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How Get Better Fest is delivering on the promise of hardcore and punk

Get Better Fest 3 | photo by Jeff Hersch | courtesy of Get Better Records
Get Better Fest 3 | photo by Jeff Hersch | courtesy of the artist

Alex Licktenhour wears their identity on their sleeve. Literally. The 27-year-old head of Get Better Records and the driving force behind the festival of the same name recently got the label’s logo, a sunflower bursting out of an upside down pink triangle, tattooed on the back of their arm. That logo, Lickenhour said, is a representation of, “Queerness [and] being non-binary.” Considering the history of the pink triangle being used to mark LGBTQ+ people in Nazi Germany, it also makes an obvious political statement.

This mixture of the personal and the political is reflected in their approach to running the label – going since 2010 – and booking the festival, which is happening for the fourth time at the end of this month. “I feel like through the label [and festival] I broadcast my politics,” Licktenhour explained. “Who is on the label, what I’m talking about. My politics are very open in terms of what I support and what I don’t support.”

Right now that includes a slew of releases from queer grindcore collective +HIRS+ (for whom Licktenhour is an occasional live drummer), rock n’ rollers Thin Lips, the post-G.L.O.S.S. band Tankini, and the final album from folk punk stalwarts Ramshackle Glory. Just as exciting is the recent announcement that the label would be putting out an album by Dark Thoughts, as well as the cassette release of Cayetana’s forthcoming New Kind of Normal.

What’s the unifying thread running through all these bands, outside of the fact that most are from Philadelphia? The label’s no-nonsense slogan addresses that: “DIY label. For the queers. No sexist, no racist, no transphobic, no homophobic, no apologist bullshit tolerated.”

The festival is a natural extension of that, especially since it serves as a fundraiser for progressive and radical non-profits. This year Get Better Fest – April 28th through the 30th – will be benefitting the Trans Assistance Project, Youth Emergency Services, and Women Against Abuse. Shows will be held at Glitter Galaxy, the First Unitarian Church and PhilaMOCA.

 

Continue reading →

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The High Key Portrait Series: Pissed Jeans

Pissed Jeans | photo by Josh Pelta-Heller for WXPN
Pissed Jeans | photo by Josh Pelta-Heller for WXPN

High Key” is a series of profiles conceived with the intent to tell the story of Philly’s diverse musical legacy by spotlighting individual artists in portrait photography, as well as with an interview focusing on the artist’s experience living, creating, and performing in this city. “High Key” will be featured in biweekly installments, as the series seeks to spotlight artists both individually and within the context of his or her respective group or artistic collective.

Pissed Jeans kicked off their record release show at Boot & Saddle last month waiting on drummer Sean McGuinness, before he finally emerged from the bar, swam his way through the wall-to-wall bodies of the sold-out house, and climbed up onto the stage.

The set is an intractable inferno, furious and urgent, demanding the rapt attention of the hundreds of fans and friends who came happy to give it, as they sweated and moshed, crowd-surfed and stage-dived, in the pious tradition of rock worship of these esteemed ministers of “sludge-punk.”

“I’m not really too concerned [with labels],” remarks frontman Matt Korvette. “That’s fine. Whatever people wanna call you, you’re stuck with.” Adds guitarist Brad Fry, “it seems very generic but yeah, it’s just rock music. But taken from all elements of rock — punk, metal, garage rock.” Fry, bassist Randy Huth, Korvette, McGuinness and I are sitting in a cramped in a “green room” — the venue’s euphemism for a basement storage closet behind the kitchen with a sofa and a lamp — in advance of their show that night. I’d later wish I’d gotten the opportunity to interview them after the show rather than before, just because I wanted to ask about why Korvette would make a demonstration that night of destroying several vinyl copies of some of my favorite Beatles albums on stage.

Why Love Now is the band’s fifth full-length album, and their fourth on Sub Pop. “It was crazy. We were shocked. Totally shocked,” remembers Korvette about being signed to the label, established in Seattle in the mid-eighties and made famous by Nirvana. The label took notice of them “organically,” to hear Korvette tell it, and having originally brought them in just for a single, their deal was broadened to include one LP, before Sub Pop decided to keep them on board for the duration. “But even doing a single was shocking,” Korvette reflects, “because we weren’t, like, looking for labels. That was never part of our thought process.” Adds the singer with a characteristically dryly delivered irony, “they just had good taste.”

On stage and off, the four of them share an obvious and genuine chemistry, the intangible pixie dust that tends to elevate a band to more than a band. They juggle families, day jobs, responsibilities and commitments, and a commute to connect with Fry, too, who doesn’t live in the immediate vicinity. But the arrangement works for them, and they see no reason to change things at this point, after almost a decade-and-a-half. “There’s no reason to really stop. We’re all friends. We’re just playing music with our friends.”

