Written by : Nick Hopton & Photographed by Bob Linneman

There’s something about Philadelphia during the holidays. I’m talking about the ones we used to have: snow, laughter, love. We don’t get too many of those around here anymore. Times have changed. People have changed. The paradox of life is that we never really take full advantage of the moments that really mean the most as they’re happening, but rather look on them years later, knowing that they were the best of times. But for a night in December, magic once again took form. This time, it was in the form of a little rock and roll band that, despite the odds against them, took on the fucking world 20 years ago. That, despite the odds, created one of the single greatest rock and roll albums in not only Philadelphia history, but the whole damn world. And that, despite all those odds… is still here… playing that rock and roll.

Silvertide

Nick Perri, co-founder and guitar virtuoso, commanded the stage with an unmistakable electricity that took me right back to his earliest days. Twenty years might have passed, but that raw, unbridled energy still courses through his veins – now beautifully tempered by years of road-worn wisdom and masterful musicianship.

The story of Nick Perri reads like a rock and roll fairy tale – from the wide-eyed teenage prodigy lighting up Silvertide to the seasoned frontman now leading The Underground Thieves. But a few days prior to the show, he and I were able to meet up and talk about life, love, and rock and roll. Sitting across from him, years after our first time meeting under similar circumstances, it felt like time had not passed for us at all. Life might have changed around us in many ways, but he’s still the same good, honest person that I met way back then. It’s incredibly hard to hold true to oneself in this business. It can change you in ways that you never thought were possible and into someone you’re not, and unfortunately, it’s usually for the worse. But for Nick Perri… it’s about personal growth and staying real.

Five Years Gone

Five long (yet seemingly short) years ago, I was tasked with doing my first-ever interview. I would be sitting down with local legend Nick Perri at a little bar in West Chester in the days leading up to his new band, The Underground Thieves, opening for The Struts at the Fillmore Philadelphia. We walked in that day as strangers and left as friends. Crazy how life works like that sometimes. In the years since, the world has changed. A lot. But there’s one thing that is a constant: the evolution of one’s self. And as a musician, it can be a wild ride. Taking stock of that and reminiscing about the journey can remind you of just how far you’ve come.

“Well, there’s two halves to this. I would say there’s 2019 through 2023, and then there’s 2023 through today. And they’re gonna be two different answers. The first half of that would be like it was a period of exponential growth. It was like the curve was straight up because the Fillmore shows were the very first shows as Nick Perri and the Underground Thieves, where I was like ‘the front man.’ So I got to have a taste of that. I spent 20 years at that point in the music business, you know, not being the front man, and then I got to, like, BE the front person. And of course, I had an amazing band all around me. But that was like the show that I was leading, you know what I mean? And doing the majority of the singing on. And it was… it just felt so, it was like holding a bolt of lightning. It was so exciting and so great. And after that, I was literally off to the races.”

“Very early into 2020, there was already a release plan for Sun Via. I had the confidence at that point because I already had put out ‘Feeling Good.’ And the response to that song was tremendous. That song got the most excited response of anything I’ve ever put out, like going back to Silvertide. So it was like Silvertide, then everything else, then that. It was like that hearkened back to that level of excitement… which was amazing. So it was like, okay, I not only can do this, but like, I have a lot of people in my corner who also agree that I can do it. That confidence is all I needed to really hit the ground, and I just started writing. I mean, I was always writing songs, but I started, like, really just spending all my time writing, because at that point it was like someone had opened the floodgates for me and just been like, ‘Go.’”

With the popularity of songs Feeling Good and Let You Know, Sun Via felt like a launching point for Nick and his Thieves. Work began on the follow-up album, Terra Firma.

“I would say that I feel like in that moment I really did have something that I wanted to prove—not to anybody else, which is an interesting dichotomy. It wasn’t like I owed anybody anything. I felt like, to myself, I wanted to prove to myself, whether it was conscious or subconscious, that I could sort of be the artist that I always, on some levels, wanted to be. The fact that I didn’t need permission or didn’t need anybody else’s approval was just like, I was just ready to go. So that was really like leading. It was like almost this subconscious desire. And if I’m really being honest with you, I’d always wanted to. Because Show and Tell happened so early in my career, and the record was produced incredibly well, I wanted to produce a record that could stand toe to toe sonically. I didn’t want to accept that my sonic footprint happened when I was 18. I wanted to at least match it, if not beat it, now.”

And he did just that. Sonically, that album is overflowing with depth and originality. It’s a true testament to “I’m going to do this, and I’m going to do it my fucking way.” Years were spent on this record to make it as perfect as it could be. And when you listen to Terra Firma, you can feel it. Many albums now just feel thrown together, pieced up without any true soul to them. Just notes. Terra Firma is a true fucking album. A flashback to the days when albums actually mattered, not just the singles that hit the radio. But, unfortunately, the music industry has changed. And cruel realities hit now more than ever.

The music industry is no longer about the music.

“Music Is Spiritual. The Music Business Is Not.”

“I was on this high rise, and everything up until the release of Terra Firma, it was just like, even though it was a pandemic and it was a fucking weird time and it was a tough time, it was a prolific and important time in my story. A time that I’m very proud of. We ended up touring during that time more than anybody thought we could. That being said, from the time Terra Firma was completely mixed and mastered, I had it in my hands for almost a year before it actually came out. Which a lot of people don’t know. And I spent a whole year basically shopping the record and trying to find a partner to help me put the record out. I believed it was good enough, and I believed there were enough singles that could have gone to radio on the record. I’m bummed to say, and I don’t think I’ve ever talked about this publicly, but that process was like the absolute worst, most disheartening, most soul-crushing process of my entire career. I think something like 60 labels and—not just any one type, but the biggest labels to the smallest indie labels and everybody in between—had passed on the record. I had a tracker on a private link and could tell when people were opening and listening to the record. Out of 60 labels, I think only five or so listened to the record. And the rest I was turned down by because I didn’t have the TikTok numbers and Spotify numbers. I was like, my whole career I worked to be a good enough songwriter, producer, and artist to be able to produce this body of work. No 17-year-old could do Terra Firma. I’m not saying I’m the only one in the world who could do it. There’s plenty of talented, amazing people, but the depth we’re talking about and the ability to produce a record like that and write a record like that comes with time and life experience. And no, I didn’t have the TikTok numbers, but I had something that you can’t buy with numbers, which is the whole lived experience of 25 years in the record industry and being an artist, songwriter, and producer.”

Everyone gets punched in the mouth in life, either literally or metaphorically. But as the great Rocky Balboa once said…

“It ain’t about how hard you hit. It’s about how hard you can get hit and keep moving forward. How much you can take and keep moving forward. That’s how winning is done!”

Terra Firma, while not commercially successful, is a win. Nick set out to make the album that HE felt was his best work. And he accomplished that. Screw what the suits think. In the grand story of rock and roll, the powers that be have been wrong WAY more times than they have been right. This is just another instance of missing something great right in front of your face.

“I was able to service the fans who wanted it. I was able to get the record into the hands of people who wanted it, which is still a win. I was still able to sell thousands of vinyls, CDs, and cassettes and have the music reach people, for which I’m eternally grateful.”

Still…taking the hit and getting back up doesn’t make it hurt any less. That pain can sting for a long time if you let it. Sometimes, though, you just need to sit back and let life happen for a while.

