Posts Tagged ‘Pennsylvania’

While the days when you might spot David Byrne at a Clap Your Hands Say Yeah show are behind us, Alec Ounsworth has continued to hone his skills as a songwriter. Born out of a dark year, “New Fragility” finds Ounsworth inspired and the songs shared so far are terrific. If it doesn’t end up being Clap Your Hands Say Yeah’s best since 2005 it definitely will be the best to feature a song called “CYHSY, 2005.”

In any discussion regarding songwriters and lyricists of 21st century indie music, Alec Ounsworth and his moniker, Clap Your Hands Say Yeah, will feature prominently. Few have been as consistently brilliant, eclectic, and intimate; fewer still remain defiantly independent, refusing to sign deals that compromise artistic vision. That is what characterizes Ounsworth’s oeuvre, especially the lifetime project he initiated sometime in the early 2000s, Clap Your Hands Say Yeah. And with each release since its landmark self-titled debut, he has refined and broadened his sound, indulging an ever wider set of influences.
Prolific and enigmatic as ever, his recent works marry the quirky, left-field spirit of the early years with a well-earned confidence, and grander sense of scale and ambition. Always heading down new avenues of song arrangement and organic connection to his audience, after nearly two decades Ounsworth remains one of music’s most distinctive voices.

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The upcoming album New Fragility (February 12th, 2021 CYHSY/Secretly Distribution), including the advance singles Hesitating Nation / Thousand Oaks and Where They Perform Miracles, was produced by Alec Ounsworth, with additional production from Will Johnson
 
New Single of upcoming album ‘New Fragility’

Philadelphia rock quartet Soraia are giving fans new music for the start of the New Year: The single Tight-Lipped, with a B-side cover of Aerosmith’s Angel, featuring a cameo by Jessie Wagner. Frontwoman ZouZou Mansour says, “Tight-Lipped is about a woman who politely refuses to challenge the status quo and direction of her life. It’s a final recognition of the part she has played in her own oppressive censoring — a soulful rebuke of her former beliefs on how to live. But by the end of the song, it becomes a triumphant declaration of who she now is: Meet Ophelia — no more promises. I refuse to be so tight-lipped.”

some fun hard rock with some really good vocals.

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Side A: Tight-Lipped
(Soraia Mansour/Travis Smith) Green Eyed Lady Publishing (BMI)/Real
Bad Music Publishing (BMI)
Side B: Angel (ft. Jessie Wagner)
(Steven Tyler/Desmond Child) Primary Wave Steven Tyler/Universal
Polygram International Publishing

ZouZou Mansour: Lead Vocals, Backing Vocals, Organ Nick Seditious: Lead Guitar, Rhythm Guitar Travis Smith: Bass Guitar Brianna Sig: Drums, Percussion, Backing Vocals John Hildenbrand: Organ Geoff Sanoff: Backing Vocals, Organ Jessie Wagner: Featured Artist singing on “Angel” Soraia Released January 8th, 2021

There’s a vague sense of unease that permeates Corey Flood’s debut full-length, “Hanging Garden”, It came out September 4th via Fire Talk. From the surface, the record appears to break through the dark fog of the band’s 2018 EP, Wish You Hadn’t, but just below lay themes of ambivalence, uncertainty, and anxiety, layered elegantly in fuzz. Recorded in Philadelphia by Jackie Milestone, mixed by Natasha Jacobs, and mastered by Sarah Register, Hanging Garden pushes through feelings of discomfort and repressed emotions to discover what truly lies beneath.

Born in Philly circa 2017, Corey Flood began as the post-grad bedroom project of bassist Ivy Gray-Klein (formerly of Littler) and drummer Juliette Rando. A month after their first show with guitarist Em Boltz, the band signed with New York’s Fire Talk Records and turned four planned demos into a full-fledged, delightfully menacing debut EP. Now, after two years of intense growth and collaboration, the trio continues their “whirlwind trajectory” with the long-awaited, nine-track LP, “Hanging Garden”.

