That Mag - December 2013 by That Mag

VOL. 1 Winter « December « 2013

IN THIS ISSUE 6

Editor’s Letter

Alison Gretsuk

Blackboard Labs

Cold Roses

Dr. Dog

What Our Writers are Excited For

Face the King

History of Free at Noon

Sun Cinema

Capital Cities

18 Holograms 19 NOFX 20

Martin Guitar

Polar Bear Club

Naked and Famous

Punk Rock Flea Market

Mark Schulz/Recording Academy

26 RJD2 27

Rosu Lup

Stephen Kellogg

Story of the Year

Sun Cinema

Tria Taproom

Martin Guitar

Will Yip

Winter Brews

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Staff: Brenda Hillegas, Editor-In-Chief Angel Espindola, Art Director Jodie Saueraker, Operations Manager Brian Cronin, Managing Editor Dan Emmons, Content Manager Contributing Writers: Malana Battle, Lexi Bissonnette, Jasmine Bowens, Andi Bricklin, Julie Cassidy, Janelle Engle, Erinn Fortson, Ricky Haldis, Brian Hanshaw, Brenda Hillegas, Matt Kelchner, Donte Kirby, Stephen Krock, Kathleen Larrick, Emily Meenan, Adam McGrath, Regina Nicolardi Tom Noonan, Jane Roser, Photography: Chapman Baehler, Michael Bucher, Sara Casella, Nicky Devine, Erinn Fortson, Elio Lee Hazel, Ian Hirst-Hermans, Tim Hunt, Vladimir Lukic, Fame Lust, Ryan Mastro, Sean Mikula, Benny Mistak, Regina Nicolardi, Holley Robbins, Gary Schempp, Doug Seymour, Kristin Tully Interns: Jasmine Bowens, Michelle Leah, Michelle Singer Donte Kirby Publisher: Brian Cronin Contact: www.ThatMusicMag.com THAT MAG 1341 N. Delaware Avenue, Suite 208, Philadelphia, PA 19125 Questions & Comments: E-Mail Brenda at editor@thatmusicmag.com Distribution: Mirror Image Media Ardmore, PA 19003 Advertising E-Mail: ads@thatmusicmag.com

THAT MAG DECEMBER • 5

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Note from the Editor

“What are you excited for in 2014?” is a question I’ve been asking my writers over and over again. Sometimes, it was subtle- sneaking into an E-mail about something else or the last sentence in a casual conversation about a pending interview. Other times, it was bold, all caps and the subject of a group E-mail. For all those times I asked, I apologize because I’m writing this on the day all of our print assignments were due and I still don’t

know exactly what I’m excited for. In terms of music, it’s the same things for me. I just recently found out Jason Isbell will be in Philadelphia in January and he’s one amazing guy- it doesn’t matter what he plays on stage as long as he is on stage. Bursting with talent and flooding inspiration into the audience, I can’t think of anyone else I’d rather listen to on repeat. So, for the sake of music to come, I’m excited (and hopeful) for artists like him- ones who can play anything, do anything and entertain for hours. In 2003, when I was a freshman in college, an unknown band called Story of the Year played in the dining area of an on-campus café. The space was about twice the size of my living room but I knew these guys would be filling much bigger stages one day. You’ll find them in the pages of this magazine, talking about their recent 10-year anniversary tour and the uncertainty of what’s to come in 2014.

VOL. 1 Winter « December « 2013

Personally, that’s what I’m looking for, too- knowing something big will happen in the next year but not entirely sure what that thing is yet. Many musicians we spoke to feel the same way and I think that’s a good thing! I’m also excited for talent. I think this installment of That Mag in print has plenty of talent to look forward to- up and coming musicians, bands making themselves known in Philadelphia and performers who are ready to kick it up a notch or ten in 2014. Some of these interviews are with people you know personally or heard on the radio. Some are strangers and you’re probably going to say “who?” before you read about them. But if you’re like me and provide a blank stare when asked “what you are excited for”, reading this issue should give you some answers. I’m excited that I don’t exactly know what I should be excited about.

Creativity

Through Makeup and Music « Janelle Engle

Make up brush or microphone, Alison Gretsuk is continuously making art.

s Gretsuk began working as a makeup artist, she soon wanted to take it a step further by creating her own line of vegan friendly makeup for alternative fashion and performers. It’s called Rogue Republic (www. roguerepubliccosmetics.com.com). “I’ve always liked making things with my hands and I saw it as another way to combine my visual arts interests with something practical that I use day to day. I also wanted to try to get certain colors and pigments that I always found to be harsh, like red eye shadow, and I have very sensitive eyes. I noticed many brands did not perform well enough to stand up to the demands of stage and performance, so I started researching and experimenting,” says Gretsuk. From Rogue Republic’s start in 2012, it has expanded to offer everything from eye shadows, blush and lip products, including a specialty holiday line with lipsticks perfect for the occasion. The makeup is carefully made and packed as 100% vegan and is especially safe to use on sensitive skin types. The most important part of making Rogue Republic products is the research. 6 • THAT MAG DECEMBER

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“Everything begins with research. I look into any ingredient I consider including in formulations to find benefits, potential risks, properties and sources. So, I formulate based on what is available and what I expect from the product,” Gretsuk explains. It’s safe to say nothing gets in Rogue Republic makeup without Gretsuk’s approval, making it a much safer alternative to many popular makeup brands out there currently. Her creativity and drive does not stop there. Allison Gretsuk also is involved in not just one but two bands. In SMARKAND, which she describes as “twitchy creepy electronic music with over the top theatrics,” she sings and plays synth. The darker alter ego of the two is Theurgist, a gritty, abrasive sound with a multitude of influences from Swans to Joy Division, where she plays bass and sings backing vocals. Despite the difference in sound, a reoccurring theme with both of the bands is the distinct name. “We set about naming Theurgist as a band to mark the new beginning of the project. Theurgy means rituals, and a theurgist is one

who performs rituals. Our wordsmith songstress proposed the concept and it was just a perfect fit,” Gretsuk explains. “SAMARKAND is a historical reference. It is a city in modern-day Uzbekistan and the capital of the Persian Empire in the 14th century. It spent many years as a religious hub for a wide variety of faiths for many years. The project has a lot of ghostly overtones and references to the afterlife and the occult, which fits in with an ancient city that has a lot of spiritual energy and battle history.” Out of the two bands, ghostly SAMARKAND was the first born, starting just a few years ago. But Gretsuk splits her time evenly between the two and fans will be happy learn that both bands have plans for a studio release and a tour to follow. Whether she’s mixing and experimenting with makeup or making sound waves with her bands, Allison Gretsuk is consistently working in an environment where her creativity can shine. And being a “scatter-brained, creative type “, she couldn’t imagine anything better.

« Photo by Fame Lust THAT MAG DECEMBER • 7

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More Than a Dream

Blackboard Labs Empowers Philadelphia Youth « Photos by Erinn Fortson

onday afternoons have become pretty routine. Jim Wells sets up a microphone and unpacks his laptop and speakers as he checks in with the students who have shown up for class. Another Blackboard Labs session is about to begin. Hip-hop was founded before any of Wells’ students were born. So, there is still much for the young emcees to learn about the predecessors who put the genre on the map. Wells is more than happy to be that teacher. Not only does this program give its students the opportunity to become more familiar with the origins of hip-hop, but it also allows these teenagers the chance to positively express themselves through their own music. And they bring so much talent to the table, that it’s hard to believe that the average age of a participant is 16. Joslyn Vaughn, also known by his artist name, Ideal, has been coming to Blackboard Labs for over a year. He considers himself a veteran of the program now. Vaughn has been rapping since he was in junior high and he credits Blackboard Labs for helping him further develop as an artist. “I started writing music when I got to eighth grade and I started producing when I was in the ninth grade. I was just making music off my laptop,” says Vaughn. “Blackboard Labs gives me coaching on my skills and has given me as much publicity as possible [as an artist]. It made me actually see my true potential.” Vaughn was recruited to join Blackboard Labs by fellow student, Kourtnei Rivers (Lyric). The two first made contact when Rivers sent Vaughn a message over Facebook, asking if he would be interested in attending the class. 8 • THAT MAG DECEMBER

« By Erinn Fortson

“She randomly messaged me,” says Vaughn. “Just out of the blue.” “I was on Facebook and I saw Joslyn and saw that he was already doing something that had to do with music,” adds Rivers. “So I’m like, wow, we need more people at BBL (Blackboard Labs), so why not? I [messaged] him and said, my name is Kourtnei, I go to BBL and I explained what BBL was.” Rivers and Vaughn continued to bond over music after that first initial Facebook message. She invited him to class the following Monday and Vaughn showed up. Vaughn then became a recruiter himself, bringing classmates and friends to the program, paying forward the opportunities that Rivers led him to. Blackboard Labs was officially launched three years ago in 2010. Jim Wells has been involved in similar programs for some time, though. It started in graduate school when Wells began doing research on how to incorporate hip-hop into the classroom. “I had a professor at Penn who was a middle school principle. I was doing a project with him and he was like, hey I just hired this guy (Paul Dunnaville) who makes beats and just comes in and brings in his laptop and let’s kids record songs [at school],” Wells tells me. So, [my professor said] I’d love to bring you in as a writing coach to start working with the kids whenever you’re done with your masters program. So, I did that at that school for a while and kind of fell in love with it.” Wells continued doing this type of work with students until he decided to found his own chapter with long-time friend and partner, Allison Gardner Dean. Kourtnei Rivers was their first student. WWW.THATMUSICMAG.COM

“Blackboard Labs gives me coaching on my skills and has given me as much publicity as possible [as an

artist]. It made me actually see my true potential.” She saw a flyer posted in the library and eventually came into contact with Wells and Dean. “I was writing poems [before BBL], but it wasn’t anything serious,” Rivers says. “But when I saw the flyer I said, ‘let me try something different.’” Almost four years later, Rivers stuck with it bringing Vaughn and other students along for the exciting ride. Since the program began, Blackboard Labs has seen a lot of students come and go. Even the ones who have left find it hard not to stay connected to the program. As Vaughn and Rivers tell me, Blackboard Labs is not only about the music; it’s also about family. And that’s what keeps people coming back. “If you’re a teen or if you want to do music, this is where you need to start,” says Rivers. “Here, you earn a lot more than what you think you’re getting.” A lot of exciting things will be happening in the program this year, which includes a show December 15th at the Barbary in Philadelphia. More recently, Blackboard Labs has changed locations and is now operating out of Settlement Music School. It’s only been a few weeks since the move, but the hope for Blackboard Labs is that this new space will be one that continues to inspire its artists.

