Philadelphia | Heartbreaking Bravery

September 2, 2014

Attendant – Freaking Out (Review, Stream)

By now, everyone who has iTunes should have heard the full stream they’re offering up of Death From Above 1979’s revitalized post-reunion effort, The Physical World. Hopefully, there were a few among that crowd who also found time to stream Nervous Like Me the fantastic new record from Cayetana. Great full album streams weren’t the only things to come out of the last few days, though, in addition to a memorable Pavement cover from PAWS, there were also great new songs from Purling Hiss, Nude Beach, and WULFS. Visually, there was an endearing The Adventures of Pete and Pete homage from Diarrhea Planet and two arresting black-and-white clips that came courtesy of Girl Band and Philadelphia’s Queen Jesus. It’s another act from Philadelphia that made the strongest impression and earned the feature spot today, though: the the stunning debut effort of Radiator Hospital bassist Jon Rybicki’s collaborative project, Attendant.

It’s not uncommon to note that there’s an absurd amount of great music out there that’s overlooked for any number of reasons but it’s always nice to know that sometimes everything lines up and music that may have otherwise gone unnoticed gets an extra push thanks to the people involved. This especially stands true for Attendant’s Freaking Out which features contributions from a murderer’s row of Philadelphia/NYC-based musicians. Mikey Cantor, Radiator Hospital, and Swearin’ (among others) all get a good bit of representation here, lending their considerable talents to one hell of a debut, helping raise an emerging musician’s profile in the process. Rybicki grounds all of these songs with no shortage of gravitas and conviction, mining similar influences to the ones that are so clearly evident in his friends’ projects.

While all of that would likely have proven more than enough to get Freaking Out by, what really puts it over the top is its attention to detail. The production, sequencing, and mastering on this is near-flawless, advancing the release’s personality without being distracting. In terms of composition, it’s frequently thrilling, with songs like the hard-charging “Saturday” providing bursts of near-uncontrollable energy. With all of this taken into account, it’s probably not too surprising that one of Freaking Out‘s closest relatives seems to be Dinosaur Jr.’s classic Bug. Acoustic guitars often provide a base template for each of these seven songs, while shoegaze-leaning levels of reverb and distortion get added to create a sound that’s becoming increasingly prominent in DIY punk circles- one that recognizes the value of looking to the past to push ahead.

That retro-influenced modernity goes a long way in informing Freaking Out, which makes no qualms about utilizing everything at it’s disposal. Every song on here contains at least a few moments of genuine brilliance, whether in the form of lyrics (“I just wanted to be the other people on the bus” is one of the most haunting lines to come out of 2014) or in the song’s structures or compositions. As if all that weren’t enough, it’s varied enough to ensure the listener’s attention and compelling enough to warrant their investment. None of these songs ever eclipse the three minute mark, either, rendering it even more accessible.Yet, despite it’s short run-time, Freaking Out feels like a fully-formed work from a veteran songwriter.

More than a few critics have said that to really gauge an album’s strengths, there should be an extra amount of consideration given to their mid-section. It’s easy to make strong opening and closing cases but it can be difficult to maintain that consistency across a wider spread. In this respect, Freaking Out has virtually no issues. “Dishwasher”, “Call Me Back”, and “Solar Shack” are all mixtape-worthy entries, each holding their own strengths in Rybicki’s frequently mid-tempo world weariness. Even with that taken into consideration, it’d be difficult not to note that a few of Freaking Out‘s best moments do come in the final two songs. From the trumpet-assisted downstroke onslaught of “I Won’t Try to Change Your Mind” to the guest-heavy celebration that is the record’s finale.

