One thing that this site has strived to maintain is its own visual aesthetic. While it’d be impossible to find a photo in the archives for every given band that headlines a post, an original photo will be posted anytime the opportunity presents itself. Upgrading cameras halfway through the year provided a bevvy of new opportunities and the subsequent implementation of a more photo-centric presence. That’s not by mistake. Photography (especially event photography) has always been an important crux of multimedia journalism. It can be a way to implicitly (or explicitly) convey some of the more minute details of a singular moment to a reader- or it can simply act as an intriguing supplement.
Those were just a few of reasons that went into the decision behind a headfirst dive into photography investment (on both a personal and public level) and factored into why one camera or another was brought along to every show this site covered in the past year. Now, with 2015 just around the corner, seemed like as good a time as any to showcase a few photographs from the past 12 months that stood out as personal favorites. Since there are a few too many to go up all at once, they’ll be posted at random as part of installments that will run from now to the start of January. Most of these shots have been published on the site before (or on The Media), though there are a few that will be appearing for the first time.
Pt. 5 will be the final installment of this series and the preceding galleries can be accessed via the links directly below. Enjoy!
One thing that this site has strived to maintain is its own visual aesthetic. While it’d be impossible to find a photo in the archives for every given band that headlines a post, an original photo will be posted anytime the opportunity presents itself. Upgrading cameras halfway through the year provided a bevvy of new opportunities and the subsequent implementation of a more photo-centric presence. That’s not by mistake. Photography (especially event photography) has always been an important crux of multimedia journalism. It can be a way to implicitly (or explicitly) convey some of the more minute details of a singular moment to a reader- or it can simply act as an intriguing supplement. Those were just a few of reasons that went into the decision behind a headfirst dive into photography investment (on both a personal and public level) and factored into why one camera or another was brought along to every show this site covered in the past year. Now, with 2015 just around the corner, seemed like as good a time as any to showcase a few photographs from the past 12 months that stood out as personal favorites. Since there are a few too many to go up all at once, they’ll be posted at random as part of installments that will run from now to the start of January. Most of these shots have been published on the site before (or on The Media), though there are a few that will be appearing for the first time. Enjoy!
One thing that this site has strived to maintain is its own visual aesthetic. While it’d be impossible to find a photo in the archives for every given band that headlines a post, an original photo will be posted anytime the opportunity presents itself. Upgrading cameras halfway through the year provided a bevvy of new opportunities and the subsequent implementation of a more photo-centric presence. That’s not by mistake. Photography (especially event photography) has always been an important crux of multimedia journalism. It can be a way to implicitly (or explicitly) convey some of the more minute details of a singular moment to a reader- or it can simply act as an intriguing supplement. Those were just a few of reasons that went into the decision behind a headfirst dive into photography investment (on both a personal and public level) and factored into why one camera or another was brought along to every show this site covered in the past year. Now, with 2015 just around the corner, seemed like as good a time as any to showcase a few photographs from the past 12 months that stood out as personal favorites. Since there are a few too many to go up all at once, they’ll be posted at random as part of installments that will run from now to the start of January. Most of these shots have been published on the site before (or on The Media), though there are a few that will be appearing for the first time. Enjoy!
One thing that this site has strived to maintain is its own visual aesthetic. While it’d be impossible to find a photo in the archives, an original photo will be posted anytime the opportunity presents itself. Upgrading cameras halfway through the year provided a bevvy of new opportunities and the subsequent implementation of a more photo-centric presence likely showed. That’s not by mistake. Photography (especially event photography) has always been an important crux of multimedia journalism. It can be a way to implicitly (or explicitly) convey some of the more minute details of a singular moment to a reader- or it can simply act as an intriguing supplement. Those were just a few of reasons that went into the decision of photography investment (on both a personal and public level) and factored into why one camera or another was brought along to every show this site covered in the past year. Now, with 2015 just around the corner, seemed like as good a time as any to showcase a few photographs from the past 12 months that stood out as personal favorites. Since there are a few too many to go up all at once, they’ll be posted at random as part of installments that will run from now to the start of January. Most of these shots have been published on the site before (or on The Media), though there are a few that will be appearing for the first time. Enjoy!
When Radiator Hospital announced Milwaukee as a stop on their tour, not going wasn’t an option. After all, Torch Songhas had more plays this year than just about any other record from 2014 so far. “Cut Your Bangs” was a personal pick for “song of the summer” and more than earned it’s inclusion in this site’s summer songs mixtape. They’re a band that embodies next to everything that’s worth celebrating about the DIY ethos in punk-leaning independent music (something that was touched on by the band directly with their attached note in The Media premiere of their “Bedtime Stories” music video). As if that wasn’t enough, Radiator Hospital also gets to claim Jeff Bolt (who also drums in site favorites Swearin’ and runs Stupid Bag Records– also a site favorite) as a member.
