For someone coming from the world of amped-up punk rock, Roger Harvey‘s music is decidedly low-key and reflective.
The singer-songwriter relocated to Philly from Pittsburgh about three years ago, following stints touring with Against Me!, Dads and The Menzingers. His debut LP, Twelve Houses, was released that October, and it set introspective lyrics to lush acoustic arrangements in the vein of Neutral Milk Hotel and Death Cab for Cutie, with his haunting and tremulous vocal taking center stage.
Almost two years later, Harvey returned with a more outer-directed perspective on the Two Coyotes LP. This time, rather than personal ruminations, he tackles bigger-picture issues; immigration is unpacked in the title track, which tells a story of love across borders, while superconnected isolation is the focus of “Love In The Digital Age.” You can hear anger and frustration, albeit in a subdued manner, on “Gold,” which opens his studio session this week — when he sings “fuck the foundation, we’re in control,” it’s one of the prettiest punk rock moments we’ve captured in the studio. Continue reading →
When a reunited Swearin‘ opened for Superchunk at Union Transfer earlier this month, not only did they sound totally asskicking in that proverbial haven’t-missed-a-beat kind of way, they also debuted two new songs during their set, giving fans hope that getting back together was not just a one-off novelty for the tour.
Today, we are happy to report that the Philly-formed band has joined the roster of Merge Records, a move that totally makes sense — singer-guitarist Allison Crutchfield released her solo record on Merge in 2017, and her sister Katie’s band Waxahatchee (which she also plays in) has called Merge home since 2015.
The band is comprised of Crutchfield as well as fellow singer-guitarist Kyle Gilbride, longtime drummer Jeff Bolt, and new bassist Amanda Bartley. Continue reading →
When I first was introduced to Cold Fronts, it was undeniably a band – four young dudes making rock and roll in a West Philly basement they dubbed the Rathaus. It was 2010 and they had an impossibly catchy fuzzrock / power pop song called “Catch” that I’m pretty sure I first heard streaming on their MySpace page. The song fit nicely in an era of my listening where I missed The Strokes of the early aughts, and the LCD Soundsystem and Broken Social Scene records of the moment weren’t quite scratching that itch. I reviewed the track in City Paper, and the elated guys dropped off a couple soft pretzels as tokens of their appreciation. Technically I’m not supposed to accept thank you gifts, but I reasoned that – in addition to being a very Philly thing to do — two $0.79 soft pretzels are not going to sway me on a band I already liked.
Then things changed; Cold Fronts became less of a band, and more of a focus on singer-guitarist and primary songwriter Craig Almquist. It began when they signed a deal with Sire Records – my wife and I caught a Johnny Brenda’s gig where we turned around midway through their opening set to find legendary A&R guy Seymour Stein seated at a high-top table behind us, bobbing his head to the beat. The process of recording, then releasing the band’s debut album on the industry’s timetable was taxing for all involved. Band members quit; new players joined, and left. All the press imagery showed Almquist and Almquist alone. He estimates that over a dozen people have been involved in Cold Fronts over the years, with the most difficult of those years being the four that it took for Forever Whatever to ultimately see a release in 2015.
These days, though, they’re back to their roots, but significantly wiser for the wear. The band’s sophomore album, Fantasy Du Jour, is out on Friday via Sire. It has classic Cold Fronts rock-out moments like “Stayin’ In,” a rifftastic two-minute jam about getting stoned and ordering Indian food. But there are also moments of greater nuance, depth and maturity – the atmospheric dream-pop tones of “Let The Record Play”; the subdued Big Star-esque fingerpicked acoustic ballads “Lightning Storm” and “Back and Forth”; the uplifting vocal harmonies on “The World For Sale.”
Most significantly, Cold Fronts has gone from being a scatterbrained rotating cast project to a solidified unit once again, something we hear a nod to on the reflective title track, where Almquist sings “love’s no fun when you’re the only one.”
Below, we’re happy to give you a first listen to Fantasy Du Jour ahead of its April 20th release date, as well as the accompanying pop-up pop-up gig we hear the band is playing somewhere in Philly. (They also have an album release party that night at Mercury Lounge.) Take it for a spin as you read my interview with Almquist, who I caught up with on the phone on a sunny day last week. He was chillin in Rittenhouse Square on after getting done with his shift doing bike delivery, and we talked about the evolution of Cold Fronts, the making of the new album, his thoughst on the major label experience and how he wound up in a swimming pool canoe at SXSW. Continue reading →
Philly vocalist Deb Callahan has been singing the blues for 20 years, and plans to do a lot of celebrating to mark the milestone. The festivities kicked off back in March with a headlining anniversary showcase back in March; from there, Callahan and her three bandmates — bassist Garry Lee, guitarist Allen James and drummer Tom Walling — have a calendar of shows plotted out through June, showcasing their recent fifth album Sweet Soul and digging back through their back catalog.
