For the touring acts playing – and certainly the audience watching – this year’s XPoNential Music Festival can be summed up as a fun weekend full of great music, great people and relatively little rain.
But for local bands playing the festival, it means just a little bit more. For some, it was their first time playing outdoors in a festival setting. Others were returning to play for the third or fourth time. Several artists thought their sets went well, but a few had technical difficulties or other problems to work through.
From the Marina stage to the Susquehanna Bank Center, the hometown audience seemed to clap a little louder and listen a little more intently to the local acts. For Philly-based pop rock outfit Viv and the Revival, the first act to perform Friday, the admiration even elicited shouts of, “You rock!” and “Way to start our festival!” from the crowd. Continue reading →
Vacationer makes music meant to alleviate stress and forget troubles.
If they can help the rest of us do this, than the band members must lead pretty relaxing lives, right? Well, not really.
Kenny Vasoli (bass, vocals), Matt Young (vibraphone), Greg Altman (guitar), Michael Mullin (keyboard) and Ryan Zimmaro (drums) have a lot in common outside of the music they make together. They drink copious amounts of coffee, avidly bike ride and make a TON of music in projects other than Vacationer.
And they work, a lot.
Read summaries of each of the band members’ daily lives below, and see how they balance musical and career success with plenty of chill time.
Matt Young: ”My days are usually pretty simple. I wake up, I have coffee, and then I basically have a home studio in Brooklyn, New York, so I write music all day. Some days I have good days, and I write a couple songs. Some days I have bad days where I can’t really write anything.
So I write in the morning, then usually around 2 p.m. I go and bike like 15 miles. I’ll go down to Prospect Park and bike around the thing like 15 times. Then I’ll come back and write more songs. Then I cook dinner, write more, and maybe watch an episode of something or listen some records. Then I go to sleep and do the same thing the next day.
That’s pretty much it, though, I just write music all day. … I do it in my pajamas. I have a pair of slippers that I literally wear more than any other pair of shoes. I think it’s important to have a regimented schedule, and it’s kind of maddening because I’m in my house a lot. But my studio is a totally separate space in the front, and then the back is where I live. But yeah, I’m basically there all the time unless I’m on tour or out playing shows. I’m writing for Vacationer and Body Language. I have another project called Seafloor that’s just beats, and I have a new solo project that I’m working on. I also work on random commercial sound design and rebranding, and that’s basically it.” Continue reading →
Residents on this quiet street in Horsham probably don’t mind the sounds coming from Kenny Vasoli’s childhood home.
Vasoli is leading practice for his electro-pop band Vacationer inside, down in his parent’s finished garage area that has been converted into a basement. Waters and beers are handed out. Guacamole and chips are set down in the corner of the room. It’s the first time the band coming together to run through their new live show – songs like “Stay,” “Go Anywhere” and “Shining” from their new album, Relief, released this week on Downtown Records.
The new tunes are quite audible from outside the house, but neighbors probably don’t mind chill serenade to their summer evening. Several years earlier there was probably much louder, angrier music coming from this house, as Vasoli started his career in popular pop-punk band The Starting Line, which formed in 1999 and disbanded in 2008, save for sporadic reunion shows and a recent tour.
Those who know Vasoli from those days may not recognize him now. His curly, chin-length hair is tucked beneath a backwards maroon Phillies cap. He’s surrounded by new band mates playing a new variety of instruments, a few of which would never be seen on stage for a punk show. But one instrument has remained through Vasoli’s time spent in both bands – his soothing, very distinct vocals.
“My favorite is when [fans] say, “You sound so much like that guy from The Starting Line,’” recalls guitarist Greg Altman of various Vacationer shows since the band started touring more than two years ago.
“It’s happened more times than you would think,” adds Vasoli. “What’s that Val Kilmer movie, The Saint? I’m like The Saint of emo.”
Though Vasoli’s comment definitely was not meant in the context, early 2000 Starting Line fans might have considered him a “saint” of the genre. The music Vasoli was moved to make more than 10 years later couldn’t be more different than what his admirers might have expected from him, but they and other fans have seemed to latch on to Vacationer, no questions asked.
“I’ve really started to embrace the whole emo back story thing, because at this point, I’m confident enough in the music that I make with Vacationer and we’ve sort of cemented some fans in there enough for me to be little more confident in who I was and who I am,” Vasoli says. “It’s nice, I don’t really have to compartmentalize too much anymore, or keep anything a secret anymore, because the people who are into it are into it, and the people that aren’t are just kind of waiting for another one of those records. With anything else in my life, I like not focusing on the past too much, and also not on the future.”
Living in the moment is an idea that Vacationer holds dear, and that comes out on Relief. Continue reading →
Vacationer does exactly what their name would suggest.
