[EDITOR’S NOTE: The images in the gallery are currently overlaying themselves. A fix is currently being worked on. Until then, the pictures can be viewed in static form over at flickr and the kaleidoscopic overlaps will remain in the gallery below.]
There are certain towns in Wisconsin that exist slightly off the beaten Madison-Milwaukee path but retain a sense of industry, rather than the sprawling scenery the state’s often noted for. Wausau is one of those towns. Farther North than most major show destinations, it’s managed to carve out its own little niche in terms of tour stops based on the strength of the venues. One of the city’s most noted non-house venues is the Polack Inn, a bar perfectly suited for DIY level acts.
Last Wednesday it was used to its fullest capabilities hosting We the Heathens and Midnight Reruns. The former acted as local support and played a lengthy well-received set which offered up an inviting blend of traditional Gaelic, folk-punk, and 90’s pop-punk. Each member of the Wausau power trio proved to have very capable control over their respective instruments (guitar, mandolin, and violin) and their audience. A late start saw much of the crowd dispersing after their set- which they’ll likely be kicking themselves for after learning what they missed out on.
Midnight Reruns, now comfortably positioned as one of Wisconin’s best acts (both in studio and live), played a typically incendiary set that featured no less than five new songs. It’s worth pointing out that after the last Midnight Reruns show in Stevens Point, a person close to the band noted that their new songs were “redefining the parameters of rock n’ roll”. That sentiment proved to be more true than expected, as the new songs ably merged distinguishing characteristics from the last handful of decades. A few of the structures were borderline progressive but overall, they gave off of a vibe more vintage 70’s (while remaining impossibly modern) than the 90’s powerpop that seemingly every review wastes no time administering. It’ll be interesting to see how the new material is met once it’s officially released, to say the least.
After a blitz through all that material (which made time to include several songs from their self-titled debut, which should be considered a state classic, and “Too Tall” from their Central Time EP), they packed up. Or, rather, they began to pack up until a friend of the band requested one last song: “Basement Guy”. No one could blame her for the request; any time there’s the potential for that song to be heard, that opportunity’s worth seizing. Her request was graciously obliged (under the warm, well-intentioned reasoning of “Guys, it’s Claire [requesting the song], come on.”) and the performance that followed can be seen below. It’s the first video to be put up under the now-officially-rebranded Heartbreaking Bravery video section and it’s impossible to imagine anything being better for a first entry.
Scan through the photographs and watch the video (select 1080p for best quality) below.
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.
On March 1, 2014, the entirety of Milwaukee was emitting a low hum- the result of hundreds of amps coming to life. There was the East Side Music Festival, which stood as a celebration of local music (Heartbreaking Bravery favorites The Sleepwalkers, Midnight Reruns, and The Midwestern Charm were all well represented), that spanned several participating venues and featured headlining sets from Why? and POS. Beach Patrol, Jake Simmons, and Tim Schweiger & the Middlemen were the bands making up a stellar bill over at Bremen Cafe, outside of the fest. Another non-fest show that was likely worth seeing had Ringo Deathstarr headlining Mad Planet. There was a show in seemingly every venue in the city- and Nervosas played two of them.
First up was a show in the basement of DIY library collective Center Street Free Space alongside Strange Matter and Crowdpleaser. After having some trouble with a faulty mic stand that essentially just gave out before Strange Matter began (both a cinder block and a weighted bucket were used as position anchors) the show started with an incredibly impressive set from Milwaukee hardcore veterans Strange Matter. After a few lineup changes and toting a new 7″, ennui actuation dissolver, the band was in fine form throughout a rapid-fire set. Blending all kinds of influences into a fairly original sound that leans heavily on hardcore, Strange Matter have built a strong reputation for themselves by virtue of their releases. If this show was any indication, though, their live show may have surpassed their recorded output in terms of quality- and that’s saying something.
