Last weekend Chicago’s Union Park hosted one of the Midwest’s stacked festivals of the year and various venues around the area hosted official after party shows. By weekend’s end, around 20 sets were taken in between the official showcases and one of the day 1 after shows. The latter of which featured the first sets I was able to see throughout the weekend (shortly after arriving at The Bottom Lounge- who were putting on the after show, Perfect Pussy’s Meredith Graves stole me off for drinks at the festival grounds and we were able to hear Beck float through an impressive-sounding set in the background). After running back to the Bottom Lounge there was a short amount of time and the night’s first act, Pink Frost, had their set off and running. The Chicago-based quartet have been a fixture of the local scene for years and now, with the release of Traitors becoming increasingly imminent (it’s due out in September), they’re operating at a higher level than ever. Mixing shoegaze, psych, and punk elements into something impressive and towering on record, they’re even more formidable as a live act. All of the years they’ve spent playing together has resulted in an extraordinarily tight dynamic where each tiny detail is woven into an arresting sonic tapestry full of complementary threads. Their allotted time may have been understandably brief but it wound up feeling like one of the more complete sets of the year.
Perfect Pussy were next to take the stage and, despite sounding near-perfect in the soundcheck, wound up running into some apparent mixing problems. Not that it mattered, though. The band’s made a habit out of turning even the worst situations into something unforgettable. So, while Shaun Sutkus’ synths were pushed so far up that they were overwhelming just about everything else, the band played with their trademark fervor. That passion for performing is one of the biggest reasons this band’s celebrated so frequently here and, to her credit, Graves gave the absolutely packed crowd her all, even while being more inaudible than usual- to the point of leaving some of her blood on the floor (and earning several scratches on her hands). All thing considered, it stood as another display of breathtaking fierceness from a band that refuses to quit, no matter the circumstance.
Deafheaven were the headliners for the evening and their set leaned heavily on the monumental Sunbather, one of the only records to draw as much criticism from genre elitists as Perfect Pussy’s Say Yes to Love, making comfortable bedfellows out of an otherwise curiously unusual pairing. They didn’t waste their time- or position- as headliners, they filled their set with as much material as possible. At least one new song was played that seemed to advance the transition Sunbather represented for them. Vocalist George Clarke, clad in all black, commanded attention with ease, frequently going in and out of the crowd- occasionally crowdsurfing in a corpse-like position (and it’s worth noting that every move felt organic rather than rehearsed). “Dream House” was one of several assured high points by virtue of being a moment that featured atmospheric crescendos hitting a note near the euphoric. By the time they were loading their equipment off-stage, they’d given the audience just about everything they could, bringing the first night in Chicago to a successful close.
It’s been said here before countless times already but the NXNE lineup for this year is absolutely ridiculous. Featuring an endless array of rising stars and premier acts from a wide selection of genres, Toronto’s set itself up quite nicely for an influx of incredible music, dedicated journalists, and devoted fans. Music wristbands are still available for an incredibly reasonable price and are well worth taking advantage of. It’s the best way to get access to the festival’s final leg and a shot at entrance to see the sets from the artists listed below, the volume 6 class of the 5 to See series.
1. Benjamin Booker
What to Know: Benjamin Booker just signed to ATO Records and will be releasing his self-titled effort in August. From the short previews of Benjamin Booker that have been available so far, it’s increasingly apparent that ATO made the right move. With a sound that incorporates equal amounts of blues, soul, punk, motown, and their evolutionary trajectories over the last handful of decades, it’s already positioned as a likely crossover hit. Live? It’s incendiary. Watch the fiery Letterman clip below for further proof.
What to Watch:
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2. Pusha T
What to Know: Pusha T rose to prominence as half of Clipse, who created an untouchable classic in 2006 with Hell Hath No Fury. Since the release of that reord both Pusha T and No Malice have chosen to go their separate ways and explore solo routes. This resulted in another modern classic with Pusha T’s 2013 stunner, My Name Is My Name. With a live set to back up why he’s become one of the most acclaimed and celebrated artists in rap/hip-hop, this will be a set that fills up capacity fast. Don’t miss it.