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THAT MAG DECEMBER • 9

VOL. 1 Winter « December « 2013

Philadelphia’s Own

Cold Roses « By: Kathleen Larric

merging of all those different ideas that make it really interesting. It would get boring without that.” While Clancy’s influences seem to be well rooted in Americana, his formative years were far less rock and roll. “My first recollection of music was actually Luciano Pavarotti. My grandfather would drive me to preschool and play that almost every morning. That was really my first introduction to music, so even that kind of stuff has been in my life musically.” In the Americana tradition, I

wondered if Cold Roses has a tune that might someday become a standard in the genre. “I never thought about that. With every song I do, I try to create something someone can connect to. That’s enough for me. If it gets recognized, that’d be cool. But as long as it means something to somebody, whatever it is.” And what is Rob Clancy excited about in 2014? “I think with this next album, we’re exploring a lot of sonic territory, using more of the R&B thing which is also a huge influence of mine. I love Motown,

soul and 60s R&B. We recently added a horn section to our shows, too. We’ll be bringing them into the studio. One of the new songs, “Someplace To Go”, is kind of like a Stax song on steroids. It’s gonna’ be a different album.” He laughs, again, adding, “I’ve said too much already.” Look for the band this December as they perform some gigs in Philadelphia.

« Photo by

Michael Bucherer

Rob Clancy Says Too Much Already

s a non-Philly resident, I wasn’t familiar with Cold Roses. Now that I’ve spent some time with their music, I don’t know how they flew under my radar. What instantly grabbed me is the live energy captured on their studio tracks. I had the opportunity to catch up with lead singer and guitarist Rob Clancy to pick his brain and learn how the band has managed to avoid that dreaded click-track drag that so often sucks the life right out of a good song. “Keeping that live feel is definitely the approach we take for that kind of thing. For our first EP, Georgia Fugue, we actually went down to Georgia to record it, and we had access to this house. So, a lot of it would be me with an acoustic guitar walking around these hallways and rooms at three o’clock in the morning trying to get different sounds. We always try to record the basic tracks live – not with the click track. We want to put that energy in there.” A couple of weeks after talking to Clancy, a great interview with T-Bone Burnett emerged highlighting and trashing the overuse of technology in studio recordings today. Clancy had some thoughts as well. “We were just gonna go down there and play the songs just to vent with it. There’s really no frills on it. We try to keep it with that energy, not with the technological input – as organic as possible. [Technology in music] is a debate people can go on about all day. At the end of the day, if the performance isn’t there, 10 • THAT MAG DECEMBER

people know it.” Going into the studio isn’t all fun, whiskey and games. It’s long. It’s tedious. And, it can get a little boring. “I’m definitely one of those people in the studio - you write songs, and then you get in there, and all these new ideas start happening. You think, “Why don’t we change this around?” And then you reach that point where your ears are going numb, and you just have to kinda’ accept that you can’t [change] .” Cold Roses has also developed a flexibility on the road. When you’re gigging out in both listening rooms and dive bars, there’s going to be a range in acoustics, equipment and sound. “I think we’ve just dealt with so many different types of playing scenarios – like we’ve shown up, and the PA might be broken or something like that. We’re usually pretty

good about it.” Despite Clancy’s enthusiasm for playing all kinds of rooms, he does have some pipe dreams. When I asked about his dream venue, he goes big. “I would like to play Madison Square Garden before it closes down. Wembley Stadium would be nice,” he laughs. “But, I would like to play The Cavern in Liverpool or The Grand Ole Opry. That would be really cool.” In the meantime, there are some local doors opening. “We got handed a big one getting to play the TLA. That was always a goal of mine. There’s something about the TLA. You see so many cool bands that go through there. To be able to play that was awesome, but The Electric Factory would be really fantastic, too.” Earlier in November they performed at The Bitter End, something that couldn’t go without mentioning. The band was psyched, needless to say, “…to be at The Bitter End where Springsteen and Bob Dylan and so many people have played. And the fact that we’ve never played there before and we were offered a headlining spot is…wow! Are you serious?” When it comes to influences, the members of Cold Roses represent the spectrum. “I don’t think there’s really one particular band. Our keyboard player is a jazz guy. I’ve really just been all about the rock and roll, blues and country stuff. There’s so many different things. I went through a jazz thing myself. It’s the WWW.THATMUSICMAG.COM

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THAT MAG DECEMBER • 11

VOL. 1 Winter « December « 2013

Dr. D o g FINDS THE CURE

Toby Leaman Prescribes Balm for Artistic Woes “The goal being secondary to the process of making,” says Toby Leaman as he explains the lyrical themes of Dr. Dog’s latest album B-Room. An epiphany in the process is what Dr. Dog discovered. During the making of the B-Room, named after the studio they built and where it was conceived, Dr. Dog acquired the ability to record live, a goal the bands been striving to for years. Before this feat was achieved the recording of a song was a patchwork production. Drums recorded here, guitar recorded there, vocals done over and over until perfection. Schedules of members made the patchwork nature of recording obligatory, the learning of songs while recording a necessary evil before they were musicians full time. The band consists of Leaman on the bass, and Scott McMicken on lead guitar and sharing lead vocals, Frank McElroy playing the rhythm guitar, Zach Miller on the keyboards, Erick Slick on the drums and Dimitri Manos playing multiple instruments. Now, the recording sessions are quicker, more collaborative and organic. “[B-Room] felt like a record we could have made 15-20 years ago. It had that feel of what it was like to record when we were kids,” says Leaman. Despite the feeling of youth, the album shows their maturation as artist. Leaman feels compared to their previous albums, “on every front it’s a better record, sonically a better sounding album.” Ten years ago Dr. Dog made their bones in Philly. “When we were coming up, the name of the game was to play everywhere.” Leaman recalls playing some hole in the wall venues with poor lighting, one ratty mic and a crappy speaker. He really appreciates the growth of the Philly scene. He cites Fishtown’s Johnny Brenda’s as a perfect example of this growth, boasting a full-fledged 12 • THAT MAG DECEMBER

sound system and lighting to add to the performance. Something they could have only dreamed of in their beginnings. In their day, “the model was to get things going in New York; we did not want to move.” Leaman describes their mindset as not wanting to be a small fish in a big pond. Staying in the City of Brotherly Love, the east coast’s second biggest market, is a decision Leaman feels was integral in their development as artists. “Philly gave us the confidence to do what we wanted to do. There was no scene or specific thing you did or didn’t do. It’s pretty amorphous, there’s never been a Philly rock sound or certain look. I think that’s good, gives you a lot of time to incubate,” explains Leaman. “Put us in a place where we didn’t really give a shit, do what we do. Don’t make it for anyone other than ourselves. You can make music and do whatever you want and make music for you.” Leaman has seen artists lose sight of that and become blocked. Not in the stereotypical way where they can’t produce but they produce the same thing over and over again- trapped in what got them to where they are, unable to grow as musicians.

« By: Kathleen Larric

With over a decade together, some of their highs include performances on Conan and Late Night With Jimmy Fallon. Leaman has seen his fair share of the trails of a musician. No anecdotes came to mind but he recalls bad performances where “physically you get shocked and pass out and people throw things,” and life on tour “it gets really weird out there, nothing I would want my folks to find out about.”

“Play anywhere you can, doesn’t matter if you practice or not. Learned more live than ever did anything else.” Dr. Dog’s plans for 2014 include wrapping up their tour in March. The band hits the Electric Factory January 31st and February 1st, giving the hometown crowd the gift of two shows. A short break in April will take place while a member in the band has a child and after that, a summer of festivals. When Leaman is asked to look out further into the future and see what lies ahead for Dr. Dog he hopes they’ll be “maintaining. [It] would be great if we had some massive success but it’s not going to make me or break me. Keep doing our thing, nothing to it but to do it.” « Photo by

Nicky Devineer

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WHAT OUR WRITERS ARE LOOKING FORWARD TO IN THE NEW YEAR. Looking ahead to 2014, I’m looking forward to not having to write the number 2013 anymore. I mean, it’s about as close to bad luck as you can get! And looking back, what did 2013 really give us anyway… naked, twerking Miley Cyrus and a new Kardashian baby! Good Riddance! I’m looking forward to the rise of young bands that are making a difference in the world. It’s pretty messed up, and it’s about time for the music industry to use its power to stop distracting the public and start opening eyes all over the globe. So here’s to 2014! Artists you know your mission, start making music that matters and a revolution will follow! – Andi Bricklin I’m excited to see what the Foo Fighters bring out for 2014. They’re allegedly working on something now, let’s hope it means a Fall/Winter 2014 tour. –Meaghan Paulosky I’m really looking forward to seeing what acts come to Philadelphia in 2014! We’ve had some pretty great musician visit the city in 2013 and I anticipate an even greater concert roster in the new year. –Erinn Fortson I’m excited that I’ll be 21 in 2014 and I can stop getting kicked out of all the bars I have to do show reviews in. –Donte Kirby For 2014, I’m looking forward to seeing what new musical talents emerge onto the city’s music scene and how they will contribute to Philadelphia’s everchanging culture. –Ricky Haldis I’m looking forward to discovering new songs and bands and then sharing it with everyone who reads this magazinemusic that makes me feel miserable, intimidated, amused and wanting. But mostly, music that just makes me feel. – Jane Roser I’m looking forward to Panic at The Disco! at The Electric Factory and Kings of Leon at Wells Fargo Center. –Brian Hanshaw

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New albums from Tool and Foo Fighters, Pulitzer Prize-winning play Other Desert Cities at Walnut Street Theatre and Fat Ham, the new restaurant from Kevin Sbraga. –Adam McGrath Next year will likely bring about the third studio album from Marina and the Diamonds, which will be awesome. – Stephen KrockI am excited for the release of Maryland R&B artist Milton’s debut album Simple Pleasures, produced by Philly/Bucks County’s Rob Devious. – Dan Emmons I’m super pumped for festival season to come again! Firefly and Uproar were so fun last year. I can’t wait to see what’s next! –Emily Meenan

Every year, Professor Jim Lepore of George Mason University leads a field study trip to Cuba. As ambassadors of the arts, students study Afro-Cuban drumming, dance, religion and culture for 12 days. Though I graduated from GM’s School of Dance seven years ago, I’ll be joining the class this year in January! I can’t wait to tell you all about it! –Kathleen Larrick The thing I’m most looking forward to in 2014 is Against Me!’s Transgender Dysphoria Blues, and it’s not even close. It could be the type of album that is genreless, that is too substantial for categories, that is transcendent. Also, it’s going to be really, really loud. –Tom Noonan

THAT MAG DECEMBER • 13

VOL. 1 Winter « December « 2013

You, Me and the Sound

Face The King Continue Taking Their Music to the Next Level « By Erinn Fortson

“I just want to tell you the reason we picked Dan wasn’t because of his playing ability or anything. It’s ‘cause he was good looking,” Joey Dammacco jokes. As Dan DelVecchio talks about the history of Face The King, Dammacco teases his friend about joining the band. It seems what started as a short adversary quickly turned into a bond between guys who love to play music. Before he was the lead guitarist, Dan DelVecchio was competing against Face The King in a local band competition. All hailing from Long Island, DelVecchio ironically came into contact with Joey Dammacco and Eric Zirlinger after battling against his future band mates and losing. “We also shared the same producer,” DelVecchio tells me. “When my last band broke up, it just turned out to be the right time because [Face The King] needed a new guitar player and I was looking for a band that had promise. And I guess the producer put in a good word for me and [the band] saw some of the stuff I posted online of me playing. The rest is history from there. I fell in love with the music and that’s how that happened.” After he officially came aboard, DelVecchio recruited childhood friend, Randy Palumbo, to also join the band. Face The King was looking for a drummer and they met that need through Palumbo. From releasing their second EP, The Sound, to being one of the top four finalists in the Ernie Ball Battle of the Bands, it has been a pretty groundbreaking year for these New Yorkers. When I spoke to Face The King on a Sunday at the beginning of October, they were preparing for their upcoming show at the CBGB Music Festival. The band was selected to perform by Reverbnation. “Yeah, I think it’s cool [we’re playing 14 • THAT MAG DECEMBER

in the festival] just ‘cause it’s honoring a club that was once in New York that spawned some of the greatest icons in music,” says DelVecchio. Some of the guys of Face The King were actually afforded the opportunity to perform at the original venue before its closing in 2006. Both Demmacco and Zirlinger are among these members. “I played CBGB like four or five times in previous bands,” says Demmacco. “And Eric’s old band was actually the first

band in [the club’s] history to double park their van, leave their hazards on, play an entire set, pack up and leave.” The festival ended on October 13th and it was one of the few gigs Face The King played this year. The group is dedicating the next couple of months to launching their debut, full-length album. As of now, there is no projected release date but the band is hard at work in the studio, writing new songs for the record. “It’s really just a matter of when we have enough material that we feel is right to have an album that flows from one track to another properly,” says DelVecchio. “After writing a bunch of material, you have to choose the right songs that go together in an album. We like our albums to tell a story instead of just having one track after the other.”

