Don't Be That Asshole: A Discussion on Crowd Culture and Safety at Shows

Being a female can be tough. See world history and goddess Emma Watson’s most recent speech at the UN for more information. But being a female and 5’2” can make life a little tougher, especially for those of us who enjoy frequenting shows to see our favorite bands but have to face harms way to do so.

Cali punk saviors Joyce Manor have *thankfully* shed some light on the situation during their most recent tour.

Seeing a lot of people online saying I'm a "pussy" and a "bitch" for calling out that grown man trying to crush a group of teenage girls.

— Joyce Manor (@JoyceManor)

September 23, 2014

So far on this tour I've seen a girl with a black eye, a girl with a concussion, and a girl with a dislocated knee.. .

— Joyce Manor (@JoyceManor)

September 23, 2014

..Great way to make young women feel safe at a show when the rest of the fucking world is hostile towards them already.

— Joyce Manor (@JoyceManor)

September 23, 2014

I love a crazy show as much as any1 else I just don't think any1 should have to go 2 the hospital cuz of sum idiot w a tank top & Moz hair

— Joyce Manor (@JoyceManor)

September 23, 2014

In my very humble opinion, being punk does not mean you have to get SO wiley at a show that you give another human being a black eye and/or a concussion. If you MUST MUST MUST get crazy and inflict harm to others and/or yourself, please attend the moshpit. It has been created and sustained throughout rock ‘n’ roll history for a reason.

In all seriousness (if you can seriously discuss the politics of a moshpit), I think the moshpit is a great place to let out all of your angsty, bottled up emotions. If you’re at a show and feel the need to throw your limbs around, go to the moshpit. It’s a “safe” place to express these things. SIDENOTE: if you are uncomfortable with getting hit, get the fuck out of the pit.

But outside of “The Pit,” DON’T BE THAT ASSHOLE. What does that really mean? It means: - don’t shove - don’t hit - give people some semblance of personal space - keep your hands to yourself unless you are pointing to the band as you belt out their lyrics - assist crowdsurfers - JUST DON’T BE AN ASSHOLE

As H.O.V.A. once stated, allow me to reintroduce myself. I am a short female who loves to go to a shit ton of shows, especially those of the punk-leaning persuasion. My resumé of shows I’ve attended, let alone ones where I’ve been physical hurt, exceeds one page; so I guess it’s less of a resumé and more of a lengthy, boring list. I also host shows in my basement in Philly so I’d like to think I get the whole DIY/punk scene thing.

For those of you who are not small and/or female, let me describe to you what it feels like to attempt to get close to the band that you love (unless you are a lucky suit that gets backstage). First of all, unless we (“shorties”) are standing on some kind of stool, we can’t see shit at shows. That’s life. We’re short. We have overcome it by compensating with climbing skills, standing on our tippy toes, or just simply accepting that we can only listen to the music and observe the crowd around us rather than the band. (Some short gals like to hop on people’s shoulders to see the show, but I’m not counting them in this discussion because they are among the “asshole” category since they block everyone behind them from seeing the show.)

But sometimes we feel the overwhelming desire to actually SEE the band that we came to see. Therefore, we must get up close. Really close. And that usually means we have to accept the fact that our lives are out of our control as we get crushed by the crowd, hit in the head by crowdsurfers, or, worst case scenario, groped as we’re crowdsurfing or by shitty people around us in the crowd.

I’ve personally experienced a couple of uncomfortable incidents recently that sparked my desire to speak on the subject of crowd culture and safety. Most recently was actually at the Joyce Manor show in Philly. (Sick show. 9/10. Only reason it’s not a 10/10 was because of the stupid idiot who kicked me in the head.)

Throughout the entire show the lead singer Barry Johnson was telling everyone to stop being an asshole and to stop aggressively stagediving. I was pretty stoked on that and felt a safer than usual at a show, so I got up close. Next thing I know, I get kicked in the head by some asshole, feel my brain rattle in my head and boom, I got a concussion.

Rewind to a couple weeks earlier at Riot Fest, I was trying to enjoy my middle school sweethearts, Taking Back Sunday, up close 'n personal. During the second song, some random dude passing through the crowd aggressively shoved my head for literally no reason whatsoever other than to show off that he was bigger than me and had a penis. Since I’m not a confrontational person I did nothing about it. The girl next to me in the crowd (also a stranger), however, did not mind confrontation. She screamed at the random dude who shoved me, “Don’t you ever fucking touch another girl that way!” Male or female, that dude should not have unnecessarily shoved another human being the way he shoved me.

