Mt. Joy / Petal at Union Transfer
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These dreams are more than paper things," sings Matt Quinn on Mt. Joy's infectious folk-rocker «Astrovan,» a warm, yearning bit of road-trip philosophy that posits the existence of a Deadhead Jesus cruising the dusty highways of the countryside, nursing a roach on his way to only He knows where. It's an auspicious line from a band predicated on the revival of teenage dreams.
Mt. Joy started off as a rekindling of shared musical ambitions between Philadelphia high school friends Matt Quinn (vocals, guitar) and Sam Cooper (guitar). Reunited in Los Angeles thanks to the ebbs and flows of adult life, the pair met multi-instrumentalist Michael Byrnes through a Craigslist ad. They named themselves Mt. Joy as an ode to a mountain in Valley Forge National Park near Sam's childhood home, and together, with Byrnes' roommate Caleb Nelson producing, they recorded three songs and sent them out into the world, hoping for the best. «I knew I still wanted to write songs, but the realities of life made that dream seem pretty impossible,» Quinn says.
Much to the band's amazement, «Astrovan» accomplished the impossible. Without initial promotion or fanfare, the song took off on Spotify, racking up 5 million streams to date. «The irony of 'Astrovan' was that song was really about being stuck in a life and wanting to have the opportunity to pursue a dream, and in an instant it gave us that opportunity. » Quinn says. Mt. Joy quickly transitioned from a part-time calling into a full-fledged band rounded out by Byrnes on bass, Sotiris Eliopoulos on drums and Jackie Miclau on keyboard.
Come 2017, Mt. Joy hit the road, and hit it hard: They played tour dates alongside the likes of The Shins, The Head and The Heart, The Lone Bellow, and Whitney, and popped up at some of the summer's biggest festivals, including Bonnaroo, Newport Folk Festival, Lollapalooza and Made In America. «We were put on some big shows very quickly,» Quinn says. «The growth for us has been exponential — we've really just become a family that's constantly pushing each other and the live show to be great.» They eventually caught the attention of Dualtone Records and began work on their debut album.
Steeped in folk-rock tradition and powered by the intuitive creative connection between Quinn and Cooper, the songs on 'Mt. Joy' depict Quinn wrestling with his own conscience, where the mundane and the fantastic collide as he processes tragedy, society, and love. Opener «I'm Your Wreck» describes «monsters in (the) closet, using up the wi-fi» as it cycles from its desperate, spiraling verses to its swinging, stubbornly optimistic coda, while the loping, plaintive chords of «Younger Days» meditate on a frayed psyche and the fear of choosing the wrong path. «Sheep,» with its collapsing, hoarse-voiced cry of «freedom was paid in blood,» is a post-Trump salvo on the responsibilities of the fortunate to overcome political and social despondency. And on «Silver Lining,» perhaps the album's brightest moment, Quinn surveys the damage of hard drugs and the vicious cycle of addiction, as the song's melancholic sentiment kicks into its fervid, defiant chorus, all shout-along vocals and trilling guitars.
Taken together, the self titled 'Mt. Joy' LP is a startlingly open document, wracked with the anxieties and fears that come just as life seems to start working out. It's a natural reaction from a wary band like Mt. Joy — the result of a sort of professional vertigo, as they've gone from virtual unknowns to hot young commodity in little over a year. But there's a sense of hope underlying everything, girded by the fact that the Mt. Joy LP is an impressive, honest portrayal of a young band facing that moment where dreams become reality, and finding beauty in the exhilarating uncertainty of it all.
Despite our best efforts, there are some things we just can’t outrun. Everything catches up to us in the end, no matter what we do to hide from it. It’s a reality that Petal’s Kiley Lotz examines on Magic Gone, the band’s latest full-length album on Run For Cover.
Recorded over the course of a month at Studio 4 in Conshocken, PA, Magic Gone is a bitingly honest look at adulthood, accountability, responsibility, and mental health and the difficulties that go along with each of them. “There comes a moment where all the paranoia, anxiety and pain become too much and you realize the structure you built to survive is no longer is going to serve you,” says Lotz of the three year period that inspired the album. “I had to make some very big life changes to make sure I didn’t die. It was not easy taking that level control over my life after spending many years worrying about upsetting others and being the best and most successful person I could be."
That’s not to say that the last few years have only been negative for Lotz — there were a lot of great moments, too. She moved from New York City to Philadelphia, toured with Julien Baker, Slingshot Dakota and Kevin Devine, and chose to come out and live openly as queer, just to name a few. Still, the good wasn’t able to outweigh the bad, and in early 2017, Lotz found herself hitting a breaking point. Ultimately, she made the difficult decision to move back to her hometown to enter intensive treatment for her mental health issues.
It was that duality — the valley between the positives and negatives of life that she’d experienced — that inspired Magic Gone and its two halves. Side A, titled Tightrope Walker, features songs Lotz wrote before entering treatment, while Side B, Miracle Clinger, is comprised of songs she wrote in recovery. “I think those two parts of me are what kept me alive,” Lotz explains. “I became so skilled at the act of getting through every day that I trusted that ability, but knew if I slipped I could face a bad end. Still, I couldn’t help but have faith in myself and people and God and that things could be better, even though I felt so lost and hopeless.”
The culmination of it all is an album that showcases Lotz’ prowess as both a vocalist and a songwriter, drawing equal influence from ‘70s powerhouses like Queen and Nina Simone as it does modern vocalists like Solange and Mitski. Producer Will Yip distills Lotz down to her purest form, lending an unprecedented rawness to her sound. Track by track, the singer transforms her vulnerability from a curse into a tool with which to examine both where she went wrong and where she went right in her struggle for survival. Lotz offers a lesson for each of us on having the courage to face our demons and make the best choices for ourselves. “Inevitably, we all have to make decisions that will be hard. But if we don’t at least try, then we may never know what life could be like.”
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