Since it was originally founded, the lineup of Face The King has changed a bit over the last few years. With DelVecchio and Palumbo now part of the team, the band has really been able to lay down some roots and focus on progressing together in their music. A lot of the inspiration behind Face The King songs comes from life experiences and the journey of an independent band following its passion. These four artists collaboratively use their dreams as a muse and it makes for really powerful stuff. “[Our music] is meant to really encourage people to find themselves and to inspire them, to do whatever it is they want to do in spite of what other people may say or think, or [in spite] of any doubts or obstacles that come their way,” says DelVecchio. “As time goes on, bands obviously change when you have new people and we obviously mature as musicians individually on our own time. [Our] music is showing that maturity and the new album will show that maturity in general,” says Palumbo. He continues by saying that now they’re more conscientious of where they are writing from and why they are writing music. “I still think [the new record] has something for everyone that enjoys music; there’s still something for everyone with Face The King. There always has been and there always will be. We’ll still have our more pop-edge songs, to our more rock heavy songs, to our ballads. You’re still going to find all those categories. But [with new musicians in a band], the music takes a new turn. And I think with this lineup, the music is much more exponential. Exponentially amazing.”

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Treat Yourself to a Free Afternoon with Your Favorite Musicians « By Brenda Hillegas

WXPN’S Dan Reed Talks About One of Our City’s Best Concert Series

ree. At Noon. Those few words should be reason enough to drop what’s going on in your busy life and enjoy a short set with the bands and musicians coming through our city. I first discovered the WXPN series a couple years after it began when a guilty pleasure of mine, Train, was doing a set in November 2009. I got word of the gig while waiting in a ridiculously long line at Halloween Adventure and my heart was beating faster than I should admit to while I tried to tap into a nearby Wi-Fi network to secure my tickets. There’s a rush before you even get to the front of the stage at World Cafe Live for these shows- RSVP in advance or you run the risk of missing a great, free concert. Every week. “It’s a regular Friday staple of XPN”, says WXPN’s music director, Dan Reed. Free at Noon began on February 11th, 2005 with Donavon Frankenreiter, the soft-rock, surf-rock singer/songwriter associated with bands Sunchild and Peanut Butter and Jam. The series itself was the brainchild of Reed who hosts the 4pm-7pm « Photos by Erinn Fortson

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slot each Monday through Thursday on the station. He’s also the founder/producer of XPN’s NON-COMMvention, a music showcase and networking event. Reed has done the amazing job of bringing a plethora of artists from all genres to the stage for an afternoon jam- Adele, Norah Jones, Dr. Dog, Barenaked Ladies, Disco Biscuits, Willie Nelson and Blind Boys of Alabama are a few of the many Free at Noon guests over the last eight years. Before Reed started working at XPN, he worked at WFPK in Louisville, Kentucky. “We had a similar Friday noon live event that I started at WFPK and it was very successful,” he says. “I thought it would be fun to try here as well.” World Cafe Live was the perfect (and obvious) choice for the venue, as it shares a building with the radio station. “It’s easy for our staff to produce it,” says Reed. “We have an audio hookup with the World Cafe Live stage so that we don’t have to bring in any additional gear to produce the broadcast.” Sometimes you can hear a Free at Noon show broadcasted from other area

venues like The Tower Theatre, Tin Angel, Electric Factory and Kimmel Center, but World Cafe Live is the official home of the series. Not only was it easy for XPN to produce Free at Noon at the World Cafe, it’s also easy for fans to listen. Though there’s nothing better than seeing your favorite band a few feet in front of you, those who can’t make it to the gig can listen live each week. Additionally, every single show since the very beginning is archived at NPR.org- another obvious choice for the series. “NPR used to simulcast the events and that’s why they had many of them available on their website,” explains Reed. Looking through the archives, it’s easy to see that this is something worth checking out. Make a believable excuse as to why you won’t be at work or school on a Friday afternoon. “It’s just a cool kick-off to the weekend,” says Reed. “We needed the consistency of having it on the same day at the same time for scheduling purposes. Plus there are more bands available on Fridays than any other weekday.” With the exception of the Friday during the station’s XPoNential Music Festival and the occasional holiday week, there will always be someone to hear live at noon on a Friday. Sometimes, Reed has bands booked a month in advance but other times, “I’m scrambling to confirm acts a week or ten days before,” he says. For Free at Noon in 2014, Reed says no changes are planned for the way things go with the series. As I’m writing this, it’s early November and the indie-folk band The Head and The Heart is on deck for the upcoming Free at Noon. Their sold-out, two-night stop in Philadelphia will have taken place the same night and the next. “We try to get the best stuff that’s out there and available,” Reed says. Keep an eye on a favorite band’s tour schedule and check out the “Free at Noon” section on the XPN website each week. There isn’t a better way to discover new music or an intimate set with an artist you love. WXPN’s Free at Noon at the World Cafe Life is something special to our city and you’ll be kicking yourself if you find out too late. THAT MAG DECEMBER • 15

« Photos by Gary Schempp VOL. 1 Winter « December « 2013

VOL. 1 Winter « December « 2013

Fun, Friendship and Music

« By Brian Hanshaw

he city of Philadelphia has been known for many things: art, culture, and history. But, also a pride and camaraderie for its citizens. Being known as the “city of brotherly love”, it makes us feel a sense of unity, and that is something which became evident when talking to the band Sun Cinema. Based out of Fishtown, the foursome formed together last year. The group consists of vocalist/bassist John Corrado, Shane Monroe on guitar, Martin Fleming on guitar/keyboard, and drummer Jim Iovine. The guys seem to have a close bond with one another and it really comes across in their performance. “We are all on the same page and we all believe in what we are doing,” says Corrado. “We know that when we get on stage together we are just having fun and we are just friends doing what we love. At the end of the day, all that is left is fun, friendship and music. Our live shows are really about getting that across to people that we are just trying to spread a lot of love.” Sun Cinema incorporates a lot of different styles of music into one upbeat, energetic and appealing type of sound. They would best be described as anything from a funky jam-band like Phish or Sublime to an alternative rock band such as Kings of Leon or My Morning Jacket. Sun Cinema strives to reach a connection through their fans by making music that 16 • THAT MAG DECEMBER

« Photos by Ian Hirst-Hermans

The band Sun Cinema tells us why they are one of the brightest new live acts to play in Philly

people can dance to and enjoy. “The main importance is that we want to bring to people the sense of being at a rock show because it is a very personal, very human feeling that you can only get when there are four people just doing what they do live. We try to keep it funky because we like people to dance and we want people to feel something when they leave, especially happiness and a sense of community- feeling like a human being.” Their inspiration comes from a few different styles and genres of music. They mention bands such as The Beatles, Led Zeppelin and Black Sabbath having an impact on their lives, and they strive to bring that out in a contemporary way. The band’s background ranges from metal and classic rock to funk/soul, hip-hop and even a bit of country. Sun Cinema also gets much of their inspiration from going to different shows together and seeing various acts and styles of music. Sun Cinema has already produced a self-titled album and is planning to release another one soon. As well as trying to produce and record new music, they also hope to become a great live act so that they can share their music to live audiences. They hope to be able to bring their sound in person to a generation of those who enjoy live music and performing. Their goal is to focus of playing bigger and better shows with well-known bands and to make new songs for people to enjoy. The

band has played various different venues Philadelphia area such as the Trocadero, Milkboy, North Star Bar, Kung-Fu Necktie and Piano’s in New York. They recently booked a show at World Café Live which should be happening this upcoming December-January, where they will be playing on the main stage. “We have kind of come to the point now where we can write as a group. One person will bring a skeleton, an idea or a rift and that will ignite a spark and we all create together, which is almost very rare for a band,” explains Corrado. “That’s how we like to write; we don’t jump down each other’s throats and we remain friends and work as a team throughout the process. We perform live best when there are people there. When there is an audience there, its sounds good and we play good. We have learned to perform best under pressure because there is a reason to perform well.” In their spare time, the guys all enjoy hanging out, laughing and having a good time. They all have regular or part-time jobs that they work at when they aren’t playing together. Corrado had mentioned that he works at a brewery which he enjoys. The guys all appear to have a good rapport with one another and they all appreciate live music, having a passion for playing together. They are very appreciative of all of their fans and they want everyone to keep listening. WWW.THATMUSICMAG.COM

Putting their work in to stay on top.

round Up is a Philadelphia rap trio rising to the top and letting nothing stand in their way. They have been making all the right moves in the rap game and have a dedicated, loyal fan base to prove it. This is their city and they want us to be a part of their world as they plan to one day take it over with their melodious beats and talented lyricists. They will rejuvenate your love affair with rap. Ground Up consists of MCs Malakai (Malcolm McDowell) and Azar (Alexander Azar) along with producer Bij Lincs (Bijan Houshiarnejad). They started out from a beginning many can relate to- college orientation. Malakai and Azar met as part of Temple’s 2008 freshman class. Azar and Bij Lincs met in grade school, but when the three came together Azar knew it was something special. “It was really a combo of things that brought us together,” he says. “It was a combination of me and Malcolm finding each other and old friends who were also musically talented coming together. The rest is history.” Bij Lincs, their multi-talented producer, has always been involved with music and his talents continue to rise with Ground Up. “Ever since I’ve been with the guys I started making beats,” he says. “It all came together naturally. I got a computer and have been making beats ever since.” “We have a really strong fan base and WWW.THATMUSICMAG.COM

« By Jasmine Bowens we are aware that people will try to box us into one category or make us out to be a specific thing, but we pride ourselves on our versatility,” Azar says. “Our music reflects that regardless of what people want to call us and we are making our own destiny.” The underground scene is where the true talent really is some say, but as it gets flooded with new acts who all have something to prove, it’s easy to get lost in the mix. Ground Up knows that isn’t a problem for them as they hold their own and their talent supersedes everything, but how do they stack up against other groups trying to get their piece of the pie? “We are better than everybody else,” McDowell jokes. “We work really hard. We would be selling ourselves short if we didn’t believe we had something special. We’re young, we’re best friends and we’re having a blast. Whether we are performing for five or 1,000 people, we are going to put on that same amazing show.” There is no doubt about that as countless fans deem their shows some of the best they have seen. Their performances are always packed and constantly sold out because many people come to concert after concert just to be a part of Ground Up’s unique and exhilarating live shows. They are constantly coming out with mix tapes as well, having many notable rappers featured on their songs

like Freeway, Action Bronson, and Young Chris. Ground Up has also been the opening act to many big rappers out right now like Philadelphia’s own Meek Mills, Chiddy Bang, Rick Ross and Mack Miller.Their EP, Promiseland, is getting rave reviews and constant downloads on SoundCloud that the band makes available for free. Ground Up has put in many years of hard work and endured some obstacles along the way, but their passion and dreams have always kept them striving for more. Philadelphia, the city they call home, has been their number one supporter since Ground Up’s inception. “Our biggest shows have been in Philadelphia. Even though we have toured all over the country, Philadelphia always holds us down,” Azar says. “We have a home field advantage.” Always humble and forever grateful, Ground Up is gaining new fans and appreciating the ones they have by staying true to themselves. The sound is refreshing and their lyrics are put in the front row as the amazing beats produced by Bij Lincs are just a back drop to the pure lyrical talent Azar and Malakai release every time they step on a track. Make sure you check them out because you won’t be disappointed.

