On Monday November 25th, the Homegrown Music Showcase put the spotlight on Parlour Bells and featured “The Ballad of Felix Moncla” from the new EP To Be Or Not To Behave. The host at 92.5FM The River also provided the cool UFO backstory behind the song’s meaning, which vocalist Goddamn Glenn discovered in a vintage comic book he purchased. “The Ballad of Felix Moncla” was initially recorded as a pandemic demo back in 2020, but was re-recorded for the new album!
To Be Or Not To Behave artwork. Photo and design by Goddamn Glenn. Image features (from left) Maggie Maraschino, Honey Pie and Tracey Vaughan.
BOSTON, MA
September 27, 2024
THAT is the question. And on Friday September 27th it finally gets answered as the band presents To Be Or Not To Behave, their first proper studio recordings since 2017’s Waylaid in the Melée. The four song EP was mixed and produced by Brian Charles of The Sheila Divine and owner of Rare Signals studio in Cambridge MA. Initial tracking began at Q Division in the summer of 2023, with the remainder of production taking place at Rare Signals in the winter of 2024.
Tracklist
Track By Track Breakdown
1. Knight Owl
Equal parts anthem-rock and new wave fight song, the salty lead-off track on the album gets right to the point as it opens with a monstrous voice-sample. Singer Goddamn Glenn explains how the song sets the stage for the rest of the EP. “For the new record, I wanted to create something both more modern sounding, but also something that pays homage to my 80s glam rock, pop and early 90s influences. These are also the first studio recordings featuring keyboardist Allison Sigrist and she gives the track its high, new wave sheen.”
Sigrist adds, “Glenn often has put together demos with certain sounds in place, but he provides the space to change the parts or add to them, so I never feel like I’m just playing those parts from rote without being able to contribute.”
To capture the flamboyance and virtuosity of 80s glam rock, it was also critical to bring in a real “shredder” on guitar. Parlour Bells found that in Michael J Johnson and on “Knight Owl” the results are a guitar solo for the ages.
Johnson explains, “I tried to synthesize elements of some of my favorite guitarists, Eddie Van Halen, Randy Rhoads and Tom Morello. Eddie and Randy stretched the boundaries of traditional guitar playing, where Tom Morello has explored ways in which you can go beyond the traditional sounds of the guitar, and I like the idea of combining elements of both approaches.”
2. Dixies
The “dixies” here refer to the paper Dixie cups used to serve up some very questionable Kool-Aid to the cult-faithful. Clocking in at just 2 minutes and 29 seconds, it’s a brisk foray into psychedelic pop, anchored by Mike Leggio’s stopwatch bassline and Tony Porter’s airtight drumbeat. “We’re constantly trying new things in this band,” says Glenn. “I don’t really feel like any two songs are alike. But I think ‘Dixies’ is probably the most unconventional tune we’ve ever released. Sure, there are nods to T-Rex in there, but we feel like this one is some truly spacey headphone music.”
The band credits Brian Charles of Rare Signals, who recorded and produced the album, with the sonic quality of the tracks. Drummer Tony Porter elaborates, “To a certain extent, I’d say he approached this music with a cinematic approach in terms of trying to evoke some ‘imagery’ along with the basic meaning and intent of the songs. It was fun to see his enthusiasm for the possibilities of what this music could become.”
3. Slasher Movie Weather
That “cinematic” aspect of To Be Or Not To Behave is taken quite literally on this 80s slasher-inspired track. In August, the single arrived packaged with a mini-horror movie / music video directed by Glenn and his wife and creative partner Honey Pie.
“One of my guilty pleasures on a sweltering summer night is sitting in my office with the AC cranked and watching some of the lousiest, cheesiest slasher movies from the 80s,” says Glenn of his inspiration for the song and video.
But the cinematic aesthetic can also be found just in the track itself, particularly in the song’s moody, nocturnal breakdown. Listen closely, and you’ll find yourself lost in the woods with no one to keep you company aside from the eerie guitars and cricket noises. Certain sounds in the song are also direct nods to the 80s slasher-genre, emphasized especially by Allison Sigrist’s textured keys.
