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(09/21/22 4:00am)
With a Democratic governor whose term is about to expire, a Republican legislature, and several highly contentious races forthcoming, all eyes are on Pennsylvania. The state has become a litmus test in informing and shaping the political geography of the post–Trump era, especially as reproductive health care is facing a reckoning across the country.
(09/28/22 12:30pm)
Tucked behind the traffic of East Passyunk Ave sits an unassuming sidewalk sign promising tacos. The inside of Juana Tamale, on the other hand, is anything but discreet.
(04/14/22 6:00pm)
“Put your hands up if you’ve never rocked out to a cello before,” The Happy Fits lead vocalist Calvin Langman asked at last week’s XOXO Tour concert while opening for The Maine at Union Transfer. With my hands in the air, I decided I’d become a cello convert. After their 2016 EP intended only for friends and family blew up on Spotify, Langman, along with guitarist Ross Monteith and drummer Luke Davis, decided to “try and make it work.” They dedicated themselves to producing songs dominated by cello, a secret weapon that is “all power chords,” making it ideal for rock music, Langman says.
(03/29/22 2:54am)
Last year, when asked where I wanted to go to college, I said somewhere with a snowy winter and good tacos. El Jarocho, located in South Philly near Passyunk Square, is certainly delivering on the taco front. Walking in, my friend and I were greeted with bright Christmas lights strung along the entry, family photos in the corner, and hand–painted walls, along with the friendly staff and a bounty of chips and sauces to accompany. With huge portions, authentic dishes (Where else can you try beef tongue?), and bold flavors coming straight from the kitchen you can see from your table, El Jarocho is certainly a worthy destination.
(03/22/22 2:24pm)
Inspired by primal scream theory, Tears for Fears has always stood for engaging with negative emotions rather than repressing them. Their ‘80s hit songs like “Everybody Wants To Rule The World,” “Shout,” and “Mad World” are characterized with by the upbeat synths and percussion of the decade, juxtaposed with heavy lyrics discussing childhood trauma, war, and social movements of the time. Now, after an acrimonious breakup, various personal hardships, and almost two decades, the English duo has re–emerged with a new perspective and an album to accompany it, The Tipping Point.
(03/14/22 5:00pm)
Ukrainian culture, specifically its music, has been a target of Soviet oppression for practically a century. As early as the 1930s, Stalin attempted to eradicate any semblance of state–building aspirations or a Ukrainian national culture. This included a massacre of the kobzari, the itinerant, bandura–playing musicians who were mainstays of Ukraine’s unique and vibrant folk tradition. The Soviet Union went so far as to mandate the registration of musical instruments and ban nomadic musical performances.
(02/28/22 8:00pm)
Since their 2006 self–titled debut, Baltimore duo Beach House has gained significant influence as an indie band, while always relying on the same mesmerizing vocals, synths, and distorted acoustics to create their distinct dream–pop sound. Given that, plus the fact that “nobody has any attention span” according to band member Alex Scally, Beach House worried an 18–song album released in four chapters would be far too much. But on their new sprawling and abundant record Once Twice Melody, every song has its place. The double LP is a blend of all of the band’s previous work, combining the drama of Teen Dream and Bloom, the dark edge of Depression Cherry, and the heaviness of 7. The album welcomes the listener into another world that transcends time and etherealizes the mundane. The 84–minute journey into the cosmos acts as a protest against rushing through life in a linear fashion by creating an introspective and surprisingly intimate experience.
(02/27/22 10:18pm)
Recently, the music industry has been consumed by controversy, from streaming services to the ownership of music from artists' catalogs. Artists have been extremely vocal on this topic, rushing to each others' defense and sometimes talking over one another just to be a part of the conversation. But what do these musicians have to say about the voice of music itself—is it possible to own language?