If you took the Market-Frankford El from Fishtown to Center City day after day, morning and evening, you’d probably consider the most scenic thing about it to be the people of SEPTA dosing off in the seat next to you. When Residuels’ front man Justin Pittney took that daily commute to his day job as an Art Director, he noticed something beautiful.
“There was a point in the day—early in the morning—where the Delaware River looks really pretty,” he told us. “And there was an old prison in Camden that I always looked at. I would always fixate on it. To me, it looked like a castle in the middle of all this weird, industrial shit.”
In Time Capsule, we ask artists to revisit songs they may have forgotten: pieces they wrote, released, and packed away—until now. Each month, we’ll pick one band who will pick one song and tell us the story behind where they were and what they were thinking when they wrote it.
Two years ago, someone was dumb enough to break up with the great Brian Langan of Langor, Needle Points, and a handful of other local rock bands, The Swims included.
And it was Christmas. What a terrible thing.
But instead of huddling in his cold (but cozy!) Brandywine street apartment alone, or crying, or drinking too much, he wrote a song.
Full disclosure: I’m a little biased here. As former manager of Brian’s band Needle Points (which, to him, meant I was supposed to bring him orange juice when he was hungover), I have a personal tie with this supremely talented human being. But anyway, listen to this song—rightfully called “Set me Free for Christmas”—and be your own judge about how talented he is, even when he’s sad sacking about some silly girl who didn’t deserve him in the first place. Continue reading →
When Wesley Bunch moved to Philly to start a new chapter of his old band, Suburban Living, there were some things he left back in Virginia Beach, where he’d conceptualized the band three years prior. At the time, he had two releases under the Suburban Living name—one, a five-track EP called Cooper’s Dream, and another A/B side LP, 2013’s Always Eyes.
“There was a C-side of that LP,” he admits, “A digital download, a bonus track that’s literally not even on the album art of the pressing.”
He never listened to it, totally forgot about it until his new drummer, Mike Cammarata, brought it up during an early practice. “We were kind of at the point where we were working on new stuff but that wasn’t fully developed and I didn’t have any demos to present to the band to practice,” he says about the night. “And then Mike was like, ‘Yo, what about that song ‘Club Kids?’ I was listening to that 7” online and I like that song.’ And I was like, are you fucking kidding me? No, we are not doing that.”
But they did. And contrary to Wesley’s opinion—which was that it sounded entirely out of character for Suburban Living 2.0—it worked with the new lineup, specifically Mike’s drums.
In this new feature for The Key, we’re asking artists to revisit songs they may have forgotten: pieces they wrote, released, and packed away—until now. Each month, we’ll pick one band who will pick one song and tell us the story behind where they were and what they were thinking when they wrote it.
This month I asked my friend and DJ partner Wesley Bunch to kick it off, and we talked about a lesser-known track of his called “Club Kids” off of 2013’s Always Eyes. Read all about it below. Continue reading →
When I first came across Meg Remy’s Break Free, I was driving my dog to get a haircut. He’s pretty small—a Chihuahua bred with something else that’s small—and he scares easy, so I usually try to keep the stereo volume at a minimum. Usually. Continue reading →
One word that would neatly describe this year’s Levitation Festival: muddy. Very very muddy, and the rain that dropped down on Carson Creek Ranch — a usually dusty plane within view of the Austin-Bergstrom airport — called for some set up changes. The Levitation Amphitheatre had to be moved from its spot on the Colorado riverside to higher ground, so that it wouldn’t sink its artists into the currents. Because of this, it lacked the 360 degree visual display that’s usually projected onto the river at the annual gathering – formerly known as Austin Psych Fest – but didn’t lack in any other capacity. Continue reading →
Tonight, Jeff Zeigler and Mary Lattimore are setting up shop at the Alamo Ritz in Austin to play their live soundtrack of Philippe Garrel’s 1968 avant-garde film, Le Revélatéur. This will be an intimate gig compared to the next of the weekend, when they’ll switch gears to play for hundreds at Austin Psych Fest’s Levitation festival at Carson Creek Ranch.
“In terms of performing at Levitation, as per usual we’re going into our set with little or no real formal preparation as it’s all improvised, so I guess the plan is to have no real plan. We may discuss the overall arc and vibe but beyond that it’ll be fairly loose,” Jeff writes.
May 8th thru the 10th marks the 8th annual festival, which was rebranded this year as “Levitation” to celebrate the first-ever reunion show from the 13th Floor Elevators, who will close out the festival Sunday night. Continue reading →
The Tough Shits recently played a show at Beautiful World Syndicate, a record shop just down the street from the bar we’re meeting at. It wasn’t was very publicized, and lots of their longtime fans could’ve missed it if they didn’t catch the Facebook note the group posted eight hours before showtime. There was no setlist because they never make setlists, and there were mistakes because they admittedly always make mistakes.
That show has helped the Philly band – who are quietly emerging from the several-year hiatus that immediately following the release of their self-titled debut – devise a plan for this weekend’s Record Store Day showcase at Repo.
“This time John will realize what’s wrong with his guitar after the first song instead of six songs in. I will remember all of the words…” singer/guitarist Mark Banfill begins. Continue reading →
Philly rock band Residuels just premiered a Stooges-approved version of “I Got A Right” today via Noisey; the cover is part of the new single for Valley of Fire, a song the band teased last month ahead of its SXSW run.
Iggy Pop himself says of the cover (and of frontman Justin Pittney): ”I noticed [Justin] had a great feel for our music… a good example of someone who is solving the puzzle of how to have fun and more as a young musician today. He sent me ‘I Got A Right’ by The Residuels the other day and I thought it had a really good spirit. Hey Residuels thanks for the cover.” Continue reading →
Before he had Nothing, Domenic “Nicky” Palermo spent a decade in the service industry.
He ran the gamut of gigs, from busboy to bartender to manager of multiple bars and restaurants around Philly. And through this time, he always had his music a s a side gig.
But 2014 was a breakthrough year for Nicky’s band. The Philly-based shoegaze group toured extensively around their debut LP, Guilty of Everything, which was released last March by Relapse Records, picked up as an NPR First Listen and named one of the “Best Overlooked Albums of 2014” by Spin Magazine, to name just a few of its accolades.
Nicky left the hospitality industry a year-and-a-half ago so that he could do nothing but Nothing. Then, he was given the opportunity to re-enlist and take on his newest project: Ortlieb’s. Continue reading →
Year-End Mania is the Key’s survey of the things below the surface that made 2014 awesome. In this installment, Key contributor Nikki Volpicelli shares her favorite travel excursions of the year.
As a music writer based out of Philly, I spend a lot of time in the backyard digging up new music to listen to, watch and write about. This year, I had the opportunity to see what other cities and there scenes had to offer, from Los Angeles to San Francisco to Portland to New York City. I ate tacos, saw some punk shows, saw some scientologists, and jumped off of a bar with an 80-year-old man who’s been playing blues covers at the oldest bar in SF every Sunday for 17 years. It all made me realize: the grass is no greener here, there, anywhere. It’s just a different shade.