The Philly-based Trash Boy has got a lot to get off their chest in the nation’s capitol. What better way to do it than through some boisterous and rage-filled punk rock?
Sometimes stories do have happy endings. When Ride split acrimoniously in 1996, leaving behind one last album (Tarantula) that suffered greatly from the strains that were ripping apart the group during its recording, many assumed that the band was done. Even after the tensions had cooled, the band themselves said for years that a reunion would never happen. Then, in late 2014, word came that the band were reforming for a series of dates in North America and Europe in 2015, including stops at both Coachella and Primavera Sound. Reviews were positive and often glowing, fans were excited, and the band appeared to once again enjoy working together. After it was done, many were left wondering what, if anything, was next. Would it all come down to just a brief nostalgia run, or was there new life in it?
In the early to mid 80s, when most of the popular music world was fascinated with synthesizers, MTV, and feathered hair, a small community of musicians in Southern California were forming their own movement influenced by the jangle pop and psychedelia of 60s bands such as The Byrds and Love, and the garage rock of bands like The Count Five and The Seeds. Known as the Paisley Underground, the movement included such diverse groups as The Three O’Clock, Green On Red, Rain Parade, and The Bangles. One of the best-known bands in the genre, The Dream Syndicate, released their debut album The Days of Wine and Roses in 1982, and though it didn’t manage to break into MTV, it quickly became an underground favorite. The band released three more albums before splitting in 1989, and bandleader Steve Wynn went on to start a prolific solo career.
Icelandic post-rock band Sigur Rós has, for their two decade-long career, defied easy description. Resting somewhere in the space between pop, experimental rock, ambient, and sometimes even classical music, the group creates soundscapes which evoke images of other places and of alien worlds. The band released their most recent album, Kveikur, in 2013, the same year that the departure of long-time keyboardist Kjartan Sveinsson turned them into a three-piece. Though they currently have no new record to promote, they embarked on a short US tour again this fall, including a stop at the Academy of Music in Philadelphia.
It’s sad and shameful that in 2016 that bands like Screaming Females, Modern Baseball, and Speedy Ortiz have to set up a hotline for fans to call if they’re at a show and find themselves being touched or treated inappropriately, and yet here we are talking about our collective inability to not be f@#-ups... again. Dammit.
And speaking of Modern Baseball…
The Philadelphia emo-punks have spent the past few years building a devoted (that’s putting it mildly) following and on their latest LP, Holy Ghost, they just may have hit the big time. Is the world ready for Category 5 feels-a-cane? We’re aiming to find out.
PLUS! Robert Ellis’ excellent self-titled LP is here and we’ve got one of its finest moments for you to put in your ear-holes…and your heart.
Trust us. We may actually know what we’re doing.
In a time when we seem to be losing musical legends left and right – David Bowie, Lemmy, Merle Haggard, Paul Kantner, and Glenn Frey, just to list some of the biggest names we’ve said goodbye to in 2016 – it’s refreshing to know that some of our true rock stars are still going strong. After over a decade made up mostly of oddball projects – a jazz album, an album of French covers, an EP setting spoken Walt Whitman poems to music – and a two-album Stooges reunion, Iggy Pop surprised nearly everyone by returning this year with what turned out to be one of the strongest solo albums of his career, Post Pop Depression.
Collaborating with Queens of the Stoneage members Josh Homme and Dean Fertita, as well as Arctic Monkeys drummer Matt Helders, Iggy recorded a nine-song tour de force that harkens back most closely to his late 70s collaborations with Bowie. He has said that this may well be his last album – if that does turn out to be the case, he’s going out the way he’s always lived: raging.
Photo by Richie Downs www.richiedowns.com
If we’re talking Rock ‘n’ Fucking Roll, one really shouldn’t complain that Philadelphia’s The War On Drugs delivered an almost two and a half hour set Friday night at the 9:30 Club. That’s the stuff of Springsteen-ian legend that people look back on years later and say, “I was there, man. I. Was. There.” And, in fact, the megalith of a show that Adam Granduciel and his cohorts delivered was an embarrassment of riches that showcased every era of the band; a crash course in how they got from there to this year’s unmitigated masterpiece, Lost in the Dream.
But man, was it some kind of awesome endurance test.
The set proper was book-ended by Dream’s “Under the Pressure” and “In Reverse,” a move that seemed appropriate given what would come between the two. Besides being the band’s best album to date, Lost in the Dream is also the logical culmination of everything that came before it for them. The winding river of The War On Drugs history that the set list took could not have made that fact any clearer.
In this episode Kevin, Andre and Adam parse the pro's and cons of Neil Young's new PONO music service to figure out if it's a winner or if only the most righteous of music nerds need apply. PLUS! The gang takes on a new release from cow punk siren Lydia Loveless , then go on a vision quest with The War On Drugs latest, Lost In The Dream.
A little Moondoggies, a little Hundred Visions, a touch of Walkmen and a whole lot of beer soaked youth.
Why You Should Care:
More often than not the best rock and roll is ragged and raw, and pine barons rough edges hint that true greatness may be just around the corner