On this Friday night, the second night of the NEMO Music Festival, The All Asia, just outside of Central Square proper, had been commandeered by Berklee students — Berklee students with their own record label. Their classmates The Teenage Symphonies were on the club’s small corner stage. The young band did their best to let the good times roll via their melody-driven rock, bouncing up and down like they had just shotgunned a few Rockstar energy drinks. The band had an odd interstitial moment, a semi-a cappella area between two songs with top-notch vocal harmonies yet not much else. This moment appeared to slightly confound the audience, and the band immediately followed up with the more powerful sound that got them onstage in the first place.

Down the street, Jordan Kelley stood on the Middle East Upstairs stage with naught but an old-world vest over his white shirt and a ratty-sounding guitar. His guitar was so out of tune that even the soundman appeared to be concerned. In contrast to the cacophonous strings, his voice was an almost shockingly pleasant one, strong and unlabored even when reaching for notes in the upper registers. His guitar woes continued, however, when the instrument’s electrical contacts began to give way, causing his sound to crackle and occasionally just squelch out. The band joined him onstage after a few tunes, but the crowd seemed like they were still trying to figure out the first few songs.
Around the corner, TT the Bear’s had a slightly different flavor. Rose’s Pawn Shop of Los Angeles, California featured both a standup bass and fiddle, conducting a full-on foot-pounding, fiery-fiddlin’ demonstration. Sebastian St. John was both the man wielding the fiddle and the catalyst for the Pawn Shop’s sound. While all of the songs had the same quick, almost-out-of-control energy, they were stepped up about twelve notches when St. John started sawing through his fiddle. Whisps of smoke seemingly emanated from his bow, dangerously exciting the TT’s crowd and giving everyone a glimpse of what early Appalachian music might have been like if they had had access to electricity and psychedelics.

Back Upstairs, the moppy-and-floppy haired Washington D.C. group The Hint was onstage, displaying boundless energy. The group’s slightly off-kilter vocals simply added to their pleasurably askew sound. The younger kids in the audience tried to start a moshpit towards the front of the stage, pulling out all their aggressive dance moves in an attempt to incite their neighbors to join in the rowdiness.

If there was a heart to the excitement of this entire night, it was to be found Downstairs at the Middle East, where car company Scion presented not another ugly vehicle but a strong showcase of hip-hop music. 7L & Esoteric took the vast stage like inner-city vaudevillians, their visages veiled from view via their matching V For Vendetta masks. While the vaunted group’s voices had yet to be heard, the crowd seemed vivified by the mere presence of the venerable verbiage-spewing rappers. The two doffed their masks in unison, displaying the veracity of their identities to the further delight of the now-raving crowd. The two leaned vicariously over the newly installed iron railing at the front of the stage, reaching out and grabbing hands and gesturing right out into the crowd, who were pointing right back. The two vocalists threw rhymes back and forth in rapid-fire frenzy-rhyme, dropping polyrhythmic stanzas over some choice beats. The crowd sang along with many of their songs, including set piece “Get Dumb,” which had the entire Downstairs singing and moving around in a late-night vigil for the golden age of hip-hop.



At street level, Milo Jones had set up in front of Zuzu’s large window, working his dark acoustic magic over a crowd that could have only existed in this unique space. The room was crowded, with the entire front half sitting in rapt attention of Jones and his haunting/haunted-sounding vocals. Even his guitar sounded like it may have contained the musty old spirits of Somewhere Else. Jones’ music permeated through the cracks in humanity to the rear of the lounge, although the spell woven by his songs was a more palpable presence towards the front.

The last order of the night was back at TT the Bear’s as Frank Smith took the stage to cap off the evening, which had by now become Saturday morning. Frank Smith is not one man but many, and the Boston Music Awards-nominated band spread its local all-star membership across the TT’s stage. The group’s sound was a slow and colorful sway that was nonetheless punctuated on occasion by an energetic series of hits, displaying both the tightness of the band and their instincts for rock. Every once in a while the group would change gears in a song, moving from alt-world to rock-world and back in the space of a bridge. The cohesive group’s sound was also colored by the additions of not just a banjo but also a pedal steel, both elements transcending novelty status to actually add to the sound. Frank Smith, although not a man, was a good way to cap off this evening of independent music, providing musical closure to a busy evening in Central Square, the main nerve of Cambridge’s musical community.
-Review by C.D. Di Guardia; photos by Marianne Bolduc