“I had to take a pause. I also went through some personal stuff in my life that needed some changing. I moved across the country again, my fifth cross-country move and final. I’m dying in California. That’s it, I’m done moving. I mean, I’ll come visit, of course. Silvertide is based here, but I’m not moving back. So that being said, I’ve had a little bit of time. Time does heal. I wrote a song right before I moved that I thought was really good because I have a bar now, you know? After ‘Sunset to Sunset,’ ‘Waiting for You,’ and ‘I Want to Be Free’ and some of these other songs, I don’t want to put out songs that aren’t as good as those songs, you know what I mean? So I’m a very harsh critic of my own stuff now, which I’ve always been. It’s not like I haven’t been playing or writing. I just haven’t been pursuing it. I haven’t been actively trying to make a record. I needed a fucking break. But I did write a song that I felt like was one of my best of all time, and I felt worthy of putting the time in. I was able to pull some favors even before I was completely moved in. I was able to get into a studio in California, a really nice studio with some great friends, and was able to cut a new song, a new Thieves single with some new players on it, and it’s really fucking good. And if all goes well, it’ll be out for Valentine’s Day.”

There’s always light at the end of the tunnel. As far away as it may seem sometimes, it is there. And sometimes, that’s all we need to keep going: just a little glimmer.

“I’m gonna keep releasing singles until I feel like I have the moxie to go make another record. I think, unfortunately, that’s also the way the music business is right now. It’s single-driven, not album-driven anymore. It’s disheartening to say that, but it’s the way that you see a whole lot of things. That’s how I started The Thieves. I started it with releasing songs, gauging interest. You gauge temperature, and then you go from there. I mean, I’ve never really been one to give a fuck about what anyone else is doing. I feel like it’s the synchronicity of it. But for me, and I’m not trying to sound like an asshole, it’s just like, for me, when I feel like I have the energy and the drive, and I have something to say with a body of work that’s 10 or more songs, then I’ll make an album, whether it’s an album era or not. But it just so happens that I’m only really feeling like doing singles right now. So it works.”

“Morning Light”

In between the creation of his own music, Perri has his chops in another realm of creation: studio work. Teaming up with some of the best musicians in the world to help their visions come to life on tape. In fact, his style, demeanor, and ability have him quickly becoming one of the most sought-after session guitarists in LA.

“I have an extremely broad, eclectic taste in music. Growing up on kind of older records from the ’60s and ’70s, you know, is an obvious influence that shaped my early world. I don’t listen to guitar-driven classic rock anywhere near as much as people might think. I listen to a lot of other stuff: electronic music, pop, indie, alternative, and everything in between. And I’ve been playing multiple genres of music and styles my whole life. So I’ve jumped back into the role of session guitarist, which I’ve done at various points in my career when I’ve had time, and it so happens that I’m back in LA. When I’m in between albums and tours, I have the time, and it’s a way to make money and keep my chops up. So it’s win, win, win for everybody. Getting back into the session guitarist role this year was just so fucking easy and natural. I was getting calls to do a lot of pop. I’m playing on a ton of pop and on some big pop artist records that are coming out this year. And it was so much fun, so easy, and so great, and I got to bring my Nick Perri thing to it, you know? I also did some rock records that are sick. I feel like I was completely ready for it. I was completely ready to step in and fulfill all those roles because of my 30 years of listening to music training. I had the ear already ready to go, and it was just like step in, lock and load, and go. Execute. And I think that’s why the producers I was working with really like me. I can play in time, I can play in tune, and I was very fast. They’d be like, ‘How about that? How about this? Can you try this?’ And I was like, sure, sure, sure. You know, that’s a fucking dream. No editing and comping, no tuning, and like yep, just play it right.”

The places you’ll go. The people you meet. As I mentioned earlier, one of the first big gigs for The Underground Thieves was opening for The Struts. Through the years, a friendship blossomed between Nick and the band, one which has not only seen him fill in on guitar for them a few times… but also embarked him on a completely out-of-this-world journey. Mars, to be exact. Well, not literally Mars, but playing a residency in LA, side by side with Luke Spiller, frontman of The Struts and one of rock and roll’s greatest modern frontmen, as well as one of David Bowie’s Spiders from Mars: famed piano player Mike Garson. Together, this group would tackle the best pieces of Bowie’s catalog while throwing in some surprises as well.

“It was incredible. Luke called me, and I had seen on Instagram the last two years that he was doing shows. These kind of intimate shows at the Sun Rose on Sunset with Mike. But I didn’t really… you know how we digest things online? It’s fast, and everybody’s busy, and it didn’t really clock with me, like what was actually happening there. Then he called me, and he was like, ‘Hey, I’m gonna do my third year with Mike.’ It finally hit me. I have a story with being turned on to David Bowie. I was 16 years old, and the guys from Pepper’s Ghost—Michael, Anthony, I don’t know if Robbie was there, but it was definitely Michael and Anthony—took a young Nick Perri, 16 years old, to The Ritz in downtown Philly, and we watched the Ziggy Stardust and the Spiders from Mars concert film in a giant movie theater. And I didn’t realize that Mike Garson was in that band, and that not only was he in that band, but that he opened that show. Bowie put him out on stage first, and he opened the show, solo piano, and then played with them. And once I started putting all the pieces together and then realized that not only was he an original Spider from Mars, but had played on Rebel Rebel and Aladdin Sane and all this iconic shit, and then played on Fragile, which is my favorite Nine Inch Nails record, and did the iconic Bowie/Nine Inch Nails tour in ‘94. Fucking insane. I mean peak Nine Inch Nails, and he was there every night and played and hung out with Trent, and they played on stage together and like just mind-blowing shit. So obviously, Luke is my friend, and I’ve played with him a million times by now. He is, like you said, one of the great frontmen of our time. Once I ended up putting all the pieces together, I was very excited to do it. But nothing could prepare me for being on stage, having my eyes closed and hearing him play Life on Mars. I had goosebumps over my entire body. I was just like, this is like a once-in-a-lifetime opportunity. When I saw it on the big screen, they got to Moonage Daydream in the set. I saw Mick Ronson, and he played that iconic solo with the echoplex, and it’s like this live and on the record, it’s an incredible recording. It was a life-changing moment for me as a guitarist and as a musician to then actually be able to play that solo, and I did the Mick Ronson thing note for note. Sitting there, I was like, man, playing with THE guy, and that was full circle. I completed the loop. So very grateful for that opportunity. But we were so excited, and I think that the energy was just so uplifting and so wonderful for everybody that acknowledged how special it was. Like, these weren’t just like throwaway gigs; everybody was really into it. It meant something.”

“Son of a Preacher Man”

Rock and roll. The end-all, be-all. The religion that, no matter what race, background, or spirituality you hold, accepts all with open arms and without prejudice. Lives have been saved from hearing its prayers, written by too many prophets and missionaries to even begin to count. Hopes and dreams have been obtained by the believers simply trying to create a passage of their own. It’s a never-ending story, one that will continue long after you and I are gone. Sure, it goes through times when it’s not believed in as heavily as in years past, but there are always those who will worship at its altar. But what does it mean in our current time? What does it hold for us moving forward? Can it once again save us from ourselves?

“The whole state of the world is in such fucking disarray. I feel like the world right now, more than anything, regardless of genre, needs the spirit of rock and roll. And I feel like I’ve seen that quality in a number of artists in other genres. I feel now more than ever that the ‘spirit’ is what we’re really talking about. We desperately need renegades, and we need people who go against the status quo. More than ever, we need people to stand up for basic human rights. We need the rock and roll spirit in our modern civilization. We need the rock and roll spirit in our world, in politics, and in capitalism. We need rock and roll pioneering in all these other facets of life because everything’s become so fucked. We need some rebellion. I’m fucking ready. I’ll go march tomorrow. I am absolutely ready to challenge all this shit. I’ll tell you what, though, in the pop world… Chappell Roan is as rock and roll as you get. She is taking none of the traditional shit. She is accepting and taking none of it. You could see it when she’s on a red carpet… she doesn’t give a fuck, and it’s so refreshing. And it’s so wonderful. I feel like that spirit needs to be applied to every aspect of what we’re doing, and just because something has been a certain way for 20 years or 50 years or 100 years, it doesn’t mean that it’s working. And in a lot of cases, look at the state of the world—it’s not working. So I think that seeing her spirit and her willingness to challenge all of it and to go after even the notion of celebrity and be like, just because I’m an artist and doing something that you like doesn’t mean that you can bother me at the truck stop and ask for a picture. Just because you like my music doesn’t entitle you to that. The way that we think we can act when we see a celebrity, when we see somebody that we like a lot… And regardless of how you feel about each individual circumstance, that’s not the point. And the people who get hung up on that are missing the point. The point is, it’s okay and should be widely accepted to challenge the notions that we have in place. Because if we’re not doing that, we’re already failing at democracy. We’re already failing at the spirit of the whole country, what the whole country was founded on. So I feel like more than ever we need rock and roll everywhere.”

