Entries tagged with: Joyce Manor
Photo: Screaming Females at a final DbA show (more by Gretchen Robinette)
Don Giovanni Records had yet another good year, with solid 2014 releases from Nude Beach, Priests, Peter Stampfel, Black Wine, Crow Bait, Chris Gethard and more, and they've already got big plans for 2015 with new ones from Screaming Females, California X, Downtown Boys and more on the way.
Ahead of the label's annual Brooklyn showcases, label co-founders Joe Steinhardt (also of Modern Hut) and Zach Gajewski (also of Nuclear Santa Claust), and several DG bands including Screaming Females, California X, Worriers, Crow Bait, Laura Stevenson, Brick Mower and Mal Blum have given us lists of their favorite albums of 2014. You can check out those lists below.
The 2015 showcases happen on February 6, 7 and 28 at Knitting Factory with Nude Beach, Shellshag, Crow Bait and more on night 1; Cali X, Downtown Boys, Pinkwash, Worriers and more on night 2; and Screaming Females, Priests, Tenement and Vacation at the final show. Tickets are still available.
DG year-end lists below...
by Andrew Sacher
Foxing at Webster Studio in August (more by Amanda Hatfield)
The totally stacked Modern Baseball / Knuckle Puck / Foxing / Crying / Somos tour lands in NYC for its first of two shows tonight (12/12). Tonight's show is at Gramercy Theater and then they play Music Hall of Williamsburg on Monday (12/15). You can still get tickets to Monday's show but tonight is sold out. Updated dates are listed below.
If you haven't seen Foxing live, they're the kind of band you really have to see for yourself to get the full experience. But to at least get an idea of what to expect, you can check out the band's new live video for "Rory" that they filmed at The Fest this year. Watch it below.
Four Foxing members also gave us lists of their favorite albums of 2014. One of the lists includes Cymbals Eat Guitars who also included Foxing on their own list and also play NYC tonight. Check those out lists and the Fest video below...
by Andrew Sacher
Joyce Manor at Rough Trade in July (more by Amanda Hatfield)
Joyce Manor, who are making some year-end lists, already have a previously-discussed West Coast tour with Toys That Kill, and now they've expanded their schedule to include a NYC-area three-night run with Mitski this January. It doesn't come to NYC proper, but the two artists will be pretty close by on January 14 at Asbuary Lanes, January 16 at BSP Kingston and January 17 at Amityville Music Hall. Tickets for Asbury Lanes and Amityville go on sale at 10 AM on Friday (12/12). No ticket info yet for the Kingston show. Updated JM dates are listed below.
Meanwhile, you've got two chances ahead of that to catch Mitski in NYC proper (her hometown). First there's her headlining Knitting Factory show on 12/18 with Epoch bands Bellows & Small Wonder, and 100 Watt Horse (tickets). Then she plays one of the last-ever Glasslands (12/28) shows with garage rockers Bass Drum of Death headlining, plus Sundelles and LUSHES (tickets).
Both Joyce Manor put out very good and very different albums this year. JM released Never Hungover Again which packed 10 tracks of no-bullshit melodic punk in under 20 minutes, and Mitski released the noise/folk/pop blend Bury Me At Makeout Creek. Videos from both records, with the list of dates, below...
UK music site Drowned in Sound is kinda the British equivalent of Pitchfork, albeit with a very strong community aspect to it. They just published their 50 Favourite Albums of 2014 list and while it contains many of the LPs we've been seeing on a lot of these lists, it's a distinctly not-American point of view. Well, at least their #1. Check out the whole list below...
SPIN returned with their Top Albums of 2014 list today. It's got a lot of the indie albums that usually show up on these lists (Caribou, Future Islands, FKA twigs, Parquet Courts, Cloud Nothings, How to Dress Well, Swans, St. Vincent, Real Estate, etc), a handful of rap albums (YG, Young Thug, Shabazz Palaces, Run the Jewels, Schoolboy Q, Freddie Gibbs & Madlib, etc), metal (Pallbearer), punk (Against Me!, Joyce Manor), mainstream pop (Taylor Swift, Miranda Lambert), and a couple headscratchers (Betty Who at #11?). You-know-who scores the #1 slot once again here. Check it out for yourself below.
Andrew Jackson Jihad
Folk punks Andrew Jackson Jihad returned this year with their fifth album, Christmas Island, and they've now announced they'll continue supporting it with a 2015 tour. It's a pretty stacked tour, with support from their Australian SideOneDummy labelmates The Smith Street Band, their American labelmate Jeff Rosenstock, and Brooklyn DIY pop punks Chumped. The A.V. Club-presented tour hits NYC on March 20 at Warsaw. Tickets for that show (and all other dates) go on sale Friday (12/12). All dates are listed below.