After the two and a half hour drive down to Milwaukee, it didn’t take too long for the night’s plans to be set into motion. While Radiator Hospital was the priority, there was a late show happening across town at Boone & Crockett featuring an Ian Olvera solo set and semi-recent Watch This honorees Lee Bains III & The Glory Fires. Having never been to Cocoon Room or Boone & Crockett it was difficult to know what to expect but both proved to be intriguing venues that’ll likely warrant repeat visits. Cocoon Room came across as a small DIY art gallery and had already set their bill into motion with a welcoming set from King Courteen shortly after the projected start time. Due to a late arrival, there were only a few King Courteen songs that managed to be taken in but from those alone, it was easy to see a very distinct, considerable talent- one that’ll likely be around a while.
During the last moments of King Courteen’s gripping set another thing became abundantly clear: thanks to how dimly-lit Cocoon Room was, it was going to be very difficult to shoot the bands playing. King Courteen proved impossible and it didn’t seem like that’d be changing for any of the following acts. Radiator Hospital wound up playing second, allowing Lousy Trouts the final slot and it didn’t take them long to lament the lack of light, either. After bluffing her way through a guitar solo while laughing to herself, Cynthia Schemmer smiled and offered up the fact the band usually plays in more light- which probably should have been seen as a subtle plea to get a few additional bulbs turned on- but things stayed the same. Not that it detracted from much of anything as Radiator Hospital blazed through a 9-song set that leaned heavily on the best moments of Torch Song (“Cut Your Bangs”, “Five & Dime”, “Leather & Lace”, etc) while still making room for the deserves-to-be-considered-classic “Our Song”.
If the lack of light didn’t affect them too much outside of Schemmer’s ridiculously fun solo, it was a little bit disheartening to hear that Cocoon Room was dealing with a shot speaker cable, forcing the mix to one side- which meant sacrificing a fair bit of bandleader Sam Cook-Parrott’s vocals. Even with that factored in, Radiator Hospital played with more conviction than most bands manage in perfect circumstances. Bolt was as on point as ever, Schemmer and Cook-Parrott both put next to everything they had into their playing and singing, and bassist Jon Rybicki (whose recent record as Attendant earned a lot of love here) played as emphatically as possible, providing the songs with an extra bit of punch. Both the audience and the band seemed to be enjoying themselves, which isn’t always the case- but that night everyone operated under the understanding that great music deserves attention, applause, and praise. Even with the dim lights and PA issues, it was a memorable experience and an impressive set- one that ensured Radiator Hospital a position on the “can’t-miss” list for live acts.
After Radiator Hospital wrapped up, the venue got a little too crowded a little too quickly and the heat became too much, so (after some time spent catching up with the members of Radiator Hospital outside the venue), it was off to Boone & Crockett for Sub Pop signees Lee Bains III & The Glory Fires. While arriving late meant having to miss Ian Olvera (who also fronts The Sleepwalkers), it’s a safe bet that he put on a great set that probably shouldn’t have been missed- and if Lee Bains III & The Glory Fires’ first half of their set was as incendiary as the back stretch, then the same can definitely be said for them. Bains and his band play a ferocious strand of southern rock that embraces a manic punk energy, allowing each individual member to fly off the handle at will. It took less than two seconds of being in the venue to see Bains jump off the stage and barrel his way into the audience before jumping back up and taking a perch on the bass drum- before falling to the floor and punching a malfunctioning pedal. That string of actions set the tone for what was to follow, as the band tore through song after song and ripped through a wide-reaching selection of riffs and solos while working themselves into an intense sweat. There were no sections where they lost pace or momentum and by the time they finished, it felt like the room (a small bar that specializes in mixology) had just sustained an atomic blast… and the band was only playing with their “little” amps. It wouldn’t have been surprising if the following night saw them burning Green Bay’s Lyric Room to the ground. Currently, they’re getting set to embark on a tour with Southern stalwarts Drive-By Truckers and that’s a bill that needs to be taken advantage of, if at all possible. Keep it in mind.
All in all, it was a night of great music and impressive lyricism (especially in the case of Radiator Hospital, whose Torch Song boasts some of the strongest writing of the year) that showcased how vital Milwaukee is to fostering independent-minded music. King Courteen displayed promise, Radiator Hospital solidified their on-the-rise position with a vicious authoritativeness, and Lee Bains III & The Glory Fires proved that they weren’t an act to be trifled with using as much wild-eyed intensity as humanly possible. And, on nights like those- especially when they’re spent with good friends- it’s impossible not to fall in love with music all over again.
Due to the lighting at each venue being very limited, there weren’t a lot of photos worth posting but a small handful is better than nothing. View those below and videos of Radiator Hospital and Lee Bains III & The Glory Fires beneath the gallery.
[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.
After The Midwestern Charm was able to secure a last-minute spot on an already stacked lineup at Green Bay, WI’s Crunchy Frog, there was no excuse not to go. All of the right ingredients were there for a memorable night: four of Wisconsin’s best bands at one of the state’s best venues. All that was really left to do was see if the show would live up to the expectations. That The Midwestern Charm, Beach Patrol, Midnight Reruns, and Space Raft exceeded those lofty expectations didn’t come as a surprise, though each of their sets packed a few. The Crunchy Frog, as always, managed to near perfection with the sound levels for each band as they tore through their sets.
