With the first two galleries now up and running, the night continues on with the third. On the fourth official day of CMJ, once again, videos of the bands were posted shortly after the official review went live. Rounding everything out is this photo gallery. Enjoy.
With the fourth day of CMJ kicking off and the level of work required to keep up with the festival starting to take its toll, I slept through the alarm clock I had set to ensure I could catch LVL UP‘s early set at Palisades to kick off Exploding In Sound’s joint CMJ showcase and fourth birthday celebration. Running in just after the band had torn down left a sinking feeling that was quickly replaced with contentment as the Leapling project found its stride in a (mostly) solo set– the bassist from Dirty Dishes joined in on two songs– of gentle pop songs. Despite missing LVL UP, it was a wonderful way to sink into the day’s proceedings.
Flagland took a while to set up but even that couldn’t match the ambition or length of their new songs, which feel like a collection of fully-realized micro-punk songs condensed into a long-running, coherent whole. All of the songs the band was testing out were rooted in their dynamics and exceeded 10 minutes in length, finding intriguing ways to bridge the gaps between sections that were frequently radically different from each other, despite being housed in the same structure. Look out for their upcoming record because it’ll be one of the more fascinating releases of whatever time it arrives.
Swings, who have down-scaled their quiet aggression into something more quiet and moody offered up a set that acted as an epilogue of sorts to Flagland’s bold madness. They cycled through songs that felt tranquil but never uninteresting. Retaining the sense of mystery that made them so compelling to begin with, the band sounded confident and looked relaxed. They also provided one of the day’s most unexpected highlights by bringing out their current tourmate, Mal Devisa, to perform one of her numbers with the band backing her and Devisa delivered in full, giving a commanding one-song performance that drew what may have been the day’s loudest applause.
Dirty Dishes and Kal Marks played next, each offering different takes on off-kilter post-punk with grunge and shoegaze influences. The former opted to go the more serene route (while still making room for a few fiery moments) to tremendous effect while the latter dug deep into the sludgy darkness that permeates both genres when they’re at their most menacing. Back to back, it was an extraordinarily effective combination that established a sense of building momentum, which is a feat that a lot of lineups aim for but few ever accomplish. Both bands tested out new songs and each act had the audience’s attention held rapt. One practiced finesse while the other embraced chaos, acting as an intriguing sign of things to come.
Following Kal Marks’ explosive performance was another pairing, this one even more pragmatic: Washer and Stove. While the former’s been subsumed by the latter, they’re still their own project and have a genuinely great set of songs scheduled for release in early 2016. The vast majority of their set stuck to the new material, which is easily some of the duo’s best, while still making room for a few crowd favorites. After technical problems killed off Steve Hartlett’s guest solo towards the end of Washer’s set, he was joined by the last remaining member of Stove to lead Washer through their final songs as a quarter before they all took a break and reassembled for a Stove set.
Ostensibly a slight continuation of Hartlett’s previous project, Ovlov, his current one is making some serious moves. Even before Is Stupider‘s release, it’s clear that Stove’s harboring some of Hartlett’s career best-work and that the project contains, and is surrounded by, people who genuinely believe in this music. Crafting towering anthems of damaged hope and unwavering resiliency, it’s hard not to fiercely connect to what’s happening here, which is beginning to feel downright vital. “Wet Food“, the project’s current calling card, is one of the year’s finest songs and its best qualities are only amplified live, cultivating an unforgettable feeling of near-transcendence every time it hits (it’s one of the few songs that’s given me chills in a live setting on more than one occasion). Closing with a monstrous number that has an exhilarating outro section that stretches into forever, it’s difficult to think that this band doesn’t have huge things waiting for it, just around the wing.
Palm continued their massive 2015, which has seen them carve out a massively respected name for themselves, with another set of enviable musicianship and tight-knit chemistry. All of the band’s songs are puzzles with interlocking pieces that tend to immediately swivel into something genuinely unexpected and occasionally jarring (in the best way possible).
That kind of commitment to excessively complicated craft often leaves the players fairly confined so the transition from Palm to Greys was a startling– but welcome– one. Greys are one of the single most energetic live bands playing out on the circuit and they brought every inch of that inspired fervor to the Palisades stage where they ripped through a career-spanning set with reckless abandon, including a brand new song (“We wrote this like two days ago”, quipped guitarist/vocalist Shehzaad Jiwani) that sounded incredibly promising. It was a characteristically ferocious set that went a long way in proving that the band’s far from done.
