Tag Archives: Noise


Flyer by G. Gordon Gritty




@ LOU ANN DAVID PARK – 1060 Broadway, Somerville, MA 02144 (NEAR TEELE/DAVIS SQ)


4752 Fest Coming Back To New Bedford on October 23

4752 Fest, New Bedford’s all-day music spectacular, returns this year! The first edition in 2019 was nothing short of inspiring – drawing in local music fans and bands from all over New England. The 2021 version of the festival will take place on Saturday October 23rd starting at 2:30 PM at the Fiber Optic Center loading dock. I caught up with organizer Devin Byrnes, proprietor of Destination Soups (one of the venues), and member of New Bedford dance-noise trio Picniclunch:

: Hey Devin! Describe the magic of New Bedford’s 4752 Fest to somebody not from there but who is curious about what differentiates 4752 from the average music fest?

D: 1. The 4752 festival is a completely walkable, roaming music festival. It is set up in different venues scattered around downtown New Bedford. It is completely free and is all ages except for one venue. No two bands play at the same time, the set times are staggered, so as one band is ending, another act who might be a block or two away is set up to start their set. I wanted it to be a free flowing experience allowing the listeners to take in as much or little music as they would like.

G: There are 6 venues, including some that don’t regularly host live music – tell us a little more about each spot if you can!

D: Yes, absolutely… I would be remiss if I didn’t give a heartfelt thank you to each venue for agreeing to be a part of this, especially during these times. The venues are: the loading dock (only outside venue) at the Fiber Optic Center. They provide fiber optic technology for all sorts of businesses and the president, Ethan, not only is allowing us to kick off the event there, but he has been very generous in being a sponsor of the event, enabling us to pay the artists. Then we move to The Communal Space which is is a Bipoc led, arts cultivator space with an emphasis on community engagement and equity for all. Then we go to The Madlila, which is a store focusing on eclectic, newer and vintage clothing and accessories. Then to Destination Soups, which is my fast, casual, lunch restaurant. We move on to Paradise McFee Gallery, a really funky, vibrant working art gallery. Followed by last, but not least, No Problemo, which is one of the OG spots in the New Bedford, downtown scene. It’s a hip, delicious, Cali-Mexican place. Craig (who runs it) has been an ubermensch for years, by being one of the only spots to host original music Downtown. In my mind, these businesses highlight the eclectic make up of our Downtown.

G: The line up is a combo of homegrown NB talent and others from around the region – without giving too much away, what sort of sounds might we expect? It certainly seems like it could get loud & weird at times!

D: Yeah, I am really excited for this year’s line up. When I started booking it in July, it came together really quick and almost everyone I reached out to was on board. I think that was a reflection of how much people were really jonesing to play again. My formula for curating it is about a 50/50 split between New Bedford area based artists and artists around New England. Also, I am looking at different styles. I have some dreamy acoustic acts and some abrasive noise rock, a bit of everything. I try to focus on more underground artists that in my eye, bring something original and interesting to the table. If you come and walk around the festival, I think you will be entertained. I think to make something like this successful, you need a good amount of variety. If you really like a certain kind of music, great, but you probably don’t want to watch 13 acts playing that kind of music.

G: Your band Picniclunch just headlined our SUPAPS festival and that was a blast. You’ve done some Covid-era gigs in Providence, too. Will this be a homecoming gig for y’all? Anything else you want to plug or share related to the Fest or Picniclunch?

D: Yeah, thanks for having us up to Somerville.. that was a great day. I loved how on a really nice day, all these people were using the public park space, punk bands, people shooting hoops, kids birthdays, etc. . yeah, this will be our first show back in New Bedford in probably a few years. Like you said, Providence is pretty close and we have played 3 fairly recent shows there. When Covid hit we started recording and we hope to get back at that soon. We have almost a full album worth of new material and are really excited by the newer material.

In closing, I just want encourage everyone to come check out the festival. I don’t really know many events like it – the bill is stacked and I think our home town is pretty great.


KLYAM Recommended Happenings:

THURSDAY, JANUARY 2 – JESUS DRINKS FREE @  The Haven in Jamaica Plain. Free. 21+. 9 PM to 1 AM. The first Thursday night of every month, DJ Dan Shea and cohorts (this time: Nadav & Spnda) spin soul, r&b, country, and yes certainly Gospel, for believers and non-believers. Calling all lovers of old time music from the ’50s through the ’70s.

