Check out my review at Headspace !!
Be sure to check out my review of Opple Topple for HeadSpace Magazine and let me know whatcha think!
No, it’s not a dream. They’re here… It’s happening. SUCKERPUNCH is back and raging our favorite venue, The Blockley. This is not a show to miss, ladies and gentlemen. After getting silly at the Note with Electron, Brownie is rolling his sleeves up and knocking some teeth out. Catullus, one of our most beloved bands here at Mentalexpanders, will be taking the stage at 9 PM to give these eletronica-jam legends a proper welcome. Coming hot off a killer set at Opple Topple Fest, the Catullus boys are looking to give the crowd a dance fever with some fresh tunes that they’ve been working on in their studio. Be prepared for their latest track Spunion, it’s a sexy sundae with extra cherries. Blendmode will also be sharing the stage so make sure not to miss out. It’s going to get weird… just the way we like it.
ATTENTION. You are all on the book of face for at least 5 minutes a day.. right? Even if you hide it. Take a minute and make some dreams come true! I don’t mean those fluffy disney dreams… I mean raunchy rock’n roll dreams!!!
What we need all you wonderful music lovers to do is head on over to the EVENT PAGE, join and write CATULLUS on the wall. Yep, that’s it. That’s all We’re asking! Of course, writing something witty is always fun, too.
Let’s take the expression “who you know, not what you know” and shove it down their throats! With the talent behind these guys and a little love from family, friends and fans we can show that those “who ya know”don’t need to be big wigs… just a whole lotta little guys!!!!!
Also, although our wonderful brotherly friends Flux Capacitor did not get the slot at Roo, they are off touring in Europe right now. Congratulations to success overseas!! &Thanks for all those who took the time to vote vote vote!!! Much appreciated :)
Of Montreal’s show was like a time warp into an 8th grade dinner dance. Everyone was jumping up and down in merriment to blissed-out filter disco melodies as Kevin Barnes sang with languid pleasure songs heavy with poetic diction. He crafted a world rich in Greek mythology, made modern with influence of his time spent as a club kid. He brought stories of home-cooked meth and european dance parties with estranged love interests to life with his arching vocal abilities. Barnes is a true storyteller with licentious rhythm. The audience was captivated until the last second of the final encored song, demanding more without the slightest hint of exhaustion. You would never have guessed it was a Monday night in Philadelphia with the elated smiles plastered on the fans’ faces.
One of the novel aspects of an Of Montreal show is that Barnes not only plays a multitude of instruments while tantalizing eardrums with delight, he and his posse put on a performance with bizarre costumes and presumed props that without notice break out into dance to prove their existence. Barnes singing a cappella could command a large audience; belting out his tantalizing lyrics in an unnatural vocal range takes listeners on a carpet ride to ecstasy. He could quite possibly be the supernatural love child manifested by the combined will of David Bowie and Prince—he posses their vocal talent, stage presence, and unsurpassed overall showmanship.
If you ever have the opportunity to catch an Of Montreal show—don’t hesitate! Once you step inside you are garunteed to forget the outside world for a few hours and be transported to a blitzed-out pleasure oasis where there is nothing to do but dance in a silly realm of make believe. The best part is this flamboyant crotch thrusting heartthrob will “do it soft-core if you want, but you should know that [he] prefers it both ways.”
Venue: Union Transfer (the old Spaghetti Factory)
Cons: Put on your walking shoes if you want to escape the high price of lot parking and be prepared to meander down some shadowy streets. Don’t plan on pre-gamming in a lot full of fellow crazies. Also, there is not a plethora of kitschy bars/restaurants to kill time in before the show, so I recommend chowing down before you park up.
Pros: Hold your breath from your car to the venue. Not that the walk is infested with foul smells, but the air inside the Union Transfer is INSANE. They have magical fairies that fly around pumping fresh oxygen into your lungs while you sing along. Seriously, the air inside the venue is rejuvenating and keeps you feeling fresh even after hours of incessant dancing.
Sound: There is not a bad spot to be in this venue, whether you are in the downstairs bar refueling; hanging out upstairs around the mezzanine; anywhere front-to-back on the dance floor; the sound system is phenomenal.
Layout: Architecturally speaking, this is the most attractive venue in Philly. Cathedral ceilings, dark-stained wood accents, and mesmerizing full-wall stained-glass windows mix with the low ambient lighting to create an enchanting vibe.