As usual, you've got other chances to catch Chumped in their hometown before that. They celebrate their great debut record, Teenage Retirement, on Saturday (12/13) at Suburbia, also with Jeff Rosenstock, as well as Cayetana, Chris Gethard and Adult Dude (tix at door). Then, they open for Plow United on 12/30 at Acheron (tickets). If you haven't checked out Teenage Retirement, you can change that by listening below.
Both Chumped and Andrew Jackson Jihad made Jeff Rosenstock's 2014 year-end list. Speaking of year-end lists, SideOneDummy, and Chumped, Chumped's SideOneDummy-signed recent tourmates PUP also gave us a list of their favorite albums of 2014. And (wait for it), it includes Cayetana, who play Chumped's release show (and whose release show Chumped played) and who toured with PUP when both bands opened for The Menzingers (who have dates coming up) who it also includes!
Check out their whole list/entertaining commentary, with the AJJ dates, below...
Cymbals Eat Guitars at Bowery Ballroom in September (more by PSquared)
Cymbals Eat Guitars put out their great third record, LOSE, earlier this year, which is starting to land on year-end lists like Jeff Rosenstock's. The band also gave us their own list of their favorite albums of 2014, which includes Foxing (who joined them on their tour with Brand New), Joyce Manor (who also toured with Brand New this year), Alex G (who's opening CEG's upcoming tour), Beyonce's late 2013 release and more. Check out their whole list, with commentary, below.
That Cymbals Eat Guitars/Alex G tour begins next week, coming to NYC on December 12 at Knitting Factory. Tickets for that show are still available. Updated dates are listed below.
CEG have also reissued their 2009 debut, Why There Are Mountains, which was initially self-released, on their current home of Barsuk Records. You can pick that up on vinyl here for the holiday sale price of $12.80, and they'll also have copies on their December tour.
CEG's year-end list and list of dates below...
Jeff Rosenstock w/ BTMI at NYU Strawberry Fest 2012 (more by Andrew St. Clair)
Jeff Rosenstock, formerly frontman of the recently-broken up Bomb the Music Industry and the been-broken up Arrogant Sons of Bitches, currently a solo artist and one half of Antarctigo Vespucci with Chris Farren of Fake Problems, has given us a list of his favorite albums of 2014. It includes Chumped, whose LP release show in Brooklyn he plays on 12/13, as well as Hard Girls, who he joined at their BV-presented NYC debut (Chumped played that one too). It's a cool list all around. Check it out, including commentary, below.
In addition to his full-band set the Chumped release show (which also includes Cayetana, Chris Gethard and Adult Dude), Jeff plays full-band in Ithaca with Perfect Pussy this Saturday (12/6) and solo in Providence later in the month. His full tour schedule, with his year-end list, below...
by Andrew Sacher
Joyce Manor at Bowery Ballroom in September (more by Mimi Hong)
Toys That Kill at BV-CMJ 2012 (more by Amanda Hatfield)
Melodic punk new schoolers Joyce Manor and melodic punk veterans Toys That Kill (one of many bands of the great Todd Congelliere) will kick off what's sure to be an excellent double billed tour this December (unfortunately for us in NYC, it's only on the West Coast), and they'll also be putting out a split EP on 12/9 via Todd's label Recess Records in honor of that. It'll have two songs from each band, and one of each of their contributions are now streaming. Joyce Manor's, "Tame," is the revved up version of "See How Tame I Can Be" from their underrated "studio project" album Of All Things I Will Soon Grow Tired that they've been playing live lately. Toys That Kill's "Times We Can't Let Go" is more of their garagey goodness. Listen to both below.
Joyce Manor's other cut, "Bride," is presumably JM giving the same type of treatment to "Bride of Usher" from that same album (they've been playing that one live too), and Toys That Kill's is "I Am Decided." A Guided by Voices cover?
Streams and list of tour dates below...
by Andrew Sacher
Joyce Manor at Bowery Ballroom earlier this month (more by Mimi Hong)
Certain corners of the internet punk community have been up in arms this week after Joyce Manor "shamed" a stage diver at their Jacksonville, FL show this past Sunday (9/21). Themusic.com.au described the incident, writing:
The "grown man" in question -- got up on stage during one of Joyce Manor's songs and proceeded to stage-dive onto a group of young fans, overwhelmingly described since as being no older than high-school-age. Johnson, noticing the commotion, abruptly stopped the song and pulled the diver up on stage.They've also got a video of the whole thing going down which you can watch (starting at the 1:00 mark) below.
