Remember Sports celebrate the release of their excellent new record, Slow Buzz, this Thursday at PhilaMOCA, with Shamir, Comfy, and Friendship.
The Philadelphia based band, formerly known as Sports, S P O R T S, or Sports (the one with girls), release their third album this Friday, May 18th, on the Bay Area label Father Daughter.
After forming in a college town in Ohio, the band has integrated themselves into Philadelphia, playing their brand of pop punk at houses, batting cages, and venues alike.
Shamir shares the bill. Since Ratchet, Shamir has continued to create upbeat music, but with an indie rock influence, as he also now releases music on Father Daughter. He’ll likely play music from his most recent albums. Check out his 2015 WKDU performance.
On April 1st, Turnover finished their 2018 US tour at Union Transfer, here in Philly. This was their second show in Philly since the release of their new album Good Nature that was put out at the end of last summer (August 27, 2017). They played at the TLA in October.
This show’s line up was an oddly pleasant mix of bands spread across the “rock” genre spectrum.
Pronoun is a one-woman band from Boston. Supported by a second guitar, a bass, and drums, Pronoun played a set that bordered between rock and pop. The music was very upbeat with catchy melodies. Pronoun was a great opener to get the crowd excited.
The second band, Summer Salt, shared some ~beachy vibes~ to get the crowd in the zone for Turnover. Their slow surf rock style mixed with the vocalist’s impressive range was reflective of bossa nova and The Beach Boys all in one. The crowd definitely enjoyed their set.
With another change of pace, Mannequin Pussy brought their high energy to the stage. Popular in the Philly scene, Mannequin Pussy is a four piece band that combines elements of shoegaze, punk-rock, and bursts of hardcore. Personally, I was very excited to hear that Mannequin Pussy would be joining this line-up. Vocalist, Marisa Dabise, has an incredible ability to transition from soft hushed singing to loud, fast, yelling, and her performance surpassed expectations. The pit opened and the crowd was ready.
Though earlier in their career, Turnover was considerably more “pop-punk”, Peripheral Vision, their second album, and Good Nature, their third album, enter a softer realm of indie/dream rock. Their set was filled with summery guitar sounds and Austin Getz’s soothing vocal melodies. Though their sound has transformed, Turnover’s fanbase is strong and does not cease to dance and crowd surf at their shows. Their stage was set with old TVs stacked on top of one another with whimsical imagery playing at different paces with no other lighting (poorly shown in the picture above), which fit their set perfectly. They opened their set with the newest albums first song, Super Natural, and ended with one of their many hits from Peripheral Vision, Dizzy on the Comedown. After the show, people were walking out of Union Transfer happy and carrying old TVs on their shoulders.
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.
Dodging the last snow storm of the year in Philly, Being WKDU’s new member I felt it was necessary to take a quick trip to 90 degree and sunny Miami! The first stop after dropping luggage off at the hotel was most definitely the beach. Running into one of my close friends/DJ/Producer Deana Sophia Vera, we started to have our first drinks on the beach and got the run down of what parties to go to and so on. Deana is a local Philly dj whos on the come up making a number of appearances not just in our city but had opened up for major names such as Oliver Heldens, Nicole Moudaber, Walker and Royce, and few others. After making power moves in 2017 she is on her way to success in 2018 making appearances in major party cities domestically. Her style consists of real intimate, sexy, tropical dark deep-house and tech-housy vibes but also not afraid to step into the dark heavy hitting techno world (link below of her latest mix on soundcloud). At some point this spring she will make a guest appearance at WKDU, a date has not been determined yet.
As the sun came down it was time to get suited and booted for the first event of the night. The first stop was an event called “Techno Taco Tuesday”. This event was beautifully decorated hidden little spot in down town Miami. Although I was disappointed they weren’t serving actual tacos the decorations and the vibe as I entered gave off a traditional west coast desert Mexican cultural feel. Techno infused with Mexican style tribal feels created a warm soothing atmosphere like you were celebrating the day of the dead holiday. MNTRA and DVINA are the promoters/Entertainment groups who set up this event coming all the way from Arizona brining Desert Heart inspired production to Miami music week.
Heading off to the second party, the next destination was Trade Miami. Normally the smart thing is to pre plan your trip and purchase tickets a few days in advance where everything is cheap starting at around 15-30 dollars. In my case, since I am a more of a spur of the moment type of guy I ended up paying 80 bucks for general admission. I was not missing out on legendary Paco Osuna and Carlo Lio back to back show. When I entered I have never seen anything like this in my entire life. Not a single person was on their phone, all eyes were glued to the front, and not one person was not dancing. I had gotten there at 12am and next thing I know, looking at my phone, it was 5am. the combination of music, crowd, sound system, and visuals blew my mind. I was in such an intense state of excitement the 5 hours spent there felt like 5 minutes.
