Next month Bass Drum of Death will release Rip This (which was produced by Unknown Mortal Orchestra’s Jacob Portrait), their follow-up to last year’s scuzzy self-titled effort. “For Blood”, the most recent look at Rip This finds the band upping the ante, sounding confident and more powerful than ever. While the formula’s still very recognizably their own, they’ve managed to inject more immediacy and adrenaline into the most engaging aspects of their music; booming drums, wiry guitar riffs and catchy melodies delivered as brashly as possible. Throw in a few plinked-out piano notes, the most powerful chorus section the band’s ever produced, and a touch more conviction than usual and “For Blood” very easily becomes their career-best. If the rest of Rip This winds up sounding this good, it won’t be long before Bass Drum of Death starts popping up more in regular conversation.
Stream “For Blood” below and pre-order the record from Innovative Leisure ahead of its October 7 release.
To get this out of the way at the top: there are very few bands that mean as much to me as Tenement. Without the support of that band when I was starting to do things like book and play shows, I probably wouldn’t have been affected as much by the DIY-centric artists and spaces that Heartbreaking Bravery was designed to bring into focus and celebrate. They’re a band that I’ve been filming fairly consistently over the course of the last six and a half years with an increasing amount of admiration. I’d book them to play shows in my city; they’d return the favor and invite the band I was playing in at the time to drive an hour to play their basement (The BFG) and, in doing so, opened a cultural door that allowed me to invest in the community shared by the other bands that played there. A few of the bands that wound up playing The BFG had a massive effect on my musical growth and now regularly snag features on this site- Swearin’, Screaming Females, The Hussy, Sundials, Delay, and an impressive selection of other bands that now populate labels like Don Giovanni, Dead Broke, and Salinas. Whether I was just fortunate enough to be at (or play on) the right shows, I’ll never know, but the amount of support and easy camaraderie surrounding the bulk of those shows was something that made me feel like I’d found a home.
Over the course of those early years- and on the back of playing host to consistently strong bills and relentless touring- Tenement began to build their reputation as one of the Midwest’s best bands. Amos Pitsch, the band’s guitarist and vocalist, had spent more time behind a kit as the drummer for Social Classics, than writing songs in front of it. While at that point, it was already clear Pitsch was a preternaturally gifted musician, it was likely difficult to know what to expect. Unsurprisingly, the most visible role in a band was one that felt naturally suited to Pitsch- and, importantly, allowed him to more fully demonstrate his music’s personality. Lyricists who are characterized more by novelists than other songwriters tend to be the ones that feel the most worthy of acclaim and Pitsch falls squarely into that category. Utilizing a wealth of musical knowledge and integrating it into stanzas and vignettes with a literary grounding, Pitsch has been able to create a sound that’s as influenced by John Steinbeck, Flannery O’Connor, Tennessee Williams, and William Faulkner as it is Husker Du, Dinosaur Jr., Hickey, and The Figgs (who once played a very memorable set in The BFG’s living room).
There’s an additional allowance for the abstract that helps further differentiate Tenement from other bands that are attempting to play their hands at similar combinations, which has caused both emphatic celebration from some sets and scathing derision from others (the latter usually tends towards the genre-specific). After years of touring and playing host (before The BFG was forced to cease their venue operations), word started to spread pretty quickly and the band was able to leave with another fiercely-loved WI act, Holy Shit!, for a fairly lengthy tour in Japan. During their time spent in Japan, they played with two of Japan’s finest basement pop acts: Sanhose and Your Pest Band. Fortunately, both of those bands wound up finding their way Stateside not too long after that tour ended, allowing the possibility of all three bands playing a show on Tuesday night at Mickey’s Tavern in Madison, WI.