What to Watch:
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3. Future Islands
What to Know: Already hailed as one of 2014’s best live acts, Future Islands have been doing their best to earn that title. There was an explosion of interest in the band after their hypnotic Letterman performance drew national attention. While a lot of it seemed to be directly linked to vocalist Sam Herring’s unique dancing, it also came as an exclamation mark to a wave of buzz that had been steadily building around them. Reports of recent shows have made it abundantly clear that their shows have been constantly verging on getting out of hand thanks to frenzied audiences. Like Pusha T, this is going to be a priority set for a lot of people attending the festival- so get to wherever they are as early as possible, the crowd reaction alone should be a sight worth seeing.
What to Watch:
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4. Camera
What to Know: Camera’s Radiate was a little-discussed triumph. Emphasizing the more punk elements of krautrock, the trio’s staked their name on guerilla performances in public places. Don’t be surprised to see them set up just about anywhere during the course of their Toronto stay- and don’t be shocked if their playing stops a lot of people dead in their tracks. Great music’s universal.
What to Watch:
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5. White Mystery
What to Know: The Chicago duo have become mainstays of the DIY punk circuit, touring fiercely and building their reputation on frantic live shows. Four LP’s and two 7″s deep into their discography, the duo (composed of siblings Alex and Francis White) is still performing behind their most recent (and strongest) effort, Telepathic. A few late night show appearances have boosted their profile and they’re gearing up for what looks to be a major run towards bigger things. This is a set that won’t be worth missing.
It wasn’t too long ago that Archie Powell & the Exports earned themselves both a write-up and a best-of mixtape inclusion for the incendiary ripper “Everything’s Fucked”. That song was the first to tease the band’s upcoming record, Back in Black, which promises to show a rawer and more ragged side to the Chicago-based quintet. Since releasing that as the introduction piece the band have been carefully doling out bits and pieces of the record but nothing has been as impressive as the recently-released music video for “Holes”, which earned itself an impressive feature on Consequence of Sound and featured heavy involvement from Audiotree.
“Holes” comes courtesy of Brian Racine and an impressively assembled crew who made this video as eye-catching as possible, in the best of ways. All of it’s shot in keeping with a classic video game aesthetic (in terms of palette and presentation it’s not too far removed from Edgar Wright’s largely misunderstood Scott Pilgrim vs. the World), apart from the few avant-glam shots thrown in for good measure, and packs a hell of a punch. It’ll also drive up a desire to either play arcade games, grab a drink, or start a band- so fair warning. All told, this is just further evidence that AP&tE are ready for bigger things and have their sights set on achieving them.
Watch “Holes” below and then play some arcade games, grab a drink, and start a goddamn band already.
In one of the more recent pieces to run on here, I bid adieu to a camera that’s served me well over the years. There were vague allusions to various sets that I’ve been lucky enough to catch with that camera scattered throughout the piece- and while this may be dangerously close to tipping into the self-serving spectrum I do my best to avoid on here (and the fact that the audio quality is far from the best), it only seemed appropriate to showcase a few of the more memorable captures over the years. To that end, this installment of Watch This will likely wind up as the one the more unique entries in the series. One last look at the past before pushing towards what’s ahead.
It’s never to fulfill a sense of pride, it’s never for bragging rights, it’s always, in each and every instance, to support an artist that I love or that deserves as much support as they can possibly get. Established or not, this is my way of giving thanks and hopefully extending their music out to other places that may never have heard them otherwise. This holds true for my writing on Heartbreaking Bravery as well. One of the most important things anyone can do is support the art they believe in and this place will always live by that law. So, watch this or don’t, but it’ll always be here as both a reminder of some very personal memories and a showcase for some bands who deserved more attention than they ever received. Sit back, support local music, support local music, support local music, support local music (SERIOUSLY, SUPPORT LOCAL MUSIC), and Watch This.