"Hey man, how tall are you?" Johnson asked the stage-diver. "How much do you weigh, if you don't mind me asking?"
Upon being told he weighs about 190 pounds (86 kilograms), Johnson turns to a girl in the audience: "How much do you weigh? Sorry, that's really rude. You're much smaller than him, right? It's completely unacceptable for him to impose himself on top of you. Completely unacceptable, right? Under no circumstances is that acceptable? OK."
[Barry] Johnson, though, sensed something sinister happening. He asked: "Ever been watching a sensitive pop-punk band," and "get your head walked on?"At Bowery Ballroom, he was met with cheers, but of course this is the type of thing that gets a lot of other people angry. Stuffyouwillhate.com called them "old men who don't understand the lifestyles of the youth." Idioteq.com wrote of the video of the Jacksonville incident, "No stage diving at punk rock shows?! Haha, you simply have to watch this video. Barry Johnson really embarassed himself with this cheesy move." Some people tweeted things like, "Seriously that infuriates me so fucking much Joyce Manor are a bunch of fucking pussies. Don't support them," or like, "Just saw a video of a kid getting thrown out cause he stage dived to Joyce manor. Fuck that band. Your supposed to encourage dives pussies," or like, "Lmao fuck Joyce manor, calling out a guy for stage diving." The Runout points to a screenshot of pop punk band American Verse posting, "Fuck these pussies. Stage dives forever."
...He noticed a few bad actors. He recognized the type, he said: "hardcore guys with Morrissey haircuts" who think nothing of "using a teenage girl's face for leverage" to climb on top of the crowd. "I'm not about that," he added. Indeed, at least two young women retreated from the center of the crowd clutching body parts in pain, though they both merrily returned.
Midshow, one of the Morrissey-haircut guys climbed onstage for the second time, and Mr. Johnson motioned to a security guard at the side, who chased him down and forcibly removed him.
Joyce Manor defended their stance though, tweeting:
Seeing a lot of people online saying I'm a "pussy" and a "bitch" for calling out that grown man trying to crush a group of teenage girls. So far on this tour I've seen a girl with a black eye, a girl with a concussion, and a girl with a dislocated knee. Great way to make young women feel safe at a show when the rest of the fucking world is hostile towards them already. I love a crazy show as much as any1 else I just don't think any1 should have to go 2 the hospital cuz of sum idiot w a tank top & Moz hair.Barry also added later on, "Not sayin every1 who stage dives is an asshole. Ppl been gettin hurt & maybe we should cool it? Myself included," along with a picture of himself stage diving with his guitar. Other bands took to Twitter to voice their support for them, including Balance & Composure, Candy Hearts, The Sidekicks, Code Orange, Spraynard and Touche Amore frontman Jeremy Bolm.
Placeholder's Brandon Gepfer wrote his own response on The Runout, saying:
I get that some people want to have fun, and I've been stage diving since 2006. I used to go to the Wonder Years' shows, too. It's totally cool. The line gets drawn, however, when the performer says that it isn't cool. Why is it so confusing, rather; why is it so outrageous to listen? At the end of the day, you are an attendant at a show and you made the decision to support a band. However, there are a number of people, including bands that call Barry Johnson from Joyce Manor a 'pussy' and say that's not 'punk rock.' You know what's not punk rock? A disrespectful teenager calling someone a 'pussy' because you disagree with their view point.Read the full, very interesting thing here.
This highlights the actual problem in punk rock. The attendees of the show think that they are owed something because they have an opinion. A lot of people got into punk rock because they were made fun of. I was called a 'pussy' from fifth grade all the way up until right now because of the opinions I hold, you know that simple opinion called equality. I hate the bro aspect of pop-punk and how these dorks infiltrated punk rock. The same type of people that beat me up as a kid listen to hardcore and punk rock now. They come to shows and hit people (not even dancing, just pushing each other for the hell of it), they jump off the stage literally every three minutes because I guess that's how they express themselves, I don't know.
The band's gotten support from many others too. Rookie Mag/Pitchfork Review editor Jessica Hopper tweeted, "THANK YOU @JoyceManor for respecting the rights and safety of show going teenage girl fans." Pitchfork's Ian Cohen tweeted, "@JoyceManor stays being the best." AltPress' Scott Heisel tweeted, "I stand with @JoyceManor on this one. Stage-diving = inconsiderate, selfish and potentially harmful. That's not punk." And plenty of others on Twitter expressed favorable opinions like "Thank you @JoyceManor Girls to the front!," and "Bless Joyce Manor's tweets right now. Fuck those huge dudes that stage dive & crush everyone in the crowd, especially tiny girls," and "Major respect to @JoyceManor, i was the one at fault for not giving a 200lb sweaty dude a boost up on my shoulders so he could crowdsurf."
