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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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Bad Braids, a.k.a. Megan Biscieglia, recently shared a new song entitled "Glory, Glory." The single is the B-side to a split 7" with Portland, Maine singer-songwriter Jacob Augustine. The release is currently available via Pretty Purgatory, a record label/artist collective that both the performers are involved with. (Photo by Tamyka Smith) 

March 26, 2015
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“Pickwick Average” is the first sampling offered from grungy punk quartet Loose Tooth’s upcoming debut LP Easy Easy East, which will be released on April 21 via Fleeting Youth. With a downhill tumbling percussion start, the song settles in a jogging balance of agitation. Then, there’s a shift, as the track instrumentally unpacks stretching out through its conclusion.

March 25, 2015
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Tonight, Dead Tenors headline a showcase at Bourbon & Branch. The four-piece launch into folk-rock arrangements with adventurous trailing instrumentals befitting the traveling troubadour. A steady, heavy throb of bass coupled with dirt kicking drums set the stage for deep, gloomy vocals as guitar lines protectively dance around the perimeter before busting loose into an extended freedom jam. The big band psych experience of Impressionist, whose Kyle Press is celebrating a birthday, takes vocals and submerges them in a musical well of horns and strings, orchestrating a loose yet diverse spectrum of sound. The hypnotic electronic groove of Willow Talk sucks you in as Laura Fisher's cool, enchanting vocals offer an air of calm. Bourbon & Branch, 705 N. 2nd St., 8pm, $7, 21+ (Photo by Ola Fasolaa) - Michael Colavita

March 25, 2015
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March 25, 2015
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Below is the second installation of Sean Hoots' Raise The Dead Language series. The soundscape project "exists for the edification of all explorers, listeners, and inter-dimensional beings." On his new EP Volume 2, Hoots collaborated with percussionist Tom Bendel (Divers, Buried Beds).

March 24, 2015
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In honor of Record Store Day, happening on April 18, indie-rock trio Shark Tape will be selling a random color copy of their full-length release Marathon on the band’s website and at select Philly stores. But tonight's show at Boot & Saddle will be your first opportunity to pick up this rarity. It will also be a good warm up for the group before Shark Tape opens for the iconic house band from The Adventures of Pete & Pete, Polaris, on May 16 at Underground Arts. They'll be joined this evening by Nashville's Future Thieves, who are wrapping up the East Coast portion of their Horizon Line Tour. Boot & Saddle, 1131 S. Broad St., 8pm, $10, 21+ - Bill McThrill

March 24, 2015
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