1. Tenement – Morning Mouth (Live at the Afterdark)
This video will be the only one that actually predates the Canon PowerShot I’d been using to shoot these videos over the past several years (this set was shot on a low-end handheld Sony camcorder), it’s included because it serves as a beginning for a myriad of things: my introduction to Tenement (who would subsequently open up an entire world of music to me through their kindness), the beginnings of when I became serious about film, and the start of when I became serious about booking shows. Their five-song set, to a crowd of people they invited up onto a small stage to make them feel more at home, blew my mind and has stuck with me for approximately six years now. My opinion on this band hasn’t changed as I’ve filmed set after set after set, year in and year out- they’re one of the best, if not the absolute best, band currently going. I’ll forever be grateful to them for a number of reasons and delivering this set will always be one of them.
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2. Good Grief – Holy Smokes! (Live in Stevens Point, WI) There isn’t always a lot of options for live music in the middle of nowhere but at the height of Good Grief’s run, there were a few spells where there seemed to be an incredible show happening every other week. I attended every single one I possibly could, not just because of an undying love for live music and the DIY community but because Good Grief had tapped into something genuinely special during their time as a band. It was evidenced by the mass basement singalongs, by Mutts coming all the way from Chicago to play an unforgettable cover of a song from their final record, by the people who had little to no connection with the band who showed up at nearly every show- right up through their final marathon set at K Bueno (this is a band that will likely always have the distinction of being the only one I ever see tearing things up inside of a Shopko that was giving away free hot dogs, chips, and soda)- with a smile on their face and a beer in their hands, and by the fact that more times than not, the first time I would hear a song played for the first time, I would get chills (“Lab Rats” is still one of the most incredible pieces of music I’ve ever heard and a lock as an entry for my 50 Favorite Songs of All Time list). “Holy Smokes!” was never officially recorded, as far as I know this is the only known recording of it, which is why it takes this spot on the list- a look at some incredible music, and some incredible musicians, that too much of the world missed out on.
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3. Midnight Reruns – Too Tall (Live at Frank’s Power Plant)
Like Tenement before them, this was the first time I saw Midnight Reruns (coincidentally, if anyone asks me who I think the best bands in the state are, those are usually the first two names out of my mouth) and even just a few minutes into the first song, it was apparent it’d be far from the last. They tore that place to shreds and threw out a fiery Wreckless Eric cover in the middle of an all-out blitz of a set that showcased Graham Hunt’s beyond-his-years songwriting ability and the band’s undeniable musicianship. They’ve (somehow) only steadily improved since then and have built an impressive expanding fanbase including members of The Replacements, the Milwaukee Journal Sentinel, ThirdCoastDigest, BrooklynVegan, and Milwaukee Record, who just ranked their debut s/t (still less than half a year old) as the 16th best record to come out of Milwaukee since 2010. Word on the street is the material they’re currently working on blows even that out of the water. Keep both eyes out and both ears open for this one.
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4. Sleeping in the Aviary – So Lonely (Live in Stevens Point, WI) Apart from Good Grief, Used Kids, The Goodnight Loving, and Hot New Mexicans (especially The Goodnight Loving and Hot New Mexicans), there are few bands that can come even remotely close to Sleeping in the Aviary as far as the “bands I wish would reunite” conversation goes. The only places I ever saw Sleeping in the Aviary play, curiously enough considering their level of name recognition, were basements (with one surprisinglytouchingexception being the vinyl LP release party for Expensive Vomit In A Cheap Hotel at the High Noon Saloon, thrown five years after the records initial release) . In one way or another, I was a part of each and every one of those shows and they wound up being a few of the most memorable nights of my life thanks to both the people around me and Sleeping in the Aviary themselves. Ever the manic pranksters, they would usually come armed with cardboard cutouts, bubble machines, various props, or adult-themed piñatas. They’d also always play with a reckless abandon and unparalleled fierceness while still clinging onto a carefree nature and clearly having the time of their lives doing it. Kyle Sobczak was a late addition to the group but provided them with a few of their most memorable songs in their final stretch. “So Lonely” is one of them- and, as mentioned before, being in the middle of nowhere means that when a basement show happens with a band of Sleeping in the Aviary’s caliber comes to play, things tend to go off the rails pretty quickly. No one has seen the regular lead personality, Elliott Kozel, since he disappeared into that crowd… (entirely untrue as clearly evidenced in the video- but still, a great myth to try to start).