Mickey’s has long been a staple of Madison’s live music scene, consistently booking shows that would have made sense at a place like The BFG. The fact that it’s small plays well to the bands that have a fondness for eardrum-shattering volume levels and to the people who actively seek out more intimate settings. It’s essentially a 21+ basement venue with proper business licensing. All of which meant that it was a perfect fit for the night’s bill. Riff-happy trio Sanhose played first, going full-speed from the outset and only pausing to adjust or add extra weight to the cinder block positioned in front of the bass drum to prevent the whole thing from toppling over. While that issue was eventually solved by having a friend leave a foot planted firmly into the block while they played, Sanhose couldn’t bother to be too distracted by it. All throughout their set, there was a very palpable sense that the band loved to simply play their music- which wound up being a great reminder that earnestness in punk-leaning music isn’t completely dead. From 20-second blitzes to three-minute anthems, Sanhose left just about everything they had at Mickey’s and got the night off to an excellent start.
Considering Your Pest Band has most of their discography available at any major punk distro worth their salt, it’s a relatively safe bet to say that they’ve built themselves a strong following and a considerable reputation. Their music is frequently celebrated on both sides of the ocean and frequently featured in blogs, zines, and publications. Nearly all of their releases over the past few years have been heavily anticipated by very specific communities and subsequently met with acclaim- so, their live show had a fair bit to live up to. Any doubt those elements cast on high expectations were thoroughly obliterated by the end of their first song. It doesn’t matter what mode this band is in, whether it’s the unabashed 50’s pop stylings of “Time to Go” or the ferocious basement punk onslaught of “Dice“, they always tear into their songs with manic glee. Those efforts are doubled live. Every member of Your Pest Band was constantly in motion during their songs, working themselves into a sweat as they grew more frenzied. Towards the end of a set that was graciously spread throughout their seriously impressive discography, it seemed like they were practically jumping out of their own skin, totally alive and incredibly impassioned before ending it all with one of the strongest performances of the evening (which can be seen below).
Tenement played last (likely to ensure as many people as possible were there for Sanhose and Your Pest Band) and tore through a set of songs that they’ve now been playing for about two years. Not that it mattered or worked to their detriment- the songs that they’ve been playing are some of the best songs in any genre of those past few years and Tenement’s consistently been one of the best live bands that today’s music has had to offer. Any opportunity to see them play any song should be jumped at whenever possible and their set at Mickey’s wound up being yet another one that wound up giving additional weight to that opinion. Playing with the knowledge that this set would be one of the last they play before a scant few others (at least before their upcoming record’s released) may have pushed them to play with even more gusto than usual- or maybe they knew they had to be in their rarest form to follow Your Pest Band’s stunner of a set- but their short set found them hit a near-perfect stride. Blazing through material from their last two records with next to no pauses and a laser-sharp focus and intensity, they left absolutely no doubt that they are one of the best bands of the moment (for further proof of this, watch the supercharged set-ending take on “Stupid Werld” below). Factor in the fact they have a few records on the horizon (including their debut for Don Giovanni, which is projected for a Spring 2015 release) and will have a new set under their belt shortly after those releases and the set they offered up at Mickey’s instantly becomes one worth remembering. Tenement are nearing the end of a chapter in their career before bigger doors start opening for them- and they’re making sure that it ends on the right notes.
Sanhose, Your Pest Band, and Tenement will all be playing in Milwaukee (along with So Cow, Holy Shit!, and a handful of others) on Sunday, September 14. If at all possible, don’t miss it.
A photo gallery of all three bands can be seen below and videos from each band’s set can be viewed below that.
All of those are likely to get features elsewhere- if they haven’t already had them (and most have)- and Heartbreaking Bravery would be nothing if it wasn’t for the bands that are flying under the radar. Those are the kind of bands that this place strives to support- and Nano Kino (which translates to “very small cinema”) is one of them. And while the duo does include Duncan Lloyd of Maximo Park (and Decade in Exile), their profile’s currently surprisingly contained- which isn’t likely to last too long. There are chilly atmospheres that permeate throughout the duo’s music, using no-wave and post-punk as their major touchpoints while exuding an icy demeanor not too far removed from The xx. A lot of the band’s intrigue gets an extra push thanks to the mysterious vocal performances of Sarah Surl, the duo’s other member. While there’s still a considerable sense of mystery to be found in the textured guitar work that Lloyd provides, Surl gives it a strange sense of humanism that allows Nano Kino to eclipse so many similarly-minded acts.
