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: 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 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.

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Taylor Acron

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A three-band bill at Ortlieb’s in Northern Liberties on July 20 offered up moody post-punk, blistering three-guitar rock, and a very funny Midwest screamo set to officially welcome hometown rockers Rat Jester to the Philly music scene.

The night kicked off with Blood. The band originally hails from Texas but now calls Philly home. Blood launched into their set with two fiery tracks.

Singer Tim O’Brien’s intensity on stage is very apparent. He delivered lyrics with such fervor it almost seemed like he was angry at the mic, the words, or something else in the ether us audience members couldn’t — or wouldn’t — understand.

Their third song in the set toned down the energy, coming in with just guitar and vocals. Eventually, the whole band joined in and brought the same energy as their first two tracks. That song ended quietly, however, on a somewhat somber note.

The last two songs of Blood’s set were powerful, driven tracks. Their final song came in like a wrecking ball, with the band slamming their way into the closer. It featured dreamy keyboard work when it slowed down. But the song’s conclusion was electric and ended abruptly, putting quite the cap on Blood’s short but sweet set.

And shout out to Blood’s guitarist, who showed up with a large pedal board that featured just two pedals. The trend of all three bands doing on-stage bits would continue.

Next up was Magic Rockers of Texas. And, well, the name says it all.

My interest was immediately piqued when I noticed their set-up accommodated three guitarists. As a kid raised on the guitar bands of the 70s, like Lynyrd Skynyrd and The Outlaws, I knew the next set was going to be powerful.

Their set exploded with a wall of sound and pure energy.

Two of the guitarists and the bassist were contributing to the vocals, giving the five-piece an even larger sound, something I didn’t think was possible based on how big they sounded.

The guitar work from all three axemen was phenomenal. From ripping solos, crafty leads (even a slide was busted out for a few tracks), and power chords being banged out like the guitars needed to be taught a lesson, this band was cranking out their songs.

At one point between songs, frontman Jim Campo threw out a joke that they saw a rat king before the show. For those unaware, the rat king is a seemingly mythical phenomenon that is very real: it’s when a large group of rats get their tails entwined to become a rat king. A reference to headliners Rat Jester.

After several songs that were so intense, Magic Rockers performed a song that reminded me of Jesse Welles, who has recently been getting heaps of attention and praise for his modern-day, acoustic protest songs on social media. That folk-protest vibe didn’t stick, as the track went into a more traditional pop-rock structure.

Toward the end of the set, Campo broke a string on stage, but it didn’t matter as he powered through the rest of the tracks in the set, one of which featured some amazing arpeggio work from two of the guitarists.

Rat Jester then took the stage for their first-ever hometown show (they had only played live once before and it was in Brooklyn).

Before they went into their set, singer Matt Decaro called out someone celebrating a birthday in the crowd. The band then played “Happy Birthday” in the sloppiest way possible, which made us all realize there was no one celebrating a birthday and the whole thing was a bit. Oh, and there was even one of those party poppers with streamers and whatnot included in the bit. And the bits continued throughout their set, which was jangly, exciting, and all-around positive and fun.

Rat Jester is rooted in the Midwest emo tradition, and laced their songs with guitar harmonies and bouncy riffs and chord progressions, taking the maudlin emo tradition to a much more fun and accessible level.

Breaking out of that style, the band ripped into the track “Doomsday Shuffle.” The song had strong vibes of “Rock Lobster” by the B52s, getting groovy with a surf-rock style that wasn’t like anything else heard earlier in the night. And it was during this track that Decaro was showing off his zany dancing on stage while still pounding away at the drop D chords.

At some point in the song, Decaro, guitarist and sometime singer Jack Alexander, and bassist James Harris paused to tune up. But the tuning process went on. And on. Again, this was one of the many bits Saturday’s show offered up. Decaro and Alexander a few times shouted out “Give it up for Ian!” as drummer Ian Staley kept the beat going during the tuning joke.