Inspired by Throwing Muses, Helium, Pale Saints, and Brix Smith-Start’s work with the Fall, Gray-Klein calls Hanging Garden “a reckoning with internal discord.” Through soft melodies, lush guitars and churning rhythms, the dual vocals of Gray-Klein and Boltz recall relatable experiences with gaslighting, imposter syndrome, and repetitive thoughts. Hanging Garden feels intimate and familiar but is strewn with playful surprises, like 70s krautrock guitar work and samba-influenced drum parts. Hanging Garden is a mature stride forward, and a bewitching amble towards the unknown. 

From Corey Flood’s debut album ‘Hanging Garden’ Out September 4th 2020 on Fire Talk. “Blissfully nostalgic and compelling lo-fi guitar-pop.” – Noisey/Vice

“Their abstract, evocative lyrics are deeply contemplative cyclones—just like how their saw-toothed guitars will rattle around your brain, thoughts swirling until they begin to fester, gnawing at one’s psyche.” –  Paste

Released September 4th, 2020

Guitar + Vocals: Em Boltz
Bass + Vocals: Ivy Gray-Klein
Drums + Vocals: Juliette Rando

Shamir is Shamir and remains Shamir through and through, no matter what the universe puts him through. This album is so different than anything Shamir has released in their discography. It’s more pop rock than anything before this. I can see myself jamming to this live at a festival. But we can’t do that, so a festival at home while playing this album will have to do. Stand out tracks include On My Own, Pretty When I’m Sad, Diet & In this Hole.

I’m all about albums that move from genre to genre with ease. Shamir has done that with this record, with a few skits thrown in for good measure. We get some country “Other Side”, indie rock “Pretty When I’m Sad” and “Paranoia”, and pop “Running”. Shamir’s voice is very much the hook here as that high pitch singing sounds like no one else. “On My Own” also swings towards pop and feels like an anthem for feeling comfortable in your own skin. “Diet” has such a great groove to it that I found myself dancing around no matter when I listened to it. “I Wonder” is truly a heart breaking song that sounds like Shamir was going through that moment in a relationship where you look at the other person and go, “is this going to work?.” “In This Hole” ends the record as Shamir reaches deep down inside to deliver the lyrics as strings swirl around eventually taking over and fading out. It’s a gorgeous end to the quick album and it leaves you more than satisfied. 

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Released October 2nd, 2020

Shamir Bailey: Bass, Guitar, Synth
Kyle Pully: Production, Mixing, Bass, Synth
Grant Pavol: Production
Matty Beats: Production
Justin Tailor: Mixing
Zack Hanni: Engineering
Danny Murillo: Drums, Production
Mike Brenner: Lap Steel
Molly Germer: Violin, Viola, String Arrangement

Since the band Modern Baseball announced their indefinite hiatus three years ago, Jake Ewald has committed fully to his Slaughter Beach, Dog project, releasing a handful of albums, including last year’s Safe And Also No Fear, He’s put out a whole new full-length called “At The Moonbase”, whose only advance warning was an advent calendar-style countdown on his social media accounts.

Despite being recorded in a year where it was hard to get together and make music, At The Moonbase is very much a fleshed-out effort, put together at home and at Ewald’s Philadelphia studio the Metal Shop. It’s filled with the sort of down-on-your-luck narratives that Ewald has populated his songs with over the years, twangy and comforting and filled with wry observations that cut to the bone.  it’s always wonderful seeing Jake’s song writing improve and evolve over the years and it shows quite a bit on this record in particular. it’s much subtler of an album, might even be a grower to some, but i think it’s a great way to end the year

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In the time since Modern Baseball went on hiatus, Jake Ewald turned Slaughter Beach, Dog from a solo project into a full-fledged band, and in 2019 SB,D released their best album yet, Safe and Also No Fear. With the pandemic keeping Jake at home more, he returned to Slaughter Beach, Dog’s roots, writing and recording a comparatively stripped-back new album, At The Moonbase, alone at home and at his East Kensington recording studio The Metal Shop. (He did end up getting some accompaniment, though, including sax by Wil Schade and vocals by Lucy Stone.) The album is out now, and it finds Jake’s unmistakable singing and song writing style in fine form.

