TPR Featured Band-to-Watch: Dråpe

Written By: Chris Parsons

Olso, Noway’s Dråpe (pronounced: “Draw-peh”) is a brightly psychedelic, up-and-coming quintet working largely in the vein of dreamesque pop and shoegaze. Since the turn of the new year, the group has already released two singles, “Blue Skies b/w Wash Away” (Jan ’13) and “Memories b/w When It’s Cold Outside” (March ’13), in anticipation of their forthcoming debut LP, Canicular Days, to follow up 2011’s early, self-titled extended play. From the tracks’ titles it seems Dråpe is battling a case of spring fever, dreaming of the summer sun that inspires their sound as they wait for the winter to wane and snow to wash away, pining for the beautifully inspiring nature of Norwegian landscape to flourish. The dreamy and full wash of sound that Dråpe sculpts is warm and fuzzy with colorful tones, definitely serving as a vehicle for summer vibrations.

“Memories” opens with a curiously bright, yet dissonant, earworm on guitar that builds into an easy groove with throbbing bass and steady, upbeat drums. This song seems bright, yet somber– sunny, but nostalgic– but the good vibes prevail, clearly taking the cake as the instrumentals’ jamming chemistry will have anyone’s feet itching to dance. The female vocals certainly lend additional warmth to Dråpe‘s sound, at times reminiscent of Phantogram‘s Sarah Barthel. The lyrics are at the heart of the nostalgic memory, but the way the vocal harmonies blend into the rich sound makes for a sweet symphony of psychedelic pop.

While Dråpe recorded “Memories”  at Greener Productions in Trondheim, NO, the short and and more ambient B-side, “When It’s Cold Outside,” is a simple 4-track recording, this time featuring a downtempo ballad and soaring, yet soft, male vocals. The drawn out melody, in both the instrumentals and vocals, ebbs into a beautiful and gripping structure, evoking a similar sound to their arctic neighbors,  Sigur Rós. Dråpe are sure dropping a lot of cool hints about this debut record as well as appearances at upcoming festivals as the warm air of spring begins to settle in, while we’re left to cope with this hankering for summer sun! Canicular Days is due out April 19 and will be released both digitally and on 12″ vinyl via Norwegian label Riot Factory and further distributed internationally by EMI Music.

TPR Featured Bands-to-Watch: Shark Week + The Flying Eyes

Written By: Chris Parsons

Two underground bands from the Baltimore, MD/Washington, D.C. cities’ collective music-and-arts scene– The Flying Eyes and Shark Week, have been fairly busy  since the turn of 2013. Both bands thoroughly create loud, psych-tinged garage rock ‘n’ roll and have effortlessly established their names among the local ranks on the east coast (and for The Flying Eyes— across seas!). The best part is that these two bands deliver for their fans and Shark Week and The Flying Eyes are  both expecting forthcoming releases soon, are sharing a billing, tonight in Washington D.C. at the Rock & Roll Hotel with other local bands, Joy Buttons and Dance for the Dying!

Shark Week
recently  premiered a brand new music video at Brightest Young Things for new single, “Baby, Maybe”.  The video and song were recorded on site in Puerto Rico during a small stint of shows back in mid-January.  The band has also announced that they will be shooting some live footage tonight, so if you come out you could make it onto the big silverscreen!

The Flying Eyes
are on the verge of completing  a new forthcoming LP! Last summer they launched a successful Kickstarter campaign to help fund the project. Now we are close to experiencing what will be The Flying Eyes‘ third full-length record, tentatively set for May 2013. Recently, the release was given the title “Lowlands”. They worked with Rob Girardi (Lord Baltimore Recording Studios) and mixing engineer, Chris “Frenchie” Smith, a renowned psych engineer based in Austin, Texas.

