It’s not easy to write an introduction for Gene Wildest. The Philadelphia rockers can channel the whole of guitar-rock history in the span of a song, mixing genres as freely as spices. On their new LP, Spectral Terrestrial, GW draw from doom metal, space rock, shoegaze, math rock, and more to sustain an absorbing spaced-out atmosphere. Continue reading →
Philadelphia-rooted singer-songwriter Nick Cianci‘s debut EP High Fidelity Depressed is a high-energy take on themes of angst and loneliness. With beautifully intricate guitar melodies and clear, eager vocals, the recent NYU grad via the Clive Davis Institute of Recorded Music has proven that he’s clearly not new to the game. His sound is incredibly mature and perfected, even though he’s a solo artist. Not only is he a gifted musician and songwriter, but he also understands the technicalities of production. That’s his edge right there. Continue reading →
According to her label Spinster Sounds, Rosali wrote the songs on her new album “as a way to seek empowerment,” and to allow herself to speak openly and honestly on themes ranging from love to anger, from power to loneliness. The solo project of Philadelphia-based artist Rosali Middleman, also of Long Hots and Wandering Shade, Rosali’s second solo album Trouble Anyway, out now, weaves together a spectrum of emotions and experiences with her singular folk rock sound. Continue reading →
In the endless revivals of 70’s art rock, it’s often forgotten that amidst the subversion, provocation, and politics, the music was also actually fun. But West Philly rock trio Bike Crash—whose bandcamp bio accurately places them in the lineage of “Devo, dashes of early Deerhoof, Sleater Kinney, B-52’s and more”—have avoided the pitfalls of artsy over-affectation to deliver an exhilarating new EP, Surprise!, that supplants the lightning-in-a-bottle energy of their influences into a picaresque journey through modern Philadelphia. Continue reading →
“When you hear about slavery, that was 400 years. 400 years? That sounds like a choice!”
During a heated exchange that followed Kanye West’s surprising (and downright idiotic) proclamation that African Americans’ role in (or inability to break out of) chattel slavery was in fact “a choice,” TMZ reporter and Hip Hop podcaster Van Lathan scolded Kanye for this toxic and irresponsible statement. “Kanye, you’re entitled to your opinion, you’re entitled to believe whatever you want, but there are facts and real-life consequences to everything you just said. And while you are making music and being an artist and living the life that you’ve earned by being a genius, the rest of us in society have to deal with the marginalization that comes from the 400 years of slavery that you said, for our people, was a choice! Frankly, I’m disappointed, I’m appalled and brother…I am unbelievably hurt by the fact that you have morphed into something that, to me, is not real.”
When weighed against other hot topics that captured our instantaneous 24-hour news and entertainment cycle, this moment between Lathan and West is significant on a few levels. On one level, this confrontation represented an ideological collision between the working class and the rich/famous celebrity cult that Kanye has centered in both his artistic and social life. It can be argued that Kanye’s calculation that slavery was ultimately “a choice” for African Americans is a logical conclusion of the type of quasi-spiritual “law of attraction” self-help doctrine that many Hollywood celebrities traffic in (popularized by Rhonda Byrne’s “The Secret”). If you only believe in yourself more and think positively, you too can be rich, famous, successful, not a slave. This confrontation between Lathan and West was also significant because it created a brief space for open discussions on the systemic nature of racism. Lathan’s response to West concisely identified racism as an all-encompassing system of social, economic, political and legal oppression that exists as a historical continuum stretching from the past to the present day and NOT a mere set of prejudices and attitudes that play out on the individual/interpersonal level.
For the most part, the general public processed this discussion much in the way that we process any significant event that happens in the public sphere: through an endless stream of tweets and memes, on our favorite daytime talk shows and podcasts. Hate him or love him, the public ate it all up and it became clear (to me at least) that Kanye was and has been sacrificing himself on the altar of fame and his own personal mythology. To the man who once packaged himself as a starry-eyed college kid who just wanted to get on, all press is now good press, and it doesn’t matter if the world around him is moved by affection or outrage.
