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Eraserhood Tonight > Union Transfer » Lykke Li – Tickets – Union Transfer – Philadelphia, PA – October 1st, 2014

Wed, October 1, 2014
Doors: 8:00 pm / Show: 8:30 pm
Union Transfer
Philadelphia, PA

New album I Never Learn out May 6th.

Union Transfer » Lykke Li – Tickets – Union Transfer – Philadelphia, PA – October 1st, 2014.

Eraserhood Tonight > Tickets for Tennis with Pure Bathing Culture | Underground Arts at TicketWeb

Bonfire presents:
with Pure Bathing Culture
Tuesday, Sep 30, 2014 8:00 PM EDT Doors
Underground Arts, Philadelphia, PA

Tennis didn’t set out to intentionally shake things up for “Small Sound,” but that’s because they never have an agenda when they enter the studio. Guitarist Patrick Riley and singer/keyboardist Alaina Moore only have one guideline when they make music, and that is to bounce each idea they have back and forth between them until they know they’ve taken it as as far as it can go. And the husband and wife duo have taken it pretty far on “Small Sound,” their first release for the New York label Communion, who immediately flew the band out for a meeting after hearing their new songs.

It’s understandable why Communion got so excited. Working with Spoon’s Jim Eno and producer Richard Swift, the pair have spread out and added an extra swing to their usual spritely pop template on the EP — which will be released on November 5 — buttressing their ever-elegant pop hooks with steady Motown grooves and their most intricate vocal harmonies yet. Tennis consider “Small Sound” a warm up for next year’s next full length, but it works just as well on its own, filled with sharp melodies and sharper observations about life in the music industry and forging their identity. It took two previous albums for Riley and Moore to learn to trust their instincts, here are their thoughts on opening up and what’s next for them.

Is this EP a release on its own or is it a harbinger of a new album next year?

Riley: It’s a little bit of both. We wrote what would ultimately become the EP and the album all at once, but we think the EP stands on its own. “Timothy” in particular is a really special song for us and has become my favorite. It’s a very personal moment for Alaina lyrically, and I’m really happy with the way it came out.

Do you think this is an indication of how the next album might sound and what direction you’re going in?

Riley: I think so. The biggest difference is that the EP is a very digestible format. You can get into more over the course of a full length. For us I think that means the album will be a bit darker overall. Maybe a little weirder.

Moore: It is a small sampling of the full length. We wanted to give listeners a chance to reacquaint themselves with our sound. When you write in isolation, it’s hard to know if you’ve changed a little or a lot. It feels like our taste and vision transforms continually. We hope that the EP will give our audience a chance to grow with us.

“Cured of Youth” and “Dimming Light” both have a soul/r&b feel, which is a new look for your band. Is that something you were intent exploring or just something that came out in the studio when you were playing?

Riley: For the last year or two, we’ve been listening to a lot of soul records. There’s so much authenticity in that sound, and I think it’s apparent that many of those artists did it for the love of their work, there wasn’t an agenda or anything like that. These people made music for the sake of making music and that’s something we strive for.

Moore: We have always loved Motown, soul and r&b, it’s just taken a while for it to make an appearance in our writing. Spoon’s Jim Eno, produced a session for us earlier in the year at his studio Public Hi-Fi in Austin. While working together he introduced us to Shuggie Otis, someone we should have known, but didn’t. That was probably the tipping point. From then on we started writing more groove-oriented songs, with arrangements built around drums and bass. Perhaps this signifies the biggest change in our style, rhythm has primacy over melody.

What other albums were you listening to?

Riley: We listened to a lot of Funkadelic and George Clinton stuff. Alaina was really, really into Laura Nyro’s “Christmas and The Beads of Sweat,” as well as Judee Sill and Broadcast’s “Haha Sound.” Our song “Mean Streets” is a tribute to Laura Nyro’s life. We’ve drawn many parallels between her life and ours. She seemed to be put off by the industry, and it was hard for her to find her place. People were constantly trying to categorize her, or group her with certain sounds and aesthetics, but she always resisted. She was honestly kind of fighting the fame aspect of it too. That inspired lyrics like, “Laura, there’s nothing wrong with fame/leaving them surreptitiously could make a hit out of any song.” She died young, and even now her canon is sort of a musical misfit.

Tell me about working with Richard Swift.

Riley: He’s awesome. We’ve been lucky enough to work with a lot of talented people over the last two years, and Richard Swift is no exception. He’s got this spark in him, where music is still so fun. His personal life and career motivated us to make unorthodox choices, because he is an example of someone who has made it in a tough industry on his own terms. Our goal in the studio was simple: to make something that excited us, and felt like a natural extension of who we are. That’s what he really cares about.

Moore: We have been a fan of Swift’s work for years. Our paths crossed indirectly so many times that it felt like we were meant to work together, it was only a matter of time. He is a master of getting a lot out of a little; the humblest components coming together in a breathtaking result. He taught us to trust our instincts. Nothing needs to be over-thought or over- worked. I have a tendency to be a bit of a disaster in the studio, but this time I felt like I was in a really good place.