TPR Featured Video: “Tangerine” – Electric Eye

Written By: Chris Parsons

The psychedelic supergroup quartet, Electric Eye, hailing from Norway, have released a brand new music video for “Tangerine” in promotion of their forthcoming, debut album, Pick-up, Lift-off, Space. The highly anticipated full-length album is set for release by their native, Klangkollektivet Records, as well as international distribution supplemented by Fuzz Club Records on April 5, 2013. A few other tracks have already been leaked to preview Electric Eye‘s unique brand of neo-psychedelia and knack for layered, krautrock vamping; at times sparse, and, at other times, heavy with a collage of underlying grooves and ragas with garage rock energy. The album will serve to showcase, for the first time, the talents of seasoned musicians (Oystein Braut, guitarist of The Alexandria Quartet; Njal Clementsen of Bergen noise-rockers, The Megaphonic Thrift and Low Frequency in Stereo; underground studio-guru and guitarist in art-rocker act, Hypertext, Anders Bjelland; and Jazz/Noise/Drone-drummer, Oyvind Hegg-Lunde) that have emerged and grown within Norway’s musical capital, Bergen, finally coming together all in one room!

Really, need we say more? The “Tangerine” music video is as warm and aesthetically pleasing as Electric Eye‘s heady, propulsive sound. There is no plot offered, but rather a seemingly ambient, kaleidoscopic display of a summer roadtrip through a barren, desert landscape. The vision seems to experimentally and sufficiently capture the artistic moods and chemistry of the musicians. The eye candy video manipulation seems to evoke similar vibrations to how one experiences Electric Eye‘s mind-manifesting sound; as the audience, you don’t have to try to experience the art, but are able to just exist, for the sole purpose of soaking in the collage of sensual energy, like a sponge, or the overwhelming sense of a kid in a candy shop.

TPR Featured Festival: Gathering of the Clouds 2013 (Denver, CO)

Written By: Chris Parsons

It’s Psychedelic Baby Magazine, Radio 1190, and Twist & Shout Records Present:
Gathering of the Clouds 2013
March 7 – 8, 2013

Featuring: The Warlocks, The Black Ryder, Wovenhand, Gliss, and The Vandelles

Denver, CO – “Let’s escape for three days into a world we created where all of our favorite sounds, thoughts and friends reside. A moment in time where our memory will burn deep with the excitement and love for the future,” says Kurt Ottaway, festival contributor and Denver music pioneer. The third installment of Denver’s very own atmospheric rock and roll festival, “Gathering of the Clouds,” will make its way to the Mile High City March 7th, 8th, and 9th. There will be an array of stellar national acts as well as some of Denver’s finest bands, DJs, and local merchants. Taking place at The Walnut Room (3131 Walnut St.), fans will have the unique opportunity to catch these performers in a wonderfully intimate setting and sonically exceptional room. The highly anticipated lineup is as follows:

Saturday, March 9th

The Warlocks

Wovenhand

Emerald Siam

Pale Sun

Dragondeer

DJs Boyhollow, Tyler Jacobson & Jake Ryan

Ticket link: http://www.thewalnutroom.com/event/220027-radio-1190-twist-shout-denver/

Friday, March 8th

Gliss

Land Lines

The Morning Clouds

Hindershot

Hollow Talk

DJs Heavy Dose

Ticket link: http://www.thewalnutroom.com/event/220025-radio-1190-twist-shout-denver/

Thursday, March 7th

The Black Ryder

The Vandelles

Broken Spirits

Thee Dang Dangs

DJ Mondo Garage

Ticket link: http://www.thewalnutroom.com/event/220023-radio-1190-twist-shout-denver/

Advance tickets are $17 ($20 day of) or $50 for a three-day pass. With the exclusive nature of the event, space is limited so purchasing advance tickets is strongly recommended. The show starts promptly at 7pm. Arrive early for motorcycles, merchants, food and drink.

TPR Album Review: “Ghost Mountain” – Thought Forms

Written By: Joe Brown

Thought Forms are a trio from South West of England, currently signed to Invada Records who are releasing their Jim Barr-produced second full-length album, Ghost Mountain. The span of time between debut self-titled LP and this latest release may have been longer than most bands are comfortable with, but the four year gap meant that this record wasn’t rushed and they were able to develop and round out their sound. A particularly new development on this album being that vocals are more of a regular feature compared to the earlier release, with more exposed and melodic passages throughout the album.

The album’s opener “Landing” shows off this trait with abundance as distant screams burst out from the sludge of the opening riff, which serves to introduce their intentions with clear authority. The deep, heavy grooves fill the listener with a dread of the repetition that is slowly, but deliberately grinding you down with the screeching of the underlying, siren-esque sounds that course through.  Tortured by this gripping onslaught until it strips down, its relative calm, yet pained vocals are a soothing lullaby compared to the harsh surroundings that preceded it. Things soon pick up as it marches on with the addition of a higher vocal harmony coming in with the intention to wipe away any doubt about the progression the band had undergone over the years. The vocals on this track seem to channel Frank Black of Tame, employing the sheer force of primal, guttural screams.