SATURDAY, JANUARY 4 – NICE GUYS, Minibeast, Service, Freaking @ Great Scott. 21+. RTT Presents. A strong night of punk ‘n noise.

FRIDAY, JANUARY 10 – KARAOKE @ The Lilypad – 10PM to 1AM. $5. Karaoke with Erica & Maria has now become an institution.

FRIDAY, JANUARY 17 – DOG, Children of the Flaming Wheel, and G. Gordon Gritty @ Deep Thoughts in Jamaica Plain. $5-10 sliding scale donation. All Ages. Noise behemoths and utter legends DOG make a come back to Boston! Children of the Flaming Wheel are coming off a FIRE performance at our recent Holiday Party at Dorchester Art Project. Yours truly and band will open the show & expect the unexpected.

SATURDAY, JANUARY 18 – Baby Baby, Thighs, Lane, Russ Waterhouse, Frigid – Banshee Den, Everett, MA. All Ages. A new, DIY spot in Everett? This is one to pique curiosity. And the line-up is just as weird as you’d expect.

A Review of KLYAM’s AMAM Noisefest Part 7

In the style of Blowfish

We headed to Trixie’s Palace for Kids Like You and Me (KLYAM)‘s A Mouth Is A Mouth Noise Fest Part Seven. KLYAM has been putting on underground – quite literally – noise fests for a few years now so we thought we’d go check it out.

We were greeted by what appeared to be AMAM Noisefest performers sitting on the lawn outside of the house concert venue. These friendly folks informed us that there was free pizza and beer inside of the home. Somebody said that the kids putting on the show directed the bands to load in at 5 PM, but nobody actually showed up on time. Anyway, we waited around a bit for the show to start.

Soundcheck kicked things off. This band is comprised of Chris from KLYAM on vocals, Brian, who will be performing two more times tonight, on drums and G. Gordon Gritty on mini keyboard.  There is a repetitive synthesizer loop in the background while the trio is playing. They played some bizarre song with the lines “I WANT A MILF” repeated and then maybe a couple of other quick songs.

Next up were Lindie and Con Tex. Two really talented guitarists playing off of the other. They might have been playing two totally different melodies, but it really worked. Picture a 10 minute long instrumental passage smack dab in the middle of a The Clean pop song. Those perfect kind of vibes. They looked at each other and decided that the set was over. We think they should play much more often in the rock ‘n roll circuit!

Next up was Brian, also known as >>>>>>>>>>>>>>>>>, UP UP UP, arrows, the drummer of Johnnie and the Foodmasters, the drummer of Soundcheck, the noise guitarist in G. Gordon Gritty. Among other things. Up Up Up is an innovative noise guitarist who constructs his own pedals, guitars, and peripheral accessories. He has played at other noisefests before. This time it is just him on guitar and he plays a variety of instrumental surf classics. He introduces the set by saying something like it’s summer. His style of playing is pretty percussive and the sounds very wiry, clangy, and fuzzy. He deconstructs Dale with his own signature attack, but not to the point beyond recognition. This is great!

Next up was DJ Tomorrow’s Achievements. His vocal-only set was broken into a couple of segments. Progressively depressing per the speaker. The first was a group exercise: we were to find someone we didn’t know and tell them the best thing that happened today. The exercise was to take five minutes. We didn’t participate, but most people did. After that DJ moved into throat singing. Singing or noise making. A long fart type of noise. But other noises, too. Next, he told a story of a prisoner who ate his own shit and the high costs of maintaining prisons. The atmosphere did not lighten up as everyone paid close attention to the speaker.

Lobotomizer from Pawtucket took the stage after DJ. Lobotomizer has a large speaker and a vast array of electronics perched atop a keyboard stand. Turning knobs. Glitching out. It’s hard to say if there were individual songs, but it might be safe to assume something like that. So many different sounds. Back when we were going to noisefests in the ’90s, we would see performers do stuff like Lobotomizer. Almost really really subtle dance music now that we think of it.