As we talk, McGuinness wanders upstairs and we wait for a few minutes for him to return before we get to the questions, but he never does. I ask if they were ok getting started without him, for now. “Yeah,” Fry replies. “He’s not that important.” Continue reading →

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Under new management, Drexel’s reimagined Flux fosters community

Drexel battlefest at Flux Space | photo by Marshall Woodruff | courtesy of the artist
Drift performs at the Flux-curated Battlefest | photo by Marshall Woodruff | courtesy of the artist

Everybody’s heard the philosophical question about the tree falling in the forest, and frankly, I could care less about figuring it out. Why should I care if some random tree in some random forest is making noise? It’s a tree. With that being said, when you apply the same question to an up-and-coming band, the answer becomes a lot more interesting and a lot more clear-cut. Yes, of course they can make a sound, but wouldn’t it be a lot more fun if someone was around to hear it?

Before you headline Madison Square Garden and save the world with your music, you just need to find a community that’s willing to give you a chance. For a lot of bands, that community is the school they’re going to—just ask R.E.M., Sleater-Kinney, Slowdive, Radiohead, and countless others. Everyone has to start somewhere, and the more supporting and accommodative that somewhere is, the easier it is to get your feet off the ground. As a student and musician currently finishing up my undergraduate at Drexel, I understand this all too well, but for much of my college career, the campus has lacked a place like-minded friends and I could call home. It wasn’t always that way, though.

About six years ago, a Drexel student received a grant for over $90,000 in top-of-the-line sound equipment. It was eventually installed in the basement of the James E. Marks Intercultural Center, resulting in the birth of Flux, the university’s premier concert venue. For the next few years, the space hosted performances from student, local, and touring acts, including Modern Baseball, The Districts, The Front Bottoms, and more. It was the community-centric space I had always dreamed of in high school, but just as I was beginning to feel optimistic about the future, things took a turn for the worse.

Midway through 2014, “The Man” had his manly say.  It’s announced that the Intercultural Center is being torn down to build a hotel, and shortly after, Flux hosts its last show.  The team spends the ensuing months searching for a new space to no avail. With no venue, they lose funding, the students involved graduate, and just like that, Flux disappears completely. Continue reading →

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Vicariously follow ZouZou Mansour’s road warrior badassery in Soraia’s tour diary on My Life in Sound

soraia
Soraia | photo by Beth Herzhaft

Ever wonder what it’s like to be a frontwoman for a badass hard rock band? If you’re like me, your answer probably fell somewhere along the lines of “only all of the time always.” I mean, c’mon, these ladies are the epitome of coolness and kick-assery. A prime example: ZouZou Mansour of Philly rock group, Soraia. Local blog My Life in Sound is helping us unworthy plebeians live out our rockstar dreams vicariously through ZouZou’s tour diary, which documents Soraia’s time jamming along the East Coast this spring. Continue reading →

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Sounds of Psychedelphia, Part Two: The revival of the 90s

Lilys | photo via Bandsintown

Sounds of Psychedelphia is a three-part series exploring the history of psychedelic rock in Philadelphia. this month, we begin by studying the scene’s origins in the late 60s and early 70s.

As the 60s psych rock revolution faded in the U.S. and England, giving way to the complex, technically dense sounds of progressive rock and the spectacular grandiosity of glam rock, the barrier of entry for rock and roll was at an all-time high.

By the late 70s, punk had come in like a tidal wave, sweeping the table clean and emboldening a new generation of musicians to pick up instruments and play, regardless of experience or technical proficiency. Punk had leveled the playing field, birthing a vibrant DIY (Do It Yourself) culture that thrived in basements, practice spaces and squat houses around the world. The artistic freedom that punk opened up led many bands of the post-punk generation to begin to experiment with new and old sounds. While some post-punks took the music into previously uncharted waters, cross-pollinating punk aesthetics with dance beats, free-jazz, noise and icily dramatic electronica, many musicians began to look back to the psychedelic sounds of the 60s for inspiration.

Following this trend, bands in cities hit hard by punk — San Francisco, Chicago and most notably Los Angeles’ notorious “Paisley Underground” scene — began to experiment with garage rock and acid-fried neo-psychedelia. The city of Philadelphia was no different, seeing a number of its artists by the 1990s begin to explore the psychedelic sounds of the past with an eye toward the future. Continue reading →

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Philadelphia Metropolitan Opera House renovations moving forward with Live Nation

Photo via AOS Architects

In November of 2016 it was reported that the historic Philadelphia Metropolitan Opera House was being developed to be a music venue, office space and a restaurant. Today, Curbed Philly reports that the Philadelphia Historical Commission’s architectural committee “unanimously approved plans to install multiple 1930s-era LED signs on the Philadelphia Metropolitan Opera House on North Broad,” and that Live Nation has “signed onto the project.” Continue reading →

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Finding Philly in Austin: Catching up with nine local artists at SXSW

The Districts | Photo by Noah Silvestry for WXPN | silvestography.com

South by Southwest: the festival to end all festivals. That time of the year when the entire world takes over the city of Austin for a week of networking, tacos, and lanyard tans. But somewhere amidst the corporate clutter, in between the long lines outside sponsored showcases and under the litter of promotional flyers strewn across the main drag of Austin’s 6th street by week’s end, is that which makes SXSW so strange and wonderful: the thousands of independent artists who chose to play more sets in just a few days than certain artists play in a year, compensated by the choice between $250 and a wristband, and the vague promise of discovery.

