15 IN PHILLY

Lost Classics: The Psychedelphia Story

tapem200bThey’re nobody’s buzz bands anymore. But since 1993, MAGNET has discovered and documented more great music than memory will allow. The groups may have broken up or the albums may be out of print, but this time, history is written by the losers. Here are some of the finest albums that time forgot but we remembered in issue #75, plus all-new additions to our list of Lost Classics.

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You should hear the collective groan around the MAGNET office whenever the idea of writing a scene-report article is discussed; most bands pay more attention to their MySpace page than their hometown. But geography is a powerful thing, and we have been guilty of chasing its musical meaning, sometimes with success (the Chicago post-rock family tree we published in 1996), sometimes with failure (Texas psych/rock or Norwegian pop scenes, anyone?). But one of the most genuine groundswells was in our own backyard in the late ’90s.

Sounds From Psychedelphia, a 10-band compilation issued in 1999, is the main artifact of that era of Philly sound. On it, you can hear Lenola taking a My Bloody Valentine-like, effects-bent riff and stretch it like taffy; witness the Asteroid #4 delve into neo-Pink Floyd bliss; take in the shimmering guitar-pop heroics of the Photon Band; and hear Aspera Ad Astra imagine what Brian Jones’ own personal orchestra would’ve sounded like. While shape-shifting noise merchants Bardo Pond and jangle-pop outfit Mazarin aren’t present on Psychedelphia (the former was signed to Matador at the time, and the latter debuted afterward), both bands filled in pieces of the local puzzle.

But, predictably, you had to be there. Live, the Asteroid #4 employed a fog machine and a kaleidoscopic light show, while Bardo Pond would stage sit-down performances at art museums and Lenola (which actually hailed from nearby locales in southern New Jersey) cooked up its own visual schemes. “At one show, we wore suits that were covered in Christmas lights and handed out light-refraction glasses to the crowd,” remembers Lenola singer/guitarist Jay Laughlin. “We were plugged into extension cords at our feet. It looked awesome, but (drummer) Sean (Byrne) was getting shocked while we played, so that was a one-off thing.”

Beneath all that onstage window-dressing, Philly’s psych/rock scene was steadfastly DIY, with nearly every band forming its own label to release its albums. There was Lounge (Asteroid #4’s imprint, which issued the Psychedelphia comp), Tappersize (Lenola), File 13 (Aspera Ad Astra) and Colorful Clouds For Acoustics (Azusa Plane). “The DIY thing was out of necessity, really,” says Laughlin. “We sent the albums to every label we knew of and never got a bite.”

No widespread national attention was forthcoming, and Lenola called it a day in 2002; the band’s members now play in Like A Fox and the Twin Atlas. Aspera also disbanded, with members joining Rollerskate Skinny’s Ken Griffin in Favourite Sons. The Asteroid #4 is still around, but 2006 saw an endpoint for Mazarin (a cease-and-desist order was issued by a Long Island bar band of the same name) and a tragic epilogue (the suicide of the Azusa Plane’s Jason DiEmilio; pictured above).

:: THE AZUSA PLANE
America Is Dreaming Of Universal String Theory // Colorful Clouds For Acoustics, 1998

Effectively the solo guise of Jason DiEmilio, the Azusa Plane represented the experimental outer limits of Philadelphia’s otherwise rock- and pop-leaning psych scene. America Is Dreaming was a two-disc symphony of guitar-and-amplifier manipulations, a melodic beehive of sound that never submitted to drone. What John Fahey did for guitar strings (harnessing a miasma of notes and harmonics with godlike grace), DiEmilio did for feedback.

“Strings 2″:

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What Is The Best Rock Band From Philly Right Now?

We’ve spent the past few weeks posting items from issue #80’s 15 In Philly feature, our 15th-anniversary spotlight of favorite music from MAGNET’s hometown. We end with this question.

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Philly Ex Post Facto: East Hundred

easthundred2c31

We’ve spent the past few weeks posting items from issue #80′s 15 In Philly feature, our 15th-anniversary spotlight of favorite music from MAGNET’s hometown. Guess what? It’s year 16. This week, we pay attention to the newcomers, make amends for the omissions and basically try to cover our asses. Because all beatdowns are local.

