. 

So sassy, so fierce. Tomboy is definitely made up of some of the coolest girls on the scene. Every song on their EP, I’m In the Fucking Band, is fantastic and catchy. Tomboy is the modern embodiment of the riot grrrls, and they are doing it right. As someone who deeply admires the riot grrls of the 90's, having someone right in front of me that has that same spirit is very inspiring. Their songs are so relevant to the challenges faced by today’s feminist. “I’m In the Fucking Band” is about their struggle of being at a show and everyone there thinking that they are just the girlfriends of some guy in a band, but Tomboy won’t take that. They are IN the FUCKING band and deserve your respect. Their garage rock has purpose. They take what makes them angry and turn it into something to dance to. 

On Sweetie they tackle and conquer cat-callers, assholes, and relationships with dominance, grace, and wit. The sound of this album is just so strong, the fierceness and determination of Madeline's vocals carries the songs messages and themes. The rowdy drums and fuzz-strong guitar give them a sound similar to all of the strong female-lead rock bands of the nineties. These feminist are inspiring. On "Sweetie" they are calling some unknown figure out for treating them like some 2-D toy object. After they call him out and say "No!!" that is not what they are or what they are there for, they assert this with wicked lyrics such as "You call me sweetie/ but that's not what you mean/ 'look pretty with that smile'/ well, I think you're fucking vile." The songs may have some anger in them, but it's an anger that makes you dance, then when you are dancing you have fun, so the joke is really on any asshole that has ever wronged Tomboy. They are sort of an angry-pop that makes you have the time of your life. Then there is "Blue", the closing track that is perfectly swift and slower paced. It's beautifully written and simple, the smooth track ends album in impeccable standing. Every girl in the world should listen to Tomboy.

Check out my interview with Tomboy: https://bostonhassle.com/2014/11/interview-tomboy/

Also check out this awesome Tomboy artwork on Le Sigh: http://www.thelesigh.com/2015/04/stream-tomboy-sweetie.html

Buy the album through Ride the Snake: http://www.ridethesnakerecords.com/bark/tomboy-lp/

I WANT TO GROW UP - COLLEEN GREEN

------------------------------------REPOST FROM BOSTONHASSLE.COM-------------------------------

Massachusetts native turned LA resident Colleen Green is my favorite singer of all time. And I am pretty sure it's because I feel like we are the same person. For years Green has been known for her fuzzy stoner-pop gems featuring her, her guitar, and a trusty drum machine.  I Want to Grow Up, recently released on Hardly Art, is an album of self-reflection, a slight turn from her previous and equally as stellar release, Sock It To Me, which primarily focuses on love and relationships. Colleen sheds her D.I.Y sound and adopts a bigger rock persona with stronger vocals, heavier guitar, a drummer instead of a drum machine, and a bassist. The most major step the punk songstress takes in growing up on this album is identifying that she needs to. Colleen recently turned 30, and many of the themes on the album probably have to do with that, but it is crazy to me that I, as an 18 year old, can completely identify with and understand someone at a much different stage in their life. Maybe it is just me projecting my own feelings onto the songs, but either way it is amazing that the songs make it so easy for me to do that.

 Colleen's realest and maybe most personal song to date, "Deeper Than Love," is an almost haunting account of her past and fears about relationships, featuring lyrics like "How can I give you my life when I know you're just going to die?" But you can hear Colleen's motivation to change and get healthy on the upbeat "Things That Are Bad for Me (Pt. I)," and her struggle to change her ways, like on "Things That Are Bad for Me (Pt. II)." The most empowering song on the album is the closing track, "Whatever I Want," where Colleen realizes that she doesn't have to be scared, her world is a design of her own, and she can truly do whatever she wants.

 Another major step in the growing-up process is Colleen's transition from home recording to studio. It does make the songs sound clearer, fresher, and more grown-up, but they are still true Colleen Green jams. This album also features some of her sweetest and most rocking guitar riffs to date (S/O to "I Want To Grow Up" and "Things That Are Bad for Me (Pt. II)") and new strides in her vocal performance. Most importantly, Colleen acknowledges that growing up cannot really be measured and it never ends. Recently in an interview with LA Record, when asked about when she will know when she is grown-up, Colleen replied: "Growing up doesn't involve another person or another entity at all. It's within you. Hopefully I will never stop growing. If you stop growing before you're dead, that isn't good. I just need to be the best Colleen I can be." And Colleen Green continues to be the best.

FANATIC is returning for the summer!!

So Fanatic has been off the air for the last 9 month. And that is a long time. I had to give it up because I went off to Boston to go to college. And this past year has been great! I really tried to push myself into Boston's vibrant music scene. I was able to meet so many cool and crazy talented musicians and attended some of the best shows I've ever been too. So, I have a TON of new-to-me music I cannot wait to play on air. I also continued to do interviews and writing for the Boston Hassle, a amazing music blog/organization that specializes in Boston's underground scene. You can check out my work for them here.  I was able to interview spectacular people and write about amazing projects.

Season 2 of Fanatic is going to be better than ever. I have a whole year's worth of music to play and only one summer to fit it in. So I want all the playlist to be solid and I also want to make this lil blog pretty cool and actually post quality material. I am also totally going to do a Ezra Koenig appreciation show and a Hutch Harris appreciation show.

SEASON 2 STARTS SUNDAY MAY 10th AT 5PM!! ON WOOL!!!!