 It was at that point that I realized I’m done with putting up with fucking assholes in crowds. I’ve been letting people literally shove me around for years and I’m sick of it. There’s a time and place for that. I’ve been in the pit. I’ve partaken in a Wall of Death or two – but when I’m not participating in these events I should not feel like my safety is at risk. 

Let’s stick up for ourselves rather than allow the assholes of the crowd run the show. Who put them in charge? Shouldn’t we all feel comfortable? Let’s at least start a discussion about crowd culture and safety.

Fun Fact: Hillary Clinton was a BABE back in the day (see poster) Another Fun Fact: Bukkake Moms, Space Drugs, Somniac, Load-In, & Colonial Williamsburg are playing this Sunday! More info at the link below!

https://www.facebook.com/events/569422369830473/

New #chillwave track from Gap Dream!

California-based Gap Dream (the one-man band of Gabe Fulvimar) made our Top Albums of 2013 list last year with Shine Your Light, and now he's back with a new track as half of a split 7" with San Fran 5-piece Part Time. Turn it up and *~~*zone out *~~*

50 Best Songs of 2014 (Thus Far)

From garage rock to "trash pop" to experimental hip-hop, emo, and synth-wave, too many great albums and EPs were released in the first half of 2014 to not make a playlist out of them. Here's our favorite tracks of the year thus far.

50 Best Songs of 2014 1. Cloud Nothings - "I'm Not Part of Me"

2. Sylvan Esso - "Hey Mami" 3. Future Islands - "Seasons (Waiting On You)" 4. Jamie xx - "Girl" 5. Dub Thompson - "Dograces" 6. The Hotelier - "Your Deep Rest" 7. La Dispute - "Hudsonville, MI 1956" 8. Conor Oberst - "Time Forgot" 9. Skrillex - "All Is Fair In Love And Brostep" 10. St. Vincent - "Birth In Reverse" 11. Swans - "A Little God In My Hands" 12. clipping - "Body & Blood" 13. Saintseneca - "Blood Bath" 14. Modern Baseball - "Rock Bottom" 15. Joyce Manor - "Catalina Fight Song" 16. Eagulls - "Nerve Endings" 17. Lana Del Rey - "Brooklyn Baby" 18. Tweens - "Be Mean" 19. W.C. Lindsay - "Little Ghost" 20. Lily Allen - "Sheezus" 21. Only Real - "Cadillac Girl" 22. Fucked Up - "Sun Glass" 23. MØ - "Fire Rides" 24. The Hundred Acre Woods - "City Lights" 25. Perfect Pussy - "Interference Fits" 26. Speedy Ortiz - "American Horror" 27. Jack White - "Lazaretto" 28. Tycho - "Awake" 29. Mac Demarco - "Salad Days" 30. Nothing - "Dig" 31. You Blew It! - "House Address" 32. Weatherbox - "Bring Us The Head of Weatherbox" 33. The Orwells - "Who Needs You" 34. Tigers Jaw - "Hum" 35. Parquet Courts - "Sunbathing Animal" 36. Iggy Azalea feat Charli XCX - "Fancy" 37. The Menzingers - "I Don't Wanna Be An Asshole Anymore" 38. Donovan Wolfington - "Sleeping" 39. Seahaven - "Silhouette (Latin Skin)" 40. PUP - "Dark Days" 41. Sorority Noise - "Rory Shield" 42. Tiny Moving Parts - "Swimming Lessons" 43. A Sunny Day In Glasgow - "Crushin'" 44. Frankie Cosmos - "School" 45. tUnE-yArDs - "Water Fountain" 46. Manchester Orchestra - "The Ocean" 47. Die Antwoord - "Happy Go Sucky Fucky" 48. Osoosooso - "Neighbors" 49. Cayetana - "Hot Dad Calendar" 50. OhBree - "Death by Broomstick"

MadKo Concerts Presents Show ft. local Philly bands!

MadKo Concerts Presents:

The Hundred Acre Woods Steady Hands Former Belle �� The Tin Angel 20 S 2nd St, Philadelphia, PA 19106    Thursday May 29, 2014 – 8:00 pm   MadKo Concerts, the student-run concert promotion arm of the Music Industry Program at Drexel University, is proud to present The Hundred Acre Woods, Steady Hands, and Former Belle at The Tin Angel on Thursday May 29th.  Listeners will be treated to the sounds of some Philadelphia���s best local talent at one of the city’s premiere listening room venues. Pulling elements from several genres including indie, punk, and folk, this collection of performers is a great representation of the music movement in the city of Philadelphia.

