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Massive pedaled out blasts of sound tied to delicate riffs. Echo & the Bunnymen songs played by Wilco. Biscuits swimming in gravy. George Clooney’s salt and pepper beard.
LP3 is a rare achievement: It doesn’t fail at being anything. It’s a collision of influences, not a contrived mixture of them. You could say this record is Tom Petty meets Spiritualized or you could say it’s Hot Snakes doing Swans, and you’d be right in both cases. It’s music from people who listen to, and love, music.
Compare the unapologetic rock swell of album opener ‘Wales’ to the understated lyrics first approach to the next track, ‘Separate Songs’. Clearly the same band, but exercising different ghosts on each song. That’s what LP3 provides. A spectrum broad enough for the swaying drunk at the show and the introspective headphone commuter. Wistful; hopeful; direct; coy; bombastic; pensive. It’s a human experience, or at least a French film.
The band returned to Miner Street Studio and longtime friend/collaborator Jonathan Low for the recording of LP3. It was a good choice. Every instrument is bigger on this album than on previous efforts. The vocals often puncture quiet moments to such perfect, unnerving effect that you could believe its happening in your head. The trust Low and the band has been building over the years is absolute these days and the result is a record that fills a room even when coming out of laptop speakers.
The difference between a genre band and a band that cuts its own path lies in the latter’s ability to walk away from a song without adding conventions. When bands walk the safe path the result is staying static in a genre, or worse, a scene. It’s house arrest for an artist. Restorations have gone the other way. LP3 shuns genre markers and allows every song to serve its own master. ‘Misprint’, for example, would have been a disaster in the hands of a less confident band. Instead, the track denies every potential cliché and emerges as a standout that resonates with listeners on a fundamental level.
LP3 is a marriage of big sounds and meaty songwriting. Clever, sure, but strong is a better description. Pummeling and rumbling without an ounce of goonishness. Smart people going hard.
To portray Timeshares as anything more than four friends from downstate New York playing passionate, sincere punk-rock would be a waste of words. «We became friends through music,» says Mike Natoli, the band's bassist, "...Two years ago we started Timeshares together and it feels awesome." So when these friends found themselves facing a couple of particularly «shitty years» as guitarist Jon Hernandez put it, they banded together to write and record their first full length Bearable. The band, which includes drummer Eric Bedell, guitarist and Jay Mosher, partnered with Kiss of Death Records and Kind of Like Records for a co-release on both vinyl and digital formats. With a blend of rock and punk reminiscent of that sweet spot from the 1990s. Bearable is sure to be loved by fans of early Get Up Kids, Hot Water Music and Avail alike.
After a nearly 10 year hiatus, the boys from Philadelphia post punk outfit Aim of Conrad are back with an ice cream cone in one hand and a cigarette in the other. Known for their raucous live shows, Tiny Vices craft a sound that isn't afraid to be as dance-able as it is driving, controlled as it is chaotic, and dreamy as it is heavy. Equal parts Queens of the Stone Age, Hot Snakes, Metz, and The Jesus Lizard, the boys always find a way to keep the hips shaking and the riffs narstie.
On their debut EP «Honey Up», the boys worked with engineer Matt Poiner at Miner Street Recordings to craft 5 songs they describe as «midnight music». We have no idea what that means, but «Honey Up» sure brings the goods. The drums are huge, the guitars snarl, and with every verse he howls, singer Matt Smyth creates a world slightly out of focus and super fun.
Boot & Saddle
1131 S. Broad Street
Philadelphia, PA, 19147