On paper, East Hundred appears to be a prime candidate for Metallica-style band therapy sessions. The Philadelphia quintet contains brothers (guitarist Brooke and drummer Will Blair) as well as ex-lovers (Brooke and singer Beril Guceri), and its new full-length debut, Passenger, is a break-up album whose lyrics all but declare, “We shan’t work together again.” Consider, for example, Beril’s words on album track “Pony”: “Our love is the perfect shade of blue/If you’re heading out/Don’t think I’m coming with you.” The underlying sentiment of Passenger may be part Fleetwood Mac’s cut-and-run Rumours, part Marvin Gaye’s more reflective Here, My Dear, but the members of East Hundred insist their tangled personal relationships are a benefit.

“Plus Minus” from Passenger:

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Philly Ex Post Facto: Pi Lam

pilambldg3601From the outside, Pi Lambda Phi looks just like every other University of Pennsylvania frat house on the 3900 block of Spruce Street. The large, three-story stone building is decorated with intricate carvings of leaves and vines and preceded by a tiered porch with iron and brick fencing. A giant gold column of a banner hangs from the rooftop, the end of it just barely brushing the cement of the porch. Three Greek letters, massive and purple, stare down at passersby: PLF.

Of course, appearances can often be deceiving. While its flowerbeds may be littered with empty beer cans and plastic leis, the Pi Lam house is better known as a music venue than a Thirsty Thursday hot spot. The 30-some Pi Lam brothers are more likely to get their exercise biking to Wawa for cigarettes than playing lacrosse, and they’re much more fond of brightly colored American Apparel tees than Abercrombie polos with popped collars. Instead of Natty Light, PBR is their drink of choice.

The Dead Milkmen’s “Ask Me To Dance” from 1983′s A Date With The Dead Milkmen:

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Philly Ex Post Facto: Canadian Invasion

canadianinvasion350We’ve spent the past few weeks posting items from issue #80′s 15 In Philly feature, our 15th-anniversary spotlight of favorite music from MAGNET’s hometown. Guess what? It’s year 16. This week, we pay attention to the newcomers, make amends for the omissions and basically try to cover our asses. Because all beatdowns are local.

As if handed some imaginary baton from the late, great Bigger Lovers, the five-piece Canadian Invasion has inherited the title of Philadelphia’s best power-pop band. The proof is in sophomore album Three Cheers For The Invisible Hand (Transit Of Venus), a smartly written critique of—and ode to—suburbia. Three Cheers doesn’t rock the suburbs with rote teenage angst or anti-sprawl tirades, however; the voice of singer/guitarist Andy Canadian is coming from inside the ranch house, detailing the funny and sad lives of the members of an American family lost in their own bland anonymity. The clever lyrical conceit is held up by sturdy guitar-pop songwriting; Canadian Invasion sounds like Fountains Of Wayne with considerably less cheese, swapping regressive teenage fantasies and gimmicky Cars keyboards for Kinks-like character sketches and Teenage Fanclub guitar chime.

MAGNET spoke to frontman Andy Canadian and bassist Jim Foley about the big ideas and small details behind Three Cheers, out Feb. 17.

“Three Cheers For The Invisible Hand” from Three Cheers For The Invisible Hand:

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Philly Ex Post Facto: A Sunny Day In Glasgow

sunnydayinglasglowc525c

We’ve spent the past few weeks posting items from issue #80′s 15 In Philly feature, our 15th-anniversary spotlight of favorite music from MAGNET’s hometown. Guess what? It’s year 16. This week, we pay attention to the newcomers, make amends for the omissions and basically try to cover our asses. Because all beatdowns are local.

A Sunny Day In Glasgow may be the closest thing that Philadelphia has to a blog band (perhaps with the exception of Philly/Brooklyn’s Clap Your Hands Say Yeah). “The Best Summer Ever” from The Sunniest Day Ever, the band’s 2006 debut EP, caused a justifiable stir among those looking for an unknown to claim as their own: It’s a shimmering, sunny update of Cocteau Twins/My Bloody Valentine dream pop with a joyful melody, and it’s so densely saturated that everything—the soprano voices, the reverberating guitars, the processed drums—seems mixed at an equal level.

“The Best Summer Ever” from The Sunniest Day Ever:

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15 In Philly: Philly Future

shot-x-shot150wbtickley150wswimmers150whoots225bmar2008225b

Spend 15 years in Philadelphia and you’ll figure out that things in MAGNET’s native city aren’t always sunny or bursting with brotherly love. But underneath the tough exterior are some pretty sweet sounds. In honor of our anniversary, we pay tribute to our hometown scene:

Today’s installment: Philly Future, five bands—Shot X Shot, Tickley Feather, the Swimmers, Hoots & Hellmouth and Make A Rising—that just might define the shape of the local scene to come.

