Posts filed under ‘Hype’

A Month of Sundays

Taken next door to Bob and Barbara’s, Thursday night 4/12. Prettified by Valania.

Plain Parade is honored to reunite on Sunday, April 29 as part of Tritone’s “A Month of Sundays,” a weekly series for the eclectic mix of bands, DJ’s and promoters that received Rick D’s unconditional support. Organized by Bob & Barbara’s/Tritone bartender/waitress Beth Boccassini, “A Month of Sundays” gives us all a chance to say thanks to The Man in the Vest.

Tritone is located at 1508 South Street. 215-545-0475 All events are 21+

DJ’s Evile Mlle. Femphis (Tritone bartender Kelly Wolff who also used to do “Songs About Fucking” at Silk City) and Thunderchicken (Tritone’s weekly soul night, “45 Piece”) spin Rick D’s favorite music.

Donations encouraged to Philabundance:

Plain Parade presents:

Camille Escobedo’s Joan Jett snarl rides atop a bracing Cheap Trick guitar crunch from an amped-up garage band that’s ready for bigger things. (Dan DeLuca, Philadelphia Inquirer)

THE NOTEKILLERS (Ecstatic Peace)
While the rhythm section churns furiously, David First peels off a series of scrambled guitar lines, precise even when he’s improvising. His diagonal riffs are marvelously untraceable (Surf-rock? New-wave? Heavy metal? Free jazz? Serialism?), and somehow these dense compositions inevitably come out sounding like party music. It’s clear this band ranked with any of New York’s much celebrated no-wave acts.” (Kelefa Sanneh, New York Times)

FOXYCONTIN (Rich Kaufmann from Electric Love Muffin & Rolling Hayseeds)
I don’t want to lie and say I liked his ’80s ensemble, Electric Love Muffin (though 1987’s Playdoh Meathook has its charms). But Rich Kaufmann learned enough about sad-eyed songwriting while teamed with Kevin Karg for the country-fried, tear-soaked Rolling Hayseeds to know how to make noisy, guttural, disillusioned pop-punk with his first band in some time, FoxyContin. Look for ex-Sonny Sixkiller skin man Lance Crow to rage through what Kaufmann promises will be “no sensitive-singer-songwriter-singing-about-the-state-of-parenthood here.” Good. (A.D. Amorosi, CP)

JUST ADDED! PAUL DELLEVIGNE (The Sinners, former Tritone bartender)

Laboring for nine years with little in the way of commercial reward or mainstream attention has gotten Undergirl good and pissed. The group’s second record, the incendiary My Flash on You, seems to vibrate with the anger of the overlooked. Fusing revved-up guitars with Amy DiCamillo’s furious howl, the record cannily evokes the days before punk rock got its fangs filed at the local Hot Topic. DiCamillo’s delivery is more Poly Styrene than Brody Dalle, and the group’s unpretty fuzzed-up chord patterns seem at times like they were nicked from a ruddy British sublet (“Radio Action” even appropriates the outro from “God Save the Queen”). The band approaches its live shows with equal ferocity, making it one of the hardest- working underrated bands around. (J. Edward Keyes, PW)

To these ears, garage bands succeed when they remember to temper the thrash with tuneful melodies. Philadelphia’s Jukebox Zeros (love the name, guys) rock out plenty on their full-length debut Four On the Floor, but they never let their love of squalling guitars overtake and drown out their catchy songs. The Zeros effortlessly channel ’70s-era punky-power poppers like Iggy Pop (‘Blue screen burn my TV eye,’ yowls frontman Peter Santa Maria on “Ch. 48”) and Stiv Bators (opener “Flophouse” echoes Bators’ snarl, and the band does right by a cover of the Dead Boys’ ‘High Tension Wire’), but they’ve got their own fun identity. ‘Film Noir Love’, appropriately dark and stormy as it sounds, seems to have been created so the band can have a laugh over the double entendre ‘private dick’. And ‘Don’t Tell Me (More Than I Wanna Know)’, aided by a B3 organ which really should appear more on the album, celebrates avoiding dreaded TMI (Too Much Information). And when they’re not being silly, the Zeros have attitude and guitar solos to burn: ‘Why doncha just go away?’ snaps Santa Maria on ‘Fun Suck’; elsewhere, he kicks at the dirt on ‘Cigarettes and Sorrow’. Like their heroes the Dead Boys, the Jukebox Zeros are young, loud and snotty and they’ve got the chops and sense of humor to back it up. (Stephen Haag, PopMatters)


ELLIOT LEVIN organizes a jazz tribute. Bands TBA.

In other news, Scott Parker, a doorman and sound engineer for Upstairs at Nick’s and former Thorazine bassist, wants to put together a not-for-profit memorial CD project together in honor of Rick. If you want to be involved or know anyone who does, you can contact him here:

April 15, 2007 at 11:18 pm Leave a comment

Dumpsta Players Tomorrow


I said before that the show is like Lost Boys meets Breakfast Club. I think it’s more Buffy. I’m playing a sexy vampire girl who kills a dumb jock.
DJ K-Tell & The Dumpsta’ Players present:
Wed. February 21st
11pm Showtime — sharp!
@ Bob and Barbara’s
1509 South Street
Info: (215)-545-4511
$1.99 cover, 21+


High school pressure can make ANYONE feel trapped in a bubble, but for
Bobby, the bubble is all too literal. Due to a rare condition, he’s spent
his entire sixteen years encased in an antiseptic plastic bubble. He can’t
do the types of things normal teens take for granted. As a result, his
social life is a joke. He’s the punchline for his shallow friends, and no
one seems to understand him. And forget dating — with his options
limited, he hasn’t even figured out if he’s gay or straight. Despite an
attraction, his would-be boyfriend Shane is too embarrassed to stand by
his guy.

And then we meet Sadie — a sexy misfit who “gets” him and sees beyond his
plastic shell. Or does she? This romance is definitely too good to be
true, and it’s a matter of time before Bobby will have to make some real
choices. All that’s standing in the way is that damn bubble.

Will he choose love or let love choose him?
Will he separate the shady from the real?
Is there danger lurking for Bubble Boy?
And why do kids keep disappearing near the mall?

Find out whether the teens will be dancing in heaven — or hell in —
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Want to start your own business?
Learn how on Yahoo! Small Business.

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February 20, 2007 at 3:18 pm Leave a comment

Sugar Town Tomorrow!


It’s half-off with a Yo La Tengo ticket stub.

Here’s tomorrow night’s schedule, if you’re interested:
9:00 Doors
9:30 Amy Quinn/Citizen Mom reads
9:45 Y-Front
10:00 Jen Hess
11:00 Voodoo Economics
11:30 Fun dance party with DJ’s Julia Factorial, Darshana & Chetena

This, the latest — and hopefully permanent — Sugar Town revival has got some promise. The first re-installment of Sara Sherr’s monthly female-first showcase (which started in 2001) is no mere “Night of Lady Rockers and DJs” as the flier boasts. There’s also a reading by Amy Z. Quinn, aka blogger/parenting pundit Citizen Mom, and a “drag/performance-art project” by Dumpsta Players Chatty Cathy and Carolyn “The Motherfucking Clash” Chernoff. But, yeah, there’s gonna be some rock and roll, too. In the moody, groovy Voodoo Economics, everybody takes a turn on the synths. Alison Conard has a smoky croon somewhere between psycho and sultry, especially when she’s wrapping her lips around “Bail,” a chaotic little number that cribs its lyrics from Reservoir Dogs: “First things fuckin’ last/ You better wake up and apologize/ You’re not blind, you’ve just got blood in your eyes.” Isn’t that sweet? (Pat Rapa, Philadelphia City Paper)

February 9, 2007 at 2:50 pm Leave a comment

Sugar Town Flier

st flier

In honor of Patti’s controversial induction into the RNR Hall of Fame, by Cathy Heard.

