Ultrabreakfast @ Cuisine en Locale 9.19.2014

It would be hard for me to overstate how important Ultrabreakfast has been to my time in the Boston music scene. Their indie rock, janglefuzz tunes brought me out to the clubs. They taught me who Billy Ruane was. “Gonna go out tonight/Gonna get my hand stamped twice” became words to live by. Friendships and bands formed with and around this crew have impacted just about every aspect of my life. Needless to say, when Ultrabreakfast got together to play their first show in 15 years as part of WMBR’s Pipeline! at 25 celebration, I was there.

Spin-Off! @ Radio 10.12.2012

Spin-Off! kicked off the second night of the Band For Babs benefit at Radio with a set of witty indie-pop.

Miskatonic – Favorite Records (2008)


Miskatonic
Favorite Records
2008

Miskatonic is breaking up soon, but in 2008 they brought us another EP of synth-happy new wave inspired power pop. This three song effort sounds and feels very much like their debut full length, Let Us Entertain Us. If you liked that record, you’ll like this EP.

“Favorite Records” is the standout track. The song is infections, with snappy drums, pop culture references and a sing-along chorus. There’s also some cool interplay between the guitar and keyboard. Vocalist Elizabeth Firger seems more confident on this EP than on Let Us Entertain Us. The darker “Sudden Silence” has a cool ending that works well with the song. “Taunt” closes out the EP, showcasing some nice contrast between the verse and chorus.

Where to get it:

Miskatonic @ The Rosebud Bar 7.27.2011

It’s been some time since Miskatonic last played a show. They came back with a fistful of new songs to debut for an enthusiastic crowd at The Rosebud.

Miskatonic – Let Us Entertain Us (2007)

Miskatonic - Let Us Entertain Us
Miskatonic
Let Us Entertain Us
2007

Toss The Cars and the B-52s in a blender. Add a dash of Fountains of Wayne and a smidge of The Rentals. Voila! Miskatonic. What we have here is a band that is having fun creating quirky, poppy, indie rock songs. We’ve got boy/girl vocals, chirpy synths, buzzing guitars, and moving bass lines. Heck, the rhythm section makes these songs almost danceable, you know, if people in Boston actually danced.

Miskatonic has a nerdy innocence about it, much like early Weezer or Nerf Herder. “Sno-Cone Girl” and “Extra Terrestrial Girl” are ‘80s-tinged upbeat rockers with fun twists on the boy-girl pop song. Paul Wisner’s synth melodies are featured prominently on these songs. “Mach 4 Blackout” and “Consternation Land” really dial up the B-52s vibe. Singer Elizabeth Firger absolutely wails during “The Fall,” which also features some intense drumming from Mark Patti. “The Extra Mile” slows things down and features a cool falsetto vocal and Steve Kelly’s melodic bass line.

The highlight of Let Us Entertain Us is the new wave meets punk anthem “Dregs Of The World.” It sounds like The Buzzcocks with keyboards and cool little guitar leads. Tim Farrell shines on this track with his spitting vocal delivery. I love this song.

Where to get it:

Ultrabreakfast – Ice Cream Tricycle (1997)


Ultrabreakfast
Ice Cream Tricycle
1997

Mix equal parts Pavement and Smudge (the Australian, Tom Morgan fronted Smudge) and you’ll get a rough idea of what Ultrabreakfast sounds like. It’s quirky, fuzzy, catchy and fun. The production is mid-fi, the playing is a little sloppy, and it’s full of heart. All of this is documented on their full length album, Ice Cream Tricycle.

While much of the record is full of indie rock crackle and buzz, my favorite song on Ice Cream Tricycle is a straight up pop tune. “Mary” has a sweet guitar line and a simple melody that works well with Josh Boughey’s cool vocal delivery. The song has an innocence to it that will put a smile on your face.

The rest of Ice Cream Tricycle has something for everyone. There are quick and dirty up tempo numbers like “Orange Car,” “Dragon” and “Wishlist” (which mentions such wonderful things as Superchunk, albino kangaroos, time machines and dear departed local legend Billy Ruane). Kristen Day’s kick-snare beat and Tim Farrell’s slide guitar give “On The Floor” an almost country feel. The slower numbers provide the band some room to experiment with their sound. These songs serve as a showcase for Paul Wisner’s creative guitar effects. There’s even a conceptual song trilogy within the album’s ranks. All of this in under 40 minutes. That’s some marvelous ’90s indie rock efficiency.

Where to get it: