Over the past few weeks, I’ve been fortunate enough to take in a lot of shows- but as that number quickly balloons, it becomes difficult to post features about each and every one. It may be due to an extenuating factor like a repeat bill (Eskimeaux, Elvis Depressedly, and Mitski played two shows in a few days and I attended both) or a heavy amount of coverage rightfully bestowed on a particular act in a short amount of time (as was the case with PWR BTTM). Additionally, if there’s only one musical act playing an intimate friends-only type of affair (Johanna Warren), it becomes almost sacred; an event that should go largely untouched. Conversely, if it’s a one-act spectacle rooted in confined mystery (Ronnie Stone & The Lonely Riders), it’s best to uphold the convictions of the artist. With all of that taken into account, it still seemed appropriate to eventually share a brief gallery of some of that documentation. A gallery of most of the artists mentioned above- and a few more that weren’t listed- can be seen below. Enjoy.
One of the best things about a place like Brooklyn is that if you wind up having to miss out on one show, there’s another one happening just a short distance away that could very easily have or exceed the impact of the show you missed. While my initial plan to see Rainer Maria fell through, it was heartbreaking for a moment- until I was reminded that PWR BTTM and Slothrust were headlining a nearby show. Anyone that’s come across this site lately likely already knows exactly how this place feels about PWR BTTM and eagle-eyed observers with an astounding memory capacity may recall that Slothrust got shortlisted in our round-up of 2014’s best releases for the extraordinary Of Course You Do. Having both acts on the same bill made for an easy decision, despite quite a bit of competition.
Lowlives and Nonsense opened the show and while my late arrival meant having to miss the former entirely, I did manage to catch the end of the latter’s set. Suburbia- the venue that hosted the show- proved to be a better fit for the band than Aviv, where they’d recently played as part of the collaborative Northside showcase that was put on by Ipsum, Gimme Tinnitus, and Exploding in Sound. Playing to an appreciative crowd, Nonsense played off of each other quite well and se the stage nicely for PWR BTTM. Once again, PWR BTTM proved to be an absolute force- even in the face of lost pedals and a string breaking, the charismatic duo never had a moment that was anything less than obscenely compelling. The band’s putting out Ugly Cherries– one of the year’s best records- in September and their set previewed a lot of material from that release while also still incorporating long-standing staples like the anthemic “Hold Yer Tongue”. As usual, their set was a convincing (and probably even inspiring) demonstration of energy, resilience, mischief, and enviable skill. In short; it was just about perfect.
Slothrust, a band that I’d previously only ever maintained a glancing familiarity with, followed PWR BTTM with a powerhouse set that more than justified their top bill placement. From the onset, it was evident that the band’s built up an extremely loyal and devoted fan base. By the end of their set, it was easy to see what inspired that devotion. Both on record and live, Slothrust are operating on a very different level than just about any band running their circuit(s). Combining elements of grunge, folk, Americana, punk, powerpop, and even prog into something that feels remarkably singular, they’ve crafted an identity that manages to both be accessible and refreshingly unique.
With Leah Wallbaum’s biting- and frequently deeply personal- lyrics leading the band’s frenzied charges in their most chaotic moments (and anchoring the band when they exercise their restraint), Slothrust very quickly transform into a band that people not only strongly identify with but want to see succeed. Even at their most irreverent, there’s a level of conviction that translates so easily for Slothrust that it’s nearly impossible not to be mesmerized by the music they’re making/playing. That aspect of the band held especially true for the 1-2 punch of a genuinely stunning Britney Spears cover (“…Baby One More Time)” and “Crockpot“, their extraordinary closing number and current career highlight. In those climactic moments, the band managed to showcase nearly all of their varying draws and limitless appeal, ultimately providing an emphatic endpoint to an exhilarating set- and ensuring that this site will be covering them a lot more closely in the following months.
A photo gallery of PWR BTTM and Slothrust’s sets can be seen here and a video containing a large portion of both bands’ sets can be found below. Enjoy.
Fourth of July, traditionally, is an American holiday that’s characterized by pride and excess. A clear amount of both traits were visible in the lead-up to the celebration that was hosted by Silent Barn, an event hosted by adhoc and headlined by Swirlies. Over the past decade a feverish, cult-like dedication has been granted to Swirlies, whose impressive body of works deserved far more acclaim than it initially received.
Now, there’s a renewed interest in the exact type of music Swirlies excelled at- and possibly even perfected- when it was distilled into their career highlight, Blonder Tongue Audio Baton. Before they took the stage to a diverse, adoring audience, those in attendance were treated to two excellent opening sets. ADVAETA had the first slot and they wasted no time in setting the tone for the evening.
Kaleidoscopic guitar work, frenetic drumming, off-kilter composition, and an impressive pop sensibility permeated throughout the trio’s set and it was evident that they were pushing themselves to deliver at their absolute best. It was an impressive display of fireworks that seemed perfectly suited to the date. Krill followed up as the second opener and anyone that’s kept even an irregular eye on this space knows exactly how this site feels about Krill. To succinctly quote bassist/vocalist Jonah Furman: “Krill forever.”