January 29, 2007 at 4:24 pm Leave a comment

Just Confirmed


Darshana and Chetana Borah (Bombay to Brazil, Last Love)

I’m really happy that Sugar Town is coming together. Initially, I was very nervous about restarting it, since it’s always been the most difficult event to book and the most inconsistent in terms of draw and interest. Even the bands who said “no” to me this time around were very enthusiastic and were psyched to play a future show.

Remind me to go back to this entry if someone shits all over it, which they will, it’s inevitable. It’s their loss.

January 16, 2007 at 4:17 pm Leave a comment

Plain Parade Photos



Thanks for the mammaries! Photos of our final hurrah here and here.

January 15, 2007 at 6:15 pm Leave a comment

Sugar Town’s Back!



Sugar Town Presents:

DJ JULIA FACTORIAL (WPRB, 700 Club, your heart)

Sat 2/10 at Tritone, 1508 South Street

Further details TBA

Next month, I’m pleased to restart Sugar Town, a monthly event that focuses on all the cool lady rockers, strummers, and DJ’s in Philadelphia and beyond. I plan on including some drag (kings and queens), vendors, readings, film screenings, and whatever other fun junk I can come up with.

For those who don’t remember, ST started at The Balcony in 2001– with a ton of help of then-booker Lisa Cohen, my former Plain Parade partner-in-crime Maria Sciarrino, City Paper contributor MJ Fine, and Idolator’s Maura Johnston.

Our guests of note have included The Slits’ Ari Up, The Yeah Yeah Yeah’s, Jenny Toomey, Sarah Dougher, Mirah, Palomar, The Demolition Doll Rods, Ill Ease, and Sally Crewe. For a complete history, see here and here

Watch this space for more details.
I’m psyched, aren’t you?

January 15, 2007 at 4:51 pm Leave a comment

Death of a Salesperson, Number 2 and 3


Here, here, and here.

Wrap-up forthcoming and more bees action soon, I promise.

December 26, 2006 at 7:36 pm Leave a comment

A New Column

tower phawker

Wow, so much to catch up on. For those of you who didn’t already know, Stupid & Crazy is Tower Records at Broad and Chestnut Street. And I’m blogging about its final daze here.

For those clicking over here from Phawker for the first time, you can read the S&C archive here.

I still have to finish catagorizing my posts, so a few of them still aren’t there yet.

December 11, 2006 at 2:18 pm Leave a comment

Plain Parade Going-Out-Of-Business Sale! Everything Must Go!!!


Illustration by Alex Fine

Well, it’s finally upon us — our week-long swan song.

To state the obvious: please come out and support the bands, support us and in general, have an awesome time. We’re positive this weekend is going to go down in the history books — You don’t want to miss this!

Let’s give the City Paper a round of applause for naming us “Most Missed Rock Curators” in this year’s Choice Awards:

So long, fair ladies of Plain Parade. Your tiny happy shows were the most lovingly booked, your tastes were impeccable. Four years of giving Philly its first glimpses of underdog indie stars is a pretty good run, and last year’s Songs From the Sixth Borough comp is a fitting and lasting swan song. (Pat Rapa)


The following people and organizations have helped us thrive over the years, so with that said, we thank:

The bands: Thanks for believing in our crazy little project. Your music inspired us.

Our audiences: You followed us from the Balcony to Doc Watsons, to West Philly and Port Richmond and even down to South Philly. Without your support, we wouldn’t have lasted this long.

– The staff and writers of the Philadelphia Weekly, City Paper, Inquirer, Daily News and Metro: Your dedication to covering us and this city’s music scene continues to floor us.

Lisa Cohen: without your help, Sugar Town (and ultimately, Plain Parade) would never have existed! Thanks for being a great teacher.