What else did you learn working with him? Riley: Maybe the biggest thing I learned is to let the music go where it wants to go.

Moore: Yeah, self -doubt and scrutiny in the studio can be unhealthy. Richard creates an environment where those negative tendencies are precluded. The atmosphere is light, free and natural.

Is he working on the new album? Riley: Yeah. We’ll be doing the album with him. When do you think it might be out? Riley: We’re shooting for April or May but that’s all tentative at this point. And you think it’ll be darker and weirder?

Moore: We’ve been exploring early psych and prog rock and it feels like the next step. It’s a different sound but we’ve been good about filtering new ideas through our own musical identity. We want to write something that will pick up where the EP leaves off, and then take you somewhere entirely new. That place might be weirder and darker, but we’ll have to wait and see.

Tickets for Tennis with Pure Bathing Culture | Underground Arts at TicketWeb.

David Lynch in Philly, a City He Feared | VICE United States #PAFADavidLynch

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Eraserhead is the clearest articulation of that fear of the city, a grotesque image of lives distorted by a towering industrial hellscape that utterly subsumes its inhabitants. Even the conversations are drowned out by fiercely hissing steam and the infernal rumbling of some unseen, monstrous engine.

David Lynch in Philly, a City He Feared | VICE United States.

Eraserhood Today › Oktoberfest Street Festival

Sunday, September 28at 12:00pm – 6:00pm
Alla Spina Philly
1410 Mt Vernon St, Philadelphia, Pennsylvania 19130
Dust off your lederhosen and join us for a fun filled day of German food, Victory Beer, and live music!.
We will be closing Mt Vernon St for the day and taking the party outside. Come hungry because Chefs Pat Szoke and Julie Kline will be serving up a selection of tradition german food from both inside and outside on the grill. Victory Brewing Company will be keeping the suds flowing with over 8 different beers on tap. It wouldn’t be an Oktoberfest without an Oompah band! Local group Kite and Keeshka will pumping out the tunes, so make sure you practice your chicken dance and schuhplattler!

Open to the public and pay as you go. We hope to see you all there!

ziggy zaggy ziggy zaggy oi oi oi!

For information on all the events of the weekend, check out our website.

Eraserhood › Oktoberfest Street Festival.


PhilaMOCA presents ERASERHOOD FOREVER – YouTube.

Eraserhood Tonight > ERASERHOOD FOREVER 2014 #PAFADavidLynch


Saturday, September 27, 2014
David Lynch-themed music, comedy, burlesque, and more!


RESISTOR Synth pop for synthetic lives

TWIN PEAKS theme remix:

D.V. NIKT Industrial multimedia performance art from Yugoslavia


MOCK SUNS Progressive, psychedelic pop from Philadelphia

JOSH JONES VHS-based dance crooner, member of Univox

Lynch-themed burlesque numbers by Miss Rose’s Sexploitation Follies

Hosted by local comedian Ben Velvet (aka Paul Triggiani).

The first 75 people through the door get a FREE original ERASERHEAD re-release poster.

$10 admission, no refunds or exchanges.

Additional Lynch-themed programming for September:

Wednesday, September 3, 7:30, $10 Video Pirates presents LYNCH 101: A comedic video-based history of Lynch’s film and television career with special guests.

Thursday, September 4, 7:30 + 10, $10 THE DREAMLIFE OF DAVID L.: Philly Premiere of a new French biopic about David Lynch’s art school years
Additional screenings: WED 9/17, 7:30 + 10; WED 9/24, 7:30 + 10

Friday, September 5, 6:00 9:00 Eraserhood Forever opening night art reception

Friday, September 12, 9:00, $10 After party for the opening night of PAFA’s exhbition: NYC’s A PLACE BOTH WONDERFUL AND STRANGE perform a multimedia set based on the recently released deleted scenes from TWIN PEAKS: FIRE WALK WITH ME.

531 N. 12th Street
Philadelphia, PA 19123


Eraserhood Today › 2nd Annual Pearl Street Block Party

Eraserhood › 2nd Annual Pearl Street Block Party

Saturday, September 27at 1:00pm – 7:00pm
Asian Arts Initiative
1219 Vine St, Philadelphia, Pennsylvania 19107
Organized in partnership with an array of artists and community stakeholders, the Pearl Street Block Party is a neighborhood art festival that celebrates Chinatown North’s rich cultural diversity and artistic community.

This year’s block party will include live performances, music, activity tables, displays, and interactive artwork by a diverse range of local artists, including an exciting array of Social Practice Lab projects created by Asian Arts Initiative’s current and past artists-in-residence. The party will culminate at 5 p.m. with a community meal using the tables and chairs constructed at last year’s block party.

Eraserhood › 2nd Annual Pearl Street Block Party.

Brewing With Solidarity At Win Win Coffee Bar | Hidden City Philadelphia

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Win Win Coffee Bar–perhaps its name says it all. The new cafe, at 931 Spring Garden, aims to create a new kind of urban environment on a rough and tumble block once home to Milton Snavely Hershey’s first confectionary shop (and now, in that same building, Colisimo’s Gun Shop–“The Gun Range”). Win Win hopes to capitalize on new investment going on here, at the edge of the Eraserhood (we’ll call it that as long as David Lynch fever is hot), including the music venue Union Transfer, which opened in 2011.

