emo | Heartbreaking Bravery

October 13, 2014

LVL UP – Big Snow (Stream)

What a day. There was no obvious choice for a feature until LVL UP’s “Big Snow” premiered over at Impose. On the surface, that’s a bland statement- but looking at the company that “Big Snow” joined today, it’s one hell of a testament to LVL UP. In the single song department there were some legitimately great songs: Run The Jewels’ pulverizing new (Zach De La Rocha-featuring) scorcher “Close Your Eyes (And Count To Fuck)“, Dollface’s impossibly breezy indie pop gem “Churchyard“, Daddy Issues’ distortion-laden post-punk dirge “Ugly When I Cry“, and a bracing new Crow Bait song- “Separate Stations“- that incorporates members of Iron Chic. There was also Dasher’s foreboding noise-punk minimalism piece, “Teeth“, as well as Vetter Kids’ “I’m Just Your Newest Bluest” which is a perfect representation of the band’s modernist take on classic 90’s emo and noise-punk. “A Million Random Digits” proved that …And You Will Know Us By The Trail Of Dead are far from being done while Wedding Dress’ “Somewhere Darker” makes it clear that Wedding Dress are anxious to make their introduction to the world.

Cellphone also posited themselves as a band ready to make a notable entrance with an enticing and mysterious trailer to promote their upcoming Excellent Condition. Denmark’s Mimas returned to the fold in a big way with the characteristically impressive live-edit clip for “Kissinger’s Jaw” (fans of Exploding in Sound who aren’t well-versed in Big Scary Monsters would do well to take note of this one) and Tangerine released a delightful video for another indie-pop keeper, “You’ll Always Be Lonely”. Ex Hex got in on the action as well, releasing a knockout video for Rips highlight (one of many) “Waterfall“. For full streams there were stunners from The Grayces, Thurston Moore, and a mildly insane (and wildly heavy) split between Big Neck Police and Dog.

Everything hyperlinked in the two paragraphs above stands as both a great way to share music worth listening to and acts as a very long-winded way of saying that featuring “Big Snow” wasn’t a foregone conclusion- at least not until the riff kicked in at the :26 mark. It’s the third song to be streamed from a just-released split between LVL UP, Krill, Ovlov, and Radiator Hospital. “Big Snow” is a song that’s actually been featured on this site before in an admittedly roundabout way- it was the feature piece in the band’s Serious Business session that was featured on Watch This. Even with Hoodwink’d being one of this site’s top contenders (if not top contender) for Album of the Year honors, “Big Snow” manages to stand out as one of the best songs to spring out of the band’s discography.

Having just seen LVL UP take the roof off of Chicago’s Beat Kitchen (pictured above, more to come on that later), it’s allowed the cementing of some previously-held opinions in regards to how the band functions. First and foremost; this is a truly collaborative effort with everything working as a complement to its surrounding elements at an obscenely high level. Second, this music works best as a victory lap for the disenfranchised; it’s both a rousing call to action and a well-meaning embrace for the people who were told they’d never live up to their potential or lived on the fringes of culture. LVL UP’s never been one to shy away from the unconventional (or the irreverent) and that’s a trait that takes bravery to embody. “Big Snow” hints at all of these elements and includes a rare treat; every one of the band’s vocalists (Dave Benton, Nick Corbo, and Mike Caridi, respectively) joins in for one last rousing harmony run before that surging, blissed-out guitar riff rallies the song to its fade-out finish. If Hoodwink’d wasn’t already proof, “Big Snow” certainly cements what’s become an unavoidable fact: LVL UP are one of today’s best bands and they deserve all the accolades that are bound to fall their way.

Listen to “Big Snow” below and pre-order the split it’s on from Double Double Whammy here.

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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.

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August 10, 2014

Places to Hide – Nowhere Bound (Stream)

Places To Hide have been locked into a spot worth envying for some time now, appearing- and frequently headlining- absolutely stacked bills with the finest bands from rosters like Salinas and Double Double Whammy. Everyone seems to be on their side or putting in a good word or five for the Atlanta-based quartet and that loyalty’s being repaid in full, courtesy of the band’s distinctly original take on a peculiar 90’s bent, basement pop, and scuzz-punk- all filtered through an impressive lo-fi sensibility.

Near the end of July, the band unveiled the Wild N Soft EP, offering up the careening push-and-pull of “Nowhere Bound” as a free preview on their bandcamp. Encapsulating just about everything that’s helped transform the band into something approaching the territories of “underground’s best-kept secret”, “Nowhere Bound” is a malaise-filled rager worthy of the band’s discography. Vocals are traded, a haunting wordless melody sets the song’s tone, off-kilter instrumental work clashes and complements in a manner that recalls Speedy Ortiz at their absolute finest, and sections of blistering fuzz punctuate what otherwise sounds deceptively lazy (a hallmark of late 80’s/early 90’s SST). Combine all of those elements and inject them with a keen awareness for the modern musical landscape and it’s no surprise that Places To Hide have become as celebrated as they are.

Hear “Nowhere Bound” below and expect to be reading their name a few more times on this site.

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August 6, 2014

Mulligrub – Canadian Classic (Stream)

Pop-punk is a maligned genre- and, disappointingly, it’s earned the majority of its scorn by virtue of being largely tepid and uninspired. Ideas are recycled to an alarming extent, the execution’s often overly-bombastic and instantly forgettable. That’s why bands like Lemuria, The Frankl Project, Sundials, Little Lungs, PUP, and the bands that exist (or existed) alongside them are embraced like breaths of fresh air; they’re bands that subvert the genre so completely it’s difficult to define them as part of the genre. Grit, humility, and a sense of empathy help separate them from an overcrowded field- and half the time, they come off as punk bands with an easily traceable love for powerpop anyway. All of the artists that occupy that position have created a niche that labels like Salinas frequently celebrate. Add Winnipeg’s Mulligrub to that list immediately.

