ROCK CITY WEEKLY:
The Best Allston Music Offerings (11.13.08)
The SIS Preview by Miriam Lamey

The trees look barer, it’s suddenly mid-November and that can only mean one thing…Christmas music has hit our airwaves! Even the, ah, eccentric folk who frequent Porter Square are blasting holiday cheer from an elderly boombox. And we haven’t had the chance to survive Thanksgiving with The Family. Sigh. It’s that holiday season again. Prepare for a remote Turkey Day with tons of relatives by shuffling over to one of the following pre-Thanksgiving Allston gigs. And kindly, try not to be too smug if you’re the lucky one with close family in New York, LA or any other exciting city.

Ladycop
Holy crap. It’s rare to be utterly blown away by the opening strains of a tune. But the debonair electro-mavens Ladycop impress from the get-go. Brooklyn-based Ladycop play with speedy, acidic drums nodding back to Massive Attack and these New Yorkers’ self-proclaimed influence, Aphex Twin. The mystifying percussion is layered with spacey synths and distorted vocals , for quite the eerily gorgeous music. “Enemy Castle” transmits a languid, otherworldly sensation, thanks to static-infused vocals and just the right touches of ringy guitar riffs. “Cool Runnings” presents a more traditional sonic structure, with plucky guitars and a Shins-esque dreaminess. Yet Ladycop masterfully introduce clicking beats and off-tempo electric drums to give the tune more of a modern Radiohead feel. Each tune is well-planned and not overbusy, despite the plethora of sounds and intstrumentation. If Ladycop’s live recordings are this thrilling, it’s tempting to find out what the band will do live. Hit up the ‘space at http://www.myspace.com/ladycopnyc and see them live at Great Scott on November 20th.

Giantess
Have the 1980s taken physical form and entered the building? Nope, it’s just the new synth drama of local band Giantess. Tiptoeing the line between amusing ‘80s brightness and synthesized wonder, Giantess present utter sonic class. “Tuff ‘n’ Stuff” could be almost cringeworthy, in a “this reminds me of Michael Jackson” kind of way, but remember, Michael Jackson had some solid vocals, smacking beats, and fabulously danceworthy tunes. Giantess layer slippery electro key patterns, rock out their Moog and weave together bass rhythms; it’s innovative, shocking as that neon glowstick and altogeher kick ass. Giantess don’t seem to take themselves too seriously, a sense which adds to their appeal and is altogether apparent on the track “Deceptive Man.” Slapping beats, bleating synth notes and a cutesy chorus of “aw, yeah” prompt both smiles and a mad rush to the dance floor. It could either be a great porno soundtrack, or the next big dance anthem. Giantess will certainly shake up Boston in 2009; check ‘em early at Great Scott on November 22nd and on myspace at http://www.myspace.com/yesgiantess

Dear in the Headlights
Not as startling as the name would suggest, Arizona natives Dear in the Headlights present some reliable rock tunes and a pleasant vibe. A certain swinginess, present on the tune “I’m Crying and You’re Not” has a touch of Britpop flavor, and a scent of The Killers. Fortunately, Dear in the Headlights try to rip off neither and maintain their charm by combining anthemic vocal lines, chattery drums and a quirky, slightly off-tempo riff. The funkier “Talk About” reeks of Bright Eyes with less melodrama. Where Conor Oberst paints everything in shades of grey, Dear in the Headlights maintain a violet presence, thanks to their urgent synths and endearing vocal desperation. The band experiment with different pacing, beat patterns and tempo which enhace the less-than-tuneful melodies. But don’t let this dissuade you from giving Dear in the Headlights a chance – the music’s energetic, savory enough to keep interest and they should put a lot of vigor into their live performance. Dear in the Headlights descend upon Harper’s Ferry on the cusp of Thanksgiving: Tuesday, November 25th and can be found any time on Myspace at http://www.myspace.com/DEARANDTHEHEADLIGHTS