Milestones 2006
Berklee Performance Center
Boston, MA
September 22, 2006

Milestones, a celebrity-packed hip-hop gala, focused on the key innovators in both musical production and performance from the past 30 years. Unlike most awards shows, the emphasis was placed on the lasting contributions of, as Fab 5 Freddy said, “the heartbeat” that “creates the spark” for music: the producers and the turntablists. The event attracted a diverse audience of well-heeled industry professionals and hip-hop aficionados, as well as the next generation of aspiring emcees and turntablists who promoted their work outside the venue during intermission. The high production value was punctuated by glossy program guides, in-depth video essays projected on the backdrop, and brand new musical equipment provided by Numark, Alesis, and Akai. The evening began with the introduction of the night’s emcee, Fab 5 Freddy, who lamented how difficult it was in the early 1980s for “turntablism” to gain acceptance, which garnered a standing ovation from the audience. It seemed fitting, therefore, that the gala was held at a school where guitar and now turntable instruction were first introduced into the classroom.

Appropriately, the first musical act was the next generation of emcees and turntablists: Berklee Turntablism Ensemble. Founding members Jason Dawson and Radar Ellis were joined by Charlie Swan, Sam Burke, and Steve Foxx the Beat Box who got the crowd on their feet. The following musical act was Al Kooper and the Funky (Berklee) Faculty. Kooper banged away on his Hammond organ, which was made famous on Bob Dylan’s “Like A Rolling Stone”. While being presented with the Milestone Award for Lifetime Achievement, which was a mounted pair of sliver headphones, Kooper said that he persued producing because he thought “it would be cool to be behind the scenes.” Next, Boston’s own 7L & Esoteric performed a lyrical tribute to Marley Marl and DJ Premier. The Alchemist continued accolades to DJ Premier and Marley Marl by presenting awards to the duo. The Alchemist praised Marley Mar’s contributions, especially his being the first to drop a beat before the music video era. Yet Marley Marl reminded the audience that extended breaks wouldn’t have been created without the efforts of DJ Premier at D&D studios in the mid-90s, where he worked on extending the breaks via sampling. Marl said DJ Premier’s use of jazz and other musical influences made hip-hop more accessible to the mainstream audience. DJ Premier gave the audience a taste of his beat skills after being given the new Alesis NPC 500, the industry standard for drum machines.

After the intermission, Mike Phillips paid homage to Michael Brecker, who couldn’t attend because he was still recovering from an experimental partial-matching stem cell transplant. Phillips first played the Akai EWI 4006, an electronic wind instrument that Brecker made famous with his group Steps Ahead and then later on Herbie Hancock’s landmark album Future Shock. Then Phillips busted out an EWI 4000S, which sounded like a cross between an EWI and a TalkBox. The following music act was the trio of Jazzy Jay, Grand Wizard Theodore, and Jazzy Joyce, who scratched in a tag team format. Jazzy Jay stood out, perhaps because he pioneered the first DJ team routines along with Grand Wizard Theodore. There was a light spattering of laughter, as all three couldn’t pronounce the sponsors’ names. Yet the trio was not only capable of playing these products, but they also use them in their own studios.
The only tense moment came after DMC, a surprise guest presenter for the Milestone award going to Jam Master Jay, took the stage. He spoke about his friend, who founded the first DJing school, Scratch DJ Academy. Jam Master Jay’s brother was supposed to be presented with the award. Instead, Jam Master Jay’s entire family flew up from North Carolina to attend it. The tension started when Jam Master Jay’s mother contended that DMC never consoled her after her son’s death, even though countless other musicians did. After DMC left the stage, Roc Raida performed the best theatrical scratching of the night by scratching between his legs and behind his back.

The musical finale assembled the musicians and award recipients to play Herbie Hancock’s “Rockit,” featuring GrandMixer DXT, the grandfather of the scratch. Hancock was the first to incorporate turntablists into a band. After the event, a select few were loaded onto a bus and driven down to The Good Life, owned by the Fiumaras, who have strong connections to the hip-hop community. The audience enjoyed the scratches of GrandMixer DXT until late into the night.
-Gregg Patay

Aeroplane 1929 / Via Audio / The Progress / Piebald
Wallingford American Legion
Wallingford, CT
September 23, 2006

Mix an evening full of good, old-fashioned rock ‘n’ roll with a small venue packed with eager punk-loving concertgoers and you have the back-to-basics atmosphere that characterized Manic Productions’ September show. The night featured performances by local and regional acts, followed by headliner and Boston big-boys Piebald.

