2014 | Heartbreaking Bravery

October 7, 2014

Screaming Females – Wishing Well (Stream)

Even with recent Monday’s bringing a lot of great new content into the world, today was exceptionally gigantic. Everything that appears in a hyperlink is worth clicking over to experience and choosing what to feature was insanely difficult. Enough with the exposition, though, because there’s a lot to mention- which is why each of these categories will be provided with their own paragraph (starting with this very one). In the world of full streams, NPR’s First Listen series presented Meattbodies’ self-titeld stomper, New Noise Magazine put up a full stream of Heart Attack Man’s excellent Acid Rain EP, Stereogum hosted the first stream of Greylag’s enchanting self-titled debut, and Dark Thoughts posted the blistering (and damn near perfect) ripper of an EP, Four Songs, on their own.

Over in the territory of single song streams, Radical Dads posted the remarkably compelling “Cassette Brain“, Popstrangers continued to excel with a Mack Morrison cover, post-hardcore supergroup Vanishing Life lived up to their promise (and then some) with the vicious “People Running“, The Mantles raised the anticipation for their forthcoming Memory with its jumpy title track, there was the deliriously riffed-out “Mortality Jam” that came courtesy of Hound, another extremely promising look at Night School‘s upcoming EP (following the outstanding “Birthday“), Wilful Boys’ snarling rager “Anybody There“, the pulverizing new synth’ed out post-everything track “10,000 Summers” from the incredibly unlikely group of people that make up No Devotion, and an absolutely breathtaking song from Infinity Crush called “Heaven” that easily ranks among the most gorgeous pieces of music to be released this year (and very nearly took today’s feature spot).

Jumping to the realms of the more visually-inclined medium, things were just as tantalizing with no less than seven music videos worth watching. Greys crafted a creatively animated and hard-hitting skate-heavy clip for If Anything bruiser “Adderall“, Lushes hit a sweet spot with their repetition in “Traffic“, Obits used minimalism to a sizable effect in the low-key clip for “Machines“, newcomer Pix made a splash with a subtly haunting accompaniment for the stunning “A Way To Say Goodbye“, The Wooden Sky raised their profile with a fascinating short film to back “Saturday Night“, site favorites Radiator Hospital premiered a lovely DIY clip for “Bedtime Stories (Reprise)” over at Rookie, and Martha more than lived up to all of their praise with the unabashedly joyous video for “Present, Tense” (another entry that came dangerously close to being today’s feature).

Even with all of that formidable competition nipping at its heels, Screaming Females‘ “Wishing Well” managed to be a clear-cut standout. Boasting one of the most massive choruses the band’s ever had, some of the lightest verses they’ve ever conjured up, and an overwhelmingly sunny melody, it’s impossible to ignore. “Wishing Well”, by all accounts, is an absolute monster of a track and lays waste to the poppiest territory they’ve ever tread. Guitarist and vocalist Marissa Paternoster keeps herself in check, showing surprising restraint and a vice-like grip on total command. It’s no secret that Screaming Females are one of the best live bands currently playing shows- and it’s not even remotely surprising that “Wishing Well” has become both a fan favorite and an undeniable staple of their live set.

As Paternoster noted in the brief segment that ran with the Rolling Stone premiere of “Wishing Well”, a lot of people will likely view this as a departure for the band- despite the fact their regular dynamics are still in tact. Sure, it’s more melodic than anything they’ve done in the past but it’s also unmistakably Screaming Females, definitively proving the group’s unique identity. In terms of aggression, “Wishing Well” skews closer to Paternoster’s Noun project and acts as an exhilarating bridge between both vehicles, suspended by pure determination and innate talent. “Wishing Well” is easily one of 2014’s most thrilling songs and comes backed with what may very well be the band’s personal best- “Let Me In” (another fan favorite and live staple)- rendering this 7″ nothing short of an event.

Listen to “Wishing Well” below and make sure to pick up the 7″ it headlines directly from the band on one of their upcoming tour dates or pre-order it from iTunes.

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October 5, 2014

Watch This: Vol. 48

The 48th installment of Watch This reads like a laundry list of this site’s favorite places to cull videos from; Allston Pudding, The Chris Gethard Show, and Little Elephant among them. Live versions of songs that have previously been fawned over resurface with new levels of urgency and old treasures prove their longevity. Every performance that gets featured here is impassioned and clearly illustrates the respective band’s obvious connections to their own music (with a strain of apathy-fueled music growing steadily prominent, this is- unfortunately- more of a rarity than common occurrence). Trying to wax poetic about most of these videos in this paragraph would most likely just wind up doing them a disservice, so: sit back, turn the volume up, ignore the time, lean in, and Watch This.

