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Artist of the Month
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March 2015
Blood Sound
"Nightclub
"
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Blood Sound’s post-punk tracks are informed by an audible nostalgia for the dance floors and goth clubs of the latter ‘80s. Their latest LP Nightclub is a hybrid of dark wave and dream pop. Marrying synth-drenched harmonies with emotively vibrant lyricism, the subtle romantics of the band’s debut full-length fit seamlessly with the buzzing percussive backbeats of earlier cuts by Cold Cave (circa Love Comes Close) or The Cure’s “Primary” stripped bare to its core.
 
“TV Synth 1” sets the tone for Nightclub’s narrative with a brief yet textured prelude to “I Don’t Want.” Relatable like an antithesis of The Smiths’ “There Is A Light That Never Goes Out,” Blood Sound’s “I Don’t Want” personifies the complexities of yearning, desire, and loneliness. As frontman Chris Jordan croons “I don’t want the city’s lights to go down/I don’t want to find home,” guitar riffs magnify the weight of his words without casting them melodramatic. The track is a fitting anthem for the passing of youth, failed love, and transition.
 
The buzzing start of “L.A. Punk” explores that thin line between authenticity and commoditization, the song’s instrumentation paying homage in its own way to the early underground and its subsequent subcultures. As if channeling a sedated rendition of Peter Murphy’s tone and diction, “L.A. Punk” is as memorable as it is brooding. “Acid Summer” gives an inward glimpse at the intimate nature of grief, mortality, and memory. When Jordan sings, “The 1980s died that day,” the listener feels it in their gut. It’s undeniable. The connection between what is experienced and how that experience is remembered is amplified by the track’s thumping tempo.
 
“Empty” plays out like the perfect soundtrack to an inevitable breakup, coupling affection with exhaustion, with the synth framing the heart-wrenching truth of lines like “I was too in love to say/that your story was a bore/Now I gave up on bad dreams and endings/beginnings and beginnings.” It offers a viable catharsis for jilted lovers with a penchant for fuzzed-out refrains.
 
“TV Synth 2” precedes the lyrically minimal yet heavy “Embrace” which serves as Nightclub’s melodic memento mori. “Almost” is subdued yet gripping, slowing the momentum of the record in advanced of “TV Synth 3,” which unfolds like a VHS fever dream. “Fake Blood” is evocative, with reverb and a pulsating backbeat that swells as the song progresses. Arguably the darkest track on the album, Jordan’s diction is hypnotic, “Kill your dreams and wait for/the fake blood to pour out.”
 
Ending with the well-placed “Catacombs,” Nightclub’s final track encapsulates the thrill of beginnings and the way one remembers them. Set to a beat reminiscent of Joy Division’s quintessential single “Love Will Tear Us Apart,” “Catacombs,” much like the songs that precede it, is reason alone to return to Nightclub. - Dianca London Potts

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In the Indiestry: YVYNYL/Small Plates Records’ Mark Schoneveld

In the Indiestry: YVYNYL/Small Plates Records’ Mark Schoneveld

The music industry has always been dictated by a bevy of tastemakers - one way or another. Back in the day, the gatekeepers who decided if a performer would make it in the biz were usually music executives who managed to maneuver through and survive the shark-infested waters of the industry. However, as we have learned especially in more recent times, those in charge of making the big decisions probably had/have more business sense than actual taste and passion for music. Well, the music industry is at a very interesting crossroads now with the interweb evening out the once very slanted playing field. The suits with the big expense accounts aren’t the only people holding the keys to the gate for young artists to make it onto the big stage. Instead, you’ll find a bunch of them climbing the walls with a boost from a new generation of passionate music lovers who are using and evolving with modern day technological advances to change the archaic ways of a truly flawed system. One such self-professed “music nerd” is music blogger (YVYNYL) and indie record label co-owner (Small Plates Records) Philly’s own Mark Schoneveld. We recently had a chance to pick the brain of the tall, bearded art and social media loving all-around good dude about the past, present, and future of music as well as some personal stories from his life that helped to make him who he is today. You can read all about it in our interview with Schoneveld HERE.

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