Next to bat was Crowdpleaser, another Milwaukee band toying with genre limitations in slightly unexpected ways. Pushing their volumes to dangerous heights, the band played passionately and were genuinely excited to be sharing a bill with Nervosas. Their excitement was even more justified by the similarities between the two bands. Both Crowdpleaser and Nervosas share a similarly-mined strand of goth-punk that a lot of today’s bands can’t claim. There’s also a peculiar restlessness to be found in both bands’ music. Neither band is afraid of the unsparingly bleak, either. While there are more than a few differences between Crowdpleaser and Nervosas, and while there were a fair amount of technical difficulties, Crowdpleaser’s set felt like a completely natural precursor for the perpetually anxious Nervosas.
When Nervosas finally took over they did it with a manic determination that made their set one of the most cathartic experiences imaginable. Truly looking like that went both ways (band and audience feeding into each other on a barely-controlled loop) they grew progressively more intense as the set went on. Afterwards guitarist, Mickey, would reveal that she was trying to frantically keep up with the rest of her band who purportedly never play that fast. Whether that was a false claim is anyone’s best guess but at various points throughout the set, their drummer, Nick, would lose time and recover quickly with well-timed blast beats. All the while Jeff (their bassist and vocalist) would be careening through songs from the few outstanding releases they have so far, completely caught up in the moment. The only times the weirdly hypnotic and utterly dark spell was broken came when one of them would let the song get away from them (though they all recovered incredibly quickly) and not be able to help a smile. It’s impossible to gauge how long their set was as everyone was completely caught up in the moment, watching the band teeter on the edge of total collapse and reign things in at all the right moments. Making this even more memorable was the low turnout rate for the show- the benefit being that everyone who was there clearly cared enough to make sure that they were there so they could shout along “APAB” at all the right moments and support a band they loved. By the time the band finished tearing through a particularly rousing take on “Poison Ivy” nearly everyone that was present had likely already made up their minds to make their way over to the late show to see them again.
Between the end of the Free Space show and the start of the show at Quarters, a stop was made at Bremen Cafe in hopes to catch one of the three bands playing that night- while that proved to be an impossibility it’s worth noting that Jake Simmons, Tim Schweiger & the Middlemen, and Beach Patrol all come very highly recommended and wouldn’t have been missed any other night. By the time the short walk to Quarters was made, feedback was already ringing throughout the venue, a half circle had been formed in front of the stage, and Midwives were about to go off. Having just seen Midwives member Graham Hunt lead Midnight Reruns through another energetic set just a week prior it was nice to see him fully embracing the role of a hardcore guitarist, while it was nice to see Sahan Jayasuriya back behind a kit for a band he believes in. Both of them need the band for different reasons; for Hunt it’s the ability to cut loose and be as grimy as possible, something that fronting Midnight Reruns doesn’t afford him- and for Jayasuriya it’s both the advantage of input into creative control and the sense of connection that comes with being part of something from the ground up, instead of coming into the fold late (something he’s experienced surprisingly often).
It was evident throughout Midwives’ set how badly those points counted for them as they poured their fucking hearts into their set by attacking their instruments with the kind of brute force only found in the best hardcore bands. As both Hunt and Jayasuriya lost their respective minds on their instruments, their vocalist was stalking the hell out of the open space in front of the stage shouting for all his worth and their bassist kept everything in check by holding down his parts while furiously nodding his head along. Ripping through the songs from their vicious debut 7″ (they used the night to celebrate its physical release) and a whole lot of new songs (many of which will be appearing on the LP they’ll be recording this week), it started to feel like the band announcing a bigger kind of arrival. While their studio work is already enormously impressive (despite being only four songs), this is the kind of band that lives for a live setting- they didn’t disappoint and hopefully won’t be disappearing anytime soon.