The Spirit of the Beehive and Big Ups followed Greys, each bringing their own brand of manic energy to the Palisades stage. The Spirit of the Beehive, a five-piece, dipped into a raucous set of slacker pop songs with a surprising amount of emotion and nuance, while taking the volume back up to punishing levels. Stretching over their limited but enviable catalog, it was an extraordinary set from an act that still doesn’t seem to be getting the attention they genuinely deserve.
Big Ups, however, have been picking up plenty of attention and that focus is warranted. The band’s one of the best live acts in a city overflowing with bands trying to stake a claim to that throne but falling excessively short of Big Ups at their worst. Thankfully, that was far from the case here which saw Big Ups celebrating their own anniversary and pulling out one of the most blistering sets of the night, once again reminding everyone of their curious power.
Another act having a career-making year, Palehound, closed out the showcase with a set that prominently featured this year’s excellent Dry Food. As a few people were quick to point out, the band was playing as a trio and not as a quartet as the previous incantation of the band had been. Regardless, Ellen Kempner led her band through a set of songs that definitely managed to make an impression. Impressive musicianship abounded and the band landed every one of their blows, providing the showcase with a graceful exit.
As soon as Palehound’s set wrapped, despite not having eaten or drank anything for approximately 16 hours, I ran over to Silent Barn to catch the remainder of the Double Double Whammy showcase and got there just a song or two into what proved to be another memorable Downies set. The band, made up of various members from other great bands, was in fine form and playing with the sort of intensity you’d expect from a band that cites Radioactivity (and The Marked Men, by extension) as one of its bigger influences. Closing things out with a monumental track from their forthcoming LP, the band left the audience dancing and hungry for more.
Eskimeaux, playing out with a new bassist, quickly sated their appetites with another spellbinding set comprised of songs from O.K., which may very well be this year’s best record. Playing with their usual amount of grace, the band connected to their audience with ease, serenading them with tales of personal longing and unspeakable loss. Through it all, guitarist/vocalist Gabrielle Smith stayed the project’s centerpiece, striking a commanding presence that always felt welcoming rather than imposing, like a warm embrace from an old friend. In that near-familial sense, Eskimeaux succeeded in playing up the communal aspects of the recently re-opened Silent Barn to heartwarming effect. Before stepping off the stage, it was abundantly clear that everyone in the audience was on her side.
Capping the day’s events off was another incredibly strong set from LVL UP, half of which run Double Double Whammy, to an adoring crowd that was clearly there to show their support for everything the band’s done. After missing them at the very start of the day, catching them closing thing down only managed to bolster an already pervasive feeling of triumph. Tearing through their discography with gleeful determination, the band led a sizable late-night crowd in massive singalongs, and affirmed their love by delivering one of the day’s most memorable sets. It was yet another perfect ending to a day that offered absolutely no reprieve. Was it worth the effort? Absolutely.
Continuing on with the round-up of the great material to be released over the past week, Steve Hartlett’s post-Ovlov project gets the top billing of a very strong crop. That crop included notable clips from Needs, Lionlimb, and Adir L.C. as well as impressive full streams from Lumpy & The Dumpers, The Winter Passing, and Dead Katz. All of those were rounded out by a characteristically strong grouping of new songs, which came courtesy of Run The Jewels, A Sunny Day In Glasgow, Tortoise, Self Defense Family, The Rashita Joneses, and Ex Hex’s outstanding cover of The Real Kids’ “All Kindsa Girls“.
The (actual) loss of Ovlov was a tough one to shake, though some of its members immediately applied some anesthetic to the wound by diving headfirst into new projects. Most notable was Hartlett’s initially solo expedition, which was then turned into a full band, Stove. Unsurprisingly, Stove retain a lot of the elements that made Ovlov such a respected name. If anything, Stove advances the band’s melodic sensibilities and veers closer towards basement pop than its predecessor; “Wet Food”, the latest song to be unveiled from the band’s forthcoming debut Is Stupider, is the perfect example.
“Wet Food” starts simply, anchored by Hartlett’s pleading vocals and outwardly-reaching guitar figure before exploding into a wall of sound that’s– almost paradoxically– welcoming and intimidating. It’s a scintillating masterclass in dynamics that continues Hartlett’s natural progression as a songwriter, augmented by a decisive sense of identity. Surging, pointed, and exhilarating, “Wet Food” stands as one of the finest entries in Hartlett’s enviable discography. More than that, though, it stands as one of the most tantalizing songs of the year.
