Northern Liberties is something of a dark horse in the Philadelphia music scene. Led by artist/poet/writer/drummer/quasi-mystic Justin Duerr, the band draws comparisons to local legends Ink & Dagger and West Philly mainstays, Stinking Lizaveta, but hasn’t achieved the same widespread recognition as these groups. It’s possible that this plays a part in the title of Northern Liberties’ new album, Secret Revolution, but then again maybe not. One never knows. The band is as strong, as menacing, and as idiosyncratic as ever. Plowing through nineteen songs in about an hour can be a lot to take in, but by and large it’s worth the time. The sound of two drummers and a distorted bass is primitive and abrasive, to great effect. Brothers, Justin and Marc Duerr lock in to create rumbling, hi-hat and tom-driven jungle grooves that accent on odd beats and fill at unexpected times. Over top of this is Justin Duerr belting out his poetry in an intense snarl. The music works because of its uncompromising individuality. Northern Liberties can be described as punk, alt-rock, and/or experimental, but each of these genres has specific inherent characteristics that Duerr uses and discards as needed. A song like “Midnight Train to the Dogfood Factory” resembles the Talking Heads with its pounding drums and free association lyrics, while the drone and acoustic guitar on “Beyond Beyond” brings to mind early Leonard Cohen. The lyrics succeed despite their revolving around desperation, alienation and poetic flights of fancy. These themes and style have not only been done to death, but often executed poorly enough to almost come off as parody. However, the strong sense of Duerr’s personality dominates the work and keeps it from coming off as derivative or mediocre. The combination of dark poetry and intense, bleak music creates many striking moments, especially in the anti-war martyrdom of the song, “Don’t Kill My Sister.” The band raises hell with driving basslines and especially thunderous drums. Cymbal crashes sound like explosions as Duerr repeats “Rain them down/Rain them down on me.” As the cacophony dies down, he pleads “Don’t kill my sister/with your bombs and your guns/don’t take away the moonlight.” In many ways, this sums up Secret Revolution. The music, while aggressive and defiant, isn’t quite metal, punk, or even avant-garde noise. It is, however, very effective. Similarly, war has become a hot subject in just about every genre of music, but few songwriters can capture their feelings on the subject as poignantly as this, or in so few lines.
By: Jack Firneno from Wonkavision magazine
Rating: 4/5
Category: Reviews
Northern Liberties – Secret Revolution (heathenharvest.com, 2005)
Northern Liberties is one of those bands from the Worldeater Records Summer Sampler that, well, quite honestly, confused the living fuck out of me. While they are yet another indie band, there is something strangely wonderful about the music they create. Believe me, I despise indie. With a burning passion. It may be the interesting art conceived by Vocalist/percussionist Justin Duerr. It may be the fact that they have a very tribal sound due to the music being written strongly around drum beats and bass lines. Who knows. All I know is that many of the bands coming out of Worldeater Records definitely deserve more recognition than they’re getting. I know for a fact these guys beat the pants off the likes of Battleship and Horse the Band. Battleship being the biggest headache I have ever experienced in my time here at Heathen Harvest, but that’s another story best saved for another time… I guess calling them indie really isn’t fair. They do lean more towards Punk Rock. I can hear comparisons from the likes of old-school masters The Ramones to the newer up-tempo Legbone. I must admit that, lending to further confusion, this band doesn’t seem to be about much of anything, and everything at the same time. While one would assume with an album title like “Secret Revolution” that this album would be intensely politically charged. While this is true in a much more drawn back sense, there is also a strong sense of romanticism in the poetry that Mr. Duerr writes. Imaginative, and even at times quixotic, Duerr forces up many images of an almost impulsive war within the city itself, painting the late night skyline with flame. There are also many experimental sections in this music to be found, such as on track 6: Auto Pilot. They try to use a very interesting delay effect on Duerr’s voice, and while I’m not sure if they really meant for it to come out like this, it seems rather brilliant for the song’s lyrical values. Even if you’re not a fan of indie or punk rock, the sheer artistic value of this release is well worth the purchase. If nothing else, Duerr’s paintings are indeed very talented for a young man in his choice of scene. Besides, if many of these artists are going to get the attention they deserve, Worldeater Records could definitely use the financial support. They are a non-profit label, and I respect that immensely.