So many of the great bands have inner turmoil. It’s inevitable. For those of you who have not had the “joy” of playing in and being a part of a band, imagine that you were dating 4-5 people simultaneously. Everyone has to be heard and understood, feel important, and have their needs met. Also, to be held accountable for what they are or are not doing to help the relationship flourish. You are going to fight. No way around it. What really matters is how much you value each other, and the steps you are willing to take to keep things moving forward, together.

“After the ten-year anniversary, things weren’t great. The thing that makes Silvertide live is also the thing that makes Silvertide break up all the time. We always joke that we break up the most of any band. We’re always breaking up. We’ve broken up so many times that I can’t even count. It’s just really a personality thing. We all love each other, and we all are decent human beings. It’s just you put five of us in a room, and it’s very heated. But it’s the thing that makes Silvertide great. It’s also the thing that makes us very hard to work with. I’m just being honest about it. After that ten-year anniversary, I was kind of soured. I think some other people were soured, and I had no interest in talking to anybody about more shows. I mean, obviously, Walt’s my best friend, and I play with Brian all the time. But even those dynamics with those people are just different than even the dynamic with those people in Silvertide. I think because our personalities and our roles were established so young, it’s like everybody kind of falls back into what those roles were, for better or worse. It’s a touchy subject. It’s a touchy thing to get us all together and have it go well. So there was a group thread, and Kevin brought up getting together. This was right after Sun Via came out. And with all due respect to him, I just completely shut it down. There was absolutely no chance in the world I had any time to even comprehend having a discussion about Silvertide. Let’s talk again when, you know, when we get close to 20 years (of Show and Tell). I can foresee a situation where maybe we talk about celebrating the 20-year anniversary, but until then, I’m out. I’m just very honest with everybody. I don’t bullshit, I just… I try to be a nice, respectful, considerate human being, but I just say it the way it is because there’s just literally no time. Anyway, eventually, I had a conversation with Walt. For Silvertide to work, Walt and I kind of need to be aligned, or it’s kind of moot. So I just… I had a long conversation with Walt. We talked about the things that we wanted, we talked about the things that we didn’t want. We decided to talk to everybody else and gauge some temperatures. We all had a meeting, and we had to align our vision and goals because if that didn’t work, it would have also been a moot point. It would just have been like a nonstarter. So, the initial meeting that we had went well, and everybody felt good about it, so okay, things are a little bit more serious. Then we started talking about what it would look like and what shows we would play if we would play shows. Would we work on new stuff? What would we do with our time? Would we finally put merchandise online? Would we finally put Show and Tell on vinyl? All these things are floating in the air. And the answer is… we’re talking about all of them. It’s just certain things have come to fruition sooner than others. And I think that as long as… like I said to everybody else, I’m not expecting this to become my full-time job ever again. So forget about the money and like, for me, it has to be fun. It has to be rewarding in a creative and like fun way, or there’s no reason for me to do it. It shouldn’t feel like work. So we all agreed to try to the best of our abilities to keep it fun, to keep it lighthearted, and also to celebrate. I’m into the idea of celebrating the work because we did work really hard. We put our whole lives into it back then, and we made a record that we still do feel stands the test of time, both sonically and songwise. People still write us every day that week that it’s their favorite album or in their top five or their top ten. It’s all over the world. I got a guy who wrote me from Peru last night. There are some people flying here from Japan for the show. So because of all those things, I do think we have something worth celebrating. At the very least, even if shit hits the fan on December 21st… on December 20th, we’re celebrating all the work that was done leading up to it. And if we don’t kill each other and we don’t break up on the 21st, then we can look forward to more things in 2025. If I was a betting man, I would say more things were coming in 2025. As long as somebody doesn’t kill somebody else, somebody doesn’t punch somebody in the face and go to jail, which already happened. Something like this, you have to take it day by day. Plan, but don’t plan too far ahead.”

“Horizon”

Five years can feel different for many people. To some, it feels like yesterday. To others, an entire lifetime. But there is something that is not bound to our perception of time: evolution. Personally, emotionally, artistically. When we spoke last, it was a rebirth in music and life for Perri. We’ve talked about how the last five have transpired, but what about the next? Who does someone want to be? Or rather, who does someone want to become?

“I really don’t want to be anybody outside of the best version of myself as humanly possible. I’m proud of who I am. It’s taken all these years, but I finally feel pretty comfortable in this skin. I would hope that I’m a busy producer and I’m helping create multiple records a year that I’d love. I would also love to be a busy session musician who’s playing on records all year that I love, and helping other artists bring their songs to fruition through my playing and my production. I wouldn’t mind playing some festivals and playing some shows every once in a while with Silvertide guys. I wouldn’t mind being on tour every once in a while if it was the right tour and the right accommodations and the right pay, because touring is really tough and it’s not something I say yes to right away. You know, when I was in The Struts opening for Queens of the Stone Age in arenas in Canada, there was salmon catering every night and traveling in a bus and beautiful hotels, and I’m like, ‘Great, I’ll do that anytime… sign me up anytime and twice on Tuesday.’ I’m not gonna do living in the van, five people in one hotel room, sharing a bed with Brian Weaver. I’m not gonna do that anymore. I did that up until very recently. The final piece of that puzzle now for me to be fully happy and fulfilled as a musician… I have to keep making records. I have to keep putting out my own records. There’s just no other way around it. I know myself now too well to know that I can’t exclude that part. I finally feel like, as a producer, as a songwriter, I’m hitting a stride where I’m really proud of the work. It’s on a level that I feel is worthy of my time. The future for me is a balance of all those things, and I think that if I could go back in time, I would have opened myself up to doing more of that along the way this whole time. I was very tunnel-visioned, but I feel like to have given birth to that chapter and that part of my life, like you’re saying, that was kind of the start, a rebirth of creativity. The only way that I could have kind of landed in that role and concentrated hard enough to get those records out… I don’t know that it could have happened while I was doing ten other things. Certainly not Terra Firma. That was an all-consuming two years of my life. I was doing the role of twelve people on that record. All of it fell on me. We would go home from the studio, and it’s like I was then left with months of work in my studio editing, because we just kept capturing tracks. Somebody has to go through all of it. Someone has to make those creative decisions. Someone has to choose. And it’s a lot of pressure because it’s going to be that way on that record forever. So all that stuff took incredible tunnel vision. But now, I feel like I’ve figured out that the way forward is going to be more open to doing all those things, and that my career, if it’s working, is probably going to include all those things as opposed to just one aspect of it. So, in five years, I hope to sit with you and go, ‘Dude, I nailed it. I’m doing all those things. I’m busy, but I’ve got a good work-and-personal-life balance, and most importantly, I’m enjoying life.’ That’s what ultimately I want. I just want to enjoy life and be happy.”

Some stories sing louder than others. Nick Perri’s musical odyssey rings like a power chord from Hell. From the wide-eyed kid setting Philadelphia on fire with Silvertide to the seasoned soul now charting the next routes for The Underground Thieves.

