Crushing Krisis

Comic Books, Drag Race, & Life in New Zealand

lyndzapalooza

Making Music Work: Should You Say Yes To Everything?

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This a post in my new column, “Making Music Work,” where I take a look at the challenges facing local, indie musicians.

As a musician it’s hard to say no. But, should you always say yes?

There are a lot of positives to saying yes. More chances to play, which means more experience and more audience. Networking opportunities. A chance to pad your resume of shows. In the words of actress and singer Ashley Davidson Hughson, “work begets work; you never know who might be in the audience that night.”

Except, playing your music isn’t all about you. It’s about your music. It’s about your fans, both old and new. It’s about the person running the room making a profit. It’s about other acts on the bill getting exposed to a new audience.

With that in mind, when should you say no? I polled my network of professional and amateur performers, and we came up with these major reasons. [Read more…] about Making Music Work: Should You Say Yes To Everything?

Hindsight

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Can I just put something in perspective for a moment?

My free time has been devoted to event planning on at least a weekly basis since November of 2007. That’s one and a half years of constant event planning.

We spent two months planning our engagement party. Then wedding planning started in the background of planning LP’s There’s a Stage on My Lawn for last May (coming on the heels of my major advertising event at work, which I adore).

Then wedding planning was in the forefront while I background assisted on LP’s Summer Mixer. Towards the end of wedding planning was honeymoon planning, as well as the beginnings of planning LP’s BYM Fest. And, since the wedding it’s been lots of BYM Fest (plus my major advertising event at work, which I still adore).

So, as of Sunday I will be NOT planning an event for the first time in eighteen months.

Wow.

A Back Yard Music Festival

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Six years ago my friend Lindsay had a birthday party with music. With tongue in cheek she called it “Lyndzapalooza.” I carried all of my meager musical equipment down the street to her apartment on my back and we partied to a full day of our friends’ musical talents.

In each of the intervening years Lindsay threw another party, and I helped with each. Starting in 2007 the party become more of a festival – both in execution and atmosphere.

At the moment I am getting dressed to head out to Snipes Farm, where tomorrow Lyndzapalooza (LP) will host their first full-scale musical festival as a recognized non-profit.

In that shift from party to festival, we kept something very important in place: LP is a place to share and listen. The first year people played that had never had a set of their own before – including Gina and I, separately.

Even though our scale is bigger now, the concept remains the same. We’re combining a bill of bands about to get signed with some who’ve never played a show of this scale, and everyone gets hefty, full-length sets. Lindsay, Gina, and I spent the past two weeks interviewing those artists, and each article is an awesome snapshot in the development of a major talent on the Philly scene.

I have different levels of touchy-feely feelings before and after our festivals each year, largely dependent on how many times I skipped lunch, dinner, or sleep leading up to the festival and how many times I feel frustrated, angry, or incapable during the festival.

This year my pre-festival feeling is achievement. As college students we didn’t plan for our musical kegger to transform into a non-profit organization. The us of then could conceive of such a thing, but I don’t think any of us expected it to transpire.

Yet, six years later, here I am inviting you to come out tomorrow to BYM Fest to enjoy ten artists (including our duo Arcati Crisis) playing from 2pm until close to midnight, rain or shine, for just $20.

I think you’ll love it. I think college-us would have loved it, too.

Philly: Seen on the Scene

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I didn’t do quite as much crazy seenery this past week, but in making it an eight-day week of scenery I made this post extra-long.

Oh, also? I’m an obsessive-compulsive singer/songwriter/lunatic who had kinda forgotten why he was a journalism major.

I quite explicitly did not do any kind of scene seeing over the weekend, save for a brief interlude at K&L’s housewarming party, where every person from every part of my life all collided in one shiny-drunk lump. Seriously, it could have only been odder if my mother was there. Still, much fun had.

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Every Wednesday: LP Open Mic @ Intermezzo (3141 Walnut)
Hosting an open mic is a nervous endeavor. Sometimes it seems as though no one will show up, yet you find the lineup extending past closing time. On other occasions the room seems full, but you still wind up vamping for an hour by yourself at the end of the night.

