[EDITOR’S NOTE: Apologies for what’s been the longest content delay since the site started. Heartbreaking Bravery’s forthcoming NXNE content should both explain my absence and- hopefully- make up for the lost time.]
The Midwestern Charm have officially made the move from Oshkosh to Milwaukee and are preparing to release their new record, Growing Pains, which is an absolute scorcher of a follow-up to their much softer debut. In celebration of this fact, they’ve put together a trailer that includes tour dates, a few snippets of standout “Bloodbath”, and the same humor and spirit that was so prominent in The Sleepwalkers’ (their brother band) video for “Come Around“. Having heard an advance and been privy to the development of Growing Pains, it’s an honor to run this short teaser here. It’s a monstrous record that mixes a perfect selection of genre tendencies (powerpop, basement punk, noise, etc.) and something that’s entirely their own. The whole thing is a monumental stride forward for the band and deserves to be celebrated.
While the video may be willfully modest and intentionally goofy, Growing Pains is a masterfully produced and surprisingly mature record that will likely wind up as a personal selection for one of 2014’s very best. Watch the video (keep an eye out for the perfect full-room smash cut) below and bandleader Connor S. LaMue playing stripped-down version of Growing Pains‘ two lead-off tracks for the always-reliable Third Coast Digest here.
Pay close to attention to those tour dates and catch them live at all costs.
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.
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.
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.
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).
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.
Ever since Perfect Pussy released I have lost all desire for feelingthey’ve endured a level of scrutiny that’s generally given to bands who are several records removed from their debut demo (it’s next to impossible to stress enough how insane that is, especially considering this is a band operating on the fringes of hardcore). Since then, they’ve lit off a firestorm of opinions, played as fiercely as possible, released an extraordinary preview track of what promises to be an incendiary LP, a music video for I have lost all desire for feeling‘s lead-off track that was nothing short of life-affirming, and vocalist Meredith Graves was even kind enough to grace this very site with a characteristically revealing interview. As a result of this kind of whirlwind production (not to mention filling a select few LP’s with Graves’ actual blood), all eyes have been fixed on them, curious as to what they’ll do next. For now, the answer is the same as it’s likely to always be; subvert expectations.
Everything the band’s released up to “Interference Fits” has been balancing a duality between chaos and vulnerability, always leaning towards the former. “Interference Fits”, likely the upcoming record’s centerpiece, flips the script so adeptly, it’s honestly difficult to imagine the band in any other mode. From the undeniably gorgeous slow-building introduction to the moment of euphoric explosion following Graves’ disarmingly emotive shout of “since when do we say yes to love?!” there’s not a moment here that falls short of utterly, almost frighteningly, captivating. The song’s ultimately one of the best uses of the tension/explosion dynamic this side of Nick Cave & the Bad Seeds and full of a transcendental freedom that accompanies the kind of unassailable honesty the band traffics in. That the song’s closing moments are full of feedback isn’t a mistake either; it’s the calm after a storm of genuine self-evaluation- an epilogue to the manic run-through of the Important Questions. In all, “Interference Fits” is easily one of the best songs to emerge from 2014 and even more reason to look forward to Say Yes to Love (pre-order here). Do not miss this.
“Interference Fits” can (and should) be heard over at NPR and a live user-shot performance clip of the song can be seen below (thank you for shooting and uploading, loopyvids).