WKDU Philadelphia 91.7FM Presents
There's somewhat of a paradox inherent in Vundabar's songwriting — a conflicting sense of nostalgia contrasted with the realization that they couldn't sound more current. The music they make feels like something that should have been heard a long time ago, while simultaneously continuing to forge ahead sonically. Vundabar's high energy live show is the stand out quality of this band and is an art they’ve undoubtedly perfected by touring non-stop around the country. Vundabar’s shows never fail to be captivating, complete with infectious jams, guitar moves galore, intricate drum work, and humorous stage banter to top it all off, the band has become known for putting on an entertaining show.
Born out of fierce friendship and a mutual affection for melody, Chicago’s Ratboys – anchored by the partnership of Julia Steiner and Dave Sagan – aims to ‘write songs that tell stories and honor the intimacy of memory,’ according to Steiner.
GN, the group’s second full-length album via Topshelf Records, offers a bevy of tales, laments and triumphs, which recount near-tragedies by the train tracks, crippling episodes of loneliness, remembrances of a deceased family pet with freezer burn, and on and on. The songs shift and breathe as worlds all their own, tied together by the group’s self-proclaimed ‘post-country’ sound, which combines moments of distortion and a DIY aesthetic with a devotion to simple songwriting and ties to the Americana sounds of years past.
Drawing influence from the down-to-earth sincerity of late-90s Sheryl Crow and the confessional confidence of Kim Deal and Jenny Lewis, the songs on GN (aka ‘goodnight’) “largely detail experiences of saying goodbye, finding your way home, and then figuring out what the hell to do once you’re back,” says Steiner. The songs chosen to close both sides of the record – the slow-burning ‘Crying About the Planets’ and quizzical ‘Peter the Wild Boy’ – unpack the respective journeys of two real people who were quite literally lost and found. ‘’Crying’ tells the survival story of Antarctic explorer Douglas Mawson from a first-person perspective, and ‘Peter’ reflects on the life of a feral child in Germany who was eventually adopted by the King of England,’ according to Steiner. ‘Writing as and about these people is the best way I can attempt to empathize with them and really just wrap my mind around these bits of history that otherwise might not get talked about. And it helps me understand my own experiences a little bit better,’ she says.
Certain personal stories – the tour adventures recapped in ‘GM,’ the struggle to learn to show affection as divulged in ‘Molly’ – find Ratboys just as eagerly exploring subject matter that comes from within, and then illustrating the highs and lows with soaring hooks and plaintive ones. Even in the moments that lie somewhere between bliss and misery, a tension persists between Steiner’s sweet vocal delivery and Sagan’s physical, almost-off-the-hinges guitar playing that lends each song a deeper sense of color and movement.
�Steiner and Sagan felt the impulse to make music together from the get-go – they first met as university students, quickly put out an EP together, and started performing as an acoustic two-piece in dorm rooms and backyards. During the next few years, the friends traveled separately, eventually reunited, and recorded what would become the first Ratboys record, AOID, which the folks at GoldFlakePaint describe as ‘a gleaming, joyous, raucous display of melodic indie-rock.’
�After a year and a half of touring the US and Europe as a plugged-in full band (featuring the additions of drums, bass, and trumpet), the members of Ratboys returned to Chicago and holed up at Atlas Studios for two weeks to record with engineer Mikey Crotty (who had previously worked with the group on the songs ‘Not Again’ and ‘Light Pollution’). ‘This time around, we were lucky enough to feature the talents of friends who play the pedal steel, accordion, cello and violin to give the songs an extra something,’ says Steiner. ‘Dave finally got to show off his ridiculous skills on the pocket piano, and the whole thing felt like one big loving experiment.’
Those good times and long days yielded the 10 songs that make up GN, which Evan Hall of Pinegrove calls ‘a delectable chapter in the Ratboys story.’
Nick Bairatchnyi and Jackson Mansfield built The Obsessives at fifteen, out of a childhood friendship and a misplaced love for blues-rock. «We wanted to start a band with a „The“ because bands like that three years ago were cool, like The Black Keys and The White Stripes,» Bairatchnyi remembers while laughing at his ninth-grade naivety. Three years later, the band became fixated on a new form.
The Obsessives released their debut record, Heck No, Nancy in 2015. The album chronicled a series of revelations which center around a musical mentality that volleys between the expressive texture of emo bands like Braid and the bouncy indie of bands like The Pixies and Violent Femmes.
On March 17th, 2017, The Obsessives will release their follow up self-titled album on Lame-O Records, continuing even further along their indie rock inspirations, the band has found an acclivity for pop hooks and vibrant instrumentation that give a nod to their heroes (even referencing a Pixies record on one of their songs), while also fitting alongside the top artists of the modern indie/emo scene (like Modern Baseball, who’s tour they’ll be opening in the spring of 2017).
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