Last week’s open mic at Intermezzo was definitely the former. Dante Bucci played host, and delivered a typically spectacular set on his hang drums. A new attendee, Ebony Butler, played two hyper-pop songs (Maroon 5 and Sara Bareilles) and one equally catchy one of her own. Her vocals were effortless – we were all big fans.

Otherwise, it was a stuttering night – over and again it seemed as though I would have to jump up to play filler, but more people kept popping in.

One of those poppers was the elusive Doc Terry. He makes once-monthly appearances at our little shindig, but when in the month he arrives is always a surprise.

Doc (named thusly for being a rural veterinarian) was the man who introduced Dante to the hang, and together they form the mystifying pair of ufo-playing phenoms called the The Hang Brothers. However, at Intermezzo Doc Terry typically plays his hammer dulcimer.

(Yes, this means I saw people perform on hammer dulcimer two nights in a row at rock open mics, as there was also one at Luloo the night before. How likely is that, exactly?)

While Doc Terry delivered a typically mystifying set, Greg Morgan (AKA Audible Eye) arrived with a small group in tow. Greg is a ubiquitous Philly subway musician – it seems like I see him every time I catch a train. He busks not only with guitar in hand, but with drums played by mouth, knees, and feet. Rather than err to the simplistic or repetitive, Greg’s simultaneous multi-instrumentalism tends to open up interesting textures in songs with deceptively simple chord progressions.

After introductions all around I suddenly found myself mixing Terry on dulcimer, Greg on vocals and guitar, and Dante switching between a single conga and playing the underside of his hang like a djembe.

Slightly stressful, but completely rewarding, because I got to hear Terry play dulcimer as a pop instrument – finding hooks and riffs instead of carrying his own independent melodies and harmonies. And, if it was fascinating on Greg’s material, it was doubly so when the impromptu band took a swing through “Stand By Me” while Greg’s friend, Nynee.

Afterward Nynee closed out the night with sparse, beautiful acoustic cover of Beyonce’s “If I Was a Boy,” and a soulful acappella turn on The Cure’s “Love Song” (a personal favorite). In retrospect, I really wish Terrry had played on the latter, as the riff would have been perfect on the dulcimer.

As we closed up I complemented Nynee heartily (she had never played guitar in public before!), and told her that if she ever wanted to do the Cure tune again I’d play guitar for her, and maybe even sing harmony.

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Every Monday: Open Jam @ Connie’s Ric Rac (9th just under Washington)
Take note of this momentous occasion – I went to an open mic that I don’t host for two consecutive weeks. In fact, next week I’ll probably be back for a third.

Why? Because Connie’s Ric Rac is like Cheers with a 1000 watt sound system and a pet snake. Everyone wants to know your name, and they all hush up when you play a quiet song.

I was a complete nerd and brought my laptop to Ric Rac to take notes, anticipating much awesomeness, and I was ever so right.

Firstly, there is February’s guest-host Katie Barbato. We chatted it up before the mic kicked off, and uncovered that she knows indie rocker – and winner of both the New York Songwriters Circle competition and Cosmo’s Starlaunch – Mieka Pauley. She doesn’t just know her … she knows her from the 90s, when the two of them were on a comp together.

I caught Katie up on how Mieka’s Elijah Drop Your Gun came to be – the recording was funded by the donations of fans (like me!) – which makes it even more amazing that Amazon is currently offering it as a free download due to the crazy demand for Mieka after her contest wins.

From there I moved to enthusing over Katie’s album fronting the Sleepwells and it’s absolutely stellar vocals (as I have been doing non-stop for the past week), which lead her to re-introduce me to Matt Teacher, her guitarist and recording engineer.

I’ve met Matt Teacher once before, and in that venue he was introduced to me as a songwriter, but at present he mostly plays and records with bands in Sine Studios, where he is the owner and engineer along with best friend Mike.

