Heartbreaking Bravery

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Tag: Photo Gallery

Splitting at the Break: The Live Photography of 2016’s First Half, Pt. V

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After installments I, II, III, and IV, this site is officially caught up to the current release cycle in every coverage category: single streams, full streams, music videos, live videos, live photography, and the (usually weekly) Watch This series. Going forward, the goal will continue to be at least one post a day (a rough average that’s been maintained for two and a half years, despite some lengthy hiatuses). Expect live reviews to return to the fold as early as next week and for everything else to resume or continue its regular functionality. Thanks to anyone who stuck with this site through the early lulls in this year’s first half and thanks to the artists and venues who graciously allowed — and even encouraged — photography. Heartbreaking Bravery wouldn’t exist without you and I will continue to look for ways to pay you back in kind. Find the last packet of photos from the year so far below and explore all of the others via the hyperlinks up top or by simply scrolling down. Enjoy!

 

Splitting at the Break: The Live Photography of 2016’s First Half, Pt. III

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Throughout 2016’s opening two months, I was able to take in two surprisingly contained winter festivals in the upper Midwest: Madison, WI’s FRZN Fest and Chicago, IL’s Music Frozen Dancing. The former ran three days (I was in attendance for the bookends) at the High Noon Saloon while the latter took place outside of the Empty Bottle. Both boasted impressive lineups that reflected well on their venues and, to a larger extent, their cities. Those two fests were the year’s openers and they sent me scrambling for more shows to shoot and I was able to capitalize on several of those opportunities. Whether they were in a basement or at a historic club venue, if cameras were allowed, I’d have mine rolling. Several of the best photographs I managed to capture in that run of months can be found below. Enjoy.

Splitting at the Break: The Live Photography of 2016’s First Half, Pt. II

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Throughout the first six months, I was fortunate enough to catch (and photograph) the following acts: American Wrestlers, Palehound, Eternal Summers, Torres, Julien Baker, Charly Bliss, Muuy Biien, Meat Wave, The Spits Black Lips, Jungles, Mr. Martin & The Sensitive Guys, Bag-Dad, Haunter, Miserable Friend, Heavycritters, Yoko and the Oh No’s, PWR BTTM, Micah Schnabel (of Two Cow Garage), Dyke Drama, Potty Mouth, Beach Slang, Yowler, Eskimeaux, Frankie Cosmos, Oops, and Dilly Dally. All of that photography will be presented — as previously mentioned — through a five-part gallery. The second installment touches on more of the best selections from those sets. As always, the gallery can be accessed below. Enjoy.

Splitting at the Break: The Live Photography of 2016’s First Half, Pt. I

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Over the past six months, the site’s experienced a few hiatuses. While some of those hiatuses were due to personal reasons, the majority were because of long stretches of time spent on the road. During the course of those six months, I was fortunate enough to catch a small handful of shows (and play a few more). No live photography from 2016 has been posted (discounting the header photo that’s ran for the Told Slant feature spots and the Meat Wave photo that ran in conjuncture with the Live Videos segment) and below is a gallery — the first of five — designed to amend the oversight. Enjoy.

 

CMJ: Day 5 (Pictorial Review)

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More than 100 photos into the pictorial review of this site’s CMJ coverage, this fourth gallery of photos covers the festival’s fifth day. As always, the videos from the fifth day have been compiled here and the official review can be read here. The full gallery has been moved to flickr and can be accessed by following this link.

 

 

CMJ: Day 2 (Pictorial Review)

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With all of the reviews and the videos out of the way, all that’s left is the unveiling of the photographs that were taken during CMJ last week. Starting with this post and continuing on throughout the night, there’ll be galleries of each respective day that include hyperlinks to both the official review of the specified day and the collection of videos. Kicking things off is the day 2 gallery, which– as stated– can be augmented with the official review and the video collection. View the gallery here.

 

Ought – Live at Secret Project Robot Art Experiment – 10/2/15 (Pictorial Review)

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Pile, LVL UP, and Ought have been shown no shortage of love on this site in the past so when it was announced that all three would be sharing a bill, plans were made accordingly. All three showed up in some way or another over the spread of the various best-of lists that this site ran at the end of 2014 and all three have released strong new material since the start of this year. More importantly than any of that, though, is the fact that all three are renowned live acts.

