If you scare easily, stay far, far away. This small shop specializes in gothic art and haunting antiques — macabre taxidermy, life-size witches, dolls with vampire rabbit heads, and other spooky items you might see on an episode of American Horror Story. Union St. Back in , it was a home-goods store, and for the last 60 years, it has been a shared antiques destination and artist studio space. Four floors are packed with curious finds, including original art and unique primitive, repurposed, and industrial pieces.
Back in Pa. You can easily spend a week cruising the main drag of Adamstown, one of the country's most cherished antiquing towns. Skip to content Share Icon. I think I had a mixture of lack of sleep and alcohol psychosis. I was having a hard time deciphering between dreams and reality.
Was I dreaming or in the park? But you gotta do that sometime… it keeps the beast alive. He was overseas promoting his new album, Heal , out today via Dead Oceans. Unlike previous albums Dark Shores and Pope Killdragon , Showalter abandons metaphors and sci-fi concepts on Heal , where he sings about pain and love and the joys of being lonely in a no-frills kinda way.
Before he became Strand Of Oaks, Showalter held various jobs, from Kroger bag boy to second grade teacher. He told us all about them. Well, I always worked for my grandpa, doing construction jobs.
But my first paid job was at a Kroger grocery store, in Indiana. I was part of a union. It was real. I was paying union dues at 15 for a bagging job. I was fantastic at it. And I loved making efficient bags for the ladies. It was summer, in Indiana, and there was a tornado warning.
The tornado was there! I quit! We all went to hide in the freezer, and after that, I just rode my bike home and that was it. I like working, so I always try to do a really good job no matter where I work. I quit a job after one day once. I was on a roofing crew, when I was 17, working with all these year-old coke-heads. I was out in the sun, not getting paid much, and lifting plywood on a roof. That sounds like a bad scene. What sort of construction work were you doing with your grandpa?
One of my best summers ever was when my grandpa and me built a seven-stall storage garage, which took most of that summer. He was a farmer, and a typical midwest kind of guy. One day we had to put the trusses up on this garage, which were like 14 feet, to support the roof. I had to put up foot trusses. He was super-impressed. He let me take one extra water break that day. I was in charge of the snack area, and I had no idea how to make the snacks. I got no training, and I had no idea how to use the cash register.
I worked there for two months and I had no idea how to do the job. There was a little pizza grill, and nachos, and things like that. After a decade of radically declining revenues, Nielsen SoundScan reported a 1. While the rise of the mp3 as the most popular mode of music consumption has cut into record label and artist profits -- namely due to the proliferation of illegal downloading -- last year showed a What this means for record labels, particularly independent labels, isn't quite clear.
What is for certain, though, is that labels must constantly adapt to a wildly unpredictable economic landscape in order to remain viable. Siltbreeze and Relapse are two of Philadelphia's longest-running independent labels.
Both have built strong brands and maintained a loyal consumer base by focusing on niche genres -- the former on underground rock music everything from garage and psych to punk , the latter on heavy metal music. But two of the most compelling are Seclusiasis and Data Garden, as both use a variety of fresh strategies to engage consumers in unique ways. Beginning in as a self-published music zine, Siltbreeze evolved into a record label two years later.
Operating from founder, and sole employee, Tom Lax's Bella Vista apartment, the label has since released albums in cassette, CD and vinyl record formats, with pressings ranging from , I've never put out something in an attempt to create a trend, but perhaps this sort of thing has followed in the wake of records I've been involved with.
With about seven releases each year, and with sales steadily at about 1, units, Siltbreeze has never had a big selling record at least not by traditional industry standards.
But Siltbreeze succeeded by being one of the first to specialize in a more experimental, and rawer, type of rock music—while others sought to maximize sales, Lax focused on the music emerging from rock's underbelly. Since sales weren't the priority, Siltbreeze could take risks on forward-thinking, but marginalized, music that a small group of devoted listeners wanted to hear.
These consumers trust that Siltbreeze's product is consistently good and difficult to find elsewhere, and so the label has endured.
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