People getting overly and unnecessarily rowdy and violent at punk shows has been happening since at least the '80s -- most people reading this probably know Fugazi is famous for taking a stand against it -- and of course this is part of why people feel confident refuting Joyce Manor by saying something along the lines of "that's just what happens at punk shows." But just because it's gone on for over two decades doesn't mean it's wrong to still take a stand against it. In 2011 I saw Screaming Females ask their crowd to calm down. After the crowd didn't listen and ended up breaking one of the band's drum stands, they walked off stage as at least one person sarcastically yelled "Fugazi!" at them. Earlier this year Titus Andronicus said something about it at a Brooklyn show and Joanna Gruesome did too. And it's not unrelated that Tigers Jaw and Pity Sex had to ask fans not to touch someone without consent, only for them to be made fun of much like Joyce Manor has been.
Watch the video of Joyce Manor's Jacksonville incident below...
photos by Mimi Hong, words by Andrew Sacher
Joyce Manor @ Bowery Ballroom - 9/15/14
It was only two years and one album ago that Joyce Manor were in NYC to play the small Bushwick punk venue Acheron, but they've come a long way in that time. They returned earlier this week (9/15) to headline the much bigger and sold-out Bowery Ballroom on their proper tour for their excellent third album Never Hungover Again (following a record release show at Rough Trade in July), and they had the same command over the place that they had in that tiny punk club. Joyce Manor haven't changed too much in that time, they just keep refining their already-great sound and continue to gain more fans along the way who really seem into everything they've done. I was talking to a friend at the show about how interesting it was to see so many people walking away from the merch table with their first album. On a similar note, Joyce could encore with two songs from their 2010 EP, "Five Beer Plan" and "Leather Jacket" (the latter also from the 2011 LP), and get the same tremendous response from the crowd they got from pre-encore set closer "Schley" off the new album.
Really everything in their 18-song set of mostly one to two-and-a-half minute songs got a tremendous response, and rightfully so because the band was in such killer form. They've got the stage presence of a band who seem destined to only keep getting bigger, but you can tell they came up playing house shows. And those DIY roots are no doubt part of what makes them so effortlessly tight. There's no mistaking the difference between Joyce Manor finally playing to sold-out crowds of that size and an artist whose live debut is to one.
Joyce Manor are also one of a handful of punk bands I've seen this year (including Titus Andronicus, Joanna Gruesome and others) who took a stand during their set against particular moshers sacrificing the comfort of others for their own good time. They singled out a dude for using a girl's face to prop himself up above the crowd, and when he ran up on stage to stage dive they pushed him off to the side so a bouncer could quickly grab him and remove him. A short speech about why they did what they did followed and was only met by cheers from the rest of the crowd.
Pictures of the Bowery Ballroom show, including Joyce Manor's tourmates The Exquisites and openers Mike Bell & the Movies are in this post. They continue, with Joyce's setlist, below...
by Andrew Sacher
Toronto's Dilly Dally is the project of Katie Monks (sister of Tokyo Police Club singer David Monks), and while her brother's been making shiny Strokes-y indie pop for the last six years, Katie is more interested in scrappier rock. Her voice can sometimes sound like a female Hamilton Leithauser, and other times like Patti Smith, but musically it's grungy indie rock. She doesn't have an album out yet, but she's got two tracks co-produced by Josh Korody (of Beliefs and Wish) and Leon Taheny, both of whom worked on the last Fucked Up album and otherwise have a pretty good resume in the Toronto scene (Josh worked with Greys, Leon with Austra, etc). It's good stuff. Check out both tracks for yourself, below.
Song streams below...
'90s-loving Philly rockers The Weaks have a few upcoming shows scheduled, including one in NYC this weekend. They'll play new-ish Bushwick venue Palisades on Sunday (8/17), which is the the record release show for singer/songwriter Gregory Mendenz's Songs From A Stairwell EP, which Evan Bernard of The Weaks produced. The rest of the bill is Jenna Smith, Last Full Measure and Radiator King. There's a $5 donation at the door.
The Weaks also play The Fest, and their only other announced dates before that are opening two shows on the upcoming Joyce Manor tour. Though they won't be on the NYC show (9/15 at Bowery Ballroom), you won't have to travel too far to see that double bill. They're supporting them in Danbury, CT (tickets) and Cambridge, MA (tickets).
All dates are listed, with a stream of The Weaks' 2014 EP, The World Is A Terrible Place And I Hate Myself And I Want To Die, below...