The Midwestern Charm kicked things off in typically rousing fashion, with longtime drummer Ryan Gracyalny back behind the kit after a move to Florida, delivering their skewed basement pop with some subtle venom escaping through a half-grin. Bandleader Connor S. La Mue continues to be one of the more engaging stage presences in the state, managing to come across as both ragged and controlled in equal measure. Lead guitarist Ryan McCrary took a turn at the mic as well, adding a new dimension to a band that continues to evolve and impress at a stunning rate. By the end of their set, they’d set a fairly high bar for what would prove to be an outstanding night.
Beach Patrol were next to take the stage and were back to their original lineup. After several years and three fairly extraordinary records (It’s Only Greener ‘Til You Get There, Riding Dinosaurs, and Daytime Highs, respectively), the band hasn’t lost a step. On the verge of releasing their fourth, the band spread out their material fairly evenly among their discography. At one point, the band was even joined by Jordan Davis (the guitarist/vocalist of Space Raft) for a number that Davis wrote and had played with the band previously. It was a small moment of camaraderie that defined the night; this wasn’t just another night out with great music- it was a shared experience among a group of close-knit friends. That same familiarity factored heavily into Beach Patrol’s entire set, from their opening Tom Petty cover straight through to their obliging of a request for the hardest-charging song from their first record.
After Beach Patrol had run through a set that hit all the right notes while still maintaining a fairly casual (and welcoming) feel, the stage was set for Midnight Reruns. Now, what Midnight Reruns are capable of pulling off in a live show has already been covered here in some detail but, like The Midwestern Charm, they’re evolving and improving at a rapid pace. That’s no small accomplishment for a band that, one record in, is already responsible for some of the best songs to have been produced by the state of Wisconsin this decade. From an incendiary cover, to Karl Giehl’s memorable outing as a vocalist, to all of the should-be-classic set staples (“King of Pop”, “Summer Smoker”, “Basement Guy”), the band was in rare form. Best of all, though, were the new songs- among them are some of the band’s most challenging- and some of their most direct- material to date. One, in particular, is an earworm-heavy monster with a “na na na” chorus that has the potential to carry them to new levels of name recognition. As the dual-guitar fury of “Basement Guy” brought things to a stunning end, it was difficult to not want more, once again, proving that this is a band that’s got unlimited potential- and they’re only just getting started.
Space Raft has been riding a wave of acclaim since releasing their self-titled debut back in May on the consistently brilliant Dusty Medical Records and had very little to prove. Thankfully, they didn’t play their set with that mindset, laying just about everything they had on the line. Thanks to guitarist/vocalist Davis’ time in Mystery Girls, the band’s already connected to one of the more memorable post-2000’s bands and, among the four members, share a wealth of experience on the live circuit. There were no false notes, no wrong moves, and each song carried both the pace and momentum of their set, essentially becoming a masterclass in the minutiae of consistency. After they’d played a handful of songs from their record- and a few new ones- the crowd begged for an encore and the band obliged that investment by delivering one of the night’s single most blistering performances, providing a fitting end cap to a night full of good friends and great music.
Below is a photo gallery of each band that played the show. None of their live sets are worth missing. Videos are forthcoming. Enjoy.
Over the past few years Milwaukee-via-Oshkosh act The Midwestern Charm have gone through their fair share of changes. Most immediately evident, though, is the fierceness that characterizes their just-released sophomore full-length, Growing Pains, that was almost entirely absent from their self-titled debut. Trading a prominent Ryan Adams influence in for a sound more indebted to The Lemonheads was a move that paid off, as Growing Pains is easily the band’s finest material to date. While the whole record’s worth several spins, it’s the lead-off track that really stands out.
“Bloodbath”, more than any other song on Growing Pains, is indicative of what the band’s like in a live setting; relatively unhinged, not afraid of feedback, and unashamedly ragged. All of it’s anchored by an emphatic vocal performance from bandleader Connor S. La Mue, whose frequently trenchant lyrics help elevate The Midwestern Charm past a lot of their would-be peers. While it did take La Mue years to settle on finalized lyrics for “Bloodbath”, there was never a bad version of the song. As the band evolved over time, so did “Bloodbath”, with special attention being paid to Ryan McCrary’s searing lead guitar work. Ultimately, the song wound up not just being a personal best for the band but one of the best songs to come out of WI this year (incidentally, a few members of The Midwestern Charm are also directly responsible for a few other truly great WI-based songs from this year thanks to their status as members of The Sleepwalkers). “Bloodbath” is basement pop at its finest.
Listen to “Bloodbath” below and make sure to catch The Midwestern Charm live as soon as humanly possible (a list of tour dates can be found here).
[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.
[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.
Heartbreaking Bravery 