Similar to Gina and I, the two of them connected in the eight grade – with the difference being that they connected as a band right away and knew by high school graduation that they wanted a career in music. They attended college separately and came back together to open Sine Studios. It looks ultra-nifty from their website, and at 22nd and Walnut it’s virtually around the corner from my office .

Matt and I talked about our endless acquisition of recording gear and how in high school I used to sample too low and wind up sounding like The Chipmunks when I tried to burn a CD. Although he was perhaps too humble to mention running Bon Jovi’s protools rig the last time he played Philly, Matt did cop to recording the Sleepwells disc, as well as working with Lickety Split host Dani Mari, and Ric Rac’s house band The Discount Heroes.

When I pressed him as to whether the in-the-family recording roster meant Sine might also be a label, he demurred: “We’re working in that direction.”

Having done some basic flexing of journalistic muscles I thought had permanently atrophied since college, I pushed my luck a bit and asked if I might stop by for a tour sometime. Matt, being awesome, one-upped me and said I should aim to come to one of the studio barbecues over the summer.

By this time Katie had opened up with a fantastic and totally chill set, especially a powerful take on her “Undertow.” I immediately began to reprogram my setlist a bit from the uppers I intended on.

Katie was followed by one of my major local favorites (how many favorites can a man have?), Aaron Brown. Aaron and I have developed a knack for unintentionally stalking each other across town, hitting the same open mics on the same nights. We talked hitting the Monday night @ The Fire in March – and if it would be even worth the effort with Ric Rac right in my backyard.

I gladly lent Aaron my guitar for his set. He always makes it sing, as his songs are chock full of jazzy chords and weirdly chromatic changes, and the result is a beautiful duet with his remarkable soul voice.

I detest making so facile a comparison as to Stevie Wonder, as Aaron Brown’s delivery leaps across the R&B divide to rock in an instant, as on the stuttering 6/8 tune he delivered mid-set (“fragile”?). It’s as if Adam Levine from Maroon 5 could actually sing as well live as he does on the record, and then decided to cover an obscure Rufus Wainwright take on a Stevie Wonder song. That’s what Aaron sounds like.

Speaking of Rufus covering others, the churning arpeggios on Aaron’s last tune evoked “Hallelujah,” but his song was at once pretty and grounded in asphalt. Rufus and Leonard don’t drive you to AC like Aaron does.

Mark my words, I will have him over for a recording session this year.

At this point my jotted setlist was in complete disarray, because how in the world do I follow the two of them? I pinch-hit a trio of “Glam / Standing,” “Something Real,” and “Better,” and it was a rare right move. “Something Real” continues to astound me with it’s ability to shut down an entire room of conversation – I don’t have too many songs that do that. “Better” was awesome, as “Better” always is and will continue to be once Arcati Crisis starts playing it.

Alright, that’s enough rapture about that. A few quicker hits?

I re-met Henry Martin, who Gina and I acquainted ourselves with on a late Thursday at Blarney South ages ago. He’s got a wonderful voice – a Moody Bluesish piece of classic rock in the modern day. Home team The Discount Heroes were awesome as usual in full band arrangement, including Ian on bass. They play great knee-slapping rock, and sing Southern-influenced down-home harmony.

I also shot the shit in a very I-talian way with Frank, a Rac-regular who sometimes has his own showcases. He kindly enthused over my “All My Loving” from last week. I also chatted up Arthur AKA Solo Moon, maybe a mad scientist? His inventions are online for us to discover; he curates the Electric Fortune Cookie.

The great thing about Ric Rac is that it’s got a big stage, complete with amps and a kit. Bands just get up and go. In that vein, I loved loved loved Try Angles – a two-piece playing a blues stomp that I am journalistically required to compare to White Stripes. Except, I actually like Try Angles – there’s meat underneath the riffs, aerobic and thick. A new unfinished song fucking leapt across the stage for our necks in a tangle of blues and prog. And, I DON’T EVEN LIKE THIS KIND OF THING.

