Photo Courtesy Aloud
Aloud is a Boston-based indie rock band who uses two lead singers. The four person group (pictured) includes Henry Beguiristain, Jen de la Osa, Charles Murphy and Frank Hegyi. The band has just released their fourth album.

There are a multitude of bands that have emerged quickly on the indie rock scene and vanished just as quickly from our memories. Aloud is not one of them. Formed in 2002, Aloud is known for its lead vocalists’ resonant sound and rhythmic, foot-tapping music. Aloud has earned nominations for “Best Vocalist” and “Best Indie Band” from the Boston Phoenix, which has earned them a special place in the hearts of many indie fans. Their music has been compared to the likes of “Alabama Shakes,” “Dr. Dog” and “Fitz and the Tantrums.” But truth be told, Aloud has created its own irreplaceable niche in the musical world. The band has toured massively and is coming to Philadelphia on April 23, they will be playing at MilkBoy.

On April 16, I got the opportunity to catch up with the band’s lead vocalists/guitarists, Jen de la Osa and Henry Beguiristain in an online interview. The duo talked about their musical influences, their latest album “It’s Got to be Now” and Beguiristain’s risqué scheme to increase Aloud’s popularity.

The Triangle: What was your biggest musical influence while growing up? What made you want to make music?

Jen: I grew up listening to loads of Beatles, Stones and Motown. The oldies station was always on the radio. Records were always around the house. The 60s are pretty much the foundation of my musical education. I learned how to write pop songs, but listening to these meticulously and re-writing them. Around 13, I discovered Oasis and that was one of those formative moments like, “Yes, I must start a band”.

Henry: I still want to be Noel Gallagher when I grow up.
TT: What are some of your current favorite bands?

Jen: I’d say I’m way into the Arctic Monkeys, the Love Language, Sharon Jones and Tennis. Of course, Lucius, who is just tremendous as well as Father John Misty and Those Darlins.

Henry: All those, and Feist… she’s one of my favorites in the last few years. The Mynabirds are outstanding. “Generals” was a great album, but that first one of theirs, “What We Lose in the Fire We Gain in the Flood,” I latched onto that one pretty hard. That and Spoon kept me afloat during a particularly rough tour.

TT: You just released your latest album. Could you tell us a little about the music?

Henry: Save for vocals and a few small odds and ends, Jen, Charles, Frank and myself recorded “It’s Got To Be Now” live, playing in the same room without any separation. We’ve wanted to record that way for a long time and when the means for doing so presented itself, we jumped into it whole hog.

TT: Was there a particular theme behind the conception of the album?

Henry: Our previous record was akin to making a film; this one was more like making a documentary. We just wanted to capture a moment. It was a lot of fun. I’m not sure I want to record any other way.

TT: What are some of your favorite tracks off “It’s Got to Be Now?”

Jen: For me, I suppose I love the soul infused ones like “Don’t Let It Get You Down,” “It’s Got To Be Now” and “A Little Bit Low” (though that one’s more of a straight rocker, I guess). The poppier stuff like “Jeanne, It’s Just a Ride!” and “After the Plague,” I’m very proud of as well. Stays in the brain.
Henry: What Jen is actually trying to say is that they’re all amazing. Ten nuggets of pure gold. Don’t make me choose, you monster. Also, I got to play a Mellotron on “The Ballad of Emily Jane,” so that was neat.
TT: What does the band aspire to achieve in future?

Jen: I only want us to be able to make music for as long as we’re content to keep playing with each other. Only to make records and tour for as long and as far as can year by year. You try to push more with each release to find your balance.
Henry: All of my career aspirations all involve disastrous amounts of hubris. I’d be content with a scandal or two involving a large music festival, large volumes of mud, substances whose legality is suspect, and the very public questioning of the virtue of our fans—followed by a mea culpa publicity tour on late night television.

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Nina Persson has often been deemed the heroine of “coldhearted warm pop.” This ironic phrase sounds almost acrimonious to describe someone as iconic as Persson. It was only after attending her show at World Cafe Live that I could truly understand that term. Persson is fearless. She is a woman who can do it all — she led The Cardigans to international acclaim with her recognizable vocals, she worked as a solo artist, released two albums with Nathan Larson as A Camp, followed that up with her first solo album “Animal Heart,” and also got married and became a mother between all her musical endeavors.

On the night of April 13, Persson proved that she really is a jack of all trades. The show was opened by White Prism, an electropop delight with Lenka-lookalike frontwoman Johanna Cranitch. It was the perfect opening act for Persson’s galactic performance that was to follow. With Cranitch’s husky, ethereal vocals and peppy songs like “Graceless,” “Play Me, I Am Yours” and “Leather Streak,” she proved to be a commendable opening act.

