The End of America, Swedeland
1131 S. Broad Street
Philadelphia, PA, 19147
Doors 8:00 PM / Show 9:00 PM
This event is 21 and over
Welcome to Frontier Ruckus, world.
The band has played a thousand-some-odd shows in the past half-decade—across the States and Europe, as well as behind venues, after-hours, aside dumpsters till all requests have been met—but it is possible that this will be your first introduction.
Poised to release their third full-length record on January 29th, 2013 (US, Jan 28th '13 EU), Frontier Ruckus' Eternity of Dimming—is a 20-song double-album, roughly an hour-and-a-half in duration and over 5,500 words in lyrical length. A helluva time to enter their world, but you’re invited even if you've not previously wrapped yourself in the continents of The Orion Songbook (2008) or Deadmalls and Nightfalls (2010). Welcome to the expansive language of songwriter Matthew Milia. Welcome to a raw and unharnessed musicality. Welcome to the snowy television sets and plastic teenage trophies of suburban Detroit.
Eternity of Dimming, the closing chapter of their suburban memory landscape series, is the embodiment of real things, real objects—a realness full of sad gladness and expiration dates. A catalogue so thorough in its literary scope of brutally tender pathos—a candid opening-up of a bottomless domestic junk-drawer, without omission or censor.
The banjo on this record exists because David Jones' dad bought him that very banjo and lessons when he was 11. The trumpet you hear, dented by Zach Nichols' friend's saxophone in junior high band. Snatched by Matthew's father from a church going out of business,, now imprinting its weight into the living room carpeting where we once rug-burned and tickle-tortured with red faces, is the organ pulsing throughout. Ryan Etzcorn's thunderous drumming was informed by quick tunes on glimmering punk rock cassette tapes of yore. The main guitar used to write these songs came out of a weed deal in the 70s. The specificity is endless and heartbreaking, right?
Ignoring the cliched trappings of antiqued rural fetish that seem to make tired the modern folk movement, and the urban love-fest which holds the majority of indie-culture enwrapped, Frontier Ruckus instead celebrates and insulates itself within a world that is obsessively suburban— childhoods realistic and recent enough to remain vividly smoldering with intense memory and graphic personal mythology. The world of oversized 90s obsolescence, pinning down weighty love and familial weirdness—elephantine copy machines in the home offices of the briefly affluent parents of grade-school friends, VHS cassettes rotting sun-bleached on early bedroom shelves, tragic birthday parties, aggressive soccer coaches, grandmothers' oxygen tanks and daytime-TV-time crosswords, porn stashes found behind Taco Bells.
Eternity of Dimming is not of the world that now contains paper-thin computers and full-length records clocking in at 25 minutes. This is the gorgeous and inevitable disintegration of all that we once knew ourselves by, blurring into the graininess of gradual dusk. This is the Eternity of Dimming.
The End of America
Blame it on Kerouac. From the pages of his masterpiece, On The Road, New York City based folk trio The End of America draws inspiration for both their band and their name. The novel's concept of traveling to the end of the "groaning continent" seems almost like a dare, where by those who choose to accept it will follow the road till the earth runs out and they find themselves where all artists long to be: the farthest you can go.
For The End of America, that means taking risks to do what feels right, despite the conventions. In 2010, founding members Brendon Thomas, James Downes, and Trevor Leonard recorded their debut album, Steep Bay, live in a cabin in upstate New York using only a two track, battery powered recorder. The following year they released a full length DVD titled Are You Lonely, which documents the making of Steep Bay and features live music videos of every song from the album.
Now, The End of America is ready to present their latest effort, Shakey. In an attempt to capture the music in its most pure and naked form, the album was recorded live to tape with minimal rehearsal and in the fewest takes possible – an approach inspired by Neil Young, to whom the title pays homage.
Based out of Philadelphia, Swedeland takes its name from the eclectic hidden neighborhood where the seeds of the group were planted. Classically trained singer/guitarist Morgan Pinkstone blazes the way with her powerful voice and timeless stories. She is backed by multi-instrumentalist Jason Zimmerman (master of all things stringed), keyboardist Paul Maraldo (Buffalo Fight, The Vedas) drummer Phil Hutchins (graduate of the U Arts jazz program), and bassist Brian Bloemker (veteran of Philly's hard rock scene, Workhorse III, Dark Lords of Stonehurst). Swedeland's music is as eclectic as it is hauntingly familiar and the songs will stay with you long after the last note.
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