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15 In Philly: Jim Boggia

jimboggia334Spend 15 years in Philadelphia and you’ll figure out that things in MAGNET’s native city aren’t always sunny or bursting with brotherly love. But underneath the tough exterior are some pretty sweet sounds. In honor of our anniversary, we pay tribute to our hometown scene:

Safe In Sound, Jim Boggia’s 2005 sophomore album, found the fortysomething West Philly musician juggling jangly power pop and solemn singer/songwriter fare buoyed by his frazzled, soul-kissed tenor. With its tight hooks, fat production and guest spots from Aimee Mann and the MC5’s Wayne Kramer, the LP was championed by fans and critics alike. Yet, to this day, Safe In Sound leaves Boggia cold.

“To And Fro” from Safe In Sound:

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15 In Philly: Lifetime / Paint It Black / Kid Dynamite

paintitblack270Spend 15 years in Philadelphia and you’ll figure out that things in MAGNET’s native city aren’t always sunny or bursting with brotherly love. But underneath the tough exterior are some pretty sweet sounds. In honor of our anniversary, we pay tribute to our hometown scene:

For a city so fertile with negative vibes, feelings of inferiority, raw anger and working-class toughness, Philadelphia has proven incapable of home-growing a decent, sustainable hardcore band. Even our old-school punk history pretty much started and ended with the lightweight, goofily smart-ass Dead Milkmen. Laying claim to the lineage of Lifetime—the New Brunswick, N.J., hardcore band that started in 1990 and spawned Philly-based outfits Kid Dynamite and Paint It Black (pictured)—is a necessary act of eminent domain.

Lifetime, “Young, Loud And Scotty” from 1997′s Jersey’s Best Dancers:

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15 In Philly: The Friggs

friggsSpend 15 years in Philadelphia and you’ll figure out that things in MAGNET’s native city aren’t always sunny or bursting with brotherly love. But underneath the tough exterior are some pretty sweet sounds. In honor of our anniversary, we pay tribute to our hometown scene:

When the Friggs burst onto the Philly scene in 1991 with their debut single, a charmingly sloppy cover of the Troggs’ 1970 lust-charged “Come Now,” the all-girl quartet was still six months shy of its first show.

“Shake” from Today Is Tomorrow’s Yesterday:

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15 In Philly: The Delta 72

delta-72300Spend 15 years in Philadelphia and you’ll figure out that things in MAGNET’s native city aren’t always sunny or bursting with brotherly love. But underneath the tough exterior are some pretty sweet sounds. In honor of our anniversary, we pay tribute to our hometown scene:

Somewhere between Jon Spencer’s trash-rock blues and the Make-Up’s R&B fakeout was the Delta 72, Philly’s sometimes brilliant, sometimes hucksterish soul-garage outfit. If you weren’t there for the tent-revival exhortations that charismatic singer Gregg Foreman performed onstage at America’s whitest rock venues, you missed it. But you can hear the Delta 72’s engine purr on the three albums the band issued on Touch And Go from 1996 to 2000.

“I Feel Fine” from 2000′s Ooo:

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15 In Philly: The War On Drugs

war-on-drugs300Spend 15 years in Philadelphia and you’ll figure out that things in MAGNET’s native city aren’t always sunny or bursting with brotherly love. But underneath the tough exterior are some pretty sweet sounds. In honor of our anniversary, we pay tribute to our hometown scene:

Despite the title of the War On Drugs’ debut album, Wagonwheel Blues (Secretly Canadian), there’s nothing ranch-hand cowboyish or bluesy about the Philly outfit. That doesn’t mean the trio isn’t down and dirty. It’s just that Wagonwheel Blues is as filled with freewheeling, Dylanesque Americana as it is with Smiths-like Britpop and Brian Eno-style percolating electronic swells.