"there is a 2 year old up in the balcony rocking out harder than most people at Joyce Manor right now." - Jenna L
photos by Amanda Hatfield, words by Andrew Sacher
It was technically an "in-store," which at Rough Trade still means it happens in their concert room, but all you had to do get in was buy the record at the store and the band played an early opener-less show that started just after 7 and was over by 8. One might assume an early show like that would be a calmer one, but that wasn't the case. Joyce Manor went from 0 to 60, beginning their set with "Catalina Fight Song," the first single and most aggressive song off the new LP, and the crowd was already ready to raise fists and yell back every word. The next few songs came with maybe a second of space between them, packing one minute and a half punch after another.
The band split their set pretty evenly between the new album and their 2011 self-titled debut (and with the lengths of their songs, they got to play almost all of both), but threw in some treats too. The last time I saw them, "Violent Inside" was the only song played off their under-appreciated second album, and that was played last night but so was a revved up version of that album's "See How Tame I Can Be," which the band pointed out they've only ever played a few times before. They reached back to their 2010 EP for early fan favorite "Five Beer Plan" too. The wildest moments came from S/T standouts "Leather Jacket" and "Constant Headache," which by far triggered the most stage diving of the night and ended up with both singers' mics in the crowd, but the response for the new material was great too. Perhaps the reason Joyce Manor don't play much of their second LP live is that they see the more ambitious record as more of a studio project, but the new album successfully combines the first two. It gives them the chance to rock out like their earlier material, but it was clear hearing a song like "Schley" next to a song like "Constant Nothing" that their songwriting and structures are continuing to progress.
More pictures from Rough Trade below...
by Andrew Sacher
Joyce Manor's third album, Never Hungover Again, is out today (their first for Epitaph), and if you haven't heard it, it packs a real punch of raw, melodic punk that's readymade for the stage like their debut, but expansive on their sound (the synths of "Falling in Love Again," the jangle of "Heated Swimming Pool") like their sophomore LP. The band have now put out a video for one of its rowdier tracks, "The Jerk," which you can watch below.
As discussed, Joyce Manor will be in NYC TONIGHT (7/22) at Rough Trade to celebrate the new album with a release show. All you have to do to get in is pick up a copy of the LP at Rough Trade today. They go on at 7 PM. They'll also be back in September when their proper tour hits Bowery Ballroom.
New video and list of dates below...
by Andrew Sacher
Hop Along @ Bowery Ballroom - 7/11/14 (via Marc Viloria)
Philly indie rockers Hop Along just wrapped up a run as openers on the Owls reunion tour. That tour hit NYC this past Friday (7/11) at Bowery Ballroom where, despite being openers, Hop Along had the place packed and plenty of people singing along. New stuff sounded good too. They've now been added to yet another nostalgia tour, mewithoutYou's Catch for Us the Foxes 10th anniversary tour with post rock vets The Appleseed Cast. As discussed, that tour hits NYC on October 16 at Irving Plaza. Tickets for what is now a great triple bill are still available. Updated Hop Along dates are listed below.
That Owls tour was a rare chance to see Mike Kinsella back on the drums. He'll return to NYC, but on guitar/vocals this time, when the American Football reunion tour hits Webster Hall for three sold-out shows in October, as well as for his Owen show happening the day before.
In related news, Joyce Manor, whose new album for Epitaph Never Hungover Again features Hop Along's Frances Quinlan on the cover, are streaming that album on NPR. It's 19 minutes of scrappy punk goodness, so give it a listen if you've got a few. They're celebrating that LP with an in-store on release day (7/22) at Rough Trade NYC (we're giving away tickets) and they'll be back here on their full tour in September.
All Hop Along dates are listed, with a live video, below...
by Andrew Sacher
photo by Jaret Ferratusco
Oklahoma rockers Broncho are set to release their sophomore album, Just Hip Enough To Be Woman, on September 16 via Dine Alone Records. While their 2011 debut Can't Get Past The Lips had them pegged as a garage rock band, they expand their sound a lot on this new one. That garage rock sound isn't absent from new album or anything, but it meets '70s power pop, driving post-punk, and some more out-there stuff too. They even throw in some borderline Animal Collective-style vocables on first single "Class Historian." Check that one out, with the album artwork and tracklist, below.
Broncho also have a ton of tour dates coming up, including a west coast run with Brand New and Joyce Manor which is a pretty amazing triple bill. Though that tour won't hit NYC, Broncho will be here without them for shows on September 18 at Mercury Lounge and September 19 at Baby's All Right. (Brand New and Joyce Manor play their own shows here too.) Tickets for Broncho's Baby's All RIght show are on sale now and their Merc show goes on sale Friday (7/11) at noon.
