Johnny Brenda's Presents
Bleeding Rainbow, Potty Mouth
1201 N. Frankford Ave
Philadelphia, PA, 19125
Doors 8:00 PM / Show 9:15 PM
This event is 21 and over
Nevermind the constant threat of a cease and desist letter, when Carrie Brownstein tells you that your band name is weak, you change it. But it isn't as simple as a name change for Philadelphia's minimal noise pop duo Reading Rainbow, significant line up additions facilitated the adoption of a new moniker. So...drum roll please...as we reintroduce Philadelphia's Bleeding Rainbow, now a full-blown, Brownstein-approved, rock quartet. The name better represents the band's evolving sound and is all around more badass and trippy as sh*t. The founding members, Sarah Everton, who moved from drums to bass to give her vocals a better chance to shine, and vocalist/guitarist Rob Garcia are now joined by Al Creedon on lead guitar and drummer Ashley Arnwine.
While 2010's album release Prism Eyes gained significant attention and raised the band's profile among the indie elite, even that set might not be aware of the previous self-released album Mystical Participation. If Prism Eyes is, by their own description, their attempt at writing pop songs, and Mystical Participation emphasizes an aesthetic of loud and drone-y guitars instead of focused song structure, Yeah Right, the band's third album release set for October 9th, 2012 on Kanine Records, is the merging and maturation of all these ideas and sounds.
For Yeah Right, the band has opted for a bi-polar approach to production, pushing the extremes of murky, ominous and sometimes harsh and fuzzed-out guitar onslaughts ("Pink Ruff") as well as a strong repertoire of hushed, ethereal moments ("Cover the Sky") aiming to evoke a nostalgia for 90s slacker culture without sounding bored or contrived. While previous releases reside in the reverb-soaked psychedelic pop realm, Bleeding Rainbow says, "the sound this time around was more directly influenced by bands from our teenage-hood such as Sonic Youth, My Bloody Valentine, Nirvana, Smashing Pumpkins, and Yo La Tengo to name a few." Mixing hints of Greg Sage's anthemic, anxiety-ridden punk riffs, with equal parts drone and noise swells reminiscent of Kevin Shields at his most inventive, with an overlaying of boy-girl harmonies, Bleeding Rainbow channels the Mamas and the Papas as if backed by early Smashing Pumpkins.
With the inclusion of two long time friends and supporters of the band, Bleeding Rainbow has not only freed itself from the limitations of a two-piece, but given themselves a chance to delve deeper into the mood of songs and allow for extended instrumental sections ("Drift Away"). A more collaborative songwriting approach has resulted in more complex songs, but that does not mean they are without pretty sounds or pop moments. So while Yeah Right opens up easy and welcoming ("Go Ahead"), the end will leave you feeling as if a wall of noise has permeated through your body ("Get Lost"). Bleeding Rainbow set out to create something beautiful from harsh noise, and Yeah Right succeeds wildly at doing just that.
Hailing from the home of Thurston Moore and Dinosaur Jr., and drawing from the fertile music community that is Western Massachusetts, Potty Mouth are all-parts smart-pop craftswomen, specializing in taut, infectious, C-86 influenced indie pop meets '77 punk perfection. The band released their debut 12" vinyl EP, entitled "Sun Damage" in July 2012, which garnered the attention of Pitchfork, who called the six-song EP an "an impressive, no-filler debut," as well as The Boston Globe, who named Potty Mouth one of the "top five indie-rock bands to watch in 2013," with Brooklyn Vegan adding that they were "one of the most promising new bands in their local scene." Departing from the more angular shades of post-punk heard in their EP, "Hell Bent" is marked by its significantly heavier production and melancholic hooks. Nonetheless, the album stays true to the confident, youthful punk aesthetic the band has cultivated for themselves.
Batty is a three-piece result of a Philadelphia-NJ cultural exchange program, mostly driven by suburban alienation.
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