Tickets are available for $10. Show is 21+ https://tin-angel.seatengine.com/venues/tin-angel/events/4607/shows 

THE HUNDRED ACRE WOODS: Formed in the latter half of 2009, Philadelphia-based The Hundred Acre Woods aims to convey a message that is both young and old – a blending of the honesty and sincerity of traditional folk music with the raw energy and drive of punk rock. (Check out our review of their latest EP here!)

STEADY HANDS: Steady Hands began as a solo project of Sean Huber in the Winter of 2012. In favor of the simplicity and rawness of a sole honest voice and acoustic guitar, he started thrashing his way through Philadelphia bars and basements, breaking a lot of strings in the process. That summer he released his first EP, "Not Many Of Us Left," employing a strong group of talented friends to record. By the end of the year, Huber brought the gang back together, adding producer Brandon Bost to create "The Libertines," released February 2013 via Lame-O Records. Steady Hands continues on thrashing through basements and clubs with intention, bringing honest punk music just as pretty as it is dirty. 

FORMER BELLE: Former Belle was born in a suburban basement just outside of Philadelphia. During their 2011-2012 run of shows, Former Belle played alongside the likes of Owen, Fences, Colour Revolt, River City Extension, Allison Weiss, Illinois, Yarn and more. After a 6-month runaway retreat to Boston, they embarked on a five-week European tour spanning 7 different countries. In 2012, singer Bruno headed back into the studio with Chris Radwanski to finish tracking Former Belle's debut full length, 'Cathedral' which was released last February. Former Belle is currently working on a B-sides EP that is aimed for a summer release date with more information coming soon.

Tonight! Come hang and see:

Roof Doctor (new record is so goodddd) http://roofdoctor.bandcamp.com/  Sinai Vessel (indie rockers from TN/NC) http://sinaivessel.bandcamp.com/ Moonraker (cali punx) http://moonraker.bandcamp.com/ Will Colvin (he just got back from new zealand, good stuff) http://willcolvin.bandcamp.com/  FREE (donations for touring bands are much appreciated) Doors at 6 // Music at 7 BYOB

Plainview will be releasing their debut self-titled EP on May 27th. Liquid Courage Media is excited to show it to you guys first by streaming the full EP! 

Plainview have recently begun making their way into the Philly music scene over the past year with their swoon inducing melodies. While their music can be categorized as indie-folk punk, the EP contains clear singer-songwriter and pop influences with shamelessly upbeat and optimistic jams like “Shine” and “Breathe”. Check out the full EP here and if you’re in the area go peep their release show at the event link below!

https://www.facebook.com/events/692621384136969/

Literature, Honah Lee, The Lockland Brakes, Bone Bats, Mike Pays Heat

May 9th // Rock Bottom XX

REVIEW: Easy Victim, Charitable Deceptions – W.C. Lindsay

The Philly dance-punk trio W.C. Lindsay recently released their first full-length album Easy Victim, Charitable Deceptions through Big Footprints Records, and we gotta say it’s a cause for celebration. W.C. Lindsay brings the party as they explore their youth in retrospect and evaluate the present. They are not a group that can be pigeon holed into a single genre, for example the album ranges from ecstatic pop to intricate electro jams to sincere rock ballads and everything in between. What's even more impressive than their ability to conquer almost every genre under the sun is their ability to do it while still sounding like the same band. While most bands would lose their sound doing what W.C. Lindsay has done, they've found a way to stay sonically diverse and consistent all at once.

“Into the Night” opens with epic militant drums as a call to arms for their fellow party troopers to rally. The bands' indie-electro-pop influences are clearly showcased with upbeat synths and layers of vocal tracks being grounded by anthemic drums. The next track “Kids These Days” is an ode to the youths that has been declared THE song of the summer (by us, right now). Its infectious melody paired with the moombahton inspired beat will be stuck in your head for eternity, in the best way possible.

The album then takes some twists and turns into nostalgia. If you didn't know that electro-pop-folk-rock was a thing, “Slowly, So Sweet” has proven that it is. We are then transported to the 80s with the track “Kelsey”. It’s about simpler times, driving around in cars with friends “under the age and under the influence”. The nostalgia continues with the acoustic number “Oregon,” a sincere, stripped down song that sounds like Chris Martin could have written it.

The second half of the album begins to explore a slightly darker side of the band. As Lindsay stated in an interview with Red Bull, "The 'Easy Victim' half is the more upbeat portion that deals with how it feels to be restless, and young, and to long so intensely for the responsibilities and freedoms that age will afford. The 'Charitable Deceptions' half is the darker portion of the record that examines what it means to reach that age that was once so desired, and to find that you only wish to go back to the age of naiveté.” “Hard Youth, Hardly You” might sound like the album's most uplifting track, but don't let the music fool you. Lyrically it’s a kind of tongue in cheek criticism of the youth culture. It’s like looking at a picture of yourself when you were a teen wearing an All American Rejects T-shirt and smoking a cigarette because you thought it was edgy. Now that you’re older you can criticize yourself, but you would also give anything to go back to that moment as you were just starting to discover what decent music and alcohol was. The song explodes at the bridge as Richie “Ghost Note” Straub absolutely nails the drums and Lindsay strains,“Let’s get sold, Take my heart but not my soul, I’ll sell when I get old,” the gang vocals responding with a resounding “WHOA”.