1. Little Big League – Property Line (Little Elephant)

There hasn’t been a band in quite a while to pull off what Little Big League achieves by virtue of this placement; this is their third consecutive video to appear in this series- in as many weeks- and they’re all from the same Little Elephant session. So, some straight talk: “Property Line” is one of the year’s best songs and the band’s current career-best effort. Even though the live version doesn’t have the benefit of those chill-inducing horns, it retains its formidable pull. As always, the band reveals themselves to be an excellent live act and provides several reasons to get excited about their upcoming LP, Tropical Jinx.

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2. Sweet John Bloom – Aging In Place (Allston Pudding)

Allston Pudding’s made a habit of making impressive live videos- this outstrips all of their previous work with an assured ease and a new level of confidence that suits them well. An extraordinary live-edit that features a stunning performance from emerging act Sweet John Bloom to promote their upcoming full-length, Weird Prayer. Expertly marrying high-energy basement pop with deliriously frantic post-punk, it’s inclusion would have been an easy decision as an isolated standalone- the additional edits towards the video’s close put it way over the top and render it one of the more artistically inclined live videos to ever appear in this series. Don’t skip out on this one.

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3. Protomartyr (La Blogotheque)

Protomartyr’s Under Color of Official Right was one of the highlights of 2014’s first quarter and it’s held its ground ever since its release. Here, the band teams up with La Blogotheque to film stripped-back live performances of “What the Well Said” and “Scum, Rise!” in the moats of Saint-Malo, a port city in France. It’s a fitting backdrop for the band’s take on post-punk, something that bears the influence of their Detroit home. Unsurprisingly, it’s spectacularly shot and bizarrely compelling, continuing La Blogotheque’s unique penchant for producing live footage that excels on those levels.

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4. Jeff Rosentstock & Friends – Hey Allison! (TCGS)

Don Giovanni comedy darling Chris Gethard hosts a show. These shows host live acts. It seems that nearly every time a video of these performances surfaces, it earns a spot in this series. Jeff Rosenstock‘s “Hey Allison!” has already emerged as one of the more relentless earworms of the past few weeks and the live version is an all-out blitz. Anytime anyone puts this much heart into music this good, it’s going to earn a write-up. The Chris Gethard Show also has the unique advantage of utilizing a crowd of misfits being encouraged to be as weird as possible, turning single song performances into outright events. There are few things more encouraging than watching a band and an audience enjoy each other’s company in equal measure at an absurdly high degree. This is can’t-miss entertainment.

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5. METZ – Get Off! (Pitchfork)

METZ was one of the more unforgettable debuts of the past few years and the band’s live show, easily one of the best around, pushes those songs to exhilarating heights. Employing humanism and sonic annihilation at roughly the same pace, anytime the band takes the stage it’s a small victory for everyone involved. Here, they tear through a fired-up version of “Get Off” and incite some fierce reactions from an adoring crowd. METZ themselves remain as entertaining as ever, putting just about everything they have on the line every time they take the stage- and they’re showing no signs of slowing down.

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September 30, 2014

Iceage – Against the Moon (Stream)

There are days where it can be difficult to scrounge up enough great new releases to warrant an introductory paragraph round-up and there are days that are so generously overflowing with great material it’s nearly impossible to figure out what to feature. Today fell squarely to the latter. There were no less than four outstanding releases in each of the major categories: single stream, music video, and full stream. Cool Ghouls’ psych-laced basement pop rager “And It Grows” gave some new promise to the upcoming record. Mean Creek‘s Chris Keene unveiled the most recent look at his Dream Generation project with the sparse “The Four of Us” and September Girls teased their upcoming EP with the snarling “Veneer“. Veronica Falls‘ James Hoare and Mazes‘ Jack Cooper started a new project called Ultimate Painting, who instantly turned some heads with the carefree open-road ramblings of “Ten Street“.

Over in the realms of the music video, Grubs, Frankie Teardrop (warning: heavy strobes), and Cloud Nothings all released clips defined by lo-fi experementalism while Snævar Njáll Albertsson’s Dad Rocks! project dipped its toes into a gorgeously-lensed narrative involving a heavy existentialist crisis with “In the Seine”. In the space occupied by full streams, Dark Blue offered up their heavy-hitting Album of the Year contender Pure Reality and Tomorrows Tulips did the same for their career-best effort, When. Ex-Breathers made all 12 tracks (and 11 minutes) of their vicious upcoming 7″, ExBx, available for the world to hear, while Zola Jesus occupied similarly dark but incrementally softer territory with her upcoming effort, Taiga. A Winged Victory For The Sullen rounded out the full streams with another ambient near-masterpiece titled Atomos. Of course, there was one another full stream- but the link is being withheld until it’s accompanied by a forthcoming review. In the meantime, today’s focus will be on the song that defines that record: “Against the Moon”.