All dates are listed, with the song stream, artwork and tracklist, below...
photo by Dan Monick
Joyce Manor will release their much-anticipated third album Never Hungover Again on July 22 via their new label home of Epitaph, and from the sound of its two singles, we're in for more fast-paced melodic indie punk. As discussed, the band's tour brings them to NYC in September but they'll be here way sooner to celebrate the new record on release day (7/22) at Rough Trade NYC.
It's an in-store (doors at 6:30 PM, music at 7) and to get in you need to buy the record at the Rough Trade store that day. There's one other way to get in though, we're giving away a few pairs of tickets and details on that are below.
Their proper tour hits Bowery Ballroom on 9/15 with The Exquisities and Mike Bell & The Movies. Tickets for that show are still available. Updated dates are listed, with the two song streams from the LP, below...
by Andrew Sacher
Joyce Manor in Philly in 2013 (more by Alyssa Tanchajja)
Joyce Manor's anticipated new album Never Hungover Again is due out 7/22 via Epitaph and after revealing "Catalina Fight Song" the band have now put out a second single, "Schley." Like its predecessor, it's another dose of real-deal melodic punk and can be streamed (via SPIN) below.
Stream "Schley" below...
California punks Joyce Manor recently announced that their much-anticipated third album, Never Hungover Again, would be out on July 22 via their new label home of Epitaph Records. They were since announced for FYF Fest and have now announced a full North American tour to follow that festival. The tour begins on the west coast for a few dates supporting Brand New with Broncho, followed by a headlining run which hits NYC on September 15 at Bowery Ballroom. Opening for them at that show, and most other headlining dates, is their former Asian Man labelmates The Exquisites, as well as Philly's Mike Bell & The Movies. Tickets for that show go on sale Friday (5/23) at noon with an AmEx presale starting Wednesday (5/21) at noon.
All dates are listed, with the video for "Catalina Fight Song" from the new album, plus streams from both openers, below...
The annual two-day FYF Fest is returning to LA from August 23-24 this year, and the lineup was just announced. It includes The Strokes, Phoenix, the reunited Blood Brothers who haven't played sine 2007 (!), Slowdive, Slint, Flying Lotus, Grimes, Blood Orange, Darkside, Jamie xx, Haim, Little Dragon, Future Islands, Death Grips (we know FYF is a festival they actually play), Ty Segall, Deafheaven, La Dispute, Joyce Manor, Against Me!, Built to Spill, Murder City Devils, The Bronx, Angel Olsen, Four Tet, Earl Sweatshirt, Joanna Gruesome and many more.
Tickets go on sale May 22 at noon PDT. Full lineup below...
by Andrew Sacher
Joyce Manor in Philly in 2013 (more by Alyssa Tanchajja)
Melodic Cali punks Joyce Manor have finally gotten around to announcing the followup to their excellent 2012 album, Of All Things I Will Soon Grow Tired. It's called Never Hungover Again and will be their first album for new label Epitaph Records (third overall). The video for its first single, "Catalina Fight Song," was also just released (via Noisey). It's a minute+ ripper that anyone who likes past Joyce Manor songs like "If I Needed You There" and "Constant Nothing" should immediately dig into.
Check out that video, with the new album's artwork (which features a picture of Frances from Hop Along) and tracklist, below...
by Andrew Sacher
Title Fight at Europa in 2012 (more by Rebecca Reed)
"Emo is a style of rock music characterized by melodic musicianship and expressive, often confessional lyrics. It originated in the mid-1980s hardcore punk movement of Washington, D.C., where it was known as "emotional hardcore" or "emocore" and pioneered by bands such as Rites of Spring and Embrace." [Wikipedia]If you've been closely following along with the blogosphere lately, you've probably noticed talk, especially amongst the indie rock community, about an "emo revival." Some sites, like Stereogum and Buzzfeed, have directly written about the "revival," whereas others like Pitchfork -- a site which has previously derided even the most classic albums of the genre -- didn't explicitly call it a revival, but offered a valuable spotlight on the modern emo scene. NPR weighed in, asking, "Is Emo Back?," but still some, like Noisey, claim, "There's no emo revival, you just stopped paying attention." A writer at NYU Local agrees. Meanwhile, bloggers and local papers, like OC Weekly and Baltimore Sun, are running with this.
All of this attention is only doing the genre a service. As Chad Jewett points out on Half Cloth, "How did you find out about Diary, person born in 1988? Because you would have to have been preternaturally cool to have picked up on it in 1994 when it came out." In other words, maybe in 19 years someone will hear Is Survived By, and they'll thank their lucky stars for all these listicles and thinkpieces that pointed out that record and so many other great records. But does the increased attention for these bands (many of which have been around for years) in indie rock circles warrant calling it a revival? Maybe it's that people are realizing these "emo revival" bands have a lot more in common with indie rock bands than a lot of people thought.
