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
The End of America is a band of friends, singers and travelers who blend three-part harmony with rock and Americana. The Philadelphia-based outfit masters a style that resonates with fans of Ryan Adams, CSNY and Dawes.
All frontmen of previous bands, Brendon Thomas, James Downes and Trevor Leonard met on tour in 2005. They went on to form a trio that highlights their vocal chemistry and captures the raw honesty of their performances. TEOA recently released their debut LP (self-titled), a follow-up to their previous EPs, Shakey and Steep Bay.
The new album was written in the wake of a series of close calls: one involving a van accident on tour, and the other when drummer Jarrod Pedone was involved in a hit-and-run that left him in a coma for months. Fortunately the band walked away unscathed, and Jarrod made a stunning recovery. The following winter all members relocated to Philadelphia to write and hone their new sound. Joining forces with longtime friend and engineer Dave Downham in the producer’s chair, the band tracked 11 new songs at nearby Gradwell House Recordings in Haddon Heights, NJ.
With the album released, the band is gearing up for a full year of touring. Anyone who has seen TEOA can attest to their powerful harmonies and stage presence.
The End of America has performed at SXSW, Savannah Stopover and the Baltimore Folk Fest. They have shared the stage with Larry Campbell, David Bromberg, Gary Louris (The Jayhawks), Simone Felice (The Felice Brothers) and joined Beck in Los Angeles to perform for his Song Reader sheet music release show. The trio's appearance at the show aired live on KCRW and received praise from Spin, Filter and The Hollywood Reporter
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.