It’s Wednesday night in the first week of September and John Sharkey III is in his Kensington screen-printing studio. He’s working on tote bags for local punk band, No Other. But he’s never printed tote bags before.
The next day, Sharkey leaves for Ireland, where his wife is originally from, for some family obligations for about two weeks. When he returns, he’ll release Pure Reality, the first full-length album from his newest project Dark Blue.
It’s an eight-song haul in the shoes of a blue-collar man raising his second child, relocating his entire family across continents and returning to an old, yet new home. Continue reading →
There are few things that can be as debilitating for a young band as finding out that your tour van – including all of your gear inside and all of your tour earnings – was stolen right out from under your nose. That was The Districts’ now widely-known story in early June. But the Lititz-bred, Philly-based band was able to get by with a little help from their friends, even when they were nearly 900 miles away from home. Continue reading →
This past October, the Lawsuits released their pop/folk full-length debut Cool Cool Cool and kept busy by working on the production side of things with their now-labelmates on the new American Diamond Recordings. Aside from a small handful of local appearances, the five-piece has been checking out other parts of the Northeast and already writing new material that just may be ready for the public soon.
According to lead singer Brian Dale Allen Strouse, “ADR is a collection of good friends.” And with that kind of sentiment, the Lawsuits are currently waiting for just the right time to take the center spotlight again, rather just toeing it, while ADR is still rolling out Ron Gallo’s solo debut, Ronny. “We’re going to take our time with regards to releasing material on American Diamond to ensure that each release is given the appropriate resources, and ample attention. The Lawsuits are very close to being done with new material and are eager to release it.”
Strouse goes on to say that the band is currently working on getting some new songs, “stage ready,” and that one or two may find work its way onto a setlist of one of their XPoNential Music Festival set this Sunday. As a matter of fact, festivals are the only way you’ll likely catch the Lawsuits for the rest of this summer, as they don’t have an extensive tour planned at this time. They played the bulk of their club tour dates this past fall right after the release of Cool Cool Cool in the New York, Boston and Newport locales before going on a three-week fun from Connecticut to Washington D.C. in February and March.
Just before that, Strouse and drummer Josh Friedman held the reigns on the Levee Drivers‘ recent EP, Speakin’ Bourbon Coated Blues. Strouse took care of engineering, while Friedman mixed and mastered it the three-song effort. And by the sounds of it, Friedman, who just mastered Ronny, and Strouse keep themselves quite busy in their audio production work and have several projects coming down the pipe.
Matt Gibson had a tough decision to make in 2011. He either had to figure out how to keep his band, the Extraordinaires, alive in the wake of Punk Rock Payroll, the record label they’d been a part of going under, or accept an offer to go on tour playing in Man Man.
He ended up accepting and touring with Man Man as a multi-instrumentalist in support of their album Life Fantastic until 2012. His experience touring in a nationally recognized act didn’t yield the results he’d originally imagined though.
“I think I was going into it with a lot higher hopes of meeting more people and meeting more people that wanted to hear new music, or being able to share the Extraordinaires music with them,” Gibson says. “Or meeting people to make contacts with them that may be able to help with the Extraordinaires. But now looking back, that may have been a naive thought. Because the reality of it is that everybody is trying to do the same thing and you really need to have something that’s impressive to peak your head out above everybody else’s. Nobody really cares unless there’s really some hype behind it.”
But he did come away with added comfort for playing in front of larger crowds among other things that helped his main band after rejoining in 2012, which come up later in this piece.
However, Gibson later found out what he thought about bands needing hype to catch the attention of the public may not be true. He and the rest of the Extraordinaires took the crowd-sourcing approach in the winter of 2012 to aid in releasing their upcoming album, Dress for Nasty Weather, their first on their new label, Color Theory Records, which they are running with Justin Wolf of Lux Perpetua. Through a Kickstarter campaign the Extraordinaires surpassed their goal by $2,000.
“Because for what we accomplished with Punk Rock Payroll,” Jay Purdy says, “it was really hard to lose that support system. But it was really inspiring to know that people had taken notice enough that we could do another book.”
