Grammy-award winning Tuareg group Tinariwen will bring their sweeping sounds of the Sahara to Union Transfer tonight. The Malian rockers recently released their album, Elwan, which features contributions from Kurt Vile, Mark Lanegan, Alain Johannes, and Matt Sweeney. Find more info on the show at the XPN Concert Calendar, and take a trip to a rock show in the desert by watching the video for “Sastanàqqàm” below. Continue reading →
Early next year, Tuareg folk rockers Tinariwen will release their seventh album, Elwan, which features contributions from Matt Sweeney, Mark Lanegan, and Philly’s own Kurt Vile, to name a few. You can check out the gorgeous new video for “Ténéré Tàqqàl” below, and this coming April 18th, you catch the band live when they roll through Union Transfer. They’ll be joined by the also fantastic Dengue Fever, a band whose music is significantly more pleasant than the mosquito-borne illness for which its named. Continue reading →
This story begins on March 19, 1977. It’s the day after the release of Iggy Pop‘s solo debut, The Idiot, and he’s performing at the Tower Theater in Philadelphia with his collaborator and producer, David Bowie. Also in attendance is my concert connoisseur / photographer mother, Nancy. She has brought her camera, hoping to catch photos of Bowie but unwittingly bearing witness to a musical partnership that would connect Iggy Pop to another musical brethren decades later.
Fast forward forty years – I’m standing in front of the Academy of Music, waiting for my turn to photograph Iggy Pop. Continue reading →
As with the past twenty plus SXSW music festivals I’ve attended, coordinating seeing all the bands I’ve want to see each year I go is a function of timing and serendipity. And it’s nearly impossible to see everything I have on my wish list. At any time, there are both official and unofficial showcases all around the city, and there are literally hundreds of them. SXSW is a sprawling, crowded event where you can see a random band rocking out in a vacant parking lot, or see an emerging buzz band, or if you’re willing to wait in a long line to get into the Spotify house, or the Pandora stage or the Hype Hotel, you might be able to see some big name rock bands or rappers along with bands your industry friends have declared the next big thing. It can get very complex very quickly.
Going into SXSW this year I had a list of 23 artists I wanted to see, and given I was at the festival for less time than usual, I knew a list of that size was over reaching. I managed to see about a dozen shows over the three days I was in Austin. Here’s some of the best things I saw. Continue reading →
Yusuf Islam, who attracted millions of fans when he was known as Cat Stevens is releasing a new album called “Tell ‘Em I’m Gone” on October 27 and also doing his first tour in 25 years. Find out some of the guest artists & listen to the new song “Dying to Live” Continue reading →
A new episode of the web-show Guitar Moves has been released, and features Matt Sweeney talking to Dean Ween, co-founder of “avant-stoner royalty act” Ween, in Dean’s shack in New Hope, PA. While Ween may have been a band founded on the grounds of being somewhat of an inside joke, and merely a way to stir things up within the alternative world of music, there’s no denying the fact that Dean himself can really shred, as made further evident by his appearance on Guitar Moves. Check out the video below.
“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.
When you speak with Chris Smith, you don’t get the impression that it’s a nervous energy, so much, that drives the discursive discourse — or even that the discursiveness is necessarily a negative quality, in his case. Rather, you immediately understand that he just has so much to say about all of his rich experiences, that he’s thought so deeply about it all: from the city streets he’s stomped for his decades living here, to the venues he’s played, the neighborhoods he’s called home, and most of all to the expansive community of musicians and artists and friends that he clearly feels so fortunate to have.
Smith is a veritable encyclopedia of music knowledge — for all music, sure, in the way you might expect or hope any passionate musician to be — but specifically and profoundly for Philly’s scene. He can’t seem to be able to say enough in his adoration for what this city’s managed to cultivate, over the past twenty years and even earlier, and parts of the conversation can begin to trend toward extemporaneous encomium.
But although the multi-instrumentalist’s psych-folk outfit Espers were a beloved staple of Philly indie music back in their heyday, some 15 years ago now — back in the days when he wore his straight hair a lot longer — you don’t catch Smith dwelling much on that, beyond a passing reference, even if you might have hoped for a tale or two. In fact, he never even really references or plugs his own band’s really remarkable catalog and achievements at all, but instead directs almost of all of his acclaim outwards. From his accounts, you end up with a much broader picture of a reverie that wanders between the actual brick-and-mortar record stores of South Street record stores, through recurrent Philly occasions like First Fridays, his exploits and encounters with local artists and poets, and into a cheap rental property in the mid-’90s with his indie-rock compatriot Steve Gunn for a snapshot of the sometimes-controversial revitalization the Northern Liberties. And on top of all that, Smith is uniquely poised to be able to offer both an insider’s and outsider’s perspective on the Philly’s arts culture, as well as both a successful musician’s and a successful indie-record-label-owner’s perspectives on how to enable yourself to be both — even in a place that artists can sometimes have the tendency to malign as unconducive to that sort of professional growth.
At one point in this interview, after all of that, Smith catches himself, and feels the need to advise you that he’s not usually an unbridled optimist, lest you begin to feel your Philly-stiffened upper lip start to soften on the spot from all of his exuberance. Frankly, you really don’t buy his reminder.
Still kicking around in Philly, Smith is mostly focused these days on continuing to build remotely his record label, Paradise of Bachelors, based outside of Durham, NC, in partnership with co-founder and Carolina counterpart Brendan Greaves. The label has been blowing up lately, most recently offering new releases from The Weather Station and Gun Outfit — not to mention this fantastic and seasonally relevant sci-fi literature review. ”Paradise of Bachelors,” declares Smith after the interview ends, “Just check it out!” True to form, he adds after a short pause, “That’s about it . . . I’m so bad at plugging myself.” Continue reading →
UK born, Paris-based Kate Stables works under the moniker, This is the Kit. Whether leading the songs with softly comforting or spritely vocals, lyrical matter isn’t afraid to turn dark corners on her latest release, Moonshine Freeze. Watch the playfully off-kilter video for the groovy recent track, “Hotter Colder,” below. Then, see This Is The Kit tonight at Johnny Brenda’s, with more info on the 21+ show available at the XPN Concert Calendar.Continue reading →
Psychedelic dream-pop duo The Morelings seem like such an integral part of the Philly circuit that it’s hard to believe it’s been about three years since they first appeared on the scene. They first emerged in late 2014, recording and releasing debut EP No Signshortly after. Since then the ethereal shoegaze-y project, founded by co-writers and performers Kedra Caroline and Matthew William and now performing live as a five-piece band, has gone on to build their music around a solid and captivating dreamy aesthetic, lodging themselves firmly into the hearts of their fans. Continue reading →
I’m almost convinced that Christopher Davis-Shannon is truly from the 1930s, and accidentally stepped through a time machine to today. If that is the case, Mr. Davis-Shannon, I sincerely apologize for the hoopla of a world that you have stumbled into. But I also thank you for bringing a grooving splash of steady, rocking tunes with you. Continue reading →