In an effort not to mince words, one thing should be noted before going any further- namely that Plowing Into The Field of Love is a masterpiece. No record this year has seen a more stunning creative growth or felt more important than Iceage’s new behemoth. Only three records into their still-young career and they’ve already emerged with a full-length that not only operates as a radical left turn but one that rivals anything from the creative rebirth of Nick Cave & the Bad Seeds (or, the Let Love In era). Iceage’s first two records, New Brigade and You’re Nothing, were menacing works that a few people chalked up to exhilarating exercises in intimidation. On Plowing Into The Field Of Love the band relents from that approach and serves a hyper-literate Southern Gothic-indebted masterwork that sees them flexing boldly experimental muscle and an untapped well of what now appears to be endless ambition. No song on Plowing Into The Field of Love illustrates this more than the slow-burning “Against the Moon”, a song that’s well out of the confines of anything the band’s ever done but still feels wholly suited to their identity.

Opening with the quasi-mournful strains of a brass section, it quickly undercuts its brief introduction with shuffling drums and the sustained hums of a chord organ. In those opening 15 seconds, the band manages to establish an astounding grasp on a style that was previously completely foreign to them. By the time the string and piano arrangements kick “Against the Moon” up a few levels into the breathtakingly sublime, it’s one of the bravest things any band this year’s committed to a studio recording. As instrumentally thrilling as “Against the Moon” is, it’s the startling emergence of vocalist Elias Bender Rønnenfelt’s vulnerability that shifts the song from the sublime to the transcendental. For the first time, Rønnenfelt’s lyrics and vocals are given a platform that demands the listener’s unwavering attention and that level of investment is paid off in full. From the song’s arresting opening stanza, enhanced by Rønnenfelt’s world-weary drawl, it’s clear that his personal transition directly correlates with what the band’s accomplished in terms of musicality. “On a pedestal, shining bright. Justify me. Make me right. I can fight it; make it roam- but a fugitive has a tendency to return home.” is the kind of opening line that suggests a genuinely great writer- that the rest of Iceage seems to have embraced and experienced the same level of maturity and rapid artistic growth as Rønnenfelt in the short year that’s followed You’re Nothing is nothing short of mind-bending.

A song that literally arrives with horns, “Against the Moon” stands as Iceage’s definitive entry into the band’s sudden new era, the strongest representation of Plowing Into The Field Of Love‘s myriad of sudden changes, and one of the most immediately striking songs to emerge from the past 4 years. Stripped back far enough to be completely exposed, Iceage shows the world all of its scars, all of its imperfections, and all of its entire being- and it’s a tremendous thing to experience. Even considering all of their previous sonic aggression, nothing they’ve ever produced has hit with a fiercer impact. For a band that’s aim has always been to wound, it’s a devastating reverse that leaves them sounding wounded- but bravely resilient. It’s extraordinarily effective and unflinchingly courageous. Most importantly, “Against the Moon” is the crown jewel of what deserves be regarded as one of this decade’s most important records. Make sure to give this the attention it deserves.

Listen to “Against the Moon” below, pre-order Plowing Into The Field Of Love from Matador here, and keep an eye on this site for a full review at some point in the coming week.

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September 27, 2014

LVL UP – Hoodwink’d (Album Review, Stream)

Ever since LVL UP let “Soft Power” loose on the world, it was clear that they were operating on another level entirely; a really good band achieving greatness. The three songs that followed- “I Feel Ok“, “DBTS“, and “Ski Vacation“, respectively- all continued to enhance the expanding promise of Hoodwink’d, the record they were previewing. Each of the four songs had a very distinct style, lending some additional credence to the individual members’ stylistic tendencies towards creating songs that work perfectly as standalone numbers but function best as a complementary package. To that end, it’s probably not surprising that Hoodwink’d feels like a career best-of retrospective, despite the fact it’s only the band’s second full-length.

When LVL UP started, their approach was to simply write good, short pop songs. It was a winsome trait that helped establish them as New York’s finest purveyors of outsider pop- and defined Step Brothers, their outstanding introductory effort. While Hoodwink’d still operates in similar territory (the title track is 39 seconds, after all), their sonic palette is broadened considerably and allows for a step up from the band’s previously lo-fi production tactics, which winds up providing the band with a greater sense of urgency. Frequently droll (and fiercely witty) lyrics collide with a sharp immediacy and a murderer’s row of spectacular melodies in just about every one of Hoodwink’d‘s 15 songs, simultaneously one of 2014’s most diverse and unified non-compilation records.