Listen to “Wet Food” below and pre-order Is Stupider here. Beneath the embed watch a video of the band performing the song live on day 2 of Exploding In Sound’s extended weekend celebration earlier this year.
It’s not even close to a secret that this site has harbored an excessive amount of love for Exploding In Sound, a DIY label that focuses on forward-thinking acts that have roots that run deep in late 80’s and early 90’s alternative punk scenes. Over the years, they’ve amassed a deeply impressive roster of acts that consistently garner critical acclaim, effectively rendering the label one of today’s leading taste-makers in music that frequently aims for left-of-center and connects with conviction. If anyone’s earned an extended weekend celebration that serves a dual purpose as a showcase, it’s Exploding In Sound- and that’s exactly what they’ve just done.
Over five days in Brooklyn and Boston, the cities where the vast majority of the label’s acts are based, the label hosted five packed shows. While I wish I could have caught all of them, I only managed to take in the first two- both of which reaffirmed my adoration for the work the label- selflessly run by Dan Goldin- is doing. The run of shows started on June 20th at Baby’s All Right with a characteristically stacked lineup that included a variety of site favorites: Washer, Two Inch Astronaut, Grass Is Green, Pile, and Porches.
Every single band that took the stage at Baby’s laid their hearts on the line, playing with an unusual vigor that suggested they were doing all they could to make the label proud. That commitment wasn’t the only recurring thread either; nearly every single band played a new song or a song that hadn’t found official release (a trend that would continue to the next night’s showcase at Palisades). Washer got things started with a ferocious set that leaned heavily on new/unreleased material but still allowed “Joe“, one of 2015’s strongest highlight, to close their time out. Two Inch Astronaut followed in a similar manner, almost exclusively playing songs from their forthcoming record (which is being recorded right now) and locking into off-kilter grooves so tightly that their precision was nearly unsettling.
Grass Is Green re-emerged after a long dormant period, likely due to guitarist Devin McKnight’s commitment to two other acts affiliated with Exploding In Sound (Philadelphia Collins and Speedy Ortiz) and started slow but worked themselves into a fervor. After finding their strengths in the barbed dynamics and unrelenting guitar attack, the songs went from sounding placated to downright vicious and it was a thrilling transformation to watch unfold. It also set the stage for what was arguably the evening’s main draw: Pile. Last fall, I had the distinct pleasure of seeing Pile in Chicago while they toured on the 7″ that wound up topping this site’s list for the format and, as a result, knew exactly what the band were capable of delivering. Or at least I thought I did, until Pile went ahead and exceeded those expectations.
Over the course of what felt like a headlining set, Pile managed to whip the previously gentle crowd into a mad frenzy, with several people in the front having to brace themselves by pushing back on the stage to create a supportive balance. As the band had before- and as it always does on record anyway- “Special Snowflakes” (an easy contender for song of the decade) sent chills running down my spine on more than a few occasions, as did You’re Better Than This highlight “Mr. Fish“. By the time the band was signaled offstage, the majority of the crowd was in a state of rapture. Porches. brought the first night to a graceful close in a hail of light effects, their signature brand of pop (light and sensual), and conviction. All of the songs they teased from their forthcoming record easily ranked among their best work and as they were packing up, the entire room seemed more than a little satisfied.
The second night, held at Palisades, felt a little truer to the label’s grimier sensibilities and a DIY ethos was on full display throughout the night. To kick things off, Exploding In Sound presented one of their better coups: Palm. After Palm’s revelatory set at DBTS a few months back, anything less than spectacular would have been a disappointment but the band seemed even more masterful this time around, immediately eliminating any doubts. A live band through and through, they navigated every hairpin shift with an uncanny togetherness that bordered the telepathic. Unsurprisingly, it was a crowd-pleasing start and things only got more intense going forward.
Stove, a band born out of the ashes of Ovlov, took the stage next. While the current iteration of Stove features Washer as their rhythm section, the sound (understandably) veers closer to where Ovlov left off. With Steve Hartlett in command once again, the quarter offered up enough riches to constitute a treasure, from the micropop of “Stupider” to the sprawling track contained in the video embed beneath this post’s photo gallery. With several plans for a release (or a handful of releases) in the works, the band played like it was fighting for its life, providing for more than a few moments of genuine exhilaration. Towards the end of the set, Hartlett also ceded the spotlight to Washer, who played one of their songs with the benefit of a dual-guitar attack surrounding them in bass/vocals/drums mode. The set wound up being one of the strongest highlights of either night and all but guaranteed Stove as a name that will be appearing with an alarming regularity in the near future.
