Saturday Night's Alright

Death, by Snu Snu

As Shannen Norris took the stage, shoes removed and neatly placed in front of his pedal board, he informed the audience that his normally one-man musical odyssey, Death, By Snu Snu, would be a multi-personnel outfit this evening. He assured each of us that we could refer to him individually as “Death, By Snu Snu” or simply “Death” should we choose (in order to avoid any confusion, of course). But if he’s a stand-in for the Grim Reaper, I may have to rethink my fear of dying.

Soft spoken and smiling, guitarist and vocalist Norris was joined by three bandmates on drums, keyboard, and bass, filling out his soulful, jazz-adjacent set beyond the restrictions of a singer-songwriter solo performance.

It wasn’t difficult to immediately see his capabilities as a solo artist. From impeccably strummed chords emitting the warmest guitar tones this side of the Schuylkill, to an impressive vocal range hitting soulful lows and soaring falsetto highs, he’s clearly at the top of his class in terms of sheer ability.

My immediate response upon hearing the first ringing chords, accompanied by his strong vocals, was noticing the parallels to the legend Jeff Buckley, who was also a master of wrangling influences of both delicate beauty and catchy hooks. A man who could impress equally, whether alone with a guitar or with a full band in tow; an unassuming presence anchored by the strength of sheer artistry. In short, Norris’ set was hypnotic. And while I maintain his obvious ability as a solo performer, massive credit to his band for rounding out his soundscape with a level of subtle depth that surely would have been absent without their presence and precision. From swirling keys to well-placed and dynamic drum fills, to deep and melodic bass riffs, Norris and Co. were able to elevate beyond simple melodies and induce an entire arrangement of sonic exploration that was both relaxing and exciting.

By the time their set was over, I felt I had emerged from a trance. And, while this was my first exposure to Norris in any capacity, I have little doubt this man is capable of commanding and creating any kind of sound he chooses. I look forward to seeing him develop as a songwriter and happily conclude that he’s deserving of our collective attention.

About Death, by Snu Snu: Death, By Snu Snu is the recent invention of singer-songwriter Shannen Norris. Originally based out of the Rehoboth Beach Delaware, he settled in Philadelphia in an effort to nurture the new sounds in his head and share them with all. A marriage of Ambient, Neo-Soul and Jazz comprise the mood created by this guitar wielding musician. Mellow atmosphere—yet undeniable groove—the foundation of his art.

Martha Foundry

The spectrum of what constitutes “alternative music” is vast. From metal to rock to rap to R&B to indie singer-songwriter outfits, there is no shortage of what falls underneath the colossal umbrella of “alternative,” which leads me to believe that it’s more of an idea than a clearly defined genre. It’s the spirit of exploration, uniqueness, and musical earnestness. It represents not trying to sound like anything or anyone specific, but rather taking the wide-ranging world of influences and wearing them proudly on your sleeve—a genre without rules. Martha Foundry falls squarely within this musical lawlessness with a clear, unpretentious mission to simply rock in the only way they know how. And rock they do.

As the lights went down, signifying their start, guitarist John Carroll stood alone on the stage, dimly lit by the strips of ambient blue lights above him, strumming a hypnotic call to arms. As his guitar rang out, signaling to the world for all music lovers to converge into this intimate space at Kung Fu Necktie on a cold Saturday night, the crowd looked on eagerly, cheering the triumphant and dramatic emergence of each of his bandmates as they joined him on stage, one by one. And then, like the anticipatory building of a sonic tidal wave, they thunderously crashed into their set to herald the next hour of pure rock and roll.

Vocalist and guitarist Brock Bohn took command of the stage immediately by deftly deploying his ability to emit both screaming howls and soulful melodies, evoking everyone from Julian Casablancas to David Byrne to Jim Morrison. Throughout the set, Brock and John traded lead guitar duties, further showcasing their effortless dynamic to build and support each other as they explored the boundaries of each of their songs’ respective structures.

But it wasn’t just the guitars front and center. Drummer Nick Carroll showcased his ability to keep the energy up, relentlessly pounding his kit without missing a beat. His fills and tempo were the underlying surge of thunder that kept things moving at a brisk pace, and his endurance was nothing short of impressive. Bassist (and apparent celebrity, as evidenced by consistent chants of his name) Perry Catando grooved nonstop, proving how a well-utilized bass is equally impressive as any guitar riffage. During the quieter moments of their set, he was able to showcase his skill and lead the way as Martha Foundry’s musical journey progressed further into the night. Keyboardist Jon Diehl added a dimension of depth that perfectly rounded out the five-piece outfit, amplifying the guitar melodies and creating subtle soundscapes that elevated the diversity and uniqueness of each song. 

Their loose, yet reined-in ability to improvise as each opportunity presented itself served as the  perfect blend of technical ability and melodic instinct. Their jams were never too long nor too short. Never overly adventurous, nor overly restrained. It was an effortless display of both musicianship and songwriting sensibilities. Martha Foundry is a cohesive musical entity that effortlessly balances bold sonic exploration with an instinctive knack for catchy songwriting.

All of this is perhaps best embodied by their clear display of joy at simply sharing the stage together. The interpersonal dynamics of a band are critical for so many reasons. Hired hands simply follow instructions, but a collective creative collaboration leaves so much room for friction and ego. Yet Martha Foundry is unified by the most fundamental musical equalizer: an honest and sincere love for what they do. The palpable level of mutual respect, appreciation, and support was not only evident in their affection for one another, but also in how they performed. While they are without a doubt a “rock band,” there is, as noted above, ample room for extended jams and earnest displays of their musical chops. It’s an unspoken language that’s unique to artists finding themselves perfectly in sync with one another. And Martha Foundry embodies the communal element of musical performance perfectly. They fuckin’ rock, and they do it as a cohesive unit.

This whole endeavor with Music Jawn exists because our fearless leader, Editor-in-Chief Conor Clancy, actualized a vision of music within the framework of community. And, as Martha Foundry and Death, By Snu Snu proved tonight, Philadelphia’s musical community is as strong and varied as ever.

I’m optimistic that we’ll continue to experience no shortage of exciting musical output in Philadelphia and the surrounding area, and, if tonight was any indication, it’s truly ubiquitous. 

“For those about to rock, we salute you.”

About Martha Foundry: Born in a welding factory on Martha Street in Philadelphia, Martha Foundry emerges with a genre-bending rock energy that moves between classic rock warmth, dance-funk spark, and heavy rock thunder. Their songs braid shimmering melodies, blistering solos, and deep-groove bass into a sonic wave that lifts and drops the room in an ebb and flow of energy.

Setlists

Death, by Snu Snu

Bleak
Cartoons
Green Twins
Hangman
Each Time
Tough Love

Martha Foundry

Johnny Jam
Message to Death
See You in the Night
Silly Brandon
Lovely
Lazzy
She’s Fire
War on 10th Street
Can you see me
Untypical
645

Text by Justin Stercula. Photos by Conor Clancy.