On the titular track, “Ghost Mountain You and Me,” you may draw associations to Sonic Youth with a “Rather Ripped”-tinged sound of subtly jangling dissonance,  as Thought Forms display a deep texture of intertwining guitars that are tuned in to just the right amount of jangle and a laid-back, riding rhythm that builds, at times harking back to their first album. The arc slowly reaches for a crescendo with distant vocals that float on top, creating a  heady mix, very much reminiscent of Asobi Seksu. Thoughts Forms also show off their knack for creating dense, controlled soundscapes that breathe with a various of dynamics including, but not limited to, patterns of “loud, quiet, loud” in the vein of a fine-tuned, cinematic “post-rock.”

As “Ghost Mountain…” fades out, “Sans Soleil” rises up smoothly into a bleak landscape that befits the title (sans soleil meaning “sunless” in French). As Charlie and Deej’s vocals play off of each other’s, there is a lingering sense of dread as the foreboding riff tenses up only for a brief release as it pushes relentlessly onwards. There are even a few moments where you can hear their masterful control and use of feedback, subtle as it is, as it sits in at just the right place, never overbearing, which is too often the case.

The slow drone of “Burn Me Clean” opens up the album’s epic thirteen-minute centerpiece . It’s joined by a lone, ethereal chant, calling out amongst sparse drumming  that effectively anchors everything so that the listener does not get too lost in the anti-gravity of this “other world.” There’s a real sense of the Middle East “world music” as melodies don’t stick to conventional western archetypes and a dissonant pipe blares onto the scene, adding a mysterious texture that evokes an uneasy disturbance . The slow, deliberate pacing creates such a tranquility that hypnotizes you that, once the feedback and the blast of distortion and screeching lead guitar hits, it leaves you figuratively broken.

One of the more radio-friendly tracks, “Only Hollow” (possibly a slight nod to My Bloody Valentine), is up next and it has the huge task of following up the juggernaut of “Burn Me Clean.” Its fuzzy, punky, noise-pop brings the energy of Ghost Mountain back up with Thought Forms‘ loud, abrasive edge that has the potential to be a staple in soundtracks to skate videos for years to come.

The pace slows down with “Afon” (Welsh for “river”), as Charlie takes the form of a siren as her soft, beautiful voice lulls you into a trance at quite the meditative pace. The total mournful soundscape leaves room for a moment of reflection before launching into the a more psychedelic-tinged world with “Song For Junko,” which again shows skilled interplay between Deej and Charlie, not only between guitars, but the chemistry between their vocals as well. This is also where Guy’s drumming stands out as he exploits the opportunity to be more adventurous with his playing, including rolls, to add a sense of urgency underneath the spacey mix. When things kick into the brash wall-of-sound, it’s Guy’s playing that takes the track to a whole new level as he punches through and ensures that the last part of the album finishes with a definitive power.

The finale of Thought Forms‘ sophomore LP, simply titled “O,” takes a page out of “Burn Me Clean”‘s book with the slow-cooker saunter, yet now enhanced with spacey, oscillating noise intersecting in the desolate, post-apocalyptic wasteland, which then transcends even further with a burst of Kinski-esque power rock to ensure that Ghost Mountain finishes apropos: in a loud, triumphant flurry of noise!

TPR Featured Column: An American Interview with The Morning After Girls

By: Jordannah Elizabeth

PRELUDE:

There are a few bands who seem like unicorns to me; I have so many friends who have played with and spent time with The Morning After Girls, that I only get the pleasure of hearing about their kindness and the remnants of their presence.

Last month, The Morning After Girls played a short string of shows with My Bloody Valentine in Australia. I am simply fascinated by the reemergence of Kevin Shields and his band, and wanted to ask The Morning After Girls what it was like to play with MBV. I was also curious about when we would hear a new album from TMAG, and what would motivate the process and progress of the writing and recording.

It was a great honor to talk to this band who’s reputation precedes them as very kind and lovely people, as well as talented musicians.

You guys have kicked off 2013 with a bang, including a string of Australian shows, a few of which were opening slots for My Bloody Valentine. How did you receive the awesome opportunity to play with MBV?