After quite a bit of set up, take-down, and tuning, Technicolor Teeth turned up their amps to typically deafening volumes and greeted the audience with their shoegaze-heavy nightmare pop. Ever since first seeing this band a few years back and watching them evolve, it’s been clear that they’ve tapped into something inherently special. As they’ve progressed they’ve toyed with the boundaries of genre and exploited the buried aspects of a few different styles rather than settling for something as simple as revivalism. They’re pushing things in new and intriguing directions; finding a home in what was once considered a dormant style and looking forward instead of traveling back. Easily the night’s longest set, they nonetheless were as captivating as usual and likely won over anyone they hadn’t. While their set seemed to be heavy on newer material, it all clicked and felt coherent enough to keep the audience interested despite being a band who’s prone to playing up a drowsy-high aesthetic. There were a few blinding flashes of energy that helped push that along and as a collective unit, the band played close to flawlessly, wrapped up in a weird kind of power approach. A large part of the credit for this is likely due to drummer Amos Pitsch (who uses his time outside of the band to do things like front Tenement) who continues to operate on an almost obscene level of musicality (so much so that it prompted a well-intentioned and sarcastic “Thanks for drumming before me, Amos. That sucked.” from Nick) and provides the band with a considerable punch. In any case, Technicolor Teeth played like they meant it and is a must-catch prospect- they’ll be playing the Accidental Guest Recordings showcase at SXSW, don’t miss it.
After Technicolor Teeth wrapped up and everyone assessed their levels of hearing damage, Nervosas set back up for a final run. Only this time, it wasn’t to 15 people- it was to a packed bar that was threatening to close in on max capacity. As a result, the energy level of the decidedly frenetic show at Free Space somehow got kicked up a few more levels. This time, the audience wound up begging the band for an encore that they never got; and that was alright- Nervosas seemingly left every inch of themselves on that stage. Absolutely ripping through highlights from their best-of-decade worthy self-titled like “Less Than Human”, “Viva Viva”, “Extinct Species”, “Waste of Time”, and (once again) “Stellarcore”, “Poison Ivy” and “APAB” along with some deeper cuts like Rev 45 lead-off track “Junky”. All of this was performed as wild-eyed as possible, with each member being almost inhumanly committed to delivering their songs at maximum levels of impact. None of the three could stay still even between songs, feet tapping and bodies swaying back and forth, anxious to jump into whatever was next. During the songs, that restlessness was even more present as the band would literally throw themselves from side to side (and into the walls on more than one occasion), while attempting to keep themselves in control of the music. Their levels of success on these levels were improbable, as all of the things apart from the audience size were both duplicated and maximized from their set just a few hours before. By the time the calls for an encore were hitting their peak, the band was onstage, packing up, absolutely spent. They’d made their mark and knew their was nothing left to possibly be given.
As the show turned into an afterparty with the assistance of Rio Turbo, friends old and new caught up, got drinks, and found their way into dances, conversations, and the streets. Everyone buzzing on the adrenaline high that accompanies the truly great shows. Everyone that played caught up with each other and their admirers, gave their thanks to each, and bought or traded merch before heading off. Now that all the smoke’s cleared, all that’s left to do is keep both eyes peeled for the next time Nervosas show up- because if these shows were any indication, this is a band that should never be missed.
A few photographs from the shows can be found below.
Another year comes to a close and offers up a luxury; a chance to go back for looks at videos this site never got to cover because it came into existence far too late. In this week’s addition of Watch This, all of the videos featured are standout takes from earlier on in the year that deserved a spotlight they weren’t able to receive the first time around. So, take a break between football games this Sunday and give these a watch; they’re all worth it. Regularly-scheduled time-sensitive posts will resume on Watch This next Sunday. Until then, enjoy some of the best live videos that 2013’s first stretch had to offer.
1. Savages – Husbands (KEXP Session)
Savages landed in the US with a considerable amount of fanfare, a lot of which can be attributed to stunning live performances like this take on Silence Yourself standout “Husbands” for KEXP. The decision to release the clip in black-and-white only furthered the band’s sense of mystery (and aggression). There may not have been a better KEXP session all year.
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2. The Frankl Project – Dissatisfaction at its Finest (Blue Recipe Radio Session)
One of the year’s most pleasant surprises came from a small Cincinatti power trio that were once considered to be more ska than anything else. The Frankl Project’s Standards is a testament to DIY ethics and self-reliance. Additionally, it happens to be one of the better records of 2013 and possibly the best the pop-punk genre had to offer. This Blue Recipe Radio Session included two other standouts (“My Hands” and “Alive on the Road”), so be sure to give all three a watch- it’s passionate, exhilarating material.