Nano Kino currently have plans to release their debut record in the early parts of next year but have promised to tease pieces of the record in the lead-up campaign. One of the first pieces they’ve offered up is a visually stunning black-and-white clip that emphasizes the band’s penchant for noir-ish sensibilities. Bringing in other visual aesthetics to the fold (there’s a prominent French new wave influence running throughout this- as well as a lot of glances towards Spain’s golden-era of silent film), “Eyes Before Words” winds up being a quietly intense experience. Using grainy superimposed imagery (that’s occasionally stripped back to isolation) to maximum effect helps make this a video that stays with the viewer long after the final whispers of the fade-out. It’s unrelentingly poised and announces Nano Kino as a band that’s embraced a very particular vision- one that could wind up meriting critical and commercial success. Whatever the future does hold for Nano Kino, it’ll be a pleasure watching them fight their way forward- especially if the ensuing releases all manage to be as arresting as “Eyes Before Words”.
Watch “Eyes Before Words” below and keep an eye on this site for updates in the coming months.
When Radiator Hospital announced Milwaukee as a stop on their tour, not going wasn’t an option. After all, Torch Songhas 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.
It’s been an insane past few days. Full streams, videos, and songs worth writing about have been emerging at a breakneck pace and making deciding what to feature a near-herculean task of decisiveness. There was a monumentally important music video from Mean Creek‘s Chris Keene for his upcoming solo record as Dream Generation, an interactive piece of unbridled fun from Ty Segall for the title track off of Manipulator, characteristically cinematic videos from both Beverly and Fucked Up– who have each been doing wonders with the visual medium, a video that practically defines Bob Mould’s workmanlike nature, and a Jane Forsyth & Ian Pollard-helmed video for Parquet Courts’ “Bodies Made Of“- which proved to be an astoundingly sensible creative pairing. There were full streams of the gently gnarled She Keeps Bees full-length, the psych-trip of the White Fence and Jack Name split, and a new Greylag song, “Yours to Shake“, that showed some serious teeth. Picking between all of those seemed as if it might be impossible until, once again, LVL UP made the decision fairly easy.
At this point, noting that LVL UP’s upcoming Hoodwink’d is this site’s front-runner for Album of the Year seems redundant. It’s a 15-song masterpiece that sees the band perfecting their best aspects and surpassing an arsenal of lofty expectations in the process. This is something that this site’s touched on in reviews for the first three songs to be teased from the record: “Soft Power“, “I Feel Ok“, and “DBTS“. Now, the band’s released the fourth look at the now-imminent Hoodwink’d with “Ski Vacation” which shows the band expanding their sonic palette yet again. Boasting a tranquil atmosphere and no shortage of jangly guitar tones, the song integrates some subtle-yet-effective surf tendencies into the band’s outsider pop aesthetic- and the end result is spectacular. What jumps out about all of the songs that the band’s been previewing is that they stand on their own extraordinarily well and would warrant serious consideration for pushes as Hoodwink’d singles- but as a collective piece they’re extraordinary and complement each other better than just about anything that even bothers to casually flirt with genre-hopping tendencies. In that respect, Hoodwink’d might be the first record 2014 produces that would be deserving of a title no smaller than masterpiece. “Ski Vacation” is just the fourth of 15 dimensions.
For some essential reading on Hoodwink’d, please go to Sasha Geffen’s Interview piece– where the track premiered- to scroll through a can’t-miss interview that sheds some light on what went into making the record.
Stream “Ski Vacation” below and pre-order Hoodwink’d from Double Double Whammy (which has played host to several of 2014’s best releases and is in the midst of an absurd winning streak)- who will be co-releasing it with Exploding in Sound (see: last parenthesis)- here.
It’s almost hard to believe that there have been 43 weeks since the first installment of Watch This was posted. Over the course of that time, this series has boasted a variety of recurring staples, one of the earliest of which being the “Band/Artist to Watch” segment that was devoted to the fifth and final slot. After being dormant for the vast majority of the series, that particular stamp re-emerges today in anticipation of an incredible release from an artist that’s been too-frequently described as a “best kept secret”. Along with the re-emergence of that sub-series, there’s a return to Little Elephant, a look at NPR’s Field Recordings series, yet another video to be featured from Exploding in Sound’s takeover of Serious Business, and a recent portrait of a band that doesn’t deserve to be overlooked. What it all winds up amounting to is one strange, wonderful capsule that explores some of the finest artists of the moment delivering performances worth remembering. So, sit back, turn the volume up, adjust the visual settings to personal preference, take a drink of something refreshing, focus, and Watch This.