I briefly quizzed drummer Adam after their set. What was their deal? How did they compel me to like them so much?

Apparently singer Matt C. has done his singer/songwriter thing for an eternity, but Adam added himself just in September to create their special alchemy. Adam professed love for jazz and Zappa, and I honestly believe they both come through in his skin pounding. Also, he was just a nice dude – when I expanded on my recent wedding he said he wanted to do a dance because I have good music and a good life.

Seriously, Ric Rac is Good People.

(Good lord, can you imagine if I start bringing my laptop to every open mic, going all embedded journalist on all the natives? Can you seriously keep up with a 3000+ word weekly column?)

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Tuesday: I took a nap
It was awesome.

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Every Wednesday: LP Open Mic @ Intermezzo (3141 Walnut)
Yes, we’ve circled all the way back to Intermezzo, with Gina hosting this iteration.

This week was more of the unexpected – a full house of Lyndzapalooza artists – Gina and I (both solo!), my new client Joshua Popejoy, Aaron Brown (again!), Brian Flanagan (playing awesome new tunes), and John Glaubitz (who we did not manage to tempt to play).

I’ll spare you the rapturous rapture about these guys – they’re all great. They kept our guests pinned to their chairs for the duration of the evening until AC took over to play to a small-but-appreciative crowd of stragglers. We nailed a particularly impressive “Don’t You Want Me” – I was in super-good vocal shape, which I further flaunted by singing an additional solo set of “Like a Virgin,” “Since U Been Gone,” my new “Message,” and an acappella verse and chorus of “Take on Me.”

We closed down the shop with “Noncommittal” and chat of breaking the fourth wall, and headed back to the car.

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Coming up!
There are seemingly a thousand shows that I want to see tomorrow night, so I’m thinking you should go to some of the ones I can’t make it to.

Melodic hard-rockers Tremor will be at JR’s bar @ 22nd and Passyunk. Personal favorite Up the Chain splits a bill with The Great Unkown @ JD McGillicuddy’s, 2626 County Line Road in Ardmore. Alexandra Day opens for Kate-fav Carsie Blanton at Barrington Coffee House

As for myself and Gina, we will be installed at the esteemed Ric Rac to catch The Discount Heroes monthly showcase, a stellar bill of Blueberry Magee and His Hot Five, Shackamaxon, and Hezekiah Jones. It’s only $10, rather than the kidney or lung you might expect to contribute to gain entrance into such a show.

Next week I’ll be hitting Ric Rac again on Monday for Katie’s February swan-song, as well as maybe Time at 13th and Sansom on Tuesday, but if I find some ambition I could truck up to The Draught Horse on Temple’s campus to hang out with LP Artist Josh Albright at his new open mic.

Alternately, if you’re free on Tuesday you can head down to The Shubin Theatre at 4th and Bainbridge to catch Gina in a debut reading of a play by Mark Wolverton based on his recent biographical novel A Life in Twilight: The Final Years of J. Robert Oppenheimer.

Then, on Wednesday you should join me at Chris’s Jazz Cafe at Broad & Sansom at 5pm sharp to catch the beautiful and always amazing Alexandra Day play a special happy-hour set, after which you should catch a trolley up to Intermezzo to hit our open mic, as hosted by the girl who put the Lyndz in Lyndzapalooza, Lindsay Wilhelmi.

Finally, a few future plugs: Dante Bucci @ Tin Angel on 3/22. Brian Flanagan playing a set on a bill with our buddies Year Long Day @ Tin Angel on 3/25. The two foremost hang players on earth – one of whom happens to be Dante Bucci, the other being Many Delago – at Milkboy on 4/22.

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In other news…

I’ll end with a bit of good news / bad news.

Bad first: we’re actually not doing a show on 2/28 with Joshua Popejoy. It’s slightly disappointing, but it leads to good news: we can promote our amazing seventh annual spring music festival for three entire months without another gig stealing it’s thunder.