The next song was a headbanger of a track, and at one point Decaro and Alexander began singing “The First Cut is the Deepest.” I told you this show was full of bits. Then the next song opened with a quote from a movie or TV show, I wasn’t sure. That’s a classic emo/post-hardcore band trope that was employed very well here.

Then, the Rat Jester itself made its way through the crowd and onto the stage to sit in on a track on violin. The violin coming in at the end contrasted the earlier parts of the frenzied song perfectly.

Rat Jester closed out the night with the song “Supermarket,” which they said will be released soon as their first single. The track ramps up and has an anthemic chorus about making a tough realization while shopping. It’s unclear if the lyrics are sincere or part of Rat Jester’s comedic stylings, but the song is a bop for sure. It ended with either some odd time signatures or syncopation, perfect for that math-rocky emo vibe.

Keep up with Rat Jester’s social media to be sure you catch “Supermarket” when it drops.

Rat Jester

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Magic Rockers of Texas

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Blood

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Written and Photographed by: Max Bennett

The Sunday Scaries weren’t a factor at Johnny Brenda’s in Fishtown on July 14, as the second-story venue was loaded with attendees for a show with an eclectic bill.

Sixteen Jackies celebrated the release of their first full-length album “Bangs & Whimpers” that night and brought along synth-punkers Fast Car Slow Car and the more roots-rock-based Mavis the Dog.

Before the show even started, Jackies singer Jody DeMarco was mingling with fans, giving them a touch of the band’s signature glam vibe by adding Sixteen Jackies-branded eye glitter.

While playing live, Fast Car Slow Car employs not one but four keyboards. While one might think, “That’s too many keyboards for a five-piece,” I assure you it is not. The synth tones filled the venue with ethereal auras, but they weren’t to be outdone by the guitar, which came in screaming at times, pushing the boundaries of new wave and punk.

And speaking of punk and new wave, singer Breshon Masrtzall plays the role of frontman well for both genres. At one point, he jumped off the stage onto the floor and was belting lyrics like it was a 2009 DIY basement show in West Philadelphia. This is all after he was delivering lines with the low, intense gravitas that you find in some of the mid-80s new wave acts.

As they powered through their set, Masrtzall stopped to shout out he and his brother Keondre’s mother, who was in attendance. We love to see supportive parents and appreciative kids, don’t we, folks?

Mavis the Dog changed up the tempo a bit, as Fast Car Slow Car ended their set with a high level of energy. The quartet, compared to Fast Car, is much more stripped-down, featuring bass, guitar, keys, and drums. And the influences must be in the realm of classic singer-songwriters, as well as 50s and 60s combos. But as the set progressed, some songs harken to 90s alt-rock hits we Millennials grew up with on the radio.

What stood out was the keyboard and the emulations it was employing. At times, it was a swirling organ and others an eerie theremin, like in old sci-fi flicks you’d catch on “Mystery Science Theater 3000.”

The set felt largely driven by the bass, as the guitar and vocals could have used a bit more in the mix. There were great vocals and exciting guitar parts coming from frontman Scott Olsen, but unfortunately, they were lost due to some volume issues.

Mavis picked up the speed to finish the set, and their closer included some blistering drum work.

Sixteen Jackies hit the stage right at 10 p.m. and came out strong with the lead track from Bangs & Whimpers titled “Trash Night.” And it’s no wonder they chose to open both the show and the album with it: the song is a staccato-driven pop rock powerhouse that sets the stage for what’s to come. It’s inclusions of woodblock hits by drummer Ian Staley really scratch that cowbell itch we’ve all been feeling since the iconic 2000 “Saturday Night Live” sketch.

Next came more new tracks. “You and Your Friends” strays from the frenzied pop that “Trash Night” offers up, coming in as a sort of surf punk track you might hear on a Tony Hawk’s Pro Skater soundtrack. However, the dreamy chorus cuts through the aggressive punk stylings that lead the song.