– Ned & Joanna at the Trocadero, Rick D at Tritone, Joe, Maiken & Steve at the M Room, Ben Morgan at the Millcreek Tavern, Stacie George at Live Nation, Sean Agnew at R5 Productions, Matt & Russell at Danger! Danger! House, Regina at Silk City: Your generosity, whether it was giving us space to do shows, help us book bands, etc, earns you a place in indie rock heaven, for sure!

– The sympathetic and beleaguered staff at Doc Watson’s: We were all in it together.

– Derek at Satellite Booking, John at the Free Agency, Krist at the Crow Agency: Thanks for being amazing, understanding booking agents. You have no idea what a rare breed you are.

– Kevin at Largemammal Print: Thanks for providing us with some amazing concert posters over the years.

– Eric at Apollo Audio, Laris & Kendra at, Turtle Studios: SFTSB wouldn’t have existed without your help!

Dragon City & This Radiant Boy: You were bands, more importantly, you are our friends.

– Last but certainly not least: Our families and friends. You know why.


Sara is hosting karaoke at the Millcreek Tavern on Monday nights, beginning 11/20. She’ll continue to write for the Daily News, blog ( and perform with the Dumpsta Players.

Maria will continue to host her weekly radio show on WQHS (Wednesdays, 10AM – 12PM EST), write for Pitchfork, apply to grad school, blog (, photograph bands and figure skate as much as possible.

We’d really love it if you stopped by our Myspace Page and leave us some funny testimonials:

Remember A,
Remember B,
But C that U remember me!


Sara Sherr and Maria Tessa Sciarrino
Plain Parade (2002-2006)

FRI 11/17
At Tritone (1508 South Street)
10PM, 7$, 21+

Clockcleaner plays relentless noise-rock dirges with no room for air and
a chest-thumping dynamic, as dissonance splinters off of the heavy
delay/reverb processing like broken glass from a shattered picture
window. At the center of this storm is singer-guitarist John Sharkey,
who spent his formative years destroying venues and pissing on their
ashes while in Cleveland hardcore act 9 Shocks Terror. Sharkey’s the guy
behind the effects pedals, which add artifice and annoyance in equal
measure, obscuring lyrical details and segueing in between tracks with
queasy smears of piercing noise. He’s also the barker in this circus,
recalling Gibson Haynes and David Yow in his words and delivery. Kicking
things off with the words “I saw your girlfriend leaving the abortion
clinic yesterday with another man,” he sets the stage for the narrator
to frame a heartsick boyfriend for a murder he didn’t commit, over a
needling one-note high tension line. The tribal pound of “New Slow”
throws a bone to Flipper, while the thrashy “NSA” throws the bone to
Slip It In-era Black Flag. “Blood Driver” has that type of swagger the
Midwest was known for in the early ’90s, and could fit with dancing in a
moshpit or on a pole at a gentlemen’s cabaret.

Onstage and off, Clockcleaner may offend the thin of skin, and with
songs titled “Interview w/ a Black Man” and “Gentle Swastika” printed on
the back, and paintings of deformed children on the front, they can do
so without a sound. But there’s a pretty serious wink going on here, one
that’s aware of crossing a boundary or breaking a confidence, and at the
same time putting an angry audience on a pedestal for ignoring the
problems of the real world that a moderately dangerous rock band won’t
be held accountable for. Some of the best punk rock, the most
forward-thinking, has also been the most nihilistic. The most
downtrodden have been known to make the angriest music, the most
relevant to the times. Clockcleaner is a crucial throwback to the
horrors of late ’80s “don’t worry, be happy” blind consumerist optimism,
and throws your own PMA back in your face like mace in the eyes of a
victim on an episode of “COPS.” Nevermind is not pretty, but it works
like a classic noise rock record should; it rocks hard with both middle
fingers extended, staring down a dead end with a leering, maniacal grin,
and that’s possibly its greatest asset. (Doug Mosurak, Dusted)

NOTEKILLERS (Ecstatic Peace)
While the rhythm section churns furiously, David First peels off a
series of scrambled guitar lines, precise even when he’s improvising.
His diagonal riffs are marvelously untraceable (Surf-rock?New-wave?
Heavy metal? Free jazz? Serialism?), and somehow these dense
compositions inevitably come out sounding like party music. It’s clear
this band ranked with any of New York’s much celebrated no-wave acts.
(Kelefa Sanneh, New York Times)

