April 15–22, 1999

music issue

A Dozen To Go

New local bands on the move.

The Bigger Lovers

The golden days of Philly indie rock may be over, but The Bigger Lovers feature many of its luminaries, including Moped's Brett Tobias, Ed Hogarty of Lefty's Deceiver and Mesmer and Scott Jefferson of the Diane Linkletter Experience. (Oh, their newest member is Patrick Berkery, who writes for that other weekly in town.) Light on angst and heavy on pop sensibility, the quartet makes the most strummy, syncopated chord progressions, half-whispered vocals and easy-to-follow, jangly leads. Think classic power pop à la Big Star mixed with the more introverted and melodic moments of Sebadoh. Just in case you're thinking a name like The Bigger Lovers is boastful, it's a reference to one of Tobias's cats. The one that's fatter than the one nicknamed "Big Lover."

The Bigger Lovers will be playing on Friday, May 14 at The Khyber.

—Neil Gladstone

The Boils

Being a hardcore street punk band, The Boils, as you might expect, hail from that kickass scene of West Chester, PA. Their sound, while aggressive and original, owes a bit to the raw, early years of Stiff Little Fingers and Blanks 77. When The Sun Goes Down (Creep), The Boils' recent EP, packs eight songs in 15 minutes of fury, with a hyperactive rhythm section and pointed, political lyrics. Perhaps one of the reasons you haven't heard of The Boils is that they usually perform at all-ages shows in basements, school gyms and church halls. Last summer, however, they got a big break and performed at The Warped Tour.

Look out for The Boils' first full-length, World Poison (Cyclone Records), due out in May.

—John Osborn

Da Fat Cat Clique

When you release an impressive single entitled "Watchitsucka" that meshes a bumpin' lyrical flow seamlessly with a "Sanford & Son" theme song sample, the expectations for your subsequent debut album can be high. On Ode To The Cool Cat: The Autobiography (DFCC Records), Philly's Da Fat Cat Clique lives up to those expectations. The lyrics recount band history while also giving the middle finger to various record companies who have shown the crew little respect. MCs and producers, A.B. Lover and Criz Diggity captivate from the very first track, "Happy's Lounge," onwards. Rounding out the crew are "The MindSquad" L, Thor, Nasty, and Bizzy. Together, they blend humorous, witty rhymes about a day at the beach with a loop of seagulls and later switch masterfully to the prophetic on "Showdown." Resurrecting the sublime piano grooves of 1996's hit "Da Flow," the group's musical innovation and lyrical versatility distinguish them from the average gritty rap troop. Criz Diggity even surprises with a soulful cover of Stevie Wonder's "All is Fair in Love." These gentlemen will definitely help Philly to the head of the rap frontier.

DFCC records can be contacted at dfcc903@yahoo.com.

—Jennifer Carey

Drill For Absentee

It only makes sense that this West Chester band's name is an anagram of Twin Peaks character Albert Rosenfield. Like the bizarre, circular plot twists of that early '90s serial drama, the math rock-influenced tunes on the band's debut EP, Circle Music (MindWalk), is unnerving and serpentine. The trio's guitarist, Michael Nace, 22, claims the anguished guitar rock sounds of defunct bands like Louisville, KY's Slint and Rodan, and DC's Hoover as influences. (Their EP was recorded by Geoff Turner who recorded much of Hoover's work.) Six-string bassist Kevin Kelly, 20, studies classical composition at West Chester, bringing a somewhat Rush-like feel to Drill for Absentee. Though the band has been together off and on for about four years, the musicians met as teens when they played in bands that performed all-ages shows at West Chester pizza joint Sabatino's. They were all playing punk back then; they've grown up considerably since. Their tight, angular, stop-start rock can drift occasionally into the noodling realm. But thoughtful compositions and high musicianship make it well worth braving the occasional bout of self indulgence.

Drill For Absentee will play Sat., May 8, with The For Carnation at Upstairs at Nick's and Thu., May 13, with The Shipping News and Victory at Sea at The Khyber. For more info, visit http://come.to/mindwalk or call 215-351-6153.