Show opener Aeroplane 1929, a local outfit hailing from central Connecticut, played to a half-empty house but didn’t seem to mind. After exhorting the audience to “move forward, we need you to touch each other,” the band launched into their energetic, springy, chock-full-of-sugar synth rock. Interesting musical interplay innovatively divided rhythm duties between guitar and synth in order to allow the drums to have fun with high-energy fills. This adventurous quality meant that Aeroplane 1929’s sound was characterized by a lively beat which, despite sometimes becoming complicated, was continuously present as it explored the space around the melody. Raw but melodic vocals mixed well with OK Go-style instrumentals to create a sweet-and-sour sound that got the audience primed and raring to go.

New York/Boston-based band Via Audio performed next, playing a richly-textured experimental rock set overflowing with atonal harmonies and bell-toned synth. The influence of bands such as The Cardigans, Crystal Skulls, Spoon, and The Zombies could be heard in the group’s ethereal vocals, which drifted and soared over alternately blunt, punky, and screaming guitars, filling up the small space with a unique, larger-than-life sound. The music’s sometimes sultry, sometimes dreamy, and sometimes raucous feel made it comparable to Stars, or Death Cab for Cutie with a flirtatious edge. The band’s website claims Via Audio sounds like “Pop Rocks, Laffy Taffy, Popcorn Balls, Pez, Gumdrops, and Goobers.”

New Jersey emo punks The Progress woke the audience up from its experimental dream state with a chunky, hard-hitting performance. The band attacked its instruments with a vengeance, playing high-energy, solidly lean rock with pop overtones. While the drummer provided staccato rhythms with bullet precision, an impressive use of finger picking and a lovely, uniquely grainy vocal quality lent the band a tortured but familiar sound, as if one were remembering a bad day. Crunching guitars, interesting use of loud-to-quiet transitions, and two-part harmonies at climaxes came together to create a particular brand of excitable indie rock.

The energy of the already raucous crowd reached new heights as the band most of the audience came to see took the stage. Piebald, whose current indie heyday grew out of a successful start in Boston, performed a healthy set of its signature hip-twitching, head-nodding, sweat-inducing pop punk amidst a playful atmosphere. Lead singer Travis Shettel started the show by announcing to the audience “Your socks are gone, man” and at one point played a flawless guitar solo from the shoulders of co-guitarist Aaron Stuart. The band barreled through its set with enthusiasm, picking and choosing from a considerable library of melodic garage rock. “Old School” built a wall of sound through power guitar and brittle percussion; bigger hits like “A Simple Plan” and “American Hearts” were ebullient and rollicking; an old Kinks B Side was rendered meanly sinuous; and a cut from the band’s upcoming January album, Side One Dummy, was fast, furious, and flailing. Throughout the set the musicians of Piebald were superb showmen, cracking jokes, taking questions, and leading their audience in a tour de force of down-and-dirty, tiny-wooden-building suburb punk. In the end, the night came to represent this feeling for Piebald, the accompanying bands, and the audience — a trip back to rock’s roots, when foot-stomping loud rock was all it took to make magic.
-Review by Alissa Greenberg, photos by John Kritzman




Faces On Film / Fancey / Gene Dante and the Future Starlets / The Sterns / Taxpayer
Bill’s Bar
Boston, MA
September 29, 2006

Bill’s Bar hosted the ASCAP, FNX and The Planetary Group’s NEMO festival showcase, presenting five musically diverse bands. Fears of rampaging Red Sox fans did not deter the usual Cambridge crowd from heading out to this Lansdowne Street locale. The turnout was impressive and varied, including the usual hipster brigade, sorority girls and college kids, and troops of devoted fans.

Faces On Film kicked off the evening with a technically tight piece that provided a brilliant start to their wide-ranging set. Their sound was absolutely clear and singer Mike Fiore has never sounded better with a voice that, at times, almost resembled that of Neil Young. The band’s energy captivated the moderately sized audience and the close communication between band members made for an honest, relaxed performance. Each song flowed neatly into the next, and even a broken guitar string did not stop the performance for long.

The poppier group Fancey followed Faces on Film. This side project of The New Pornographer’s guitarist Todd Fancey provided music that was entertaining, if mediocre. The band’s overall sound catered to generic indie rock fans, and failed to match Faces On Film’s musically complex pieces. Fancey, however, still received a warm response from the audience, who apparently enjoyed the music.

