Moody

BASEMENT BRINGS A TIGHT SCENE TO PHILLY
May 3, 2016 10:26 am

The TLA in Philly was feeling mixed emotions on Friday, April 29th.

Wispy indie pop Colleen Green, angry Defeater, aggressive Turnstile and moody Basement all brought their various sounds to the South Street venue with one defining commonality: they all sound like 90’s throwbacks.

colleen_green4Colleen Green took to the stage around 8:30 to an already packed TLA. She opened with the title track from her new release I Want To Grow Up, which has been hailed as a fuzzy 90’s weed pop (a safe analysis being that her twitter name is @collengreen420) album inspired by the Ramones. Green’s set was fun and poppy, yet still punk as hell and reminded me of watching the Simpson’s on TV after dinner. With elements of post-punk and indie rock, yet lyrics like “Cause I can’t hold a conversation, I can’t even pay attention,” Green’s stoner pop anthems are relatable and fun, and I definitely broke out my embarrassing Taylor Swift at the Grammy’s style dance moves.

The next band to play was Defeater, I never really got around to listening to this band much before seeing them live, but I know the Boston band has a HUGE fan base. As soon has the band began to play I looked to the girl shooting pictures next to me and said “I am so nervous,” to which she replied “Yeah, one of us is going to get kicked in the head.”

Their singer Derek Archambault, sings with the intensity and passion of a pack of hellhounds. I tried making my way to the back of the venue but stopped when I saw the Circle Pit being formed for crowd favorites, “No Savior” and “Empty Glass.” Definitely a huge difference in sound than Colleen Green but still enjoyable to listen to.

After Defeater, Turnstile came on. Turnstile is a hardcore band with members from all over, including Maryland and Ohio. I’ve been a fan of this band for a pretty long time. They’ve played tiny VFW clubs in my hometown where the Hardcore music scene is very prevalent. They’re still riding high off of their newest album Nonstop Feeling, which is an album that will certainly take its place as a Hardcore classic in years to come.

Their set was high energy with crowd surfers left and right including Turnstile’s own vocalist Brendan Yates. Their sound is very straightforward, raw and aggressive. Some of their songs have an element of old school hip hop and early 90’s punk, but overall they retain those main elements that elevate them into the realm of hard rock.

Lastly, Basement took the stage with dimmed lighting opening with “Whole,” which is off colormekindness, an album that is certainly up there on my “Greatest of All Time” list. Basement has a grungy, moody sound to their music that I love. Staying loyal to the theme of 90’s throwback I always thought that they could stand alongside of the greatest 90’s punks. This entire band is filled with amazingly talented musicians. Andrew Fisher the band’s vocalist has a deep, raspy voice (and Morrissey style dance moves) that pairs perfectly with the heavy guitars courtesy of Ronan Crix and Alex Henery. Duncan Stewart churns out sick bass lines and James Fisher brings it all together with his “backbone of the band” drumming.

The sound production was as crisp as it ever was at the TLA. Overall, I can say with honesty Basement is one of the tightest bands I’ve ever seen. If you missed out on this tour, you’ll probably have to wait a while to see them again as the English band is headed to Australia next.

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SXSW SPOTLIGHT ON: NEW MYTHS
March 16, 2016 11:51 am

“We are an all-girl electronic power trio”

Occasionally it’s just easier to let a band introduce themselves.  Drummer, percussionist, and backing vocalist Rosie Slater couldn’t have summed it up better in an article featured in Modern Drummer Magazine.

Post-Punk revivalists New Myths follow a deep tradition of New York underground rockers that have payed sonic homage to their music idols while offering their own sleek iteration. You can make easy comparison’s to the Yeah Yeah Yeahs, who introduced a new indie-obsessed generation to the icy shriek of Siouxsie Sioux, or Interpol’s metro-polished take on Joy Division’s Ian Curtis.  New Myths’ guitarist and lead-singer Brit Boras summons the haunting vocal muse of Blondie, but injects it with grungy guitar-pop more akin to Paramore.

 

??CMJ day 4! Today were playing @ @rockwoodmusichall @ noon & @thedelancey [downstairs] @ 2:15pm! thanks again to @melismaticdiva for the GIF! @pancakesandwhiskey @atypicalsounds #cmj2015 #cmjmusicmarathon #cmjmusicfestival #newmyths #melismaticblog #thedelanceynyc #rockwoodmusichall #nyc

Posted by New Myths on Friday, October 16, 2015

New Myths quickly gained traction in 2013 after an endorsement by the late Lou Reed. The legendary Velvet Underground singer-songwriter/noise-rock-pioneer hand-picked “False Gold” off of New Myths self-titled debut EP and showcased the track on XM Radio syndicated “Lou Reed’s New York Shuffle”.  When New Myths convened a year later to record their full-length Give Me Noise, they were fortunate to collaborate with veteran producer Seth Glassman, who’s worked side by side with Paul McCartney, James Brown, Elvis Costello, and many others. You can check out the bulk of New Myths music on their SoundCloud.

We’re excited to announce that New Myths will be performing at our very own ATYPICALSOUNDS SXSW Day Party this Friday, March 18th, at Darwin’s Pub. We’ll see you there!

PROTOMARTYR BRING MOTOR CITY POST-PUNK CHOPS TO UNDERGROUND ARTS
February 17, 2016 11:00 am

Last Friday, February 12th, Detroit post-punk outfit Protomartyr performed at Philly’s Underground Arts in support of their critically acclaimed record The Agent Intellect, their second release via Hardly Art.  It was a frosty evening, but the intensifying snowfall did little to deter a boisterous crowd from cramming into the dimly lit venue.

First on the evening’s bill was Taiwan Housing Project, a local Philly noise rock band that pays homage to ‘No Wave’ provocateurs before them such as  Teenage Jesus and the Jerks. The band features both screeching saxophone bursts reminiscent of James Chance noise experiments as well as lead singer Kilynn Lunsford’s devastating howl, who also strikes an uncanny resemblance to a young Lydia Lunch.   Their sound is an excruciating blanket of atonality and dissonance. Their debut Taiwan Bulding Project 7″ EP is available via M’Lady Records.

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Next in line, hailing from D.C., was Priests, a four-piece “Real Life Non Internet Band” that combine psychobilly antics of The Cramps with a relentless tension and grit of punk. The formation of a mosh pit almost immediately commenced upon Priests taking the stage. Cans of beer began to fly overhead.  Audience members, perhaps uninitiated to the more visceral edge of live punk performance, showed visible distress and disorientation. It was chaotic, experiential, it was, “real life non internet.” Their debut EP Bodies and Control and Money and Power is available via Sister Polygon Records.

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Protomartyr closed the evening’s festivities with their smart and gloomy brand garage rock. Songs like “I Forgive You” kept the crowds on their feet with the off-kilter post-punk grooves of Greg Ahee’s impeccable angular guitar hooks and Alex Leonard’s precise drum execution. Front-man Joe Casey was in signature dapper attire as he shared disparaging tales of a crumbling Motor City necropolis in his somber baritone. The performance was an immaculate reproduction of their record, rewarding avid listeners with a near-complete track list of The Agent Intellect, along with a selection of other select tunes from previous output.

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