Despite kicking up garage-rawk dirt for a decade, Philly five-piece Ken
are only now releasing their first album. Parade of Sinners is all
har-har puns (“Sweaty Psalms”) and dusk-till-dawn smarminess. It’s
fitting that the band’s singer-simply dubbed “Jenn-Pie Snyder”-always
seems angry and amused at once. Something may piss her off, but not
enough that she can’t laugh about it. (Besides, there’s another drink on
the way.) Fitting in nicely alongside fellow locals Beretta 76 and Thee
Minks, Ken represent the part of our city that comes out only after a
handful of whiskey-and-Pabst specials. (Doug Wallen, PW)

SAT 11/18
At the M Room (15 W. Girard Avenue)
10PM, 7$, 21+
DRAGON CITY (Record release show!)
Cascading with pedal-driven fuzz, Dragon City is known around town for
voluminous live shows and nine-minute songs. The guys open their new
quasi-concept EP All About Rabbits with — what else? –the sound of
carrots crunching, before launching into three heady originals and a
crush-worthy cover of Adventures in Stereo’s “There Was a Time.” (They
also do a killer version of Sonic Youth’s “Kotton Krown” live.) Josh Meakim sings in an androgynous squeak that’s buried so deep in the mix, it seems like one of the instruments. If the wall of sound is too immense for some people, the glimmering melodies beneath are worth opening up to. (Doug Wallen, PW)ARTANKER CONVOY (NYC, Social Registry)
They’d never admit it. They probably don’t realize it either. But the
six members of Artanker Convoy have more in common with Medeski Martin & Wood than any band of the Brooklyn basement variety. This is not a bad thing. Like the latter’s slave-to-the-rhythm jazz, Artanker’s postmodern patchwork stretches tracks like taffy at a county fair without ever sounding like a noodling, comfortably numb jam band. If anything, they find an unforeseen middle ground between hipsters and hippies, an
insistent groove that’d move the masses at a Rapture show or the second
stage of Bonnaroo. And unlike most bands with seven-minute songs,
Artanker actually sounds great when you aren’t absurdly stoned. The
just-released Mature Fantasy LP (The Social Registry) is a prime example
of this, as it lulls the listener into a stupor with slight shades of
soul, Krautrock, bossa nova, hip-hop, psych, punk funk and New York
noise. Prepare to be bowled over. (Andrew Earles, CP)

BLACK TAJ (NC, ex-Polvo, Idyll Swords)
North Carolina’s late, indie rock, eastern-motif guitar wizards Polvo
were always an exhilarating listen. More importantly, they were
beautifully distinct in a morass of hyped and often disappointing guitar
bands. Ten years after the band’s demise comes Black Taj, whose core
features former Polvo guitarist Dave Brylawski and bassist Steve Popson.
Recording the band’s self-titled debut was another former member of
Polvo, Ash Bowie, along with Cherry Valence’s Brian Quast. Boasting said
pedigree, it is easy to understand why expectations might run high for
Black Taj. The album can be summarized best as an extension of the
players’ former band. Here, sounds often return to the mystery and
beauty that served as Polvo’s signature, and yet Black Taj brings the
big, big ’70s psychedelic rock sound. Opening the album is the largely
instrumental “Back to the Bridges”, a bold seven-and-a-half minutes of
melodic riffing and brawny chording chug-a-lugging against a
hyper-kinetic slide. What follows is an album heavy on loud guitars and
ambitious arrangements nuanced with airy vocals floating to the rafters.
While delivering nothing particularly Earth-shattering, Black Taj is a
solid listen, succeeding in entertaining those who mourn the absence of
Polvo. (C. Harris-Nystrom, Chico News & Review)

November 12, 2006 at 7:04 pm Leave a comment

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