After passing out around 8am I had a rough start to the next day. pretty much waking up around 4pm I had original plans to go to the Axwell day party but decided I shall save my energy eat some good vegan grub and whip around a rental scooter to do some sight seeing and sticker slapping!
For the second night I purchased tickets to Club Space which is ranked in the 95th place according to DJMAG top 100 clubs in the world. This club is by far the biggest I have ever been to consisting of three huge dance floors. One of the rooms which really makes the club iconic is the roof top terrace experiencing very special moments when the sun comes up on the horizon. This club is located in the perfect place in the heart of downtown Miami capturing the first rays after a long night of dancing. The line up for this night consisted of so many amazing artists but the only ones that stood out to me were Josh Wink and Danny Tenaglia. Both Philadelphia and New York City legends! I was fortunate enough to catch Josh right before his set to take a quick pic and send some WKDU love!
My last day in Miami I met up with local Philly DJ/producers Jordano and Capretto, made there appearance for the first time during Miami Music Week doing a back to back set for a small party located smack dab right in the middle of South Beach Miami on Collins avenue. Nexus Radio was hosting a party at the Fire Ice drink house and I was really happy to be able to take a few photos of some familiar Philly faces spreading brotherly love all the way in Miami. These guys are currently working hard in the studio cooking up some potential fire for their come up, so look out for them to be potential headliners at major festivals such as EDC or Electric Zoo.
Taking a long nap was much needed after this event to later attend the last two parties of my time in Miami. The first one was located in North Beach Miami called Basement. The name speaks for itself literally in the basement of a hotel or a very expensive looking apartment complex. Judging from the folks lined up for the party and the establishment in which it was housed this place looked extra sheik. The main floor consisted of a bowling alley and in the neighboring room was the main dance floor, very small approximately 3000 square feet. It was extremely tight because the word on the street was that Diplo was the special guest after the headliner Hot Since 82. was not really feeling the party the entire time because the sets from both the opener and the headliner sounded very commercial and basic. Extremely disappointed I thought maybe Diplo can change the vibes around. Unfortunately he kept the same flow of the party going. I left 5 minutes into his set to go to the last and final stop for the night the Tree House. This Party was hosted by Dirty Bird records own Billy Kenny. The line up for this was stacked! the particular names that stood out were Weiss, Josh Butler, and Huxley. All kings of house music coming from the UK. Huxley has been on a production frenzy coming out with hit after hit on the house and tech house music charts. Some of my personal favorites in the recent months were “Eastside” and “struttin”! Absolute killer tracks! Josh Butler has also been busy in the studio featuring many new talents to the industry on his Origins record label. Releasing the record labels second Various artist EP on March 30th features an emerging producer Ben Sterling and along side him debuting his first appearance on the label Timmy P.
Founded in 2016 and based in Brooklyn, NEW YORK TRAX is an outlet for New York music, by New York artists, in New York city.
Ahead of the label’s seventh release, this one coming from techno icon John Selway under his Semblance Factor alias, we chatted with label boss Nicole about the state of electronic music, hype, and of course, New York.
Check out this mix of 100% NEW YORK TRAX releases and get a sneak peek at three upcoming releases from the label:
How did you get into electronic music? What were some of the first labels you loved?
I started going to events around the age of 18. I quickly became involved in the local scene by organizing my own events. My first big love when it comes to electronic music was hardcore techno (and it remains my favorite genre to this day). I spent a lot of time exploring the truly underground and obscure hardcore labels of the 1990s. One of my greatest discoveries was Fischkopf from Germany, Hangars Liquides from France, and, of course, New York’s Industrial Strength.
Why did you start the label? Have you done any other labels before? What’s the idea behind this label?
I started New York Trax to release music by New York producers only. The sound of New York is like its people: diverse and unique. Despite the common belief, New York Trax is not only a techno label. It releases electro, acid, hardcore, experimental, and will release even more genres in the future. What matters to me is creative sound with character. In the past, I did some work for other labels, but this is the first label that I run on my own.
What’s one thing you see a lot of labels doing wrong / right?
There is no formula for running a label and there are no limitations as to who can run a label and who cannot. As a result, concepts and sounds are constantly being recycled. I wish people asked themselves more often what is the purpose behind their projects, are they in any way original, are they contributing anything to the big picture, and so on.
What do you think is the state of New York nightlife?