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5. Charley & the Cynics – St. Christopher (Live at the Crunchy Frog)
Writing an In Memoriam piece for Charlotte was one of the most difficult things I’ve ever done. I debated whether or not to include this as the fifth slot or keep it stored away due to its extremely personal nature but I realized that the few videos I did manage to capture of Charley & the Cynics during her time here had a profound effect on why I kept filming and knew it had to occupy this spot. After her untimely passing it was next to impossible to bring myself to watch the videos of her that I’d previously put up out of both respect and unfailing admiration. It’s not like I knew Charlotte all that well; I won’t pretend I did and I won’t glamorize her or try to turn her into some flawless saintly figure. I did know her well enough, though- well enough to consider her a friend and well enough to know that she was a generally positive person who always seemed to treat others with both care and affection, which is something I try to extend to everyone that gets coverage on this site. After enough time had passed, I could watch these videos without needing to spend a night drinking afterwards and I realized that they’re the crux of why I film to begin with: to celebrate the people and music I love while they’re around. Ever since the full extent of that realization hit me, these videos of Charlotte have factored into every time I’ve plugged in a camera charger, every time I’ve replaced an SD card, every time I’ve spent hours making sure an upload doesn’t crash, every time I’ve pointed a lens at a stage, she has been there as a reminder to capture the things that are important while you still can. That lesson is something I’ve carried with me every day and something that’s been a part of the majority of my decisions within music journalism. For that and for all the times I’ve been reminded of that, I’m thankful- and I keep filming.
There are times when I’ve broken one of Heartbreaking Bravery’s most defining tenets (no self-identifiers: the music is more important than the reviewer) in an effort to illuminate something. This will be one of those times for several reasons: 1) This post may mark the last time a point n’ shoot is used for content on Heartbreaking Bravery. 2) This is the first time, and certainly not the last time, a (new) self-shot full set will be appearing on this site. 3) Perfect Pussy have already qualified as exempt from this rule for reasons explained here (and then again here). 4) By posting this, I’m hoping to stabilize a bridge between a focus on music and a focus on film (look for more on that later). 5) It’s the only way I could think of delivering these points as honestly as possible. 6) I firmly believe in a support structure between DIY publications and fully intend on this being the first part of a collaboration piece.
With all of that out of the way, there’s only a few things left to say before the video(s) themselves: Yes, this is a severely blown out recording with some seriously damaged audio quality. Yes, there is an unexpected break that results in a twenty second delay between the monstrous second half of “Interference Fits”. Yes, there are times where the band goes completely out of frame. Yes, that was because I kept getting hit hard enough by the wildly enthusiastic crowd around me to be literally upended into the stage multiple times over (and, yes, I loved every second of it, bloodied up leg, beer-soaked jacket, bruised hips and all). Yes, this isn’t the greatest live presentation in the world- far from it, in fact- and yes, this is primarily being posted because it’s something I fiercely love (and has people that I love dearly in it). No, that doesn’t affect my judgment at all- these were all instances of friendships born out of love for their art and through mutual understanding/support. Yes, there will be a review of this entire show (along with more photographs)- but not on Heartbreaking Bravery (more to come on that later). Yes, I really am posting this right after the Minneapolis review– and yes, all of this can be seen in two parts below.
