R&D Vinyl looks to build community, left-of-center style, in new South Philly digs

R&D Vinyl | photo by David Milstein

Just over a year ago, Queen Village locals started peaking their heads in R&D Vinyl’s original Fourth Street location. At first the curious window shoppers were coming into the store out of earnest friendliness and interest. But quickly things changed, influencing R&D to take their experimental-focused and cassette tape-heavy inventory to a better-suited block of South Philly’s Dickinson Narrows neighborhood.

Now situated only a couple doors off Dickinson Street’s southwest corner at Sixth Street, R&D, which is short for Research and Development, is feeling at home. As a matter of fact, co-owner David Milstein calls that block of Sixth Street home, too. One day he passed the storefront, noticing a “For Rent,” sign on the door, automatically imagining having the store on the same block in which he lives being “kind of like a fantasy.” At the time, he and other co-owner John Mariano, had been considering moving the store for multiple reasons. One of which was the pushback they got from Queen Village residents throughout R&D’s inaugural year in business. Continue reading →


Soul Saving: How one man’s obsession with old 45s gave birth to Philly’s Brewerytown Beats

Brewerytown Beats | photo by Ben Wong for WXPN |

When Maxwell Ochester’s neighbor asked the then Mt. Airy teen’s parents if he could borrow him one weekend to work Brooklyn’s Roosevelt Record Swap, he probably didn’t know that he was changing a very small life. But he was. At the time, Max was hooked on records of the standard classic rock fare—Guns n’ Roses and Poison, for example. Hip hop, soul and funk were still a bit foreign to him. Foreigner was less so. But when Max got situated behind the booth at his first NYC swap, he found himself face-to-face with some of hip-hop’s biggest artists of that era.

“It just so happened that one of the first shows we did was this now super famous record show in New York where all the hip-hop artists from the early 90s were getting their samples from. So A Tribe Called Quest and Pete Rock & CL Smooth would all buy albums to sample for their records. So that’s how I got into it but I also got hooked right then. I was like, Oh my god, Q-tip is buying a record from me,” he remembers.

Today, that kid is 39 and he owns Brewerytown Beats, arguably the best record shop in the city of Philadelphia. And he wouldn’t have what he has, which includes approximately 20,0000 records and a coveted role as A&R and co-distributor for Jamie/Guyden Records, if it wasn’t for his experience at the swaps. “Watching Q-tip and Pete Rock and all these guys that I looked up to and the stuff that they would buy, I would really pay attention,” he says. “I used to watch what they would buy and then I’d listen to their music and try to dissect and find what kind of samples they were using for their music—and that’s how I got into it.” Continue reading →


Loose Tooth created a recipe book for Big Day because why the heck not

Loose Tooth | photo by Craig Scheihing | courtesy of the artist
Loose Tooth | photo by Craig Scheihing | courtesy of the artist

Philly rockers Loose Tooth released their latest album Big Day in April, but have recently created a very necessary addition to the record: a recipe book. Featured on Impose Magazine, Loose Tooth has concocted a specific meal and accompanying cooking details for each track on the album. Because every tasty track needs a tasty treat. It’s basic physics, really.

While some of the songs seemed destined for a food companion — i.e. “Garlic Soup,” possibly “Fish Boy” — others are a bit more of stretch, and thus thoroughly enjoyable to read and map connections from the song to its food counterpart. Continue reading →


Listen to Marley McNamara talk about building your own path in music, managing The Districts and more on 25 O’Clock

Marley McNamara | via 25 O’Clock

One of the hardest-working behind-the-scenes people in Philadelphia’s music community is Marley McNamara — manager of The Districts, The Dove and the Wolf and more, show-runner at Johnny Brenda’s and all around rock and roll enthusiast.

This week, she appeared on the latest episode of the 25 O’Clock Podcast with host Dan Drago, and the two talk about how McNamara forged her own path in the music world, how she found the artists she works with and why she prefers working in places that value musicians for their creative vision and not their commercial appeal.