Life’s melody carried him coast to coast, and though California might be his final resting place, Philadelphia’s siren song always beckons him to come back. Even if he ain’t coming home.

As I watched him on stage on that cold, snowy December night, he’s no longer just that guitar wizard of yesterday, but a complete artist painting with every color in his soul. Gone are the days of chasing his dream. He has it. The dream became reality. Now it’s just man, guitar, and truth.

Sometimes the longest road leads right back to your doorstep. Nick’s journey—from those electric nights on South Street to arena tours and back again—whispers a beautiful truth: real success isn’t about following footsteps in the sand, but about leaving your own unique mark on the world’s stage.

For Cairo Perri

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Written by: Max Bennett, Photos by: Ali Brant; David Lisowski; Matt DeVito

Altarviolet Is No Alter Ego, It’s Greta Hotmer’s Essence.  Go listen to the 2021 album Sojourn by Altarviolet. Then listen to Altarviolet’s 2024 album Tired Wild Hearts. One may think these albums were by two separate artists. But Altarviolet is, and always has been, Greta Hotmer.

Releasing Tired Wild Hearts was not just releasing a collection of songs to Altarviolet; it was a release of pressure. “I come from a couple of backgrounds, a singer-songwriter, but also I was in a rock band, and Thrice, Deftones, and Tool are some of my favorite bands,” Hotmer, 42, said in a video interview with That Mag.

When she lived in the Philadelphia area, Hotmer was singing in local rock band The Moxy, who readers may know due to their ties to Bam Margera.

“In my old band, I was exhausted.”

A few years ago, she headed west after a long-term relationship that also was musically collaborative came to an end. While Hotmer discussed her past with That Mag, she focused not on the relationship but her long journey to releasing  Tired Wild Hearts. “I pretty much stayed in the singer-songwriter lane for a long time because that was the only thing I really knew,” she said.

While in The Moxy, some electronic elements came into the fray toward the band’s end, and Hotmer kept hearing synths in more and more music.

When she left her old life, she bought a Moog synthesizer. “I had no business doing,” she said of buying the instrument. “I got it to hold myself accountable, and I’m still learning how to use it.”

But if you put Tired Wild Hearts on, it doesn’t sound like she’s still learning to use the synth.

The 10-track album features plenty of synth work. From fuzzy house music bass lines to staccato-like, bright individual note riffs, the synth shines along with Hotmer’s soaring voice.

“I don’t have formal training in things,” she said. “As long as I can hear something and make it real, then I can do what I can do.”

She started on piano as a kid with her sister. The two would go to their lesson, and while her sister sat with the instructor, Hotmer would mess around with a keyboard in the next room.

“What I did most of those lessons is listen to all the sounds on the keyboard,” she said. “I remember being pretty young and thinking, ‘Oh, synths!’”

She moved on to guitar at about 12 years old and was heavily influenced by Tori Amos’s 1996 album Boys for Pele.

“She was so weird, and I loved that so much as a teenager,” she said. The synth and organ work on that album stuck with Hotmer, specifically from the second track, “Blood Roses.” The texture of those synths and organs made her want to infuse her own music with the same feelings. But she was turned up to 11, to use a music cliché, playing in rock and roll bands.

“I really love picking out and crafting synth sounds,” she said. “I love that sonic journey of getting all the nuances and vibes right. It’s an experience. I always think about that album when I’m thinking about sounds that I love.”

Tired Wild Hearts is an ode to those textures, and Hotmer’s fiancé has dubbed her new music “witch house.” What is “witch house,” you ask? Witch house brings together trap-style beats, electronic music, and pop vocals, creating a mysterious, almost supernatural soundscape. And, Hotmer produced the album herself using Logic Pro in her home. She had experience in recording studios before, watching people work the board while quietly taking in what she was seeing.

Her recording skills are largely self-taught, and a former bandmate passed down knowledge of mixing and how to carve out sounds one is looking for. She’s also taken these skills to Hollywood, so to speak. Hotmer has been submitting recordings to be featured in movie trailers. Having been exposed to quite a bit of musical theater as a kid, blending music and the world of theater and cinema seemed natural. She started hitting up people who worked in music licensing companies, telling them she was available for vocal recordings. Ever persistent, she found a contact and has been working with that person for a few months, with some recordings being shopped out to Netflix. But making music that’s licensable for big production houses such as Netflix is different from writing for herself.

Writing Tired Wild Hearts rekindled her passion for writing about, and for, herself. “This album is always what I’ve wanted to make and really get it out of my system,” she said. Almost like a pressure release.

And there is pressure to release. Having played in a rock band for many years, undergone a lengthy battle with Lyme disease, and seen her long-term relationship come to an end, Hotmer’s newest album is her way of telling the world, “This is me.”

Hotmer, now living in Colorado Springs, has found a life that embraces her out west. In addition to her fiancé and music friends, Hotmer has a found family in the jiu-jitsu community. A martial arts practitioner since 15, Hotmer doesn’t often compete in jiu-jitsu events, but trains four to five times a week with women who are looking for a workout and a bit of self-defense. She began with kickboxing, saying she really wanted to “beat the shit out of the bag.” Her then-instructor loved her ferocity and encouraged her to continue pursuing martial arts. Then she trained in Krav Maga, the martial art developed for the Israeli Defense Forces, and became a Krav Maga instructor for several years.

But then the aforementioned Lyme disease struck when she was 20. By 23, she had to put a halt on training. “I was like 80 years old for most of my 20s,” she said. “It’s why I refuse to do whatever I’m supposed to do at this age.”From about 23 to 35, martial arts were not a part of Hotmer’s life. But she dived back in, going on to earn her black belt in Krav Maga, then began taking small jiu-jitsu classes about seven years ago.

Now, she has two stripes on her jiu-jitsu brown belt, one level below a black belt. “It’s added so much to my life in so many ways,” she said.

Krav Maga,  is explosive, and students are typically capable defenders in about six months. Jiu-jitsu is much more of a long-term discipline, an art, she said.

“I have fun now,” she said when comparing Krav Maga to jiu-jitsu. “I always wanted brothers, and now I have like 40 of them.” And when she trains other women in jiu-jitsu, she hopes they tap into their “warrior spirit.”

“It’s important,” she said of women feeling empowered and able to defend themselves. “I teach my girls to be terrifying.”

Hotmer said that of the things that make her, her, martial arts is one of the primary factors. Another is, obviously, music. “Music is the piece of me that I didn’t give proper homage to until now.”

“I’ve had tremendous challenges with things,” she said. “Not more so than other people, but feeling like I was in a cage for so long, I’m very, very grateful for just being able to do this and give it a go.”

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This summer, Philadelphia’s premier public radio station, WXPN, challenged local musicians to write a song in 24 hours. While Khalil Amaru was named the grand prize winner, earning himself a spot on stage at this year’s XPoNential Music Festival, three other artists were named finalists out of the several hundred submissions.

Those artists are Yuneer Gainz, Mackenzie Johnson, and Best Bear, all of whom performed short but sweet sets Thursday night at World Cafe Live for WXPN’s Homegrown Live! show.

The free gig took place in WCL’s upstairs venue, The Lounge, and for a Thursday night show, the crowd was sizeable.

The fun kicked off with Yuneer Gainz, who was joined on stage by guitarist Sam Mandell and Andrew Miller on Keys. Offstage was Tyrell “Ace” Clark, working beats and vocal effect detail.

First was a heavy-hitting track featuring thumping bass and deep peels of a church bell. Yuneer Gainz showed off his skills both in rapping and singing in his first song. The chorus was overlaid with backing vocals, but Gainz’s shined when it was just him on the mic.