—Brian Howard

EDK

EDK's name, short for Empress Dowager Kollective, may have been lifted from an old Kung-Fu movie, but their electronic jazz soundscapes have more of a sci-fi quality. Founded two years ago when John and Scott Weiss, two house DJs who are also brothers, teamed up with Julian Grefe, former guitarist for the post-punk group Trans Megetti. Together, they combine their interest in electronic music with a passion for '60s spiritual Jazz artists like Cecil McBee, Alice Coltrane and Albert Ayler. The first EP, Subconscious Isotopes (1998) is a mix of avant jazz and down beat drum 'n' bass, which recalls DJ Spooky and Japan's Reflections. The group's second EP, Science of a Giant, has the same flavor with more live instrumentation. By the end of the summer, EDK plans to release a third, as well as a 12" on Manhattan's Plastic City to be recorded under a pseudonym. In the meantime, EDK will keep busy with Julian, fellow EDK member Milkweed and their associate DJ Chris Crasta spinning as part of Silk City's Grass Saturday nights and 700 club's ESP (on the second Tuesday of every month).

—Brett Burton

Fingernail

Adam DiAngelo, the lone figure behind electronic project Fingernail, says that his goal when sitting down to write music is to make pop songs. Hmm... that might give you the wrong idea. That's like referring to Beckett as light, summer reading. Perhaps DiAngelo, 21, is just being modest. While there's an ethereal element to the all-instrumental analog keyboard, computer and sequencer compositions on his debut full length So Backwards (Fuzzy Box/Darla), its complexity and looping meditation are a far cry from the candy-coated beats and whistles of electronic club pop. Fingernail is as cerebral as atmosphere acts like Tomorrowland and Labradford and as beat-oriented as Autechre with a bit more warmth. Yet Fingernail rarely performs live. DiAngelo much prefers to record in his home/studio. Though he's fond of composer Philip Glass, he claims Kurt Ralske of Ultra Vivid Scene as perhaps his biggest influence. In a turn of divine karma, Ralske will contribute to an upcoming So Backwards remix album. DiAngelo also admits an affinity for the big soul sound of Phil Spector. He says his goal is to follow in Spector's footsteps and form a girl group, "the Spice Girls, with some good music," he explains, only slightly joking.

For more information on Fingernail, visit www.doubtful.com or call 215-829-4320.

—Brian Howard

		Jazzyfatnastees

Jazzyfatnastees

The Jazzyfatnastees were once signed to Tommy Boy. They were also once a four-piece. But a lot has changed with this soulful singing group over the years. Originally from Los Angeles, The Jazzyfatnastees moved to Philadelphia after working on The Roots album Illadelph Halflife. When their deal with Tommy Boy didn't pan out (the label didn't seem to know how to market an semi-experimental R&B act that mixed jazz and spoken word with doo-wop), the group spent several years in limbo, negotiating with numerous labels. Now that The Roots have their own label, Motive Entertainment, the wait is over. The Jazzyfatnastees just finished up their debut album, The Once and Future, which features The Roots as their backing band. "Our style isn't quite as left-of-center as it used to be," says singer Mercedes Martinez, "we're trying to be more pop but without being syrupy." The Jazzyfatnastees current sound recalls the early '70s smooth R&B, in a way that would fit nicely with classic TSOP. Inspired by The Roots' open mike jam sessions at New York's Wetlands, the duo is currently hosting "Black Lily" nights at Wetlands, every Monday. They're hoping to bring the event to Philly as well.

Look for the The Once and Future midsummer.

—Neil Gladstone

Legend of Boggy Creek

Like the fuzzed-out cover art of their self-titled eight-song debut, this trio is all about murky ambiguity. Their sonic haze is supplied by John Smith's percolating bass, Sara Gallo's minimal drumming and layers of washed-out distorto-guitar from Marc Manning. At their most melodic, they recall Galaxie 500's darker moments, with Manning's leads erupting from the tranquillity. At their most unbridled, as all three wail away in fits of no-wave abandon, they're reminiscent of Slint's noisier efforts. The band formed two years ago when Smith met Manning through Gallo with whom she attended UArts. Smith and Manning desperately sought a drummer until they realized that Gallo, who had just taken up the sticks, was "the only person who understood what we were trying to do," explains Smith. So she was in, in much the same way Naomi Yang joined Galaxie 500. All three are film buffs, and their goal has been to make music that could serve as a film soundtrack. Even their name comes from the cinema, a 1972 B horror film/pseudo-documentary on Big Foot. Accordingly, their sound is womb-like, dark and enveloping, with vocals that peek out from the din like whispers in a crowd. Their album, released on their own Ameila Records label, has been picked up recently by indie distributor Darla Records.

For more information, contact Amelia Records, 915 Kimball St., Philadelphia, PA 19147, boggycreek3@hotmail.com.