DeMarco is pure joy on stage and pure joy to watch. His vocal range is one to marvel at, hitting almost whistle-like tones at points. The frontman can also hold his own on guitar, trading riffs at times with Jeremiah Bull and Tim Davis, who took turns on bass and guitar throughout their set.

While playing the song “VHS #1 (a Body),” DeMarco donned an old-school hockey mask, a la Jason Voorhees from the “Friday the 13th” series. The look is perfect for a live rendition of the 2017 track, as it features a droning main riff that creates a sense of unease thanks to the use of a harmonic minor scale.

The band swung back around to its more uplifting sound with another new track, “Mercy.” “Mercy” is a classic rock song driven by cowboy chords and some fiery lead guitar solos.

They jumped back to 2018 to bust out “Little Duke” from the “Mascula” EP. With its persistent thumping bass line, “Little Duke” ramped up the energy in the room, getting the crowd even more on their feet. What’s funny, though, is that the song ends abruptly, giving the audience that feeling when a roller coaster car comes to a screeching halt after getting you amped up with its heart-pounding thrills.

DeMarco gave a shoutout to David Skovron of Drowning Fish Studio, who produced Bangs & Whimpers, and then the band went into “Creature Feature” from their 2018 EP, Hostile Architecture. “Creature” toward the end sounds like it’s going out with a dissonant, cacophonous end. The band went silent, then exploded into the final chorus, which features fuzzy guitar tones and tremolo leads.

DeMarco put down his guitar and modulated his voice with auto-tune, or something similar. And before you might think to yourself, “Auto tune? That couldn’t be good.” I’m here to tell you that it was, indeed, good. The use of the often-maligned voice-shifting technology fit perfectly in the track. If only this writer could remember what track it was.

When Jackies announced they were on their final song of the set, they were met with boos. The band played a bit of “In My Life” by The Beatles, prompting a crowd singalong before heading into the end of the show.

They then ended their show with “One of the Boys,” the final track on Bangs & Whimpers. The song’s closing features a vocal line perfect for live audiences to chant along with. The evening was the perfect way for the Philly glamband to celebrate their first full length. And it brought people out on a Sunday—no small feat.

Sixteen Jackies

Instagram丨 Facebook丨 Bandcamp丨Spotify丨 Soundcloud

Mavis the Dog

Instagram丨Bandcamp丨TikTok丨 Spotify

Fast Car Slow Car

Instagram丨 Bandcamp丨 Spotify

Written and Photographed by: Max Bennett

Temperatures in Philadelphia have been pushing 100 degrees, so the last thing anyone wants is more heat. But at Johnny Brenda’s Saturday night, three local acts turned the heat up all the way, delivering heavy riffs, dance-inducing punk, blistering solos, and mind-bending aural trips.

Psychedelic rockers Slomo Sapiens celebrated the release of their sophomore album, The Holy Babble, by headlining the gig, with Wax Jaw and Flatwaves opening the show.

Flatwaves hit the stage first and brought a thundering bass tone that served as the driving force of their set, which featured vocals reminiscent of 90s rock frontwomen, with both guitarists taking turns singing lead and at times belting lyrics in tandem. While the guitars bathed the crowded venue in swirling, ambient shoegaze leads, drum fills provided contrast with bursts of speed and ferocity.

It’d be a shame not to shout out Flatwaves bassist Stephen Edwards, who was at center stage during the set and was hyping up the crowd during and between songs. From standing on his monitor doing hair flips to chugging what was left in a can that was tossed on stage, he helped set the tone for the remainder of the show.

Wax Jaw came out strong with an incredibly high-energy vibe. The crowd already fired up from Flatwaves, picked up on the band’s intensity and spirit instantly. Kids were moshing around, throwing in a little two-stepping, as soon as the set kicked off. It’s unclear if Wax Jaw is influenced by hardcore punk, but their set was dripping with rhythms from the golden era of punk.

At this point, no one in the crowd seemed to care about how hot it’s been. Everyone was feeding off the music, sweat be damned. The vibe, as the kids say, was immaculate.