Swirlies took to the stage amidst a flurry of technical problems and eventually decided to forego the opening noises of Blonder Tongue Audio Baton, opting to imitate them vocally instead of attempting to sort out that particular issue. After that brief hiccup, the band was off, playing with a very palpable love for their songs, the album, and each other- a despairing rarity in today’s musical landscape.
If a note was flubbed, they’d smile and push forward. They invited fans to the stage to play the radio and a string of brief CB-style exchanges poured out of the PA, ranging from mundane to hysterical. Following a deeply impressive run through the record that climaxed with a beautiful rendition of the record’s closing track, “Wait Forever”, the band was successfully called back to the stage for an impassioned one-song encore.
Beaming, exhausted, and grateful, Swirlies made their final stage exit of the night, having just provided an explosive finale memorable enough to surpass just about any state, county or city’s airborne exhibitions. All the bald, middle-aged man standing next to me could do was stare out blankly and shake his head in awed silence. I had to agree.
A gallery of photos from the show can be found here and an embed containing performance captures of various songs in each band’s set can be found below. Enjoy.
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1. ADVAETA – Come With Me 2. Krill – Brain Problem 3. Krill – Turd 4. Krill – Purity of Heart 5. Krill – Torturer 6. Swirlies – Bell 7. Swirlies – Jeremy Parker 8. Swirlies – Wait Forever
Toys That Kill played an invigorating set at The Acheron on June 23. Two days later, Tenement did the same on a bill where they weren’t even technically the headliner (that distinction went to Warthog, whose set I didn’t manage to catch). Nancy kicked the show off with a costumed, attitude-heavy set. Really, the night seemed to belong to the middle three bands: two of the best acts in hardcore and, of course, Tenement– a band that’s been written about on here with alarming- but entirely justified- regularity.
A night defined by aggression, tension, cathartic release, and genuine surprise (perhaps best summarized by a brief, impromptu cover of Limp Bizkit’s “Break Stuff”) was highlighted by Ivy, Big Zit, and Tenement. Ivy played as ferociously as possible and Big Zit took that manic energy and injected their own brand of frenetic weirdness. Tenement (with Tyler Ditter filling in on bass for Jesse Ponkamo) delivered a bruising set- that can be seen in full below- that served as a powerful reminder of why Tenement’s one of the best bands currently operating.
A gallery of photos of Ivy, Big Zit, and Tenement can be seen below. A pair of performances from Ivy can be seen beneath the gallery as well as the full Tenement set. Enjoy.
Over the past week, I attended two shows and saw close to ten bands, everything happened in the same venue: The Acheron. June 23 was the first of the two nights/shows, so it’ll be receiving the early focus while a recap of the show on the 25th will be posted in the very near future. The show on the 23rd opened with Hatrabbits (a band featuring former members of The Measure [sa] dutifully filling in the local slot with a very straightforward, no-nonsense take on punk. Former WI resident and DIY mainstay Nato Coles (with his Blue Diamond Band in tow) pulled out all of the usual stops during a characteristically high-energy set. An unexpected highlight came in the middle of “An Honorable Man”- a classic tune by Used Kids (a Brooklyn-based band Coles used to co-front with Big Eyes’ Kaitlyn Eldridge, who was also in attendance)- with Used Kids bassist taking over on the instrument for the song’s remainder, ultimately receiving one of the nights loudest cheers.
Site favorites Benny The Jet Rodriguez played next, with an expanded lineup boasting two familiar faces: Todd Congeliere and A Year’s Worth of Memories contributor (not to mention Swearin’ and Radiator Hospital member/Stupid Bag Records founder) Jeff Bolt. Front to back, the set was nothing but electrifying highlights, including some new songs and a few particularly impassioned takes on some of Home. Run‘s best material. Shellshag followed up with a set full of the kind of off-kilter charisma that made them one of Don Giovanni Records’ most quietly revered bands (especially among the musicians who exist in the label’s circle, several of whom refer to the duo as “mom and dad”). By the time they’d pulled the plugs on their lighting rig and made a precariously balanced tower of drums, the venue had either neared or reached capacity.
Toys That Kill rewarded the crowd with an intense set that more than lived up to the hype surrounding the band’s live show (I’d only heard it discussed in awed whispers or deafening proclamations). The band’s achieved something of a legendary status after cultivating a rabid following via a string of genre classics, their live show, and the success of guitarist/vocalist Todd Congeliere’s vaunted label, Recess Records [EDITOR’S NOTE: this hyperlinked clip contains a scene of praise for Hot New Mexicans, which I can’t recommend strongly enough and still leads the pack for my personal “Album of the Decade” pick]. All of that success has been culminating in fiery, passionate performances in which the crowd reciprocates the band’s staggering amounts of energy and that was certainly the case at The Acheron. One of the only shows I’ve seen this year that ended with a successful (and completely warranted) encore call, Toys That Kill gave the audience exactly what they wanted and more, providing a perfectly raucous endcap to the night.