The Philadelphia-based band has toured and traveled all over the world. They’ve shot videos in Hawaii and Costa Rica. They’ve played festivals in Iceland, and toured all over the U.S. alongside bands like Bombay Bicycle Club, Tennis, Hellogoodbye and The Naked and Famous.
But the Vacationer hasn’t always taken their party on the road. They’ve also played Philly enough times since 2012 to make it hard to keep track of. The band has brought its chill-wave sounds to venues like Union Transfer, the Theater of the Living Arts and the Dock Street Brewing Company, as well as outdoor festivals like 2nd Street Festival in Northern Liberties and the Fishtown River City Festival. Their home-away-from-tour, however, seems to be Underground Arts, where Vacationer has played a handful of shows including the two installments of the “Nude Beach” concert series the band started.
To celebrate tonight’s release show and the band’s first time performing at Johnny Brenda’s, we’re recapping a few of Vacationer’s most memorable hometown shows in the live videos below. You can also catch them playing the first day of the Made in America festival on August 30th, Vacationer being the only local band announced on the bill so far. Continue reading →
Relief is full of what one might describe as “Bali Hai” moments.
The album is Philadelphia dream pop band Vacationer’s sophomore release, out today via Downtown Records. Though it features modern technology – electric guitars, vibraphone flourishes and Logic-produced beats – Relief echoes the score of 1949 Rogers and Hammerstein musical “South Pacific.” In the show, Bali Hai is the name of the magical, mysterious island that is seen as an exotic paradise to the main characters. The native Tonkinese people invite American troops fighting during World War II to visit the island, and it becomes a tropical haven for the soldiers to forget about the fighting and killing that surrounds them. Every time that Bali Hai is mentioned or seen off in the distance, the show’s score elicits waves of brass, strings and a chorus of voices that bolster the island’s enchanting qualities.
The musical motif that starts Relief feels like an invitation from Vacationer to join the band on its own version of Bali Hai. Voices swell and fifes sound as the album launches into the first track, “Stay,” and frontman Kenny Vasoli sings, “Want you to taste summer winds as they’re gusting around/ I want you shaking those habits just in time, worth it if you look around.”
On Vacationer’s enchanted musical island, there are definitely no signs of the war, racism or other hardships that thicken the plot of “South Pacific.” But Relief also isn’t all chill waves, summer sun and good vibes like its predecessor, 2012’s Gone. Continue reading →
Vacationer wrote “In The Grass,” along with most recent single “Wild Life,” in the span of one day. Both tracks are featured on the Philadelphia-based, self-proclaimed “Nu Hula” band’s sophomore release, Relief, out tomorrow on Downtown Records.
“They were both buzzer-beaters,” says bassist and frontman Kenny Vasoli, adding jokingly, “we were already mixing the record and the label sort of kindly asked us to write more. They were like, “Hey this is great, but can you write more stuff that’s better?”
What the label wanted were radio hits, and what they got were two summer anthems that showed no signs of being a rushed job. “In The Grass” has a notable disco feel that the band attributes to its affinity for LCD Soundsystem. It’s a prime example of the broader range of influences that Vacationer called upon for Relief, the highly anticipated follow up to their 2012 break-out debut, Gone.
And though they aimed to do things a little differently this time around, Vacationer still delivers on Relief what has become their mantra about the power of music – it’s exotic, layered, blissful dream pop that has the ability to take the listener far, far away from here. Rife with smart riffs, genuine beats and good vibes, Relief isn’t just the soundtrack to summer 2014 — it’s the feel-good LP that you’ll want to give a spin, no matter what the season.
“Overwhelmed over nothing,’ Vasoli sings. “When the days start dragging, mood starts dragging you down … You can lay your head down in the grass. Be yourself with open eyes, every time.”
Sometimes it really is that easy.
Download “In The Grass” above, courtesy of Downtown Records. Check back throughout this week as we spotlight Relief on Unlocked, The Key’s regular spotlight on new and significant releases by Philadelphia area artists. Tomorrow we’ll post a review of the album, Wednesday we’ll chronicle live videos from a few of the band’s local shows, Thursday we’ll have a feature interview and Friday we’ll provide an inside glimpse into the everyday lives of a Vacationer.
Ben Walsh likens it to being in a relationship with someone nearly eight years when they to suddenly tell you, “I can’t do this anymore.”
“Obviously it took us by surprise when they told us that they weren’t going to continue on with the band,” he says of when three of the five members of his Scranton-bred, indie-leaning pop punk band Tigers Jaw decided to leave. “We kind of weren’t sure what was going to happen.”
Walsh and band mate Brianna Collins broke the news that vocalist/guitarist Adam McIlwee, bassist Dennis Mishko and drummer Pat Brier to fans via their Tumblr page in March 2013. Many followers interpreted the message as a definite end of the band. But now it’s more than a year later, and Tigers Jaw’s just released its third LP Charmer – an album that debuted at number 49 on the Billboard charts, and one the departed members still helped Walsh and Collins record when they decided to carry on as the band’s sole permanent line-up.