Best Bear

That became even more evident throughout his set, which featured his 24-hour song, “Grown Man Tears.” The track’s production is minimal, with just guitar and keys, no drums. He told the audience he recorded the song in just one take, a truly impressive feat.

Gainz later in the set performed his latest release, “Flight,” a song he dedicated to a late friend. This song was a more traditional hip-hop track in which Gainz showed off his ability to spit lyrics quickly.

He went on to play an unreleased track titled “Back Home in Bethlehem,” a song he wrote about visiting his brother in rural Pennsylvania. When Mandell began to play the song’s chords, Gainz was surprised at the key, noting it was different from what was laid down on the record. But Gainz found the key and nailed the vocal performance, and Mandell laid down a slick solo, continuing the motif of peppering crafty guitar licks, riffs, and solos throughout the set.

The last song was another new track and featured a lyric about the galaxy, which was fitting as Mandell and Miller’s guitar and keys were drenched in dreamy effects, complementing the lyrical content.

And it should be mentioned that Gainz told me after his set that Thursday was his first time performing live.

Up next was Johnson.

From the jump, her vocal control was on full display, and I immediately thought she could easily fit on a bill with acts like Phoebe Bridgers, Muna, or Taylor Swift.

Johnson was alone on stage with her guitar. She told the crowd her first open mic experience was at World Cafe Live, which made her set feel serendipitous.

Johnson’s song “The Sisterhood” highlighted her penchant for all things “witchy.” Leading with an eerily finger-picked minor chord riff, the song included word suggestions offered to her by fans, and Johnson put them to good use, evoking supernatural and dark vibes. We were all welcomed into her coven.

Then came a cover, featuring Blue Barnett of Best Bear. They gave the crowd a beautiful rendition of “Dreams” by The Cranberries. The two best friends delivered wildly good vocal harmonies on the classic 90s hit.

Johnson moved on to “Straight to Hell,” which she said will be her next single to release. She taught the audience a singalong section of the track’s chorus, and during the song, the audience participation aspect didn’t quite hit as hard as she surely would have liked. However, the song’s lyrics are relatable to many people: being with someone who just isn’t right for you but still pursuing that relationship. “Straight to Hell” made me think of Taylor Swift a bit, as the pop superstar often waxes poetic about her love life, and the song’s structure felt comforting like a good T-Swift song.

She closed out with “Sunburn,” her contest-winning song. While the song was written in summer, it was about the end of summer. More appropriately, it was about losing summer. “Sunburn” is a breakup song. Johnson performed the song live for the first time Thursday, and given its 24-hour turnaround, she showed true artistry in the composition and performance.

Best Bear finished the show.

The four-piece indie rockers started their set with “Apathy.” The song starts slow, with only Barnett on guitar and vocals. It builds up and includes some tasteful lead guitar work from Gwen McFadden.

Drummer Charles D’Ardenne and McFadden joined Barnett vocally on a few tracks, providing backup singing to make the band sound even more rounded out.

Best Bear’s contest-winning track was “Fireworks,” and it was recorded solo by Barnett. But Thursday, the band played a fully expanded version. The song reminded me of another band; maybe it was Soccer Mommy’s “Circle the Drain?” Either way, it was a great song that had a catchy riff and had the crowd’s heads bobbing along with the brainworm-y vocal lines.

Johnson then joined the band for a song Best Bear dropped that very day, “The Fall.” The song is reminiscent of unavoidable 90s alt-rock that many of us millennials grew up with.

Best Bear then came in with the track “Eleventh Grade.” Barnett’s lyrics tell the story about their coming out and serve as an anthem for anyone in the LGBTQIA+ community. The band seemed to put their hearts in this particular song, given its message of “do whatever’s going to make you happy.” And McFadden again delivered lead guitar work that shined, but not so bright to outdo the rest of the band.

They went on to play “When,” the title track from their 2022 album. I hadn’t looked around the venue in a bit, and I was disappointed to see many people left by this point. I get it was a school night and a free show, but Best Bear was killing it on stage.

I couldn’t tell you what the closing song was, but it was more rock than indie. The band kicked it into overdrive to bring an end to the night that celebrated local artists so well. It was fast and had a driving force thanks to bassists Storm Paul and D’Ardenne holding down the rhythm section.

Yuneer Gainz

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Mackenzie Johnson

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Best Bear

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Written and Photographed by : Liv Foltiny

As the final remnants of orange and blue faded from the sky, I walked up to the TLA and was greeted by its illuminated marquee, which displayed the name of the night’s headliner, Fit For An Autopsy. Even though the night’s event started around 6:30 pm, there were still a few groups of people outside, conversing while the first band, Judiciary, performed. Being somewhat of an awkward social butterfly, I decided to talk with one of the guys in the closest group and, noticing his lanyard, thought I should ask if he worked at the venue. After politely informing me that he didn’t work at the TLA, he told me that he was there to perform with his band; this resulted in me apologizing and making a lame excuse for my inquiry. Upon learning I was speaking with Kyle (Carter) of Bodysnatcher, I explained that I was there to cover the show and gave him one of my cards in case the band would be interested in me sharing my photos with them.

Following my positive interaction with Kyle, I picked up my credentials and made my way to the photo pit just in time for the second band of the night, Sylosis, who hadn’t been in the U.S. for the past 11 years. A few songs into the band’s set, Josh Middleton (lead vocalist, lead guitarist) took a moment to hype up the other bands as well as address the crowd directly. He openly acknowledged to fans that he might sound a bit “off” since he was getting over a cold and stated, “I don’t take this shit lightly. I’m very happy to be here, even if my face looks like I’m miserable. Just know that I fucking appreciate your support. Thank you so fucking much.” With the crowd pumping fists and headbanging along to their music, Sylosis continued their set, playing with an undeniable fervor that could easily be felt from the energy and vibrations emanating from the stage.

Shortly after Sylosis finished, Distant, coming from the Netherlands, took to the stage. Filled with enthusiastic headbanging, guttural vocals, and interactions with the crowd, Distant’s performance built upon the energy stemming from Sylosis’ set. From Elmer Maurits’ emphatic, sweeping movements on bass to Nouri Yetgin’s spinning while playing his glittery guitar, Distant had all eyes on them. Plus, with Alan Grnja (lead vocalist) encouraging the crowd to run in circles and form walls of death, which he did before and after making hearts and blowing kisses to the crowd, the band made sure everyone was fired up and ready for more. At 8:45 pm, Bodysnatcher began to play, and, like Distant, they engaged in plenty of headbanging, dynamic motions, and rousing the mass of people in front of them. Having caught a glimpse (and taken a quick pic) of their setlist on the stage floor, I could tell you that songs like “Infested,” “Human Disdain,” and “Black of My Eyes” were part of the band’s itinerary for the night. Toward the end of their set, the band took a moment to speak with the crowd, asking if anyone had ever lost a loved one to addiction. Subsequently, they proclaimed that their final song, “Murder8,” was dedicated to everyone who succumbed to it. Following Bodysnatcher’s goodbyes to the audience, it was only a matter of time before the final band performed.

Around 9:45 pm, the house lights dimmed, yielding to the stage lights one last time to reveal the night’s headliner, Fit For An Autopsy. Like the previous bands, Fit For An Autopsy participated in headbanging and other acts associated with metal artists. However, while all of the bands undoubtedly connected with the crowd, Fit For An Autopsy seemed to do so on a different level. With crowd surfing continuing throughout their entire set, it was obvious the band not only had a substantial number of fans present but also knew how to incite them. From several fans crowd surfing more than once to the copious thrashing in certain parts of the venue, one thing was indisputably clear: the crowd was hooked. Performing at least a dozen songs, including “Pandora” and, conclusively, “Two Towers,” Fit For An Autopsy played for a little over an hour, ending their set by 11 p.m. As someone who doesn’t listen to deathcore music, I understood almost nothing being sung during the show, but that didn’t prevent me from enjoying it. Having the qualities of a successful show, the concert was full of enthusiastic performances and crowd work, as well as notable mutual respect and support between all of the bands. Overall, it’s safe to say that Fit For An Autopsy gave their fans a helluva night and a preview of their newest album on this stop of their The Nothing That Is Tour. You can check out The Nothing That Is wherever you stream music!