It was rather flattering, actually, as we were personally asked by the band themselves to join them on this tour– rather than it being some default, industry process. I believe they caught one of our shows in London when we were living there temporarily in 2007. Perhaps they wanted to see how we had evolved…

Did the shows with MBV run smoothly?

Very much so! When you’re touring with an act that equally respects the music you create, it obviously makes everything else so much easier. Plus, to achieve their sound, they require a lot of equipment to be transported from each show, so there was a day off between each performance– which meant we got to see the sunrise quite a few times…

You guys have been doing well, booking great shows in Australia. Will you be going into the studio to record soon?

We’ve been spending a lot of time in the studio already this year, preparing for our next release. We’re working on two new records at the moment, both of which will display very different sides to our sound.

One will be mammoth, and the other so minimal, you can almost hear a pin drop! The latter will be appearing very soon..

If/when you do immerse yourself in the studio will that stunt your touring?

We try not to play shows at all when we’re creating in the studio. If we know we have a block of creative time up ahead, we’ll tend not to book any live appearances as it simply distracts the productive/organic flow of creating an album. A tour will come and go; the record lasts forever.

What are your plans for the rest of the year? Do you have any other dream bands you’d like to play with?

At the moment we’re trying to focus on completing these two particular projects. We’ll be headlining a full tour of Australia in a couple of months and making a few appearances at a few select festivals around the country. To be honest, we’ve had the privilege of playing with most of our ‘dream bands’… unless, somehow, The Beatles were to get back together… we’ve always wanted to play Coachella Festival!

How is the rock scene in Melbourne? You seem to get a lot of love there; do you enjoy playing the United States, when you’re afforded the chance, more or less than when you play in your native country?

We’ve only been based back in Melbourne a short while now after establishing ourselves in New York City for almost five years, so we’re still grasping the scene here, I guess. We love touring the U.S., as you can literally perform 50 shows back to back… then, once that’s over, you can revisit them all over again till your body says; okay, that’s enough!

How do you plan on expanding your reach and fan base? Did the MBV gigs help bring awareness? Were the audiences receptive to you?

We work hard on and for our art. I think if you create something that’s unique and honest, it’s going to reach the people it needs to.  There seemed to be a lot of people familiar with our material on this most recent tour, though I’m sure we converted a lot more along the way. One must respect that it was fundamentally their [MBV’s] night, so it was important for us to create the perfect pallet for their return.

If you do begin writing a new album, what will it be about?

Desire.

TPR Featured Band-to-Watch: Less Win

Written By: Chris Parsons

“One of last year’s finest records is now finally being released digitally” was the headline that grabbed my attention on this particular release, from Copenhagen’s Less Win. One of 2012’s finest records, yet this was my first acquaintance with the international heavy psych powerhouse, a whole year late! It seems the timing is just as right as ever though, as Less Win have recently celebrated the re-release of their 2012 LP, “”Great,”” which was originally exclusively pressed to limited edition pink 12″ vinyl and self-released on their own Sixxxxx imprint. Since then, they have teamed up with Pad & Pen Records in an effort to bring the lively vinyl’s captivating sound to a wider audience and gain the exposure and reception that is deserved of such a solid debut trying to break the sometimes-stubborn scene. And while you’re just taking the plunge into this 11-track wall-of-sound masterpiece, Less Win have already been busy cooking up the next batch, as if they were cleverly expecting us all to catch on eventually, “it was all just a matter of time.” Recently the power trio has signed on to The Big Oil Recordings, joined by fellow Dutch post-punk space-jammers, Battle; the two groups are expected to release a split on TBOR, with Battle‘s single already released for an early preview of what’s in store.