“We talked about the record and got them back on board because it was something that we all worked so hard on and were really proud of the songs,” Walsh says, adding that more than half of the songs for the album had been written when McIlwee, Mishko and Brier announced they were leaving. “We all wanted to see it come into fruition.”
What came to fruition on Charmer is what Walsh calls the band’s most cohesive record, and what Collins says is “exactly how I was picturing our band would sound recorded at the time.” If the album art for their break-out 2010 self-titled release – an unidentifiable 20-something preparing to eat a slice of stringy cheese pizza – was a sign of Tiger Jaw’s then youthful energy, Charmer’s artwork – an ornate doily handmade by Collins – is an apt sign of the band’s maturity.
“There’s a mix of slower, more delicate parts and there’s plenty of faster, more hard-hitting parts as well,” Walsh says of the album. “We were able to cover a lot of ground on the record, and still managed to make it sound pretty cohesive. We were able to experiment a little bit more with dynamics and layering not only vocals, but layering acoustic guitars and things like that that we haven’t really done a lot of in the past. Another big difference was getting Brianna more involved with writing and singing.”
“Working with Will had a huge impact,” adds Collins of Studio 4′s Will Yip, who produced the record. “Layering vocals and all of his little input and ideas that were really on the same page with, at least in my opinion, what we were trying to do.”
Walsh and Collins have been through a lot in the past few years that has forced them to grow up, not only stemming from their experiences with Tigers Jaw. Both came to the end of college and were faced with many new responsibilities, along with new freedoms. It’s this transition that Walsh is responsible for Charmer’s darker vibe, both lyrically and in the way it sounds.
“There’s still a lot of energy put into it,” he says. “Maybe [it’s] not as raucous as some of the earlier stuff, but just as much enthusiasm was put into these songs as any other songs that we’ve written, if not more.”
Though he’s sometimes heavily influenced by what he’s going through personally, writing for Charmer was the first time that Walsh really turned to another medium for inspiration. More specifically, it was interplay between characters on the show Twin Peaks, which is even cited by name in the song “Nervous Kids.” Both Walsh and Collins really enjoy the show.
“It’s so interesting. It’s so in depth and the themes are so dark,” Walsh says. “I got pulled in by just the small town interactions that everybody has, where there is so much going on underneath the surface. I think that’s the really cool thing, you go to a place that may be completely different than what you expected based on its outside appearance. I think there are a lot of themes on this record of duality, and things that can maybe be taken more than one way. That’s definitely something that we pulled from a lot of the stuff that happens in Twin Peaks.”
While they’re not writing music or binge-watching TV, both Walsh and Collins have also almost completed all requirements for becoming teachers in their designated fields – Collins for art whilst living in Kingston and Walsh for speech therapy while working at a school in Central Pennsylvania.
“Nobody at my job knows what I do,” Walsh says. “None of my kids, none of my coworkers or anything, know that I play in a band or anything like that. It’s kind of a strange separation. It’s almost like working two full-time jobs [because] we don’t work with a manager, so we both have a lot of extra responsibilities apart from our jobs and also from writing and practicing music. So it’s a lot, it’s a big commitment, but it’s been totally worth it.”
“It was weird today, I had to tell my bosses that because they were like, ‘What are your plans for the summer?’ being like, ‘Yeah, I’m traveling and having a life. I am actually in a band,’” adds Collins. “‘My hair will be blue tomorrow, so be warned.’”
Tigers Jaw will start their summer tour on Monday when they headline Union Transfer. Playing in Philly feels much like playing to a hometown audience, Collins says, with Walsh adding that it’s one of the next best things now that Scranton is almost devoid of places to perform.
“It’s definitely different working with different musicians when we’ve played with the same people for so long,” Walsh says. “It’s sort of refreshing. I kind of miss the styles of the guys who aren’t in the band anymore, but at the same time it’s cool having some new experiences and drawing influence from the new people we’re playing with.”
Walsh says that he’s still very much on good terms with the band’s former members. McIlwee is still making music under his solo moniker, Wicca Phase Springs Eternal, while Brier and Mishko remain in Philly’s own Three Man Cannon.
“They’ve always been one of my favorite bands and they don’t get nearly as much attention as they deserve,” he says of Three Man Cannon, who released a new album just one week before Charmer was scheduled to drop.
“Hopefully more people start to pay attention. I’ve definitely been seeing them get some more press, seeing song premieres on different websites and stuff, which is not something their band has really gone after too much in the past. But it’s really nice to see them getting some credit for the great art that they create.”
When news broke that Three Man Cannon was set to release its new LP, Pretty Many People, on May 27 via Lame-O Records, most headlines made sure to include that the band featured “ex-members of Tigers Jaw.” Drummer Pat Brier deems that widespread association, well, kind of silly.
