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April 2014
Creepoid
"Creepoid
"
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The perfect solace for winter’s passing, Creepoid’s second full-length self-titled LP combines the zeitgeist of 90's grunge with pristine dissonance and somber lyricism. Released earlier this month by No Idea Records, Creepoid is eerie, melodic and stirring from beginning to end. 

The record’s introductory track “Nauda” opens with a singular note that swells into a melody, aligning itself with the listener in a way that feels confessional yet synonymous. A well-wrought continuation of the earnest diction reminiscent of Horse Heaven, “Nauda” is as bittersweet as its vocals, informed by the paradox of loneliness and longing. Expanding into a cinematically moody soundscape, guitars wail like sirens, beckoning chords to crash and settle into a fading ricochet - a premonition of “Sunday.” Coupled with acoustic strums and crisp vocal croons, a solemn request, “take my light and pull it out,” is beautifully melodic with perfectly placed tambourine that brings to mind the memorable mood concentrated. Exploring the affect and consequence of relational presence and its subsequent absence, the orchestration of “Sunday” renders a relatable narrative evocatively raw and sincere. 

“Yellow Wallpaper” ignites with driving bass and swirling riffs. As if resurrecting the perfection of Jeremy Enigk (ex-Sunny Day Real Estate), a la “Killed By An Angel” meets “Pillars,” the song evokes an eerie all consuming sense of the sublime that centers the track’s duration. Like an extension of Horse Heaven’s “Hollow Doubt,” the contextual weight of “Yellow Wallpaper” is harmonically haunting and intentionally poignant. “Baptism” washes over its listener in waves of riffs and echoed vocals that occupy an emotive territory similar to lesser-known tracks by Sonic Youth, subverted and painted darker by the brooding buzz reminiscent of shoegaze greats like My Bloody Valentine. 

In its decline, “Baptism” casts a feeling of transcendent submersion, befitting its namesake. With a crystallized aggression, “Gout” does the same - urgent and arresting with visceral shouts and screams. “Stay Inside” is considerably more subdued than the album’s preceding tracks but equally mesmerizing, unfolding “Tired Eyes,” a hypnotic chant of a fatigued psychedelic. “Golden String” feels slightly optimistic, while “Acrimony” blossoms then retracts into a reserved yet deliberate ballad that demands its audience’s attention like a gloomy lullaby with teeth. “Vulgar,” warm and sunlit, is lush and arresting, setting the stage for the album’s closer “Old Tree,” a jubilant ending to yet another epic compilation of clairvoyant anthems evoked by Creepoid. - Dianca Potts 

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Brown Recluse Soundtracking the Change of Seasons at KFN March 16

Brown Recluse Soundtracking the Change of Seasons at KFN March 16

The warmer weather might have you in the mood for sunny tunes and the summer to come. If so, Brown Recluse will provide the soundtrack to those feelings when they play Kung Fu Necktie tonight. The local outfit has a way of mixing 60s sunshine pop with arcade 80s sounds. They self-describe themselves as Baroque-pop, and there are bits of Belle and Sebastian-esque moments disbursed throughout their music. The daydream-y quality of their songs can get you so lost in its warm glow that you almost don’t notice the sometimes eerie lyrics that lay underneath their soundscapes, which is probably one of the many reasons why well-respected indie label Slumberland Records have picked them from the orchard of talented Philly acts making more noise in the blogosphere. Brown Recluse’s well-crafted, sunshiny songs are the perfect transition into spring. Expect to hear some new tunes from the indie popsters this evening. They’ll be joined by the synth-pop laments of Steve Goldberg’s latest project Resistor and Brooklyn’s We Can’t Enjoy Ourselves. Kung Fu Necktie, 1250 N. Front Street, 7:30pm, $8, 21+ - Maura Filoromo

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