Para fãs de: Rock, Reggae, e Indie & Alternativo.
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Streetlight Manifesto’s first recording was a four-track EP, that featured the songs “Everything Went Numb”, “Point/Counterpoint”, “The Saddest Song” and “We Are the Few”. All of these songs were re-recorded for their full-length studio album, which was released under Victory Records on August 26th 2003. The album earned critical acclaim, with critics paying attention to the band’s well-written lyrics and powerful energy.
It wasn’t until three years later that they released their sophomore studio album called “Keasbey Nights”, on March 7th 2006. It was originally going to be released in late 2004 but was delayed. Tomas Kalnoky replaced the shout-outs during the extended ending of “1234, 1234” with a text-to-speech transcription of an interview in which he explains his motivations for re-recording the album. He said “We wanted to get it right for once. Plus it helps me sleep at night knowing blood, sweat and tears were put into a record as opposed to making people pay thirteen bucks for a record and they only get flashy new cover art.” The album was rated 4/5 stars on Allmusic.
Following an unfortunate year where the band had $80,000 worth of equipment stolen, including some personal belongings, the band released their third studio album “Somewhere in Between” on November 13th 2007. It made it to #2 on the US Billboard Heatseekers Albums. It generated the singles “We Will Fall Together” and “Down, Down to Mephisto’ Café”. They were released as a double A-side single October 2007, prior to the album’s release. Their following album, “99 Songs of Revolution: Vol. 1”, released on March 16th 2010, reached the #4 spot on the Billboard Heatseekers Chart.
“The Hands that Thieves” is their highest charting album yet, released on April 30th 2013, having made it to 95 on the US Billboard 200, 21 on the US Billboard Independent Albums, and 26 on the US Billboard Top Rock Albums chart.
Originally comprised of acoustic guitarist Sean Bonnette, upright bass player Ben Gallaty, and drummer Justin James, Andrew Jackson Jihad has since undergone a number of personnel changes with Sean and Ben at the core. The band’s debut release arrived in 2005 with the album “Candy Cigarettes & Cap Guns”, which introduced the band’s notable acoustic instrumentation combined with with punk vocal delivery.
After releasing the EP “Issue Problems” and performing as a part of the New Times Music Showcase in 2006, the Andrew Jackson Jihads issued a split release with Ghost Mice in 2007. The band subsequently signed with Asian Man Records who released the Jihad’s sophomore full-length “People That Can Eat People Are the Luckiest People in the World” in 2007. The album raised the Jihad’s profile further and highlighted the often tongue-in-cheek lyricism covering topics including childhood addiction, poverty, existentialism, and religion.
Following the release of the EPs “Only God Can Judge Me” in 2008 and “Operation Stackola” in 2009, Andrew Jackson Jihad issued their third studio album “Can’t Maintain” in 2009, with a supporting tour of the U.S. and Europe. The Jihad’s fourth full-length “Knife Man” arrived in 2011 and was supported with a full U.S. tour alongside Frank Turner. The band expanded in 2012 with the addition of guitar and keyboard player Preston Bryan and drummer Deacon Batchelor. The live album “Live at the Crescent Ballroom” was released in 2013, and after signing with Side One Dummy Records, the band released the album “Christmas Island” in 2014.
No show is ever alike. I've gone to several of their shows in the past few years and the experiences are always different. The band has a very special genre. They're known to be a ska-punk band but with various jazz and rock influences. Did you know lead singer, Toams Kalnoky, was part of Catch 22 and has an acoustic project called, Toh Kay? The band doesn't spend hours speaking and telling stories. As soon as they finish setting up, they play through the whole set. They're always playing around on stage with their sounds. They'll always add a jazzy solo or do a remix of the song they're playing. The crowd is always super nice and one of the best crowds I've been in. There's always dancing, skanking, moshing, and crowd surfing. When someone gets dropped, 50 people will be there to pick you up. Tomas always stops the show if something wrong seems to happen. During the Buffalo, NY show, the place was so packed that the floor broke and had to evacuated and the band threw a show outside instead! The crowd is always constantly singing. With vocals, throughout instrumentals, etc. No one is ever staying still or being quiet. They're just one of those bands that you can never get sick of seeing.
The only way this show could have been better was if it went for double or triple the length. Long live AJJ.
Great venue, the crowd was into it, and respectful! Drinks were average priced! And the double stage made for non-stop entertainment :) loved the rev, and the bands. :)
The post-punk revival of the last decade was good for a great many things. Having guitar music as a regular fixture of the charts was pretty godamn wonderful; I think we can all agree. However, if there’s one good thing to come from its retreat back into relative obscurity, it’s the fact that guitar music can once again be thrillingly, defiantly weird. Wasn’t that awesome? When music played on a Fender Stratocaster copy didn’t have to be “relatable” in some way shape or form or overly accessible? Now that we’ve got the number one singles out of our collective system, we can have Parquet Courts go on the Jimmy Fallon show and spend the final minute of their performance having a good old fashioned unplanned feedback soaked guitar jam. Because the music itself is counter culture again, and Parquet Courts make it sound so much more thrilling than it has any right to be. That’s their style in the live arena, on edge, at the risk of collapsing at any moment but always with buckets of energy and passion. No two shows of theirs are identical but they are always completely riveting, not just for the possibility of it all falling apart but for the raucous chemistry that the New York City quartet have in spades. There is no one way that guitar music should be but to see Parquet Courts is to see a very strong argument that it should be loose, raw and utterly unique, just like the band themselves. At this point we all know that indie rock is alive and well, to celebrate that fact and see it at its most uncompromising and untamed, one need look no further than a Parquet Courts show.