“I’ve got a bunch of different things going on,” Sigrist explains, “from the sparse atmosphere of the early verses, to the Halloween soundtrack quote, to full-on piano comping under the outro. That was a fun one to work on.”
Closing out To Be Or Not To Behave is an updated and fully realized version of a song the band created and released remotely from quarantine during the early days of the coronavirus pandemic. “Back in 2020, when we were unable to perform or even assemble in a room together, we were intent on staying creative. As happy as we were with the results of putting this one together from our respective home studios, it still has the overall vibe of something recorded in isolation,” Glenn explains. “Initially, there was never any plan to re-record this one, but we found ourselves with some extra studio time and our bass player Mike Leggio suggested we use the time to attempt an updated version. It was an excellent suggestion on his part because Brian Charles ended up giving the song the lush production value that it always deserved.”
The song tells the lesser known story chronicled in American UFO lore known as the “Kinross Incident,” in which US Air Force Pilot First Lieutenant Felix Moncla vanished mysteriously after pursuing an unidentified flying object over Lake Superior in 1953.
Taken as a whole, To Be Or Not To Behave builds upon the theatrical and cinematic aspirations that were established in earlier Parlour Bells work. From the rainy, film-noir streets of “You Don’t Wear That Dress, The Dress Wears You” on 2013’s Thank God for the Night to the Bowie-like science fiction musings of “Celebrities On Ice” and “Wetware” on 2017’s Waylaid in Melée, Parlour Bells like to transport the listener to a setting of their own creation. But what sets this record apart is that those cinematic inclinations are not just evident in the song themes but in the overall production. Where previous efforts might be considered more or less straight up anthem rock with the quirky tales to be discovered within the lyrics, the songs on To Be Or Not To Behave embrace those idiosyncrasies in both content and form.
“Slasher Movie Weather” Music Video Co-Directors Goddamn Glenn and Honey Pie.
Boston, MA August 16, 2024
Ok, so they really mean THIS summer. The one slipping through our fingers right now. The summer of 2024. But this concerns all summers. Whether it be 2024 or 1984. Because summer is for killers…most specifically those creepers donning hockey masks: Summer Slashers. On Friday August 16th Parlour Bells release the second single “Slasher Movie Weather” from their new EP To Be Or Not To Behave and it arrives packaged with a short horror film / music video written and directed by singer Goddamn Glenn and his wife and creative partner, burlesque performer Honey Pie.
Both the song and video are a nostalgic homage to the 1980s slasher movie aesthetic.
“One of my guilty pleasures on a sweltering summer night is sitting in my office with the AC cranked and watching some of the lousiest, cheesiest slasher movies from the 80s,” says Glenn of his inspiration for the song and video.
When asked about how women are presented in many of the slasher films of the 80s, Honey Pie says, “Growing up on those movies made me who I am today, where I want to be scantily clad and I want to see other women scantily clad. I always wanted to be the girl in the 80s music video and in the horror movies, and now I get to be both.”
And since no summer slasher movie is complete without a group of skimpily-clad campers, Honey Pie suggested that they gather some of her good friends and dance troupe members to take on these roles.
Honey Pie in “Slasher Movie Weather” (2024). Makeup by Tracey Vaughan.
“Working with them was as seamless and ideal as I imagined,” says Honey Pie of her fellow dancers. “Most of these women I have been dancing with for over a decade and we are all comfortable in each other’s presence in both a professional and friendly setting. I am familiar with how each of them moves, uses their face and personality on stage. Over the years, Glenn and I have watched horror movies together and would always imagine our friends as some of these characters. It was the most fun we had all summer!”
Of the dancers, Glenn adds, “You get so much more than performances from them. They are like this creative brain trust constantly thinking on their feet and so quick to provide a creative solution. They know so much about set and prop design, makeup, movement. I’m so lucky to have such fun and talented people in my life. This video would be nothing without them.”