1. Benjamin Booker – Have You Seen My Son? (NPR)
It’s been said before on this site a few times but it bears repeating: Benjamin Booker absolutely tore his set up at the Horseshoe Tavernat NXNE back in June. His debut self-titled record on ATO lived up to some fairly high expectations, revealing him as an extremely worthwhile new talent- and while it does have a sense of vulnerability, it’s usually buried underneath gnarled tones and emphatic gruffness. Here, Booker strips standout single “Have You Seen My Son?” to its barest form; an acoustic ballad. Add in some gorgeous cinematography, courtesy of NPR, and it’s required viewing.
–
2. Mitski – First Love / Last Spring (Bandwidth)
Every once in a while, there’s an artist that manages to appear on a variety of trustworthy sources but, for some reason or another, gets overlooked or forgotten. Mitski had the misfortune of falling to the latter category a few times this year by virtue of coming up on days that were already ridiculously over-filled with content. After seeing the light perfection that is this utterly enchanting performance of “First Love / Last Spring”, it’s difficult to not want to go back and ensure the mistake of overlooking them was never made to begin with. “First Love / Last Spring” is as sweet of a song as anyone’s put out this year. So, to Mitski: sorry for being late to the party but thanks for sticking around; life’s better with this music in it.
–
3. Shy, Low – Saudade (Little Elephant)
There haven’t been too many Little Elephant videos to appear that warranted consideration for the Watch This series since Mansions’ thrilling two-song set from way back in May. Fortunately, Shy, Low have provided enough water to make up for that particular drought. “Saudade” is a fascinating mixture of shoegaze, post-rock, golden-era emo, math, and a cavalcade of their connected fringe sub-genres. Every note gets played with investment and commitment while still being technically impressive, which is a medium that a lot of bands strive for but few ever achieve so concisely. “Saudade” is the perfect example of the more aggressive kind of music that’s incredibly easy to get lost in.
–
4. Baked (BreakThruRadio)
At this point, it’s probably safe to assume that if a video emerges from the Exploding in Sound takeover of BreakThruRadio’s Serious Business series, it will wind up being featured here. Virtually all of them have been nothing short of praise-worthy and Baked’s session continues that trend with ease. Baked themselves have come ridiculously close to landing feature spots on this very site numerous times for their eccentric take on some of this place’s most-frequented genres. In their session, those eccentricities are on full display in both their interview segments and their live form, making for some incredibly compelling viewing.
–
5. John Davey – Grand Emporium (Xack Gibson)
There are certain performances that manage to stick with a person and John Davey’s capable of delivering them. That’s said with no shortage of authority, having seen Davey deliver a solo acoustic set in a small WI basement to next to no one only a handful of years back. It was a relatively truncated set but it’s proven to be unforgettable thanks to the spellbinding nature of the songs. This being the case, the “Artist to Know” final slot section of Watch This is being revived to feature a gorgeous black-and-white video that features Davey performing one of his most impressive songs: “Grand Emporium”. Not too much has changed since this video was shot four years ago; Davey’s songwriting remains as nuanced and gripping as ever while allowing some subtle growths in terms of production. All that can be heard on Davey’s sophomore effort, Living Is Trying, which can (and should) be pre-ordered from Dilated Time Records here. “Grand Emporium” also provides a good platform to give this reminder: Heartbreaking Bravery would be nothing without DIY ethos and the artists that embody them across a variety of genres and fields. If a song in a genre that’s not typically covered here manages to come off as transcendental and provides an opportunity to feature an extremely impressive emerging talent, it will get featured. Here’s one of those songs- and one of those talents.
