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Celebrate 3rd and Lindsley's 25th anniversary tonight (04.05) with *repeat repeat, American Dream, and Benjamin Harper

What plans do you have for your next birthday? Do you have a badass week-long series of show happening in your living room? No? Then chances are you aren't 3rd and Lindsley (your ability to read this article is another clue, though I have no doubt the dawn of sentient music venues is on the horizon), which is celebrating its 25th anniversary in style this week. Included in the week of festivities is a little shindig tonight (04.05) featuring *repeat repeat, American Dream, and Benjamin Harper of Magnolia Sons on an all-locals bill you don't want to miss.

Check out the full week's calendar at the 3nL website (does anyone call it that?) and stream a *repeat repeat track below. -Austin Phy

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New Video: Tired of Tomorrow (Nothing Documentary - Part I)

Nothing embrace the bleak, grimness of Philly in the first part of their documentary for Tired of Tomorrow. Nicky Palermo’s open honesty, compounded by the desolate feel of black & white footage, provides a sense of truth, which, despite its darkness, is equally refreshing. The video offers a small glimpse into his youth and a behind-the-scenes view of the band's creative process.





Have a Really Good Time w/Sad Sacks Wild Jim Banfill & His Rolling Rocks at Bourbon & Branch April 4

Wild Jim Banfill & His Rolling Rocks simply sound like they are having a really good time being sad sacks. Whether its the spirit of Ween's classic 12 Golden Country Greats found in their latest single "If This Ol' Dick Stretched To Nashville" or the pining away for Rashida Jones (which I totally get) in "Rashida Jones-Banfill," the new project from The Tough Shits' Mark Banfill tickles the funny bone through well-crafted garage-pop/counrty-soul ditties. Grabbin' a few beers, and kickin' it with Banfill and the gang is definitely your best local music alternative to watching the NCAA Championship tonight. (Yasss - it's almost over!) They'll also be joined by Philly's own Miami Sludge and Maria & The Moans, as well as San Francisco producer Al Lover. Bourbon & Branch, 705 N. 2nd St., 8:30pm, $10, 21+ - Alexis V.





Slingshot Dakota Release Show at Everybody Hits April 2

Slingshot Dakota shoots into Everybody Hits, headlining a record release show for their latest album Break, which was released last month via Topshelf Records. The husband and wife duo of Tom Patterson and Carly Comando explore emotive, earnest territory, adapting to life’s curve balls one pitch at a time. They don’t shy away from challenges, embracing the rough edges with a charming, thick-skinned sincerity. However, toughness is only a segment of their sound - one which also exudes a positive outlook despite the momentary obstacles that lie in the day to day, finding triumphant joy. Mercury Girls deliver loose energetic pop that lyrically digs into pain, contrasting with its harmony-rich polish. Petal, a.k.a. Kiley Lotz, showcases beautiful determination through rousing, unshielded vulnerability. With their new LP Guided Meditation due out at month’s end via Lame-O Records, the infectious, expressive, hook-laden pop-rock of Hurry completes this lineup. Everybody Hits, 529 W. Girard Ave., 8:30pm, $10, All Ages - Michael Colavita





The Deli Philly's April Record of the Month: Ugly Laugh - The Original Crooks and Nannies

The Original Crooks and Nannies follow-up to 2015’s Soup For My Girlfriend begins with the sputtering staccato of “Call It Good.” The track’s rhythmic pulse collides flawlessly with Madeline Rafter’s vocals and buzzing synth, supported by a backbeat tailor-made for the dance floor. The album’s opener prepares its listener with ease for the pulsating energy of “Carry Me,” a heartfelt melody that brings to mind the romantics of Matt and Kim or the twee-drenched lyricism of Mates of State. The track’s sentiments are earnest, amplified simultaneously by urgent diction and humming chords. “Carry Me” is a living testament to The Original Crooks and Nannies’ ability to craft love songs so cathartic that it hurts.
 
Similarly, the unabashed desperation of “Throw Out” followed by the electro-hum of “Television” suitably precedes the tangibly raw frustration of “Dates.” For Rafter and her bandmate, Sam Huntington, drinking poison and having smashed teeth proves to be a more desirable fate than going on a date. Even in its state of exaggeration, the track is a potential artifact of our contemporary moment, depicting romance in the age of Tinder and the banality of #netflixandchill. It’s a critique with a memorable hook.
 
“Ghost” is suitably haunting with lines like “I can make you feel/I can make you feel much better” and crashing riffs and cymbals. The narrative of the song, like its namesake, will linger in your mind long after its heartfelt and nearly ethereal end. The intimacy of “Ghost” is transformed into a cinematic nostalgia in “Shake Hands.” Breathing to life an account of suburban antics and shared memories, Rafter and Huntington’s duet-esque ballad is irresistibly sweet, even for the most jaded listener, preparing its audience for the forthright emotives equally fervent in “Crying at the Dog Park.”
 
The woozy start of “Central Heating” and the narrative blends effortlessly into Ugly Laugh’s final track “Holy Wreck.” The album’s closer is an intimate confession paying homage to failures, flaws, and limitations. It’s a veneration of vulnerability and the beauty that can be found between fractures. “Holy Wreck,” much like the songs that precede it, is introspective, a melodic mirror reflecting the complexities of emotion and the adjacent irony of love, making Ugly Laugh the quintessential album that you didn’t know you were waiting for. It begs to be replayed again and again. - Dianca London

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