THAT MAG DECEMBER • 17

VOL. 1 Winter « December « 2013

Dark Clouds with Silver Linings « By Ricky Haldis

An Interview with Holograms’ Anton Spetze

experiences as a band, and their pleasantly dismal Scandinavian charisma. “Andreas [bass/vocals] and I just write songs together. There doesn’t have to be any inspiration; we just write music that we like. It’s who we are.” Spetze recalls, “The songwriting on the new album is

The Fight Against Nothingness NOFX Starts to Care, Just a Little

« By Tom Noonan

« Photos by Sean Mikula

n the other side of a globe, in a town just outside of Stockholm, Sweden, lives a band of four intrepid musicians who strive, against all odds, to pursue their lives’ passion. Throughout their career, a tenacious quartet called Holograms have battled dire poverty, daunting misinformation, and isolation, courtesy of Sweden’s hopelessly unforgiving music scene. However, as 2013 comes to an end, their sophomore LP, entitled Forever, proves to be the silver lining around the dark clouds that seem to loom over the band. “We just work really hard for this, because this is what we want to do,” says Holograms’ guitarist/vocalist Anton Spetze, as he peers back into his cracked webcam. “We’re just trying to get by.” The sincere sense of determination that lingers in his voice is chilling, even through the intermittence of the Skype connection. “There isn’t much of a scene for music here. The only musicians that people really want to see are the ones 18 • THAT MAG DECEMBER

« Photos by Sara Casella that play at the Globe, which is this huge spherical arena where people like [Bob] Dylan and Beyoncé play,” explains Spetze. “Everybody in the band is in huge debt right now,” he continues. “We lost a lot of money touring, but it’s not a huge thing for us. I understand that it’s like ‘yeah, the Holograms are poor, and they can’t afford to do anything.’ That is definitely a reality, but the thing is, we’re not complaining about it. That’s just how it is, you know?” On many occasions, the band has been described as post-punk. But Spetze doesn’t agree. “I don’t know why people think that we’re a ‘post-punk’ band,” he laughs. “I don’t even know what that means! Our genre is always misinterpreted and journalists always get it wrong, but I would say we’re more of a dark pop band.” As Forever brings the band to new heights, their ‘dark-pop’ classification resonates with a fair amount of truth. Every song on the album possesses an eerily dark quality, which seems to capture their

similar to our first one. However, on this one, we wanted a bigger sound. We have a great engineer who just works really well with the band and gave us the sound we were looking for.” Next year seems as though it will bare broad horizons for the Holograms after they wrap up their current tour of Europe and the United States in late December. “We have some new songs written, which would be great if we could record it,” says Spetze. “Personally, I would love to do another U.S. tour of the south, maybe even a festival like South by Southwest.” In the meantime, local fans can catch Holograms on December 5th as they perform at the Boot and Saddle. Ten dollars is a small price to pay for an evening of great music, and an experience with one of the most hard-working and ambitious bands in the world.

wenty years ago, around the time House of Blues was opening in West Hollywood, NOFX was in the studio, piecing together an album that would eventually be titled Punk in Drublic. Released during a cultural magnification of punk that came after Kurt Cobain’s death, Punk in Drublic became NOFX’s first, and only, gold album in the United States. The album famously opened with the lyric, “Possessions never meant anything to me/I’m not crazy” and became the last vestige of nihilistic root-punk in the popmined landscape bands like Green Day had taken dynamite to. It was an album about nothing in the same way Seinfeld was a show about nothing, in that it wasn’t about nothing, exactly. It was about the discontentment derived from all the nothingness, the disillusionment essential to American citizenship. Heading into 2014, NOFX hasn’t given up their fight against nothingness, and they aren’t thinking about stopping any time soon. They actually aren’t thinking

about it at all. “I never really think about that kind of weird stuff,” Fat Mike tells me when I talk to him about the band’s longevity. “I don’t think about the future of the band. I just kinda keep going, keep having fun.” But they are starting to think, if only just a little bit, about something. When NOFX was asked to do a collection of shows at every House of Blues location across the country, they felt something other than indifference; they felt obligated. “We’re doing it for House of Blues because they’ve always given us really, really good deals,” Fat Mike explains. “I mean, it’s their 20th anniversary, so we’re playing all the House of Blues across the country.” Then he couldn’t help but clarify, “And I think those clubs really sound good, too. We’re just doing a little,

short tour. Don’t mean anything. Don’t mean nothing.” There was that word again, “Nothing”, lingering like a motto, like the hook to an old song he couldn’t get out of his head. Even when I ask him about his recent stand-in role on three songs of Against Me!’s forthcoming album Transgender Dysphoria Blues, Fat Mike was very matter of fact in his response, saying, “They didn’t have a bass player, so Laura [Jane Grace] just asked me if I wanted to play bass, so, you know, ‘Sure!’ It’s not something I normally do. It was fun, you know, they asked me, and I was free.” “They didn’t have a bass player, so Laura [Jane Grace] just asked me if I wanted to play bass, so, you know, ‘Sure!’ It’s not something I normally do. It was fun, you know, they asked me, and I was free.”

It sounds apathetic, but it’s really not. Fat Mike has always been more active as a supporter of punk than as an artist, which is saying something considering his prolific output, so his obsession with nothing makes a whole lot of sense when you start to think about it. He’s leaving something for the rest. In between their House of Blues stops, NOFX will be at the TLA in Philadelphia on December 1st.

« Photos by Drew Goren WWW.THATMUSICMAG.COM

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THAT MAG DECEMBER • 19

VOL. 1 Winter « December « 2013

Capital Cities

from DIY to hit band the power of a record label and great songs

« By Lexi Bissonnette

« Photos by Elio Lee Hazel

o-it-yourself career or wait to get signed? That’s a common question and struggle for many bands today. Both have pros and cons that could essentially make or break a band, depending on the outcome of the risk. Capital Cities, an LA indie pop duo, faced the same dilemma. “We were deciding if we were going to wait for a record label or do things on our own. We ended up kinda taking things into our own hands- we invested into a radio campaign,” explains Ryan Merchant, 20 • THAT MAG DECEMBER

one of the duo. But for Capital Cities, the investment paid off. Of course their representing record label couldn’t be a better fit- Capital Records. “Capital came in and signed us after we began the process; they just took it to the next level,” says Merchant. Ryan Merchant met his now band mate, Sebu Simonian, in a way that most people would find less than traditionalCraiglist. But in the world of music, it turns out it’s not so strange after all. “Meeting on Craigslist…it was

pretty normal actually. It’s funny, people think it’s a strange way to meet but, in Los Angeles, a lot of musician’s connect that way.” Merchant had done so in the past as well and for him it was a natural way to get to connect with others who have a similar passion. The whole process was quite simple - he found Simonian’s ad and the two met to give it a shot. “We had really good music chemistry.” Their career didn’t jump straight to fame and fortune as a hit band, but had a rather unique start. They wrote jingles. It WWW.THATMUSICMAG.COM

wasn’t until 2009 that they actually formed Capital Cities and began their journey through DIY music making with their 2011 EP. While they were slowly working on continuing their DIY career with the radio campaign, “Safe and Sound” was gaining attention. The duo didn’t have to wait too long before being signed by Capital Records in 2012. Signing has helped the band in many ways Merchant says, from budget to exposure. “Before it was much more DIY and now we have a machine behind us.” And that machine was able to help get their debut record, In a Tidal Wave of Mystery, recorded and launched. Capital Records paired with the label Lazy Hooks and the album was released June 2013. With catchy hooks in each song and fan favorite “Safe and Sound” as well as others from their EP, the duo was in a good place with their release. “It feels good. It feels good to have a completed body of work and to be done with it to some extent,” remarks Merchant. He was modest about how he felt it turned out as well. “I listen to it in my car and I can actually enjoy it, so that’s a good sign.” The band has been making waves and catching attention ever since. “Safe and Sound”, their original lead single, was a quick hit on modern radio and moved along through Top 40 stations as well. Not only is the song catchy and a great overview of what listeners can expect from the band, it has an award winning music video as well. “Safe and Sound” won the VMA for best visual effects, another testament to the rising tide of success and talent that boys of Capital Cities have. A debut album wasn’t all the duo saw in 2013. They also toured and saw the overall evolution from start up band to where they are now. “We now have a hit song and we travel all the time. We have more musicians that play with us live, too.” When Capital Cities hits the stage they’re a much larger band than just Simonian and Merchant. You’ll hear Manuel Quintero on bass, Nick Merwin on guitar, Spencer Ludwig on trumpet and Channing Holmes on drums. Merchant is excited and enjoys having the guys traveling with them because he feels it steps up. WWW.THATMUSICMAG.COM

« Photos by Jake Hagopian In fact, a recent stop in Paris brought more than just a trip overseas to the duo, and is currently Merchant’s favorite memory of the band. The duo reached out to Rod Temperton, the famous songwriter who wrote “Thriller”, “Off the Wall” and others. Temperton met with them in Paris and the threesome discussed making music and the possibility of collaborating. “That was really fun and kinda surreal.” With 2013 coming to a close Capital Cities has no intentions of slowing down their pace just when they’ve gotten such great speed. “Our goals are a lot of the same, and what we do will be a lot of the same as 2013 - just amplified to a new level.” So what is Merchant most excited about for the band and the 2014 year? The touring of course! He is ready for all the things they can do on tour now. “Having a hit song opens doors.” Merchant loves that they will always have the live band behind them. “There’s just something about playing with a live drummer that just feels different.” Along with being able to include the above mentioned live musicians into their show, he says that they can be even more ambitious with touring because they have a

bigger budget. The band is already booked for Japan, other areas in Asia and South America. Plus a bigger budget means they can also play around with lighting effects, something else Merchant is excited for. With adding in more new locations, musicians and effects, their upcoming tours could step it up a lot from the 2013 ones. But will 2014 see any downtime for the boys to get started on a second album? “It’s going to be a lot like 2013, but maybe more crazy,” Merchant says when asked about the intensity of their touring schedule. He does have hopes that they will have some time to sit down and collaborate. “We may possibly start working on a new album but I don’t think that’s going to be for a while because we have a ways to go on everything from this first album.” Capital Cities had a great 2013 and is ready to kick start the new year. “It’s going to be a good year, just visiting as many cities as possible,” says Merchant. So fans will just have to continue to soak up their current release and catch these boys on tour in 2014!

