It’s been a couple of months since we visited Boston, but in that time there’s been a few very interesting things happening. Our ten song selection for September celebrates the best sounds from the city’s underground, bringing you not only the usual dose of garage rock, but even tracks by a couple of great singer songwriters and an alternative rock tune teetering on the fringes of melodic punk. As always, we hope you find something new to enjoy…

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Following on from their ‘Stranger Days’ single, Today Junior sound a lot sharper yet somehow more melodic on ‘Werewolves of Boston’. A number powered by speed driven chiming guitars, the arrangement taps into a lot of 90s alternative and indie fare for inspiration, but there’s nothing about this track that sounds hacked out or tired. The relentlessly chopping rhythm coupled with an occasional falsetto vocal brings so much energy; a fiery lead break reinforces a feeling of fury and intent, while a massive vocal hook arrives in time to give the coda a kick…and, with that, something even more memorable. If this is your first listen to this band, you’re in for a treat.

A Boston legend, Tad Overbaugh offers fuss-free thrills on ‘July’, a slice of blue collar rock that is a near perfect advert for his ‘Farther From Near’ LP. From the outset, the mid tempo arrangement throws out big, ringing chords that share a 90s inspired radio-friendly quality, falling somewhere between Tom Petty, Dave Pirner and Kevin Salem. It’s a perfect backdrop for Tad’s signature drawl, as always straddling the space between Americana and melodic rock, while song-wise, this is one of the artist’s most accessible tracks, flaunting a chorus that’s simple, but at the same time knows it has an infectious quality that really works. It’s all great, but there’s an extra treat here for those who are already invested in the scene: Neighborhoods man David Minehan guests on guitar and backing vocals, injecting an extra dose of quality to an already strong track.

Often a reliable source for retro sounds, Muck And The Mires really won’t let fans down with ‘It’s Gonna Be Alright’. Often sounding like a supercharged Merseybeat band crossed with The Sonics, the track tears through two minutes’ worth of riff-driven energies, pushing the rhythm guitar very much to the fore, but also presenting a really tight drum part that shows how naturally the band have tapped into a deliberately retro sound. The music is great, but more than ever before, Muck and the boys seem set to win the hearts of garage fans everywhere with an insanely repetitive hook that’s guaranteed to stick. A track that deserves to be played loudly!

Although the grumbling bass and heavy drums initially suggest the work of a post punk band, ‘Taller Trees’ by PPR PPL (pronounced Paper People) goes much deeper than that. A couple of the introductory guitar chords hint at a post grunge workout, but this isn’t one of those either. This new band’s genre bending style mixes a retro alternative core with a more complex post rock groove, but also layers up some rather unexpected harmony vocals to create a big hook and ends up somewhere on the fringes of contemporary alt-metal. There are times where this track almost sounds as if it occupies a space of its own. It also shares a complex edge without ever feeling impenetrable. It might be early days, but ‘Taller Trees’ is a signifier of more good things over the horizon. As a first taste of a brand new act, this is certainly impressive.

Boston alt-rock band Massive Nightmares are set to release their full length album ‘Ain’t My World’ at the end of October. In the meantime, here’s a taste of things to come via lead single, ‘Get Bent’. Working its way around a huge guitar riff and a selection of rough around the edges vocals, the track occasionally sounds like a punky version of Goo Goo Dolls, a comparison that becomes more obvious with the help of a harmony driven chorus. The balance between power and melody, grit and accessibility is just perfect. For those not keen on the vocal style, the music attacks with such clarity – centring around some wonderful lead work, and a glorious 90s-tinged riff – that it becomes almost impossible not to love this. In terms of the punchy style the band favours, the song might just be a minute too long…but it’s hard to find fault with the music itself.

Mixing the heartbeat of Boston’s rock scene with the aesthetics of Detroit, ‘Motor City Yankee’ by Smitt E. Smitty & The Fezztones takes their audience by the scruff of the neck and takes them on a guitar driven guided tour of a musical past. Armed with a riff that sounds like a more melodic MC5, the track knows exactly what it is – a no-nonsense romp, perfectly suited to Smitty’s theatrical yelp, driven by a crashy musical arrangement, all of which is a great fit for repetitive chorus. Despite its roughness, this has a massive appeal: no only is it all as catchy as hell, it’s also a music lover’s treat with references to Alice Cooper, MC5, Motown and Iggy Pop thrown about with abandon. Somewhat wisely, they’ve chosen to ignore Ted Nugent…

‘My Baby Is Socially Distant’ isn’t quite as immediate as some of Stop Calling Me Frank’s wares, but for those who love their retro pastiches driven by hard edged rhythm guitars, it’s still very much a track with the dial firmly set to “fun”. Against a riff that draws from old rock ‘n’ roll stock redressed in a late 70s post-punk glee, the music has an energy that suits the natural vocal performance, but everything really comes into its own once everyone allows some harmony vocals and a buzzsaw guitar solo to take centre stage. Its parent album ‘Miles To Go’ features some arguably better tracks, but as a snapshot of the Franks in full flow, this works well enough.

A focus track from an album that features a diverse set of recordings ranging from a fourteen minute jam that blends 90s alt rock with an almost psychedelic edge and a number clinging onto a funk rock groove, ‘Riddance’ finds The Rupert Selection in pleasingly aggressive form. The number’s riffs take the band’s rockier tendencies and push them in an almost punk ‘n’ roll direction. The overdriven guitars are complimented by a barrage of horns which bring a party spirit to a retro flair, and everything combined results in a brilliantly crashy track that, whether approached as a newbie or dyed in the wool fan, shows off this Boston band’s wonderfully enthusiastic spirit.

The Sean Coleman Project taps into a slow blues groove on ‘You’ve Got To Choose’. The kind of track that defies being tied to any particular era, it presents gritty guitar work worthy of the 70s blues rock greats, while offering the kind of punchy drum sound you’d more closely associate with 90s recordings. The music here is great – effortlessly working through sounds worthy of Walter Trout and the Tedeschi Trucks Band amped up for good measure – but the major selling point comes from the vocal. Guest Mia Boostrom taps into a full cry throughout, sharing a perfect bluesy performance that could go head to head with Susan Tedeschi and Bonnie Raitt…and possibly even come out winning. For blues fans, this is a must-hear.

In a change of pace, indie folk musician Baxter Hall shares an emotionally rich performance with ‘The Work’. The quieter aspects of the track help to showcase a great voice, while the more forthright riffs that power the second half of the number capture a sweet spot between rootsy indie and noisy Americana. In some ways, this ends up feeling a little like two half formed ideas welded down the middle, but its to Baxter’s credit – and largely down to a great and natural vocal – that it works. First time listeners who love this track are likely to disappear down a Spotify rabbit hole to check out the artist’s other recordings.

September 2026