In that respect, “Wax Pages” does feel like an appropriate end-cap to a release that seemed determined to extol the virtues of healthy collaboration. Jeff Bolt (of Swearin’ and Radiator Hospital) takes over on drums, Sam Cook-Parrott (Radiator Hospital), Cynthia Schemmer (also of Radiator Hospital), and Kyle Gilbride (of Swearin’) all handle backing vocals, while Mikey Cantor takes a solo and all of them seem maniacally driven by Rybicki, who lent his vocals, guitar work, and bass (in spots) to the songs he wrote. To that end, it almost feels celebratory despite it’s heaviness (and make no mistake, this is a relatively heavy record in both terms of sound and subject matter). Packaged all together, the end result is something that feels oddly alive and utterly unique, even with an army of recognizable influences worn proudly on its sleeve. If it doesn’t find a home on one label or another, it’ll come as a shock. Freaking Out is one of 2014’s best surprises.

Stream Freaking Out below and download it on Attendant’s bandcamp.

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September 1, 2014

All Dogs at Bremen Cafe – 8/19/14 (Pictorial Review, Live Video)

[AUTHOR’S NOTE: First off, just to get this out of the way at the top, this post probably would not have been possible without The Media, a site whose praises deserve to be sung as loudly- and frequently- as possible. Being able to be a part of that place, even just for an issue, was an honor. The fact that I got to spotlight was All Dogs, a band that put out a 7″ last year that I felt very strongly about, ensured that it won’t be an experience I’ll be forgetting anytime soon. All that said, I wound up with an over-abundance of content that, for obvious reasons, couldn’t all be worked into The Media piece. It’d be criminal to let a lot of the material that didn’t run go to waste, so it’ll be running here today. Enjoy.]

All Dogs put out one of this site’s favorite 7″ records of last year, so when word came that they’d be stopping at Bremen Cafe in Milwaukee, not going wasn’t an option. As time progressed and more things got worked out, excitement and anticipation for the show grew incrementally. After the band agreed to an interview (hyperlinked towards the end of the Author’s Note) and guitarist/vocalist Maryn Jones was gracious enough to agree to a small set of acoustic performances, All Dogs’ self-titled 7″ was back to being in near-constant rotation- and wound up being the go-to soundtrack for every editing session this site went through for a few weeks.

During that time, a press email came out detailing an upcoming release from a project called Yowler, which turned out to be a solo vehicle for Jones- and a likely continuation of her excellent early solo material. Somehow, this all came to light during a time that also saw the emergence of Saintseneca’s Tiny Desk Session for NPR (easily one of this year’s finest offerings), all of which pointing to Jones being one of the busiest- and best- songwriters/musicians that we currently have. All of that combined prompted a trip through her discography, which included some absolute gems like the tape from the now-defunct Wolfs (which All Dogs’ bassist, Ama,nda Bartley was also in). As a result of the culmination of all of this, expectations couldn’t have possibly been higher for the band’s live show.

After taking up temporary residence in Ground Zero (one of Milwaukee’s best basement venues) for the interview session, it was into the band’s van and off to Bremen Cafe. While there wasn’t too much time to spend doing anything other than helping clear out space and running out to get food before the show kicked off, it didn’t seem to matter. Everyone seemed to be in high spirits and a lot of old friends were able to exchange a few words before the show kicked off with a ferocious set from Failed Mutation– who proved to be next to impossible to photograph thanks to their incessant levels of energy. From their live show alone, it wasn’t very difficult to see why they’ve earned a reputation as being one of Milwaukee’s best hardcore bands in an increasingly over-crowded scene (it also probably doesn’t hurt to have members of Tenement and Holy Shit! in your band). Failed Mutation wound up packing an absurd amount of spastic energy into a set that probably only ran 15 minutes, all of which was expertly controlled- likely thanks to each individual members discipline and experience. It was a hell of a way to jump-start what would prove to be a surprisingly formidable bill.

Next up was Sin Bad, a relatively new band that features members of both Night Animals and Rich People. Having never heard Sin Bad, it was difficult to gauge whether trepidation or excitement was winning out as Failed Mutation loaded out. Any notions of disappointment were immediately dispelled following the first few seconds of their first song. Boasting a sound not too dissimilar from All Dogs (with maybe just a few dashes more of a sound found pretty frequently on Don Giovanni Records) and an energy that was relatively comparable to Failed Mutation meant their second slot was a perfect transition between the opener and the headliner, while also simultaneously allowing them a more unfettered interest from the sizable and appreciative crowd. By the time Sin Bad’s set was over, it was very clear they’d left an impression and made converts out of several of the previously unaware.

