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December 2014
The Spirit of the Beehive
"The Spirit of the Beehive
"
mp3
There is something rather dark and mysterious about a band that takes its name from a classic Spanish film that focuses on its protagonist, a young girl, who becomes fascinated by the 1931 horror movie, Frankenstein. And with an album cover that portrays a child in a bee costume positioned in front of a tombstone saying, “Here Lies Mom-n-Dad Now Their Gone Isn’t That Sad,” you can’t help but be intrigued, if not a bit disturbed. The Spirit of the Beehive is a local fledgling outfit who has popped up on my radar this past year, appearing on numerous bills, oftentimes at DIY spaces. The band has further grabbed my attention with its debut self-titled full-length album, which was recorded by The Weaks/ex-Dangerous Ponies, Evan Bernard and Chris Baglivo, and released via rising Philly indie label Ranch Records.  
 
The record’s opening track, “Roll Over,” begins with an eerie instrumentation before a languid female voice comes in with barely intelligible lines. “Cycles in and out of morphine hazes. Finding spaces between your floorboards. And I watch the dust move.” Thankfully the group provides us with lyrics on its Bandcamp page; otherwise, the beautifully poetic verses filled with drug-fueled imagery would be lost in the wash of power chords and feedback. “All lost in the black market. To wait in the fix aisle, I roll over.” You also get a sense of the band’s lo-fi, DIY aesthetic when you are abruptly taken out of the world, created by the album’s first, with studio chatter before moving on to the next track. With “Short Walk,” you can’t help but feel the influences of greats like Nirvana and more recently Creepoid with the hushed vocals and sonic bursts. These two tracks set the tone for the first half of the LP, where you travel in and out of the territories of dream pop and shoegaze when the female lead vocals grab a hold of you and then the grungier, harder-edged side takes over with the male lead. This juxtaposition provides quite an enjoyable balance that I actually wished went on longer throughout the record.
 
It’s not until “Ether,” where the two combine forces, changing the dynamic of their relationship. The title of the song suggests that you might be finding something more ethereal; however, the driving bass line provides a sense of urgency throughout the track. It also marks the point where the male lead begins to dominate the rest of the album, while taking on some of the characteristics of its counterpart. What remains a constant is a psychedelic, drug-filled angst full of guitar licks and distortion, giving off the vibe of a band that is here to rock, and they don’t care if you are ready for it or not.
 
The Spirit of the Beehive closes out their ambitious LP with the longest and cleanest sounding recording on the album, “Fever Dream,” demonstrating that they don’t need to hide behind studio effects, while making you wonder where their follow-up release will go next. It’s an eclectic and modern sounding record that also pulls from past genres I hold close to my chest. I highly recommend that you go download it ASAP. - Q.D. Tran

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The Deli's SXSW Issue 2014 is online!

Read it digitally here.

P.S. 10k free copies of this issue hit the street of Austin during SXSW Music week!


...and the award for “Breaking the BMAs” Goes to: Tigerman WOAH

To all of the faithful Deli readers, I apologize for the tardiness of this post, but between recovering from Sunday’s Boston Music Awards festivities and wrestling with some website issues, I have been unable to publish this article until now. I suppose the delay was a good thing though, because my head is finally clear enough to type out a few sentences about all that went down (or didn't go down) at the annual Boston music scene celebration. I struggled a bit in deciding the angle that I would take for this piece, considering most people just give a rote list of winners, peppered with a few choice adjectives. I've chosen to forego that list (you can find it on The Boston Globe or BMA website anyway), opting instead to give a one-sentence recap of the ceremonies, followed by a far more entertaining account of the best performance of the evening.   

The recap: I wasn't surprised by too much at the awards (Will Dailey and Bad Rabbits receiving more hardware was hardly a shocker), but I was excited to see The Sinclair take home Best Live Music Venue honors.

The story: The highlight of the night for me was Tigerman WOAH’s performance. They were slated to play one of the last sets of the evening, so I figured the BMA organizers and the Revere Hotel were anticipating the rowdy, awesome debauchery that comes standard with all Tigerman gigs, but I guess I was assuming too much. Halfway into their set, the Revere pulled the plug on the band due to numerous people throwing beers up, down and all around the stage. At least I think that was the reason--maybe they didn’t approve of everyone in the room shouting all of the lyrics to Tigerman’s songs? Apparently something about Tigerman’s genuine intensity, and the raucous enthusiasm and revelry that accompany their shows, didn’t align with the polished aesthetic of the hotel. Regardless, the band seemed to be having a good time at the show, passing around a bottle of bourbon among themselves and any audience member within arm’s reach of the stage.

Even with the abrupt stop their set, two things are indisputable: Tigerman always puts on one heck of a performance, and the BMA committee knows how to throw one heck of a party. - Dan McMahon (@dmcmhn), photoby Natasha Moustache @iamMoustache

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Elephants release LP "Strange Waves" tomorrow (12.16)

Tomorrow, December 16, Boston Indie Rockers Elephants will be releasing their latest full-length album, "Strange Waves." The release comes about a year and a half after their self-titled first record. Their sophomore offering shows a lot more musical control, while still holding tight to their lo-fi preferences. It seems the band has finally found their sound (spoiler alert: lots of fuzzy guitars) and has figured exactly how to project it. The record has a great flow to it--all of the songs are very cohesive and compliment each other nicely. I was able to check a preview of the album and I particularly drawn to the fifth track, “Moving Pictures.” The song has a Dinosaur Jr.-ish feel with great guitar riffs and a smooth vocal performance from singer Lauren Garant. You can find some of these elements also in "The Turtles Were Right," the first single unveiled by the band, streaming below.

For updates about future shows and other band news, check out Elephants’ Facebook page. - Dan McMahon

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Boston's Italian Indie-Pop Ensemble Tredici Bacci Release Cover of "The Most Beautiful Song Ever"

Tredici Bacci's vocalist has one of the most thankless lead singing jobs. Her rhythm vocals take no more of the spotlight than the violins, but alternate beautifully between sustained soprano and a stone skipping over fake Italian waters. Yeah (sorry I blew your cover), Tredici Bacci is no more Italian than Jesse Camp was homeless. But who cares? They're classically-trained musicians performing orchestral pop songs that, somehow, get the young people dancing. Today's cover of what bandleader Simon Hanes called "the most beautiful song in the world," Ennio Morricone's "Metti Una Sera A Cena" is perfect seduction music.

 

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IN HEAT and Bugs and Rats Tour Starts Tonight in Providence

The first time I saw Boston's excellent Bugs and Rats, Nick from How They Light Cigarettes in Prison told me they sound like Nirvana. I'd never have thought of it, but In Utero is a pretty close comparison.

Providence's In Heat is screaming angry metal with enough power to make even the old people in the pit move (don't confuse them with the In Heat who have a Facebook page, though). Tour starts tonight at OE BNB in Providence, with Boston's Abominable Skimask.


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