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3. Amanda Shires – Bulletproof (Rhythm N’ Blooms)
A wildcard among this deck, Amanda Shires’ “Bulletproof” earns its spot on the strength of the second verse alone. What starts off as an ostensibly twee tune about a good-luck charm suddenly turns dark and examines humanities darkest tendencies; a desire for exploitation, violence, and empowerment. When Shires (now officially Amanda Isbell) hits the line “bring out the switchblades”, after a brief pause, it’s delivered with such a frightening amount of verve that it’s hard not to be completely taken. Definitely a talent to watch.
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4. Mozes and the Firstborn – Time’s A Headache (Live at Biscuit Studios)
There may not have been a better live video that Heartbreaking Bravery encountered all year. It’s not much more than the band playing a standout cut from their self-titled debut effort in a basement but holy hell, do they ever play that song. The young Antwerp hell-raisers lay into “Time’s A Headache” with everything they’ve got to the delight of the crowd gathered around them in the basement where this was shot. There were a myriad of discoveries to make in 2013 but Mozes and the Firstborn (and this video) were among the very best of the “hidden gems” category.
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5. Midnight Reruns – Grand Slam / Basement Guy (TCD’s Take One Session)
This marks the third time Midnight Reruns have appeared on a Watch This and it’s very unlikely it’ll be the last. This band simply isn’t getting the recognition it deserves and anything this site can do to further their exposure, it will do. ThirdCoastDigest started a video series earlier on this year called Take One where local area WI bands play an acoustic version of a song or two for their cameras; despite outstanding efforts from the likes of Midwestern Charm and Vic & Gab, the most intoxicating session belong to Milwaukee’s Midnight Reruns. “Basement Guy” and “Grand Slam” both take on noticeably different forms from their LP versions and are just as strong, if not stronger, for it. Get a jump on the inevitable and stop sleeping on these guys- they’re a band worthy talking about as early as possible.
Eagle-eyed readers will remember this record being mentioned back in the Midwives review/stream and that the mention came with a guess. This guesswork has now been confirmed. Midnight Reruns is out today and officially stands as one of the years best. Marrying The Replacements at their most energetic with the melodic sensibilities of the most memorable 90’s powerpop and a whole lot of explosive fretwork’s a tricky formula to pull off. Luckily for everyone involved, Midnight Reruns step up and knock it out of the park on their first major at-bat. Stream it by following this link to Punknews and adjust any year-end lists accordingly.
Milwaukee’s Midnight Reruns are set to unveil their debut LP next week and it’s likely to be one of the year’s best. Don’t let that serve as a distraction from Rerun’s frontman Graham Hunt’s other project, the equally attention-deserving hardcore act Midwives. After releasing a self-titled five song EP digitally through Bandcamp only a little over a month ago, Direct Current records will be pressing 7″ copies as their very first release. It’s one hell of a first release for both parties, occupying a space that falls somewhere between OFF! and Pissed Jeans.
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Hunt’s vicious guitar work here is matched in intensity by his bandmates’ respective performances. Blood is shed. The whole thing’s over in seven exhilarating minutes. With each track coming in at an average of only slightly over a minute, there’s no time to breathe. Midwives manage to execute on each of these tracks, going 5-for-5 on their first outing.
Midwives’ unfiltered frustration may be their most defining characteristic, coming to a head in “Twinkie” at the EP’s midway point amid repeated cries of “I can’t take this.” Their most valuable asset, however, surfaces in the inventive final minute of “Debonair”, which finds the band slowing down and descending into a gently chaotic pattern that’s somewhat reminiscent of the expansive instrumental pieces on Fucked Up’s The Chemistry of Common Life. “Debonair” giving way to new stylistic elements as the EP bows out suggests new and exciting possibilities for Midwives’ sound, which sets them up nicely and elevates anticipation for what they’ll manage with any follow-up’s.
From the pummeling “White Whine” through to those final quietly unnerving moments, there’s never a dull section. Midwives’ introduction piece should be an equally strong start to Direct Current’s operations. Both the band and the label seem well worth keeping tabs on. Add this to Perfect Pussy’s I have lost all desire for feeling, Pharmakon’s Abandon, and LVL Up’s Extra Worldsas one of the year’s best EP’s. Keep an eye out for the physical release and stream it below.
Heartbreaking Bravery 