“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 →