When Sin Bad had packed up and left the stage open for All Dogs, a strange nervousness crept back in- as it usually does prior to seeing a band (especially for the first time) that’s come to mean something on a personal level. Again, it didn’t take very long for that anxiety to abate. It took All Dogs (in a now-cemented four person lineup that includes NONA guitarist Nick Harris and, as always, Delay‘s Jesse Withers) less than three songs to inspire chills. Starting strongly with both “Farm” (from their outstanding split tape with Slouch) and the shortest song from the 7″, “Snow Fences”, they’d guaranteed the investment of everyone watching. Then on the third song, they offered up the first look at their new material, which they’d previously promised sounded like a much fuller and more fleshed-out version of themselves. Not only did that promise hold up, the expectations that came with it were annihilated as that song, currently written down on the setlist as “Skin”, showcased a heavier side of the band that had been previously been hinted at with their current career-best effort, “Say”.

From that point forward, the band tore through a set with a practiced confidence and relative ease, never once seeming anything less than completely genuine and extremely impassioned. Everything clicked, sounding fantastic in the notoriously loud Bremen Cafe. Making the performance even more memorable was the fact that the crowd was reciprocating virtually all of All Dogs’ energy, creating this back-and-forth that pushed both sides to near-perfect places. A few more songs from the split, the 7″, and (hopefully) the upcoming record, and the band had already nearly obliterated every lofty expectation- and then the band switched into high gear for an unforgettable 1-2 gut punch of an ending. That “Say” became the second song of their set to warrant chills and total immobility probably isn’t too surprising, as the studio version of the song is nearly capable of the same effect- but the band’s closing number, a song so recent that they still haven’t given it a title, went a long way in indicating that their upcoming work will be their best material to date. Both, combined, provided an unpredictably intense (even considering the members’ inability to contain their smiles) ending to an extraordinary set from a band who will almost certainly produce a discography of material worth owning on every possible format.

Below, watch a stunning solo acoustic performance of Wolfs’ “Leading Me Back to You” and All Dogs rip through their currently untitled set closer. A photo gallery of both the interview/performance session and the late show can be viewed beneath the videos.

Keep an eye out for all of the emerging details on All Dogs’ upcoming debut LP, which will be released on the always-extraordinary Salinas Records.

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August 23, 2014

Dark Blue – Here on My Street (Stream)

The members of Dark Blue could all likely be seen as institution of the Philadelphia scene at this point. Among them, Clockcleaner, Purling Hiss, Strand of Oaks, and Ceremony are all represented- but, most importantly, all of them used to play in the rightfully revered Puerto Rico Flowers, whose 7 is one of this decades better releases. However, during their time spent in Puerto Rico Flowers, it was still clearly spearheaded by John Sharkey III, whereas Dark Blue is a much more collaborative project which is rightfully being considered a band. Recently, they unveiled the brooding “Here On My Street”, evoking a very particular sound- one that many bands have tried their hand at but failed to get completely right, as Dark Blue do here.

“Here On My Street” is the first look at Dark Blue’s upcoming full-length, Pure Reality, which will be released on October 7 via Jade Tree. As mentioned, their are some striking similarities (which is unsurprising, given the circumstances) to Puerto Rico Flowers, though they only run so deep. There’s a greater emphasis on tension, restraint, and atmosphere than there was the last time these three shared a project that results in a sound not too dissimilar from Terry Malts at their most laid-back. Guitars surge through an ostensibly bleak soundscape and occasionally stray more towards the celebratory than defeatism, straddling the line between no-wave and new wave with terrifying precision. It’s a fairly foreboding piece overall but it yields spectacular results, pushing Pure Reality up several levels on the anticipation meter.

Listen to “Here On My Street” below and make sure to pick up Pure Reality as soon as possible.

