The Globs are a Boston-based indie rock band formed in 2004 by singer, guitarist, and principal songwriter Jon Hutchins. Originally composed of five bored security guards at Boston's Museum of Fine Arts, the band (now a quartet) has gone through several lineup changes, most recently with the addition of bassist Linda Hutchins. Drummer Dave Erickson and guitarist/keyboardist Derek Demulling round out the group. The Globs are known locally for their legendary stage antics and spectacles, drawing comparisons to The Tubes and P-Funk. The band's 2005 debut album, "Hatch", is a space-rock schlock-fantasy about four earthlings who become dissatisfied with their smog-drenched, dilapidated planet. Filled with numerous metaphors and plot twists, the story goes from boisterous juvenile squandering to a triumphant, even poignant, grand finale. Entirely composed in the galleries of the Museum of Fine Arts while on-duty and self-produced on a budget of $300, "Hatch" (now out of print, but scheduled for re-release) is a tour de force of the home recording revolution. The following three years have found the band splintering into several musical directions, from brooding melodramatic dirges (2008’s “The Sound & The Fury) - to freak-out walls of noise (mostly confined to the rehearsal space, and increasingy leaking into live performances) - to shiny, sardonic, satirical pop gems (the forthcoming “Hit You With Your Own Fantastic”, due for completion in the summer of 2009). Not an easily definable band, The Globs are happiest when creating the best music possible in whatever style they happen to find themselves working in. “The Sound & The Fury” The second LP by The Globs, 2008’s “The Sound & The Fury” is a "slow-burning semi-concept album that explores the inner self, outer being, and strange things in between, set against the matte background of our absurd, comical, and nonsensical world". Lyrically, the record is a contemporary take on the perpetual human search for meaning in our seemingly meaningless lives. Alternately despairing and hopeful, the subject matter is often treated clinically, tempered by strong undercurrents of melancholia and an intense sense of the absurd. The music is intricate yet austere, with long periods of slow introspection punctuated by explosive spasms of utter rage. Arrangements are often almost baroque, with melodies interweaving across instruments to create a cohesive whole. Meant to be listened to as an album, rather than merely a collection of songs, it echoes the grandeur and subtlety of the album-rock legacy pioneered by bands such as Yes, Led Zeppelin, and Pink Floyd, but with a stylistic approach all its own. A fine album to listen to on a rainy fall day, if you don’t mind being a little depressed.