Performing in the video alongside Honey Pie are dancers Maggie Maraschino, Tracey “Muthafuckin” Vaughan, Abby Normal and Pearl Buttons. Maraschino and Vaughan were also responsible for all of the special effects, gory prosthetics and makeup. Also featured in the video is local drummer Mark Goveia playing the hitchhiker. Goddamn Glenn also delivers his vocal performance bloodied and face down in the dirt.
Behind the scenes of “Slasher Movie Weather.”
Tracey MF Vaughan also brought something else to the table–or in this case to the street: her red 1987 Volkswagen Cabriolet convertible, which gets a fair amount of screen time as the campers head off to their doomed weekend in the woods!
Clockwise from bottom left: Honey Pie, Maggie Maraschino, Abby Normal, Pearl Buttons and Tracey “Muthafuckin” Vaughan.
On working creatively with Glenn, Honey Pie says, “With my background in dance and choreography it was very natural for me to take the reins of directing and say what I wanted to see. There’s never any conflict or need to control the project. We just let each other roll with it. We had a lot of fun with it, but we have fun every day!”
“We first met when I cast her in ‘Bachelor Hours’ back in 2013, the first music video Parlour Bells ever released,” Glenn says of Honey Pie. “Since then, we got married and always provide each other creative feedback on our respective projects. Her opinion means everything to me. So it feels so perfect to present this new video as a team effort under both our names. She always says that, together, we’re unstoppable. When we co-create things like this, I know she’s right about that.”
Honey Pie in the “Bachelor Hours” music video (2013).
Filming for “Slasher Movie Weather” began in early June of 2024 and wrapped on August 3rd.
The track “Slasher Movie Weather” was recorded at both Q Division Studios and Rare Signals and was mixed and mastered by Brian Charles of Rare Signals. The band Parlour Bells is composed of Goddamn Glenn (vocals), Allison Sigrist (keys), Mike Leggio (bass), Tony Porter (drums) and Michael J Johnson (guitar). The full EP from Parlour Bells, To Be Or Not To Behave, will be released in late September. The first single “Knight Owl” was released on July 4th.
Promotional artwork for “Slasher Movie Weather.”Parlour Bells. Clockwise from top: Goddamn Glenn, Allison Sigrist, Tony Porter, Michael J Johnson and Mike Leggio
If you sense a little saltiness in their new single, “Knight Owl,” your musical taste buds would not be far off track. For over 14 years, Parlour Bells have experienced many of the highs and lows that come with being longtime veterans of a dynamic local music community. From lineup changes to shuttered venues, being in a band brings its share of growing pains. But with age comes deeper wisdom–and what doesn’t kill you makes you even stronger. And that wisdom and experience has culminated in the new EP from Parlour Bells titled To Be Or Not To Behave due later this summer.
The first offering from the new EP is an anthemic arena rocker called “Knight Owl” that takes aim at the scene sycophants and phonies who too often take the fun out of being an artist. But while cynical at times, the song’s protagonist is never defeated. Behind some of the angrier lines is a smiling anti-hero who claims victory by turning their spite into big glorious rock and roll songs. There’s also some obvious but cute wordplay with the song’s title as the protagonist concedes that it’s “all who (hoo) who you know.”
Not wasting a second of track time, the song opens with a monstrous voice sample summoning the namesake “KNIGHT OWL,” getting right to the point. Tony Porter’s drums clobber everything within earshot as Mike Leggio’s bass alternates between marching ahead and just giving right into the dance groove at the core of this gleeful little fight song. In a nod to the soft / loud aesthetic of his beloved 90s influences, Goddamn Glenn delivers his vocal intimately as if unaware of the raucous audio storm just beside him. Allison Sigrist’s keys undergird the 80s metal sheen of the track with dreamy new wave siren calls that elevate the chorus as Michael Johnson shreds into a guitar solo for the rock ages.
“Knight Owl,” as with all of the forthcoming To Be Or Not To Behave EP, was recorded at both Q Division and Rare Signals. Mixed and produced by the fantastically talented Brian Charles of Rare Signals in Cambridge MA, this new EP and era for Parlour Bells is marked by the same deep love of songwriting and the endless pursuit of the catchiest chorus possible.