In 2012, Chicago quartet Young Jesus quietly self-released Home, which was astounding on first listen and improved with subsequent listens. Now, with the benefit of distance, it’s easy to cite it as one of the best records of the decade’s first half. Earning its longevity through a delicate balance of the genuinely mournful and the defiantly celebratory, it occasionally wound up coming off as a much more self-aware and contained version of Funeral. There was nothing overly bombastic about it- or anything that suggested grandeur that neared the over-reaching. While those elements were certainly present, they were given equal footing with an underlying minimalism; burying large ideas in a decidedly niche presentation without ever losing their focus.
After the release (and extremely warm reception of Home by the people fortunate enough to hear it), the band fell understandably silent- emerging out of the shadows to play a one-off show on the rarest of occasions. Following up near-perfection isn’t an enviable task- or one that can be taken lightly. Thankfully, the clouds have been slowly parting and the band’s begun to make some calculated moves, the most notable of which is their relocation to Los Angeles. Another that deserves some serious consideration is the addition of a keyboardist, which allows them to broaden an already impressive sonic palette.
“G”, the first song to be teased from the band’s upcoming Grow/Decompose (that’s the artwork, up above)gets one thing out of the way very quickly; this is still a band that’s defined by the city that birthed them. There’s a very prevalent strain of relatively downtrodden post-punk that’s helped characterize Chicago over the past several years that’s been best exemplified by bands like Young Jesus and Shy Technology. That they haven’t sacrificed that sound in the wake of their move is a welcome affirmation of their own identity. All of the other key elements of their best works remain in tact as well, from impressive arrangements and individual song structures to the never-ending arsenal of memorable turns of phrases that can be found in their typically extraordinary lyric sets.
If there was any doubt of the band losing any of its punch after re-assembling out West, “G” annihilates those notions almost as soon as it starts playing. Opening with a character-heavy dialogue (another of the band’s more prominent traits) of: “Neil sits alone outside in a motel in the summer, he checks his phone, checks when a friend is coming over” it’s abundantly clear that the band’s lost none of their verve in what, by all logic and reason, should be a transitory stage. By the time they land on the line “he makes a joke about how fucking ain’t for lovers” in the midst of unraveling Neil’s existential crisis under a microscopic lens, “G” has already entered the conversation for their best song. Unfailingly melodic, unrelentingly impassioned, and frightening personable, this is Young Jesus at their best and bodes well for what’s to come.
While Grow/Decompose has yet to land an official release date, it seems to be safe to say that whenever that occasion does arise, it’ll be a great day for music.
Stream “G” below, download Home (an essential must-own) on their bandcamp, and check back here for additional updates in the coming weeks (or months).
Today’s been another relatively quiet day for the kind of music that gets covered here, with two notable exceptions. First, there’s the defiantly great corporate sponsorship team-up that saw King Tuff being co-opted by Captain Morgan and produced by Harry Fraud, a prominent talent and product of New York’s rap scene. That the track, “Danger in the Dark” winds up being an easy career highlight for both King Tuff and Fraud is nothing short of weirdly miraculous and could pave the way for more intriguing collaboration possibilities from the King Tuff camp. On the music video side of the spectrum, there was a charming low-budget clip for Menace Beach‘s supremely catchy “Tennis Court“. Then, to top everything off, Burger Records offered up the hard-charging title track off Grape St.’s recently released Free Stuff EP.
“Free Stuff”, had it been released a few weeks prior, would have been a no-brainer inclusion for the Songs of Summermixtape. It’s a sunny sub-two minute blast of punk-tinged powerop perfection, one that rides a jaunty progression and an energetic vocal performance into a noise-battered solo before bringing everything home with one last chorus. “Anthemic” almost doesn’t do it justice. All in all, it reveals Grape St. as a band with a taut grip on melody and structure, cementing Free Stuff as an EP that’ll be worth the purchase.
Listen to “Free Stuff” below and pick it up from Burger here.