Listen for lots of conversation on the Philly music scene, about how Car Seat Headrest helped her stay tapped into music fandom, why The Districts are distancing themselves from “Funeral Beds” and the reason she’s totally okay with that. Stream it below. Continue reading →


Sounds of Psychedelphia, Part Three: The torchbearers of today

Ill Fated Natives
Ill Fated Natives | Photo by Rachel Del Sordo for WXPN |

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.

At the dawn of the new millennium, the post-grunge alt-rock hype had died down, making room for guitar-oriented bands to stretch beyond conventions that had grown stale by the later part of the 90s. This, along with the emergence of mp3s and file-sharing technology, drastically changed the landscape of rock and the music industry in general.

In Philadelphia, an intriguing brew of cross-pollinating musical styles and DIY ethos began to bubble up as underground bands were able to use the internet to engage their audiences. While many of the “Psychedelphia”-era bands of the 90s like Photon Band, Asteroid #4 and Bardo Pond carried on into the 2000s as integral parts of the Philly scene, a new, younger crop of acts began to make noise as well. Much like their forebears of the 60s and the 90s, many of Philadelphia’s millennial bands retained the melodic, guitar-pop influences of the U.K. (The Beatles, Kinks etc.), fusing those sweet sensibilities with a decidedly heavier, muscular sound. Continue reading →


Diner Food, Punk Rock Style: The Tasty’s owners reflect on their first year in East Passyunk

The Tasty | photo by Rachel Del Sordo for WXPN | <a href= target="_blank"></a>
The Tasty | photo by Rachel Del Sordo for WXPN |

“Three punks open a vegan diner in South Philly.”

Sounds like a setup for some classic olde thyme comedy, but The Tasty, located at 1401 S. 12th St., is the real deal. Since moving to East Passyunk last spring, the breakfast-and-brunch spot has been on my radar as a bustling neighborhood zone for vegan takes on the diner-inspired comfort food we all know and love.

(Seriously, good luck grabbing a seat after 10 a.m. on a Saturday. The Tasty is generally quite packed with vegans and omnivores alike at any given time of day.)

With a menu boasting tofu scrambles, breakfast burritos, fried chicken sandwiches, pork rolls, cheesesteaks, chicken and waffles, and pastries baked in-house (not to mention the endlessly rotating weekend specials and carefully curated coffee selections), The Tasty’s runaway success is multifold.

Yes, the menu is consistently dope, and dually serves a growing demographic that often has a tough time finding a wider range of options in Philadelphia’s network of diner, and diner-inspired, brunch spots.

But all credit is due to co-owners Kate Hiltz (who manages New Jersey punk band The Bouncing Souls and owns Chunksaah Records), Sofia Baltopoulos, and Restorations guitarist/keyboardist Ben Pierce, who imbue The Tasty with a sense of community, care and white-knuckled work ethic that stems from their collective—and extensive—background in a do-it-yourself music scene.

Since The Tasty celebrates one year in business this month, I recently sat down with Hiltz, Baltopoulos and Pierce over vegan Buffalo wings to talk about its first 12 months, absurd city bureaucracy, and why punks are the best at getting shit done. Continue reading →


Celebrating stories with Pecola Breedlove and The Freedom Party

Breedlove | photo courtesy of On Point Ink Photography

Why do they call open mics, open mics? Because open mics are invitations for artists to be open when they step up on the mic.

Imagine coming into a space that doesn’t require you to be perfect for entrance. A place where you can come to deal with shit, whether you’re an artist or a part of the audience. And when you come into the venue you instantly hear music like The Gap Band or The Backyard Band being played before the event starts. This event is none other than Pecola Breedlove and The Freedom Party. Located at A Poets Art Gallery at 4032 N Girard Avenue, Pecola Breedlove is a weekly open mic that has gained the attention of poets and fans of poetry whether they’re from the city or out of town.

Created by KP Ultra, the Pine Bluff, Arkansas poet has created a welcoming space for poets of the blue collar city of Philadelphia to share their stories on stage that has lasted for the past two years. I was able to sit down with him and to pick his brain on the Philadelphia poetry scene and discover the origins of the well-loved open mic event that has gained its city’s ears with their words. Continue reading →


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 →


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 →


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 →