Before his October 2 performance, I’d never seen Rick Maguire (Pile’s guitarist/vocalist) perform without his main vehicle and had only heard whispering of what that experience entailed. While the set I got was just Rick performing solo, it was in a different, more expansive, capacity. Maguire’s recently introduced a looping pedal to his solo shows and wields that freedom to maximum effect, without ever losing the innate ability to completely command the attention of a room. Pulling from several patches of Pile’s discography and showcasing a tight-knit control over all aspects of his musicality, Maguire tapped into something transfixing, rendering most of the audience speechless.

LVL UP took the stage shortly after Maguire ambled off, intent on testing out some new material. Capitalizing on the overall moodiness of their Three Songs 7″, they pushed even further into territory that seemed increasingly concerned with dynamics (and atmospherics). While old standbys still rang effectively (something that’s especially true for “Soft Power”), it was the new material that prompted the most intrigue. Darker, heavier, and more freewheeling than anything in the band’s discography, their set operated at a tantalizing glimpse of their next release, which promises to be nothing less than fascinating.

After LVL UP’s final static-laced, feedback-heavy noise freakout, there was an almost maddening break of 40 minutes before Ought took the stage, generating more than a little restlessness among the crowd. Any pent-up negative feelings had all but dissipated by the time Ought’s wheels had started running. While it did take the band about a song or two to really click, they were locked into something fierce before too long.

Building energy and momentum as their hour-long set progressed, the members of the band each got increasingly more aggressive with their presence, slowly building the audience to a heightened pitch that was egged on by “Beautiful Blue Sky” before being cracked wide open into complete madness with “Today More Than Any Other Day”. At that point, the audience had morphed their dancing into a chaotic swirl of bodies that saw a large portion of the people positioned towards the front pushed over the lip of the stage at one point (to his credit, Ought’s guitarist/vocalist– Tim Darcy– did issue a concerned, seamless, mid-vocal “calm down now”, without ever breaking from the trappings of the song).

By that point it was a madhouse of energy that saw the sold-out Secret Project Robot Art Experiment (Secret Project Robot, alternately) feeding into the mutual frenzy created and sustained by audience and band. Then about an hour after they started, the band closed their main set with a vicious, explosive, extended take on More Than Any Day highlight “Gemini” that saw them drag out the song’s staccato bursts to a strangely hypnotic effect.

Naturally, the crowd pleaded for an encore and likely got even more than they bargained for with an especially fiery rendition of “New Calm, Pt. 2” that loosed Darcy free from the restrictions of his guitar strap when a friend tapped in, allowing him to completely lose his mind on stage while the fresh burst of energy from the substitute guitarist elevated the song to ridiculous heights. It was a perfect closer to a night defined by nervous energy, injecting the proceedings with a shot of adrenaline that sparked an already energized crowd to liberate themselves from any remaining inhibitions while simultaneously reinforcing Ought’s position as one of today’s more exciting live prospects. Buy tickets if the tour comes to a nearby town, this is something everyone deserves to experience.

Scan through an extensive photo gallery of the show here.

 

 

A Short Stretch at The Silent Barn (Pictorial Review, Live Video)

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One of Brooklyn’s most attractive attributes has always been its thriving music scene, aided in no small part by an impressive string of venues. One that’s consistently booked incredible shows, fostered a sense of community, and remained a point of pride for several communities is The Silent Barn, which has been covered here on more than a few occasions. Over the past month, the Barn’s hosted a handful of shows I’ve been fortunate enough to attend, starting with a strong bill that included site favorites Washer, Slight, Vagabon, and Downies. All four played strong sets and included incredible new material. Spit proved to be a highlight of a fundraiser for a community bail project a few weeks later and everything culminated with an unbelievable set from PWR BTTM as they celebrated the release of Ugly Cherries with Kississippi, Fern Mayo, and Charly Bliss (which also had the benefit of being hosted by the ceaselessly entertaining Mary Houlihan). It was a show that was immediately preceded by a more intimate affair that was highlighted by a set from Yohua.