Now working under the Color Theory flag, the Extraordinaires want to “keep the spirit of Punk Rock Payroll alive,” as Purdy puts it about the original label that released their first couple albums – with handmade books.
“Our current goal is to be an outlet for bands to do interesting releases,” he says. “As far as vinyl, CDs and digital downloads go that’s kind of standard practice. Because when we were on Punk Rock Payroll, simply by aggregating all of our resources, we were able to do these really unique releases.”
Punk Rock Payroll started as a small merchandise company in 2003, by Frede Zimmer focusing on buttons and screen printing and eventually grew into to being a label for a small roster of bands. Releases on PRP weren’t just conventional CDs, tapes, vinyl records, or even digital downloads, but much more. The boutique label put out music that were more like art projects than just albums.
For example, the Extraordinaires have put out each of their albums on CD accompanied by a hard bound book with the albums’ lyrics printed on its pages. This is more than appropriate for the band’s tendency of telling stories in their music. A song about to come out on Dress for Nasty Weather and personal favorite of Purdy’s is “Stray Bullet,” a tune that he says a bit like a modern version of Pinocchio but a bit darker. And don’t forget about “The Egg of Columbus,” from 2009’s Electric and Benevolent that tells the story of that certain Italian that discovered the Americas. And from the upcoming Dress for Nasty Weather, they are bringing their first music video to light for “Blue Moon.” In it each member of the band plays the role of a Charlie Chaplin-like character, meets what Purdy describes as an “Amerlia Earhart character,” document their day together with her and maybe fall for her, too.
There’s one is every crowd: the whistleblower. However, in this case it’s a harmonica-blower. Because, per the cliché, a whistle would be too normcore and definitely not counter-culture enough for this typical hipster crowd.
Check out Heyward Howkins’ “The Raucous Call of Morning” in this Internet ad for Limited Edition Pale Ale by Garagista Beer Co., a brewery in South Africa. The ad features patchy-bearded guys coming from all directions simply because they’d heard that a new beer is “limited edition.” They show up in droves on single speed bikes wielding vinyl records, hard shell suitcases (did the create a new “hipster” cliché?) and typewriters – likely to draft a letter to send home to the source of their trust fund (going along with this exhausted hipster theme), only to fight each other for a bottle of the brew.
There’s a long shot of a bearded guy wearing dark shades taking the time in the middle of the fray to take a selfie as someone’s trying to take a bottle of Limited Edition Pale Ale out of his hands. Because let’s face, no one would believe that he was there at the scene of the theft of this “limited edition” beer if it wasn’t documented on Instagram. But selfies seem like a platitude that a hipster would be above in 2014, right? If not and selfies are a cliché that belongs to only the hippest, well, that’s news to this mustached writer.
The juxtaposition of “The Raucous Call of Morning,” from The Hale & Hearty, in this scene is a little difficult to line up though. It’s an awfully sparse moment in the song and a pretty much mellow number from start to finish for a shot of a stampeding mob such as this one, at least. But maybe the folks over at Garagista simply think The Hale & Hearty, Howkins’ first album, is his best and have three bearded hipster fingers pointing back at them. Well, us at The Key are fans of Be Frank, Furness, as well.
Randy Randall was caught up in how good he and Sean McGuinness were feeling about starting their new project, Rat Fist, to the point that while laying the music, they’d looked past a crucial part: vocals.
“Sean and I were driving back to recording one day and we were saying, ‘Well, now all we have left to do is the vocals,’” Randall says. “So I asked him, ‘Do you want to sing?’ and he’s like, ‘No, do you want to sing?’ And then we’re both like, ‘Uh… well, let’s both do it. We can both give it a shot.’”
It’s the first time Randall and McGuinness – best known for being the guitarist in No Age and drummer in Pissed Jeans, respectively – are singing in a band, so it’s taken a little bit of adjusting. They’re splitting lyric writing roles too, another first for them both. And the lines on “Disrupt yr DNA,” “You smile and burp while your insides are rotting/ The stench of your decay is… offensive,” are Randall’s doing.
“But it’s an equal collaboration,” he says. “He came up with some songs, I came up some songs. That song, ‘Disrupt Yr DNA,’ I’m singing on that one and I’m not really a trained singer but it has a punk feel to it so whatever. It doesn’t really matter too much what sounds my mouth makes when I open my mouth.”