So: This year the festival is on Saturday, May 16, and it is called BYMfest (AKA Back Yard Music Festival, an ironic title seeing as this is the first year it will be held at Snipes Farm, rather than an actual back yard). BYMfest will feature eight solid hours of music. So far the lineup includes Arcati Crisis, Joshua Popejoy, Reed Kendall of Up the Chain, Suzie Brown, and Sisters 3.

Honestly, that’s already a bill I would pay dozens of dollars for, and it’s only HALF FULL. Check the Seen on the Scene action next week for further bill announcements, and a presale link where you can buy tickets for $15.

Seriously, I kid you not, $15. That’s a half hour of music for every dollar. You can’t even steal music for that cheap.

Mark your calendar right now. Seriously. Don’t even read the byline until you’ve marked it.

Marked?

Okay.

Peter is a Philadelphia singer-songwriter, half of the band Arcati Crisis, and Director of Communications for Lyndzapalooza (LP).

Philly: Seen on the Scene

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This past month I was out of musical commission for as long as I’ve ever been – longer than when I had my tonsils removed, though perhaps not quite as long as when I broke my collarbone (although I have many grimace-inducing memories of propping my back up against the cinder block walls of Calhoun hall so I could leverage my left hand up high enough to fret chords).

In any event, it was a long time without music – from when I came down with bronchitis on January 9th through when I started playing piano again on February 1st.

Three weeks might not sound like a long time to you, but in time without music it’s an eternity, so I’ve been happy to get back to my musical routine this past week.

Every Wednesday: LP Open Mic @ Intermezzo (3141 Walnut)
Last week was my first week back to our open mic after a three week recess, and also a week of my hosting duties.

It turned out to be an evening of great fun. I opened with a trio of tunes so new that I don’t even have lyric links for them yet, let alone recordings, plus a new Beatles cover I had dreamt up on an old guitar the night before.

The turnout for the night was much lighter than usual, which resulted in the open mic becoming an effective round robin of me, Arcati Crisis, Mike from Shackamaxon, and my most-adored band in all of Philadelphia, Blueberry Magee, plus two appearances by our friend and fellow LP Artist Ashley Brandt. All three of the artists on that list are some of my favorites in Philly, and it was wonderful to share an exclusive bill with them for the night.

This week Dante Bucci and his hang drums are the host, but Gina and I will still make an appearance. If you’re around University City between 8pm and 11pm you should drop by.

Thursday: Arcati Crisis Rehearsal!
Okay, not really much of a scene to be seen on, but from our insanity at the open mic it was clear Gina and I were craving a chance to catch up and work on some new material. We picked our next four AC songs (two of which are from my super-new trio from the prior evening), and got most of the way through a guitar arrangement of one of mine – “Better.”

Our arrangement decisions tend to take forever when we’re inside of them, but in retrospect seem like they occurred in a flash. On “Better” we started out moving Gina into different capo positions to find a good interplay against my open progression in E. She wound up on the fourth fret.

At one point in following my chords she fell one chord behind me, and I stopped her and said, “you’re on to something.” Twenty minutes later we had crafted a fanged hook for the song that sounds perfectly at home despite the fact that it is wickedly out of step for Gina compared to my part.

We were pretty satisfied with ourselves at that point, and just sketched in the idea of the bridge before calling it a night. We still have to break out harmony vocals, which tends to be where the bulk of our arrangement battles lie.

Friday: The Pretenders @ The Electric Factory
I have a short list of bands that I absolutely must see once at some point in my life, mostly because I have been lucky enough to see bands while they are at their peek – before they become a rarer commodity.

For a long time one of those bands has been The Pretenders.

I remember my introduction to them pretty succinctly. When I was in high school there was a popular commercial that featured a Barbie and a G.I. Joe wheeling around in a plastic car to the tune of “Message of Love,” and I decided it was one of the best songs I ever heard. Googling for lyrics wasn’t quite as instantly gratifying at the time as it is now, but in relatively short order I discovered the song was by the Pretenders.

