Kids and Guitars, 10/24/09

Saturday night at the Democracy Center in Harvard Square, Mama Bird Recording Company put on a sea-songs-themed hootenanny.

The event, which had previously found its home in an attic in Allston, was held in a VFW-hall-style, historic, public space. And it was pouring. The rain made it difficult to trek all the way over to Cambridge, but it was well worth it. The dim chandeliers with electric candles and wood paneling lent itself perfectly to the sea-inspired folk. Acts like Vikesh Kapoor, Old Hannah, Barna Howard and Spitzer Space Telescope, were coupled with other kids who just wanted to sing some songs, touting their guitars, voices, violins, and banjos. Theses acts, associated with Mama Bird Recording, put on fantastic performances. Red-faced and shaking Spitzer Space Telescope belted out (a cappella) a powerful traditional sea shanty. Old Hannah performed some originals that loosely fit the theme. Vikesh and Barna also put on solid performances. And what's more, there were some gems performed by nameless kids who showed up just with a song to play.

The next hootenanny could be anytime and anywhere. You’ll have to keep your eyes peeled for posters at Espresso Royale, ask around with those kids who ride fixies and wear flannel, or ask that cute girl who you’ve always had a crush on. You know, the one that wears all those grandma dresses and rings. You always see her smoking cigarettes outside Allston Café and Urban Renewal. She’ll know where it is.

For now, you can catch Vikesh Kapoor at the YMCA theatre (820 Mass. Ave.) October 26 with Faces on Film at 7 p.m.

-Joe DiFazio

You Can Be a Wesley and You: Another Assessment by Joe DiFazio

Once upon a time I was in Allston following the bassist of You Can be a Wesley and his friends. They decided hopping a fence was better than going around a street. He got my jeans ripped and he got me drunk on Gin, which I later puked out with an alarming amount of blood.

I was not ready for their fun, but you should be. You Can Be A Wesley is an indie-pop gem bred at BU and on the streets of Allston.

The twee pop essence of the music is given backbone by Nick Curran’s bass that he sometimes punches through a distortion pedal. He takes his cue from bands like the Pixies and Joy Division. Winston McDonald too finds influence in these indie pioneers. The music swells and calms because of his lead guitar which goes anywhere from sharp riffs to gentle finger picking. Dan Goldberg’s steady drumming provides the backdrop for everything going on up front. He too drags the music from the gentle to frantic with soft steady light high-hat and snare based beats that transition through tight fills into crashy cymbals and loud snare pops. Saara the lead singer plays a driving rhythm guitar with power chords galore. Her singing is a unique combination of sweet and sad. She exudes a wistful kind of sexy. Winston jumps in to sing when the songs climb in to sing-a-long choruses that make you want to scream with them. These guys are indie-pop with a serious spine. They are the kind of band that if you throw things at them they will throw and spit right back.

Over the summer the band released their album Heard Like Us (on vinyl and CD). If you want to be happy in a sad sort of way, this is an album for you. You Can Be Wesley is yet another gem in the rough of the Boston music scene. Lucky for you, you can catch them Friday at WTBU day at BU Central.

Magic Magic & Me: An Assessment by Joe DiFazio.

Am I friends with Magic Magic? Semi-sorta. Sometimes I would call up Mike Hlady (drummer) to hang out. He was always with Dylan Gough (other drummer) and they were always playing Street Fighter, watching Mortal Combat the movie, or building a knife shooter out of an umbrella to pierce muffins with. John Murphy (singer) once took me to a video arcade and also tried to gyp me out of the money we made playing a show together. Demitri Swan (bassist) once video taped a consumer research study I did on condoms. Brendan Hughes (lead guitarist) I don’t know as well.

Many publications say that they are from Salem. This is wrong. They are from Dedham, a crappy, depressing suburb of Boston. The Salem thing was a hair-brained scheme thought up by their British booking agency. Many publications say they sound like Arcade Fire. This, too, is wrong. They do create gigantic and intricate sounds but are nothing like Arcade Fire. They are grittier, more accessible, better.

Their music is rhythm-based. They have two drums, a bass, and a guitar dedicated to rhythm. From this base they derive a powerful, colossal sound. Sometimes the two drummers will play the same thing just to make the beat louder and accentuate it. Slid over this is Brendan’s biting guitar, distorted and drawn out by delay pedals. Amid all this carefully planned noise is John’s anxious vocals. He sings and moves like a child who really has something to tell you, with a voice so high and desperate you can’t help but want to listen. His lyrics are weird and beautiful, ranging from becoming a jellyfish to acid to odd odes to people he loves.

Raised on every start-up indie band of the nineties such as Built to Spill and Modest Mouse, and going back a little further, The Cure, this band takes on the same sort of dark ambiance. Magic Magic is not yet signed and are in a shameful sort of limbo as a result of being from Boston instead of NYC or LA. Still, Magic Magic are making are making a name for themselves and are the next big thing from here, and hopefully soon the next big thing to grace all hipster-indie blogs. Screw Passion Pit.

-Joe DiFazio