From the drum shuffle that kicks everything off in “Angel From Space” to the fuzz-heavy feedback that draws the whole thing to its close, LVL UP inject Hoodwink’d with the sort of brazen confidence that usually suggests a band operating at the height of their powers. Throw in a sense of subtle ennui (usually manifested in the vocal performances), a seriously impressive slew of impassioned arrangements, and a staggering amount of personality and Hoodwink’d becomes even more compelling. Importantly, it should heavily resonate with a few of this generation’s subsets by virtue of being an astonishingly accurate presentation of the aspects by which they’re generally defined. All of that is circumstantial, though, and would never have come into play if it weren’t for one inescapable fact: this is an astoundingly great record.

Virtually every aspect of the band’s early promise is capitalized on in thrilling fashion, with each member consistently turning in career-best performances all throughout Hoodwink’d. These are songs that feel completely of-the-moment but have a sense of an indefinable timelessness, hinting that this may be a record with the kind of longevity most bands spend entire careers trying to produce. Whether it’s the fractured basement pop of “I Feel Extra-Natural” (which is one of several songs to feature auxiliary vocal work from Elaiza Santos), the relatively downtrodden “Hex“, or the unease-and-resolve back-and-forth of “Medication“, none of the material on display feels even remotely esoteric. Moreover, LVL UP seem to have pinpointed a new propensity for absurdly engaging material that also heavily rewards investment. All of which is just to simply state, once again (and this can’t be emphasized enough), this is an astoundingly great record.

From song-to-song, there are no weak links to be found. It’s a masterpiece in miniature, something that perfectly reflects the punk-leaning micro-pop songs that are responsible for the bulk of the record. Everything that LVL UP put into Hoodwink’d seems to serve several purposes with an unfailing consistency. Even examining the aspects of the record that most cast off as unimportant, like sequencing and mastering, it’s difficult to find any glaring flaws. Sure, the brand of music the band traffics in will probably always fall into critical acclaim more easily than commercial success but that’s frequently the price of artistic integrity- something LVL UP has in spades. Ultimately, what LVL UP have wound up with isn’t just a career-making exclamation point, it’s a record that may very well wind up being viewed as one of 2014’s most definitive entries into today’s constantly shifting musical landscape- and it’s an absolute stunner.

Listen to Hoodwink’d below and order it from one of today’s best labels, Double Double Whammy (who teamed up with Exploding in Sound for this release), here.

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September 26, 2014

Mutts – Everyone is Everyone (Lyric Video)

Noisy blues-punk trio Mutts have had a very peculiar career trajectory. Building up a healthy amount of support in their hometown of Chicago while winning over countless others on the back of a relentless tour schedule, they’ve become another reason to celebrate the Midwest. Releasing a full-length a year since 2011’s Pray for Rain, they’ve managed to sustain an astoundingly prolific pace without losing any of their impact or hindering a natural musical progression. As a result, their last effort- 2013’s Object Permanence– wound up being their strongest (and bravest) release to date. A lot of Mutts’ recent material has hinged on pianist/vocalist Mike Maimone’s decision to come out, rendering a lot of the band’s lyrics devastatingly intimate and intensely personal. While their upcoming Fuel Yer Delusion, Vol. 4 may shy away from the early Tom Waits lounge-stylings of Object Permanence, the lyrical (and musical) aggression of the band’s earlier works are given a fierce emphasis.

That retained fierceness is probably most evident on the ragged, confrontational “Everyone Is Everyone”, which features Maimone tearing into the politics of equality and derogatory terminology with everything in his arsenal. As always, the rhythm section of Bob Buckstaff and Chris Pagnani prove that they’re one of the more formidable tandems in music. While it’s not a surprise that “Everyone Is Everyone” is a monstrous slice of revved-up blues-indebted noise-punk, what is interesting to note is the psychedelic strain that courses through the song’s veins. It’s a particular influence that’s been ingrained into the Mutts’ DNA for some time but this is the first time that it’s been displayed so prominently. That psychedelic influence helps define Fuel Yer Delusion, Vol. 4 and is an incredibly natural fit for the band, who will be self-releasing that record on December 9- and they’ll be having a Gapers Block-presented party a few days beforehand to celebrate the release. Before all of that madness kicks in, though, it’s well worth taking a few moments to give some attention to the brilliantly designed lyric video for “Everyone Is Everyone”- a video that definitively showcases Mutts as a band unafraid to say what’s on their mind, in as powerful of a way as they possibly can.

Watch “Everyone Is Everyone” below and be sure to pre-order Fuel Yer Delusion, Vol. 4 from Mutts’ bandcamp.