Fit For An Autopsy

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Bodysnatcher

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Distant

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Sylosis

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Written and Photographed by: Max Bennett

Philly Music Fest offered an eclectic array of local acts at numerous venues in and around the city. And at Johnny Brenda’s on Oct. 23, Philly Music Fest got turned up to the proverbial 11 with a ripping show featuring headliner Sheer Mag and The Out-Sect in support.

The show got going at about 8:17 p.m. with The Out-Sect coming in hot with their surf rock offerings. Both the lead guitar and lead vocals were trembling with tremolo, reminiscent of Link Wray’s 1958 classic “Rumble.” The five-piece band also includes an organ, which complements the 50s and 60s aural aesthetic of The Out-Sect.

By their third song, The Out-Sect was going hard in the pain, to use a basketball reference, as the Sixers kick off their season. Bassist Laura Nunzi was putting in work on her instrument. Despite her stature, she kept the beat thumping and thundering on what can often be an unwieldy instrument due to its long neck and sometimes backbreaking weight.

The band played what they said was a cover song, but neither myself nor my two friends recognized it. Still, adding a cover to a set is always a fun surprise for audience, at least to me. Ideally, a cover isn’t just a near note-for-note recreation, like the horrid Weezer cover of Toto’s “Africa.” Nor should it be a disastrous revision akin to Fall Out Boy’s “We Didn’t Start The Fire.”

Anyway…

Unfortunately, and maybe because it was a weeknight show, I could tell The Out-Sect’s set wasn’t going to be too long, and when they reached the latter half of their time, they really ramped up the energy.

They tore through the back half of the set list, which felt more punk than surf, but the throwback sound was still the underlying motif of their final songs.

I regret to say that while the performances were killer, the mix felt lacking. It’s frustrating to know stellar musicianship is happening right in front of you, but that certain instruments are lost in the noise. I would have loved to have that organ a bit louder for the set, but maybe that’s the way The Out-Sect likes their sound.

I also have to note the rather unique guitars wielded by frontwoman Lisa Russo and lead guitarist Grey Haas. Haas was playing a guitar from Vox, which is known more for its amplifiers than instruments. I couldn’t pin down what axe Russo was using. The classic Gibson and Fenders are iconic visually and sonically, but seeing lesser-known gear brands on stage always piques my interest. Not to mention, they sounded great for the surf rock vibes.

Sheer Mag hit the stage at about 9:22 p.m., but before they came on, a representative from Rock to the Future took the mic to tout the group’s efforts to help get kids into music, which got a warm reception from those in attendance. After all, we were all there because we love music.

Check out Rock to the Future online here.

I was only loosely aware of Sheer Mag before the show. I sadly missed them a few years ago when they opened for Coheed & Cambria in Harrisburg, and after seeing them at JB’s, I’m kicking myself.

Their energy was incredible.

The band came out of the gate very hot, and I was thinking about bands like Thin Lizzy and Boston hearing the incredible lead guitar work from Kyle Seely. Seely told me after the show he’s as inspired by The Allman Brothers Band as by Thin Lizzy, which isn’t surprising, but his lead work is more histrionic than the laid-back jams that Duane Allman and Dickey Betts laid down.

Vocalist Tina Halladay’s belted her way through the set in her high-register voice. The feat of keeping that range for an hour is Herculean at the least. I racked my brain to pull a reference for who she reminded me of vocally, then it hit me: New Edition, specifically the sung vocals on “Candy Girl.”

Bassist Hart Seely (Kyle Seely’s brother), rhythm guitarist Matt Palmer, and touring drummer Evan Campbell held the fort down with rumbling bass, cranked out chords, and pounding drums while Halladay and Kyle Seely shredded the set.

All together, the band forms something unique and special. And fans of Sheer Mag already know this; I’m just late to the game.

Like I said, Sheer Mag Live is like mid-to-late 70s guitar rock with the vocals of New Edition’s Ralph Tresvant.

And that makes sense why they were on a bill with Coheed & Cambria, who are known for the high vocals and intricate riffing.

Watching the Seely brothers take up the same microphone while they jammed on was very fun to see. The brothers jumping to the mic simultaneously to belt out “moonstruck” during the titular song “Moonstruck” from their album “Playing Favorites,” which was released this year on Jack White’s Third Man Records, made me smile every time they did it.

Campbell had a moment to show his chops on the skins with a nice drum break, reiterating that without him, Hart Seely, and Palmer, Sheer Mag’s goal of delivering blistering 70s rock and punk-inspired modern-day protest music would fall flat.

But they succeed fully.

The band took a short break before playing two final songs, closing with “Fan the Flames,” their most popular song on Spotify and likely all other platforms, which was released a whole decade ago. That goes to show Sheer Mag has built a dedicated fan base and has surely weathered many a storm. Few bands can claim those successes.

Sheer Mag

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The Out-Sect

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Written By: Lisa Melograno

In a world where music can often feel like an endless cycle of sameness, Quiet Time emerges as a refreshing breath of bubblegrunge air. Their debut EP, “Everyone’s Having More Fun Than Me,” encapsulates the spirit of a generation grappling with isolation, nostalgia, and the absurdity of modern life. Hailing from Philadelphia, this band blends the raw, emotional edge of grunge with bubblegum pop sensibilities, creating a sound that’s both familiar and strikingly unique. Quiet Time’s inception during the COVID-19 pandemic gives their music an added layer of significance. Lead singer MaiAda Carpano and her husband, guitarist Nick Tuttle, found solace in songwriting within the confines of their basement. This intimate setting is palpable throughout the EP, where vulnerability meets creativity in a raw, unfiltered manner. The band’s name, a cheeky nod to a neighbor’s plea for quiet during their practice sessions, perfectly encapsulates the juxtaposition of their sound—joyful yet tinged with the chaos of reality.

“Shout Out, Mrs. Albertson,” the first track on Quiet Time’s debut EP, encapsulates the emotional turmoil and existential musings of a generation yearning for connection and understanding. With its blend of bubblegum pop and grunge influences, the song emerges as both a catchy anthem and a poignant exploration of self-identity. The lyrics are a compelling tapestry of vulnerability and introspection. MaiAda Carpano’s voice carries a sense of urgency and sincerity as she navigates the complexities of wanting to be loved while grappling with feelings of inadequacy. The chorus’s refrain about being the “derelict darling/of the deadbeats club” speaks volumes about feelings of alienation. The reference to Mrs. Albertson and the science teacher adds a layer of irony. In seeking to be “saved” and molded into a “good girl,” the narrator recognizes that conformity will never satisfy her deeper need for authenticity and love. “Shout Out, Mrs. Albertson” strikes a perfect balance between upbeat and introspective. The infectious melody, driven by jangly guitars and punchy drums, creates a contrast to the weight of the lyrics. Oren Roth-Eisenberg’s drumming provides a steady pulse that propels the song forward, while the dual guitar contributes to the vibrant soundscape. The production is polished yet retains a raw edge, echoing the band’s roots in the ethos of the Philadelphia music scene. The song’s emotional resonance is heightened by MaiAda’s vocal delivery. Her voice oscillates between vulnerability and defiance, capturing the essence of someone caught between longing for acceptance and the harsh realities of self-doubt.