“Dennis and I, we were in Three Man Cannon for about two years before we joined Tigers Jaw,” he says. “We weren’t actually in the band, we were just filling in. … For me, and I think Dennis and I have talked about it, it’s so silly because none of us really thought about it like that with either band. It’s something that is very much, unfortunately, fabricated. Not fabricated, but just totally taken out of perspective.” Continue reading →
Fans know River City Extension as a boisterously loud and energetic folk rock group that has toured with up to eight people at a time. Despite the pop sensibilities many folk bands have adopted, this New Jersey crew remained tough at the core, only softening its edge with flourishes of strings and harmonies. This balance helped the band gain equal appeal from the Bonnaroo audience as it did from the one you would find at Warped Tour.
Fronted by guitarist and vocalist Joe Michelini, River City Extension released its somewhat dark, somewhat quirky and introspective sophomore album, Don’t Let The Sun Go Down On Your Anger, in 2012 to measurable acclaim. It was the follow-up to the band 2010debut, The Unmistakable Man.
But a lot has changed since those days. Members have came and left, and now the band has slimmed down to just three core members who all reside in their hometown of Toms River. Losing so many musicians brought Michelini to a crossroads, where he and the remaining members made the hard decision to continue on, even though they had no idea where they were headed.
“We sat down and we were like, ‘Ok, nobody knows who our band is, really,’” Michelini says modestly during a recent phone interview. “So, we can make any kind of music we want now. We decided to just work with the people that were willing to be in the band and did want to make music for the rest of their lives – people who had already jumped off the cliff and weren’t looking back, like us.”
Michelini, guitarist John Muccino and keyboard player Patrick O’Brien will showcase the band’s new direction when River City Extension plays Boot & Saddle at 8:30 p.m. Friday, March 28th with openers Wild Rompit and Cranston Dean. Attendees will hear songs from the first two RCE records, as well as their first ever cover song and new tracks off the forthcoming album Deliverance, which the band will sequester itself in a house in the Poconos for 18 days in late April to start recording.
After the crazy, scary journey he’s been on with River City Extension since forming the group in 2007, Michelini says he’s excited to bring the new line-up to Philly, the city he “grew up going to.”
“Philly is the only city that I want to go to around here,” he says. “I’ve always loved it there. We had our first ever album release show in Philly. We’re so excited to play, and we have so many friends there. If the band ever leaves Toms River, it will only ever go to Philadelphia. There’s only one road between Toms River and Philly, and that warms my heart a little bit.”
Guitarist Muccino even had the “wild idea” to make an animated video to promote the show. He wrote the script, did the voiceover, then passed that along to Philly-based animator Joe Shefski to bring the illustrations to life. The video is just one of the many examples of the DIY ethics the band employs, sticking to them despite how hard it is to keep a career in the music industry or the arts in general.
“Everyone just seems to be going on and on, especially since South by Southwest, about how it’s impossible and now it’s all run by brands, etcetera, etcetera,” Michelini says of the industry. “I guess I just have to not be too worried about it. The industry will change as it will, but I want to make music. I know that’s what I’m supposed to be doing.”
Despite River City Extension’s history, Michelini said the songs he’s written with the new line-up over the past year and a half have been some of the most important to him. Continue reading →
Jordan Lee hopes Philadelphians aren’t big fans of fog machines.
The subject comes up almost immediately on the phone with the indie folk artist behind breakout band Mutual Benefit as he travels to St. Paul from Chicago, where he had just played a show at Lincoln Hall.
“There was a fog machine that was just going the whole time. That was a new experience for us, I think,” he says of the set, not letting on at first whether that new experience was good or bad. “Visually, it was pretty cool. I felt like a wizard of some sort. But also, it’s kind of poisonous, I think. It made my throat hurt by the end.”
Lee and the band of musicians he assembled to fill out Mutual Benefit’s live show will play a hopefully fog-less set at 8:30 p.m. Thursday at Boot & Saddle with local acts Lewis & Clarke and The Interest Group. Just like his aversion to gimmicks like this on stage, Lee’s brand of soulful, whimsical electro-tinged pop folk is also straightforward, without smoke and mirrors. It’s helped bring him acclaim for the band’s first LP, Love’s Crushing Diamond, which came out this past October.
Speaking to The Key from the tour van, Lee brings up a record review published in London that describes him as “an understated king of folk music.” New to such widespread praise for his music, he views quotes like this as more of an embarrassment than a compliment.
“It’s definitely not bad to hear that kind of stuff,” Lee says. “But I guess, if you get wrapped up too much in what you think about a thing that you made and how it’s received, then you’re kind of giving that same power to people to make you feel bad about something you made.”
Lee didn’t create Love’s Crushing Diamond with the idea that this many people would hear it. Continue reading →