1026 Spring Garden St.
Philadelphia, PA, 19123
Doors 7:30 PM / Show 8:30 PM
This event is all ages
The urgency of current events after the demoralizing 2016 election gave Mac, Laura, Jim, and Jon of Superchunk the momentum to make something new sooner than later. “It would be strange to be in a band, at least our band, and make a record that completely ignored the surrounding circumstances that we live in and that our kids are going to grow up in.” Enter What a Time to Be Alive, Superchunk’s first album in over four years. It’s a record, says Mac, “about a pretty dire and depressing situation but hopefully not a record that is dire and depressing to listen to.”
Indeed, like so much of Superchunk’s music in the band’s nearly three decades together, the songs on What a Time to Be Alive meet rage and anxiety head-on with the catharsis and exhilaration of loud punk fire and vulnerable pop energy. Like 2013’s I Hate Music, which focused on death, loss, and the role of music in an aging life, What a Time to Be Alive brings spirit to the frontlines of pain—it’s as defiant as it is despairing, as much a call to arms as a throwing up of hands.
Written almost entirely between November 2016 and February 2017, What a Time to Be Alive was recorded and mixed by Beau Sorenson, who also worked on I Hate Music. The record also has more guest backing vocalists than any previous Superchunk album, including Sabrina Ellis (A Giant Dog, Sweet Spirit), Katie Crutchfield (Waxahatchee), Stephin Merritt (The Magnetic Fields), Skylar Gudasz, and David Bazan.
Swearin’ co-frontperson Allison Crutchfield is only 23 years old, but she’s been in the game forever already. A truncated history: She started the Ackleys as a ninth grader in Birmingham, AL, with her twin sister, Katie; they were on Warped Tour as high school students. After that band called it quits, the sisters formed P.S. Eliot in 2008, releasing two full-lengths and an EP over the course of their three-and-a-half-year existence. The sisters relocated from Birmingham to Brooklyn in 2011, months before pulling the plug on P.S. Eliot. When the band split, Allison and Katie’s musical paths diverged, too: Katie went solo under the moniker Waxahatchee; Allison put together Swearin’ with Jeff Bolt (drums), Keith Spencer (bass), and P.S. Eliot bandmate Kyle Gilbride (who shares guitar and vocal duties with Crutchfield). Swearin’ unveiled a 6-song demo called What A Dump last December. Earlier this year, they released their self-titled debut LP on Salinas Records. With 2012 coming to a close, it seems safe to say Swearin’ will be included in the conversation of the year’s best indie-rock records.
The words “indie rock” are crucial here. While the term has long since ceased to have value as a descriptor, Swearin’ deliver a sound that could serve as a definition for what the genre used to be. The band’s combination of melody, distortion, and energy brings to mind the emo bands of the mid to late ’90s, especially the Get Up Kids, Rainer Maria, the Promise Ring, and Jawbreaker. Gilbride’s vocals are a dead ringer for those of a young Mac McCaughan; Crutchfield could probably stand in for Anna Waronker on a mid-’90s That Dog LP without anyone noticing. The pair’s guitars have a furious squeal that brings to mind Built To Spill or Sebadoh; their instant-classic melodies are obscured by feedback and fuzz, an ancient indie-rock trick perfected by the likes of Archers Of Loaf and Pavement. Crutchfield was born in 1989 (the year the Pixies released Doolittle), and those tendencies are in her blood: In a short documentary about the Ackleys, filmed when Allison and Katie were still in high school, both sisters namecheck Guided By Voices as their primary songwriting influence.
We’re two decades out from Slanted & Enchanted, and “indie rock” is enjoying something of a retro-chic revival (cf. Yuck, Japandroids) — meanwhile, the Promise Ring just concluded a brief (and no doubt profitable!) reunion at Fun Fun Fun Fest, and next month Jawbreaker will reissue Bivouac to celebrate its 20th birthday — but Swearin’ doesn’t sound like an attempt to cash in on the moment; the album’s style:substance ratio is weighted heavily toward the consequent. The songs are compact, tightly constructed, smart, explosive, and very catchy. The highlights for me change as my relationship with the record grows, but I can’t imagine anyone not being captured immediately by “Here To Hear,” “Kenosha,” or “Movie Star.” The band moved from Brooklyn to Philadelphia earlier this year, and this week, they’re headed out on tour for some shows with Japandroids. Tour dates are below, along with a full-album stream. Play it loud.