The White Bronco Tour rode its way to an overwhelmingly warm welcome at Franklin Music Hall in Philadelphia last Saturday. Action Bronson: rap artist, chef, painter, tv personality and author who released the album White Bronco last November, brought along his long-time friend and fellow rapper Meyhem Lauren, and the legend Roc Marciano for a tundra-flurry of raps. At the merch booth, there were Blue Chips 7000 tapes available along with t-shirts, hoodies and physicals of White Bronco, along with limited edition prints of Bronson’s paintings selling for $100. The show’s audience grew slowly as the show went on, behind each puff of smoke arrived more people until Action took the stage and the venue was packed floor to ceiling.
Meyhem Lauren, co-host of Action Bronson’s Viceland show Fuck, that’s delicious opened with a heavy 30-minute set, performing largely songs from the 2017 DJ Muggs collaborative album: Gems from The Equinox. Although in moments the crowd became lost during some of Muggs’s rawer production, they were brought back into form as Meyhem splintered off into some beat-free verses, flexing his rap muscles. He also debuted a song off of a brand-new Alchemist collaboration entitled Still Playing Celo. His performance was remnant of an opener but exceeded all barriers of talent that accompany that term.
“What’s poppin’ pidgeon
Feed ’em with dollar bills
But never give ’em wisdom
Being exhausted keeps the bezel frosted
Lost it. My mind that is, Braun Aromatic couldn’t have a grind like this”
Shortly after Mayhem left the stage, Roc Marciano strolled to the forefront, Hennessey bottle in hand and his team behind him. He sipped his bottle before blessing the crowd with a sturdy, head-on-my-shoulders continuum of bars. He spat verses from a plethora of albums, more notably Rosebudd’s Revenge, RR2: The Bitter Dose and his own DJ Muggs collaborative album KAOS. Almost the same way that Marciano is able to switch his flow from rugged to flush, he handed off his Hennessey for a Fiji bottle in-between songs. Roc’s fans were in the crowd strong, some of which leaving immediately after his performance, solidifying his role as a co-headliner on this tour. For those who know Roc Marciano, seeing him perform is a wild sight, yet his comfort onstage was undeniable and his demeanor was true to his word.
“like a bum eatin’ out the dump, I’m the illest out the bunch. The butterfly was a caterpillar once. Son, if it’s love, then why bring it up like a grudge?
…blood drunk but, nah, I ain’t spiked the punch” -Roc Marciano
Once Roc Marciano had eaten his proverbial fill, Action Bronson “The Human Highlight Reel” took to the stage slowly, with a fist raised high and a stern look that emphasized his role as the main attraction. His entrance to the stage brought with it an applause that matched the volume of the amps I was fortunate enough to be next to. Shortly into his set it was clear Action had blown out his vocal chords slightly, and was experiencing the occasional voice crack on his higher notes. Either due to luck or his abilities, he was still able to produce an awe-inspiring performance, at one point being resourceful enough to do a cover of Biz Markie’s classic raspy voiced single Just a Friend. He continued effortlessly through the new album, tracks like Irishman Freestyle and Prince Charming were only elevated by Bronson’s live delivery and aerobatic ambience. Midway through his set, in memorial to the late Mac Miller, Action took a moment to perform the song Red Dot Music off of Miller’s Watching Movies with the Sound Off, which played out as a somber yet empowering service to his past collaborator and friend. For those who are in the know, the one and only Big Body Bes made a short appearance during Action’s set only to receive an encore in which he returned the stage yelling, “GOD BLESS, WHO ELSE? PHILLY WE OUT HERE!”. Action finished his set with an encore as well, performing a brand-new song with a lackadaisical flow and guitar strum layered production, it seemed like a well-fitted bonus track off of White Bronco. Action Bronson’s larger than life personality was humbled during his performance and he made sure to show love to the fans that had been with him for the long haul.
The White Bronco Tour is coming to a city near you and I suggest you get those tickets before they’re gone. No lack of substance, no Auto-Tone or background vocals, real hip-hop shared between the artist and the individual.
“Understand I’m only rhyming for this son of mine
And so my daughter can be a lawyer and reap the spoils
We ate the tuna, it’s suede puma, my look is Jay Buhner
Dawgie cause some of us just age sooner
I’m still twisted, rocking lizards from a strange river
Forbidden jungle in the joint paper, point shaver
Check the bio, I fixed the game between Kentucky and Miami of Ohio
I been wild” -Action Bronson
Words by Brooklyn Fellner Photos by Kayla Aughenbaugh
Union Transfer was particularly spooky this Halloween as they welcomed Mom Jeans, Just Friends, Retirement Party, and Awakebutstillinbed to their stage. With a large following, Mom Jeans announced on Instagram that they wanted everyone to dress up for their show. So, the Union Transfer was jam-packed with bloodied bodies, fairy princesses, and Dragon Ball Z characters that transformed the floor from pop-punk kids into a sea of disguised music lovers. The high ceilings and old architecture was the perfect setting for the holiday, as fog machines began to pump the floor with eerie faux smoke. Arriving in time for Awakebutstillinbed, I was greeted by the lead singer, Shannon Taylor in the lobby of the building next to a row of merch tables. She frantically gave me a press pass labeled “Nerd,” which I suppose was a joke made up by the box office at the UT. Shannon was then on stage setting up with her band two minutes later.