The smooth female vocals on the next track “Little Ghost” matched with the contrasting strictly punctuated drums create a head-swaying jam. Some seriously clever lyrics rapped by Lindsay (“I looked to the sky and called on God for guidance, left a voicemail and learned about self-reliance.”) deliver clarity on issues concerning love, broken homes, and teenage mistakes alongside swelling synths and a hip-hop swagger. The final tracks that make up Easy Victim, Charitable Deceptions rely on more straight rock influences than the rest of the album, such as “Finally Learning the Language” and “Hum and Roar” with their distinctive catchy guitar riffs and established drums. "Tree" is also grounded by its rock roots and enhanced with subtle synths. A fantastic mesh of every previous song “Ungrow”, closes out the album with pounding drums, resounding guitars and synths that seem to ebb and flow together to eternity.

You can get the album at the link below! And you should definitely do so because: a) It's fantastic. b) $1 from every album purchased will be donated to Big Brothers Big Sisters of America.

<a href="http://wclindsay.bandcamp.com/album/easy-victim-charitable-deceptions" data-mce-href="http://wclindsay.bandcamp.com/album/easy-victim-charitable-deceptions">Easy Victim, Charitable Deceptions by W. C. Lindsay</a>

LCM Rating: 8.5/10

April 18th at Rock Bottom XX Pill Friends / Soda Bomb / Besting Tensions / Boss Logic / Vivre Sa Vie

REVIEW: Death By Broomstick - OhBree

With Death By Broomstick the Philly gypsy-punks, OhBree, will swing and sway you into their avant-garde imagination with their dramatic instrumentation ie bright and sassy horns. The album is appropriately titled as it sums up its dark yet fun-loving attitude. The songs on Death By Broomstick are a mix of circus-pop with a punk attitude and a touch of burlesque mysticism that evoke a carefully carefree vibe as the band explores different parts of the gypsy-punk spectrum.

There are appealingly eerie tracks such as “Carefulness” and “Death By Broomstick," then there are sweeter, more heartfelt jams like “Sweater,” where Andrew Scott declares, “I can make you better than a sweater on a cold and rainy day could ever make you.”

"When I Become a Stranger" is a pleasantly simple acoustic song that allows a break from the mass instrumentation on the rest of the tracks, and allows Scott’s anguished voice to shine through before it begins to warp and echo towards the end, blending into one of our favorite tracks, the harmony rich “Salt”. The layers of synths and vocals supported by the consistently vivacious drums make it an instantly addicting song.

OhBree is a band to watch out for - they put a modern and fun spin on gypsy punk music comparable to legends of the genre such as Motherhead Bug or Golem, mixed with vocal influences from bands like Grizzly Bear and the Front Bottoms. Get the album here!

LCM Score: 7/10

<a href="http://ohbree.bandcamp.com/album/death-by-broomstick" data-mce-href="http://ohbree.bandcamp.com/album/death-by-broomstick">Death By Broomstick by OhBree</a>

TWEENS - Tweens // Album Review

Bridget Battle, Jerri Queen, and Peyton Copes, otherwise known as Tweens, describe themselves as “trash pop”. We’d call them melody-driven bubblegum punks. Either way, their new self-titled album released on Frenchkiss Records is one of the catchiest pop gems of 2014 thus far, and is the band’s first full-length. “Be Mean” sticks out as the obvious single, yet every song on the album is equally as fun. (Check out the humorous music video here.) 

Hailing from Cincinnati, Ohio, they use swirly guitars, gang vocals and lots of “ooh/ahhs” to lure you into their fuzzy, sugar coated universe. The album starts off strong with “Bored in the City,” about a love/hate relationship with urban life, not wanting to leave “everything you’ve ever known” yet “waiting for something to happen”. Though the album hits a sort of lull in the middle with instrumental track “Stoner,” it picks right back up in the second half, dominated by power chords, reverb, and singer Bridget Battle shout-singing at you to stop blowing up her phone on “Girlfriend," a catchy track about not wanting to be your girlfriend.

