Though Stef Chura just recently released her debut studio album, Messes, with Urinal-CakeRecords, Chura has been creating fun, ironic gritty-twang music as an active member of the underground Detroit DIY scene for some time now. Be sure to catch her tonight when she stops by Boot and Saddle. Find more concert info here, and watch the colorfully morbid video for “Spotted Gold” below. Continue reading →
Doylestown’s Balance and Composure blesses Union Transfer tonight, in support of their 2016 release Light We Made. Bringing along vulnerable emos Foxing and Philly’s own Mercury Girls (check out our Studio Session with them here), this gig should tug at some heartstrings. Watch the music video for Balance and Composure’s “Postcard” below, and more information can be found on the WXPN Concert Calendar. Continue reading →
Ben Walsh likens it to being in a relationship with someone nearly eight years when they to suddenly tell you, “I can’t do this anymore.”
“Obviously it took us by surprise when they told us that they weren’t going to continue on with the band,” he says of when three of the five members of his Scranton-bred, indie-leaning pop punk band Tigers Jaw decided to leave. “We kind of weren’t sure what was going to happen.”
Walsh and band mate Brianna Collins broke the news that vocalist/guitarist Adam McIlwee, bassist Dennis Mishko and drummer Pat Brier to fans via their Tumblr page in March 2013. Many followers interpreted the message as a definite end of the band. But now it’s more than a year later, and Tigers Jaw’s just released its third LP Charmer – an album that debuted at number 49 on the Billboard charts, and one the departed members still helped Walsh and Collins record when they decided to carry on as the band’s sole permanent line-up.
“We talked about the record and got them back on board because it was something that we all worked so hard on and were really proud of the songs,” Walsh says, adding that more than half of the songs for the album had been written when McIlwee, Mishko and Brier announced they were leaving. “We all wanted to see it come into fruition.”
What came to fruition on Charmer is what Walsh calls the band’s most cohesive record, and what Collins says is “exactly how I was picturing our band would sound recorded at the time.” If the album art for their break-out 2010 self-titled release – an unidentifiable 20-something preparing to eat a slice of stringy cheese pizza – was a sign of Tiger Jaw’s then youthful energy, Charmer’s artwork – an ornate doily handmade by Collins – is an apt sign of the band’s maturity.
“There’s a mix of slower, more delicate parts and there’s plenty of faster, more hard-hitting parts as well,” Walsh says of the album. “We were able to cover a lot of ground on the record, and still managed to make it sound pretty cohesive. We were able to experiment a little bit more with dynamics and layering not only vocals, but layering acoustic guitars and things like that that we haven’t really done a lot of in the past. Another big difference was getting Brianna more involved with writing and singing.”
“Working with Will had a huge impact,” adds Collins of Studio 4’s Will Yip, who produced the record. “Layering vocals and all of his little input and ideas that were really on the same page with, at least in my opinion, what we were trying to do.”
Walsh and Collins have been through a lot in the past few years that has forced them to grow up, not only stemming from their experiences with Tigers Jaw. Both came to the end of college and were faced with many new responsibilities, along with new freedoms. It’s this transition that Walsh is responsible for Charmer’s darker vibe, both lyrically and in the way it sounds.
“There’s still a lot of energy put into it,” he says. “Maybe [it’s] not as raucous as some of the earlier stuff, but just as much enthusiasm was put into these songs as any other songs that we’ve written, if not more.”
Though he’s sometimes heavily influenced by what he’s going through personally, writing for Charmer was the first time that Walsh really turned to another medium for inspiration. More specifically, it was interplay between characters on the show Twin Peaks, which is even cited by name in the song “Nervous Kids.” Both Walsh and Collins really enjoy the show.
“It’s so interesting. It’s so in depth and the themes are so dark,” Walsh says. “I got pulled in by just the small town interactions that everybody has, where there is so much going on underneath the surface. I think that’s the really cool thing, you go to a place that may be completely different than what you expected based on its outside appearance. I think there are a lot of themes on this record of duality, and things that can maybe be taken more than one way. That’s definitely something that we pulled from a lot of the stuff that happens in Twin Peaks.”
While they’re not writing music or binge-watching TV, both Walsh and Collins have also almost completed all requirements for becoming teachers in their designated fields – Collins for art whilst living in Kingston and Walsh for speech therapy while working at a school in Central Pennsylvania.
“Nobody at my job knows what I do,” Walsh says. “None of my kids, none of my coworkers or anything, know that I play in a band or anything like that. It’s kind of a strange separation. It’s almost like working two full-time jobs [because] we don’t work with a manager, so we both have a lot of extra responsibilities apart from our jobs and also from writing and practicing music. So it’s a lot, it’s a big commitment, but it’s been totally worth it.”
“It was weird today, I had to tell my bosses that because they were like, ‘What are your plans for the summer?’ being like, ‘Yeah, I’m traveling and having a life. I am actually in a band,’” adds Collins. “‘My hair will be blue tomorrow, so be warned.’”
