that's our first single! listen to it on my old kentucky blog!
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that's our first single! listen to it on my old kentucky blog!
Marge's "Not Bad" is actually awesome!
Marge's EP "Not Bad" is the kind of follow-up recording one would expect from the strikingly talented band that brought us "Marge," their self titled first album. Rather than being not bad, the EP is actually awesome!
I needed something to get me ready to plod through sludgy city streets to get a tooth pulled (party time!), when I found Marge. "Raincheck," the first song on "Not Bad," struck me as an applicable title for how I wanted to deal with the day, so I pressed play. "Not Bad" isn't a long EP but it is brimming with a sound that is so alluringly brash and dulcet, that you will want to play it all the way through in one go, and if you have 15 minutes to get your socks rocked, you can. It's melodic garage punk at it's finest.
What drew me in first about Marge's "Raincheck" was that their music reminded me a bit of the Shangri Las.... if they decided to get assertive and hit up the indie punk scene. Marge features high lilting vocals which are shot through with punkish enthusiasm, rounded out by killer guitar hooks, distinct solid bass lines and expertly executed drums that add a raucous edge to their music.
Songs like the reverb ridden "To-Do" have vibe in line with a style more like the Yeah Yeah Yeahs, pulling away from the 60s element and the subtle sweetness that goes with it. The congruence of the "Not Bad" isn't hurt at all by the added complexity. Rather the knifes edge of forthrightness with a brush of agitated, creates a captivating tension that rings throughout the EP in the clever lyrics and ragged garage rock sound. There is something enticing about the frankness of the lyrics which are assertive rather than apologetic when it comes to emotional expression. Lyrics like “I’m not worse but I’m not any better" are sung in such a way as to say "This is just how it is, deal with it." The songs tend to offer a realist view of relatable sentiments. There are days when you might feel crazy, or like you want to do more than "just get by" but, as Marge has recognized in the creation of these songs, you aren't the only one.
They are a great band for a day when you need some energy but don't want to be blasted by anything too upbeat (seriously, sometimes it's ok to turn down a bit.) Give Marge a listen, especially if you find yourself trudging through a long afternoon or soggy streets. You'll be glad you did.
Better yet, you can check out Marge live at their upcoming gigs in Philly! They'll be playing March 28th at (doors at 8pm) at the Pharmacy and at First Unitarian Church of Philadelphia on May 30th at (doors at 7pm) for Glocca Morra's last show.
- A.H.
*We hold no claim to the cover art.
Cyberbully Mom Club will give you a one-two punch right in the feels. Both the good and the deliciously forlorn.
I started listening to Cyberbully Mom Club on the subway, drawn in by their name (Like a club for Moms that are Cyberbullies? Is this like an AA thing for people who talk shit on other people’s Pintrest boards?). I was tired of my playlists but also having that awkward feeling of not knowing what sort of music I wanted to listen to. So, screw it, Cyberbully Mom Club is a killer band name, let’s see. 15 minutes later, I got off two stops early and walked the long way home, so I could keep listening just a little bit longer.
Shari Heck, the lyricist and frontman of Cyberbully Mom Club, writes lyrics that are deeply poignant and personal, yet are utterly relatable. As if the sentiments were lifted from that late night half-drunk kitchen table conversation you had with your best friend. Cyberbully Mom Club tugs at your heart in a way that you can’t quite put your finger on. It’s neither subduedly buoyant or melancholy, rather it interweaves each artfully with a consistent thread of empathy. That being said, as relatable as they are, the lyrics are, in a word, evocative. I challenge you to listen to "Fight Night Champion" and not begin to reminisce about a moment or a person from the past.
The recordings themselves are the epitome of lo-fi bedroom pop. Heck’s vocals are charmingly unpolished adding to the sense of earnestness. She doesn’t try to belt out her lyrics to show off her range or her trills or anything like that. Rather she sings with a lilting scratchy-ness that is both genuine and comforting. A temperately played guitar (with some great quick riffs and melodies) is often the only accompaniment, being strummed as if it were 3 a.m. and they didn’t want to wake the neighbors. Yet, like the vocals, the guitar with out being mixed to death and fuzzed out under distortion holds an agreeable rough quality. It's like the living memory of the first time you heard that cute girl or boy you liked playing a song in the park.