THAT MAG DECEMBER • 21

VOL. 1 Winter « December « 2013

« Photos by Tim Hunt

Four Albums Later and Still Learning

With their new studio album, Polar Bear Club opens up about never staying stagnant in the busy world of the music industry « By Matt Kelchner

arlier this month, melodic, posthardcore/punks Polar Bear Club released their fourth full-length album, Death Chorus. Through four albums, numerous tours all around the globe and almost a decade of being a band, they have seen a lot of things come and go in the scene. At this point in their careers, many would peg them as veterans. The guys who make up Polar Bear Club see things differently though. “That’s a funny question because you always kind of feel like a veteran and a rookie at the same time,” guitarist Chris Browne tells me when I ask him about it. We dive deeper into the fence that Polar Bear Club straddles. “There are bands that have come up in recent years we’ve become good friends with and even draw influence from now that are younger than us,” he explains. “It’s a little weird looking at that and feeling like the old guys, but then you go out on tour with guys like Bad Religion and The Bronx and we are babies compared to them. You do nothing but watch and learn with those guys.” Browne and singer/lyricist Jimmy 22 • THAT MAG DECEMBER

Stadt’s roots go back further than the beginning of the band. “We’ve been playing in bands together for like 13 years now or something like that,” he says. Looking back after all of those years have gone by and handling all the bumpy roads and curve balls, they wouldn’t change a thing. “If I could go back I wouldn’t change anything because I think we’ve learned a lot. I 100% think we’re a better band now and I think we write songs in a way and do things in songs that we weren’t able to pull off back then. We’ve refined our execution and I’ve learned a lot but we wouldn’t be here without what we did there,” Browne tells me. Even when it comes to the records, he is still proud of what the younger, less experienced versions of himself and the band were able to pull off. “I can still listen back to that first record and the older bands we were in when we were younger, and there’s some really inspired stuff. I would’ve never found my way to the songs we’re writing now without going through that”. Fast forward to 2013 and Polar Bear

Club is still learning and evolving. Prior to going into the studio to begin recording Death Chorus, three members of the band decided to part ways. “If I could point to one unifying reason as to why those guys are no longer in the band, I mean we still get along with them and love them like brothers, but it’s because they couldn’t sustain the touring lifestyle while building the lifestyle they wanted at home,” Browne tells me as we chat about the stress and commitment of being in a band full-time. “That’s always a sacrifice you have to consider and only make it if you really want to make it.” The band, with three new members, wrote and recorded the album together. Another new element thrown into the mix was the band’s decision to sign to Rise Records after releasing their last three albums on Bridge 9 Records. Together, they traveled down to the Delaware Valley to meet up with one of the hottest up-and-coming producers and engineers in the punk scene, Will Yip, at his Studio 4 space in Conshohocken. In what’s become almost second hand knowledge now, Browne went over the incredible opportunity of working with Yip. “It was an amazing experience, Will is just a great guy. He’s our age, which is the biggest difference from anyone we’ve done a record with before. We were instantly homies and we worked really, really hard. There was never a day where everyone wasn’t overflowing with enthusiasm from what we were doing. I could not say enough good things about Will.” With a new record out, a few new cogs in the system and a fresh coat of paint on, Polar Beach Club are only looking up in the months to come. “When we’re not busy doing real life stuff like that we’re going to just tour the hell out of this new album,” Browne energetically tells me. Polar Bear Club will be in Philly on December 7th at the First Unitarian Church. Just as years before, they will be out on the road continuing to learn and grow as a band with each new experience. “I think the second you start feeling like a veteran and an old guy, that’s when you lose the fire for it.”

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The Naked and Famous: Destination LA

“In Rolling Waves” The Kiwis Become Californians“

f eccentric English musician and producer, Tricky, has taught us anything, it’s that, “everybody wants to be naked and famous.” Albeit triggered by the lyric, Auckland’s alternative-rock quintet, The Naked and Famous, are more fixated on musicianship. “Being a musician is not about the pursuit of fame,” says confident front-man Thom Powers. “It’s about being creative, and hoping people connect with that creativity.” Also adding, “real fame requires you to do some unbelievably lame stuff.” Powers met whimsical band-mate and front-woman Alisa Xayalith in 2008, while both were enrolled in the Music and Audio Institute of New Zealand (MAINZ.) Engineer Aaron Short recorded two-EPs, This Machine and No Light, with Powers and Xayalith, later joining as the band’s keyboardist. The Naked and Famous also attained Ben Knapp [bass], and Jordan Clark [drums] for live shows. In 2009, David Beadle [bass], and Jesse Wood [drums], subsequently replaced Knapp and Clark. Powers writes, Xayalith composes, and Short produces, with melodic mastermind collaborations in between. But, “stop asking musicians to be pseudophilosophical,” Powers gripes. “They’re musicians…musicians are idiots.” Following their New Zealand #1 single, “Young Blood,” off their 2010 debut, Passive Me, Aggressive You, The Naked and Famous are cruising through the release of their seasoned sophomore album, In Rolling Waves, with heavy follow-up single, “Hearts Like Ours,” under Republic Records. The song made its infectious September debut as Zane Lowe’s “Hottest Record In The World” on BBC’s Radio 1, radiating to #1 on the Hype Machine. Recorded at Sunset Sound Studio in Hollywood, with tracks coproduced by Justin Meldal-Johnsen (M83, Beck, NIN), and mixed in London by Alan Moulder (NIN, Foals, The Smashing Pumpkins), Powers hopes, “people simply listen to our album as a whole; I hope they WWW.THATMUSICMAG.COM

listen to the live instruments just as intently as the electronric.” Not one to wait on the sideline for assistance, the band satisfyingly dropped Passive Me, Aggressive You under their own label, Somewhat Damaged, with tenacious global sales exceeding 500,000. Now arduously licensed to Fiction Records, “Somewhat Damaged is operating when we, the band, are hustling for ourselves,” says Powers. Fiction Records, home of The Cure, is now owned by Polydor, a subsidiary of Universal Music Group. “Honestly, the business side of releasing albums is complicated; I’ve been working at this for seven (or so) years, and I’m still trying to figure it out.” The Naked and Famous additionally released a 2012 live concert film, One Temporary Escape, on their own. Captured at the vaudeville-legend The Warfield, in San Francisco, they personally posted it for free download via their band site. “We got sick of sitting around, waiting for our respective labels to come up with a release plan,” says Powers. The Naked and Famous are now two-year California veterans. Venturing from their homeland for a joint artistic sanctuary in historic rock ‘n roll-famed Laurel Canyon, the band created a homeaway-from-home support system. “[Living together] was more of a survival instinct: stick together and we’ll make this work,” says Powers. “LA is many things; I like it for that reason. To a certain degree, you can live ‘howeverthehell’ you want.” US Gold-single, “Young Blood,” has actualized international acclaim. Its music video, under the creative genius of Joel Kefali and Campbell Hooper, amassed over 25 million views between YouTube and Vevo. “It is a fundamental part of our sonic identity,” says Powers. “The way this song connected was a complete accident.” With a medley of esteemed New Zealand awards, from APRA’s Silver Scroll Awards, to New Zealand’s Music Awards, including Best Group, Single of The Year

« By Julianne Cassidy

and Album of The Year, The Naked and Famous are flattered, yet pensive at grand recognition. “You are obliged to be grateful without consideration,” says Powers. “Or, suffer the backlash of flippant public commentary, if you do not seem slightly servile.” Two years, 200 shows, 24 countries, 600,000 people… The Naked and Famous are continuing this incessantly vigorous global tour-schedule, by being the invited “Special Guests” of Las Vegas’ quartet and fellow alternative-rockers, Imagine Dragons, on their North American tour: Into The Night. “This is an excellent opportunity to get in front of many people who may not be aware of TNAF,” says Powers. Philadelphia and Jersey fans alike can see the band on March 7, 2014 with Imagine Dragons at the Susquehanna Bank Center. “That’s what touring is all about; promoting your body of work,” says Powers. “It’s actually quite a straightforward process, and for some bands, the most viable way to spread the word.” Even in its quietest moments, the rocky-romance of ethereal vocals and shadowy synth-vibrations, harmoniously crash “In Rolling Waves”. With simple goals in mind, Powers says, “the goal for the end of 2013, is to have satisfied our fans with a great new record; and our goal for 2014, is to gain some new fans.” And MTV’s Buzzworthy vehemently agrees, “sounds like [this] band is about get a whole lot more famous.”

« Photos by Big Hassle Media THAT MAG DECEMBER • 23

VOL. 1 Winter « December « 2013

The Crazy Science Behind The Punk Rock Flea Market

VOL. 1 Winter « December « 2013 « Photos by Vladimir Lukic

Getting ready to celebrate 20 years, the Philly Chapter of the Grammys « By Andi Bricklin does good for the community.

The Punk Rock Flea Market is where you can find that super rare vinyl, yummy vegan cookies, vintage clothing, along with the weirdest holiday presents you’ll ever give. « By Janelle Engle

ince 2003, The Punk Rock Flea Market has been Philadelphia’s go to place to find all sorts of treasures. From vegan friendly baked goods to one of a kind jewelry pieces, the Punk Rock Flea Market has everyone’s fix of vintage and original pieces. This year promises to be the biggest one yet with a $3 donation entry fee covering not just one but two days of what the creator behind the market, Sean Agnew, calls “crazy chaotic science.” Agnew is the brains behind this science. Well, Agnew and his friend and a few borrowed ideas from DC. “I stole the idea from my good friend Mike McKee who stole it from the 80s punk scene in DC who set one up as a fundraiser. Then, lots of people stole the idea from us. So basically everyone has been stealing from

DC,” says Agnew. The Punk Rock Flea Market has come a long way since it’s early days at its first venue of the First Unitarian Church in Philadelphia. “It was just a few friends selling old junk – records. Clothes. Anything they could find. Now it’s turned into a big event with people flying/driving in all over from the east coast,” says Agnew. The venues have increased, too, with more and more people traveling to visit the Punk Rock Flea Market and all the treasures it has to offer. They can range in price and value as Agnew says, “my friend bought an old Black Flag shirt that sells for $600 on eBay. He got it for $5. ” An example of some of the one-ofa-kind pieces you might find at the Punk Rock Flea Market is Rachel Turley’s hair

accessories line, Dreadfully Sweet. This will be her fourth time selling at the Punk Rock Flea Market and according to her, the market just keeps getting bigger and bigger. “I bought a Rocky Horror original post card and a carousel horse figurine from the same table one year. One year, my table was between a graffiti artist and an older lady selling glass dish ware. Where else do you find that kind of variety? Nowhere!” says Turley whose line of hair accessories includes hair bows, clips and jewelry. Her pieces are girly with a creepy rocker twist. The Punk Rock Flea market can be crowded and overwhelming so a helpful tip is bringing a bag. Many vendors do not supply bags for purchase. Bring plenty of cash, too, since not all vendors accept credit cards and it would be a shame to miss out on that super rare vinyl just because you weren’t carrying enough cash. Also don’t let the “punk rock” emphasis of the Punk Rock Flea Market scares you off. “Anyone can show up at this flea market and find something they like despite the name, you don’t have to be into punk rock to appreciate all the cool stuff you can find there,”says Turley. It’s best to plan a whole day to weave through the chaos so you don’t miss anything. Because in the end, you never know what you might find at the Punk Rock Flea Market.