“Taking The Farm” from Wagonwheel Blues:

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15 In Philly: The Capitol Years’ “Meet Yr Acres”

capitol_years320Spend 15 years in Philadelphia and you’ll figure out that things in MAGNET’s native city aren’t always sunny or bursting with brotherly love. But underneath the tough exterior are some pretty sweet sounds. In honor of our anniversary, we pay tribute to our hometown scene:

If you’re a rock ’n’ roller with the misfortune of having to subsidize your music career with an office gig, your colleagues have most certainly saddled you with CDs of their friends’ horrifyingly shitty bands. I figured it’s always best to tell them their friend’s band sounds “really pro” and promise to try and make that Monday-night show at some sports bar in the ’burbs. In all these years, only once have I received a disc that lasted more than one minute in my CD player: the Capitol YearsMeet Yr Acres. Shai Halperin and crew have since released records that rocked harder and garnered more acclaim than their homespun 2001 debut. But this one—a woozy fusion of the Beatles, Beck and Guided By Voices—will always have a special place in my collection.

—Patrick Berkery

“Roller’s Row” from Meet Yr Acres:

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15 In Philly: Brian McTear

brianmctear355Spend 15 years in Philadelphia and you’ll figure out that things in MAGNET’s native city aren’t always sunny or bursting with brotherly love. But underneath the tough exterior are some pretty sweet sounds. In honor of our anniversary, we pay tribute to our hometown scene:

When Brian McTear recounts the favorite projects of his decade-plus recording career, the Philly-based producer is evenly split between the well-known (Matt Pond PA, A-Sides) and the lesser-known (Lucys, Bigger Lovers). But they’re favorites for a reason.

“Sincerely, The Last Century” from Bitter Bitter Weeks’ Peace Is Burning Like A River:

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15 In Philly: Siltbreeze Records

bardopond340Spend 15 years in Philadelphia and you’ll figure out that things in MAGNET’s native city aren’t always sunny or bursting with brotherly love. But underneath the tough exterior are some pretty sweet sounds. In honor of our anniversary, we pay tribute to our hometown scene:

When he arrived in Philadelphia in 1984, Ohio native Tom “TJ” Lax never expected to start a record label. Siltbreeze began as a zine, and from 1987 to 1992, Lax published eight issues of the digest-sized rag that was as much known for its ’70s-era photos of naked black women as it was for reviews of obscure punk, psych and noise bands such as feedtime, Extreme Hate, V-3 and the Hickoids. When Lax wanted to include a seven-inch with copies of Siltbreeze, Tom Hazelmyer (of Minneapolis band Halo Of Flies and noise label Amphetamine Reptile) offered up some songs that became SB-1.

“Melted Pat” from Guided By Voices’ 1994 Get Out Of My Stations EP:

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15 In Philly: Mazarin’s “Watch It Happen”

mazzerin300bSpend 15 years in Philadelphia and you’ll figure out that things in MAGNET’s native city aren’t always sunny or bursting with brotherly love. But underneath the tough exterior are some pretty sweet sounds. In honor of our anniversary, we pay tribute to our hometown scene:

Mazarin created a buzz when its first seven-inch, “Wheats,” was named single of the week by the NME, back when such a thing mattered. A sunny, strummy, feedback-laced bit of psychedelic pop cloaking singer/guitarist Quentin Stoltzfus’ bitter kiss-off (“Oh yeah, that’s right, you never loved me at all”), “Wheats” was one of several euphoric blasts on Watch It Happen, Mazarin’s 1999 debut. Concise and catchy tracks such as “Deed To Drugs” shared space with undulating soundscapes like “Progress Is Lovely.” Mazarin released two strong subsequent albums before Stoltzfus, nephew of soft-pretzel magnate Auntie Anne, retired the moniker in 2006 due to legal conflicts with a Long Island classic-rock group of the same name. While on hiatus, Stoltzfus has been building a studio with Clap Your Hands Say Yeah’s Alec Ounsworth.

—Steve Klinge

“Wheats” from Watch It Happen:

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15 In Philly: Exiled From Broad Street

burning-brides275Spend 15 years in Philadelphia and you’ll figure out that things in MAGNET’s native city aren’t always sunny or bursting with brotherly love. But underneath the tough exterior are some pretty sweet sounds. In honor of our anniversary, we pay tribute to our hometown scene:

In 1980, Hall & Oates left Philly for New York City, establishing a migratory pattern for opportunistic traitors—er, career-minded bands—in the decades to come.

