Over the first course of the year, I’ve made several major life decisions with the largest being a move to Brooklyn. Saving up for that paired with a work schedule that at one point had me logging roughly 75 hours a week meant sacrificing a lot of the things I love. None of those things hurt more than the severely limited number of shows I was able to attend. However, it was likely that same scarcity that made the shows included in this piece so memorable. From conducting an artist profile on Johanna Warren for Consequence of Sound (where a few of these photographs were first printed and where you can also find auxiliary video of Warren performing) to finally seeing a few site favorites- like Saintseneca, Krill, and Vacation- for the first time after years of waiting.
While it may not be much, this is still a collection that has deeply personal value. It’s a reflection of a region I called home for the entirety of my life and it’s a place I will miss when I leave it in just over a week. I’ll always be grateful that I was provided the opportunities to attend the shows contained in the multimedia portion of this post- and for the friends I made who were connected to those shows in literally any way. Writers, bands, editors, promoters, venue owners, label execs, or even just fans, they helped make some of these places feel like home. So, take a trip below with shots (and some videos) of: NE-HI, Oozing Wound, Protomartyr, Perfect Pussy, TRITA, Disasteratti, Buildings, Adron, Johanna Warren, Mutts, Two Inch Astronaut, Krill, Speedy Ortiz, Fox Face, The Midwest Beat, Mexican Knives, Vacation, FIDLAR, METZ, Saintseneca, and Murder By Death. The regional focal post of Heartbreaking Bravery may be shifting drastically in the months to come but a large part of its heart will always be lodged in the Upper Midwest.
Familiar faces. Single Songs. Full sets. New bands. It’s been 15 weeks since the last Watch This ran on this site and that’s far, far too long. To help get things up to date, the next three days will see a trilogy of video mixtapes containing 25 of the best live clips to surface from 2015 so far. Next week, the installment will resume its normally paced functions- but for now, clear out some time and get lost in the exciting performances compiled in the embed below. Lean back, turn the volume up, breathe deep, and Watch This.
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1. Waxahatchee – Under A Rock (Pitchfork) 2. Tenement – Dreaming Out Loud (Don Giovanni Records) 3. Crying – Sick (BreakThruRadio) 4. Beach Slang (NPR) 5. Speedy Ortiz – The Graduates (Pitchfork) 6. Francisco the Man – In the Corners (Audiotree) 7. Single Mothers – Overdose (Radio K) 8. Sleater-Kinney – Modern Girl (Sound Opinions) 9. Nude Beach + Jody Stephens – My Life Is Right (Don Giovanni Records) 10. Mutts – Five of a Kind (Audiotree) 11. Sun Club – Beauty Meat (Audiotree) 12. Crow Bait – Separate Stations (Don Giovanni Records) 13. Courtney Barnett – An Illustration of Loneliness (Sleepless in New York (Pitchfork) 14. Matthew E. White – Rock & Roll Is Cold (The Current) 15. Makthaverskan – Witness (Pitchfork) 16. Chief Scout – Rollercoaster (Audiotree) 17. Mal Blum – San Cristóbal (Don Giovanni Records) 18. DYGL – Let’s Get Into Your Car (Out of Town Films) 19. American Aquarium – Losing Side of Twenty Five (Jam in the Van) 20. Charles Bradley – The World (Is Going Up In Flames) (Coachella) 21. Sue the Night – The Whale (3FM) 22. Kevin Devine – Bubblegum (Little Elephant) 23. Ride – Vapour Trail (Coachella) 24. The Dodos (KEXP) 25. Cloakroom – Lossed Over + Moon Funeral (Little Elephant)
Chicago trio Mutts have been steadily building a deeply impressive resume for over five years. Each time the band steps up to the plate, they improve on their previous best- leaving 2013’s extraordinary (acoustic-based) Object Permanenceas their current high-water mark. As unlikely as it seems considering Object Permanence‘s unfailing grace, the record they’re about to release- Fuel Yer Delusion vol. 4– may surpass it to take up the mantle of career-best. “Everyone Is Everyone” kicked off the pre-release roll-out for Fuel Yer Delusion vol. 4in exhilarating fashion with bandleader Mike Maimone passionately dismantling the politics of negative slurs- a stance that takes on a much more personal meaning considering Maimone spent the last few records grappling with the anxieties and emotional releases that accompanied his decision to come out.
“Black Ties & Diamonds” may not be as fiery as its predecessor but it’s just as- if not more- immediately gripping. Easily the band’s most atmospheric moment to date, “Black Ties & Diamonds” is as fire-and-brimstone as it is smoky haze, a classically noir-ish retreat down a murky riverbank. It’s an entirely new look for Mutts and one that suits them so naturally that it’s easy to forget their standard mode is blistering blues-infused noise-punk. As always, Maimone’s lyrics and keyboard work are just as sharp as Mutts’ rhythm section (which is made up of drummer Chris Pagnani and bassist Bob Buckstaff, respectively)- adding to their easily posited claim as one of the tightest units in the upper Midwest.
In lyric copy, “Black Ties & Diamonds” becomes a total deconstruction of a myriad of events, eventually revealing itself as a collection of vignettes that illustrate the trials of life’s overwhelmingly mundane nature. There’s a melancholic nature permeating throughout the track, accentuated by organ stabs, mood-heavy drumming, and frighteningly intuitive bass work. Musically, this veers far closer to the realms of Nick Cave & the Bad Seeds than the usually inevitable Tom Waits comparison the band’s so frequently earned in the past. It’s a complete anomaly in the band’s catalog; a minor headphones track in a sea of turned-to-11 explosives.