Unsurprisingly, Less Win‘s darkly psychedelic, post-punk sound is right in line with the up-and-coming wave of underground rock ‘n’ roll that’s been emerging, especially observed apparently both on the U.S. east coast and within Copenhagen, Denmark (these are definitely not the only two areas, but The Process Records has been exposed to much of these sounds from these two specific geographic regions in particular; Nothing, Speedy Ortiz, Chelsea Light Moving, The Woken Trees, The Wands). This post-punk ‘wave’ seems to subconsciously blend elements of heavy psychedelia, shoegaze, punk, and even glam and “math rock”– all of which are easily referenced throughout Less Win‘s completely rollercoaster ride of an album, which is nothing short of “”Great””! Essentially, these bands are the next ‘punk,’ hardly concerned with starting any kind of scene, but just in it all for the hell of making loud-as-fuck rock ‘n’ roll– loud enough for them to let loose all their inhibitions, and the audience theirs, collectively tapping into the deep, rolling vibrations– culminating in a sonic onslaught powerful enough to strip the paint off the walls and melt brains if it didn’t tear them both right apart first. Sometimes you’ll be caught in a groove, lost somewhere in the fuzzy ragas of noisily distorted guitar and cranked bass, at times catching glimpses of lyrics bleeding in and out of the layered collage of sounds, and other times you might be compelled to let roll with a crazed old stomp-and-romp, carnally energized by the heavy force of the drums and thick bass. The intertwining frequencies all seem to melt together, venturing into a realm of krautrock-revivalist drone-soundscapes, such that they seem to create a singular entity of sound– you may even lose track that they are only three “humans” in this very alien, very cool, rock band of the future! What’s more, their digital release sounds like a vinyl mix– nice and full, vibrant sound–which really brings the whole experience alive, as if you were actually there, in some dim lit basement dense with bodies that feebly attempt to absorb and deflect the sound, perhaps more likely surrendering and becoming one with it.

TPR Featured Band-to-Watch: Deep Space

Written By: Chris Parsons

February 2013’s release from Deep Space— “Cosmic Waves”– should be noted as a highlight for the month, as well as for the band’s career as they’ve been gradually emerging within the buzzing world of Austin, Texas’ psychedelic music scene, and this debut studio EP pushes them even further, recently having the honor of opening for the likes of Psychic Ills, Ringo Deathstarr, and Holy Wave…all on the same billing!  Now, you might think that with Texas’ history of high velocity psychedelic acts (such as The 13th Floor Elevators, Golden Dawn, Bubble Puppy, not to mention the whole, contemporary Austin Psych Fest scene/community) it’d be tough to make a significant impact or strive to make your sound original enough to stand out and grab everyone’s attention. But Deep Space does just that, establishing themselves as a heady, wall-of-sound quintet with a hankering for surf-groovy, astronaut rock. These dudes aren’t out to cop anyone’s psyche style but rather, any associations that come to mind seem totally derivative and second-nature, probably slipping out of their own mind-manifesting and reverberating music collections. If anything, their total sound is ultimately a tribute to the rich culture of Texas’ abundant music scene, then and now, and even draws allusions to the commonplace mythos of NASA’s space center.

The 4-track “Cosmic Waves” EP is a great introduction to Deep Space‘s sound, exhibiting a strong magnetism for slow-burner grooves, and heavy psych drone jams in the vein of blending layered, krautrock-style earworm hooks and subtle ragas. A big staple of the warm and full sound on this record is definitely the two guitarists’ use of 12-string axes, replicating a similar sound to dual sitars. The reverb-drenched vocals also infuse a heady, cavernous effect into the larger-than-life rock as the drummer and bassist tend to lock into a mutual groove that is both deliberately paced, yet propulsive, sending out gripping vibrations that’ll have your spine snaking in a funk. To close out the album, we’re even graced with a powerhouse live recording of “Strawberry”  at Hotel Vegas, as if Deep Space had something to prove before their introduction was through. This intimate EP captures every angle of this band of adaptive up-and-comers, and what’s more, it appears that they personally tended to each aspect of producing, recording, mixing, and mastering to ensure that their living sound and energy was properly relayed to their audience, down to the very frequencies of their intricate and pulsating sound.

TPR Featured Artist-to-Watch: Cult Choir

Written By: Joe Brown

Drawing on influences ranging from the U.S.’s “Golden Oldies Era” Elvis Presley and The Beach Boys to the post-modern neo-psychedelia of Neon Indian and Ariel Pink, Lancaster, PA’s Shane Graybill presents to the world his solo project, Cult Choir. The self-described “50’s and 60’s doo-wop with a modern twist” is a fully rounded and accomplished sound that soothes your soul with its soft harmonies and reverberating vibrations.