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August 10, 2014

Even Hand – Even Hand (Album Review, Stream)

Over the years it’s become increasingly evident that their are some cassettes that it’s next to impossible to eject from a deck once they’ve completed their rotation- not because of technical difficulty but because of how good the record on the tape is. Stupid Bag Records have had a direct hand in quite a few of them (every Swearin’ tape, Acid Fast’s Rabid Moond, Dead Dog’s Precious Child, etc.) and recently, one of their releases possessing that insane amount of gravitational pull was given an LP release over at the always-outstanding Mandible Records: Even Hand’s self-titled full-length debut.

Even Hand boasts a sound that feels like it’d fit comfortably between both Sunny Day Real Estate and The Wrens at their respective peaks, without sacrificing an inch of their DIY punk roots, which is an impressive achievement, to say the least. In a small way, it makes them a sort of spiritual kin to Haunted Heads, even if Even Hand’s a little more wiry and more in line with the Steve Albini school of thought when it comes to presentation. That keen attention to detail is something that serves them well throughout the course of Even Hand and helps the record feel like an absolutely vital release.

Starting with a trio of songs that establishes both the band’s sound and the tone of the record, Even Hand wastes no time in commanding the listener’s attention. “Glacial Blue”, the record’s opening track, recalls a much more precise and mannered Parquet Courts without losing any of the nervy tension that dominates the kind of wry post-punk both bands traffic in. “The More It Shows” reveals the band’s just as comfortable delivering charged-up bruisers as they are at displaying raw nerve. “Your Wall” rounds out the opening blitz with a lilting melody and a slow-burning sonic template that’s indebted to the very best of emo’s golden era without being completely defined by that genre.

From there, Even Hand manages to steadily build it’s momentum while carving out new niche areas of all the genres that factor into what make them such an engaging band on record. While the furiously paced”Down the Lighted Strip” may be the record’s most definitive moment, it’s Even Hand‘s quietest moment that manages to stand out most. “Leaning Home” is the track in question and it arrives at roughly the 3/4’s mark of the record, providing bandleader Mike Borth an arresting solo moment. Everything goes quiet for “Leaning Home” and Borth makes the most of it, providing Even Hand with some of his sharpest guitar work and a set of lyrics that cuts deep by confronting familial conflict in a manner that feels intensely personal. It’s the record’s longest song (though it doesn’t feel like it) and earns every last second of its runtime.

Appropriately, it’s followed by an ambient stretch before “All Tenses All Time” kicks things back into overdrive and showcases the natural ability of Even Hand’s rhythm section, with Dominic Armao lending the record no shortage of propulsive bass line and drummer Dan Edelman providing a deeply impressive set of chops at a pace that frequently borders the manic. Both Armao and Edelman give the record a lot of its heart while Borth shapes it with an enviable sense of personality. All three pull out a variety of stops for the closing track, “I’m Not Concerned”, giving listeners one final reminder of what each is capable of on their own- and what the band’s capable of as a collective. “I’m Not Concerned” winds up being an appropriate final highlight on a record littered with other ones- and when it’s over, all that’s really left to do is let it play itself over again. Even Hand is a record that deserves to be heard- as many times as possible.

Listen to Even Hand below and make sure to not live life without either owning the cassette or the LP.

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August 10, 2014

Allison Crutchfield – Berlin (Stream)

Just a few days ago Allison Crutchfield surprised just about everyone by releasing a surprise solo EP (with a fair amount of additional help from Radiator Hospital‘s Sam Cook-Parrott) on a new bandcamp page with absolutely no advance warning. Considering that Crutchfield’s been a part of a few of the better bands of the past decade (Bad Banana, Dear Marje, P.S. Eliot, and Swearin’), the news sent a ripple through a few different communities. There was one major lingering question before taking the plunge and listening to Lean In To It– what would it sound like? It’s difficult to imagine anyone expected it to be a subdued, largely down-tempo glitchy lo-fi bedroom pop record but that’s exactly what it turned out to be- and it still managed to be as stunning as everyone expected.