Hot off of a US tour with Basement in support of an extraordinary 7″, LVL UP took to the stage with an unparalleled hunger and seemed extremely intent on proving their worth. Opening with the live debut of a monstrous behemoth of a new song (again, included in the video embed below the photo gallery) that segued straight into “Ski Vacation” left most of Palisades sold out audience breathless- and likely more than a little speechless. Keeping up a pace that was dangerously close to reckless provided a handful of reminders of why the quartet’s become one of this site’s most celebrated bands. Even putting aside the top ranking that Hoodwink’d earned last year, the band continues to occupy a very niche space in an already niche pocket that directly correlates with what this site was designed to support. All of their best qualities were brought to the forefront on the Palisades stage and by the time everyone’s clothes had grown a shade or two darker in the sweltering heat of the venue, LVL UP had managed the impossible and endeared themselves even further to an already adoring crowd.
After a set that felt genuinely huge despite a mid-bill placing, it would be tough for most acts to follow up with anything worth remembering- but most acts aren’t Big Ups (a band whose shirts were being proudly worn by a few members of the bands playing the show). Of the 10 bands that played the first two nights, this was the one I was most excited to see, having never previously caught a set in person despite praising their live show a number of times via Watch This. Animalistic in nature and deeply impassioned in the throes of execution, Big Ups’ live show is nothing short of incendiary. Pair it with an obscenely strong discography that includes Eighteen Hours of Static, one of 2014’s finest releases, and the band’s a veritable Molotov cocktail. Tension and release, whisper and explosion, the band balances volatile dichotomies with ease and constantly hits their mark. A magnetic live presence carries them to the pantheon of today’s greatest live acts with ease and their set was a perfect example of how much they’re able to coax out of decidedly minimal trappings. By the time the quartet was letting their final bursts of feedback draw back to silence, they’d comfortably delivered another powerhouse set that would put most other bands to shame.
With all four bands racketing up the evening’s consistency level, a lot of pressure can fall on a headlining act. Then again, Exploding In Sound’s resources are surprisingly vast and its talent pool runs extraordinarily deep. Those resources and that talent pool also include Krill, who have steadily amassed a cult following and are enjoying a period of heightened interest and universal acclaim following their excellent A Distant Fist Unclenching. The trio had been in excellent form on both occasions I was fortunate enough to catch one of their shows earlier on in the year but something about this particular set felt different. The band’s been slowly working on new material as some of the members move from Boston to NYC and they used the occasion to showcase some of what they’ve been shaping while making sure to make enough space for recent career highlights like “Torturer” (their opener), “Brain Problem“, and “Tiger” (their closer). At one point, for a brief run of song, bassist/vocalist Jonah Furman swapped out his bass for a guitar (one that was immediately put through a rigorous effects setup) to add a new depth and several more layers of dimension to the band’s already impressive dynamic approach. In all, the set played like a greatest hits victory lap, with the band playing in a manner that felt deeply impassioned and incredibly alive. A triumph from start to finish, the band went above and beyond exceedingly high expectations to guarantee everyone that their headliner placement was the correct call.
Ten great bands, two great venues, and one incredible label all came together over the course of two days to create and support something that felt inherently special, something bigger than any one of its individual parts. A sense of camaraderie was constantly present, musicians from other internationally acclaimed bands drove several hours to see some of these shows and all of the most uplifting, prevalent themes seem to have carried all the way through the five-day weekend. While I can’t definitively speak to the final three nights, the first two reinforced every aspect of what makes Exploding In Sound such an incredible cultural institution. On top of all that, these first two nights felt like so much more than a night out with good friends listening to great music; this was something that had historical value. As is always the case with any of Exploding In Sound’s projects, it was an honor and a privilege to watch it in motion.
View a photo gallery of the show here and a video containing performances from each of the bands that played at Palisades. Enjoy.
Only a little past its halfway point, 2015’s already been an absurdly strong year for music. Numerically staggering, it’s yielded a handful of classics across a variety of genres and a plethora of outstanding small releases. While this mix skews more towards the latter than, say, Kendrick Lamar’s To Pimp A Butterfly, it’s still worth noting how kind this year’s release schedule has been across the board. To reflect on some of this year’s best offerings so far- and to celebrate this site’s 550th post- a mixtape’s been curated for your enjoyment. Nearly all of these songs and artists have been featured on the site previously, lending this particular mix a more retrospective feel than a few of the past entries in the mixtape series, but they’re all worth celebrating as much as possible. Ranging from folk and ambient flourishes to heavy 90’s influences to thoroughly modern post-punk to spritely basement pop, there’s an entry for just about every genre marker that receives regular coverage on the site.