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September 24, 2014

Little Big League – Property Line (Stream)

With another day drawing to a close, there’s another array of riches to examine. Full streams were made available for two very different releases; It Must Be Love threw their hat into the “Best EP of the Year” ring with their just-released self-titled effort, Art Is Hard’s Jam Kids: 20 Years since Crooked Rain, Crooked Rain, an excellent compilation which featured contributions from a few site favorites (PAWS and Trust Fund, most notably) and- on the heavier, more doom-oriented side of things- Windhand’s side of their upcoming split 10″ with Salem’s Pot, which shows the band hasn’t lost a step last year’s outstanding Soma. Vacation shared an unmastered demo of their highly-anticipated upcoming record and Negative Fun Records made No Other’s exceptional contribution to their ongoing Singles Club series publicly available. As for music videos, any day PUP releases something, it’s going to be a notable day- and their demolition derby-centric clip for “Mabu” kept them in the conversation for “band with the best music videos”. Eugene Quell also released a charming, low-key video for A Great Uselessness highlight “Alta Loma“. In addition to all of that, recent Watch This act Little Big League unveiled the latest look at their upcoming record, Tropical Jinx; “Property Line”.

Following the easygoing basement pop of the title track, “Property Line” finds the band digging a little bit deeper and unearthing something spectacular. There’s a sense of unease on display throughout “Property Lines” that ultimately gets outweighed by the song’s underlying determination, making it an unexpected spiritual companion to All Dogs’ “Say“. As if that dynamic wasn’t enough, the song showcases the band’s creative growth in each members’ various roles. Everything from the composition to the lyricism is sharper than anything Little Big League’s produced to date (which shouldn’t detract from an immensely impressive body of work), rendering the expectations for Tropical Jinx a few levels above where they previously were. When the cathartic brass-assisted climax kicks in, one thing becomes abundantly clear; Little Big League have officially arrived. “Property Line” is a career-best from an emerging band that’s still young enough to improve- though it’ll be difficult to top something as sublime as this.

Listen to “Property Line” below and pre-order Tropical Jinx from Run For Cover Records here.

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September 23, 2014

Two Inch Astronaut – Foulbrood (Stream)

Today saw the relentlessness of just-released feature-worthy material continuing with ease- a fact that was noted in this site’s previous post. It’s worth repeating now because there was so much great material to cover, the only sensible thing to do was to split today’s feature spots into two sections; music videos and streams. Zulu Pearls’ “Lightweight” wound up highlighting the former category in a very formidable grouping while the latter will be going to Two Inch Astronaut’s extraordinary “Foulbrood”. That “Foulbrood” is the one earning the bulk of today’s words in the stream section, that shouldn’t take away from an extremely impressive pack that included the first look at Warm Soda bandleader Matthew Melton‘s upcoming solo record, a slow-burning preview of Fax Holiday’s Brang In Blood 7″, and a full stream of The History of Apple Pie’s stunning sophomore effort, Feel Anything. Then, of course, there was the hard-hitting “Foulbrood”.

Two Inch Astronauts’ Bad Brother was one of 2013’s best (and most overlooked) records, blending aggressive post-hardcore tendencies into a package that explored the gray area between basement pop and basement punk with surgical precision. Finding an abundance of nuance in its unwieldy chaos lent it an almost unnerving longevity; repeat visits were rewarded with new discoveries in a myriad of areas (production, composition, dry wit, etc.), its minutiae combined into a fascinating sprawl. “Foulbrood” takes that template and maximizes all of its strongest aspects, turning the song into a towering preview of the upcoming record of the same name (that’s the artwork above, courtesy of Ari Klein). Explosive beyond measure, Two Inch Astronaut have somehow managed to refine an already intensely sharp chemistry, elevating their music to exhilarating new heights. Unflinchingly melodic and unfailingly fierce, “Foulbrood” stands among the very best songs of the year with the kind of steady confidence that great bands are often defined by. If Foulbrood can live up to its title, it’s not difficult to imagine the same will be said of the record. November 25 can’t get here soon enough.

Listen to “Foulbrood” below and pre-order the record from the band’s bandcamp.