New York nightlife is at its peak right now. There are a lot of venues, crews, labels, promoters etc. We have recently abolished the Cabaret Law and the office of Night Mayor was created. I hope we are off to a fresh start and an even brighter future.
What’s one thing in electronic music you wish you could change?
Less hype, more merit.
What’s your favorite post-rave snack / meal?
Sometimes I just don’t eat until Monday.
JohnSelway Pres. Semblance Factor EP is will be available in all fine outlets on March 19th.
NEW YORK TRAX Promo mix track list:
1. Lot.te – Graft (NYT05)
2. Richard Hinge – Changes (NYT01)
3. Dawid Dahl – Gehenna (NYT Imports 01)
4. Brenecki – The Oven (NYT02)
5. Another Alias – Craic Fiend (NYT Imports 01)
6. Alex Alben – Irin (NYT03)
7. TBA – NYT08
8. Steve Stoll – She rises up (NYT04)
9. TBA – NYT Imports 03
10. Endlec – Rhythm 387_1 (NYT Imports 02)
11. Steve Stoll – No questions please (NYT04)
12. Lot.te – Ultra Vires (NYT05)
13. Liquid Asset – Contact (NYT06)
14. John Selway – Jack the Void (Raw) (NYT07)
15. Endlec – Rhythm 401_Mix 1 (NYT Imports 02)
16. TBA – NYT Imports 04
17. John Selway – Defiance (NYT07)
18. Liquid Asset – Forgetmenot (NYT06)
Listen to Sidney Gish! She just released an album called No Dogs Allowed, and I haven’t been this excited about a new find since…also finding Haley Heyndrickx last week. No Dogs Allowed is a funny, upbeat, legitimate masterpiece. You’ll sing “Sin Triangle” around the house and dance to “Sophisticated Space.” You’ll teach a parakeet to talk. And then, once you finish the album, share it with a bunch of friends, and listen once more, you’ll find Ed Buys Houses, and realize, amazingly, that it is on the same level as No Dogs Allowed. You’ll ride on your bike home on an unseasonably warm day, and then share Sidney Gish with as many people as you can. Enjoy!
Sidney Gish is a musician attending Northeastern University in Boston, MA. She released her last two albums during winter breaks.
When Dan Bejar sings ruefully “I’ve seen it all,” you’ll believe him. The slouching pop mastercrafter gave a spellbinding performance to a packed room at Underground Arts last Monday, in support of his eleventh studio record, “ken”. The album draws on more goth and 80s synth-pop influences than his previous, still woven through with his iconically cryptic lyrics.
Simply listening to his recordings, one hears a sardonic quality in Bejar’s delivery. But seeing him live lends the lyrics an almost despairing earnestness. Whether imploring or berating, he punches each syllable of tongue-twisting verse with knit eyebrows and white knuckles. During instrumental interludes, he would kneel down to take a swig of Modelo’s and fitfully comb at his wild, greying mane.
The band opened with a few tracks from the new album, “In the Morning” and “Tinseltown Swimming in Blood”. The 8-piece ensemble conjured a full, slowburn sound remniscent of New Order to back the vocal’s heart wrenching intensity. This touring band has been together since the release of 2011’s Kaputt, the soaring pop album that earned Destroyer a nomination for Canada’s highly competitive Polaris Music Prize. The tempo then picked up with the glitzy track of the same name, the audience beginning to groove along with the band. By the time they launched into the ecstatic instrumental freakout at the end of the sunny and dramatic “Times Square” from 2015’s Poison Season, everyone in the room was enthusiastically bobbing along.
Perhaps the best moment of the night was an inspired rendition of Kaputt’s “Suicide Demo for Kara Walker”, which the trumpet player opened by bending and looping his sounds on an effects board for two or three minutes, to create a sonic palette straight out of a Michael Bay film. The movement climaxed with a sailing riff on the alto flute and Bejar clapping away at a tambourine. While the emphasis throughout the night was songs from the latest album, several more tracks from Kaputt, Poison Season, and even a few from further back in his massive discography appeared.
It’s hard not to notice the cloud of cynicism that enshrines Bejar. Throughout the performance, he barely acknowledged the audience, doing away with any chatter between songs. The most he offered was a small, flourishy bow mid-performance, a gesture mimicking the anachronistic elegance that often appears in his music. This cynicism was especially apparent when he waved his hand toward the crowd while singing “why’s everybody sing along when we built this city on ruins?” But he ended the night with the upbeat anthem “Dream Lover”, a song Bejar himself described as “a positive reinforcement song for very negative people.” And, for the first time the whole evening, the misanthropic rocker cracked an almost imperceptible smile.