Of course, I knew all the singles, and had maybe even seen their Behind the Music & Storytellers before, but “Message” was my first succinct connection. Later, my Freshman year of college, I stopped by HMV after getting my now-legendary New Year’s Eve haircut and picked up their first trio of discs.

I was instantly hooked, and for a while that’s all I owned. They’re a succinct statement – two discs of the original lineup, and one that responds to their absence.

In recently years I beefed up my Pretenders collection, including their last two albums – Loose Screw and Break Up the Concrete. Both of them were critically lauded, and in both cases I agreed – neither is a stagnant act retreading past glories; both explore new arrangements while staying true to the core brash defiance of The Pretenders.

I was pining to hit their show, but it seemed like we might be too exhausted from the honeymoon to plan on it for sure. So, it came down to Elise and I in our living room at six o’clock on a Friday night, asking, “are you sure?”

We weren’t, but we still went, and I’m happy we did. The Pretenders were spectacular – muscular and mimeographic as they churned out faithful renditions of songs from the full range of their career. Chrissie Hynde not only sounded pitch perfect in comparison to her records, but also cut a svelte figure in her high boots and single-tail tux jacket – dancing an exaggerated sidestep in “Brass In Pocket.” It was plain as day the through line from her to PJ, Shirley, and Karen O.

It was also clear that she is one of the great, under-appreciated rhythm guitarists in classic rock – she’s effectively the backbone of every arrangement, even galloping time changes like “Tattooed Love Boys.”

The band played half of their newest disc, and nearly the entirety of their debut, plus all the notable singles between with the exception of “2000 Miles,” “Middle of the Road,” “Ohio,” and “Stand By You” (also, my manager saw them the prior night and got “Mystery Achievement,” which I had lamented not hearing).

One more band struck from the “once in a lifetime” list (the last prior cross-off was Cyndi Lauper, another stunning concert). I’m actually hard-pressed to think of who’s next at this point. I’m tempted by the Fleetwood Mac hits tour, but I don’t know if I could count it as the real thing without Christie McVie along for the ride.

Every Monday: Open Jam @ Connie’s Ric Rac (9th just under Washington)
Connie’s Ric Rac is my neighborhood open mic, as well as being the room that spawned my recent asphyxiation and the subsequent interstate love song that Gina is currently endeavoring to learn.

As the story goes, the Ric Rac (named thusly as a misnomer for bric-a-brac) used to be an Italian Market discount store owned by the titular Connie, and when the storefront closed down the shop stayed in the family. Later, her son(s?) proposed that they open the doors as a sort of counter-culture community center, complete with art classes, concerts, and open jams.

Thus, Connie’s Ric Rac. I was a little nervous about attending, because it’s a totally new scene to me, but I was encouraged by the fact that February’s guest host is the darling Katie Barbato, and the night was themed with Beatles covers as a tribute to the band’s first appearance on the Ed Sullivan Show 45(!) years prior.

I arrived much too early to a Ric Rac family scene replete with snake-feeding, wine-drinking, and banjo recitals – all with the easy laughter and chain smoking that I recall from a childhood spent in my grandmother’s South Philadelphia kitchen. I was happy to remain a wallflower through the family affair until the night kicked off.

In addition to Katie (playing a sad, Across the Universe style “I Wanna Hold Your Hand” and a new original with a killer chord change in the chorus) there was house band Discount Heroes (valiantly slaying “Revolution” and “Don’t Let Me Down” despite their singer’s flu), a freak-R&B act whose name I did not catch doing a remarkable version of “Savoy Truffle,” and Vince & Chuck.

Vince and Chuck were pure magic – performing note-perfect Beatles covers of a great selection of tunes – “Here Comes the Sun,” “If I Fell,” “Baby’s In Black,” and “Please Please Me,” plus another I can’t recall. I essentially pleaded with them to come to the LP Open Mic to share their Beatles tunes, and this was before discovering that Chuck AKA Charles Ramsey is a phenomenal songwriter in his own right.