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September 22, 2014

Iceage – Glassy Eyed, Dormant and Veiled (Stream)

Another day down, another long list of items to discuss. With summer officially over, it’s time to start focusing in on the fall releases. Tomorrow will see the official release of LVL UP’s Hoodwink’d, one of the year’s best records. Similarly, in a few weeks Iceage will release Plowing Into the Field of Love, a record that continues to expand on its promise in leaps and bounds. Before discussing that last point in greater detail, it’s worth mentioning that incredible new pieces of content are appearing with a regularity that’s starting to border the tenacious. Today alone saw the unveiling (or first notable coverage) of music videos from WAND, Lonesome Shack, The Wans, and an absolutely stunning effort from Cloud Castle Lake that plays with space in a manner so fascinating that it nearly earned a very lengthy write-up as today’s feature by virtue of that aspect alone. There was a very strong 7″ that surfaced from Terry & Louie, a duo composed of Terry Six and King Louie Bankston- who both formerly played in The Exploding Hearts (among many other great subsequent projects). And, as always, there were songs- including (but certainly not limited to): a hypnotic Nick Cave-assisted effort by Marianne Faithfull, the first look at Sundials’ Kick, a previously cassette-only exclusive track from Alvvays, Gnarwhal‘s contribution to an upcoming four-way split that boasts some of the year’s most intriguing names, and “Audrey’s Song“- a sampling of Trophy Wife’s just-released All The Sides.

Now, onto the main event- which once again comes courtesy of Iceage. Following the excellent trio composed of “The Lord’s Favorite“, “Forever” and “How Many“, comes “Glassy Eyed, Dormant and Veiled”. After an impressive array of combative styles that proved to be even more antagonistic that the band’s earliest material, “Glassy Eyed, Dormant and Veiled” finds the band reining things back into an unexpected level of restraint, showing an admirable self-awareness that suggests a talent for composition well beyond their years. Recalling an alternately nightmarish Henry’s Dream with this particular at bat, Iceage have managed to definitively establish a creative growth that should pay massive dividends for them once Plowing Into the Field of Love is revealed in full. Guitars course, the prose rages, and the rhythm section manages to be more imposing than ever before. Importantly, it also enhances the band’s newfound penchant for Southern Gothic to an extent that’s, arguably, even more fully-formed than “How Many”.

While it’s still too early to declare it a bona fide masterwork, everything that the four preview tracks have shown, in one way or another, suggests that may be exactly how Plowing Into the Field of Love will come to be defined. If Plowing Into the Field of Love is rounded out by songs that live up to “Glassy Eyed, Dormant and Veiled” (or any of the other three that have been released) and Iceage continues to make music that sounds this brave and timeless, they may wind up being one of this generation’s most celebrated bands. Whatever does wind up happening when Iceage is allowed their big moment, it’ll be worth paying very close attention to- this has already demonstrated the potential to be a watershed moment. “Glassy Eyed, Dormant and Veiled” is just another running step forward towards a full-on cliff dive and if the take-off is as spectacular as the song, we’re all in for one hell of a ride.

Listen to “Glassy Eyed, Dormant and Veiled” below and pre-order Plowing Into the Field of Love here.

September 11, 2014

Radiator Hospital at Cocoon Room – 9/8/14 (Pictorial Review, Video)

When Radiator Hospital announced Milwaukee as a stop on their tour, not going wasn’t an option. After all, Torch Song has had more plays this year than just about any other record from 2014 so far. “Cut Your Bangs” was a personal pick for “song of the summer” and more than earned it’s inclusion in this site’s summer songs mixtape. They’re a band that embodies next to everything that’s worth celebrating about the DIY ethos in punk-leaning independent music (something that was touched on by the band directly with their attached note in The Media premiere of their “Bedtime Stories” music video). As if that wasn’t enough, Radiator Hospital also gets to claim Jeff Bolt (who also drums in site favorites Swearin’ and runs Stupid Bag Records– also a site favorite) as a member.

After the two and a half hour drive down to Milwaukee, it didn’t take too long for the night’s plans to be set into motion. While Radiator Hospital was the priority, there was a late show happening across town at Boone & Crockett featuring an Ian Olvera solo set and semi-recent Watch This honorees Lee Bains III & The Glory Fires. Having never been to Cocoon Room or Boone & Crockett it was difficult to know what to expect but both proved to be intriguing venues that’ll likely warrant repeat visits. Cocoon Room came across as a small DIY art gallery and had already set their bill into motion with a welcoming set from King Courteen shortly after the projected start time. Due to a late arrival, there were only a few King Courteen songs that managed to be taken in but from those alone, it was easy to see a very distinct, considerable talent- one that’ll likely be around a while.

During the last moments of King Courteen’s gripping set another thing became abundantly clear: thanks to how dimly-lit Cocoon Room was, it was going to be very difficult to shoot the bands playing. King Courteen proved impossible and it didn’t seem like that’d be changing for any of the following acts. Radiator Hospital wound up playing second, allowing Lousy Trouts the final slot and it didn’t take them long to lament the lack of light, either. After bluffing her way through a guitar solo while laughing to herself, Cynthia Schemmer smiled and offered up the fact the band usually plays in more light- which probably should have been seen as a subtle plea to get a few additional bulbs turned on- but things stayed the same. Not that it detracted from much of anything as Radiator Hospital blazed through a 9-song set that leaned heavily on the best moments of Torch Song (“Cut Your Bangs”, “Five & Dime”, “Leather & Lace”, etc) while still making room for the deserves-to-be-considered-classic “Our Song”.

