Kelsey Cork wants to be the next Karen O. Or the next Kesha. The next mega-talented, revered rock babe  leading the world's biggest party. She probably will be one day.

She leads Kelsey Cork and the Swigs, a DIY rock and roll trio. Cork provides guitar and vocals and is backed by Jacinda Arellano on bass and Ramon Gadea on drums.

They released their first official single, Center City Blues, on November 6th. Released intentionally on Election Day and deep in Scorpio season, it was set to make an impact and they've already received some great coverage from The Key and Deli Magazine.

Cork, a Scorpio herself, is part of a long list of kick ass Scorpio musicians. Grace Slick, Joni Mitchell, Bjork, and our supreme pop idol Carly Rae Jepson all also have birthdays this season.

Photo: Alyssa Resh

"Center City Blues" is aptly named. The tune and chorus follow classic blues patterns and the lyrics dose out some anti-establishment punk feelings, as expected.

Cork covers themes of commodity, societal expectations, and existential happiness throughout the lyrics.  Questioning the people she sees in Center City every day, or 'suits',

You proud of where you lay your head when the day is done
Do you lay awake worrying about who you bought your pillow from

You can play pretend
But are you having fun

The chorus spells her message out for us,

Who's looking down, who's looking down on who
Who's looking up, who's looking up to you

"Center City Blues" is released on Good How Are You Records, engineered by Lauren Delucca of the local punk set up Coping Skills, mixed by Henry Wilson and mastered by Elaine Rasnake.

It's always great to see a woman engineer credited on a track, there aren't enough of them in the music industry.

The latest issue of Jump Magazine is live. This time it’s a bit different.

If you’re familiar with Jump, you’ll notice that we have a new logo and some fresh branding to go along with it. Red Flag Media has taken over publishing operations and from now on Jump will be combined with another one of their publications, Grid, a magazine that is invested in reporting social, racial, economic and environmental justice issues in Philadelphia. Grid’s politics are similar to Jump’s, where, in addition to profiling local musicians, we’ve always put an emphasis on covering a diverse array of subjects, politics, and social justice issues through the lens of music.

This is the first issue where the publications are smashed into a mutant Philly-Centric-Cool-Innovative-Stuff type magazine. I’m kind of into it. With the rad local music news, you also get a ton of rad articles about local sustainability and environmental issues as well. Wider circulation, more readers, I’m excited to see where this goes.

jump Oct2018

My article is about Erin Fox. She is one of those musicians who you meet and know that they would not be happy doing anything else, it’s so deeply embedded into their person. She has tattoos of musical notations, she plays in five bands right now, she organizes a local music fest to raise money for cancer research, she’s got a lot of good going on.

Her latest album, Forbidden Youth, has a great 90s Indigo Girls vibe and I highly recommend checking it out over there on Bandcamp. A portion of the proceeds from album sales will be donated to the National Alliance on Mental Illness as well.

You can read the full issue online from here or just skip straight to my article on Erin. See the rest of my Jump articles here.

I was not expecting to jump out of my seat at the Wells Fargo Center on Tuesday night, but that’s what happened, when green flames  shot out of the stage and scared me half to death.

Honestly, I was expecting The Game of Thrones Live Concert Experience to be just alright, probably pretty cool. I wasn’t expecting to be blown away.

The arena was packed with GoT fans eager to hear the show’s epic soundtrack performed by Emmy nominated composer Ramin Djawadi. The energy in the room was high to begin with and then the performance was captivating.

In the interest of full disclosure, we were given press passes to the event, but considering the production value of the show and interactive experience, I would say the slightly higher ticket price was well worth it.

The arena experience added to the event and allowed them to pull out big tricks and a huge moving stage, but I thought the sound quality of the orchestra suffered in this space. I’d like to hear the music performed in a concert hall where the space was really suited for the nuances of orchestral playing.

Read my full coverage of the evening over on JumpPhilly.com and check out the other article’s I’ve written for Jump here