Screaming Females are gearing up for the release of Live at the Hideout, the Steve Albini-produced document of their recent two-night stand in Chicago. In the press release for Live at the Hideout, there’s a mention of an incident that occurred sometime before the Chicago show, where there band’s vehicle spun out of control on the freeway and they were hit by an oncoming semi whose driver they had locked eyes with before impact. While the story does tie in to Live at the Hideout‘s renewed sense of purpose and freedom, what the release doesn’t mention is that the incident happened before their Milwaukee show (which also explains why that set was particularly lively).
Everything that the Milwaukee show was praised for seems to have tied over to Live at the Hideout and with Albini at the soundboard, there’s no possible way this will be a misfire. Don Giovanni’s offered a first glimpse at Live at the Hideout with “Lights Out” and it’s predictably brilliant; the band sounds as tight as possible, Paternoster shreds fearlessly, and Albini applies the trademark metallic sheen that helped make Ugly one of the band’s best efforts. If nothing else, the song’s worth listening to for the crowd’s elation- a reminder of just how far this band’s come over the past few years. For a few years, they were one of the most tenacious acts playing the basement circuit and now they’ve earned a kind of fervent dedication that’s only granted to legends. What makes this all the much sweeter is that they accomplished this without changing and by continuing on the path they set for themselves in the early stages of their career. That kind of dedication is a rarity and that brand of integrity deserves to be celebrated. Right now, there’s no better way to celebrate than to just listen to “Lights Out” below and eagerly await the final product.
Four to six hours during the middle of winter, in a vehicle that runs minimum heat and has busted windshield wipers, is a drive that can only be prompted by something worth being incredibly passionate about. Throw in hazardous conditions (outside of general Chicago rush-hour traffic) and it’s enough to give anyone operating in the limits of sanity room for pause- but fuck pause and fuck sanity; Perfect Pussy is not worth missing. While that statement was closer to speculation than not until last nights blown-out set at Schubas Tavern, it now resides firmly in fact.
While the road conditions forced a late arrival that meant, sadly, having to miss both Broken Prayer and Split Feet, Perfect Pussy’s set immediately obliterated any lingering thoughts or feelings on that matter. After a very brief set-up time, vocalist Meredith Graves (battling a nasty spell of laryngitis) introduced Perfect Pussy before the band kicked off their set. What happened next is difficult to summarize in words, as the reactions their set prompted were closer to visceral emotion than coherent thought- but it’s worth an attempt, however unwieldy.
For 15-20 minutes, the crowd at Schubas careened into each other in a fiercely communal experience, driven by their shared love of the music that was happening onstage. Normally, the intensity levels of the band and audience at shows like this interact in a symbiotic manner, with each doing their part while feeding off the other until a climactic fever-pitch is hit (and, hopefully, sustained). This is where Perfect Pussy stands out. They subvert the notion of a symbiotic relationship by projecting their energy onto the audience instantaneously and the audience responds in kind. There’s no build-up, no long-con, just pure immediacy.
During their set, which at times bordered on noise so thorough that instruments became indistinguishable, the Schubas audience got most involved during “I”and “IV” from I have lost all desire for feeling. Despite the unavoidable fact that audiences tend to be more responsive to material they know, it was the newer material that stood out strongest. From an incendiary performance of “Driver” to a few more choices off of their upcoming record, Say Yes to Love, it was abundantly clear that the band really believes in the new material. That dedication and commitment manifests itself in every conceivable facet of their art, live performance included.
After a whirlwind set that saw no shortage of boundless energy and focused determination, it ended as suddenly as it began. There was nothing as glamorous (or contrived) as an encore because at some point, there’s virtually nothing left to say. Perfect Pussy hit that point a few times throughout the short amount of time they were onstage and looked completely spent after. Everything had been laid out and picked bare. If there was an audience member that didn’t know who the band was before they came in, they definitely knew by the time their set was reduced to nothing but a warm hum of controlled feedback. When a band can find the perfect resting point between an immediate and lasting impression, they’re worth paying very close attention to. When they can do it so frequently on so many levels? …let’s just say this wasn’t the first and definitely won’t be the last post on this site about this particular band.
