The Underground Sound of Emerson College
Design by Shruthi Krishnakumar By Mario Sierra On September 22, Thiscityhatesyou and Loser (formerly known as Spaz), played their unofficial first show together. Independently organized by members of both bands, the set took place on the Charles River Esplanade. The show consisted of an hour and a half of loud, raw, emotional music and short…
The winter is catching up to us here at milk crate… And this week we’ve gone dark… “Blood Bitch” by Cocteau Twins The first track ever released by Cocteau Twins, “Blood Bitch” immediately dives headfirst into the gloomy, atmospheric wails of what would soon be categorized as goth. Preceding the establishment of goth aesthetics and…
Design by Katie Lew By Katie Lew Kerrin Connolly is Boston-based artist who self-produced her third album Simpleton, which was released February 20, 2026. Each of her previous albums follows a whimsical outlook on life and mundane struggles in a distinct bedroom pop style, but this new album delves completely into the fantasy world through…
If soul music had a fairy godmother, it would be Minnie Julia Riperton-Rudolph. Born November 8, 1947, she was raised in the South Side of Chicago as the youngest of eight children. Riperton studied at Lincoln Center for the Performing Arts, taking classes in ballet, drama, and music, with aspirations of becoming an opera singer. Certainly, the skills she acquired from this era of her life only continued to refine as she grew older and found her own style of music. Before releasing her own music, Riperton sang as a back-up vocalist and with bands. This is where she met Charles Stepney, a writer and music producer she would work with for the rest of her career. Other names behind the curtain include her husband, Richard Rudolph, and close friends, Stevie Wonder, George Benson, and Leon Ware. These legends are only a few lives Riperton impacted with her pure admiration for life and soul music.
Design by Katie Lew By Heather Thorn 1. Nancy Spungen and Sid Vicious (Sex Pistols) The Bonnie and Clyde of rock ‘n’ roll are Sid Vicious—mediocre-at-best bassist of the Sex Pistols—and Nancy Spungen. They met in March 1977 when Spungen, freshly nineteen years old, flew from New York City to London looking for a rock…
My Love Song for You – Nile Rodgers Chinatown – Wild Nothing Feeling of Love – Phylliss Bailey La La Love You – Don Mclean Watch Me – Labi Siffre Surrender – Suicide Acolyte – Slaughter Beach, Dog Our House (Demo) – Graham Nash, Joni Mitchell The Dress – Dijon First Day of My Life…
“Swallowed Alive” by Mount Eerie “Swallowed Alive”, off Phil Elverum’s Night Palace, is at once shocking and entirely unsurprising. The fourth track on the album, Swallowed Alive follows an impressive starting three of the tracks “Night Palace,” “Huge Fire,” and “Breaths,” each of which are simultaneously subtle and sweltering, drenched in delicate ambience and atmosphere,…
Ten years ago, in mid-December, Run for Cover Records and Fred Perry held the first-ever Something In The Way Festival in New York City’s Webster Hall. In 2026, they’re celebrating their third show, this time presented through the Bowery Boston. Held at Roadrunner over two days, the 2026 Something In The Way Festival brings what is arguably their strongest lineup to date. While 2016 had modern revival emo giants such as Modern Baseball and 2025 had midwest emo originators like American Football, the 2026 lineup is unbelievably well-rounded. Classic acts like headliner Sunny Day Real Estate and openers like No Warning are accompanied by revival emo legends Tigers Jaw and The Hotelier, along with up-and-comers Febuary and First Day Back. But the lineup doesn’t only hold emo bands—Glixen, Horse Jumper of Love, and Momma fill a shoegaze and indie rock-sized void in the lineup, with Graham Hunt and Park National bringing the slacker rock mentality. Rounding off the lineup is a handful of Run For Cover residents, led by returning bands Teen Suicide and Citizen.
At this point in their career, By Storm, composed of rapper RiTchie with a T and producer Parker Corey — both formerly of the group Injury Reserve — are a duo defined almost as much by the mythology surrounding their music as the music itself. Since the 2021 release of Injury Reserve’s earth shattering By The Time I Get to Phoenix and the group’s subsequent dissolution/reformation into By Storm, it’s become common practice to wax poetic about their music’s innate connection to grief, about how the sporadic, confrontational sound of that final record so effectively embodied the devastation of post-mortem anguish like little hip-hop before it ever could — and that’s not denying that By The Time I Get to Phoenix was anything but an album about grief.