By now, everyone who has iTunes should have heard the full stream they’re offering up of Death From Above 1979’s revitalized post-reunion effort, The Physical World. Hopefully, there were a few among that crowd who also found time to stream Nervous Like Me the fantastic new record from Cayetana. Great full album streams weren’t the only things to come out of the last few days, though, in addition to a memorable Pavement cover from PAWS, there were also great new songs from Purling Hiss, Nude Beach, and WULFS. Visually, there was an endearing TheAdventures of Pete and Pete homage from Diarrhea Planet and two arresting black-and-white clips that came courtesy of Girl Band and Philadelphia’s Queen Jesus. It’s another act from Philadelphia that made the strongest impression and earned the feature spot today, though: the the stunning debut effort of Radiator Hospital bassist Jon Rybicki’s collaborative project, Attendant.
It’s not uncommon to note that there’s an absurd amount of great music out there that’s overlooked for any number of reasons but it’s always nice to know that sometimes everything lines up and music that may have otherwise gone unnoticed gets an extra push thanks to the people involved. This especially stands true for Attendant’s Freaking Out which features contributions from a murderer’s row of Philadelphia/NYC-based musicians. Mikey Cantor, Radiator Hospital, and Swearin’ (among others) all get a good bit of representation here, lending their considerable talents to one hell of a debut, helping raise an emerging musician’s profile in the process. Rybicki grounds all of these songs with no shortage of gravitas and conviction, mining similar influences to the ones that are so clearly evident in his friends’ projects.
While all of that would likely have proven more than enough to get Freaking Out by, what really puts it over the top is its attention to detail. The production, sequencing, and mastering on this is near-flawless, advancing the release’s personality without being distracting. In terms of composition, it’s frequently thrilling, with songs like the hard-charging “Saturday” providing bursts of near-uncontrollable energy. With all of this taken into account, it’s probably not too surprising that one of Freaking Out‘s closest relatives seems to be Dinosaur Jr.’s classic Bug. Acoustic guitars often provide a base template for each of these seven songs, while shoegaze-leaning levels of reverb and distortion get added to create a sound that’s becoming increasingly prominent in DIY punk circles- one that recognizes the value of looking to the past to push ahead.
That retro-influenced modernity goes a long way in informing Freaking Out, which makes no qualms about utilizing everything at it’s disposal. Every song on here contains at least a few moments of genuine brilliance, whether in the form of lyrics (“I just wanted to be the other people on the bus” is one of the most haunting lines to come out of 2014) or in the song’s structures or compositions. As if all that weren’t enough, it’s varied enough to ensure the listener’s attention and compelling enough to warrant their investment. None of these songs ever eclipse the three minute mark, either, rendering it even more accessible.Yet, despite it’s short run-time, Freaking Out feels like a fully-formed work from a veteran songwriter.
More than a few critics have said that to really gauge an album’s strengths, there should be an extra amount of consideration given to their mid-section. It’s easy to make strong opening and closing cases but it can be difficult to maintain that consistency across a wider spread. In this respect, Freaking Out has virtually no issues. “Dishwasher”, “Call Me Back”, and “Solar Shack” are all mixtape-worthy entries, each holding their own strengths in Rybicki’s frequently mid-tempo world weariness. Even with that taken into consideration, it’d be difficult not to note that a few of Freaking Out‘s best moments do come in the final two songs. From the trumpet-assisted downstroke onslaught of “I Won’t Try to Change Your Mind” to the guest-heavy celebration that is the record’s finale.
In that respect, “Wax Pages” does feel like an appropriate end-cap to a release that seemed determined to extol the virtues of healthy collaboration. Jeff Bolt (of Swearin’ and Radiator Hospital) takes over on drums, Sam Cook-Parrott (Radiator Hospital), Cynthia Schemmer (also of Radiator Hospital), and Kyle Gilbride (of Swearin’) all handle backing vocals, while Mikey Cantor takes a solo and all of them seem maniacally driven by Rybicki, who lent his vocals, guitar work, and bass (in spots) to the songs he wrote. To that end, it almost feels celebratory despite it’s heaviness (and make no mistake, this is a relatively heavy record in both terms of sound and subject matter). Packaged all together, the end result is something that feels oddly alive and utterly unique, even with an army of recognizable influences worn proudly on its sleeve. If it doesn’t find a home on one label or another, it’ll come as a shock. Freaking Out is one of 2014’s best surprises.
Stream Freaking Out below and download it on Attendant’s bandcamp.
[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.
Heartbreaking Bravery 