Even singing and playing guitar simultaneously is something new for Randall. He says that since his bandmate Dean Spunt writes the lyrics and sings in their experimental punk-leaning two-piece No Age, he generally refrains from it entirely. So the prospect of taking his song, “Disrupt yr DNA” out on the road is exciting. Continue reading →
A piece of art starts with an idea. That idea turns into a concept as the artist begins using his or her craft to create a message. And that’s exactly what the four like-minded guys in Mock Suns have done on their new album, Santander / All that I Knew. They’re self-releasing the record tomorrow, and celebrating next month with a show at Kung Fu Necktie on May 24th.
The album is an ambitious, twelve song effort divided into two movements and is done justice best by listening to the whole album from start to finish. Which seems to be Mock Suns style – approaching everything as if with the mindset of all-or-nothing – whether musically or visually through their videos.
According to singer, guitarist and songwriter, Greg Puglese, Santander / All that I Knew was written in the succession that its songs are sequenced. It proves his intention behind it being a complete album with a single concept.
“The underlying idea is sort of about chasing this dream but you never get a hold of it,” Puglese says. “As if it’s your life goal and it’s always there and you can never fully get a hold of it. As your life goes on it’s always there taunting you.”
Even though Puglese is the primary songwriter and concept laid out cleanly, the rest of the band has their own idea behind the message of the album. Bassist Steve DiRomualdo says it’s about feeling a “lack of fulfillment in your day-to-day. Or it’s like you don’t know what you’re looking for, whether it’s the love of your life, a person, or maybe you just want to be somewhere else.”
Guitarist Tom Magliaro sees it in a similar way, saying the album is about romanticizing a place so much in one’s mind and that finding out upon arrival, that it’s not quite what was expected. Continue reading →
It’s the time of year to trade in all those hard earned dollars for some new vinyl – as if you didn’t do that all year long already.
And if you don’t, Record Store Day - this Saturday, April 19th – is a good a day as any to start. While the debate continues as to whether or not the “holiday” has outgrown its original goal of celebrating independent record stores across the country, and turned more towards larger labels reissuing classics to cash in, that’s not to say you shouldn’t take advantage of what’s been released and take advantage of any potential deals.
When heading out this Saturday, be ready for something unavoidable – crowds. Blair Elliot, owner of Doylestown’s Siren Records, says that RSD has blown up a little more every year to the point of bringing more people through his shop’s doors than the Christmas shopping season. His store will have most of the RSD-exclusive releases. And if you check the RSD website; that’s quite a formidable list; must be a big investment for an independent store.
“We hope it’s big this year because it’s costing us a lot,” Elliot says laughing. “I don’t think it’s a risk, but you just need to make sure you sell enough of what you get.”
Siren Records will also be hosting Chris Forsyth and the Solar Motel Band and Our Griffins for an in-store performance starting at 6 p.m. Forsyth and company will be releasing, Solar Live 11.15.13, a recording of the band’s November show at the Rotunda.
The show happening at Siren is just one of many in-store shows this year. Northern Liberties’ Creep Records is treating RSD as a “grand re-opening” as they expand into a neighboring store in the Piazza at Schmidt’s (shoppers will be able to enter from a new door on the inside of the Piazza). They plan to mark their stock down ten percent and expect to have all the RSD-exclusive releases. Goddamnit, Ex Friends, Good Graces and Families will be playing their in-store show starting around 4 p.m. Continue reading →
It’s Saturday night and Creepoid guitarist PeteJoe Urban IV wants his bandmate Anna Troxell to bring a bigger purse to their show in Baltimore. She’s been roped into trafficking pint glasses from bars the band stops at on the road.
“I’m not bringing a bigger purse than this one,” Troxell says. “I always have to be the one carrying glasses around. I’m not doing it this time.”
Urban looks at me, shrugs his shoulders and gives a look that says, “Well, I tried.”