-Lord Lycan of heathenharvest.com
Northern Liberties – Live Review (PunkNews.org, 11/2/04)
Mike Watt & the Second Men / Northern Liberties / The Perfectionists
Second opening act Northern Liberties (who also run their own Worldeater label and distribution company) — a trio consisting of bass, drums and percussion — played a high energy set of music from their debut full-length album Erode Disappear. With K’s effect-laden, pick-driven bass covering all sonic frequencies and most of the melody, singer/percussionist Justin came off like a tattooed, ultra-hyper, depression-and-epilepsy-free Ian Curtis as he sang and played, unpreturbed by minor mishaps with both the mic cord coming out of his delay pedal and with accidentally knocking over a pitcher of water on the stage floor (where Mazich had to set up his organ right afterward – fortunately, no Stone The Crows like electrocution mishaps occurred) – definitely one of the best unsigned bands I’ve ever witnessed.
— cjmarsicano :: PunkNews.org
Northern Liberties – Erode and Disappear (P.A.W Print Vol. 2, June 2004)
“The same night, there’s the other CODE minister, Justine Duerr, the vocalist and front man for what has to be the most “on” and innovative industrial underground band in Philadelphia since the Stickmen — and we’re talking late ’70’s early 80’s here — Northern Liberties…” “…apocalyptic power groove trio”… “…..think of Primus in their hay-day and The Cure, espescially their percussive masterpiece, the album ‘Pornography’. Riley plays bass with such facility as to suggest five or six other instruments. Justines brother Marc is a drummer possessed by the gods (espescially the dexterous, many armed Hindu or Tibetan ones). For that matter, the band Northern Liberties…… is also ethereally in command of its instruments.”
— Frank Walsh :: P.A.W. Print :: Vol. 2 – Issue 3, June 2004
Northern Liberties – Erode and Disappear (Tom aka Vosco)
In this era of cookie cutter punk rock bands and homogenized indie rock it’s quite refreshing to come across the marginal oddballs known as Northern Liberties.
A band like this convinces me that rock can still be as urgent and raw as it ever was and not just doomed to zombie posturing.
Indeed, with a passion you’d be hard pressed to find in a lot of bands today, Northern Liberties conveys that rock is alive and well thank you.
The music is primarily Kebin Unlord’s driving and melodic bass guitar with Marc Duerr’s dynamic drumming. Alongside is Justin Duerr’s forlorn and echoing vocals as well as his fortifying percussion. So, it seems Joe Strummer’s proclamation of “No more guitar heroes” is taken literally. But by the end of the first tune, it’s not even an issue.
I had a chance to catch one of their shows in the summer of 2002 at the Catbox in West Philly. It was hot as hell but they gave one of most animated and captivating performances I’ve ever seen from a band (and I’ve seen scores over the years and all across the states).
I imagined myself witnessing a ritual as performed by three primitives from the future. Half naked and wholly tattooed they wielded their instruments with wild abandon and conviction, but balanced with a magical grace and deliberate control. The songs with lyrics that seemed to be ruminations on occult matters probably helped this perspective. However, this is not to say that these guys are gravely serious and one dimensional. A listen to the lyrics of their “Devil -Song” will betray that they also have a sense of humor.
At times the music can be quite ferocious but then again there’s brain with the brawn.
No doubt, they aren’t aiming to be radio friendly, but hell if their “Erode and Disappear” CD doesn’t have some damn catchy tunes too. For example, unsettling as it may be, I’ve caught myself singing one of them aloud, “I’m a creep – a creep in the concourse following you and your girlfriend.”