Since the directive was early-Beatles I debated “Do You Want to Know a Secret” and “You Really Got a Hold On Me,” but settled on long-time favorite “All My Loving,” which I wailed like a fucking banshee. Katie assures me it was awesome. I also played the repeatedly aforementioned “Connie’s Ric Rac Love Song AKA Better,” “In My Life,” and later “Ob-la Di Ob-la Da,” plus a handful of other originals.

Katie will host out the month, and I’m going to make an effort to make it to the next two Monday’s to hang out with her and the Ric Rac family before shifting my attention to either Fergie’s or The Fire in March. She gave me a copy of the brand new full-length by her band The Sleepwells, and her voice is so freaking sexy on it. I might blush the next time I talk to her. Wow.

Every Tuesday: Open Mic @ Studio Luloo (916 White Horse Pike, Oaklyn NJ)
Yes, my friends, I got all the fuck around the scene this week.

Gina and I have had Studio Luloo on our to-do list for a while, and it was elevated by our missing an appearance from Year Long Day last week. We discovered that it is virtually around the corner from Gina’s abode, and tonight finally endeavored to make an appearance.

It was a completely worthwhile endeavor! Luloo is hosted and operated by the entirely charming Sara O’Brien, who shares songs, healing arts, and a tangible joie de vivre in this cozy shopfront slash recording studio with the best monitor mix we’ve ever heard.

No joke. We were first after Sara, so had no idea what to expect, and we started with “Bucket Seat,” which is not amongst the simplest of our songs, and the mix was just perfect. We could hear what we really sounded like, and not some faraway facsimile thereof. We also made a successfully epic run at “Apocalyptic Love Song” (click that link – Gina should win a freaking Grammy for that performance), and an entertaining jaunt through “Pocahontas.”

Playing first can be a curse if you want to get heard by the room at it’s fullest, but when you’re just out to chill it’s a wonderful pressure deflator. We had time to chat with some of the crowd, including super-sweet Dave from Never Trust, and Ryan Williams, who was the feature.

I’ve met Ryan before, but never heard him, and his songs are great. Like, actually great, not just hyperbolic great. He has a new one, “Audio,” that is pure aural dynamite. Scary-good.

I was sad to miss out on talking to a cool kid playing a Guild with a series of partial capos, his name maybe being Jeremy Hines? He had a really tuneful sensibility, and reminded me of Honorary Title – the sort of music I consistently fail at making when I write things like “Standing” or “Love Me Not.”

In other news…
I had designs on hitting the Tuesday open mic @ Time on the way home from Luloo, but Gina smartly deposited me back at my house so I can rest my voice a bit.

Not too much other news, other than I stopped by Cafe Grindstone over the weekend for a fabulous lunch of vegan kielbasa and a soy banana milkshake and spoke with Jerry at the counter a bit about how one gets selected to play there. It’s just about as close to me as Ric Rac, so I’d love to drop by to sing every so often.

Also, Battlestar Galactica. I could say a lot about this week’s episode, but right now I just have one thing on my mind: the return Ellen Motherfrakkin’ Tigh.

Coming up!
Hopefully some fucking sleep!

But, seriously, tomorrow night we’ll be at the LP Open Mic @ Intermezzo. If open micing is not your thing, get thyself to the Tin Angel to see Shackamaxon, awesome Mad Dragon recording artist Andrew Lipke, and a band called StereoFidelic which is likely awesome based on the company they keep.

Also, biggest news for last: Arcati Crisis will be splitting a bill with our friend and musical confidante Joshua Popejoy on February 28th at our much-beloved South Street venue Upstairs @ Zot! This will be a BIG SHOW – big sets from both of us, a big(ger) PA system, a big comfortable room for you to stretch out in, and hopefully A BIG CROWD.

$8, beer specials, awesome acoustic pop music. Mark your calendar. Tickets here.

What now? Oh, right, sleep.

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Peter is a Philadelphia singer-songwriter, half of the band Arcati Crisis, and Director of Communications for Lyndzapalooza (LP).