Philly-based trio No Thank You have made their sophomore album All It Takes To Ruin It All available early to stream on Bandcamp. The early stream comes as a treat to fans ahead of the album’s official release date, this Friday, which coincides with band’s record release show at Kung Fu Necktie Friday night. Continue reading →
Just one year since No Thank You released their first album as a band, Jump Ship, the Philly punk trio is gearing up to release a new one. Titled All It Takes To Ruin It All, this sophomore record is set for an April 6th release date via Lame-O Records, and you can listen to the first single, “Cubic Zirconia,” below. Continue reading →
In a few weeks, Philly newcomers No Thank You will release their full length debut via Lame-O Records. They’ve already shared two of its songs, “Juicy J” and “The Unbearable Purposelessness Of Being”, and now, they’re back with a third. It’s called “Old News”, and it’s their most dynamic offering yet. Before I get into it, though, I know what you’re thinking:
“Great Scott. This sounds like one hot track. Pray tell, where can I stream it?”
Why, you can stream it below, Imaginary Victorian Gentleman. That’s always the way these things happen. Continue reading →
New-to-the-scene punks No Thank You are starting to make their mark early. The project of Philly native Kaytee Della-Monica comes out swinging on their newest single “The Unbearable Purposelessness Of Being,” off their soon to be released record Jump Ship.
Kaytee Della-Monica, who records as No Thank You, only released her debut demo a few months ago, but she’s already signed to Lame-O Records with a full length on the way. In anticipation, she’s shared its lead single, “Juicy J”. The song previously appeared on A Nü Start, as a scratchy acoustic strummer, but now, it’s been given new life with a higher fidelity recording and fleshed-out arrangement. Stream the track, with its Della-Monica designed album cover, below. Continue reading →
Raw acoustics, dreamy vocals, and stunning lyrics are a just a few of the things you can expect from new Philly artist No Thank You.
The project of singer and songwriter Kate Della Monica, No Thank You recently posted a three-track demo on Bandcamp called A Nü Start. The tracks were recorded on her iPhone in Della Monica’s house in South Philly.
The straightforward approach to recording gives these songs a reverberant vibe similar to Bon Iver’s massive hit For Emma, Forever Ago. We hear Della Monica playing acoustic guitar accompanied by breezy vocals; the intro track “Juicy J” juxtaposes a persisting guitar riff with idyllic lyrics: “Colors that are complementing spectral spiral never ending / I feel so astoundingly pretty around you.” It carries a poetic sense of innocence. Continue reading →
After seeing City and Colour at the Electric Factory, or C&C at the music factory, a thank you note is in order.
Thank you City And Colour for a wonderful evening. Thanks for playing a bunch of songs off of Little Hell (personal favorite). Thanks for singing with purpose and playing with heart.
Thank you Dallas for being interactive. Thanks for asking the crowd to put down their phones and cameras, if just for one song, so that we could all be in the moment together. Thanks for acknowledging the antiquated encore ritual that artists insist on going through, and for being honest enough to admit that you exploited it for a bathroom break.
Thank you crowd for being awesome. Thanks for singing along, cheering hard, and being quiet when necessary.
Thank you Electric Factory for friendly staff and a great venue.
Thanks to everyone who was there, especially the friends I was with for making my first City and Colour show absolutely amazing.
Sharon Van Etten‘s new album Remind Me Tomorrow is a different direction for the singer-songwriter: futuristic and spacey synths colliding with her one-of-a-kind voice and old-school style. Her stop in Philly at Union Transfer explored all of this. Van Etten’s set on Thursday felt like a new awakening for the artist, who had taken a long break from touring after her previous album, Are We There. The energy from the stage was palpable, and the crowd was electrified by the band’s performance and Van Etten’s gripping presence. With it being only night two of eighteen, there are still kinks to be worked out, but they were far outweighed by the sheer star power Van Etten brings to her live show. Continue reading →
New Orleans natives The Revivalists played hit after hit for all their Philly friends at the still-new Metropolitan Opera House Saturday night. Supported by Boston’s American Authors, known for their hit “Best Day Of My Life” a couple years back, both bands brought a mostly seated crowd to their feet for the whole night. Featuring a cover of The Killers’ iconic “Mr. Brightside” and several just-released tracks, American Authors continuously thanked The Revivalists for including them on this tour after they played a show together early last year. The catchy pop-rock songs and engaging frontman made for the perfect opener. Continue reading →
“THERE’S ALWAYS MORE”– Hermit High Priestess on trauma, eclecticism, and the hope of being understood
The idea of “shattering the binary” is often a lofty one in music, especially in genres and scenes as insular as punk rock. On the one hand, punk has a reputation for being unabashedly free, artistically daring, its practitioners eschewing constraint and announcing themselves as “other.” Yet if you dig beneath the surface — past the bullet belts, gas station attendant jackets, and spiked hair — you’ll find a uniform orthodoxy that often holds the genre in stasis.
Hermit High Priestess are two wandering spirits informed by an idealistic re-imagining of punk rock, where magic and incantation are as much a part of the punk rock process as are cryptically scrawled black t-shirts. Dani and Anna play music that is heavy, yet still somehow heavenly, forgoing the three-chord stomp and bash of yet another Ramones or Discharge reincarnation. Instead their music, like on “The Rake’s Wave”, a standout track on their forthcoming EP, infuses warm strings, mischievous bass and xylophone lines, along with Anna’s determined, heartfelt vocals ruminating on the necromantic nature of systems that corrupt our dreams.
It’s almost as if the still-expanding underground music scene struggles to make room for HHP, yet still they persist, turning up on bills with aggressive punk bands, spoken word artists, R&B acts, metal bands — when you’re an ethereal, romantic, tribal folk band evoking Dead Can Dance, and Tori Amos as much as more obscure Crass Records bands like Tappi Tikarras, there’s a certain amount of work you’ve got to be prepared to do to find your tribe. Although they’ve yet to be embraced fully, HPP, with their latest work, are ready to start the ritual to affect the change they want to see in their world — non-binary, brilliant, and free of the trappings of genre.
We sat down and talked with them on the precipice of their latest release to find out what conversations they were having as a band that led them to create such rousing work. Continue reading →