Next up was Healers Co. A duo with both players on electronics and tiedye projections in the background. We’ve seen them before with drums and guitar, but this set is notably scarier, more atmospheric, and more one-with-nature. The cornerstone of Healers Co. is intimacy and the open invitation to let your mind to wander. They occupy a flexible position in the weird world noise universe. We sure will keep an eye on them.

G. Gordon Gritty was next and again they were rough. A three piece this time with Brian from before on noise guitar, a gentleman named Kyle on drums, and Gritty on bass and vocals. Interestingly enough, GGG did not utilize wireless systems to execute this performance, as he had in recent times. There was a cover of Black Lips “O Katrina” and a rapid-fire out of tune/time burst of one or two lines from a half dozen or so songs  before the band got all wild and switched instruments mid-jam while GGG improvised a bit “Like A Stripper In Vegas” and called it a night.

Skull Urethra , a project of VomitBitch, ended the night with a grotesque, one-of-a-kind set. There were about a half dozen members of this collective. Add to that a tarp of fake blood, partial nudity, wrestling, and haircuts. That was just the performance piece of it. The music side of it was well orchestrated and in the general pedigree of noise. The crowd seemed to be in on what was happening and some found themselves suddenly a part of the act. The people in the band, so to speak, were doing their thing in a half circle around the space. The chaos was controlled and once it was over, it was over, but we all had never seen anything like it. No amount of recorded audio could capture this. So you’d have to be there. Interesting, huh!

Classic Album Review: Lightning Bolt- Wonderful Rainbow

Full Title: Wonderful Rainbow
Artist: Lightning Bolt
Year: 2003
Label: Load
1) Hello Morning- 7
2) Assassins- 8
3) Dracula Mountain- 7
4) 2 Towers- 7
5) On Fire- 8/9
6) Crown of Storms- 8
7) Longstockings- 6/7
8) Wonderful Rainbow- 4
9) 30,000 Monkies- 6
10) Duel in the Deep- 7

Comments: Every now and then as a fan of music I get a particular urge to go out and purchase a record I wouldn’t typically listen to or venture into a style that is less common on my ipod. Enter Lightning Bolt. Before I listened to Wonderful Rainbow I knew LB for about a year. I listened to several of their songs, researched the duo, and watched many a youtube video. I do this with various groups from time to time, so I when I got the aforementioned urge, I turned to these noise rockers and what do you know this LP was exactly what I was looking for; a musical (earthly) delight! From what I have read, this album is supposed to be their most accessible and I can definitely see why. The basslines are invigorating, memorable, and even hooky at times. As always the pair deliver a savage, brutal attack to your ears and never let up, not one bit. This may not be their harshest release, but without a doubt this is a euphoric onslaught of all different kinds of sounds and in many ways for a curious fella like me that’s part of the appeal. Just being blown away and perplexed, not knowing what the hell they are doing! It should be noted though that this isn’t just noise or collages of noise, it’s noisy alright, but has structure (amidst chaos) and certainly has musicality. It may be complex, but not too complex, if you are looking to just rock out, you can really enjoy this album. If you’re a musician or a recording engineer, you probably will appreciate the near flawless recording, production, and attention to the musicianship. Brian Gibson makes the bass sound more like a guitar, at least to me and he shreds like crazy. Brian Chippendale is easily one of the best drummers I have ever heard and brings a lot of force and intensity to his playing; his vocals are also extremely menacing, considering he (as always) uses a microphone that is made for a household telephone receiver. His yalps are eerie and sound like he is trapped somewhere, screaming for help from some damaged speaker. In any case, the group’s unconvential recording methods are not only unique, but ultimately effective in reeling the listener in and demanding their attention, unlike many other unconventional artists that usually end up boring you and me. In terms of tracks, I feel like this whole record is an entire experience and should be judged that way. But, at the same time each track has their own story, so to speak. The ratings listed above are more based on levels of enjoyment and not necessarily quality. Highlights for me include the transistion from “Hello Morning,” into “Assassins,” simply amazing. “Assassins” as a whole is one of the best tracks from the record and perhaps the easiest for the casual listener to get turned on to. “On Fire” is by far my favorite track, the riff is pretty damn catchy and ropes you in and never lets go. I really dig the variety of the tune and how it switches into gentler vibes toward the end, all while maintaining a pounding wall of bass. This continues on “Crown of Storms,” one of the other stand out tracks. I guess for my tastes the rest of the album, while still kickass in its overwheleming heaviness, didn’t WOW me as much as the earlier songs on the record, but this is more of a personal thing as I’m sure folks can find plenty to desire in these remaining songs. Lastly, another great thing about LB and this record is its recording; some of the best recorded music I have had the pleasure of hearing, with Shellac as the closest comparison that comes to my mind. Overall, this is not a record I will listen to all the time or through and through over and over again, but it is a little masterpiece in its own right and if I was more into the noise scene then I would probably rank this higher. All in all, a sound addition to my record collection, and I will be sure to listen to another record from the mighty Lightning Bolt again sometime in the future.