For one reason or another (perhaps because kids who grew up on Drive-Thru Records comps are forming bands now), emo has been sneaking its way more and more into accepted indie rock. Nobody was screaming "emo revival" when Japandroids went from a well-liked indie rock band to one of the genre's most beloved with 2012's Celebration Rock, a record full of heart-wrenching lyrics, youthful spirit, and fast, catchy power chords -- all common descriptors of emo. (Not to mention it was released by Polyvinyl Records, home to such emo classics as Frame and Canvas, American Football, Look Now Look Again, and more.) Likewise, no one said it when Cloud Nothings' 2012 LP Attack On Memory got tons of love from indie rock critics upon its release and went on to appear in multiple year-end lists, including Pitchfork, Stereogum, Spin, and more. It's an indie record, but one with a heavy resemblance to early Sunny Day Real Estate and similarly emo lyrical themes ("I miss you 'cause I like damage / I need something I can hurt").
Japandroids at Bonnaroo 2013 (more by Dana (distortion) Yavin)
These records had all too much common with the great emo releases of that year, including Title Fight's Floral Green and Joyce Manor's Of All Things I Will Soon Grow Tired. Both of those albums embraced raw production, honest, innovative music, and were not geared towards a radio-pop fanbase, but yet were largely ignored in indie rock circles. It's essentially what indie rock is, and a far cry from what pop bands tagged as emo like Panic at the Disco, Hawthorne Heights, and Senses Fail were doing. Those pop-emo bands, and countless others, dominated rock radio, MTV, and a major part of the conversation on emo during the mid-2000s, scaring away many indie rock fans and critics from the genre all together. The two weren't always enemies. Emo kids and indie rock kids both hold equal claim to bands like Sunny Day Real Estate, Cursive, Bright Eyes, Death Cab for Cutie, Rilo Kiley, and others. Perhaps part of the split was because it was somehow cooler to look like this than like this.
Title Fight, who didn't appear on Pitchfork until the-year-of-the-revival despite notable album releases in 2011 & 2012, cited many of the same influences as modern indie rock bands for Floral Green, including Sebadoh, Hum, Nirvana, and Sonic Youth. And Joyce Manor did the same, namedropping Guided by Voices and Weezer's Pinkerton in interviews. It makes sense that fans who latched on to Japandroids/Cloud Nothings would gravitate towards Title Fight/Joyce Manor. So what makes them so different? Ian Cohen says in his 2013 Pitchfork review of the new Title Fight EP, "You're more likely to hear electro-pop or major-label bands such as Chvrches or Haim called "indie" more often than Title Fight. How is that? Is it because most of time, genre tags are used to described the perceived fanbase than the music itself?"
The question Ian poses in that review seems to be a huge factor in the need some have to cite an "emo revival." If Japandroids and Cloud Nothings are your kind of indie rock, or punkier indie-approved bands like Titus Andronicus and Fucked Up, or classic bands like Dinosaur Jr, Built To Spill, Superchunk, and Archers of Loaf, chances are you're going to (or already do) find a lot to like in Title Fight, Joyce Manor, Pity Sex (essentially a shoegaze band), Cloakroom (sludgy slowcore), Placeholder (fuzz rock/'90s-style indie/etc), and many more. And as certain people, like Jaded Punk Dan Ozzi in his Noisey article pointed out, these bands didn't come out of nowhere. This comparatively underground scene of emo has been co-existing with the mall-emo scene for years, and perhaps it's getting called a "revival" because of the sudden interest for it from a fanbase who, for the most part, previously ignored anything associated with that three-letter word.
I do think, to some extent, that at one point the "emo revival" tag meant something. Now-defunct bands like Algernon Cadwallader (who have a new band, Dogs On Acid, in the works and whose guitarist Joe Reinhart is now a sometimes-member of Hop Along) and Snowing/Street Smart Cyclist (whose singer John Galm now fronts the excellent garage punk band Slow Warm Death) revived a very specific type of emo in the late 2000s -- the math rock-influenced kind done (perhaps most notably) in the mid-'90s by Cap'n Jazz. That sound, which some people bafflingly call "twinklecore," can be heard in late-2000s bands Castevet, Empire! Empire! (I Was A Lonely Estate), 1994!, and bands who rose more recently, including The World Is A Beautiful Place & I Am No Longer Afraid To Die, Dads, and Prawn. But that's only a small sect of the genre as a whole. I recently said that Brand New's 2006 LP The Devil and God Are Raging Inside Me is my favorite emo album since Diary, and Devil and God only came out two years before Algernon's first, 1994!'s first, and La Dispute's first. Thursday's final record, No Devolucion, came out in 2011 and in my opinion it's one of their best. The genre had a rough period as it entered the mainstream (but so did so many other genres) but it never vanished.