This year, I decided that I, myself, would participate in the SXSW hustle, running around the streets of Austin to the sound of a hundred bands at once, camera and notebook in hand (which is nothing, really, compared to the gear most musicians were toting) to catch up with nine of Philadelphia’s own artists showcasing at this year’s festival. Below, read excerpts from our conversations, and see photos from their live sets. Continue reading →

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Watch Phife Dawg rock a Ricky Watters jersey onstage at Penn’s Annenberg Center with A Tribe Called Quest

Q-Tip and Phife Dawg onstage at Penn's Annenberg Center | still from video
Q-Tip and Phife Dawg onstage at Penn’s Annenberg Center | still from video

The thing about hip-hop icons A Tribe Called Quest — they were purists all the way, coming up during the three-MCs-and-a-DJ era, and that’s how they always brought their show to the stage. Even when their sound evolved beyond its sampledelic beginnings, even when original arrangements and instrumentation became part of their records, the live show always remained true to the classic hip-hop form.

Certainly, in nightclub settings, this rocked the freaking house; as the venues got bigger, though, results were more mixed. As much as the 90s were a golden era of hip-hop, and Tribe was very much a band responsible for breaking down the barriers of genre to reach bigger audiences, mainstream promoters and show producers were still very much confused by it as a live art, clearly didn’t know what the heck what to do with it in big rooms — which is why my two encounters with the band in its heyday were very mixed.

Seeing them open for the Beastie Boys at the First Union Center in 1998, their mix pumped through the massive and reverberant arena without much in the way of sonic reinforcement; their performance was live as hell, but from the stands it sounded like Tribe was lost in a cavern. Playing the Vet for Temple’s football homecoming that fall, they only got a couple songs in before the performance got called.

However, this video I came across today — as I reflect on the anniversary of Malik Isaac “Phife Dawg” Taylor’s passing — sits more comfortably on rock-the-house side of things. It was April 18th, 1997, and the band was playing the Annenberg Center at the University of Pennsylvania, a pretty spacious room, and you can hear the booming mix trying to find its proper space within the walls. Q-Tip mentions mic problems throughout the set, and even freestyles about the topic at one point. But once DJ Ali Shaheed Muhammad finds his sonic groove — I’d put this at about the 8 minute and 20 second mark, a remarkable transition from “Buggin’ Out” into “Oh My God” — it’s truly OMG amazing.  Continue reading →

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Support a more inclusive scene with No Gatekeepers, the 2016 First Time’s the Charm compilation

Whipworm | photo by John Vettese for WXPN
Whipworm | photo by John Vettese for WXPN

As superb and awesome as Philly’s music scene is, one aspect that remains not-so-hot is the lack of diversity. With so many prominently acts made up of white, straight men, it can be difficult for women, artists of color, and members of the LBGTQ community to feel included and respected. So how to combat this aura of exclusivity, might you inquire? Inclusiveness and active representation for days, that’s how. Enter: First Times the Charm. This event of greatness, founded in 2013 and reprised in 2016, is a two-night festival at PhilaMOCA that celebrates and jams out to new bands with underrepresented members — all of whom are playing their first show.

We’re big fans of First Time’s The Charm — having discovered locals like Marge and Littler from the first edition of the festival — so last year, The Key teamed up with both the organization as well as our compatriots at Folkadelphia to record 15 out of the 20 bands who performed at FTTC 2016. The resulting compilation was just released on Bandcamp as No Gatekeepers: First Time’s The Charm 2016 and includes Aster More, Taxes, Dumb Hair, Heretrix, Whipwrom and Joyful Exit, the songs range from gritty and loud, to soft and melodic, to quirky and refreshingly unexpected. Continue reading →

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Watch Chuck Berry jam with John Lennon on the Mike Douglas show in 1972

Chuck Berry and John Lennon on the Mike Douglas show in 1972

Yesterday we were saddened to hear the news that rock and roll pioneer Chuck Berry passed away. Today, we bring you a local memory of him, in video form.

In February, 1972, John Lennon and Yoko One were invited to guest host the Mike Douglas Show in Philadelphia for a week, and they brought on Berry as  a guest. Douglas was an afternoon television talk show host; at the time, he taped in Philly at the KYW studios at 1619 Walnut Street. Lennon, with Ono and their band, backed Berry for two songs, “Memphis, Tennessee,” “Johnny B. Goode,” and sat for an interview with Douglas together.

“If you had tried to try and give rock and roll another name, you might call it Chuck Berry,” Lennon said in his intro to the legend.

Seated in the audience at this performance was XPN midday host Helen Leicht, who worked in the production department at KYW TV at the time — you can see her clapping along to “Johnny B. Goode” beginning at the 10:48 mark. Continue reading →