—Brian Howard

		Pete Moss

Pete Moss

Pete Moss' soulful, atmospheric house music is propelled by percussive twitches and mellow horn. "The horns have that Philly jazz sound," says Moss, 24. "They're smooth and gentle, chill-out stuff." On his first two 12-inches, "Relocation" and "18 City Blocks" (released on his own Recline label), the Boston-transplanted DJ created hypnotic music with big thick bass lines and delayed horns. "I was inspired by old heroes like Todd Terry and Lil Louis Vega as much as I am my pals like Rob Paine and Josh Wink," say Moss.

But on several new releases, including his first for Ovum called "Late Night Up North," the EPs Infrared (Earthtones) and Ultrasonic (Siesta), Moss shows an even deeper mellowing of sound and a softly streamlined efficiency for the ultimate in post-3 a.m. chill out, dub-electro-soul. Each cut is ethereal, linear and repetitive.

"I want people to get the music without image, without pretense and without clique-ish sentiment. It's just about getting things done."

Recline, 231 Race St. Phila PA 19106, 215-238-1059, reclinerec@aol.com

—a.d. amorosi

The Mountain Brothers

In a town notorious for its cynical hip-hop outlook, The Mountain Brothers' Asian proud, spirited rap has earned them respect with the recent release of their debut, Self, Vol. I (Pimpstrut Records). After a difficult tenure with Ruffhouse (which reportedly signed the band, but didn't allow the members creative control) this independent release seems more like a polished album from hip-hop veterans rather than a self-distributed debut.

The Mountain Brothers jazzy loops are accented with piano drops, deep bass lines and wickedly thoughtful lyrics. On "Galaxies —The Next level," beat man Chops cooks up an amazing sonic backdrop reminiscent of the great DJ Premier. On the high-octane "Fluids," lyrical wingmen Styles and Peril-L create impressive back-and-forth wordplay. "Paperchase" and "Day Jobs" discuss mixing a 9-to-5 job with being a true hip-hop head. With songs ranging from above par to just plain bangin', The Mountain Brothers are finally able to prove their worth to the Philly hip-hop scene.

—Damon C. Williams

		The Red King

The Red King

For a bunch of youngsters working with musical styles that peaked before they were even teething, the five lads in The Red King pay some pretty exacting reverence to their '60s-era heroes. The Norristown band whips up a storm of psychedelic mayhem and operatic piano-driven pomp that recalls icons like Jefferson Airplane, Queen and Ziggy Stardust. The Red King is headed up by the swirling keyboard and guitar playing of Joseph Lee, whose voice can sound amazingly like Freddy Mercury while the rest of the band weaves dark strains and conflicting melodies through stretched-out semi-improvisational tunes. Though the six songs on their forthcoming debut Woke Up can, at points, sound more imitative than innovative, the band's grasp of intricate song structure, and pleasing mix of acid and glam is plenty to be excited about.

The Red King will play on Thu., April 21, at John & Peter's in New Hope; Fri., April 30, at Sam Adams Brew House. They will have a record release party on May 21 at Indre Studios. For more info e-mail BSSchwartz@msn.com.

—Brian Howard

		Sugarsmack Daddy

Sugarsmack Daddy

When FOR's drummer Charles F. Duquense and singer-guitarist Josh Slater split to form Sugarsmack Daddy, I thought they'd veer toward a funky fusion of pop and soul. Imagine my surprise when Sugarsmack Daddy came back with a sweet and melodic, quirky pop sound. "I call it urban surf music," says Duquense, known around town as Chuck D. "It's homegrown, Philly mod stuff, the perfect party music, good for driving, skiing, standing, parking." On their debut, Installation 1: Butter & Jelly , the trio makes heavenly sounds recalling the squirrelly vocals of the Violent Femmes and latter day Velvet Underground. Guitarist Slater jumps between surf-jazz slipperiness, double-time solos and fuzz-tone flickering. "Our mission is to go where everyone has gone before," says lead bassist and vocalist Aja Jovais-Beech, elliptically. "To surf the sidewalks of this fair old city and to fuse together every kind of hum and beat to whisper our theme songs to unsuspecting passers by. We all have a theme song because were incarnate from a spirit lost long ago."

Sugarsmack Daddy will play at Monsoon Designs' next party, Thurs., April 29 at the Five Spot. The band can be contacted at 1141 South Ninth St., 19147.

—a.d. amorosi