So, without further ado, here’s a mixtape of some of 2015’s strongest highlights (at least so far, there are still quite a few promising items for the year’s latter half). The tracklist for 2015: Halfway Home can be found beneath the embed. Enjoy.
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1. Girlpool – Before The World Was Big
2. Waxahatchee – Under A Rock
3. Mean Creek – Forgotten Streets
4. Royal Headache – Hgih
5. Radioactivity – Pretty Girl
6. Diet Cig – Breathless
7. Washer – Joe
8. Courtney Barnett – Pedestrian At Best
9. Mikal Cronin – Made My Mind Up
10. Torres – Sprinter
11. Jason Isbell – 24 Frames (Live)
12. theweaselmartenfisher – Empty Bucket List
13. Pupppy – Puking (Merry Christmas!)
14. Christopher Paul Stelling – Dear Beast
15. Fraser A. Gorman – Shiny Gun
16. Young Jesus – Milo
17. Girls Names – Reticence
18. Institute – Cheerlessness
19. Happy Diving – So Bunted
20. Downies – Widow
21. Meat Wave – Erased
22. Connor La Mue – Stargazer
23. Bruising – Think About Death
24. Meredith Graves – Took The Ghost to the Movies
25. Yowler – The Offer
Tomorrow there will be a slew of posts and content that cover a large handful of notable new releases and semi-regular progress will continue (again, there will likely be a greater emphasis on live documentation in the coming weeks since it’s more readily accessible). Today belongs to a playlist that will run some time after this review (likely later on in the evening) and a show review of a packed bill that went down at Shea Stadium on Saturday night.
Unicycle Loves You, Mumblr, Leapling, Clearance, and Lost Boy ? all played impassioned sets and although I only managed to catch the tail end of Unicycle Loves You (the only band I didn’t manage to capture on film, an oversight I’ll be actively seeking to amend in the coming weeks), they’re a band worth recommending without any hesitation. Site favorites Mumblr— who played the only show this site’s ever presented [additional color: Ben Grigg from Geronimo! was also in attendance, wearing a Meat Wave shirt to round out the circle.]– drove from Canada to deliver a blistering set that leaned heavily on considerably noisier work than they’ve produced in the past. The dimly-lit setup proved restrictive for photography but all the lights were on for Leapling.
Playing a staggering amount of new material, Leapling seemed eager to test out their new songs and their focus seems to have sharpened in the brief interim that’s followed Vacant Page, a record that’s only been out for just over four months. Unfailingly sharp, the trio (a new lineup for the group) came off as having a practiced finesse and tapped into an exciting rawness when they embraced their noisier tendencies. Clearance would take the stage following Leapling’s run, further enhancing an off-kilter raucousness that Leapling had touched upon in their closing number.
The Chicago-based quartet leaned heavily on a Pavement influence to unusually exhilarating results, crafting something that nonetheless managed to feel like part of a unique identity. Scuzzy, surprisingly heavy, and just a little post-punk, Clearance have managed to cultivate a style of basement pop that translates perfectly to the live setting. Hitting all the right notes and building momentum as their set progressed, the band definitely left a mark on Shea Stadium and created a few converts in the process, all the while setting the stage for Lost Boy ?.
Following the unlikely saga of the 2014 tape release of Canned (I’m one of the few people that have stubbornly held onto an incorrectly sequenced cassette copy) with the official release of the record in 2015, Lost Boy ? have managed to keep their name in circulation for a while. If the record had been streaming at the end of last year, it would have been towards the absolute top of the specialty release list. A long-time favorite, the band delivered on every conceivable level with a high-energy set that made room to incorporate a few surprise guests (among them, Titus Andronicus’ Patrick Stickles and Eric Harm).
Partially a celebration for Cammed, the cassette release of the Canned demos, the band also revealed a few new songs that were delivered with the same kind of manic energy that characterizes the bulk of their discography. Played with a sly smile and no shortage of determination, it came off as a proper headlining set that a lot of people wished would just keep going. Even after the band made their stage exit following a fiery performance of “Taste Butter”, the night felt far from over (likely thanks to the energy incited by Lost Boy ?).