Brewing With Solidarity At Win Win Coffee Bar | Hidden City Philadelphia.

Eraserhood Tonight › Pig Story

Eraserhood › Pig Story

Friday, September 26at 8:00pm
AUX Performance Space
319 N 11th Street, 3rd Floor, Philadelphia, Pennsylvania 19107

Whitney Kimball, our 3rd AUX Fellow, will present programming celebrating and examining the rough and incandescent world of radical collective making with a survey of collaborative performance art events in September and October. Kimball will present SCHMARTWORLD featuring six nights of events by artists who work outside the mainstream art world. Through screenings, panels, and lectures, artists will present their collaborations with just about anybody who is willing to listen: local sanitation workers, prisoners, rural communities, hippies, and kids. The month-long series will culminate in the broadcast of Philadelphia-based performers on public access TV.

AUX is proud to debut “Pig Story”, a film conceived of by inmates at the Lincoln Correctional Facility in Manhattan, and produced in the spring of 2014 by video/performance artist Miles Pflanz and sound artist Kate Levitt. The film represents the experience of incarceration through a fictional story of monster pigs, told through deranged flashing visuals, primal electronic noise, and a motorcycle stunt.

About the artists:
Miles Pflanz’s video work documents public provocations, the aimless rage of youth counterculture, and the trance-like effects of intoxication, manual labor, and political violence. His visual vocabulary draws heavily from non-narrative and gesture focused media: skate tapes, viral videos, amateur pornography, and low budget action movies. Working intensively with collaborators in the performance art and experimental music underground, his videos point to the utopian possibilities of clandestine group action.

Kate Levitt is perhaps best known for her appearance on Judge Judy, however, she is also a percussionist. In her new solo project Lines, Levitt uses drums, found sounds, and voice in order to create drones. Her work is informed by Haitian Rara but also takes cues from experimental electronic music. Her solo work can be found here.

Read more about this event:

This event is free. What? FREE!

Eraserhood › Pig Story.

Eraserhood: Philadelphia’s Ashcan Inspiration

Eraserhood: Philadelphia's Ashcan Inspiration

507 S. 6th St, between South and Lombard
Sept 11-Nov 31 ( monday – saturday: 11am – 10pm – sunday: 11am – 9pm)
Artist Opening Thursday, Sept 18th, 9-10pm


Before David Lynch, before Eraserhead, the industrial section of North Philadelphia now colorfully nicknamed “Eraserhood,” after Lynch’s cinematic masterpiece, was already inspiring artists from Philadelphia and beyond. Now photographer Bob Bruhin explores this neighborhood with a view toward its deeper history as a muse for creative Philadelphians.

In April 2013 Bruhin, already an avid photographer and documentarian of the Callowhill District, took a tour led by the now departed Paul VanMeter, local historian and rail park activist. “VanMeter opened my eyes to the truth behind the history of this region. I was always aware of the role Callowhill played in inspiring David Lynch. VanMeter made me aware of an earlier movement out of the Pennsylvania Academy of Fine arts known as ‘The Philadelphia Four.’”

The Four, also known as “The Charcoal Club,” according to Bruhin, were John Sloan, William Glackens, George Luks, and Everett Shinn. He alludes to a 2008 article in the art blog Lines and Colors (…), which reports that:

The four had common backgrounds as illustrators for The Philadelphia Inquirer and the The Philadelphia Press and attended classes at The Pennsylvania Academy of the Fine Arts (PAFA).

Sloan went to high school at Central High in Philadelphia, along with Glackens and Albert C. Barnes, who would later establish the Barnes Foundation. Sloan and Glackens went on to study at the Academy. Among their instructors was Thomas Anshutz, who, as the leading student of Thomas Eakins, inherited Eakins’ mantle when the latter was forced from the school.

Sloan eventually met another influential student of Anshutz, Robert Henri, a strong willed and charismatic artist who preached rebellion from the constraints of academic art.

Henri encouraged the four to pursue careers as gallery artists, paint honestly what they saw in life, particularly contemporary urban life, and suggested they study European artists like Frans Hals, Goya, Valázquez, and Manet.

During the tour, VanMeter pointed out that Central High was located near Broad and Spring Garden at the turn of the 19th Century. He asked his tour group to imagine Sloan, Glackens, and Barnes walking down Broad Street, past the very active industrial sites that then lined this thoroughfare, to attend the PAFA day program for high school students. “My eyes were opened,” Bruhin recalls. “Here was the seed of what eventually became the Ashcan school of painting, inspired by the same rugged beauty that was driving my own work. In this light, Eraserhead becomes more than just a surreal dream. Lynch might deny this, but for me Eraserhead is also an Ashcan painting, with the addition of sound and movement.”

Driven by this realization, Bruhin has assembled a collection of the images from his blog, making them available to the general public at Blackbird Pizzeria during their normal business hours.

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Eraserhood › Eraserhood: Philadelphia’s Ashcan Inspiration.