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Listen to Philly’s basement dwellers cover their favorites on ACLU-charity compilation We Won’t Stop

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We Won’t Stop cover | via poorlydrawn.bandcamp.com

Poorly Drawn Records, the newly formed label from the infamous Twitter account “Poorly Drawn Bands,” adds on to the resistance with the new compilation album We Won’t Stop, featuring a smattering of Philadelphia’s up-and-coming covering some of their favorite artists in support of the American Civil Liberties Union (ACLU).

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Listen to some border-hopping rock on the four-band split State Line Machine

Easy Creatures
Easy Creatures | Photo by Photo by Tim Owen | courtesy of the artist

Spanning the borders of some of this countries’ first states, Dullest Records got together some of the east coast’s best post-punks for State Line Machine, a 4-way split featuring songs from Philly’s Easy Creatures (featuring members of One Up and Walleye) Son & Heir (ex-Boysetsfire) and Hold Down The Ocean and Delaware’s Worth.

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Julie Slick’s EchoTest teases the electronic asylum of From Two Balconies with two tracks

Julie Slick | Photo via julieslick.com

Julie Slick is an enigma. Her description of “bassist, composer, and foodie” simplifies her plethora of projects into an quick and catchy tagline, which is a bit unfair as her range is like few others to emerge from the Philly scene.

She does prog, she does rock, she does ambient. And her first effort in 2017 finds her in EchoTest, a genre-spanning collective that pulls from all corners of the industry to create relaxing yet complex tunes. Their newest effort From Two Balconies can only be described as one thing: progressive pop, as shown by their two preview tracks “supercell” and “the mystical connected us”. Continue reading →

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Tonight’s Concert Picks: Church Girls at Ortlieb’s, Caroline Reese at Sellersville Theater, Lee Fields and the Expressions at Union Transfer and more

Church Girls
Church Girls | Photo by Chris Sikich | sikichphotography.com

Local indie rockers Church Girls make a stop at Ortlieb’s for a fantastic gig with The National Reserve and Tinnarose. Think if Franke Cosmos decided to expand her haiku-like sound with some dirtier guitars, and you end up with some lovely post-punk. The gig is 21+, and more information/tickets can be found on the XPN Concert Calendar. Continue reading →

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The Key Studio Sessions: Creepoid

After eight years, two moves, three lineup reconfigurations and incalculable miles logged on their various tour vans — an incalculable number of tour vans, perhaps — Philadelphia psychedelic punks Creepoid have come full circle.

The four childhood friends who founded the band in the winter of 2009 are the same four adults who rage in the band today. On bass and vocals, Anna Troxell; on guitar and vocals, Sean Miller; on lead guitar, PeteJoe Urban; on drums, Pat Troxell. Their sound has gone from tense-but-subdued (2010’s Yellow Life Giver) to loud (2011’s Horse Heaven, 2014’s Creepoid) to very very loud (2015’s Cemetery Highrise Slum) and back to a dynamic state that embraces moments decidedly subdued — something we hear in this week’s Key Studio Session.

Yes, the amplifiers are cranked — crushingly so, and used brilliantly to sculpt sound in breathtaking ways. “I’m Only,” the first of two new tracks the band debuted in their performance this week, is one of their hardest-hitting songs to date — it hammers right out the gate as syncopated beats, staccato chords and howling string bends pummel their way into a languid and drifting verse. Next to Bardo Pond, Creepoid probably possesses the best understanding of volume and vibe out of anybody we’ve recorded in this series. Continue reading →

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Listen to Haggert McTaggert’s psychedelic nightmare in “Franny”

haggert mctaggert
Haggert McTaggert | photo by Casper Rudderow

Haggert McTaggert, aka the duo of Braden Lawrence of The Districts and Keith Abrams from Pine Barons, contributed to a new split single called Doom Paste with local pals Tremellow. Their contribution is the lo-fi bad trip of “Franny,” a manic and robotic modern take on a Mystery Science Theater 3000 theme, finding galactic ambiguity of psychedelic proportions while managing to pick up a hint of Daft Punk along the way. It’s as cute and intimate as it is terrifying. Continue reading →