“Perfect,” the first song on the 16-track High Spirits EP, encapsulates this soft energy so well as, although the song is relatively quite simple with a mellow progression played over a cross sticking pattern, the beauty of the track comes through the lyrics and melody of the layered vocals, including a falsetto chorus. The harmonies yearn for that “perfect girl” whilst also pining for that gripping sense of nostalgia that is often lost, and all-but-forgotten, through life.

Not always light pop, “Something’s There” is an ominous turn to Cult Choir‘s darker side as a tambourine stalks the crooning lyrics that valiantly vie to continue the narrative, without succumbing to slipping into the the background layers of faint wailing that haunt and linger in the backdrop. Gone is the nostalgic feeling from “Perfect,” and enters the sense of a murky underside to things with its lucid delivery.

About halfway through the album, we are struck with the very real, almost mellow garage-rock power of “Cold October” that bursts through and leaves you in awe. It starts off with a lone voice that paints a hazy, forlorn picture with vocals that waver within the scene, until harmonies and distorted guitars dominate with a grinding growl. The initial picture the sound paints has a fresh coat, yet it appears more intense and grimy with the sudden, cozy wall-of-sound that hits you.

The journey of this LP is ever-changing as it displays a range of textures and sounds from the past which are then cleverly dipped in psychedelia and pop, such as exhibited on this next highlighted track. Shane calls himself a “lo-fi Sinatra” and “I Want To Know,” about three-quarters of the way through the album, has a slight tinge of The Rat Pack with the melodic point and theme that it sets to lay out. Although the message is an apology to a girl that has been hurt, it is done in the singer’s own time; Cult Choir manages to relay true emotional undertones through this composition which is something that Frank Sinatra was really great at doing.

The mood of the album then changes again, as “Forget It” shuffles through with a clap-along beat that meters the naturally reverberating guitars. This, combined with the now-trademark vocals of Cult Choir, come together to create a scene of going for a drive by the beach on a summer holiday, perhaps while travelling through France.

The album’s final song “New Life” has an ever-present organ that cements everything as the vocals take an easy, soulful stride to bring the grand masterpiece all to a gentle conclusion. High Spirits is the sophomoric album released by Cult Choir via Bandcamp at a rate of “Name Your Price”—  ultimately, a 35-minute trip back to the sixties’ Americana which comes across as a fond pastiche of the early psychedelic era, revived in an air of mellowed-out, easy-listening psych.

*If you’re on the east coast this weekend (Sunday 2/24), you can catch Cult Choir live in Philadelphia @ Kung Fu Necktie on the same bill as local space rockers, Time Hitler and the Assholes from Space, and touring psychedelic punk jams from PC Worship (NY) and The Super Vacations (VA)!

TPR Featured Tour: The Veldt w/Your 33 Black Angels (U.S. East Coast)

Written By: Chris Parsons

The Veldt are taking time off from their closely related Apollo Heights musical project to resurface as a full-force flashback to their 1990’s emergence, as a group known for touting an original and powerfully distinct “soul-gaze” sound, which they initially unleashed upon the hip Chapel Hill, North Carolina art-rock scene; their original hometown. Now, based out of NYC, The Veldt have plans to release a new album, appropriately titled Resurrection Hymns, which they will take on tour all down the east coast early this spring, joined by NY peers, Your 33 Black Angels. The release is expected to be an EP, with options of vinyl and a remix being made available– plus you can stream a preview of 2 new tracks (“The Heat” and “Resurrection Hymns”) at their Reverbnation now!

THE VELDT + YOUR 33BLACK ANGELS
2013 Southeast Tour Dates:

March 8 — Sidebar Tavern — Baltimore, MD
March 9 — The Whiskey Jar — Charlottesville, VA
March 10 — Strange Matter — Richmond, VA
March 11 — Slim’s Downtown — Raleigh, NC
March 12 — Local 506 — Chapel Hill, NC
March 13 — Orton’s Underground — Wilmington, NC
March 14 — Burro Bar — Jacksonville, FL
March 15 — Backstage Lounge — Gainesville, FL
March 16 — Hopjack’s — Pensacola, FL
March 18 — New World Brewery — Tampa, FL
March 20 — The Pourhouse — Raleigh, NC
March 21 — T.B.A* — Atlanta, GA
March 22 — T.B.A* —
March 23 — Apothecary — Asheville, NC
March 24 — T.B.A* — Charlotte, NC
March 29 — T.B.A* — Philadelphia, PA