The newest release “Friends” features a full band and brings Cyberbully Mom Club out of the bedroom and into the studio. However, none of the sincerity or the singular aspects of Cyberbully’s sound is lost in the less lo-fi single.
Not going to lie, currently listening to it on repeat. Join the club?
-A.H.
*we reserve no rights to the above photo.
Hannibal Buress Animal Furnace
Move to Philly…Buy a loft…
The Original Crooks and Nannies
The Original Crooks and Nannies have found that elusive grey area in indie pop that rests in between catchy and eccentric which many chase but few can grasp so seamlessly. A truly unique pop outfit with foot-tapping driving beats blended with quirky lyrics and sounds, Madeline Rafter & Sam Huntington are a band of contradictions of a most beautiful variety. Emotive, poppy, intriguing, and raw - at times they are reminiscent of Philly's late great Dangerous Ponies, but otherwise fall short of an adequate local comparison, which is the mark of something truly refreshing and fun. You can catch them live on April 4th at The Fire, and in the meantime check our their brand new album "Soup for my Girlfriend" which showcases the pair's ability to complement each other marvelously through their addictive sugary songs.
Church Girls:
Take Me To Church! This Philly based four piece indie band infuses indie folk rock with the twang of a rangy punk edge. The songs are enticingly varied without losing a sense of cohesiveness. Citing influences ranging from Modest Mouse to Lou Reed, Church Girls can put a cheerful, brit-rock sensibility on their punk underpinnings, yet they also, offer songs with a melancholy folksy singer-songwriter spirit.
The guitars played by Mariel Beaumont and Evan Anders have the perfect amount of scrappy-ness that is neither too dissonant nor too overpowering, and is combined with an unpredictability keeps listeners engaged. Jack Firneno on the drums keeps the music moving at a high velocity when needed, and adds a punk flare by way of cymbal washes. Phil D'Agostino keeps a smooth running bass line, tempering the twang of the guitars which consummately rounds out the sound. The music lays the stage for the vocals by Mariel and Max Beaumont. The melodies and the lyrics are certainly meant to be listened to. This is not "scream in your face, fuck the establishment and your ear-drums," rock. Even the more traditionally indie-punk songs like Young Planes, breaks into harmonies and folksy worldly disenchantment.
The vocals do take center stage. Not only are they lyrically clever, but they are sung with a melodic rawness that is unique. Listening to Mariel Beaumont's voice is a bit like the auditory version of a hot toddy. It carries a raw edge while maintaining a compelling warmth.
Tunes like Powder Keg and Flat Circle would be great additions to kitchen dance/cooking parties with friends or lovers. While Young Planes and Three would be welcome additions to a playlist for an introspective stroll. Even the darker songs carry an energy that saves them from being depressing and rather, lends an air of thoughtfulness to the music.
Also, let's not forget we are some lucky s.o.b's in Philly, and we get a chance to see some great bands right in our own back yard. In fact, we lucked out in this case. Church Girls have two upcoming shows scheduled in Philly! One at the Nest on Feb 21 and one at Boot and Saddle on March 4. So take a break from Netflix and come check'em out in person!
- A.H.
Tinmouth: Feel good tunes to tune out the septa weirdos.
Anyone who has ever visited Buzzfeed (i.e. everyone who has ever worked in an office.) knows that we all love a little nostalgia. The 80’s and the 90’s reign supreme as they are the years that all of us 20-30 somethings were born and like to reminisce about. So if you’re the kind of person that blasted through the “25 things you’ll never see again from the 80s/90s list” or the “which 90’s alt heart-throb should you marry” quiz (Kurt Cobain and Robert Smith, yeah I took it twice. But really, holla at me 90’s Sinead O’Connor), you’re going to want to check out Philly’s own Tinmouth, stat!