All seven tracks on Lean In To It add up to something that’s more than worth the $5 price tag that accompanies it, a total anomaly that confounds as much as it entices. Everything on display throughout the EP is compelling to an absurd degree and while that is in part because of the release’s completely unexpected nature, it’s also due to Crutchfield’s undeniable talent as a songwriter. While the six tracks that precede it all have their own merit, it’s the closing track (“Berlin”) that really ties Lean In To It together. A warm synthesizer line props up a gently gnarled guitar line while a damaged drum track cuts everything apart from underneath. Topping everything off is Crutchfield’s always-arresting voice detailing a deeply introspective trip and a fierce longing to match. It’s a staggering amount of heartache that leads up to the release’s final line, which is exactly where the EP gets its name. All in all, it’s another stunning triumph for one of this generation’s more gifted talents and it deserves as wide of an audience as possible.

Listen to “Berlin” below and pick up the whole thing over at Crutchfield’s bandcamp, then join a growing number of people hoping this finds an outlet for a physical release.

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August 6, 2014

Mannequin Pussy – Kiss (Stream)

Kiss Me Tender is the impending EP full of scorchers from the quickly-ascending Mannequin Pussy. While it’s already available digitally, the UK-based Crumb Cabin Records will be releasing a bundle package that pairs it with an EP from Dog Legs and comes with an accompanying zine (this package is limited to 50 copies and costs around $17 to ship to the US). So, now the big question: why should anyone care? “Kiss”, the opening track from Mannequin Pussy’s side, answers that question with no shortage of immediacy.

“Kiss” is a blistering shot of hardcore-leaning noise-punk. It’s delivered with a startling amount of conviction and self-awareness, cementing Mannequin Pussy as an act to watch. While the song’s over in 70 seconds, not a moment of it is wasted. One of the most visceral songs to emerge out of 2014, “Kiss” has no qualms about coming out swinging. Backing up the musical intensity is the directness of the incredibly arresting lyrics (that last stanza, especially, is a killer). Most importantly, it does everything an opening song’s supposed to do- and Kiss Me Tender doesn’t allow its pace to let it up once “Kiss” has set the tone for what’s to come. Stunningly unhinged, it also works as the perfect mid-release switch-over blast following Dog Legs’ excellent side (as a fun bonus, both bands cover a song from each other’s catalogs that aren’t included on the split) of the bundle package.

One of 2014’s most outstanding DIY releases, either with the bundle or without, this is a necessary item for any serious record collection.

Listen to “Kiss” below and make sure to keep both eyes peeled on Mannequin Pussy, it’s a name that should be appearing in a lot more places in a very short amount of time.

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June 1, 2014

Swearin’ – Live at Memorial Union Terrace – 5/30/14 (Pictorial Review, Video)

There are very few bands that will warrant the subversion of this site’s manifest. One of the rules that this place tends to hold sacred is that the music in question is more important than an individual reaction to it (this eliminates the assumptions involved in writing from a first person perspective). That said, there are a few bands that have managed to flip that script based on the sheer reverence their music has earned. Perfect Pussy and Tenement are the most notable to have it done it so far but today Swearin’ joins their ranks. There’s just something about the band that resonates with me on a really intense personal level. It’s at the point where it’s impossible to distance or separate myself from that reaction. Taking myself out of the equation would, in some way, feel more dishonest than just trying to get across how this band affects me personally- because any time that happens it’s worth dissolving barriers for.

Some exposition: What A Dump, the band’s first demo cassette, is one of my favorite releases of all time. There’s literally nothing in my fairly expansive library that comes even remotely close to matching it for number of plays at this point. Swearin’, the band’s first full-length, is in the top ten of that particular list as well. Despite this being the case, up until last Friday night, I’d never seen the band play live. So, when the opportunity to see the band play for free on a terrace overlooking Lake Mendota came, I dropped everything and jumped at the chance. By the end of that night my enthusiasm and affection for the band and its members had only grown more emphatic. An additional bonus was the fact that the show gave me a chance to finally catch Pretty Pretty live as well, who lived up to their strong early reputation.