We got to see some of what they can do in this week’s Key Studio Session, and for a four-piece without much in the way of fanfare or instrumental excess, their sound is remarkably full. James’ guitar emulates a Rhodes keyboard tone on the swinging “Seven States Away,” a Florida-to-Pennsylvania travelogue Callahan wrote about wanting to return home and see her son; on “Carry Me,” his playing resonates its way down a dusky delta swamp, while the set-closing “I Keep Things Running” has a jagged rock edge. Lee’s bass is warm and enveloping, filling in sonic nooks and crannies in subtle but important ways, and Walling’s drums are precision-tight, with loud accents aplenty but just as much studious simplicity.
The glue holding it all together, the reason we’re here in the first place, is Callahan’s voice, an instrument in itself that is dynamic in range and full of emotion, from determination to frustration to humor and more. Continue reading →
Get things started tonight with prolific indie rockers Guided By Voices; keep it running throughout the week with soul master Bilal, or heartrending songwriter Julien Baker; get lost in the tones of etheral soundscaper Madam Data, then wrap up with The Mountain Goats in Ardmore. Here are 16 shows you can see in and around Philly over the next seven days. Continue reading →
Singer and multi-instrumentalist Dominic Angelella is one of the busiest dudes around the Philly scene, between his gig playing bass with punk road warriors mewithoutYou, busting smooth dance moves on late night TV in Natalie Prass’ band, sharing songwriting duties in Lithuania with Eric Slick, and rocking the occasional solo release when he has a minute to come up for air.
After many years fronting DRGN King, Angelella made his solo debut last year with the Goodnight Doggies. LP on Lame-O Records; this spring, he follows it up with the Road Movie EP, out May 4th on Lame-O, and a new track just premiered today via Brooklyn Vegan. Continue reading →
The annual Philadelphia Folk Festival returns for its 57th year this August, and just announced its initial lineup, led by famed country singer-songwriter Wynonna Judd and her current band The Big Noise.
After appearing at the 2015 NonCOMM-vention, Judd and the band released their self-titled debut, Wynonna and the Big Noise, in 2016; the album featured collaborations with Derek Trucks, Sudan Tedeschi, Rapheal Saadiq and more.
Also high up in the festival billing are veteran Austin singer-songwriter Patty Griffin, emerging Memphis artist Valerie June, and the high-energy Charleston duo Shovels and Rope. Festival regulars David Bromberg Quintet, Chris Smither, John Gorka, BeauSoleil avec Michael Doucet also perform. Continue reading →
In the early 90s, the hardcore scene pretty much meant slight variations on a single thing: angry dudes being loud and screaming on stage in front of angry dudes being violent and shoving each other around in the crowd. In some circles, it still means exactly that. Elsewhere, things have grown more nuanced.
Twenty five years ago, Riot Grrrl was a feminist response to the cishetero white male dominance of 90s punk; emo embraced a sensitive, introspective outlook to counter all that rage-for-rage’s-sake. Both subgenres and their offshoots brought us brilliant records, though neither was without its faults — from internal division rooted in scene politics to predatory sad boys using the relatability of their feelings to take advantage of their fan base.
Which brings us to 2018. Is there still something that gives punk a purpose? Or is it just basement shows, ten-year-anniversary full-album tours (or fifteen, or twenty) and little bigger-picture momentum? As somebody who has been a mere observer on the periphery of the scene for my entire life, I’m sure my answer is different than somebody in the thick of things. But I see the future of punk and hardcore in inclusive labels like Get Better Records and their “QUEER AS IN FUCK YOU” mantra; in events like Break Free Fest, which puts artists of color and other marginalized voices front and center (which, isn’t that act of uplifting kinda the point of a counter-culture?); and in bands like Great Weights. Continue reading →
Before he made a beautifully understated suit-clad performance at the Oscars, before his Figure 8 album cover turned the mural at 4330 West Sunset Boulevard into a L.A. tourist destination, before he tragically died at age 34, Elliott Smith was a singer with an acoustic guitar and some beautifully sad songs, traveling the country and playing gigs.
In April of 1997, Smith was on an east coast run in support of Either / Or — an album which, along with his self titled record from 1995, are essential documents of his minimal, home-recorded Kill Rock Stars years — and the tour came through Princeton, New Jersey’s Terrace Club on April 12, 1997. Continue reading →
Yes, yes, we know. You’re probably getting tired of hearing us enthuse over Hop Along. To those sentiments we would ask the following: how? Why? And have you watched this sick new video for “How Simple” yet? Continue reading →