Tigers Jaw will start their summer tour on Monday when they headline Union Transfer. Playing in Philly feels much like playing to a hometown audience, Collins says, with Walsh adding that it’s one of the next best things now that Scranton is almost devoid of places to perform.
“It’s definitely different working with different musicians when we’ve played with the same people for so long,” Walsh says. “It’s sort of refreshing. I kind of miss the styles of the guys who aren’t in the band anymore, but at the same time it’s cool having some new experiences and drawing influence from the new people we’re playing with.”
Walsh says that he’s still very much on good terms with the band’s former members. McIlwee is still making music under his solo moniker, Wicca Phase Springs Eternal, while Brier and Mishko remain in Philly’s own Three Man Cannon.
“They’ve always been one of my favorite bands and they don’t get nearly as much attention as they deserve,” he says of Three Man Cannon, who released a new album just one week before Charmer was scheduled to drop.
“Hopefully more people start to pay attention. I’ve definitely been seeing them get some more press, seeing song premieres on different websites and stuff, which is not something their band has really gone after too much in the past. But it’s really nice to see them getting some credit for the great art that they create.”
When news broke that Three Man Cannon was set to release its new LP, Pretty Many People, on May 27 via Lame-O Records, most headlines made sure to include that the band featured “ex-members of Tigers Jaw.” Drummer Pat Brier deems that widespread association, well, kind of silly.
“Dennis and I, we were in Three Man Cannon for about two years before we joined Tigers Jaw,” he says. “We weren’t actually in the band, we were just filling in. … For me, and I think Dennis and I have talked about it, it’s so silly because none of us really thought about it like that with either band. It’s something that is very much, unfortunately, fabricated. Not fabricated, but just totally taken out of perspective.” Continue reading →
Philly based punk band The Menzingers have a new album, Rented World, due out April 22 via Epitaph records, and as of today you can stream the album in its entirety over at Spin.com. For the new record, the band worked at Miner Street studios in Fishtown with the help of engineer Jonathan Low, who has worked with countless Philly luminaries from Restorations to Kurt Vile.
You can pre-order the album Rented World before its April 22 release here. Catch the Menzingers live when they return to Philly May 31 at Union Transfer. Find tickets for that show here. Stream opening track “I Don’t Want to Be An Asshole Anymore” below, and listen to Rented World in its entirety here.
On Wednesday night, the No Other tour kicked off at Union Transfer, bringing together musicians and fans in tribute to an oft-overlooked album by Gene Clark of The Byrds. The short run of dates featured a caravan of musicians including Iain Matthews of Fairport Convention, Victoria Legrand of Beach House, Daniel Rossen of Grizzly Bear and Hamilton Leithauser of The Walkmen, as well as members of Wye Oak, Fleet Foxes, Celebration and more.
Below, check out a gallery of images from the performance and watch a video of Iain Matthews performing “Silver Raven.”
The Head and The Heart brought their own take on the intersection of folk, rock, and Americana to Union Transfer for their second consecutive sold-out show Saturday night. The Seattle-based six-piece led by vocalists and guitarists Josiah Johnson and Jonathan Russell bathed the Philadelphia crowd in a hybrid of music influences including The Beatles, Edward Sharpe, and Peter, Paul, and Mary. Walking onstage with their former tourmates Dr. Dog playing overhead showed the awareness and gratefulness The Head and The Heart had of the Philly love. They dove into a set mixing and matching songs from their debut self-titled work and their recently released Let’s Be Still. Johnson and Russell’s harmonies were expertly complemented by the violin-toting vocals of Charity Rose Thielen, bassist Chris Zasche, pianist Kenny Hensley, and drummer Tyler Williams.
Russell worked the stage the most, wandering with his microphone during quite a few songs, including the blue-lit opening track of Let’s Be Still, “Homecoming Heroes.” The lighting was one of the keys to the show’s success, varying between bright and dark with autumnal oranges and spotlights from the side of the stage thrown in for good measure. And then there was the unusual mirrorball on the floor by Williams, onto which another light reflected during songs including “Coeur D’Alene,” giving extra emphasis to the drummer’s sometimes-raucous beat.
The best was certainly saved for last, as the two-song encore began with Thielen strapping on a harmonica and doing the country-esque “These Days are Numbered” solo acoustic basking in a spotlight. And then they closed with fan favorite “Down in the Valley,” a grand moment of musical joy for all in the crowd.
If there could be a rock counterpoint to the many genres of The Head and The Heart, San Francisco-based opener Thao & The Get Down Stay Down were certainly it. With a punk soul and folk heart, lead singer and guitarist Thao Nguyen went through a blistering set consisting mostly of songs from their 2013 release We the Common. And despite some rare Union Transfer sound issues in her set opener, the title track to her 2009 work Know Better Learn Faster, where her vocals were barely audible, Thao and her supporting crew blasted through an 11-song parade of raucous rock and roll. The highlight was surely “We the Common,” one of 2013’s greatest songs, a blazing work of political and social awareness that is a universal call to the conscience.
Portland, Oregon-based folk and country group Quiet Life opened the night.