Both bands played shortly after the sun finally set on Madison with Pretty Pretty giving a commanding performance that emphasized their strengths as a live act. The Columbus trio”s punk-tinged powerpop never got tiresome and their set only got more impassioned as it went on, gaining a startling momentum until it finally got to a place where the only thing left to do was call it quits for the evening and let Swearin’ take over. Swearin’, for their part, commanded the hell out of their sizeable audience (it’s nice to see free music outdoors on a perfect night proving to be as big of a draw as it’s ever been) and lived up to every ridiculous, lofty expectation I’d been forming for years. A lot of their songs are practically sacred to me at this point and they only grew more vital in the live setting. When their discography spanning set came to a close, strings had been broken, feelings had been poured out, notes had been missed, beer had flowed frrely, an infinite amount of mosquitoes had been swatted, and everyone was all smiles. From “Here to Hear” to “Crashing” to “Dust in the Gold Sack” to “What A Dump” to “Kill ‘Em With Kindness” there was never a moment that felt less than incendiary. My friend Justin summed the whole thing up aptly and admiringly with a simple “Fuckin’ Swearin'”. How right he is.

A video of Swearin’ kicking off their set with “Here to Hear” can be seen below. Below that video is an extensive image gallery of the show. Take a look at both, then make sure to catch them in person whenever they’re in town. It’ll be worth it.

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3 Comments

March 28, 2014

Ernest Undead (Short Film)

“Trolls! Trolls! Save the kids! Trolls!” are the lines of dialogue that open Rick Whitehead’s Ernest Undead, as an MPAA-style design advises viewers this feature will be rated R for “pervasive strong horror violence and gore, language and sexuality” over pitch black rather than blue, green, or red. As opening sequences for musically-indebted short films go, that’s an extremely promising start. Follow that with a quiet shot of a graveyard that recalls both the cinematography of Roger Deakins and classic horror films, then people are going to be paying attention. When all of that winds up being a prologue to a visceral main plot that unfolds over Creepoid’s “Gout”, from their extraordinary self-titled LP, there’s no way it won’t get coverage on this site.

Having such a well-informed and artfully executed introduction opens up a world of potential directions but the route Whitehead chooses to go is both genuinely unexpected and ridiculously enjoyable. It’s not too far after a brief flashback look at the titular character that the plot of Ernest Undead reveals itself: a quiet unassuming suburb (shot and presented in an enticingly muted autumnal palette) is thrown into fear as an increasing number of children are kidnapped… by trolls. Yes, trolls. A little further down the line and a gang of “young Creepoids” (an utterly inspired concept brought to its fullest realization) have collected and fully intend on retaliating after turning down various temptations- the stranger in a van with candy bit is used to great comedic effect- at the hands of the trolls. They take matters into their own hands for a while before enlisting the help of an old friend. How they get to that point is best left unspoiled here- just know that it’s incredible.

While the story unfolds and the plot’s pushed into the exhilarating realms of surprisingly grounded absurdist black comedy, Creepoid’s “Gout” provides a considerable amount of atmosphere that helps elevate Ernest Undead to thrilling and unexpected heights. It’s gorgeously lensed throughout, an absolute joy to watch, and is a definitive declaration of Whitehead’s talent. Between the arthouse triumph of Are You Okay and the madcap glee of the low-budget suspense/horror-aping Ernest Undead, the bar has officially been set for 2014’s musically-driven short films- hopefully the rest of the field rises to the challenge. Watch Ernest Undead below and stick around for the absolutely insane stinger at the end. Buy Creepoid here. Say no to trolls. Enjoy.

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March 5, 2014

Creepoid – Baptism (Music Video)

As Noisey has already attested Philadelphia is absolutely killing it right now. One small part of what makes Philadelphia such an intriguing spot can certainly be attributed to Creepoid, a weirdo psych-punk quartet. Their just-released self-titled (out on No Idea Records) is already one of 2014’s highlights and the band just released the video for standout cut “Baptism”. Impressively, the video more than lives up to the track; it’s an impossibly perfect complement.