Tinmouth is a three piece local Philly band that engages the listeners by providing music that crosses back and forth between decades and genres seamlessly throughout their songs. Often, they oscillate between an 80s jangle-pop sound to flirting with a harder edge 90s indie rock. Sporting the versatility and indie vibe of Sebadoh and Yo La Tengo with the ringing guitar riffs and pop-melodies reminiscent of of R.E.M and the occasional thrashy elements in the vein of Sonic Youth, Tinmouth offers a unique sound tempered with their own rougher DIY garage band aesthetic. What struck me most about Tinmouth, is that you can clearly pick out each instrumental part while they all maintain a cohesive flow. Being a trio, consisting of guitar, bass and drums they have no extraneous members. Nothing gets lost in their playing and each member is instrumental to the execution of their songs. To be brief, they fit together perfectly like a band gig-saw puzzle, each element necessary to get the depth and versatility of their music.
Smooth and seamless, Aaron Sternick’s basslines often temper down the thrashy guitar parts when the music edges toward the alt-rock side on certain songs. However, the basslines really get a chance to shine distinctively in each song because, rather than hold on to straight forward rock or alternative sound, which can leave the bass masked in harsher guitar parts and quicker drum beats, there are elements of jangle and indie pop snaking through almost every song. You’ll hear a bold manifest bassline, and you’ll totally dig it. Furthermore, the drum beats are held down wickedly by Alyssa Shae. She can hit like Steve Shelley and has impeccable timing and quick hands to prove it. However, She plays in service of the song, with skill that does not go unnoticed. Timothy Tebordo tends to set the tone of the song vis a vis an jangly riffs and twangy hooks on the guitar. Tebordo sounds and even looks a bit like Michael Stipe. He has that same sort of raspy yet somehow pitched tenor that lends itself to standing from the music enough to clearly convey the lyrics. His guitar style is simple yet distinctive, combining a chiming melodies with scrappy power chords, often both throughout various songs. Tinmouth took a risk in making music that weaves together moments of harder alternative and indie influences and it paid off, the music is sure to keep you interested.
I recently got to see them play Underground Arts, opening for Besnard Lakes, on a brutally cold Sunday. I’ve got to say, I was glad I braved the cold to make the show, these guys are a fun to watch! I mean they call it a show because it is entertainment. I watched Tebordo hop up on his toes Michael Jackson style, while playing a guitar riff and bawling out clever lyrics. Are you not entertained? The feel good vibe is more subtle than a lot of bands, it’s not “slap you in the face” happy pop music, but they are definitely a fun friend night/ fun date night band. Additionally, these guys are the kind of band that is perfect to listen to on the way to work, when you need to be both energized and feeling good. They also play loud enough that you can tune out extraneous traffic sounds or the girl who won’t stop yelling at her boyfriend over the phone on the damned subway. (We get it, the whole car now gets it, he sucks.)
That being said, Tinmouth is playing around Philadelphia currently and are scheduled to release a new album in March. If you want to have a fun night out with your buddies or to shimmy dance with a girl or boy you’re into. Check out a Tinmouth show and keep an eye on these guys for their next release in March!
- A.H.
Ladybird
It's always a treat to be traveled somewhere else by a band, and listening to Ladybird will bring you way farther than their West Philly roots. Mixing beautifully blended harmonies with minimal guitar, banjo, and fiddle their sound is sweet but due to a slight raw quality, short of saccharine. Check out their catchy originals and tasteful interpretation of traditional bluegrass songs.
-K.N.
Red Means Run is not a suggestion about to how to handle crossing the street in Center City.Rather, Red Means Run, is a four member, home grown alt-country band in Philadelphia. While the term alt-country can be a pretty vague, in the case of Red Means Runs, it means songs with country roots that shine through and interweave with alternative flourish.
Their most recent release, a 4 track EP titled "All Things Said and Done," does not disappoint. In the title track "All Things Said and Done" and "Some Become Nothing," you'll hear recognizably classic country bedrock, highlighted by a clear deep bass line held down by Craig Newschaffer. Dennis Golden's drum licks phase from classic country style to a faster, ragged, rat-tat-tat alternative style, yet maintain the kind of beat you can, and likely will, tap out on whatever is available. This is not your study hall music, it's challenging to not engage with the rhythm. If you're sitting next to a stressed out grad student in a local coffee shop, you may want to try something else. Unless, you want to wear a macchiato.