“No Stars. Just Trash,” the second track on Quiet Time’s debut EP, “Everyone’s Having More Fun Than Me,” showcases the band’s knack for blending raw emotion with an infectious, upbeat sound. Clocking in at just under three minutes, this song packs a powerful punch, both musically and lyrically, making it a standout moment on the EP. The verses are introspective, exploring feelings of inadequacy and the desire for validation. MaiAda’s vocal delivery here is particularly poignant, capturing the frustration of feeling overlooked in a world obsessed with celebrity culture. MaiAda Carpano’s voice conveys a mix of vulnerability and defiance, reflecting the internal struggle of wanting to believe in someone despite their shortcomings. The repetition of “I’d still take them” emphasizes the longing for connection, even when it’s clear that the other person is unreliable. “No Stars. Just Trash.” is anything but slow. The track bursts with energy, driven by punchy drums and vibrant guitar riffs. Oren Roth-Eisenberg’s drumming is particularly noteworthy, providing a relentless rhythm that propels the song forward. The guitars, courtesy of Nick Tuttle and Randy LoBasso (former Origivation Editor), create a melodic interplay complimenting Tom Farnham’s bass playing that is both catchy and textured, blending the upbeat energy of pop-punk with the grunge influence that Quiet Time embodies.

“No Stars. Just Trash.” is a testament to Quiet Time’s ability to craft songs that are not only catchy but also deeply reflective of the human experience. The song’s tempo and arrangement contribute to its lively feel, making it perfect for those moments when you want to scream out your frustrations but still feel a sense of joy. “No Stars. Just Trash.” serves as a perfect bridge between the playful and the profound, showcasing the band’s unique ability to convey complex emotions through their music. It’s a track that embodies the essence of bubblegrunge. “Shut Up, I’m Trying to Cry Over Here” is a striking exploration of emotional turmoil and the complexities of modern relationships. With its driving rhythm and relatable lyrics, this song captures the essence of vulnerability while maintaining an upbeat energy that keeps listeners engaged. The lyrics are a poignant reflection on the frustrations of love and the often-messy reality of emotional connections. From the outset, MaiAda Carpano’s voice conveys a mix of defiance and weariness as she confronts a relationship that is both enticing and tumultuous. “Shut Up, I’m Trying to Cry Over Here” is vibrant and energetic, striking a perfect balance between pop-punk catchiness and grunge-infused angst. The driving beat, complemented by punchy guitars and dynamic drumming creates a compelling sound that invites listeners to nod along. With its infectious sound and relatable lyrics, this track resonates with anyone who has experienced the tumultuous highs and lows of a complicated relationship.

Quiet Time successfully captures the essence of navigating love in a modern world, making “Shut Up, I’m Trying to Cry Over Here” a must-listen for fans of emotionally charged music that doesn’t shy away from the complexities of the heart. This song invites listeners to embrace their feelings, dance through the chaos, and find solace in the shared experience of longing and vulnerability. “Scheherazade” is a bold and provocative exploration of gender dynamics, power, and the complexities of victimhood. Drawing inspiration from the legendary storyteller of “One Thousand and One Nights,” the song intertwines themes of survival and deception, making a powerful statement about the narratives surrounding women in a patriarchal society. The lyrics delve into the manipulation of perception: “She set up a hoax and married a rich man/ Slayed him with her wit.” Here, the protagonist uses her intelligence in a world that often underestimates women, showcasing the theme of cunning as a survival mechanism. “Scheherazade” combines energetic instrumentation with a driving rhythm that complements its urgent themes. The arrangement features a blend of catchy melodies and grunge-inspired elements, creating a compelling sound that draws listeners in. The dynamic interplay between the musicians adds a layer of intensity that mirrors the emotional weight of the lyrics. “Scheherazade” is a track that sets the stage for Quiet Time’s ambitious debut EP. With its incisive lyrics, infectious melodies, and a potent social message, the song challenges listeners to confront uncomfortable truths about gender dynamics and societal expectations. “Scheherazade” is not just a song but a call to action for anyone willing to listen. It invites reflection on the complexities of female agency and the narratives that shape our understanding of victimhood. In a world that often silences women’s voices, Quiet Time’s bold proclamation through this track is both timely and necessary, ensuring that “Scheherazade” resonates long after the final note fades.

“Last Year at Elf Camp,” the closing track on Quiet Time’s debut EP “Everyone’s Having More Fun Than Me,” is a poignant and introspective examination of nostalgia, growth, and the struggles of navigating a world filled with uncertainty. The song captures a complex emotional landscape, blending vivid imagery with reflective lyrics that resonate deeply. As the song unfolds, themes of disillusionment and the passage of time emerge. This sentiment resonates with anyone who has grappled with the weight of the future and the fears that accompany maturity. The contrast between youthful idealism and the sobering realities of adulthood is a central theme, underscoring the struggle to maintain hope in a world that often feels broken. The chorus reflects this tension beautifully: “How do broken people save a broken world? We couldn’t even save ourselves.” It encapsulates a feeling of helplessness while yearning for agency—a relatable struggle for many in today’s chaotic landscape. “Last Year at Elf Camp” combines a driving rhythm with melodic elements that enhance its emotional depth. The instrumentation is layered and textured, allowing MaiAda Carpano’s vocals to shine. Her delivery is both heartfelt and earnest, perfectly capturing the song’s reflective tone. The arrangement builds gradually, creating a sense of urgency that mirrors the lyrical themes of change and liberation. The interplay between guitars and drums contributes to a sound that feels both organic and dynamic. The chorus bursts with energy, reflecting the enthusiastic yearning for change and connection that permeates the song. This blend of melodic hooks and rhythmic intensity makes it an engaging listen, inviting repeated plays. “Last Year at Elf Camp” is a compelling closer for “Everyone’s Having More Fun Than Me,” encapsulating Quiet Time’s ability to tackle profound themes with honesty and emotional depth. With its rich imagery, engaging instrumentation, and heartfelt lyrics, the song resonates on multiple levels, making it a powerful anthem for anyone grappling with the complexities of life, growth, and the desire for change.

The chemistry among the band members shines through every note. Their collaborative effort is evident, with each member contributing to the band’s distinct sound. Tom Farnham’s bass playing and Oren Roth-Eisenberg’s drumming are both energetic and nuanced, providing the perfect backdrop for the melodic explorations of the guitars. Nick and Randy’s guitar work complements MaiAda’s vocals beautifully, creating a rich tapestry of sound that is both intricate and accessible. “Everyone’s Having More Fun Than Me” is not just an EP; it’s a reflection of a moment in time. Quiet Time captures the essence of a generation navigating uncertainty and isolation while yearning for connection and joy. The band’s ability to blend introspection and catchy melodies makes this debut a must-listen for fans of both grunge and pop. For anyone looking to find solace in music or simply a good time, “Everyone’s Having More Fun Than Me” is an EP that deserves a spot in your playlist.

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Written by : Eric Sperrazza

The mid-sixties gave the world mind-bending psychedelic rock, a style of music meant best to be enjoyed on some variation of a vision quest, utilizing new experimental recording techniques, sound effects, and elongated rhythmic solos. Later, John Lydon (the once and future Johnny Rotten of the Sex Pistols.) would take experimental sounds, synthesizing chords, and various styles to the next level with his band, Public Image Ltd. Pil, as it is affectionately referred to, would be credited for ushering in the industrial rock revolution of the 90’s, giving us legendary acts such as Nine Inch Nails, KMFDM, and Stabbing Westward. But what if you took the immersive journey that was psychedelic rock and you combined it with a dark industrial sound…all while sending it down a dark alley after last call? You would have the two-man group known as Mind Control System.