Last month, the trio released the Canadian Classic single online, which is a two-song effort highlighted by the title track, in advance of their forthcoming full-length. “Canadian Classic” announced Mulligrub as a band who has remarkable control of their craft, navigating a variety of passages with a clear-eyed confidence that should serve them extraordinarily well. Musically, it’s closest spiritual kin is likely Radiator Hospital at their most unabashedly poppy, which is really just a slightly longer way of saying that it’s a song that should definitely be listened to. Additionally, there’s a prominent 90’s alternative influence that skews a little closer to Swearin’, solidifying it as a can’t-miss prospect. “Canadian Classic” is backed by “Chicken”, a subtle slow-builder that showcases the band’s range and cements their spot as an act to watch. So, start listening, start watching, just don’t make the mistake of glazing past this band or these songs.

Listen to Canadian Classic below and snag a copy of the band’s upcoming full-length at the first available opportunity.

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March 12, 2014

La Dispute – Rooms of the House (Album Review)

HUDSONVILLE MI 1956

La Dispute always seem to ignite genre arguments, which is a shame because really (while every side does seem to have some merit) the bottom line often gets overshadowed. That bottom line? They’re a band who have staked out their position not by having a hand in a myriad of styles but by making legitimately great music. Their upcoming record, Rooms of the House (due out 3/18 via Staple Records), is even more definitive proof of this. There are very few bands playing with structure- and narrative structure- quite like La Dispute. All of their past trademarks are more prominent than they’ve ever been on Rooms of the House. From the deeply concerned and fiercely empathetic delivery concerning the traits of their songs protagonists to the stealth-morphing of time signatures and tempos, Rooms of the House is as unmistakenly La Dispute as possible.

Opener “HUDSONVILLE, MI 1956” wastes no time in laying the record’s groundwork: the first lines are as follows- “There are bridges over rivers, there are moments of collapse. There are drivers with their feet on the glass; you can kick but you can’t get out. There is history in the rooms of the house.” Immediately, they’ve presented a subverted thesis that they don’t reveal the full extent of until it becomes apparent. Using a house and its objects as the source material is an inspired idea and in the right hands (La Dispute’s, certainly) yields extraordinary results. Projecting history into the mundane, “HUDSONVILLE” goes from that brief introduction to an absolutely harrowing tale of separation during a spell of severe storms. The phones are cut, the radio’s are all yelling out warnings, and lovers try to focus on anything but the fact that those closest to them may be dead. As first songs go, it’s among the best of the past few years. Not a bad start.

Coexisting with the narratives is the band’s music itself, all bottled-up fury that tends to operate on a tension-explosion dynamic, never losing an ounce of its verve. There are very few moments throughout Rooms of the House where the band scales back its intensity- whether it be the quiet kind or full-throttle. One of those moments that takes solace in relative relaxation (at least for a while) is the record’s third track “Woman (in mirror)”, which (at least in terms of instrumental arrangement) strongly resembles In Rainbows. It winds up being a strangely good look for La Dispute, who prove definitively that they can do wonders with a laid back, clean, groove-heavy track. As always, Jordan Dreyer’s lyrics are beyond exceptional (this is the guy that gave us King Park, after all) and he continues to be a viable candidate for one of this generation’s best songwriters. “Woman (reading)”, at least until it descends into controlled chaos, and “Objects in Space” also reside snugly with “Woman (in mirror)” and its chilled-out territory. Each offering up a fair few surprises and winding up with equal worth.

As nice as it is to hear La Dispute so fully embrace the quieter nature of their identity, the band still thrives on bursts of violence. It’s that sense of genuine danger that made “For Mayor In Splitsville” an early standout (with an incredible video to match), with its emotional turbulence maximized. Nothing is held back, everything’s a travesty, and that’s frustrating as hell. That “Splitsville” has characters who are treated as equally as the ones in “HUDSONVILLE” may strike some sensitive people as callous but it, once again, points to Dreyer’s strengths as a storyteller. While nearly everyone in Rooms of the House is dragged through hell and back, they’re all given equal care and consideration. There’s beauty in the mundane, damaged or not, and a good story’s always worth telling. Every good story also has a very present instability and makes room for uncertainty as an important factor. La Dispute tend to live in those margins, not caring as much about the resolve as they do about the journey. It’s a trait that plays directly into what makes Rooms of the House so successful as a collection of stories and what ties them all together. The house metaphor is used heavily throughout the record but really it’s strongest unifying factor is the open fears of the protagonists in the heart of their respective stories.

When Rooms of the House has exhausted all of its punches and winds down with “Objects In Space”, songs like the absolutely furious “Stay Happy There” are still resonating; their shots buried into the fabric of the story as a whole. Everything splits apart and crumbles, buckling under the weight of its volatile nature. Depending on how empathetic the listener tends to be, they’ll either be drained or riveted- often both. This is the kind of work that merits a pause once it’s run through, though. It’s not a light piece and it requires a fair amount of investment. Fortunately, that investment gets rewarded tenfold and the listener’s not only left with an outstanding record but an incredibly memorable story and frighteningly immersive experience. While La Dispute certainly weren’t making anything that wasn’t worth listening to before this, with Rooms of the House they’ve managed to top themselves. It’s an incredible record and will very likely experience a strong amount of support come December. Until then, all that’s left to do is get lost in its stories.

Watch the video for “For Mayor In Splitsville” below and stream the whole record over at the band’s soundcloud.

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Tag: emo