Venue: The Electric Factory
Pros: The E Factory puts great names on the marquee to fulfill all genres of musical desire from hometown rock heroes Dr. Dog to British DJ Shpongle. The venue is easy to get to and parking is $10 to be in the gate or, if you have a pocket full of quarters, meter parking can be found right out front. After the show, be sure to head next door to J.D. McGillacuddy’s. They keep the party going with local artists such as Philly Funk Hustle and Flux Capcitor.
Cons: Let’s be honest. Yeah, the Factory gets great bands, but we’d all rather see them somewhere else. Getting near the stage is never an easy feat, and trying to get a bartenders attention can be just as difficult. As for smokers, forget it. If you really need to fill a craving you’ll be shoulder to shoulder with all your fellow fiends. Careful, you might get burnt.
Sound: The sound quality has been on noticeable decline over the past five years. If you are in close proximity to the stage it is loud, but not high quality. If you’re in the back or upstairs it sounds like max volume on a car stereo. Hopefully, with the competition from Union Transfer, E Factory will pour some money into an upgraded system.
Layout: Can you say bottleneck? Everyone filters in like cattle through four lines, is quickly frisked by security, and then sent through the main doors. From there it is a mad house, drinks, food, and merch are along the left side with one seemingly muddled line of impatient people, the main floor is directly in front of you, and then everyone else rushes to the right to hit one of the bars. Depending on the show, the upstairs bar might not be open, leaving everyone to fight for the attention of the downstairs bartender. Lastly, it seems as though the air in the Factory has been stagnant for years, like a cesspool of stink floating around you. As you can imagine, when the bass drop and a sold out crowd gets sweaty, the smell doesn’t get any sweeter.
Venue: The Mann Center
Pros: Tailgating heaven. Rolling hills of plush grass with a canopy of shade provide the perfect area for hours of pre-show partying. Bring a cooler, chairs, a Frisbee and some friends. There is nothing better than an outside concert on a beautiful summer night. Once inside, if you have lawn seats it is easy to weasel past security under the pavilion and catch a better look at the artists.
Cons: The ratio of lawn to people is uneven so don’t expect to stretch out and relax, but rather get close and comfortable with the people around you. The cement pillars are not something you want to get stuck behind; there are no large monitors to show you what you are missing.
Sound: The acoustics aren’t great. The Mann is more geared toward setting than sound.
Layout: The bathrooms and bars are at a distance from where the audience goes to enjoy the show, but on a nice night a little stroll isn’t necessarily a bad thing.
Long lines had this bizarre subculture hype with anticipation. The smell of date rape filled the air as underage girls ran rampant in tight neon bras and black spankies equipped with fishnet stockings—leaving nothing to the imagination. God spilt his tool box on Temple’s campus on April 20th, allowing bros to stampede the streets in search of meat.As Lorin took the stage and dropped the first buzz of inundating bass, all the fist pumping drones grabbed the closest smut on which they could grind their molly-made-flaccid members raw.
5 years ago Dub was just gaining fuel as its own underground culture, made of ravers and jam band enthusiasts who were looking for something new. Now, a music that was like a naughty escape that you kept like a dirty secret has been commercialized—flooding the mainstream electronica scene and taking no prisoners.
They’re just too young. It was bad on Temple’s part, or who ever was in charge of the decision to make this an all ages show. Pubescent kids cliff dove from innocence directly into the serpent’s mouth, indulging in a poisonous feast of forbidden fruit, manifesting false knowledge of enlightenment.
This misinterpreting of spirituality is not the blame of Lorin, the man behind Bassnectar, but the infamous Molly and her wicked misguiding. The commerciality that has weeded itself within this subculture seeks to suck all the previously good-intended messages of brotherhood, humanity, spirituality, and unity.
These ideals—still rooted in the music—are dehydrated and gasping with dried mouth. This is why water is so god damn important to this scene, both metaphorically and realistically. The body and mind need water; they crave it. It is the savior to those who are overcome with thirst unfortunately try to quench it by other means.
Molly dehydrates audiences—mentally and physically. It is because of this that Lorin created the BNF. During his performances they seek to provide concert goers with water for free, since the capitalist nature of most venues hoard this necessity offering it only in unnatural containters and at obscene prices.
Kids spend their money on drugs and forgo what they really need like, “high quality H20.” It really says something about Lorin’s intent that he offers this free service to his loyal fans. He sees the degrdation and increasing fatigue of misguided youths and seeks to rejuvinate them, and does so with a background of deep penetrating bass lines and glitzed-out light shows.