Grade: 7/10- I highly recommend, but I can’t give it a higher rating, because of my ultra pop loving soul.

Too bad they didn’t have “On Fire” live, since I wanted to post a live video. Here’s “Dracula Mountain” live instead, just as badass. I plan on seeing them live one day as they are on my concert bucket list. Looks insane!

Concert Review: Wavves, Ganglians, Many Mansions @ Great Scott (9/27/09)

Bands: Many Mansions, Ganglians, Wavves
Venue: Great Scott (Allston, MA)
Date: Sunday, September 27, 2009

Many Mansions
This band embodies what has become of the psychedelic trance/drum and bass genre. Their set up was different for sure: one man controlling the drum and bass machine, the effects pedals, and singing while the other dude was just on stage to (apparently) play with the visuals on the projector. And the visuals were weird as hell. Some of the images: an African boy running in a field, an African guy nailed to a cross and decaying, trees, a bunch of people moving away from a building, people break dancing, and an African woman doing a dance in the forest. These images did all sorts of crazy things like spin, flip, illuminate, and fade. The visual arts component was better than the music. I felt bored by the music, at least initially. A few of the electronic drum schemes were catchy and maybe one song was actually “good,” but other than that this band just didn’t do too much for me.

The best I can describe Ganglians is proto-Wavves. They played a lot of catchy noise-pop that certainly the crowd was into. There was definitely an element of their music (the bass lines, probably) that really allowed for dancing and grooving. The lead singer was rocking out and everyone in the band looked like they were having a blast. I sensed a lot of Jay Reatard garage-pop, especially in the drumming and singing. There was one number in particular that had a near identical drum part as “Blood Visions.” A song I highly recommend checking out that they played is “Blood on the Sand.” “Hair” had me mistaking this band for the War on Drugs with its active keyboards. Overall, this was a really good second band!

After ten minutes of “technical difficulties,” the crowd got a little antsy. Like…maybe Nathan Williams consumed Valium and E before the show and couldn’t figure out which amp to plug his guitar into. Or maybe not since the only amp on stage was a huge Marshall double-stack mammajamma. Safe to say that no public breakdown happened last night. Williams, with his New York Death Adders hat and tee, welcomed the crowd saying “Hi, we’re Wavves” before blasting into “So Bored,” my favorite song! Everyone easily recognized this song because it’s Wavves’ biggest and just started going nuts, singing along, dancing, etc. The next set of seven or eight songs potentially ended with the word “Goth” or “Demon,” I just can’t remember. That’s because there was, at least for me, an unexpected amount of moshing. The first I got hit I was kind of like wtf okay that’s cool. But then I looked behind me and people were getting pushed around like crazy, bumping into each other. So the next twenty minutes turned out to be an awesome re-visitation of old No Age shows, because of both the music (noisy punk) and the crowd response (moshing). The final song they played was “No Hope Kids,” an awesome song to end the show! Pure pop beneath the massive wall of noise. Unfortunately they only played for 30 minutes, but it was a lengthy 30 minutes. After sweating my ass off from all the moshing and losing track of time, it felt like just enough.

Final Comments: Wavves put on a great show and the experience of watching them play was very top notch. Wouldn’t it have been better if I knew a majority of the songs performed? Probably. I didn’t let them bug me and in the end I walked out of Great Scott knowing that I had a shitload of fun. That said, this show is not comparable to some of the best shows I’ve seen. I would give it somewhere in the B+/B range.

Crowd during Wavves
Crowd during Wavves

Once Nathan Williams got stuff to work, all was well
Once Nathan Williams got stuff to work, all was well!