When a young music fan hears stories about their favorite bands recording new music, they often invent grandiose visions of the studio and its space. There’s a certain mystique inherent for those who haven’t stepped foot in one; like most unlived experiences it’s portrayed in our heads as distant, unattainable, a place where all-time art is created. A place where “regular people” don’t ever go. Of course, that’s not really true. Studios come in all shapes, sizes and budgets, from cavernous state-of-the-art compounds where million-dollar records are made, to dirt-floor basements walled with smoke-stained eggshell padding.
Philadelphia’s Miner Street Recordings, which has gone through several locations in its two decades of existence (and is no longer located on Miner Street, for the record – the name comes from its original location in West Chester), lies somewhere in between the two extremes of the studio spectrum. Situated at a central crossroads in Fishtown, it’s a nondescript, vaguely abandoned-looking building in a city full of them. Off-white and faded blue paint peels from the exterior walls, exposing bricks underneath. The only visual confirmation that it’s the right place is a small piece of black tape on the front door with the words “this is Miner Street” written on it.
Before spotting the “sign” though, there’s an aural confirmation; standing on the sidewalk outside, the sound of muffled, droned, noteless guitar strumming breaks through the walls. We’re here to observe Restorations as they record their third full-length and second for SideOneDummy Records, and even those distant, cacophonous non-notes are immediately identifiable with the band’s growing reputation for weaponizing sharp, bright melodies by weaving them into heavy, distorted riffs, an unassumingly thunderous rhythm section and the occasional organ, all of it anchored by the throaty vocals of Jon Loudon. Continue reading →