Equal parts Rocky and the Replacements, MARAH gained fame as the gritty roots-rock band that recorded its debut above an auto-repair shop and signed to Steve Earle’s label. The Stephen King-endorsed Marah even called its second LP Kids In Philly. But grand ambitions to become the world’s biggest band led brothers Dave and Serge Bielanko to Wales in 2001, where Marah recorded with Oasis producer Owen Morris. The result? Float Away With The Friday Night Gods, a fart heard ’round the world.

“Christian St.” from Marah’s Kids In Philly:

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15 In Philly: Philly Boy Roy

phillyboyroy275Spend 15 years in Philadelphia and you’ll figure out that things in MAGNET’s native city aren’t always sunny or bursting with brotherly love. But underneath the tough exterior are some pretty sweet sounds. In honor of our anniversary, we pay tribute to our hometown scene:

Wassup, everybody? How youse doin’? When the guys from MAGNET asked me to recount my favorite Philly rock memories, my first thought was, “What’s MAGNET?” But then I thought, “Oh, it don’t matter, Channel 29 ain’t showin’ Rocky IV for another 45 minutes.”

The Beatles, Sept. 2, 1964
Ain’t got no actual verification, but my ma says yours truly got conceived on this night. Coulda been before, during or after the show. She don’t really remember.

The Hooters’ “South Ferry Road” from 1985′s Nervous Night:

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15 In Philly: Man Man

man_man330bSpend 15 years in Philadelphia and you’ll figure out that things in MAGNET’s native city aren’t always sunny or bursting with brotherly love. But underneath the tough exterior are some pretty sweet sounds. In honor of our anniversary, we pay tribute to our hometown scene:

Man Man isn’t a typical pop group. It’s a pop group like a Salvation Army Preservation Society Jazz Band or a bunch of guys sitting on the stoop flailing on upturned plastic buckets and banjos made from cookie tins. Man Man draws from the grab-bag history of American music to fashion songs that sound both brand new and hundreds of years old.

“Top Drawer” from Rabbit Habits:

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15 In Philly: Like A Fox

like-a-fox366Spend 15 years in Philadelphia and you’ll figure out that things in MAGNET’s native city aren’t always sunny or bursting with brotherly love. But underneath the tough exterior are some pretty sweet sounds. In honor of our anniversary, we pay tribute to our hometown scene:

Jay Laughlin is holding up the bar somewhere in Philadelphia tonight. He doesn’t have to be drinking in order to support the psychedelic-pop end of the city’s indie-rock scene, though beers are encouraged. Memories of the singer/guitarist’s former band, Lenola, are etched in smoke on the walls of the Khyber, epicenter of the late-’90s Psychedelphia scene. Laughlin’s current band, Like A Fox, is heard on stages and jukeboxes from Northern Liberties to South Philly. The affable Laughlin—tall, tattooed and invariably peeking out from under a baseball cap—holds near-mayoral status in the town known as Hostile City.

“Night Person” from Where’s My Golden Arm?:

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15 In Philly: The Bigger Lovers’ “How I Learned To Stop Worrying”

bigger_lovershorSpend 15 years in Philadelphia and you’ll figure out that things in MAGNET’s native city aren’t always sunny or bursting with brotherly love. But underneath the tough exterior are some pretty sweet sounds. In honor of our anniversary, we pay tribute to our hometown scene:

Full disclosure: Two members of this now-defunct quartet currently write for MAGNET. Perhaps there’s some favoritism in citing the Bigger Lovers’ debut album as one of our city’s finest records of the last 15 years. Maybe we’re paying arrears for the unjust treatment of power-pop bands from every town, in every era. How I Learned To Stop Worrying appeared in 2001 like a red balloon, floated over the city by a tiny indie label (Black Dog) and lifting hopes that here, too, was a classic sighting: a basement-fi, reverb-heavy album that could pass for a thrift-store, ’60s-vinyl treasure. On Worrying, singer/guitarist Bret Tobias and Co. proved themselves scholars of Big Star and the Soft Boys, updating the usual influences with splashes of Superchunk-styled rockers and a pinch of the magic-dust melody found on Wilco’s Summerteeth. Balancing heady pop smarts with scrappy inspiration, on these 11 songs the students became the masters.