The guitar stylings of Ryan Wells and Jim McKay ring and jangle with country twang. Yet, they provide a satisfying layer of interest by giving the music harder metallic edge and a more electric sound than is typical of straight country music. The alternative/rock element, blooms in the form of slick solos and the occasional riff. The solos and riffs hit you with the rolling gate of a cowboy ready to "take it outside." They mean business and are clearly complicated, yet they still manage to not feel frenzied. Wells and McKay execute the solos and riffs with practiced dexterity before, ultimately, giving way to relatively straight forward strumming patterns, letting the vocals take center stage.
Wells and McKay as vocalists, again walk the the line (see what I did there?), between country and alternative sound. There is a doleful soulfulness to their voices, however, the sound is not throaty and the southern accent is not overpowering. Their voices have a raw quality that can still carry sentiment without being too much like shouting and steering clear of whining. They don't ball out their lyrics, rather they sing them clearly, letting their audience experience the richness of description in the songs. These are not the kind of songs that rely on the repetition of the word "baby." The lyrics are both relatable and autobiographical, keeping an element of story telling in mind throughout.
Furthermore, the stories are backed by fairly simple music, aside from the occasional guitar solo. Nothing is too flashy, the instruments don't try to out do or cover over the vocals. It's refreshing to see a band that doesn't try to compete. Rather the vocalists sing over simpler music and give way to solos and more complicated playing, allowing the musicianship to take the spotlight in turn.
Hey, Philly Phriends, you'll have two chance to check out Red Means Run in person soon! They will be performing at the Grape Room in Manayunk on January 2nd and will be playing World Cafe Live on January 27th (details still to be announced)! Grab some buddies, come have some fun and support a killer local band!
- A.H.
Listen to gabriel ep by In Watermelon Sugar.
check this out.
Mason Porter is good ol' sweet tea, mint julep sipping country folk music. The music is sweet and smooth but with a subtle raw complexity. Love songs can swiftly become saccarine but not with these guys. You won't find overly long and ambitious comparisons between eyes and oceans. Nor will you find a scratched record chorus comprised entirely of the word "baby." Mason Porter writes simple but straight forward love songs, sung with a charmingly twangy southern accent and the occasional ear catching harmony.
Instrumentally, Mason Porter is bewitchingly well layered. The long mournful sigh of the slide guitar is complimented by the reverberant tones of an upright base. The prominently featured mandolin adds a higher pitched trill to run the gambit of tone and composition.
This music harkens back to a simpler time and place. Perfect for the mall. I mean, you've got to be able to escape the ear bludgeoning of holiday songs that you've been hearing since October. (Don't get me wrong, I dig the christmas tunes but seriously ? Enough is enough.)
-AH
Leoce: Chill Jams for the Ride Home (or at least something to keep the murderous Thanksgiving road rage at bay).
I was in the mood to add some new blood to my driving-home-from-work sound track, so I was pretty amped when I began streaming Leoce's This is Real, through my phone. These Richboro natives have Jack Johnson/Brett Dennen sort of folky tunes that have a some what surprising mix of ska and blues influence. Leoce isn't as indefatigueably upbeat as Johnson but they do have that unmistakeable pop folk sound. Sean Ladden's voice is neither bass nor is it quite what I would call a tenor, regardless he has one smooth tone, which pairs remarkably well with the low thrumming bass lines provided by Shawn Hogan. Kyle Walter plays the drums with such fluidity, that inspite of the fact that there is a lot of high-hat action going on in this song, it is not at all jarring. Instead the drums actually add a layer of unruffled cadence.
Also these guys are looking for more Philly gigs, so if you are looking for some talented artists, give these guys a holla' (as it were).
-A.H.
THE SUNFLIGHTS (click photo to listen)
The Sunflights, whose previous appearance was often made enchanting unsuspecting basement-show and dive bar dwellers, release their first EP today (FREE release show at North Star Bar 8pm along with Queen Anne and The Wild Carrot). We had the pleasure of listening to the self-titled release and were pleasantly surprised with the growth this band has achieved while still staying true to their minimalist, one-guitar-with-two-voices blueprint.