« Photos by Vladimir Lukic 24 • THAT MAG DECEMBER

Get to know Mark Schulz

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“And the Grammy goes to…” There is not a kid on this planet who didn’t pretend that sentence finished with their name. Hell, there’s a little restaurant/bar in Ardmore, PA that proudly displays Michael Sembello’s Grammy for “Maniac” from Flashdance where adults can see it close up, and feel for just one moment what it’s like to hold an award of its stature in their own hands. The Grammy Awards are just a portion of what The Recording Academy offers musicians. Grammy.org states “The Academy’s mission statement is simple, but represents the heart and soul of the organization’s efforts: to positively impact the lives of musicians, industry members and our society at large.” For over 50 years, The Grammys have been engrained into our society. For nine of those years, Executive Director Mark Schulz has been manning the helm at the Philadelphia chapter located right on The Avenue of the Arts. Schulz has been involved with the music industry for over 20 years, cutting his teeth as an intern at Studio 4 with the “Butcher Brothers,” Joe and Phil Nicolo, and David Johnson. “I ended up becoming the studio manager when it was clear I didn’t have the ears or patience to be behind the board. Since then, I’ve been busy managing things- bands, studios, labels, cycling teams, events, budgets, small businesses and now the Chapter.” Philadelphia is teeming with talent, and much of that talent funnels through the Recording Academy doors greeting Schulz each and every day. “I’m not talented when it comes to music. But working here, I get to meet the most amazing people who have musical talent - super cool jazz cats, legendary R&B singers, ultra-passionate teachers, road-scholars and studio wizards, new hip hop artists and some serious rockers- Philly has it all and it’s like a big secret we keep to ourselves.” Schulz goes on to say that this is a WWW.THATMUSICMAG.COM

town full of amazing music makers with amazing stories. “Did you know two of our GRAMMY-nominated songwriters also run a music business workshop for high school students? Or that Justin Timberlake’s music director is a local member? Or that one of the principal violinists for the Orchestra does eight-day bike rides to support MS? Or that one of Philly’s best known vocalists is also a New York Times best-selling cook book author?” In the span of music history in Philadelphia, this Grammy chapter is fairly young. “Our 20th Anniversary is coming up this spring! This Chapter came about because members of the Philadelphia Music Alliance back in its heyday were frustrated with being members of the New York Chapter. With our rich musical legacy why shouldn’t Philadelphia have its own GRAMMY office, right? So they pushed the folks in LA to consider it, and they did.” Today, the Philadelphia Chapter has about 700 members locally and around 20,000 nationally! The Recording Academy is not just about recognizing epic achievements in music and a once a year kick-ass show (Hello?! Pink - upside down on a trapeze #nolipsync). Schulz tells us about a program aimed at students who have aspirations in the music industry. “GRAMMY U members have events specifically tailored to their needs but can also attend professional networking and education events, which really are the best way to make that leap from college campus to connecting with the working music industry.” And, musicians know that “dogooding” never gets old. Everyone needs a hand once in a while and for that there’s MusiCares. “From the guitarist who breaks his wrist and can’t play his tour dates to the person who lost their studio to Hurricane Sandy, we try to be there to help out. You don’t need to be a member to be helped by us. And we don’t tell people we helped you

out - it’s a confidential service. MusiCares also does healthy living programs - we just had a free dental clinic here in October, and will be doing a vocal health event in the spring.” By joining the Recording Academy you are far more likely to meet that guitar player or lawyer or co-writer or manager you really need for something. Being a member connects you with industry leaders talking about the latest in business, craft and gear to help you succeed. The academy also advocates loudly for your rights- important stuff like performance royalties and protection against piracy. The $100 fee gets you into memberonly events, access to online professional information and connections, and discounts on national conferences that can far exceed $100! Check it out at www.grammy365. com/join.

« Photos Courtesy Naras

THAT MAG DECEMBER • 25

VOL. 1 Winter « December « 2013

An Instinct for Success

RJD2 Hits a Creative Peak with More Is Than Isn’t

J Krohn has stayed in the game longer than most. As electronic music artist and producer Rjd2, he has made a career out of crafting beat-driven songs from samples and live instruments, blending electronic production with a hiphop sensibility. Whether he’s penning his own lyrics, collaborating with emcees, or creating instrumental remixes, Rjd2 has consistently merged styles and techniques to produce innovative and infectious melodies. On his latest album, More Is Than Isn’t, released on his own label in October 2013, Rjd2 continues to blur genre boundaries while capitalizing on the rising popularity of electronic music. Krohn spoke to That Mag just after the album came out, sharing his current process and outlook after 15 years of making music. “This record was the most instinctual one that I’ve ever done,” Krohn says. “On previous albums, I might have been working toward a specific goal. On this one, I just let things flow until I liked what I heard.” The first single from More Is Than Isn’t, “Her Majesty’s Socialist Request,” demonstrates the way Rjd2 integrates concepts and sounds to reflect his own worldview. A play on the title of the 1967 Rolling Stones album Their Satanic Majesties Request, Krohn says he didn’t use the word “socialist” lightly: “The term ‘socialism’ is somewhat linked with the idea of Satan in America’s political dialogue, so that was the connection I had in mind. Musically, the song is based on classic 12-bar blues, but subverted a bit by using heavy, sinister sounds.” “Her Majesty’s Socialist Request” also received a brilliant Candy Panther remix that features New York rapper J-Live, which led to the question of collaboration and if a song is ever finished. “That is a tough question,” Krohn admits. “I don’t know if a song is ever ‘finished,’ but I like to explore the different emotional reactions 26 • THAT MAG DECEMBER

that can evolve out of one piece of music.” As for collaborating with emcees, Krohn says he usually sends out instrumental tracks to people and let them react to what they like. “With J-Live, I had done some work on his last album, and ‘Her Majesty’ seemed like a good place to call in the favor,” Krohn explains. “With Phonte, he liked a few tracks, but I steered him a bit toward “Temperamental” because I knew he would work so well on it.” More Is Than Isn’t is the second album Rjd2 has released on his own label, Electrical Connections, but the process was a bit different than 2010’s The Colossus. “From a physical standpoint, I recorded this album in a different studio than The Colossus,” Krohn says. “On the technical side, in this studio I was able to link analog synths with a MIDI editor to create more flexibility and repeatability in the songwriting process.” Flexibility is something that’s important to Rjd2, and he’s been able to achieve financial independence and creative control because of his willingness to license his music to other mediums. Fans of AMC’s Mad Men will recognize his song “A Beautiful Mine” as the show’s title theme, and Rjd2’s music has appeared in numerous ads, shows and films. Krohn was very articulate when he spoke of the role licensing has played in his career: “For those who follow such things, they’ll know that I’ve been pretty amicable with licensing my music in the past. I think fans know that it’s part of the business and that I wouldn’t agree to something I’m not comfortable with. Licensing allows me the means to have full creative control in the studio. There are no corporate agendas when I make my music. My songs are fully formed before they find their way into other mediums.” Rjd2 will be touring in support of More Is Than Isn’t, and will play Union Transfer in Philadelphia on February 21st, 2014. RJ Krohn has called Philadelphia home for the last several years, but he balks

« By Adam McGrath a bit when asked about his role in the city’s music scene. “I honestly don’t know what my role in the Philadelphia music scene is,” Krohn says. “I leave that for the people of Philadelphia to say. Growing up in Columbus, Ohio, I could see that there was that sense of local pride when I put out an album. In Philly, it’s a little different.” It sounds like the people of Philly need to show Rjd2 a little more love. With his extensive talent and catalogue, that should be easy to do.

« Photo by Benny Mistak WWW.THATMUSICMAG.COM

Call of the Wild: Rosu Lup

« By Jane Roser

A Philly Folk Band Creating Ethereal Harmonies and Soundscapes “There was a fire that rested in the palms of my hand, then came the winter, then came the cold, then came the silence; a silence that could steal a man’s soul.” Thus laments the haunting title track to Philadelphia folk band Rosu Lup’s new three-track EP Currents, released this past spring and recorded at Miner Street Studios. The band celebrated their one year anniversary this fall and although they don’t have any huge celebratory parties planned, Jonathan Stewart, Rosu Lup’s bassist and co-founder says “it’s surprising how fast time has been moving! We have some really cool shows and publications in store this month that we’re really excited about, primarily the release of our first music video for our song ‘Dust & Days.” Stewart’s interest in music stemmed mostly from his cousins and siblings “who listened to artists like Led Zeppelin, The Beach Boys and Weezer. I was always listening to music and the rhythms are what most appealed to me.” Stewart was also incredibly inspired by folk legend John Denver who “is an inspiring storyteller. He paints such a clear picture through his lyrics, has wonderful energy and is easy to listen to regardless of what kind of mood you happen to be in. As a songwriter, I think it’s important for you to paint a picture for the listener to visualize.” Rosu Lup started in late 2012, originally just consisting of Stewart and his cousin. “We had planned to record a few songs along with the help of some other musicians we knew. However, after writing together, we decided to recruit a permanent singer. Once Josh Marsh joined, we again decided to expand the line-up by adding our drummer, Jonny Miller. After our first two EP’s, Woodland and Currents, we decided it was best to part ways with Mike, which opened the door for our guitarist, Colin Lynch, to enter. It’s been a great transition and we’re really excited about the new music that we’re writing.” As for the band’s unique moniker, Rosu Lup is the Romanian translation WWW.THATMUSICMAG.COM