In the last surprise of the evening, those that stuck around and saw Lost Boy ?’s set through were rewarded with an impromptu Neil Young cover set that saw members of Lost Boy ? and Titus Andronicus teaming up for ramshackle takes on some of the songwriter’s early career highlights. As far as epilogues go, it felt fittingly communal; a moment shared between friends who were all pursuing the same common interest(s). After a long take on “Down By The River” that saw Stickles take over on bass duties- and absolutely go off on a few furious, fuzzed-out solos- the night had drawn to a conclusion that mirrored the preceding events; subtly chaotic, fairly unexpected, and just about perfect.
A gallery of photographs from each band can be seen below and a video player containing performances from Mumblr, Leapling, Clearance, and Lost Boy ? has been included beneath the gallery. Enjoy.
Another night, another absolutely stacked bill of site favorites. Last night, the always-reliable Exploding in Sound presented a smaller show at Alphaville, boasting a strong four-band line-up. Doubting Thomas Cruise Control, Lady Bones, Snoozer, and Painted Zeros (a band that includes a member of a recently-covered act) all played themselves into a sweat, with each seemingly determined to push the venues capacity for volume.
Doubting Thomas Cruise Control played first and their set proved to be a strong introduction to the band’s relatively subdued but occasionally explosive basement pop. With this being an Exploding in Sound presentation, the band’s frenetic songwriting approach was expected and a recurring theme throughout the night. Lady Bones, who have earned a lot of words from this site, responded with an exhilarating (and punishingly loud) set that continued to tip Dying towards a viable status as a year-end candidate.
After all of the smoke had cleared from Lady Bones’ set, Snoozer was up and tearing through everything with a charisma that was almost maniacal. As their set continued at a sprint, the complementary aspects of their pairing with Lady Bones were clearly evidenced in both their musical quirks and affinity for in-the-red volume. Easing the lineup’s sense of tension, they also delivered some deft, well-timed banter.
By the time Painted Zeros took the stage, the small (but appreciative) crowd had noticeably grown in size and they were rewarded with a memorable set from one of Brooklyn’s finest emerging acts. Leaning heavily on last year’s excellent Svalbard (an EP that very neIarly made it into this site’s list of last year’s 14 best and included “Too Drunk”, a song that came similarly close to making its way into the top songs list), the trio delivered their set with the kind of confidence usually found in a band that’s threatening “breakout act” status. If they keep delivering on the level they are, it’s a status they’re bound to achieve sooner than later.
Photos of the show can be seen below and a video (or two) of each band can be found in the player embedded beneath the photographs.
A few short days ago Aviv played host to one of Northside Festival’s most stacked showcases for one of Brooklyn’s most revered labels, Exploding in Sound, who were acting in collaboration with Gimme Tinnitus and Ipsum. Boasting no less than 10 bands, the showcase eventually transitioned into an endurance test that was made even more brutal by the severe humidity (as well as the seemingly continuous increase in attendance). Pairing those items with the fact that I hadn’t eaten all day meant- regrettably- being forced to miss the showcase’s latter half. All apologies to Wildhoney, Mannequin Pussy, Clean Girls, Sleepies, and Palm (each a fine band well worth seeking out).
While I didn’t stick the whole thing through my perseverance through the show’s first half was rewarded with strong sets from each band. Done and Nonsense immediately set about establishing a few of the lineup’s connecting threads, from off-kilter musicality to piercing volume to an unavoidable sense of subtle dread. Kindling (a band fronted by A Year’s Worth of Memories contributor Stephen Pierce) pushed the levels of deafening volume to their absolute limits during a gripping set that provided the perfect bridge between the first and last two acts of the showcase’s front half.
Both Kal Marks and Washer have received a fair amount of press from this site and were two of the showcase’s biggest draws. Neither disappointed. Kal Marks delivered a set that exhibited the band’s brutal strength and unfailingly bleak atmosphere- a very distinctive trait that remains unreasonably compelling. Deeply personal and deeply felt, their set was among the best I’ve seen this year. Not to be outdone, Washer came out of the gate swinging and had a neat trick up their sleeve. Frenetic and impassioned, their set was one highlight after the next, peaking with a surprise solo from Ovlov’s Steve Hartlett (Washer and Hartlett constitute the performing band for the latter’s current project, Stove).
Overall, the first half was an exceedingly impressive display for both the bands and the labels/publications involved in the showcase. By all accounts, the second half of the showcase kept the momentum’s pace surging forward. There’s no doubt in my mind that I’ll be taking advantage of future opportunities to cover each and every one of them at some point in the near future. Until then, enjoy a few photos and videos of Done, Nonsense, Kindling, Kal Marks, and Washer below.
Done
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Nonsense
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Kindling
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Kal Marks
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Washer
Heartbreaking Bravery 