The first track, "I am a Robot" (click the photo above to listen) is our favorite of bunch; lush with a tapestry of words, harmonies, and guitar work that somehow seamlessly weave together the sentiment of the song sonically and lyrically. I have admittedly not been able to stop showing the song to whomever happens to be in my busted Toyota where this disc has been rotating since I received it. Sounding at times like a blue Joni record, and at others a taste of a slew of folk/blues and even sometimes sunny and brighter moments; this album is perfect for the schizophrenic Philadelphia weather in early November, before everything becomes definitively cold and dark, making this release date perfect for the effect of the record.
Beyond Natalie Butts and Claire Duncombe's impressive chemistry for song-writing and harmonizing together, the Sunflights' perhaps biggest strength is in the way the songs develop. The tempo, key, and guitar-picking style can seem to change 100 times in the song while somehow not sounding sporadic but instead more like a woven composition than the normal verse-chorus-verse acoustic folk songs that many bands of similar stylings produce. Another standout song is "The Clearing." Similarly with the first track, the imagery in the lyrics as well as the composition of the song creates a great tune but also another testament to a definite maturation from prior demos.
So come out tonight, pick up this beautiful album (charmingly hand-crafted), and see these ladies live - you won't regret it.
Say Yes to No :
Yes, No, I would come back and see you if you play Philly again. In fact I think that would be a brilliant idea ! Last night I went to the TLA to jam out to Work Drugs, a band that has been a consistent presence on Philly Indie, and see Electric Guest live. Heading in I read the sign with the head liner Electric Guest, followed by NO Work Drugs. At first I was pissed, no Work Drugs ?! They couldn't have cancelled this late in the game.....Then I remembered that, NO, was the name of the other band playing that evening. ( Strangely I have similar problems like this when I was working at my college radio station. A caller asked for something by the Beatles. I said, "Ok anything you had in mind ?" to which he replied"....yeah 'Something' by the Beatles.")
NO's vocal styling is part Johnny Cash, with the deep sonorous baritone of lead singer Bradley Carter, and part Mumford and Sons with spell-weaving group harmonies. Their musical styling is quite frankly, an experience. The music is layered with complex melancholy melodies, the magnet drawl of a hazy electronic keyboard, and straight-forward brilliantly executed drumming. Although, this band hails from LA. I figured they deserved a shout out for repeatedly asking "If we come to Philly again, will you come see us ?" I can enthusiastically say Yes. Lets show them some brotherly love and see if we can get these guys to come back.
-A.H.
FAMILY VACATION - "WAITING CLOUDS (DEW)" (Click photo to listen)
Family Vacation could be described as Animal Collective meets Vampire Weekend with a touch of West Philly punk drenched in reverb and heads turned towards their shoes. We'd rather just say it's good shit. The main singer's vocals add a more unique quality to the sound and this newly formed Philly band made up of 4 Temple students will definitely make some waves. Check out their first single "Waiting Clouds (Dew)" and follow their Facebook for future tunes: https://www.facebook.com/familyvacationmusic
AUDREY BEAN - BONES (click photo to listen)
I dig this not only because Philly artist Audrey Bean counts off the tune in french, that she has the flawed indie girl voice that I am a huge proponent of, (that should not only be okay for male singers , people), but there is something gold here.
The swing vibe in conjunction with the mystical lyrics and the somehow-creepy-in-a-wondrous-way tone of her voice all flies by so fast that it will make you want to listen a few times just to catch all of the essence of just what Audrey Bean is feeling in this tune. I think it's a good middle of the week song - upbeat yet minor.
FEMME FATALE - Saturday 9/22 @ World Cafe Live
Poison Ivy Music presents FEMME FATALE PHILLY, a celebration of Philadelphia’s female artists, with… The Northern Lights http://www.TeddiTarnoff.com/ *ALBUM RELEASE SHOW!!!! Fig Leaf http://figleaf.bandcamp.com/ Julia Rainer http://www.reverbnation.com/juliarainer Starving The Tsunami http://www.starvingthetsunami.com/ ALL AGES $9 adv/ $11 dos Tickets: http://tickets.worldcafelive.com/eventperformances.asp?evt=4220
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http://www.facebook.com/home.php#!/events/331523800241180/