Released December 24th, 2020

Produced by Jake Ewald at The Metal Shop in Philadelphia, PA and at home June – October 2020

Image may contain: 1 person, text that says 'see you tomorrow the innocence mission mission'

Lancaster, PA’s Innocence Mission have been making delicate dreampop for longer than that descriptor has existed, with Karin Peris’ heartbreaking voice forever the star of the show. Draped in aching melancholy, “See You Tomorrow” is among the group’s finest in a span over a 30 year plus career. Alternative folk act The Innocence Mission first gained recognition in 1989, when they found chart success with their self-titled debut album. By the time the band released their third album, Glow, in 1995, they had earned a zealous cult following that remains loyal to them to this day. Their songs tend to be exquisitely crafted, featuring ethereally beautiful acoustic-based music and hauntingly introspective and thoughtful lyrics, all combining into a sound that is at once delicate yet intense. The band, led by married couple Karen Peris (vocals, guitar, piano, organ) and Don Peris (guitars, drums vocals), originated when they first met in high school. Now, more than thirty years later, they (along with bassist Mike Bitts) are preparing to release their twelfth studio album,

Love. Connection. Community. Understanding. Most of us experience these aspects through the prism of family and friends. But not everybody can turn those feelings into song, especially not with the beauty and sensitivity of Pennsylvania trio the innocence mission, fronted by Karen Peris and husband Don. Following their Bella Union album debut “Sun On The Square”, which won the band some of their best-ever reviews, they have made another exquisite and touching album, “See You Tomorrow“.

This is a record steeped in awe and wonder, intense longing, sadness and joy; a rich sequence of songs that attempt to describe the essence of what makes us human. Sufjan Stevens, who has covered the innocence mission’s classic Lakes Of Canada, once called their music “moving and profound. What is so remarkable about Karen Peris’ lyrics is the economy of words, concrete nouns which come to life with melodies that dance around the scale like sea creatures.” The band recorded See You Tomorrow in the Peris’ basement (and the dining room where the piano sits). Karen wrote and sang ten of the album’s eleven songs, and plays guitars, piano, pump organ, accordion, electric bass, melodica, mellotron, and an old prototype strings sampler keyboard. Don contributes guitars, drums, vocal harmonies, and one lead vocal on his song Mary Margaret In Mid-Air. Fellow founder member Mike Bitts adds upright bass to four songs including On Your Side, the album’s first single.

With wistful strings and distant acoustic guitar, “On Your Side” sounds like the first chill of autumn.

In the decade-plus I’ve known Maxwell Stern, he’s never been one to stop. And I’ll go out on a limb and say that anyone else who has come to know Max—maybe from one of his several bands (Signals Midwest, Meridian, Timeshares), or perhaps sweating it out in the pit at a show at some point in time, or maybe from a ska message board in the early 2000s—would say the same thing. Max has this undeniable urge to create. It’s like an impulse, really; an uncontrollable desire to try and make sense of the thoughts and emotions and anxieties about the world that swirl around our heads at any given point in time—and funnel it all into a song. Maybe it’s a song that people can relate to. Hopefully it’s one that they can sing along to.

For Max, ​Impossible Sum​—his first proper solo record—is an honest-to-God effort to wrangle heartfelt and sometimes confusing feelings of adjustment, displacement, and settling into song. These songs have the kind of heart-on-the-sleeve vulnerability that fans of his other bands have come to admire, but presented in a completely unfiltered fashion, existing exactly as they need to be. ” Max tells me. “So I really tried hard to throw that kind of thinking out for the sake of making something different.”

Independent venues have given me everything – jobs, friends, inspiration and a means of self-discovery. I don’t know who I’d be without places like The Grog Shop, Johnny Brenda’s, Boot & Saddle, O’Briens, Great Scott, and the Beat Kitchen. I became a better version of myself in these rooms, as have countless others. The National Independent Venue Association (NIVA) is an organization working to secure financial support for independent venues across America. These establishments are not just places of employment – they’re tourism destinations, revenue generators and so much more.
 
Independent venues were the first to close as COVID overtook the American ecosystem, and they will be the last to reopen, and when they do they will require help and solutions unique to the live music industry that we all love so dearly. Tying Airplanes to the Ground · Maxwell Stern · Ratboys

Bardo Pond guitarists, brothers John and Michael Gibbons revive their long-term sonic sparring side project Vapour Theories for a genre-shattering new release ‘Celestial Scuzz’.