Production-wise, “Black Ties & Diamonds is the best Mutts have ever sounded electric- something that holds true for the rest of Fuel Yer Delusion vol. 4. This is a record that’s layered, sequenced, and mastered to perfection, with “Black Ties & Diamonds” standing out as the definitive track. Mutts aren’t done experimenting, moving forward, challenging themselves, or progressing. Not by a damn sight. “Black Ties & Diamonds” cements this as inexorable proof in stunning fashion, playing directly into the commendable ethics of one of America’s hardest-working bands. Don’t be too surprised to see their name starting to fight its way into regular conversation- and don’t make the mistake of ignoring something as subtly haunting as “Black Ties & Diamonds”.
Mutts will be throwing an LP release party for Fuel Yer Delusion vol. 4 which will be presented by Gapers Block and feature additional performances from Archie Powell & the Exports, The Kickback, and Pop Goes The Evil. This will take place on December 6 at The Metro. 8 pm. $12 at the door and $8 in advance. Don’t make the mistake of missing this one.
Stream “Black Ties & Diamonds” below and make sure to pick up Fuel Yer Delusion vol. 4 as soon as possible.
Noisy blues-punk trio Mutts have had a very peculiar career trajectory. Building up a healthy amount of support in their hometown of Chicago while winning over countless others on the back of a relentless tour schedule, they’ve become another reason to celebrate the Midwest. Releasing a full-length a year since 2011’s Pray for Rain, they’ve managed to sustain an astoundingly prolific pace without losing any of their impact or hindering a natural musical progression. As a result, their last effort- 2013’s Object Permanence– wound up being their strongest (and bravest) release to date. A lot of Mutts’ recent material has hinged on pianist/vocalist Mike Maimone’s decision to come out, rendering a lot of the band’s lyrics devastatingly intimate and intensely personal. While their upcoming Fuel Yer Delusion, Vol. 4may shy away from the early Tom Waits lounge-stylings of Object Permanence, the lyrical (and musical) aggression of the band’s earlier works are given a fierce emphasis.
That retained fierceness is probably most evident on the ragged, confrontational “Everyone Is Everyone”, which features Maimone tearing into the politics of equality and derogatory terminology with everything in his arsenal. As always, the rhythm section of Bob Buckstaff and Chris Pagnani prove that they’re one of the more formidable tandems in music. While it’s not a surprise that “Everyone Is Everyone” is a monstrous slice of revved-up blues-indebted noise-punk, what is interesting to note is the psychedelic strain that courses through the song’s veins. It’s a particular influence that’s been ingrained into the Mutts’ DNA for some time but this is the first time that it’s been displayed so prominently. That psychedelic influence helps define Fuel Yer Delusion, Vol. 4 and is an incredibly natural fit for the band, who will be self-releasing that record on December 9- and they’ll be having a Gapers Block-presented party a few days beforehand to celebrate the release. Before all of that madness kicks in, though, it’s well worth taking a few moments to give some attention to the brilliantly designed lyric video for “Everyone Is Everyone”- a video that definitively showcases Mutts as a band unafraid to say what’s on their mind, in as powerful of a way as they possibly can.
Watch “Everyone Is Everyone” below and be sure to pre-order Fuel Yer Delusion, Vol. 4 from Mutts’ bandcamp.
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.
When Heartbreaking Bravery started, it was originally intended to be a place where film and music found equal footing. Now, 100 days and 100 posts later, it’s clear that somewhere along the line it established an identity firmly based on the music side of things. There are going to be a few changes made to the site in the upcoming year, one of them will be a section devoted to the discussion of film. New features will start and old features will be kept running. A few of the first updates were made earlier today. In addition to having its own domain, Heartbreaking Bravery now officially has homes on Facebook, Twitter, and Tumblr. Look for extra content, to varying degrees, on all three platforms.
For those just joining in or becoming aware of Heartbreaking Bravery’s existence, there are two things to ease into the familiarization process. One’s a playlist that features the kind of music that’s most regularly featured, which can be found below. Below that, active hyperlinks for the first 99 articles. Happy listening.
There are 25 bands and songs in this playlist. A few have received coverage from Heartbreaking Bravery, another few should have, and a fair few were part of what inspired its very existence. All of these bands mean something to this place and hopefully they’ll mean just as much, if not more, to whoever comes across them.
This week saw two of the Upper Midwest’s best fringe bands release music videos, both of which include dancing. First came Chicago, IL band Mutts’ DIY slacker-goofball video for “Pickpocket”, which was an incredibly welcome and lighthearted affair following their absolutely stunning music video for “Prizefighter”. Both “Pickpocket” and “Prizefighter” were taken from the band’s extraordinary career high-point, 2013’s Object Permanence.
After Mutts unleashed “Pickpocket” on the world, Minneapolis, MN band Buffalo Moon unveiled the impressive music video for the first single (and title track) from their upcoming Machista. Buffalo Moon have been relatively quiet since the release of 2011’s Selva Surreal, playing a handful of dates whenever (and wherever) they could manage. Like Mutts in their most recent acoustic form, Buffalo Moon have frequently flirted with the basement punk scene. While both are capable of delivering full-blown post-punk (look at Mutts’ first three full-lengths for proof and check either band out live), it’s always nice to have some variety. Both Buffalo Moon and Mutts are continuing to deliver in full. Watch the videos for “Pickpocket” and “Machista” below.
Heartbreaking Bravery 