While all of the bands that played delivered memorable sets, PWR BTTM’s deserves greater focus. After being impressed with some of their earlier songs, their live show wound up securing them as a spot as one of my favorite bands of the moment. I’ve talked a lot about the additional reasons that they’ve earned so many words here, with their presentation of identity playing a major factor, and I’m far from the only person that’s found an element to latch onto when it comes to the band and their music. After Charly Bliss had enticed everyone with a characteristically extraordinary set and the promise of Ugly Cherries-themed cupcakes, PWR BTTM took to the stage and delivered one of the most memorable sets of the year.

People screamed along to key lines of songs, crowd-surfed, danced, and moshed, as the band tore through a discography-spanning set that peered into the future once with the unveiling of a devastating, bass-led song that prompted genuine tears from a few audience members (also notable: PWR BTTM’s Benjamin Hopkins’ parents were in attendance, as was the mother of Charly Bliss’ Eva Hendricks). Hopkins went into the audience on more than a few occasions and at every moment during their set (one that included Fern Mayo’s Nicholas Cummins on bass duties for a small batch of songs), it was abundantly clear that their audience has only grown more passionate since the start of this year. By the time “Carbs” was coming to its conclusion, a few bodies were being hoisted above the crowd, both Hopkins and Liv Bruce’s dresses were half off or more, and everyone was drenched in sweat- but, more importantly, they were smiling.     

Watch a composite video of several of the performances that have occurred over the month of September and view a photo gallery of the shows mentioned here.

 

 

Charly Bliss – Live at McCarren Park – 8/12/15 (Pictorial Review, Live Video)

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Last night, this site ran a summary of what went down at Sharkmuffin’s release show last Friday. About halfway through that post, a lot of ecstatic praise gets directed towards Charly Bliss, who have somehow only managed to get better since releasing what might be the best EP of the decade so far. Since the release of that EP, their name has shown up here quite a few times and guitarist/vocalist Eva Hendricks was even kind enough to submit a wonderful piece to the A Year’s Worth of Memories series. When they were announced as the pre-film band for SummerScreen, Brooklyn’s best film and concert series, I immediately cleared any lingering conflicts to make sure I could be in attendance. Their slot came right before Labyrinth, which won a poll to emerge as the “Audience Favorite” pick- ensuring that the quartet would be playing to a large crowd.

Before the show, Hendricks was wracked with nerve while the band’s other guitarist/vocalist, Spencer Fox, remained nonchalant. It took them less than a minute of diving into “Percolator”, the first song of their set, to find a middle-ground in giddy energy. One of the things that I’ve come to love the most about Charly Bliss is that when they play live, they’re clearly doing what they love and coaxing the most out of it that they possibly can. Instead of coming across as showy or theatrical, their stage antics feel grounded in an honesty that makes them even more compelling. It doesn’t fade, either, it builds as it goes until the band collectively approaches a white-hot intensity that makes the band members actually exploding seem about as likely as their amps blowing.

Unmistakably a Charly Bliss set (read: unbelievably great), the outdoor, family-friendly setting suited their sunnier sensibilities to perfection and the sound carried extraordinarily well. Small children danced, a handful of senior citizens cracked smiles, and a man on a bench outside the gates couldn’t help himself from shaking his head in admiration- and then in tempo- by the time the band hit “Love Me“, their perennial closer (and one of this site’s picks for last year’s best songs). From the audience’s increasingly positive reactions to the post-set autograph requests, it was abundantly clear that they’d made more than a few converts- and they did it on their own terms, doing one of the things that they love most. It’s exactly the kind of thing that this site was built to celebrate. As classic as Jim Henson’s Bowie-fueled fever dream has come to be, it wasn’t even close to the evening’s finest moment. Great weather, a great set riddled with great songs, and a sense of genuine camaraderie tipped the scales and everything- as it has so frequently in the past year- came up Charly Bliss.

A gallery of photos from Charly Bliss’ set can be seen here and a video embed containing a few songs from the set can be found below.


2014: A Pictorial Review, Pt. 5

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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!

2014: A Pictorial Review, Pt. 1
2014: A Pictorial Review, Pt. 2
2014: A Pictorial Review, Pt. 3
2014: A Pictorial Review, Pt. 4