Eat It and Beat It Sheer Mag

• 1 Eat It and Beat It 04:08
• 2 Moonstruck 03:05
• 3 Playing Favorites 03:01
• 4 All Lined Up 03:39
• Total Runtime 13:53

Info for Eat It and Beat It

Sheer Mag have labored to carve out a discernibly singular position within the canon of contemporary rock: toggling with ease between the refined flourishes of a “connoisseur’s band” and the ecstatic colloquialism of populist songwriting—yet displaying no strict loyalty to either camp—their sound, while oft-referenced, is unmistakably and immediately recognizable as theirs alone. On Playing Favorites, Sheer Mag’s third full-length and first with Third Man Records, the band capitalize on a decade’s worth of devotion to their own collective spirit—a spirit refined in both the sweaty trenches of punk warehouses and the larger-than-life glamour of concert halls—emerging with a dense work of gripping emotions, massive hooks, and masterfully constructed power-pop anthems. This is the record the Philadelphian rock and roll four-piece has always been destined to make.

Playing Favorites expands with a sense of undeniable vitality, buoyed by rock and roll’s singular capacity to channel a relentless compassion for human life. While at times marked by an intensified sense of melancholy, this newest offering takes stock of the confusing flow of daily life without moralizing, refusing to fall into antagonistic cynicism. Sheer Mag leans into the chaotic thrall of city living, of a life subdivided by the jagged highs and lows of bars, parties, and nightlife culture, with sweetly empathetic remove.

“After nearly ten years of touring together, we felt qualified to write a song about doing it. It’s a good introduction to the next era of Sheer Mag.”

“Those first few records felt like a personal coming out party; they felt like they were an introduction to me and my life story. With these new songs, I feel like I’m finally able to move past that—there are parts on this record that I couldn’t imagine being able to sing ten, five, or even three years ago.”

Tina Halladay, vocals
Matt Palmer, guitar
Kyle Seely, guitar
Hart Seely, bass

Sheer Mag
Sheer Mag’s dizzying rise initiated in 2014, when the Philadelphia band self-released the first of three 7-inches and started playing the Northeastern DIY circuit. Ironically, the music stood apart because it sounded so familiar. Indebted to ‘70s arena rock, power-pop, and proto-metal, Sheer Mag’s songs reminded a lot of us of the music we grew up with, but maybe couldn’t relate to because it was big, brash, and unapologetically macho. Sheer Mag reclaimed some of that energy without perpetuating the toxicity. On their debut album, Need to Feel Your Love (2017), the band surveyed their contemporary political landscape through the lens of history. Singer Tina Halladay transported herself back to the 1969 Stonewall Riots, denounced redlining practices that undermine the popular vote, and paid homage to White Rose activist Sophie Scholl. On paper, it’s a mouthful, but accompanied by guitarist/lyricist Matt Palmer, guitarist Kyle Seely, and bassist/producer Hart Seely, those songs became hook-laden rallying cries.

Sheer Mag return with their sophomore album, A Distant Call. They’re still writing about surviving our current hellscape, but this time around, the politics get extra-personal. The album verges on being a concept piece, and the protagonist resembles Halladay herself. The songs document a particularly alienating time in her life when she was laid off from a job. Broke and newly single, her father (with whom she had a fraught relationship) passed away, leaving her with more wounds than felt possible to heal.

It’s heavy power-pop so sleek it gleams. A Distant Call draws from a wide-range of influences within rock. The twinkling lap steel guitar on “Silver Line” sounds-off to Fleetwood Mac, showcasing a softer side to Sheer Mag. “We’ve been waiting to write these songs since we started the band and we were able to take these experiences and build a story out of them,” Halladay says. A Distant Call makes an argument for socialism on an anecdotal level. We’re talking about how late capitalism alienates and commodifies whatever is in its path without using the term ‘late capitalism.’” Palmer and Halladay’s new approach to lyricism extended to the recording process, too. Once the Seely brothers had laid down the tracks, Halladay recorded vocals with producer Arthur Rizk (Power Trip, Code Orange) as opposed to on an 8-track, which was the band’s preferred method on previous releases.

“I tend to think of ‘Cold Sword’ as the fulcrum that the album pivots on. The protagonist recognizes that this is the only life she has, and in spite of the pain and suffering she experiences, she starts to want to make the most of it,” Palmer says. The bright melody of “Chopping Block” brings levity, as Halladay sings, “Between the parties there’s no light/ We need workers to unite/ We can decide to have another world/ But we’re gonna have to fight.” Our protagonist’s confidence blooms on “The Right Stuff” when she addresses anyone who might think her weight is concerning: “If you’re worried about my health/ Shut your mouth and keep it to yourself.” In recognizing that beauty standards are a capitalist ploy designed to keep women imprisoned, our protagonist starts down a road to self-acceptance, and maybe even love. The conflicts our protagonist comes up against coalesce on “The Killer.” The system at-large has been the culprit all along, and she recognizes that rich politicians running the country have more control over her life than she does. They’re “shaking hands on the senate floor” and brandishing their hypocrisy like a weapon: “He’s got you right between the eyes/ Waving the flag for human rights.” It’s the penultimate track on the album, and it best exemplifies Sheer Mag’s growth from those nascent three EPs to now; the production is razor-sharp, and the gang vocal motifs are as playful as they are ferocious. There’s a glimmer of hope in the struggle, and Sheer Mag close the album with a message of resilience. “They wanna see us fall,” Hallday sings, “But I hear a distant call.” In the background, a faint whisper beckons from just outside the realm of possibility. “Keep on running,” it urges.

This album contains no booklet.