The band opened with a song about Philly, as Shannon disclosed she had lived here for some time. Paying homage to the city, Shannon credits her development as a DIY artist to the punk and emo culture that Philadelphia has to offer. A fast paced guitar mixed with a downcast melody and a hoarse, female voice radiated emo vibrations throughout the venue. Taylor’s voice resonated through UT, echoing with every scream she belted into the microphone. She moved all over the stage between verses, headbanging with her bandmates and slamming on her guitar in unison with the bassist. When it came to their third song, “fathers,” a more upbeat song with punk influences, the audience as well as the band were in sync with each other and it became clear to me that Awakebutstillinbed had a huge following in Philadelphia.
As the set went on, the music became more depressing in a thoughtful way, not a “this-is-so-sad-I-want-to-cry” type of way, but as a heartfelt connection to the feelings Shannon had. The last song played was particularly filled with emotion, and the band truly portrayed that as they played. The dark, soulful song ended with Shannon throwing her guitar under her arm, across her back and finishing with her chilling lyrics alone in the microphone. After the short set, Taylor escorted myself and Kayla backstage for an interview. There were several backstage rooms equipped with a large couch where Shannon plopped down on and began eating chicken wings. Her drummer and father accompanied us as we did the interview…. (interview at end of article).
A quick preface from the editor:
At WKDU we receive new music every week from a huge variety of labels. We keep all of our new releases in our main control room (the room out of which our DJs do their thing) on our “New Music Shelf”. Our DJs pull from this shelf quite often, because our goal is to serve you the freshest underground cuts–FDA certified 100% organic, grass-fed, farm to table, FRESH. With “Off the Shelf”, our goal is to dive deeper than ever into our “New Music Shelf” favorites, and to share our thoughts with our community. Here’s hoping we inspire you to check out something NEW.
By Matt Squires
Parquet Courts’ new album, Wide Awake!, is a diverse collection of raw rock and rolls sounds, familiar to the American ear, yet unique and refreshing. The production is minimalistic, to focus the listener on the melodic and rhythmic aspects of the songs, which are undeniably catchy. The vocals are raw with minor imperfections as if performed in a live setting.
“Total Football” kicks off the album with a classic rock style sharp slow chord progression. Soon the beat speeds up and the bass riff kicks, forcing the listener to bounce back and forth, a feeling used many times on this album including, “Almost Had to Start a Fight/In and Out of Patience” and “Extinction”. Growly vocals are introduced, seemingly untrained and raw, their voices fit the aesthetic perfectly. This riveting intro song ends like the streets of Philadelphia after the 2018 super bowl, “F___ Tom Brady!!”.
“Violence” shows the more serious side of this album. Smooth groovy rhythms and catchy riffs over a yelling monologue until coming in with the chorus “violence is daily life.” Parquet Courts makes their way around the genre spectrum while maintaining the same production aesthetic with the slowed jam, “before the water gets too high”. The repeating riff is memorizing and the organ-sounding synth chords hold the song together.
Next stop on this journey is a flashback to 90s alternative rock. Sounding like Pavements “Range Life”, “Mardi Gras Beads” takes the album to very familiar place. The smooth lush reverb-filled verse contrasts with the rigid power chords that come in the chorus creating a rich texture. “Almost had to start a fight” channels the bands Proto-Punk aesthetic with riffs sounding like MC5, the vocals match the rhythm to create a concrete, energetic jam. Merging into “In and out of Patience” with the phrase “If it stops i’m having a bad dream”, the pattern changes, putting another involuntary step in the foot of the listener.
The aptly named, “Freebird 2”, lives up to its name talking about drugs and getting older with pentatonic blues scales. The title song, “Wide Awake” combines a groovy bass riff with a dance party vibe. The use of Auxiliary percussion on this track makes it stand out from the others. A straight rhythm blues jam ends the album out with a piano melody doubling the vocals, making for an upbeat vibe. The chord progression is a mixture of simple chords and unusually dissonant chords that give an excellent texture to this familiar groove.
Parquet Courts have maintained their progressive classic rock style. Innovative yet so familiar and easy to latch on to, this album is an instant classic filled with songs that capture the last 50 years of rock music.