« Photo by Doug Seymour

for “red wolf”, the name having been inspired by a Sufjan song that he released with the BQE. The runner-up was the Swedish translation, which is also quite fabulous: Röda Vargen, but Rosu Lup certainly fits the band’s one of a kind sound. Going on to play several shows including opening for Spirit Family Reunion at Johnny Brenda’s, Stewart recalls that the audience had a lot of energy that night and were really into their set. “Philly is rich in music history. There are some really great venues, bands and people in the community who embrace what’s going on in the city. But playing shows that family and friends are able to attend is probably one of the best aspects about performing in Philly.” Rosu Lup has toured as far west as Iowa and as far north as Vermont, but Stewart’s dream would be to one day play at the Columbia City Theater. “Seattle is such a gorgeous city and our sound seems to fit with some of the artists coming out of that region.” WXPN’s Folkadelphia recently showcased Rosu Lup performing with the five-piece orchestra who also played on Currents. “There are so many rewards performing with our mini orchestra,” Stewart says, “mainly getting to perform with some extremely talented musicians who are also amazing people. The orchestration was written by Joshua Stamper, who is so gifted. Josh adds an element to our music through his writing that is simply beautiful. One challenge we

faced, however, was scheduling. Most of the musicians we play with are busy with other commitments, so we really appreciate them making time to perform with us when they’re able to.” Stewart recalls that writing Currents was an interesting process. “Two of the songs we literally wrote a week before we recorded them and we ended up throwing out four other songs that we had originally planned to record. The three songs we chose for the EP seemed like they were meant to fit together, as if telling a story. We got to work with Miner Street Studios in Philly, which was a fantastic experience. Joe Bisirri engineered and helped to produce the EP; having the opportunity to work in a studio like Miner Street was a dream come true. They really value creating music and the equipment we were able to use, specifically a vintage drum kit, truly enhanced the recording.” As 2014 looms ahead, Rosu Lup has already established several goals. “We’re looking to release a single in January, with plans to do a number of short tours in the spring and summer, as well as a few festivals. We’re also writing an LP that we’re really excited about and hoping to record in the late winter or early spring.” With all of their hard work starting to pay off, Rosu Lup has built an impressive fan base that will no doubt grow as the band continues to be recognized for their sincere, imaginative songs and spirited live shows. “How lonely is the night,” an unknown author once lamented, “without the howl of the wolf.” THAT MAG DECEMBER • 27

VOL. 1 Winter « December « 2013

VOL. 1 Winter « December « 2013 « Photo by Ryan Mastro

Trifles Make the Sum of Life « By Stephen Krock

Stephen Kellogg returns to Blunderstone

hen asked the astoundingly original question – “Where did you find the inspiration for your latest album [Blunderstone Rookery]?” – artist Stephen Kellogg’s answer was as pleasantly unexpected as my inquiry was admittedly uninspired. “Music, nowadays, isn’t what hits my heart when I look for inspiration to write,” he says. This is not a commentary on the state of the modern music industry, but the earnest confession of an artist whose approach to building his craft is much different than I would have thought. “Granted, listening to music is emotional,” Kellogg says. “For me, though, writing it is intellectual. Most of Blunderstone Rookery actually came from books.” One book in particular. His favorite book, in fact. Blunderstone Rookery was the boyhood home of Dickens’ literary and semi-autobiographical hero, David Copperfield. A semi-autobiographical hero for a semi-autobiographical album. “[Blunderstone] was a happy place for him in the beginning,” Kellogg explains. “A place that became unhappy. And dark. In the end, though, he comes back and makes his peace with this place. It was a perfect metaphor for the album.” This past year was Kellogg’s own Blunderstone, in that many old, familiar refuges, sources of life and happiness had been stripped away from him. “A lot of life changes led to Blunderstone Rookery,” he says. After ten years, his band, his compadres, The Sixers, went on hiatus. He had also lost his grandmother and motherin-law within one month of each other. “I was feeling like an adult all of a sudden,” Kellogg recalls. “Facing real people challenges – not earth shattering by global standards – but it was the roughest year of my life. Music became necessary to cope; I 28 • THAT MAG DECEMBER

was writing songs out of necessity.” You can find this desperation, this yearning for connection, the need to overcome, in the deeply personal tracks, “Lost and Found” and “Thanksgiving.” The former a gorgeous, unexpectedly upbeat plea to be saved, or found, as it were. The latter an epic Americana confessional, telling a tale of family coming together, being torn apart, finding each other again. A recurring theme throughout Blunderstone. These particular songs came to Kellogg in April of last year at a time when he was feeling especially disheartened. “I had been questioning whether or not I could consider myself a worthy human being,” he says. “It was a time when everybody else seemed to be doing better than me. I needed to write with my heart on my sleeve.” A stylistic choice that could possibly draw criticism, but one that Kellogg will defend to his very last. “I love music that is simple in nature, not overly technical, and unapologetically direct,” he says. Music akin to that of Sam Cooke, Tom Petty, and Otis Redding, a sampling of Kellogg’s own personal favorites. Artists who are brilliant, yet economical, in their songs. “I marvel at songwriters that make music seem easy. Effortless. I would kill to write something like Tom Petty’s “Refugee” or Marley’s ‘Three Little Birds.’ He makes such an otherworldly tune seem like a cinch to write. Taking something simple and making it mean a lot.” One of Blunderstone’s standout tracks, “The Brain is a Beautiful Thing,” employs such a practice. It’s a glorious barroom anthem in which Kellogg unabashedly lists his opinions on life, love, society, and praises our most incomparable muscle and its ability to create those

opinions. “That was a challenge posed to me by my co-producer, Kit Carlson, at the beginning of the record,” Kellogg explains. “‘’You have so many opinions,’ Kit said. ‘You want to please everybody. Just say what you think!’” Stephen’s mother-inlaw has passed away from brain cancer, which got him to thinking about the things that mattered most to him in life. And what it was that made those things matter. Everything stems from the brain and it is ultimately what brings us all together. That is Stephen Kellogg’s simple goal for Blunderstone Rookery: Bringing people together. Although the album was born from a very dark place, Kellogg had no interest in something clearly self-indulgent and “woe is me.” “I put it out there for the possibility of connection,” he says. “As I examined the hard moments in my own life, I offer them up for others like me.” Indeed, there is little woe in Kellogg’s life upon reflection. He has a beautiful family, an acclaimed album, and a busy year ahead of him, including the continuation of his All Love, Future’s Bright Tour in the U.K. and all over the States. He is slated to perform on the Cayamo Cruises alongside the likes of Brandi Carlile and John Hiatt. He’ll also appear with Tonic and Will Hoag on The Rock Boat. Additionally, Kellogg will be writing for OAR, Belgian up and comer Milo, Javier Colon, winner of season one of The Voice, among others. Above all else, though, Kellogg plans just to do the best all of us can hope to do. “I’m just going to live life,” he says. “And try to be a good person.” Let there be no further doubt that Stephen Kellogg is absolutely a worthy human being.

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THAT MAG DECEMBER • 29

VOL. 1 Winter « December « 2013

Happy Anniversary Story of the Year

tory of the Year just celebrated their 10th year since Page Avenue was released. September 13th was the big day, which means 2014 is going to be an awfully big year as they celebrate the anniversary and coming out of hiatus. Ten years may have passed but, for singer Dan Marsala, it feels like just yesterday. “We’ve experienced so many amazing things and have been to so many crazy places in the last ten years that it’s all been kind of a blur.” For the band maybe, but for fans there 30 • THAT MAG DECEMBER

« By Lexi Bissonnette

Break out the tin gifts, it‘s been 10!

« Photo by Chapman Baehler have been four great albums to celebrate and plenty of concerts during the band’s current ten year run. Marsala feels just as lucky as the fans. “I realize every day how lucky I truly am and it feels amazing to still have the opportunity to do this ten years later.” Ten years for a band is a long journey that can be filled with bumps and many changes and evolutions. Marsala says that, of course, their writing and sound has evolved but not who they are as a band. “We’re still the same five kids from Saint

Louis who just love to play music.” The trick to surviving ten years? According to Marsala, it’s the struggle to keep your albums up to par with your very first, and in turn, to keep the success going. “Being in a band is a lot more work than most people assume from the outside.” He feels they’ve done a pretty good job at it, too. But that doesn’t mean Marsala and his band mates don’t have plenty of memories from the last ten years. They’ve seen a lot and done even more. Since they began, WWW.THATMUSICMAG.COM

Story of the Year has been to 30 countries, many more than once. They have all experienced things they would not have without each other and the band. Marsala took a moment to highlight that The Great Wall of China, The Christ the Redeemer Statue in Rio and the Berlin Wall among some of the awesome places they’ve been together. The band did, however, take a mini hiatus after recording their fourth album, The Constant. Story of the Year had been on the road for the better part of eight years at that point. “We all wanted to take a little time to refocus and work on other projects so we laid low for a couple of years.” According to Marsala, the plan was always to come back and get things going again for their ten year anniversary. And back together they are with a great plan for 2014, even if they aren’t completely sure what it will be. Story of the Year recently teamed up with Scream it Like You Mean to tour and celebrated their success and time together. The band played the entire Page Avenue album as well. The tour consisted of seven bands including Hawthorne Heights and Pennsylvania’s I Am King. Marsala explained that they’ve known Hawthorne for a while and knew they wanted some younger bands to be a part of it as well. “We’re gonna give it everything we have. Playing the full record with the fans who love the songs as much as we do is going to be one of the most meaningful experiences of my life.” The tour ran until early November. Now, plans for 2014 are a little up in the airnothing concrete except to continue their anniversary tour a little longer overseas. They also have plans to write some new music, but when it will be finished depends on the creative process. “We want to make something amazing that we can be truly proud of, so we’ll see how long that takes,” says Marsala. Ten years have passed since fans were graced with Page Avenue but Marsala wouldn’t change anything about his experience or how things went for the band. “Like I said, I have been able to experience so many amazing things and I have absolutely nothing to complain about. No regrets.” WWW.THATMUSICMAG.COM

« Photo by Chapman Baehler

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THAT MAG DECEMBER • 31

A Bar with A Twist! VOL. 1 Winter « December « 2013

Tria Taproom is the Newest Edition to Rittenhouse Square!in Philly « By Malana Battle

“Wine and beer have been treasured since the dawn of civilization. We love both, so we decided to put wine and beer on the same level—world-class wines in a blue jeans-casual setting and the best brews without even a hint of frat party,” says Jonathan Myerow, a partner of The Tria Taproom. “The idea is for wine to loosen up and beer to grow up.” Tria Taproom is a new upscale bar in Rittenhouse Square. It’s the third restaurant of the Tria family. If you’re familiar with the taproom’s sister restaurants, you know that they’ve been serving the Philadelphia area beer, wine and cheese for years with excellence. “We serve real wines, cheeses

32 • THAT MAG DECEMBER

« Photos by Holley Robbins

VOL. 1 Winter « December « 2013 and beers crafted by passionate people. We relentlessly seek out the best products both locally and from around the world,” says Myerow. I would expect nothing less than the best from the new Tria Taproom. When asked the inspiration behind creating the Tria Taproom, Myerow says, “I guess we wanted to do our version of a beer bar!” That’s exactly what they did- this upscale bar is not your typical bar! This is a no bottle bar! Tria Taproom has over 20 different types of beers, 12 wines, cider and soda- all on draft- for you to choose from.

This establishment will be the first of the Tria restaurants to feature a full kitchen with a wood burning grill and deep fryers. Tria Taproom has a new menu with a variety of flatbreads to pick from as well. “It’s still a lot like Tria, but more like a regular bar,” explains Myerow. And what’s a bar without hot wings? Hot wings are on the menu and the draft beers will be used in cooking all of the food. Tria Taproom is open now at 2005 Walnut Street in Rittenhouse Square and it’s a great place to come after work to grab something to eat, have a draft beer and relax with friends. “Our friendly, knowledgeable staff is here to help. We’re all about passion, not pretension,” states Myerow. Why should people come to Tria Taproom? Myerow simply says, “if they love beer and wine, they’ll get really cool products- things they won’t find elsewhere. A very interesting selection of beer. The food will be tasty. The atmosphere will be relaxing and comfortable.”