If the lack of light didn’t affect them too much outside of Schemmer’s ridiculously fun solo, it was a little bit disheartening to hear that Cocoon Room was dealing with a shot speaker cable, forcing the mix to one side- which meant sacrificing a fair bit of bandleader Sam Cook-Parrott’s vocals. Even with that factored in, Radiator Hospital played with more conviction than most bands manage in perfect circumstances. Bolt was as on point as ever, Schemmer and Cook-Parrott both put next to everything they had into their playing and singing, and bassist Jon Rybicki (whose recent record as Attendant earned a lot of love here) played as emphatically as possible, providing the songs with an extra bit of punch. Both the audience and the band seemed to be enjoying themselves, which isn’t always the case- but that night everyone operated under the understanding that great music deserves attention, applause, and praise. Even with the dim lights and PA issues, it was a memorable experience and an impressive set- one that ensured Radiator Hospital a position on the “can’t-miss” list for live acts.

After Radiator Hospital wrapped up, the venue got a little too crowded a little too quickly and the heat became too much, so (after some time spent catching up with the members of Radiator Hospital outside the venue), it was off to Boone & Crockett for Sub Pop signees Lee Bains III & The Glory Fires. While arriving late meant having to miss Ian Olvera (who also fronts The Sleepwalkers), it’s a safe bet that he put on a great set that probably shouldn’t have been missed- and if Lee Bains III & The Glory Fires’ first half of their set was as incendiary as the back stretch, then the same can definitely be said for them. Bains and his band play a ferocious strand of southern rock that embraces a manic punk energy, allowing each individual member to fly off the handle at will. It took less than two seconds of being in the venue to see Bains jump off the stage and barrel his way into the audience before jumping back up and taking a perch on the bass drum- before falling to the floor and punching a malfunctioning pedal. That string of actions set the tone for what was to follow, as the band tore through song after song and ripped through a wide-reaching selection of riffs and solos while working themselves into an intense sweat. There were no sections where they lost pace or momentum and by the time they finished, it felt like the room (a small bar that specializes in mixology) had just sustained an atomic blast… and the band was only playing with their “little” amps. It wouldn’t have been surprising if the following night saw them burning Green Bay’s Lyric Room to the ground. Currently, they’re getting set to embark on a tour with Southern stalwarts Drive-By Truckers and that’s a bill that needs to be taken advantage of, if at all possible. Keep it in mind.

All in all, it was a night of great music and impressive lyricism (especially in the case of Radiator Hospital, whose Torch Song boasts some of the strongest writing of the year) that showcased how vital Milwaukee is to fostering independent-minded music. King Courteen displayed promise, Radiator Hospital solidified their on-the-rise position with a vicious authoritativeness, and Lee Bains III & The Glory Fires proved that they weren’t an act to be trifled with using as much wild-eyed intensity as humanly possible. And, on nights like those- especially when they’re spent with good friends- it’s impossible not to fall in love with music all over again.

Due to the lighting at each venue being very limited, there weren’t a lot of photos worth posting but a small handful is better than nothing. View those below and videos of Radiator Hospital and Lee Bains III & The Glory Fires beneath the gallery.

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September 1, 2014

All Dogs at Bremen Cafe – 8/19/14 (Pictorial Review, Live Video)

[AUTHOR’S NOTE: First off, just to get this out of the way at the top, this post probably would not have been possible without The Media, a site whose praises deserve to be sung as loudly- and frequently- as possible. Being able to be a part of that place, even just for an issue, was an honor. The fact that I got to spotlight was All Dogs, a band that put out a 7″ last year that I felt very strongly about, ensured that it won’t be an experience I’ll be forgetting anytime soon. All that said, I wound up with an over-abundance of content that, for obvious reasons, couldn’t all be worked into The Media piece. It’d be criminal to let a lot of the material that didn’t run go to waste, so it’ll be running here today. Enjoy.]

All Dogs put out one of this site’s favorite 7″ records of last year, so when word came that they’d be stopping at Bremen Cafe in Milwaukee, not going wasn’t an option. As time progressed and more things got worked out, excitement and anticipation for the show grew incrementally. After the band agreed to an interview (hyperlinked towards the end of the Author’s Note) and guitarist/vocalist Maryn Jones was gracious enough to agree to a small set of acoustic performances, All Dogs’ self-titled 7″ was back to being in near-constant rotation- and wound up being the go-to soundtrack for every editing session this site went through for a few weeks.

