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April 2014
Creepoid
"Creepoid
"
mp3
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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Creepoid

The Deli Philly's April Record of the Month: Creepoid - Creepoid

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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April 2014
Creepoid
"Creepoid
"
mp3
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 

New Track: "Wet Bread" - Creepoid

Creepoid already has a new track that they shared over the weekend called "Wet Bread." It's the lead single off their forthcoming EP Wet, due out on Record Store Day, April 19 via Graveface Records. There will be a one-sided 12" pressed, featuring four new songs and a B-side etching. The band just released their sophomore self-titled LP (No Idea Records) earlier this month.

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New Music Video: "Baptism" - Creepoid

Creepoid just premiered the second music video, "Baptism," from their kick-ass self-titled LP (No Idea Records), via NYC music blog Wondering Sound. It was directed by Wade Vanover, and was partially shot on Super 8 film. The idea behind the ambiguous video is "to mimic the creation and deterioration of memory." The band is getting ready to head down to SXSW for a week packed with shows. (Photo by Andrew Swartz)

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Where Is My Mind?: Creepoid's Sean Miller & Anna Troxell

There are definitely two stories that will always stand out in my mind when thinking about the band Creepoid. I once saw the band implode during a performance and nearly brawl on stage at Tritone, after just having such a good time drinking together before the show (definitely like five too many drinks that evening), but then all was good the next morning, and they were able to laugh about it over breakfast. Another classic was when the band’s van broke down in Alabama on their way back from their first trip to SXSW, and they ended up stuffing the nonfunctioning vehicle in the back of a U-haul to bring it home to Philly so it could be fixed (in order not to negate the van’s warranty) - all while taking turns sitting in the back of the U-haul in the van. It’s those unusual tales that help in defining Creepoid for me. They’re a talented group of unique characters, who are chill but can be quite volatile, at times, which reflects in their sound. But at the core, there is familial, misfit bond that propels the band forward and draws you into their music. And today, I’m happy to welcome the long-awaited release of the group’s sophomore self-titled LP, out once again via No Idea Records. It’s another must-have for your collection! I also had a chance to toss a few questions at Creepoid’s Sean Miller (guitar/vox) and Anna Troxell (bass/vox) before they headed off for tour and another hectic SXSW. Check out what they had to say HERE!

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Where Is My Mind?: Creepoid's Sean Miller & Anna Troxell 

- by Q.D. Tran

There are definitely two stories that will always stand out in my mind when thinking about the band Creepoid. I once saw the band implode during a performance and nearly brawl on stage at Tritone, after just having such a good time drinking together before the show (definitely like five too many drinks that evening), but then all was good the next morning, and they were able to laugh about it over breakfast. Another classic was when the band’s van broke down in Alabama on their way back from their first trip to SXSW, and they ended up stuffing the nonfunctioning vehicle in the back of a U-haul to bring it home to Philly so it could be fixed (in order not to negate the van’s warranty) - all while taking turns sitting in the back of the U-haul in the van. It’s those unusual tales that help in defining Creepoid for me. They’re a talented group of unique characters, who are chill but can be quite volatile, at times, which reflects in their sound. But at the core, there is familial, misfit bond that propels the band forward and draws you into their music. And today, I’m happy to welcome the long-awaited release of the group’s sophomore self-titled LP, out once again via No Idea Records. It’s another must-have for your collection! I also had a chance to toss a few questions at Creepoid’s Sean Miller (guitar/vox) and Anna Troxell (bass/vox) before they headed off for tour and another hectic SXSW. Check out what they had to say below!
 
The Deli: There seemed to be a little bit of doubt about the release of this album and the future of Creepoid, at one point, during the making of the LP, but you look energized now. What helped bring that change?
 
Anna Troxell: We were never unsure that Creepoid would continue, despite lineup additions and Pete being in Texas for a while. As soon as Pete came back though, there was a definite shift towards feeling rejuvenated once again as the original four-piece. That being said, Jeff White was a great addition for the time he was with us, and we are very grateful that we shared the stage, and for his work on the record.
 
TD: With the band in different places, how did you write and record your latest LP?
 
AT: Most of the songs on the new LP have been written for a long time, such as “Old Tree.” Some of them, we wrote back in the winter of 2012 when we practiced at the Emoda Gallery in South Philly, and the rest was later that year. Jeff joined the band in the summer of 2012, while Pete was still here. At that point, the album was mostly written, but Jeff added the organ and lap steel. We recorded the drums and vocals with Kyle “Slick” Johnson (Fancy Time Studio) and the rest of the instrumentation with Jeff at his home studio (Chateau Blanco).
 