After her performance, Cranitch re-emerged at the keyboard, this time with the Swedish pop queen by her side. Persson had an inexplicable mystique surrounding her. The moment I saw her, I could sense a certain boldness in her. Clad in gothic attire with a tiny Harley Quinn-like hat adorning her blonde hair, Persson looked like a ringleader ready to whip her band into action. As soon as she hit the stage, she had the place swaying to her music. Nina and her persons (pardon my inane puns) played songs like “Animal Heart,” “Food for the Beast,” “Dreaming of Houses” and “Burning Bridges for Fuel” from her solo album, “Animal Heart.” Her brief career as a solo artist made her play more music from her previous project, A Camp, including songs like “Charlie, Charlie,” “Bear on the Beach,” “Frequent Flyer” and “I Can Buy You.” I felt a special connection to Nina, especially when she dismissed her lack of correct pronunciation and defended it by saying that she “is a foreigner.”

There was nothing too exceptional about the event, except the lively music and the show’s intimacy. I got to sit down at a candlelight dinner and order food. But what made it better was Persson’s dramatic performance that accentuated her dreamy, high-pitched voice. Later into the night, she did a spectacular job seguing from one song to another while showcasing her musical prowess. At one point, she even played the harmonica while performing “I Can Buy You.”

While none of her current music is said to be comparable to the acclaim that The Cardigans and singles like “Lovefool” achieved, Persson has come a long way. She has established herself as an immensely talented artist with innumerable singles, worked with the Manic Street Preachers and even acted in a documentary. Here is a woman who really knows what she wants and gets it. The music industry needs more icons like Persson, but I doubt that anyone except herself exists.

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Magda Papaioannou The Triangle
The Drexel Drag Show on the night of April 3 featured many student performers and Shangela Laquifa Wadley from “Rupaul’s Drag Race.” Stephanie Chic is pictured above.

It takes a lot of nerve to entertain more than 500 people anticipating a bedazzling performance. But to do so in eight-inch heels and garish attire takes a certain audacity particular to performers at the Drexel Drag Show. The Drexel Drag Show took place April 3 and featured Shangela Laquifa Wadley from “RuPaul’s Drag Race” along with many student performers. The show was sponsored by Drexel University’s Student Affairs, Foundation of Undergraduates for Sexual Equality, and Enrollment Management. It marked the integration of events organized as a part of Welcome Back Week.

On the night of April 3, two events persisted — the unremitting drizzle and the drag performers’ ability to leave their audience awestruck, the latter of which was not surprising to me. The auditorium in Main Building was brimming with enthusiastic people, many of who, like me, were new to the concept of a drag show. While I stuffed my mouth at the free pretzel station, the auditorium quickly filled up with more than 500 people who were more excited about the show than the free pretzels (a concept unfathomable to me).

After a brief introduction by Mr. John Cooke, associate dean of Campus Engagement, the stage was occupied by the performer extraordinaire, Shangela. Shangela revved up the place with her energetic moves and aggressive twerking— something last showcased by Christina Aguilera in “Burlesque.” In fact, the entire show had a very Burlesque-y vibe to it, without, of course, the splendor of the scintillating sets or Christina Aguilera in thongs. As the night progressed, the audience was exhilarated by performances from Bijoux, Nicki Mahal and Liz, among many others. The crowd lauded and enjoyed the performances, some of which were borderline lecherous but nevertheless thoroughly entertaining.

I often caught myself hollering uncouth phrases like “Damn girl!” something I have not engaged in since I last heard “Sexy Bitch” in ninth grade. Mahal’s performance deserves a special mention as she capered about to “Do What U Want” by Lady Gaga and enticed the audience. In an online interview with The Triangle, Ajay Raghavan, a junior who performs as Mahal, revealed that although the audience was the largest he had ever performed in front of, he was not apprehensive.

Raghavan claimed to “thrive off the energy of the audience,” which is characteristic of his self-effacing demeanor. For many performers like himself, the April 3 show marked an unforgettable night, thanks to the audience’s constant encouragement and heartening ovations. I inquired if Raghavan was anxious about performing in heels taller than the size of Willy Wonka’s top hat. He replied that although he was slightly nervous, he never let the fear of falling or costume malfunctions deter him from putting on a good show. I could sense this confidence in every performer — despite tripping multiple times, they all re-emerged gloriously, only adding to the hilarity and entertainment of the audience.

My only gripe is that after a while, the show appeared hackneyed with its somber sets and repetitive performances. The drag queens’ confidence and playful stripteases were not enough to sustain the audience’s attention for the entire night, as more than half the people left after the first half of the show. However, what managed to keep the show going was Shangela’s witty commentary and spontaneous humor. Another saving grace was that the show was very engaging. The drag queens often marched up all the way to the back of the auditorium to involve the audience and surge their enthusiasm.

Banality aside, the show delivered what was promised with admirable performances and zealous energy. While I still believe that the show has a lot of potential to develop its characters with more stimulating performances, the drag queens held the show together with their committed performances and astonishing balancing prowess.

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