In 2020, friends Kev McGuire (vocals, guitar, electronics, samples, saxophone)  and Dave Robinson (synths, drums, guitar, bass, backing vocals, samples) would join forces in Manchester to form Mind Control System. Both with history playing with bands going back to the 80’s, they finally would begin recording what would become their collective debut album, Black Acid. With four tracks to speak of, there is close to a 40-minute journey you embark on through a labyrinth of sound, consumed in an ambience of anxiety. From the opening track, “Pulse,” you are lifted off on a speed-laden roller coaster ride that takes you deep into the foggy annals of your own thoughts, convincing you that you are hearing what bad decisions sound like. At times it is darkly curious and other times it feels violently sexual. And yet, before it’s all said and done, you are gently placed back to where you started and oddly feeling complete.

If you like audible psychedelic experiences, you need to hear this album. If you like Progressive Rock, you need to hear this album. If you like German industrial, you need to hear this album. Most of all, if you are tired of the same cookie-cutter bullshit the algorithms and Top 40 stations are trying to force-feed you, you owe it to yourself to hear this album.

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Written by : Lisa Melograno

Quiet Time’s “Scheherazade“ is an electrifying, dance-punk anthem that reimagines the ancient tale of Scheherazade through a contemporary lens. As the second single off their upcoming EP “Everyone Is Having More Fun Than Me,” the Philadelphia-based emo band skillfully combines their unique sound with thought-provoking commentary on modern society. The song delves into themes of victimhood, power dynamics, and societal double standards, inviting listeners to question their biases and challenge preconceived notions of victimhood. Lead singer MaiAda’s lyrics offer a powerful critique of modern society, reimagining Scheherazade navigating today’s social media landscape, where public scrutiny and misinformation campaigns are all too common. Driven by gritty instrumentation and MaiAda’s incisive lyrics, “Scheherazade” demonstrates Quiet Time’s commitment to addressing important social issues through their music. MaiAda’s exploration of “feminine rage” serves as a poignant reminder of the ongoing struggle for equality and understanding faced by women today, both in the story of Scheherazade and in the present day. As Quiet Time continues to make their mark in the emo and punk scenes, “Scheherazade” stands as a testament to their ability to craft bold, introspective anthems that resonate with audiences. The band’s fearless approach to storytelling and their distinctive sound have garnered them attention and acclaim, positioning them as a compelling act to watch in the alternative music landscape. With their unique blend of engaging narratives and punk-inspired sound, Quiet Time proves that they are not only skilled musicians but also thoughtful storytellers, addressing pressing social issues through their art. As fans eagerly await the release of their upcoming EP, “Scheherazade” offers a tantalizing glimpse of what’s to come, cementing Quiet Time’s status as a rising force in the world of emo and punk music.

Quiet Time :

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Written by Max Bennett | Photographed by  Justin Mayer

Many Baby Boomers mistake kids in their early to mid-20s, Gen Zers, for Millennials. But if any Boomer happened to attend Sunday night’s concert at The Met Philadelphia, they would have seen who Millennials actually are. Reliving the glory days of 2000 to 2010, throngs of Millennials descended upon the Broad Street venue to see Dashboard Confessional live, with fellow 2000s darlings Boys Like Girls and Pennsylvania’s own Taylor Acorn supporting them.

Anyway, Acorn and her band were powerful, despite it being just her, a guitarist, and a drummer. Acorn, who grew up about four hours northwest of Philadelphia, gave an incredibly strong vocal performance Sunday. At times, her voice reached Kelly Clarkson levels of power, all while the vocal melodies were reminiscent of Paramore’s pop punk tracks. What was fun about her set was that it felt like thoughtful pop punk. The drums and guitar did enough technical work to set the songs apart from run-of-the-mill pop songs following a pattern. The set included plenty of minor tweaks in time and rhythm that underscored Acorns’s energetic and punchy vocals.

Acorn took the stage alone, armed with an acoustic guitar, and delivered a mesmerizing solo performance. The intimate vibe of this part of the set changed the room’s aura, almost reminding the audience that Dashboard entered their hearts in such intimate ways. Acorn’s solo performance then ramped up, with the two other band members coming in to deliver a driving close to the song.

They closed out with what is presumably her biggest song and jumped into the last chorus after a crescendoing breakdown section. Boys Like Girls came out not long after.

The four piece from Massachusetts had a big intro to their set and were dressed the part of rock stars. In leather jackets, they burst onto the stage with swagger and braggadocio. While the band’s lead singer Martin Johnson handled vocals for the night, the bassist Gregory James and lead guitarist Jamel Hawke were chiming in with harmonies the entire set.

Hawke was the biggest showman of the group, wandering around the stage, jumping on risers on either side of Johnson, smoking cigarettes on stage, and playing hot leads on their tracks. James was seen swigging beer during the set. They were full of rizz, to borrow a Gen Z term. Johnson handled rhythm guitar too, and he threw more picks out to the crowd than any musician I’ve ever seen. At one point, a guitar tech even came out to add more picks to his mic stand. This was hilarious to me as someone who uses the same pick for months and months.

The band played “Thunder” from their debut album then closed out with “The Great Escape,” which they actually played two versions of. I’m not sure how I feel about doubling up on a song, but the crowd was into it, so it worked.

In between the sets, I ran into Fred Mascherino, formerly of Taking Back Sunday, founder and frontman of The Color Fred, and current member of Say Anything. A true legend.

Dashboard came out as we Millennials imagine it in our heads: just Chris, just a guitar.

He opened with “The Best Deceptions,” a song nearly all 2000s kids knew by heart if they had a partner who was even thinking about another person. From there, Chris went into “Again I Go Unnoticed,” and the band entered the fray.

Reader, I implore you to watch a live performance by Dashboard on YouTube. These shows are not really just shows; they’re communal emotional pressure valve releases. The only people who aren’t singing along are either there to be with a partner and have passing knowledge, or those crying too hard to sing along. From the jump, Dashboard shows were singalongs, and more than 20 years after their first release, we’re still singing along. The band played more of the hits, going into “The Sharp Hint of New Tears” and “Turpentine Chaser,” all old-time bangers.

Chris shared a story of his daughter hearing one of his songs in a movie and calling him after, then went into “Carry This Picture,” which was in the recent film “It Ends With Us.”

Dashboard tapped back into the early albums, going into “Saints and Sailor,” then “Remember to Breathe,” which featured a killer solo from lead guitarist Armon Jay. They then played a “new” song, and by new I mean from the band’s fourth album, from 2007.

Johnson joined Dashboard for an unreleased song called “Watch the Fire” before Dashboard went into their three final, and most influential, songs.

First up was “Screaming Infidelities.” This song is the band’s first big hit, and I’d bet The Met had only a few dry eyes in the auditorium. The anthemic chorus was carried on by the hundreds in attendance, singing along like they were 16 again.

“Vindicated” was up next, which was released as part of the “Spider-Man 2” soundtrack. Remember soundtracks? Remember when they had bands like Dashboard Confessional and Taking Back Sunday on them? “Vindicated” is Dashboard as a whole band, at its penultimate peak.

The ultimate Dashboard is “Hands Down.” The band closed with the lead track off their third album, and everyone in the venue was singing along like Carrabba was singing about their own most memorable nights with a new love.

There’s not much else to say about the show. It was hard to keep track of what was going on to write this review because I was so caught up in the moment. I am, after all, a Millennial who was jilted by a high school girlfriend and used Dashboard as a soothing balm on the deep cuts of a shallow love lost.

Oh, and no SEPTA buses were running on my route apparently, so I walked two miles home. And my McDonald’s order got canceled. Even so, it was a night I’ll never forget. But I’m sure the numerous heavily intoxicated millennial white women there will forget it.

Dashboard

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Boys Like Girls

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Taylor Acron

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