Touche Amore at Riot Fest 2013 (more by Kirstie Shanley)
Why is it all happening now though? Perhaps with "indie rock's tuneful death rattle" and "the decline of guitar rock" in effect, with artists like Haim, Chvrches, Icona Pop, The 1975, and Lorde currently dominating the indie rock discussion, there are still people yearning for raw, scrappy guitar rock with DIY ethics and an alternative mindset. And a lot of us are finding that those cravings are satisfied by this large, thriving group of "emo" bands. In his "indie rock death rattle" piece on Grantland, Steven Hyden welcomed indie turning pop as a natural progression, but did point out some may be seeking something less pleasant, which he finds in Touche Amore's latest LP, Is Survived By.
Touche's record, another getting extra attention now thanks to the "revival," is one of the finest releases of this year, and embodies so many of the key factors of "underground rock." Its aggression is raw and unpolished, but it's melodically and dynamically exploring new ground for rock music. Lyrically, the themes won't be unfamiliar to indie rockers, exploring existential uncertainties ("To swallow mortality is enough of a task / And leaving your mark is just too much to ask") that aren't too different from a band like Titus Andronicus ("Okay, I think by now we've established everything is inherently worthless / And there's nothing in the universe with any kind of objective purpose"). They also happen to be musically and communally connected to post-hardcore bands like Converge and Thursday who have influenced forward-thinking underground rock bands, just as Pavement and the Pixies have.
At The Drive-In at Coachella 2012 (more by Dana (distortion) Yavin)
It's not only newer bands though. Many now broken-up bands have been reuniting, and getting welcomed back very warmly. It's no surprise that the much-loved At the Drive-In caused excitement when they reunited, but in case there was any doubt how large that excitement would be in indie circles: They got huge spots on major indie rock festivals like Lollapalooza and Coachella, and the reunion also got notable coverage on many indie sites, including Pitchfork, who weren't too kind to their classic Relationship of Command LP upon its release but scored it significantly higher upon its April 2013 reissue.
The fact that the idea of "indie rock" is so vague and encompasses so many things, many of which are not "indie" or "rock," is a great thing, but there are still kids who can't settle for Chvrches when a past generation got Fugazi. And luckily those kids won't have to worry. In addition to many of the bands mentioned above, there's Speedy Ortiz, Waxahatchee, Swearin', A Great Big Pile of Leaves, Courtesy Drop, Little Big League, Frameworks, Calculator, Iron Chic, Big Eyes, Single Mothers, Sundials, Aye Nako, Worriers, Caravels, Pianos Become the Teeth and so many more that all satisfy a similar craving, whether or not you call them "emo," "indie," or a "revival."
photos by Wei Shi; words by Fred Pessaro
Death Grips /
Its really a sad state of affairs when a band making a scheduled appearance is news, but nevertheless it was somewhat of a surprise that Death Grips did make their headlining appearance (on the Miranda stage) at the first day of FYF Fest in LA on Saturday (8/24) while Yeah Yeah Yeahs played at the adjacent Carrie stage (yes, stages were named after Sex & The City characters). The two-day festival, which took place in LA State Historic Park over the weekend, also featured many other notables, including appearances from TV on the Radio, FLAG, a reunion set from The Locust, as well as sets from names like The Breeders, Waxahatchee, METZ, Joyce Manor, Ty Segall (who's in NYC for two shows this week), and more. Pictures from FYF including all of the mentioned artists above -- as well as shots of Jim Hamilton, Jonah Ray, Kumail Nanjiana, Crystal Antlers, Charles Bradley, Toro y Moi, Classixx, Nosaj Thing, comedians and more -- are in this post.
We'll have pictures from Day 2 soon. More pics from FYF Fest Day 1 below...
photos by David Andrako
Kid Dynamite & Joyce Manor @ House of Vans - 8/15/2013
The free House of Vans shows continued last night (8/15) with an all around great punk bill. Lo-fi pop punks Swearin' opened the night, followed by classic-style punk from Dischord supergroup Red Hare. Then came emo/indie rock line crossers Joyce Manor, and finally, the last US show for melodic hardcore vets Kid Dynamite. Pictures of the sweaty craziness are in this post.
More pictures from House of Vans below...