“The Philadelphia scene has always been pretty vibrant; the rest of the world has just finally started to notice it. The past few years have seen everyone from The Menzingers 
“Philadelphia natives Fire In The Radio opened the show with their upbeat brand of indie rock. Playing a set of songs that draw heavily in style and delivery from ’90s acts like Superchunk and Jawbreaker, the four-piece managed to find a balance between raging punk outbursts and moments of subtlety.” – Exclaim
Philadelphia-based Fire in the Radio will release their sophomore album New Air on May 5 via Wednesday Records. The album is the follow-up to their 2015 acclaimed record Telemetry and can be pre-ordered now at Bandcamp. New Air finds the band pushing their unique brand of up-tempo indie-punk in a fresh direction incorporating elements of new wave, grunge, and shoegaze drone into tightly crafted pop songs. The result is a notably darker effort than Telemetry, and proves to be the bands most ambitious and successful collection of songs to date.
New Air was recorded with Steve Poponi at Gradwell House studios (Beach Slang, Into It. Over It.) with additional engineering by Angus Cooke. The record was mixed by Jesse Gander (Japandroids, White Lung) and mastered by Alan Douches. Fire in the Radio 
“We could have recorded a ten-song album, but that would have required us to put three shit songs on it which we simply refuse to do,” the band says. Few quotes more accurately sum up Fire in the Radio’s focused self-edited approach to song-writing, which is on full display on their most recent seven-song album New Air. As the title suggests, New Air finds the band pushing their unique brand of up-tempo indie-punk in a fresh direction incorporating elements of new wave, grunge, and shoegaze drone into tightly crafted pop songs.
The official video for “New Air” can be shared here:
From the driving beat and haunting oohs on the album’s opener and title track, to the head nodding rock anthem “Drug Life”; each of the songs on New Air reveal themselves in stark and immediate ways without meandering. Even on the album’s mid-tempo closer, “Holy Shit,” the pace and delivery of singer Rich Carbone’s vocals remain frenetic. And though Carbone hints at subtlety as he sings “carved your name on the wall, it’s buried in white, a ship for all seasons,” it’s all just a set up for the album’s blistering closing chorus replete with overlapping vocal and guitar lines.