We slow down for a moment with “Want U," a ballad still filled with reverb and fuzz-soaked guitars, only to pick back up for the final track, “Star Studder” in true Tweens fashion with building drums, plenty of Joey Ramone-style shouting, “ooh-ooh’s," and that same bright, swirly guitar that reeled you in at the beginning. The whole album is an angst-filled flashback to your own tween years, and it feels so good to reminisce. 

Tweens are currently on tour with Jaill and Radio Burns.

You can get their album here, but their Deluxe CD bundle is already sold out :/ 

Best songs: "Be Mean" "Forever "

For fans of: Shannon and the Clams Ty Segall The Breeders

LCM Rating: 7.5

4/25 Acoustic Show featuring:

Chris Stowe, The Homeless Gospel Choir, Ethan Brennan, Movies, Elisa Money

https://www.facebook.com/events/240819006103232/

Celebrate insanity with Brick + Mortar's new music video for "Locked In A Cage". 

Mark ya calendars (or write it in your iPhone or whatever the youths are doing these days).

Pill Friends, Soda Bomb, Besting Tensions, Boss Logic, & Bone Bats April 18th https://www.facebook.com/events/268327943344228/

REVIEW: The Hotelier - Home, Like Noplace Is There

            It’s a rare and beautiful occasion when you listen to a new record in its entirety and it blows your fucking mind. After listening to The Hotelier’s second full-length album Home, Like Noplace Is There all we could think was, “DAMN, they did it.” The Hotelier (formerly known as The Hotel Year) made an authentic, diverse emo indie rock record that will (hopefully) go down in history. With a voice reminiscent of The Menzingers, the epic emo-rock sound of Brand New, passionate screaming jams comparable to early Thursday, and addictive song structures like that of early Taking Back Sunday, The Hotelier have delivered one hell of a record.             The understated first track “An Introduction To The Album” drifts in with its floating guitar melodies and organs that allow the lyrics to shine through, which are the real guts of this record. As the song builds and erupts lead singer Christian Holden proclaims, “I had a chance to construct something beautiful and I choked,” which can only be interpreted as irony as the listener realizes how incredible this album really is.             The crowning element of the record is the fantastic songwriting. Genuine and introspective with existential and even political leanings, Holden vocalizes the lyrics with equal fervor as he strains his voice to the verge of screaming to give every word the intensity it deserves. This is especially evident in the angst filled track “Life In Drag” that spits out lines illustrating the struggles of personal identity, more specifically gender identity. “Your Deep Rest” is another lyrical triumph for The Hotelier. An emotional marathon exploring with brutal honesty the mental journey of losing a loved one to suicide, he sings, “I called in sick from your funeral / The sight of your family made me feel responsible / And I found the notes you left behind / Little hints and helpless cries / Desperate wishing to be over”.             The best kinds of songs don’t beg for attention, but rather demand it through slowly building and gaining your trust. “Among The Wildflowers” slowly lulls the listener into a trance then completely breaks down and smacks you in the face, demanding your respect. And that is what this record deserves. It’s anthemic and cathartic in its misery and wrought with self-destruction and self-doubt. Unfortunately for us, Home, Like Noplace Is There is an album we can all relate to.

LCM Score: 9.5/10

<a href="http://tinyengines.bandcamp.com/album/home-like-noplace-is-there" data-mce-href="http://tinyengines.bandcamp.com/album/home-like-noplace-is-there">Home, Like Noplace Is There by The Hotelier</a>

REVIEW: Miserable - Halloween Dream EP

            Envision yourself in a dark room filled with flickering candles whose wax is dripping with melancholy. Now you’re ready to listen to the Halloween Dream EP by Miserable, the project of Kristina Esfandiari, former vocalist of Whirr. The EP kicks off with “Bell Jar” with sultry, dark feedback and vocals. The layers of shoegazey guitars and rapid, pulsating drums build into a dizzying crescendo that fills you up and leaves you wanting more. The next track “Orchid” continues to satisfy and follows with similar style, as digging through the haze of distortion and reverb uncovers brilliant melodies.             A subtle change in pace comes with “Spinning” which starts slow and steady with ringing acoustic guitar and vocals. The song build in instrumentation and *feels*, then suddenly drops out as she expresses the impossibly sad, “I know you say you hate me, but I hope you take it right back." The EP comes to a close with “Halloween Dream” which belongs in the opening of an epic battle scene. The ghostly vocals overlap the heavy drums to create a sound that builds and resonates in the darkest parts of your heart.

LCM Score: 8/10

<a href="http://thenativesound.bandcamp.com/album/halloween-dream-ep" data-mce-href="http://thenativesound.bandcamp.com/album/halloween-dream-ep">Halloween Dream EP by Miserable</a>