TD: How has Creepoid’s sound evolved from your first full-length album Horse Heaven to what we have on your latest?
 
Sean Miller: With Horse Heaven, we were all doing a lot of things for the first time. I think it has a more introverted feel to it as a whole. There were things going on that were very foreign to us. I think this new record is a bit more “open” in that sense... we've been able to loosen up and explore more as a complete band.
 
TD: What’s your favorite song on the record, and why?
 
SM: That's a tough question. For me, it's really a moment-to-moment thing. Besides, if all four of us ever came to a positive consensus on something, Creepoid would suddenly cease to exist.
 
TD: Most of the band lives in one home in West Philly now, and you’ve put together what looks like a makeshift, multilevel recording space. How is it setup? Have you started recording anything new there yet?
 
SM: Yes - we actually just finished something. We have a snake running 8 microphones downstairs. We set it up like children or cave men. We use strings to measure things and point at things, and hang things up with duct tape. It's really legit, and we are very professional about it. Like a real snake, like the animal.
 
TD: What’s your favorite thing about living in West Philly?
 
AT: The dude who sells incense in the middle of 52nd.
 
TD: You’re house is pretty awesome, and it’s next to a park, and you have a backyard as well. Any chance we can get a Creepoid neighborhood outdoor concert or festival this spring, summer or fall?
 
AT: Not a chance.
 
TD: Every member in the band is in a relationship now with relatively steady jobs, and all of you seem pretty happy. Is it a strange feeling for Creepoid?
 
AT: On the contrary, regular sex is a wonderful feeling and a true benefit to the band in general.
 
TD: What makes Creepoid - Creepoid?
 
AT: Weed, Wine ,Whiskey , green tee-shirts, long hair, short hair, side burns, glasses, sunglasses, boots and teeth.  
 
SM: Tremendous pain.
 
TD: You’ve been playing in bands for a while now. What do you wish someone told you when you were first starting off?
 
AT: Don’t be embarrassed if your Dad comes to your shows in the band’s tee-shirt. That’s really rad.
 
SM: Stay away from Town and Country Ford in Bessemer, Alabama.
 
TD: What are your upcoming plans to support the new album? Any things that you’d like to accomplish in 2014?
 
AT: We’ll be heading down to SXSW, Grave Face Fest in Savannah, and lots of other dates up and down the East Coast. On Record Store Day, we’re heading over to Chicago for the release of our premiere EP with Grave Face Records, Wet - so be on the look out for that. 2 more EPs will follow this year, and lots more touring. We hope that we don’t die. Also, it’d be  nice to sell lots of records.

 

 

 

 

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Creepoid
Creepoid

 

 
 
 

Creepoid Record Release Show at JB's Feb. 27

I really can't believe that it's been three years since the last Creepoid release. Part of the delay had to do with logistics with guitarist Pete Joe Urban spending most of last year living in San Antonio, TX, while his girlfriend attended school, coupled with the ridiculous amount of time it can take to write and record new material as well as the natural volatility of the band. It's a lot to deal with, and at times, the band and I weren't exactly sure if a new release would see the light of day. Towards the end of last year, drummer Pat Troxell asked me if the world really wanted another Creepoid album. My response was "DEFINITELY!" So now, here we are as the grungy psych-rock four-piece are finally back together in the same city and ready to unleash their long-awaited self-titled full-length album to the world via No Idea Records. And it was well worth the wait - just listen for yourself below. Come out this evening to Johnny Brenda's for the gang's record release show, and experience the intensity of a Creepoid live performance - something that few bands can match! They'll also be joined by Philly music brethren Far-Out Fangtooth and Ecstatic Vision. Label it as a must-attend event! Johnny Brenda's, 1201 N. Frankford Ave., 9pm, $12, 21+ - Q.D. Tran

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New Creepoid Album Available for Streaming

Damn, today has been a great day for new local music! Former Deli Philly Year End Poll Best Emerging Artist Winners Creepoid just premiered their new, explosive self-titled album (No Idea Records) via Spin. You can take a listen to it below. And come out to their hometown release show this Thursday, February 27 at Johnny Brenda's with Far-Out Fangtooth and Ecstatic Vision!

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