Many dismissed Kanye’s statements (coupled with his fervent support of Donald Trump) as a publicity stunt or a cry for attention. This may be true, but a close listen to his latest album, YE, and considering his past as an artistic and public figure, it becomes increasingly difficult to write Kanye’s public and artistic choices off as mere stunts designed to sell records. His eighth album to date, YE is graphic, joyous, and a horrifying glimpse into the mind of Kanye West. If the inspiration for his haunting and lovelorn classic 808’s & Heartbreaks were the women in his life and the love he couldn’t give/keep, YE’s muse, the album’s raison d’etre, is Kanye West himself, his own heart, mind and the celebrity that threatens to tear him apart. Continue reading →
The last thing many musicians would want to be is predictable. But for Philadelphia’s Major Pursuit, that’s never really been an issue. Since the project began several years back as Olivia Bellito’s solo endeavor it’s evolved steadily and naturally, all the while avoiding falling into a routine.
On previous recordings, Major Pursuit’s sound was sparse, but as they played more shows, a full band formed and their soundgrew into the kind that can fill a room (or basement) with ease. With Feeling, the project’s second full-length, is the first to translate that sound onto record. The album is now out in full, just a few days after the band shared its opening track “When It’s Convenient for You.” We’ve also previously heard lead single “Rough,” which comes in the middle of the record as one of its most dynamic moments. Continue reading →
Leon Bridges’ sophomore effort is not only a display of his maturity and development as an artist, but also a reflection on growth and change. Between the release of 2015’s Coming Home and Good Thing, Bridges toured extensively, gaining new experiences in cities and countries the Texas-native had not previously visited. Featuring these experiences through love songs and heartbreak ballads alike, not to mention funk tracks, Bridges crafts a well-rounded follow-up album to the 2015 release that landed him on the map. 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 else 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 →
New Music Friday has blessed us this week, with the release of two new full-lengt albums from artists we’ll be getting better acquainted with this summer at XPNFest.
First, Sunflower Bean‘s Twentytwo In Blue – written while the band were all 22 years old – sees the New York City trio grappliing with an array of modern day topics, ranging from dealing with relationships to reacting to the current political climate. An eclectic range of sounds, the band takes inspiration from glam rock and punk, shoegaze and hints of folk. XPN hosted the trio of Brooklynites for a Fee at Noon set this past January, and the then-unreleased songs sounded sublime.
Throughout the album, frontwoman Julia Cumming displays her wide vocal range, from the angsty anthemic-punk track “Crisis Fest” to the blissfully atmospheric “I Was A Fool.” On the former, the band channels everyday anxieties, ranging from mounting student debt to seemingly-more-frequent missile tests and false alarms. Cumming shouts “Reality’s one big sick show,” a sentiment many can relate to in this day and age. Read our recap of their Free at Noon set and stream today’s World Cafe Session including a live performance and interview with contributing host, Stephen Kallao. Continue reading →
It would be easy to ignore the message on Popular Music, the new album by Philadelphia new wave act The Guests, because the songs are just so damn pleasant. The band knows this. That’s why they’ve put their politics front and center, making it all almost impossible to ignore. You can hear this in their lyrics, with songs like, “Kicked and Punched, Rounded Up, and Stunned” and “Watching the War” driving home the band’s anti-capitalist, populist platform.
Despite having formed in late 2014, this is The Guests’ first full length release, following two cassettes and a European-pressed record collecting the songs from the tapes. According to guitarist Alki Meimaris, the band, made up of him, Florence Lin on synth, lead singer Christian Vogan, Kyle Seely on drums, and his brother Hart on bass, has always kept the same intentional approach to making music: “The purpose of the band is to make the idea of radical left politics more approachable as a solution to global issues of poverty and inequality, to whoever listens.” Continue reading →