Gene Dante and the Future Starlets continued the showcase and played an utterly amazing set. A few opening sound problems were completely forgotten as the band exploded into their first piece. Their outstanding stage presence was due to the band’s exciting, theatrical performance, to which the audience warmed. Singer Gene Dante acted the true rock star, wholly dedicated to his top-quality singing and guitar playing. This glam-rock band, sounding reminiscent of Placebo and David Bowie, presented impressive passion and energy.

The Smiths-inspired band The Sterns took the stage next, to a fairly large, excited audience. They began with a fast-paced song, which highlighted The Sterns’ intricate guitar work and elaborate vocals from singer Chris Stern. The audience responded ecstatically by dancing and whooping. It was electrifying simply watching the crowd’s reaction to the music. Compared to Gene Dante and the Future Starlets, The Sterns seemed a bit self-conscious. Stern’s vocals were significantly weaker than Dante’s, probably due to the reduced microphone volume during the set.

Somerville natives Taxpayer rounded off the night in the now-packed venue. The band leaped into their set with a loud rock piece, enthusiastically throwing themselves into their playing. The overall sound was balanced well and the lyrics were fairly discernable. The band was obviously comfortable onstage, and their indifference to the more obnoxious audience members brilliantly emphasized their cool, rocking stage image. Their stage presence was similar to that of Faces On Film, making for an exciting, engaging set. Taxpayer transmitted true professionalism and their raw energy allowed them to deliver a truly fascinating performance.
-Review and photos by Miriam Lamey

Grace Potter and the Nocturnals
Paradise Rock Club
Boston, MA
September 29, 2006

“There’s the exit sign,” Grace Potter shouted, pointing to the hallway after opening with the haunting song “Night Rolls On. “If you’re not ready to rock, then get the fuck out!” The Vermont rock band Grace Potter and the Nocturnals returned to the Paradise Rock Club for a two-night stand during the NEMO Music Festival. On Friday, Sept. 29, everyone dancing in the intimate Boston club was ready to rock at Potter’s request.

22-year-old Potter is a natural on stage. Within minutes of singing the a capella intro to “Nothing But The Water,” the title track from the group’s most recent release. Potter had the audience transfixed and silent, holding on to her every word. She stood behind the microphone stand, with her hands on her hips, swooning the masses. Her smoky voice accompanied by the beat of a tambourine soon turned into a riveting jam session as she took a seat behind her Hammond B-3. Potter, backed by guitarist Scott Tournet, bassist Bryan Dondero and drummer Matthew Burr, rocked the night away, playing signature songs such as the country-influenced “Left Behind.”

Seeing Grace Potter and the Nocturnals play live is like traveling back to the ’60s and ’70s. The band has successfully captured the gritty, organic sound of psychedelic rock ‘n’ roll on their latest release. Their sound is like a great rock album that has been waiting for years to be discovered in a dusty box in your grandparent’s basement. Their sound has certainly matured since their first visit to the Paradise Rock Club in February last year. Much of the set was devoted to new songs that the band is road testing before they record their next album. The new tunes featured a mix of distorted guitar solos by Tournet and Potter, but Potter still returned to her seat behind her Hammond B-3 to play on “Great White Gate,” a song she dedicated to her father. On stage, the band is in synch and full of energy. They are comfortable playing with together, and their talents shine through on the new material.

In between fan favorites and new songs, the band paid tribute to the King of rock ‘n’ roll. Guitarist Scott Tournet picked up the harmonica and played a bluesy riff at the start of a six-minute rendition of Elvis’ “Mystery Train.”
The band kept the momentum going the entire night, segueing into “Joey” and Lucinda Williams’ “Joy.” The soulful song showcased Tournet’s slide guitar skills and ended with a powerful finish as Potter screamed “You took my joy! I want it back!” At the beginning of “Treat Me Right,” the crowd yelled “somebody pinch me!” as Potter crooned over funky guitar and organ chords, singing “come on, come on/you gotta treat me right all the time/squeeze me like a key lime.”

It’s about time Grace Potter and the Nocturnals played a two-night stand in Boston. The first night of their run at the Paradise Rock club proved this band can rock, and there’s no doubt they’ll be back for a night of jamming in Boston.

-Review and photos by Amy Farnsworth