Rock
“Yoshimi Battles the Pink Robots” was the only record of the Flaming Lips that I knew in any real depth; it turns out that the band’s live show was heartwarming, a buoyant and visually exuberant experience.
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The alternative rock/power pop singer-songwriter and musician was slowed down during the COVID years — but now he is back.
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Sessanta succeeded in making “old” songs and “old” bands sound powerful, vital, and progressive.
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It is well established that the lyrics to the song on “Queen II” that’s directly about the painting (called “The Fairy Feller’s Master-Stroke”) originate from a poem Richard Dadd wrote about his picture. What’s never been established though is exactly how Freddie Mercury became aware of this poem.
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Saturday night’s advertised performers paid robust homage to the late Gary Smith — the Fort Apache Studios owner, producer, and band manager — across three and a half hours at the Somerville Theatre.
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The Disco Biscuits are playing champion-level shows following a period of rebuilding and recalibrating that brought the band out of semi-retirement.
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“The Past is Still Alive” hones Alynda Segarra’s songs to an accessible Americana that allows their travelogue-tinged tales to nestle in ways both literal and metaphorical. It’s one of the best records of the nascent new year.
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The Disco Biscuits improvisations are not driven by a guitar-rock root: they are more apt to dive into a piece of classical music and then ease into a propulsive dance-club beat that eventually swerves into Zappa-style brainy grime.
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The album’s layers of thick and swampy sound make Kim Gordon’s anxious point.
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Music Commentary: A Deep Dive into The Mothers of Invention’s “Plastic People”
Frank Zappa’s tight editing ensured that “Plastic People” was a compelling aural creation, and his fierce confidence compelled listeners to pay attention to the words.
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