Six years after a split LP with Loren Connors, and 15 years after ‘Joint Chiefs’ the duo have assembled a brand new Vapour Theories album that sees their symbiotic union travel deeper, shaping and re-shaping itself as the harmonious power struggle unravels…

Michael: “The balance of power definitely shifts. When the record is put together it is equal parts from me and my brother. The collaboration is complete and represents both sides of our taking the lead on material.”

‘Celestial Scuzz’ is a monumental sound piece created from hours of jam sessions and crafted into a cohesive mind-blowing trip. Featuring their take on Brian Eno’s ‘The Big Ship’ (‘Another Green World’, 1975), the album has a heavy ambience like Eno locked in a dark room with Sunn-O))))) rehearsing next door.

“When we play together there’s a kind of connection to vibrations for us. When it happens, we become vehicles for some unknown forces that work through us to create the music. A kind of spiritual. Most of the time it leaves us stunned; the more stunned we are the better the jam.”

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While Bardo Pond’s trajectory takes them deep into rock music’s ever-imploding sound, the brothers Gibbons surf a more ethereal and eclectic plain; from a heady and consuming space, a “sanctuary; balm for the soul.”
Released on limited edition gold vinyl, ‘Celestial Scuzz’ is available on 26th February on Fire Records

Releases February 22nd, 2021

Philadelphia-based band Another Michael are recent signees to the label Run For Cover Records. This month, they also released their new single “New Music” and b-side “Boring For The Times.” ” Combined with their eclectic, dreamy sound and formed chemistry together as a band, their debut LP has a promising outlook.

One of the most charming things about music is the shared experience of listening, whether it be from a song that resonates with you and someone else, connecting to the artists’ work or any other way in between. Another Michael’s “New Music,” unpacks this sensation as the band sings about the simple yet exhilarating act of listening to new music, particularly when recommended by someone else. “We were up late online talking about new music / and you sent me a link to a song that I’d never heard before / I need to get my headphones on.” 

The Philly-based group, made up of multi-instrumentalists Michael Doherty, Alenni Davis, and Nick Sebastiano, draws on numerous genres in their new track, from indie-rock to dreamy lo-fi elements. The song’s raw, guitar plucking-led instrumentals leading up to a lively outro of Michael Doherty’s layered vocals create an intimate world with the dark solaces of the night time further enhanced by an escape into headphones. “New Music” is a relatively quiet song, highlighting the calming, subtle yet emotive vocals of Michael Doherty.

The “New Music” single was released on Bandcamp last week with B-side “Boring For The Times” — a more upbeat track with a heavier guitar riff accompanying Doherty’s high-pitched vocals. It sounds like a combination of Philly’s (Sandy) Alex G’s ragged indie rock-meets-lo-fi pop, the eccentric sounds of Zack Villere, and all pulled together with their unique flair. The different styled approaches to each track are together a preview of the three-piece’s upcoming debut LP that “listeners won’t have to wait long to hear more from,” according to the group’s Bandcamp.

“New Music” by Another Michael from the 7″ / 2 song digital single ‘New Music’ out now via Run For Cover Records

We recorded this album in 2019 in what feels like a different world, but the sentiments remain the same. It’s about confidence at war with doubt, living in the moment, learning from the past, and taking stock of what’s truly important. We are pleased to share our first single Cat’s Cradle, along with a real cool music video directed by Lauren Adams and Drew Horen of Polar Bear Productions now available on YouTube and all streaming platforms. . Play it loud, share it with a friend, or add it to your favourite playlist. The history of the Pennsylvania indie band Tigers Jaw is often divided into two distinct phases: before and after the 2013 departure of three of the band’s five founding members, one of whom, Adam McIlwee (who now records as Wicca Phase Springs Eternal), went on to found the influential emo rap collective Gothboiclique. Ben Walsh and Brianna Collins stuck around, though, and reshaped the band’s sound into something a bit softer and more introspective than the band’s brash emo roots. Its previous album, 2017’s “Spin,” felt a bit transitional, but “Cat’s Cradle,” the first single from the forthcoming “I Won’t Care How You Remember Me” (out early next year) is a confident step out of the shadow of the past and into the band’s future. Driven by chugging guitars and prismatic keys, it’s a refreshing blast of bouncy power-pop, tinged bittersweet by Collins’ lilting lead vocals.

Releases March 5th, 2021

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