During that time, a press email came out detailing an upcoming release from a project called Yowler, which turned out to be a solo vehicle for Jones- and a likely continuation of her excellent early solo material. Somehow, this all came to light during a time that also saw the emergence of Saintseneca’s Tiny Desk Session for NPR (easily one of this year’s finest offerings), all of which pointing to Jones being one of the busiest- and best- songwriters/musicians that we currently have. All of that combined prompted a trip through her discography, which included some absolute gems like the tape from the now-defunct Wolfs (which All Dogs’ bassist, Ama,nda Bartley was also in). As a result of the culmination of all of this, expectations couldn’t have possibly been higher for the band’s live show.

After taking up temporary residence in Ground Zero (one of Milwaukee’s best basement venues) for the interview session, it was into the band’s van and off to Bremen Cafe. While there wasn’t too much time to spend doing anything other than helping clear out space and running out to get food before the show kicked off, it didn’t seem to matter. Everyone seemed to be in high spirits and a lot of old friends were able to exchange a few words before the show kicked off with a ferocious set from Failed Mutation– who proved to be next to impossible to photograph thanks to their incessant levels of energy. From their live show alone, it wasn’t very difficult to see why they’ve earned a reputation as being one of Milwaukee’s best hardcore bands in an increasingly over-crowded scene (it also probably doesn’t hurt to have members of Tenement and Holy Shit! in your band). Failed Mutation wound up packing an absurd amount of spastic energy into a set that probably only ran 15 minutes, all of which was expertly controlled- likely thanks to each individual members discipline and experience. It was a hell of a way to jump-start what would prove to be a surprisingly formidable bill.

Next up was Sin Bad, a relatively new band that features members of both Night Animals and Rich People. Having never heard Sin Bad, it was difficult to gauge whether trepidation or excitement was winning out as Failed Mutation loaded out. Any notions of disappointment were immediately dispelled following the first few seconds of their first song. Boasting a sound not too dissimilar from All Dogs (with maybe just a few dashes more of a sound found pretty frequently on Don Giovanni Records) and an energy that was relatively comparable to Failed Mutation meant their second slot was a perfect transition between the opener and the headliner, while also simultaneously allowing them a more unfettered interest from the sizable and appreciative crowd. By the time Sin Bad’s set was over, it was very clear they’d left an impression and made converts out of several of the previously unaware.

When Sin Bad had packed up and left the stage open for All Dogs, a strange nervousness crept back in- as it usually does prior to seeing a band (especially for the first time) that’s come to mean something on a personal level. Again, it didn’t take very long for that anxiety to abate. It took All Dogs (in a now-cemented four person lineup that includes NONA guitarist Nick Harris and, as always, Delay‘s Jesse Withers) less than three songs to inspire chills. Starting strongly with both “Farm” (from their outstanding split tape with Slouch) and the shortest song from the 7″, “Snow Fences”, they’d guaranteed the investment of everyone watching. Then on the third song, they offered up the first look at their new material, which they’d previously promised sounded like a much fuller and more fleshed-out version of themselves. Not only did that promise hold up, the expectations that came with it were annihilated as that song, currently written down on the setlist as “Skin”, showcased a heavier side of the band that had been previously been hinted at with their current career-best effort, “Say”.

From that point forward, the band tore through a set with a practiced confidence and relative ease, never once seeming anything less than completely genuine and extremely impassioned. Everything clicked, sounding fantastic in the notoriously loud Bremen Cafe. Making the performance even more memorable was the fact that the crowd was reciprocating virtually all of All Dogs’ energy, creating this back-and-forth that pushed both sides to near-perfect places. A few more songs from the split, the 7″, and (hopefully) the upcoming record, and the band had already nearly obliterated every lofty expectation- and then the band switched into high gear for an unforgettable 1-2 gut punch of an ending. That “Say” became the second song of their set to warrant chills and total immobility probably isn’t too surprising, as the studio version of the song is nearly capable of the same effect- but the band’s closing number, a song so recent that they still haven’t given it a title, went a long way in indicating that their upcoming work will be their best material to date. Both, combined, provided an unpredictably intense (even considering the members’ inability to contain their smiles) ending to an extraordinary set from a band who will almost certainly produce a discography of material worth owning on every possible format.

Below, watch a stunning solo acoustic performance of Wolfs’ “Leading Me Back to You” and All Dogs rip through their currently untitled set closer. A photo gallery of both the interview/performance session and the late show can be viewed beneath the videos.

Keep an eye out for all of the emerging details on All Dogs’ upcoming debut LP, which will be released on the always-extraordinary Salinas Records.