What set Wax Jaw apart from other punk acts was the ripping guitar solos. Both guitarists took turns shredding solos and lead riffs, which aren’t that common among punks thanks to curmudgeons like Johnny Ramone, who actively worked to be a mediocre player. Early in the set, one guitarist broke a string on his Telecaster and busted out a black Les Paul, which felt more fitting given the pace Wax Jaw and Flatwaves set. The Les Paul likely made the show a bit more physically demanding for the already frenzied shredder, as they’re considerably heavier than Telecasters.

Regardless, the band tore through their set, with singer Shane Morgan putting some serious attitude into her performance. The vocalist may be short in stature, but her presence was larger than life on stage. She commanded the crowd at one point to crouch down. On the band’s mark, everyone leapt into the air in unison and the band rushed right into another dance-punk banger.

Not once during the set did Wax Jaw slow down. It was going to be a tough act to follow for Slomo Sapiens.

Unfortunately, Wax Jaw said they won’t be gigging much for a bit. Fortunately, that’s because they’re working on a new alum, so stay tuned to their socials for updates on fresh material.

Slomo Sapiens hit the stage not long after 11 p.m. for their headlining set. The band’s second album was released June 7, and they’ve hit up Brooklyn, Asbury Park, and Richmond recently to support the “The Holy Babble.” As part of the celebration, Johnny Brenda’s was offering two signature cocktails. Well, one cocktail and a city wide.

The vibe shifted with Slomo Sapiens. To say they had less energy than Wax Jaw would be wrong: the energy was just different. While both bands share punk elements, Slomo is rooted in psychedelia, blues, and stoner/sludge. Frontman Ceallaigh Manaaki is a blues head when it comes down to it. His other band — simply called Manaaki and featuring members of Sixteen Jackies, St. James & the Apostles, & Grave Bathers —  is a heavy blues outfit that puts on a hell of a show, as well.

With Slomo came less moshing and more tripped-out vibing from the crowd. A Slomo show would surely be a heady event with a bit of psychoactive chemicals rushing through your blood. That’s not to say catching a set sober is boring: it’s still a must-see display of virtuosity and creativity.

Manaaki and multi-instrumentalist Mike Sanzo traded guitar licks and riffs, with Manaaki taking the bulk of the set’s guitar solos. The set’s opening song, Desert Head/Slacker, is the lead track on “Babble.” It features a dizzying guitar solo that breaks the bounds of traditional keys and modes found in popular blues rock. That particular solo gives feelings of mystery, confusion, and unease, and in the best ways possible. A live rendition of it is even more enthralling, as the band nailed the track’s eeriness and intrigue in a way possible only on stage.

When taking his solos, Manaaki kicked his rig into gear with a wah pedal that sent his tone through the mix, giving the crowd crisp and fiery leads.

Sanzo, bassist Greg Geiger, and drummer Jon Pritchard backed Manaaki on vocals. A band this good with members who can all sing well is like getting ice cream after eating cake. A pure treat.

The vocals had some modulation, too. Manaaki’s words were often saturated with a fuzzy effect, like the tracks on their studio releases. It’s always appreciated when a band works to deliver a nearly identical version of their recordings when playing out.

But some deviation is welcome, too. Stone Bones, an anthemic track on “Babble,” featured a bit of a jam, it seemed. The song felt like an extended version with more instrumentality from all four members as they grooved together, laying down serious solos.

Slomo Sapiens closed the show with “Stone Bones,” but came back out for one more song after a few minutes of the crowd beckoning them back to the stage.

Overall, it was a great show and a prime display of Philadelphia’s vibrant music scene. And a shout-out to Johnny Brenda’s for keeping the temperature comfortable amid the heatwave.

Slomo Sapiens: Instagram; Facebook; YouTube; TikTok; Bandcamp; Spotify; Soundcloud

Wax Jaw : Instagram; Bandcamp; TikTok; YouTube; Spotify; Soundcloud

Flatwaves : Instagram; Bandcamp; Spotify; Bandsintown; YouTube; Website