Creepoid is on a lineup with Amanda X, Crimson Wave and Dinged Up at The Gold Bar. It’s a little less than a two hour ride from their West Philly home. Before hitting the road, drummer Pat Troxell is getting text messages from their friend, Noel Conrad, a novelty toy maker, photographer and owner of Novelty Haus, in Baltimore. Conrad is inviting the band to his studio when they get to Baltimore for an impromptu photoshoot. The band agrees without any hesitation. They later find out that Conrad also wants to bring them in on a progressive packaging idea, pairing their music with his toys.
But there’s still plenty to do here before leaving: the van needs to be packed. That’s Urban’s job. He does it efficiently and clearly has a routine of how and where everything get placed in the back of their Ford Windstar. He knows exactly what goes in first, grabbing Pat Troxell’s bass drum. Everything fits in perfectly without any slack to spare or extra space,.
“I often consider trying different ways to load the van,” he says. “But I always end up going back to the same way every time. You just figure out a way that works best.”
Creepoid has their upcoming album on their mind when they start driving, asking each other if they’d heard anything from No Idea Records, the label releasing the record, about how many preorders they’ve had.
“I don’t know, but people keeping hitting me up to set copies aside,” Anna Toxell says. “If you want a pink one, go online and preorder one. If you want a white one, go online and order one. Don’t ask me to set one aside, I know what that means.”
There’s a grumble and Pat Troxell, Anna’s husband, says he’s been getting the same thing from other people. Specific names of their friends are dropped and it sounds like the band will try to take care of them. But no one is getting a hand-out. The self-titled new record will be pressed to yellow, pink and white vinyl, matching the color scheme of the pictures on the back of the record sleeve. But the colored records are limited to only two-hundred copies each.
Guitarist and singer Sean Miller, is driving the van with Urban sitting shotgun. They’re asking Pat Troxell about highway changes as we’re getting out of the city. He tells them what direction to take without looking up from his cell phone for more than a second, knowing the route like a father that’s taken his family to the same vacation spot every summer for years. It may have something to do with the fact that Pat Troxell has been going on tours with bands since he was fourteen years old. Continue reading →
“You cool with dogs?” Pat Troxell, drummer of Philly’s crushing fuzz psych band Creepoid, asks at the front door of the West Philly home he shares with wife and bassist, Anna Troxell, guitarist Sean Miller and Miller’s girlfriend.
Inside, the dog he’s talking about is a wired six-month-old pit bull mix named Whiskey that jumps and bites playfully as he leads to a second floor sitting room. There’s a blusey record playing on the turntable. We find Miller near the large bay window finishing what appears to be breakfast, and Anna Troxell is sitting on the loveseat opposite the room from him.
It’s early afternoon and the three present members of Creepoid are tired and hungover from last night’s gig in Kearney, New Jersey. But with every gig, they’re a little closer to the release of their upcoming self-titled album, coming out on No Idea Records on March 4. It’s just the first of four releases they have slated for 2014. The other three being twelve-inch singles on Graveface Records.
That rapid-fire approach to releasing so much material this year may sound a little surprising to most considering the upcoming self-titled LP will be their first in three years. It feels a little more arranged, more pointed in its direction and it more visual, but without forcing a message. The songs on the self-titled album aren’t necessarily new either. Many songs on the album have been in Creepoid’s repertoire for years, but haven’t been released, influencing many of the songs to change naturally and allow the band to find their voice as they continued to write.
“I think that’s the evolution of our band,” Pat Troxell says. “We started out with these pop intentions and it’s turned into our version that’s twisted.”
He stresses that when he says “pop,” he means song structures. But pop structures aside, this album is also noticeably dark. It’s grass-already-growing-on-the-plot dark. And it’s a walk through Creepoid’s outlook on what they see.
“I think we find with the dark stuff, that music is just a way to help you deal with things that make you unhappy,” Miller says. “And there are always a lot of bad things in the world to write about.”
However, that’s just Miller’s muse. Pat Troxell believes the album’s dark feeling and imagery comes from all of their moods collectively which he says is influenced by being a working-class Philly band. Each member has a hand on songwriting and seems to have their own perspective on the process.
“I think there is a difference between emotional and being sentimental,” Anna Troxell says. “And there’s a difference between speaking specifically from your experience and trying to touch overarching themes.” Continue reading →