SHADE | Fedra

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My Bloody Valentine Primal Scream The Jesus and Mary Chain

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United States - Pennsylvania

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Rock: Noise Pop: British Pop Moods: Mood: Dreamy
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"Would you believe the atmospheric post-punk of 20 years ago? This is the type of music New Order could have made if Ian Curtis hadn't killed himself - moody, ethereal and sometimes brilliant."
Genre: Rock: Noise
Release Date: 

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  Song Share Time Download
1. 240 Roll Out
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3:38 $0.99
2. Swervebaby
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4:02 $0.99
3. Dragan Stajic
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3:31 $0.99
4. Only One Wish
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3:29 $0.99
5. Cartoons & Cowboys
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3:47 $0.99
6. Gunner
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3:45 $0.99
7. Slowfire
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3:48 $0.99
Available as MP3, MP3 320, and FLAC files.


Album Notes
The aesthetic of decay is something the city of Pittsburgh, Pennsylvania wears like a crest. Where an industry died and left colossal artifacts of its ruin to rust away in plain sight punk rock raised its clamor of ongoing eulogy, wrote maps of tattoos on its people, and reclaimed the architecture with decades of graffiti. Still its foolish to think that the only realistic reaction to Pittsburgh's industrial ghosts lies in something so morose. Pittsburgh's Shade may very well be the modern torchbearer of space rock escape, living alongside the culture of decay, and yet somehow managing to resist its pessimistic fashion.

Inventive beyond their years, Shade are as adept at venerating their influences as they are at transforming them. Taking in Forever Now, Nowhere Tomorrow, the band's 2002 Psychodaisy debut, or ending up before them on stage, the most obvious reference points are, at best, starting points. England's early 90's psychedelic renaissance of shoegazer bands like Ride and Lush undoubtedly lives in the blood and headphones of these guys. But on the dirge of 'Marooned', vocalist, Matt Stuart is anything but pillheaded--let alone uncertain. His delivery recalls the most thoughtfully self-destructive promises of a young Elvis Costello--a characteristic reinforced on "Spider Rock", when Craig Stuart's whirring organ fill transports the northern soul groove back to the dynamo days of "Oliver's Army".

With a rhythm section like this, (Stuart's keys are joined by Brad Kiefer on bass, and Dave Halloran on drums) the low-end brings Shade's music to a crossroad of Paisley Park-funk and post-shoegaze rock and roll. David Woods' guitar rounds out the line-up, imparting everything from seagull-squall to Eddie Hazel-worthy f-punk graffitis.

Like latter-day Primal Scream before them, Shade's soul rhythms ultimately serve as the long-burning kindle to that immutable guitar noise, a heavy metal sound living in dancing shoes beneath colored light. On stage this relationship moves in better ways still. The hummable quality in any given tune from their debut all but vaporizes in a show of instinctive, and instinctively loud expression. They are one of the few songwriting acts of their class who take the tasks of performance as seriously as their compositions require. This is not merely the recital of a sound, its the spreading of the word.

Bryan Mickle


to write a review

McKeesport Daily News

Slowly but surely, Pittsburgh rock is getting a makeover!
Slowly but surely, Pittsburgh rock is getting a makeover, and it's working out nicely.

Not to be critical, but there really has been a lot of garbage littering rock radio simply because it's from Pittsburgh.

But an indie Brit-rock revolution is beginning to take shape, and one of its leaders is Shade. With a new EP "Fedra" and after opening shows for notable acts including Longwave, Sahara Hotnights and the Black Keys, Shade is ready to solidify its stature and is poised to grab fans who want more from the local scene than boring bar rock.

With the opening strains of "240 Rollout," the band - vocalist Matt Stuart, organist Craig Stuart, bassist Brad Kiefer, drummer Dave Halloran and guitarist David Woods - lays down a beat that sounds intoxicated.

The seven-track disc really comes to life on "Swervebaby," which opens with an audio assault that might make one imagine what a laser attack might sound like. U2 "Zoo TV" era keys kick in as Matt slurs "everybody's watching us." As the song closes, Woods' guitar imitates a venomous snake - coiled then striking.

The beginning to "Dragan Stajic" hints at the Clash's "London Calling," and disc closer "Slowfire" is just that, in which Matt sings about desperately trying to forget, while the song drowns out in sad guitars and arcade game-style keys.

RIYL: Stone Roses, Charlatans UK, Longwave

Pittsburgh City Paper

SHADE --> The Dream Is Over
Unlike the band's own previous releases and those of some cohorts, Fedra 's seven songs erupt like punchy indie-pop masterpieces, fit and trim and hopped-up on musical ephedra. Thanks to a head-slap selection of songs and some über-pro mixing and mastering at Mr. Small's Funhouse, Fedra doesn't immediately conjure up the shoegazer adjectives so common to Shade's press (“dreamy” gets tossed around a lot).

Fedra 's anarchic Blur-rock twists (“240 Roll Out”) and Swervedriver-era noise-pop (“Swerve Baby”)........


superb album sounds like the best british bands with an american rock twist.recommended.

Hector R. Hernandez

After seeing the band live, I wasn't sure if the same energy would be passed on to their recording, I was wrong. The CD is just as great as seeing this band live. Do yourself a favor and see this band & buy this CD.