Keep an eye on Perfect Pussy’s tour dates and see them as soon as possible, even if it means crossing state lines while driving with dangerously low levels of visibility. It’s worth it. A life without risk can frequently lend itself to a life without reward. Take risks; get rewarded; go see Perfect Pussy.
This week saw two of the Upper Midwest’s best fringe bands release music videos, both of which include dancing. First came Chicago, IL band Mutts’ DIY slacker-goofball video for “Pickpocket”, which was an incredibly welcome and lighthearted affair following their absolutely stunning music video for “Prizefighter”. Both “Pickpocket” and “Prizefighter” were taken from the band’s extraordinary career high-point, 2013’s Object Permanence.
After Mutts unleashed “Pickpocket” on the world, Minneapolis, MN band Buffalo Moon unveiled the impressive music video for the first single (and title track) from their upcoming Machista. Buffalo Moon have been relatively quiet since the release of 2011’s Selva Surreal, playing a handful of dates whenever (and wherever) they could manage. Like Mutts in their most recent acoustic form, Buffalo Moon have frequently flirted with the basement punk scene. While both are capable of delivering full-blown post-punk (look at Mutts’ first three full-lengths for proof and check either band out live), it’s always nice to have some variety. Both Buffalo Moon and Mutts are continuing to deliver in full. Watch the videos for “Pickpocket” and “Machista” below.
Thanksgiving is traditionally a time for family, friends, and food. Which is in part what inspired today’s pick for the On the Up series: Chicago scrappers Meat Wave. They’re an aggressive counterpoint to bands dabbling in 90’s revivalism and don’t sound like too many others bands out there. That alone would make them stand out but the musicianship coming out of the Meat Wave camp is astounding.
It’s been a year since they’ve released their self-titled via Let’s Pretend records and they’ve been anything but quiet since. Playing their hometown frequently, that nine song collection has been given more breathing room. All of the songs reward return visits and can offer a much needed jolt of energy. Meat Wave may be aggressive but they’re also surprisingly poppy, finding a counterbalance that should endear them to fans of several of punk’s subsets.
Eat some turkey tonight and crank Meat Wave (below)as loud as humanly possible.
Chicago’s Split Feet have been making some noteworthy waves recently. After releasing their demo through bandcamp, the band’s been experiencing some nice circulation based on its strength. Three songs in total, the demo strikes a strange nerve. Opener “It Broke Once” introduces the band’s aesthetic quite nicely. “It Broke Once” invites immediate comparisons to Sleater-Kinney, only a touch darker, as lead personality Jes Skolnik’s vocals are clearly indebted to Brownstein’s. While Sleater-Kinney’s aesthetic is apparent throughout the demo, the approach falls more in line with the likes of Speedy Ortiz.
One of Split Feet’s most effective tricks is their utilization of the second guitar; it’s dropped in the mix to provide an ambient sound bed that helps these songs achieve an extra layer of menace. Each track blisters with the kind of enthusiasm that’s indicative of a career beginning and the edges are sharp enough to cut skin. Titles like “Cat Mug on Secretaries’ Day” suggest a barbed underlying humor that will undoubtedly serve Split Feet well going forward.
In related news, Skolnik helped curate the upcoming Beyond Inversion tape, which is a benefit compilation for Rachael’s Women Center in DC, and it’s full of Heartbreaking Bravery favorites- Technicolor Teeth, Perfect Pussy, Sadie Dupuis from the previously-mentioned Speedy Ortiz, Potty Mouth, Failed Mutation, and Jail Solidarity are all confirmed along with Split Feet themselves. That’s just scratching the surface. You can pre-order the tape here and stream Split Feet’s Fall 2013 below.
Heartbreaking Bravery 