—Matthew Fritch

“Summer (Of Our First Hello)” from How I Learned To Stop Worrying:

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15 In Philly: Spank Rock

spankrock360Spend 15 years in Philadelphia and you’ll figure out that things in MAGNET’s native city aren’t always sunny or bursting with brotherly love. But underneath the tough exterior are some pretty sweet sounds. In honor of our anniversary, we pay tribute to our hometown scene:

“Rick Rubin,” the lead single from Spank Rock’s 2006 debut album YoYoYoYoYo, was only the first clue that the Philly-via-Baltimore outfit was interested in crossing boundaries. Like famed producer Rubin, Spank Rock combines raunchy, old-school rap with alternative rock. The perverse genius lies in the combination of the pulsing beats and tight rhythms courtesy of producer Armani XXXChange (a.k.a. Alex Epton) and pornographic lyrics by MC Naeem Juwan (“Hoochies want to get on the guest list/Eat a small dinner so you fit in your dresses … Big breast get treated like guest/I’m serving dick for breakfast”).

“Rick Rubin” from YoYoYoYoYo:

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15 In Philly: Dr. Dog

dr-dog510Spend 15 years in Philadelphia and you’ll figure out that things in MAGNET’s native city aren’t always sunny or bursting with brotherly love. But underneath the tough exterior are some pretty sweet sounds. In honor of our anniversary, we pay tribute to our hometown scene:

It’s tough to envision Dr. Dog recording an album in the middle of a Philadelphia winter. The sand-between-your-toes vocal harmonies, psychedelic sunshine, sudsy ’60s pop and string-popping live sets—even at the band’s darkest, it doesn’t make much sense. But when the West Philly-based five-piece took a break from touring to dive back into the studio in early 2008, the jams came anyway.

“The Breeze” from Fate:

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15 In Philly: Pissed Jeans / Pearls & Brass

pissedjeans360bSpend 15 years in Philadelphia and you’ll figure out that things in MAGNET’s native city aren’t always sunny or bursting with brotherly love. But underneath the tough exterior are some pretty sweet sounds. In honor of our anniversary, we pay tribute to our hometown scene:

Every band has a story. These stories, of course, intertwine with other bands’ stories to create a sort of mythology for anyone who cares to pay attention. Case in point: Pissed Jeans, from Allentown, Pa., and Pearls & Brass, from nearby Nazareth, used to run into each other at a DIY space in Allentown called Jeff The Pigeon, where no-name acts would play loud, eccentric shows for a sweaty mix of friends, fans and strangers.

“Fantasy World” from Pissed Jeans’ Hope For Men:

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15 In Philly: Psychedelphia

asteroid278Spend 15 years in Philadelphia and you’ll figure out that things in MAGNET’s native city aren’t always sunny or bursting with brotherly love. But underneath the tough exterior are some pretty sweet sounds. In honor of our anniversary, we pay tribute to our hometown scene:

The Psychedelphia era lasted roughly from 1995—when the Azusa Plane and the Asteroid #4 (pictured) began issuing seven-inch singles and Bardo Pond released its first album—to 2001, the year the Strokes played a Philly residency that effectively marked the ascendancy of the New York-centered post-punk era.

1999’s Sounds From Psychedelphia, issued on Asteroid #4’s Lounge label, is the definitive document of the scene. The compilation includes tracks from the Photon Band, A#4, Lenola and other bands influenced, in varying proportions, by Syd Barrett-era Pink Floyd, 13th Floor Elevators and other Nuggets, as well as shoegazers My Bloody Valentine and Slowdive. In 1998, MAGNET’s fifth-anniversary concert reflected the local movement, featuring a lineup of A#4, the Azusa Plane, Bardo Pond, Lenola and psych-folk godfather Tom Rapp.

The Asteroid #4’s “Tricks Of The Trade” from Sounds From Psychedelphia:

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15 In Philly: Fishtown Folk

espers3501Spend 15 years in Philadelphia and you’ll figure out that things in MAGNET’s native city aren’t always sunny or bursting with brotherly love. But underneath the tough exterior are some pretty sweet sounds. In honor of our anniversary, we pay tribute to our hometown scene:

Greg Weeks meanders around his kitchen like anyone else working at home; he checks his email while slowly sipping his coffee. But as Weeks descends the basement stairs, all traces of 21st-century life are left behind. His retrofitted recording space in the Tacony section of Philadelphia, Hexham Head studio, boasts an arsenal of decades-old analog equipment. It’s one of several hideouts for Weeks and his band of freak-folk gypsies, Espers (pictured).

“Mansfield And Cyclops” from Espers’ II:

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