However, it’s “Bio-Vac.” that’s among my favorite tracks from this debut CD on the Worldeater Records label. Justin’s lyrics here are more challenging than those of the songs previously mentioned, but with the groove of the tune as guided by Kebin and Marc, the song gets steered to seep in and reward you with a glimpse into what seems to be just one of the fantastic and dystopic worlds that Justin is exploring as well as the ones we dwell in.
That’s why No Li are so refreshing. Not only can they rock, but they are just as adventurous with their lyrics as they are with their music.
So get refreshed yourself, and let Northern Liberties “communicate with the voices in your head!”
– Tom aka Vosco
Northern Liberties – Erode and Disappear (Neo-Zine)
Smart and strong indie rock with a punk rock attitude. The lyrics are what really stands out to me about this band. They are well written. Topically they sing mostly about spiritual, metaphysical, and occult matters. Musically, they are also a little different. There is no guitar. They utilize bass as the lead instrument, and drums + percussion fleshing out the groove. It gives them a very thick dark sound. Very modern and intense. The vocalists sound very emotionally tied to the subject matter. I’ve heard better vocals, but at least they seem to really have a vested interest in what they are screaming.
— Neo-Zine
Northern Liberties – Erode and Disappear (Empty Wagon)
The bass ‘n’ tribal drumming of Killing Joke, the bleak undercurrent of Joy Division, the inspired “Whoa whoa!”-ing of Naked Raygun, the uneasiness of The Stranglers: Philly’s Northern Liberties might be the double-naught’s answer to Proletariat (“Soma Holiday” is one of the essential ’80s HC albums). No guitar player within 50 miles of the Rocky statue, but the instrumentation jabs like Ivan Drago on an Everlast bag. Melodic touches from Adrian, however, absorb the repeated right hands to the face. Best round: the strapped glove of “Suction,” which (vocally) waves a “Pink Flag” at “Three Imaginary Boys” in the squared circle.
-Gunther 8544
Northern Liberties – Erode and Disappear (Bullet Proof Pope Mobile)
Interesting spacy lo-fi punk. Absolutly different from what’s out there nowadays. I have to say that it’s a fun journey. Vocals just haunting and twisted at times, and the music just goes from mellow to “turned up to 11” in nothing flat. A record to check out.
Northern Liberties – Erode and Disappear (Paniscus Revue)
Blunt lo-fi post-Therapy?/Membranes psychiatrics from unnamed people and unknown places. Putting ID and id out to pasture, with much percussion and wailing Northern Liberties carouses through a new religion of glowing graves, cosmic lights, parasites, disorientation, paranoia, magnetic fields, psychic deterioration, and other such dark psychedelic wonders, all conducted with a childlike wonder flavored with the lysergic waves of tainted host. “Concourse,” “Devil Song,” and “Dog Skies” (“Roll on nightmare roll on / Like the dog skies are ready to split”) stand out, but there’s much more here than that. Loads of cult potential in these seventeen tracks of simple yet illustrious controlled substance abuse, making one wonder what the hell the live show is like.
Northern Liberties – Erode and Disappear (Xeens and Things #16)
I guess if you had to come up with a label for this you might call it “pop punk neo-goth”. Like Justins zine, the lyrics have a “quasi gnostic” sound to them, though there’s some social commentary as well. I liked the energetic, rythmic and somber, guitar and drum lead-ins in most of the songs, and the music maintains its quality throughout. But the lyrics are a bit crowded, apparently in an effort to convey a “meningful” message. And the vocals are a little grating and slightly off key. Some of the songs, with their rapidly spoken lyrics, remind me of Nada Surf’s “Popular”. Although I prefer a more melodic and mellifluous style, I’ll grant there’s some talent in here, and the cover and the CD itself have some exceptional artwork on them.
— James N. Dawson, XEENS AND THINGS # 16