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THAT MAG DECEMBER • 33

VOL. 1 Winter « December « 2013

180 years of handmade and local genius

Creating the Guitar

Perfect « By Jodie Saueraker

hen I was younger, I would often spend time at the Nicolardi residence. Dave, the oldest sibling, was a dear friend of mine. I was always envious of his family’s love of music. Each member of the family had a musical gift. I would spend so much time in their musical lair pretending I was part of the greatest rock band of our generation. Although my rock band dreams were shattered, my relationship grew with the Nicolardis over the years. It was no surprise when the youngest of the crew, Regina, contacted me about her excitement of C. F. Martin & Co.’s 180th anniversary. Her family had taken the guided tour through the factory a few years ago and she was ready to go again. This time however, she would be armed with her camera to capture this magical space and pay homage to the artistic genius behind C. F. Martin & Co. guitars. Located in Nazarath, PA, Martin’s is a “homegrown” business. They are rooted deep within the local canvas as well as musical history. Christian Frederick Martin, Sr. was born in 1776 into a line of 34 • THAT MAG DECEMBER

cabinet makers in Germany. At age 15, he left for Vienna to apprentice with Johann Stauffer, a renowned guitar maker. In 1833 he made the decision to immigrate to the United States and landed in New York City. After a few years in the Big Apple, never having really felt at home there, he and his wife followed a business associate to the tranquil countryside of Pennsylvania. Today you can visit the factory for a free guided tour throughout the facility that includes the museum, a “Pickin Parlor” that allows you to play high-end guitars, an up-close look at how each piece of a guitar is made right in the factory, a visitor store and more. In 2013, the company celebrated its 180th year anniversary. In celebrating, they have released a stunning new D-180 model that reflects the look and feel of yesteryear with a modern day price somewhere around 18k, but it is a Martin … so it’s worth it. Just ask the never ending list of famous musical icons who swear by the instrument. The Beatles wrote the White Album on two Martin guitars, Sting had a rain forest friendly version made, Willie Nelson refers to his as “Trigger”, Courtney Love smashed hers during her MTV unplugged fiasco and a banjo player in the 1920s named Perry Bechtel has his neck extended so that he could play more notes on the fret board. Perry’s request was to take his 12 fret instrument to a 14 fret. Martin agreed and this gave birth to the modern day guitar. Martin’s guitars are also known for their X-bracing pattern that was developed in the 1800s and the superior tonality it provides. It’s not just that, however, everything down to the glue that is used in the instrument contributes to the crystal clear sound that vibrates from a Martin.

Dick Boak, Director of Museum of Archive and Special Projects at C. F. Martin & Co. for the last 37 years, was kind enough to guide us through the factory. There were moments when you could see the intensity in the eyes of the master craftsmen. They looked as if they had been doing this forever. As it turns out, most had been. The majority of folks have all had long tenures at Martin, some over 20 years. Now run by the Great-Great-Great-Great Grandson of the original C.F. Martin, the company exemplifies craftsmanship and good old fashion ingenuity. “The customers love beautiful wood, so beautiful wood that has the right hardness that can produce a good reflective or absorptive tone, that is the trick,” says Boak. Listening to the guitars as they are tested in the factory is a heavenly

A banjo player in the 1920s named Perry Bechtel has his neck extended so that he could play more notes on the fret board.

experience. Within each guitar you can hear the time and care that is put into the instrument. There are even a handful of pre-war models that are so rare they are often referred to as the “holy grail” by die hard collectors. The museum in Nazareth was able to reclaim one to put on display, currently it is worth $5 million dollars. Hearing Boak play this instrument was a once in a lifetime experience. In January of 2014, the company will take another gigantic leap in musical history. C. F. Martin & Co. will be at the

Metropolitan Museum of Art in New York City where 30 instruments are set to be on display. The merging of these two establishments is a testament to the history and art behind C. F. Martin & Co. Check out all of the photos from That Mag’s trip to Martin on our Facebook page.

« Photos by Regina Nicolardi WWW.THATMUSICMAG.COM

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THAT MAG DECEMBER • 35

VOL. 1 Winter « December « 2013

Will Yip: Proof That

Hard Works

Pays Off C

onshohocken-based music producer Will Yip is a man with his hands in many projects, but he keeps his dreams in focus at all times. “I just always wanted to spend the rest of my life making music. That was my goal.” It’s not just a career, it’s a passion and that passion happens to be something that comes naturally to him. “It’s all I’ve done my entire life. I seriously don’t know anything else. I recorded drums with my first band when I was 12 and I fell in love with the studio.” Just because it’s something he loves, though, doesn’t mean it comes without tons of hard work. “There are a lot of hardships in any creative field. The biggest hardship I found was just getting my foot in the doors of the places I wanted to be in. Sometimes, I even paid to get into studios I wanted to 36 • THAT MAG DECEMBER

« Photos by John Vettese

Friends Meets Work for The Best of Both Worlds

« By Emily Meenan

work at. Anything that I could do to get myself in a cool studio, I did it. That’s what’s tough about the music industry, you have to be willing to do anything and work harder than the next person to make progress.” Hard work paid off, and Yip made a connection that would put him on the express line to success- he met Phil Nicolo. Nicolo is an adjunct professor at Temple University, and works out of Studio 4, the same studio Yip is now working from. “I went to Temple really just to take his class because I’ve always dreamt of making records at Studio 4. There was nothing to lose, so I offered to work for him for free at the studio on day one,” Yip explains. “I just wanted to be in that studio. It’s such an inspiring place.” Obviously, Nicolo accepted Yip’s proposition and the rest is

pretty much history. “I just kept showing up every day and somehow I started recording my own bands there weeks later.” Yip makes records with some of his closest friends- Anthony Green of Circa Survive, local legends Tigers Jaw, and hardcore heroes Title Fight, just to name a few. Yip’s aware of how lucky he is to make a living with people he is so close with. “All I ever wanted to do was make awesome music with my best friends; I’ve been doing that for the last 14 years of my life. I’m so lucky to be able to make a living out of making music with the best people I know.” Not only is he making music for his friends’ albums; Yip recently put out Off The Board Comp, a compilation album of brand new songs recorded in Studio 4 by some of the most talented and passionate WWW.THATMUSICMAG.COM

artists he works with. “It went from possibly just using a bunch of B-sides to almost every band coming back into the studio for a day and recording a brand new song they wrote for exclusively this comp,” Yip explains. “It has truly become the coolest thing I’ve ever done. It represents not only just the bands, but the family we have created.” But it wasn’t all fun and games and hanging out with his best friends, Yip says. “The process was probably one of the hardest things I’ve ever done. I still recorded records as I normally do and I just spent every free minute that I had working on this comp.” The comp wasn’t the only big project that Yip had going on, even when it was on the verge of being released. “I’m pretty sure I only slept 20 hours in August so I could first finish Anthony Green’s and Polar Bear Club’s records, then I finished the comp.” But, the comp was released right on schedule and received great reviews. “It was worth every second. It’s truly the most special thing that I have ever been a part of making.” Not only did Yip recently break new ground with the Off The Board Comp, he also recently held two exclusive studio sessions with Anthony Green and Tigers Jaw, two artists who have songs on the album. Tickets to this event were sold with the comp’s pre-sale packages, and sold out quickly due to how small the amount of tickets available was. “While doing it, I knew we were doing something really special. We gave Anthony Green and Tigers Jaw fans the opportunity to see their favorite acts perform with only 50 other people in the studio that their favorite records were made in. That’s an WWW.THATMUSICMAG.COM

experience I would have died for growing up and it was so cool to be able to offer that to people.” Now that the comp is out, Yip finally has some time to enjoy the City of Brotherly Love. “I love walking Ella (our dog) around Conshohocken, getting a really good eggs Benedict at Green Eggs or Farmacia with the lovely misses, having a

late lunch at Resurrection Ale House (they have the best chicken in the country), then sitting in the Diamond Club at a Phillies game. That’s my jam!” Keep your eyes on Will Yip at Studio 4, though! He’s not done. “I’m working on a few amazing records which everyone will hear about soon. There is always something on the grid!”

THAT MAG DECEMBER • 37

VOL. 1 Winter « December « 2013

Warm Up this Season with Friends, « By Matt Kelchner

Family and Winter Brews The next upcoming months feature some of the most creative beers all year. What’s your favorite?

38 • THAT MAG DECEMBER

s the days have gone by and the temperatures have dropped, we have finally made it to winter. In the beer world, the changing of the seasons also means the brews get darker and heavier (both in flavor and in alcohol content). The “winter warmers” are crafted and brewed to do just that- drink up as we dive into the year’s chilliest months. Normally for seasonal beers, most breweries like to stay fairly consistent to a

specific style of brew, hence why there are so many different pumpkin beers in the fall or so many saisons in the warmer months. However, when it comes to winter seasonals, there is not one style or recipe that is universally followed. Breweries like to use this time to show off their creativity. The Mid-Atlantic region has become one of the hotbeds with it’s abundance of great small craft breweries. When it comes to the wide variety of beer, they lead the way in

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coming up with some of the most unique winter brew offerings. Color wise, beers typically range from copper to dark amber hues and the alcohol by volume content dives into the deeper end, falling anywhere between 8% and 13+%. Brewmasters most commonly reach to nutmeg, allspice and cinnamon when flavoring the beers, with some reaching even further. Some tend to air on the lightly, fruiter side whereas others go for the stronger, maltier side. Dogfish Head, one of the most wellknown craft breweries, has always been one of the leaders in originality. For years and years, they would offer a mix of roasted chicory, organic Mexican coffee, St. John’s Wort and licorice root into their Chicory Stout. The recipe was one of the first beers brewed. This year they decided to introduce a new winter beer, Piercing Pils. In true Dogfish Head fashion, they zigged when others zagged. Piercing Pils is a beer/perry hybrid

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with some pear juice thrown in. It’s not dark nor is it complex and heavy. It’s light and crisp. It trades the rich spices for refreshing nodes of fruity pear. Further north in the Delaware Valley resides another heavy hitter in the craft beer scene, Victory Brewing Company. Many of the beers made at Victory Brewing Company side more to the German style and are typically characterized by the full, hoppy tastes. Just like Dogfish Head, Winter Cheers and Hop Ranch Imperial IPA are the new kids on the block for Victory and take spots at opposite sides of the beer spectrum. Winter Cheers is a light wheat beer with a fruity, citrusy element meant to bring out a refreshing, cheerfulness to the holidays. The Hop Ranch Imperial IPA presents a sharper, tartier taste with its focus shining more on the hops that make the beer. They will be joining Victory’s longtime favorite malty, complex barleywine, Old Horizontal, to round out their winter

collection. As you travel around the Mid Atlantic states you will come across many more flavors tastes and smells. Down in Charlottesville, Virginia, Starr Hill Brewery makes their Snow Blind for the winter months. Snow Blind is a doppelbock lager that leans on the sweetness of caramel paired with toasted malts for it’s unique flavor. Out in Hershey, PA Tröegs Brewery is famous for their Mad Elf Belgian Imperial Strong Ale, one of the strongest winter beers that comes in at 11% ABV. The winter months are a great time to discover exactly what your beer palate is like. With so many different companies brewing so many different beers, there is something out there for everyone. So cozy up with a bunch of your friends and family and some six packs because there’s nothing like being in good company when your trying to new beers.

THAT MAG DECEMBER • 39