Parlour Bells celebrates the release of “Knight Owl” on Saturday July 6th at The Rockwell in Davis Square, Somerville. They perform at 8pm and will be followed by Lovina Falls and Happy Little Clouds.
ARTWORK FOR KNIGHT OWL. AVAILABLE EVERYWHERE ON JULY 5TH
On Thursday December 8th 2022 at Faces Brewing Co, Parlour Bells is excited to take part in Anngelle Wood’s 11th Annual Spectacular Gift Drive to benefit the DCF Wonderfund. The Wonderfund is a private nonprofit, 501(c)3 serving kids engaged with the Massachusetts Department of Children and Families. The organization provides comfort and dignity to 53,000 children who have been impacted by abuse and neglect.
We’re asking attendees of the event to consider bringing an unwrapped gift to the show. Gifts can include toys, clothing, art supplies, personal care items, books, electronics, sporting goods, hoodies, gift cards, and things kids of any age would like to get for the holidays!
This is going to be an incredible holiday party featuring some fantastic local rock music, including Parlour Bells, Gretchen Shae & The Middle Eight and Little Fuss!
After nearly two years, Parlour Bells performs live for the first time as part of the Malden Music Series on August 7, 2021. The event is outdoors and FREE to the public. 1-6PM, 88 Pleasant Street, Malden. Sponsored by the excellent SUM Studios.
Boston Emissions with Anngelle Wood Interview – At Home with Goddamn Glenn of Parlour Bells
Anngelle and Glenn discuss how they are both adapting to making and showcasing music during the pandemic. Lots of ideas for what might be next for the new normal in music.
The first full length album from Parlour Bells, Waylaid in the Melée, is now available for download and streaming on Bandcamp, Spotify, Apple Music and more!
On Sunday, August 2, 2015, Parlour Bells enjoyed the distinct honor of performing as the supporting act for a newly reformed Culture Club featuring all four of its original core members (Boy George, Mikey Craig, Jon Moss, Roy Hay) at Boston’s Blue Hills Bank Pavilion in the City’s thriving Seaport district. In a strange coincidence, Parlour Bells singer and principal songwriter Goddamn Glenn learned about the booking via group text message as he was making his way to the Pavilion to catch The Smashing Pumpkins / Marilyn Manson concert 5 days before the Culture Club show would take place. The 2014 Boston Music Awards nominee for Live Artist of the Year, Parlour Bells leapt at the opportunity to open for the iconic, New Romantic legends most famously known for their hits “Karma Chameleon,” “Do You Really Want to Hurt Me,” “Time (Clock of the Heart)” and “I’ll Tumble 4 Ya.”
The band welcomed its cadre of faithful photographers to the event and helped secure them access to the Pavilion’s photo pit as a token of thanks for all their coverage over the years. Below are some of the photos from Coleman Rogers, Mike Oliver and Adam P. Salsman.
Photo by Coleman Rogers
Photo by Mike Oliver
Photo by Adam P. Salsman
Parlour Bells delivered a 45 minute set to the gracious and receptive Blue Hills Bank Pavilion crowd. Press from both The Boston Herald and The Boston Globe were in attendance and said of the band’s opening set:
Afterwards, the band took in Culture Club’s fantastic set stageside, and then spent some moments chatting after the show. Backstage, Elvira “Mistress of the Dark” even made a surprise appearance.
During one memorable exchange, Parlour Bells gave legendary frontman Boy George the task of choosing the Culture Club song the band should cover in the future. His response underscored his authenticity and integrity as a songwriter as he suggested that the band cover a lesser known (albeit clearly cherished) song called “Love Is Love” from the 1984 pre-Internet singularity computer/human romance sleeper Electric Dreams. George relayed that while it was a favorite, the song hadn’t received a great deal of attention or airplay over the years. Glenn made a point to queue the song up upon returning home and instantly understood how perfect it was for the band to cover.
Parlour Bells would like to thank Culture Club, their crew, the staff of Blue Hills Bank Pavilion and Live Nationfor being tremendously accommodating and helpful to the band, for this historic opportunity, and for a night we will never forget.
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