Doors at 6:00 PM
Show at 7:00 PM
Standing Show
Over the past several years, Boston’s House of Harm has quietly carved out a place for themselves in the bleaker corners of underground music, balancing the intensity of punk with a melodic tension that has drawn comparisons to classic C86 bands, early 4AD, and 2000s post-punk revivalism. Originally formed in 2018, the band quickly gained attention with a series of EPs that circulated widely online, building an international following drawn to their emotional clarity and distinctive atmosphere.
Their debut album Vicious Pastimes (2020, Avant! Records) introduced a fully realized polished, yet raw sound that resonated with fans of bands like The Chameleons and early Interpol. Across ten tracks, the record established House of Harm as a band unafraid to blend brightness into the bleak, wrapping sharp hooks and icy textures around themes of longing, memory, and escape.
Consisting of Michael Rocheford, Tyler Kershaw, and Cooper Leardi, House of Harm has developed a live show that mirrors the control and atmosphere of their recordings while allowing for spontaneous energy. They’ve toured extensively, sharing stages with artists like The Chameleons, She Past Away, Lust For Youth, Editors, and Reeves Gabrels of The Cure.
In 2024, they released their sophomore LP, Playground, a confident leap forward in songwriting and production that expanded the band’s emotional and sonic palette. Singles like Roseglass and Two Kinds explored a wider range of studio dynamics while maintaining the driving punch and shadowy tension that defined their earlier work. The album’s release was followed by a sold-out show at Baby’s All Right in Brooklyn and a UK + European tour that further cemented their reputation abroad.
Though rooted in post-punk traditions, House of Harm continues to evolve, driven by a desire to refine themselves without sacrificing the mood and mystique that have defined them from the start. Their music exists in a space between eras —an ongoing conversation between stillness and urgency.
MORE IS NOT ENOUGH
Pedro Lopez, a seasoned metalhead, founded More Is Not Enough (M .I.N.E.) in 2008 with the ambition of exploring new musical frontiers. However, creative frustrations led him to return to his metal roots for a time. Life’s demands, including starting a family and working with the death metal label The Artisan Era, temporarily sidelined his musical ambitions when he moved to Puerto Rico.
Despite this hiatus, Lopez never lost sight of his project. After a decade-long break, More Is Not Enough has reemerged with a fresh, innovative sound that blends dark wave and aggressive dream pop. The new direction is marked by haunting melodies that explore deep emotions like loss, addiction, violence, and deceit. Lopez, taking on the role of a soothsayer, weaves cautionary tales about the pitfalls of nightlife, contrasting them with the fleeting pleasures of dance and self-destruction.
With the release of “Midlife Christ Is” and several singles, More Is Not Enough has been performing actively across the southeastern United States. The band has completed its first tour, with a second on the way, alongside new music.
PIPPI MARASCHINO
Pippi Maraschino is a protopunk DIY avant-garde musician and social agitator born in Bucharest, Romania. A failed former jazz guitarist, Pippi has been raving and DJ'ing her way around the circuit and has coined her music as Corporate Pop. An absurdist at heart, nothing and everything is serious for Pippi, simultaneously. Her brand of DIY electronic music is a stripped down, bare bones, early 00's electro sound that is often times poorly produced and sounds like it's recorded with a dying flip phone. Pippi is a chaotic, crowd working, confrontational, sarcastic live performer and should be thought of as more of a performance artist and comedian who sings catchy, piercing hooks over dead simple but catchy electronics. It's about repeating the same thing over and over again until you're singing the words which don't mean much on paper but when you're singing them they feel like a meaningless new age mantra.
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