Mixing Super 8 footage with a controlled loop and overlay technique, director Wade Vanover has said the approach was meant to examine the inevitable disintegration of memory. It’s a powerful subtext that provides “Baptism” itself with a few extra layers of emotion, tinging it with an all-too-real sadness. It’s something that sinks in despite the visual assault that’s expertly designed to disorient the viewer. That the track is called “Baptism” only lends itself further to what ultimately ends up being an all-encompassing narrative. Birth, movement, and decay are all represented in some way or another, making this one of 2014’s most stunning achievements.

“Baptism” can be watched below and Creepoid can (and really should) be streamed in full here.

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February 9, 2014

Watch This: Vol. 12

Another week, another Watch This. In this 12th installment, there are full sets, acoustic takes, and studio performances. From the Albini-indebted strains of Into It. Over It. to the irrepressible manic glee of Los Campesinos! there’s plenty of range in this week’s edition. Enough with the introductions, onto the music. Watch it all below.

1. Cumulus – Middle (KEXP)

Cumulus recently stopped by Seattle’s most legendary radio station to deliver a set full of sugary shoegaze pop. “Middle” is all kinds of accessible, offering the clearest signal yet of the extent of shoegaze’s resurgence. A dirtied up bass line and swirling guitar lines wash over an undeniably pop vocal, while the song itself is packed full of hooks. All of the sudden, the future of pop music doesn’t look as bleak as it once did. There’s serious potential for a major crossover here. For now, take a step back and marvel at how effortlessly graceful this performance of “Middle” really is.

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2. Los Campesinos! – Cemetery Gaits/What Death Leaves Behind (Brooklyn Vegan)

Los Campesinos! have been an anomaly for a long while now. Their brand of twee-punk, even as it evolved into something more aggressive and cynical, was always leaning too far twee for the punk kids and too far punk for the twee kids. A few on the outer rings of both circles had trouble accepting them because they were either too accessible or not accessible enough. That unwillingness to commit to the easily classifiable has always made them interesting and the band thrive on it. Their high-energy live performances have always been reliably endearing as well. This BV Studio Session is no exception.

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3. Into It. Over It. – Where Your Nights Often End (Audiotree)

Into It. Over It. are a band that’s becoming similarly hard to pin down. Very frequently grouped into the emo-revival discussion, the band’s resisted embracing and denying that classification in equal measure. Frequently appearing on bills alongside the likes of LVL UP and Ovlov, their live set has also sparked a fair bit of admiration. They’re one of the bands that evokes the Albini studio aesthetic most readily. For proof of this, watch the exquisitely filmed Audiotree video of “Where Your Nights Often End” below, which features Kate from Kittyhawk on backing vocals.

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4. Cassavettes – Full Set

Cassavettes recently played Philadelphia and youtuber Will McAndrew was on hand to shoot the whole thing as it happened at the reliably excellent house venue The Great Indoors. Noisey recently posited that Philly has the best punk scene in the country and fondly extols the virtues of its bands but doesn’t speak much on how supportive that scene is to the bands that pass through. With more and more full sets like this hard-hitter from Boston-based basement punks Cassavettes (think The State Lottery with a little less gruff), it’s hard to argue Noisey on that one.

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5. Hot New Mexicans – Damned Distractions (Pink Couch Sessions)

This week’s Watch This band to know is unique in a certain distinction; it’s no longer a band. That said, Hot New Mexicans are a band that people deserve to be hearing about for a very long time. After a promising debut, the band released a string of classics with their self-titled sophomore effort (a legitimate best-of-decade contender) and a pair of seriously incredible 7″ releases. In a way, the closest band to Hot New Mexicans was the “band to know” from the very first Watch This, PURPLE 7 (they share a pivotal member). In this clip, Patrick Jennings (the aforementioned PURPLE 7 member) plays an acoustic version of Hot New Mexicans standout “Damned Distractions” for IYMI’s Pink Couch Sessions series (who will be featured on Watch This soon). Enjoy- and order/buy Hot New Mexicans material wherever it can be found. It’s a collection necessity.

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Tag: Philadelphia