The week of August 13th was overwhelmingly busy from a music lover’s perspective. While every week contains a multitude of new releases and announcements of new music, this week was a dream for any fan in the indie and underground music world. In case you happened to miss anything, we’ve compiled a review of last […]
The week of August 13th was overwhelmingly busy from a music lover’s perspective. While every week contains a multitude of new releases and announcements of new music, this week was a dream for any fan in the indie and underground music world. In case you happened to miss anything, we’ve compiled a review of last week’s most relevant announcements and drops. Our review spans multiple genres and scenes, so chances are, you’ll find something new that you can bop to. Check it out below.
mewithoutYou – Untitled EP
Mitski – Be The Cowboy
Trevor Powers – Mulberry Violence
Cloud Nothings – Last Building Burning (October 19, 2018)
Daughters – You Won’t Get What You Want (October 26, 2018)
Ian Sweet – Crush Crusher (October 26, 2018)
It Looks Sad – Sky Lake (November 2, 2018)
Justus Proffit and Jay Som – Nobody’s Changed EP (September 28, 2018)
mewithoutYou – Untitled LP (October 5, 2018)
Saves The Day – 9 (October 26, 2018)
Say Anything – Oliver Appropriate (October 12, 2018)
Young Jesus – The Whole Thing Is Just There (October 12, 2018)
Bosse De Nage – “My Shroud”
Cloud Nothings – “The Echo Of The World”
Daughters – “The Reason They Hate Me”
The Field – “Who Goes There”
Fucked Up – “Normal People”
It Looks Sad – “Light”
Ian Sweet – “Hiding”
Joyce Manor – “Think I’m Still In Love With You”
Lonely Parade – “Olive Green”
Low – “Disarray”
Madeline Kenney – “Overhead”
mewithoutYou – “Julia (or ‘Holy To The Lord’ On The Bells Of Horses)”
Saintseneca – “Beast In The Garden”
Saves The Day – “Rendezvous”
Say Anything – “Daze”
Swearin’ – “Untitled (LA)”
The Spirit Of The Beehive – “D.O.U.B.I.E.U.R.O.N.G”
Young Jesus – “Deterritory”
Words and photos by WKDU guest writer Madison Kierod
Vundabar brought Philly out of hibernation on Tuesday, March 6th with their sold-out show at PhilaMOCA. Devoted fans had been awaiting their return to the City of Brotherly Love since their show at the First Unitarian Church with The Frights and Hockey dad this past November. This time, the Boston punk/surf/math rockers headlined the show with support from Chicago-natives Ratboys, and D.C. indie rock duo, The Obsessives. The intimate venue was decorated with paintings and prints from local artists, allowing the performance to become tailored and personal for Philly fans.
The band jumped right in with their upbeat new single, “Acetone” off of their 2017 record Smell Smoke, and, after some dramatic pauses and heckling from the audience, continued the show with fan-favorite “Chop” from their second studio album Gawk. This single particularly showcases the band’s ability merge catchy vocal melodies with crunchy guitar tones, and incorporate tempo changes from Grayson Kirtland’s groovy bass lines to Drew McDonald’s quick, almost frantic drum solos. The progression was inherently entertaining to watch and the urge to dance was hard to resist.
Consistent with the name of their first studio album, their show was certainly filled with Antics. Their fun, high-energy tunes kept the audience jumping, and lead singer Brandon Hagan’s commentary between sets kept them laughing with cheeky rants promoting their band, asking for food, and asking silly, rhetorical questions such as “what do you sound like when you sweat?”. His witty sense of humor even kept the audience entertained while dealing with some noise interference mid-show, as the band had to overcome what Brandon described as “the crickly-crackly.”
Part of Vundabar’s charm is in their unpredictability, their improvisational dance moves, facial expressions, and vocal runs while jamming and soloing mid-song. No track shows this better than “$$$”, where the band took a 2-minute detour to exchange solos just to build up to a clean and abrupt end to the song.
The songs off of their newest album Smell Smoke such as “Diver” have a slower vibe, and were aptly placed in the middle of their set This left room for extra-long, extra-loud, extra-crunchy renditions of one of their more mosh-able tunes “Alien Blues” and “Voodoo” for last.
Overall, Vundabar’s set was tight and precise, yet natural and energetic–a difficult balance that their fan base acknowledges and appreciates. The band’s animated stage presence emanated into the audience, and kept the whole crowd moving (and laughing) for their entire hour-long set. The fun-loving band was exactly what the audience needed to get out of our houses on that cold and soggy Tuesday. Without a doubt, Vundabar fans will be anxiously awaiting their return to the east coast.
by Sam Robinson
Does anybody listen to music anymore? Or do we just kind of pretend to have listened to the latest high-concept journalism-bait records and quote bot-generated thinkpieces about them to impress our friends who have also only pretended to listen to the albums in question. Last year I tried listening to music, and only came up with ten items to fill my listicle’s distended sac. So I gave up on that. Below are six albums I heard about in passing from cool people in 2015 – I hope you get invited to some killer New Year’s parties to quote these reviews at.
6. Black Wing – …Is Doomed
From the ashes of Dan Barrett’s (Have a Nice Life, Giles Corey, Married), failed Drive-inspired synthpop project, Dan Barrett and the Cruisers, comes a bombastic, pop tinged electronic romp through the mind of one of the most exciting musicians working in shoegaze today. The effects driven guitars may be gone from this record, but there is no absence of emotional soundscapes in their wake. Heavily processed synth drum kits scintillate across the soundstage and vocal tracks dip into hyper-compressed clipping collages that can best be described as aural car wrecks. This might not be a strictly shoegaze record, but Barrett’s pedigree still manages to shine through.