A video embed of the touring bands on the bill can be seen below and a photo gallery of their sets can be seen here.
Tomorrow there will be a slew of posts and content that cover a large handful of notable new releases and semi-regular progress will continue (again, there will likely be a greater emphasis on live documentation in the coming weeks since it’s more readily accessible). Today belongs to a playlist that will run some time after this review (likely later on in the evening) and a show review of a packed bill that went down at Shea Stadium on Saturday night.
Unicycle Loves You, Mumblr, Leapling, Clearance, and Lost Boy ? all played impassioned sets and although I only managed to catch the tail end of Unicycle Loves You (the only band I didn’t manage to capture on film, an oversight I’ll be actively seeking to amend in the coming weeks), they’re a band worth recommending without any hesitation. Site favorites Mumblr— who played the only show this site’s ever presented [additional color: Ben Grigg from Geronimo! was also in attendance, wearing a Meat Wave shirt to round out the circle.]– drove from Canada to deliver a blistering set that leaned heavily on considerably noisier work than they’ve produced in the past. The dimly-lit setup proved restrictive for photography but all the lights were on for Leapling.
Playing a staggering amount of new material, Leapling seemed eager to test out their new songs and their focus seems to have sharpened in the brief interim that’s followed Vacant Page, a record that’s only been out for just over four months. Unfailingly sharp, the trio (a new lineup for the group) came off as having a practiced finesse and tapped into an exciting rawness when they embraced their noisier tendencies. Clearance would take the stage following Leapling’s run, further enhancing an off-kilter raucousness that Leapling had touched upon in their closing number.
The Chicago-based quartet leaned heavily on a Pavement influence to unusually exhilarating results, crafting something that nonetheless managed to feel like part of a unique identity. Scuzzy, surprisingly heavy, and just a little post-punk, Clearance have managed to cultivate a style of basement pop that translates perfectly to the live setting. Hitting all the right notes and building momentum as their set progressed, the band definitely left a mark on Shea Stadium and created a few converts in the process, all the while setting the stage for Lost Boy ?.
Following the unlikely saga of the 2014 tape release of Canned(I’m one of the few people that have stubbornly held onto an incorrectly sequenced cassette copy) with the official release of the record in 2015, Lost Boy ? have managed to keep their name in circulation for a while. If the record had been streaming at the end of last year, it would have been towards the absolute top of the specialty release list. A long-time favorite, the band delivered on every conceivable level with a high-energy set that made room to incorporate a few surprise guests (among them, Titus Andronicus’ Patrick Stickles and Eric Harm).
Partially a celebration for Cammed, the cassette release of the Canned demos, the band also revealed a few new songs that were delivered with the same kind of manic energy that characterizes the bulk of their discography. Played with a sly smile and no shortage of determination, it came off as a proper headlining set that a lot of people wished would just keep going. Even after the band made their stage exit following a fiery performance of “Taste Butter”, the night felt far from over (likely thanks to the energy incited by Lost Boy ?).
In the last surprise of the evening, those that stuck around and saw Lost Boy ?’s set through were rewarded with an impromptu Neil Young cover set that saw members of Lost Boy ? and Titus Andronicus teaming up for ramshackle takes on some of the songwriter’s early career highlights. As far as epilogues go, it felt fittingly communal; a moment shared between friends who were all pursuing the same common interest(s). After a long take on “Down By The River” that saw Stickles take over on bass duties- and absolutely go off on a few furious, fuzzed-out solos- the night had drawn to a conclusion that mirrored the preceding events; subtly chaotic, fairly unexpected, and just about perfect.
A gallery of photographs from each band can be seen below and a video player containing performances from Mumblr, Leapling, Clearance, and Lost Boy ? has been included beneath the gallery. Enjoy.
Last Saturday outside of The Empty Bottle, the temperatures were below 20, the stage lights were on, and a crowd of people was gathering at the lip of the (tented) stage in nervous anticipation. A free festival, Music Frozen Dancing, was set to take place and be carried on the backs of four artists occupying varying corners of the DIY punk landscape: NE-HI, Oozing Wound, Protomartyr, and Perfect Pussy. The former two held down for vicious wall-of-noise basement pop and aggressive hardcore while providing some impressive local representation. The latter two brought in their hard-won figurehead statuses, respectively, and continued to demonstrate a fierce dedication to the DIY ethos that facilitated their growing reputations. Every band brought something unique to the small, makeshift stage and every single one of them saw the audience (much of it inebriated, thanks in part to a Goose Island sponsorship and their accompanying tent) react in kind. It was a small festival that lived up to its name: there were bitingly cold temperatures, there was dancing, and- most of all- there was music. Amps blew (NE-HI), bass drum pedals collapsed beyond repair (Oozing Wound), tension was raised (Protomartyr), and everything was brought to a close with a violently raucous, noise-heavy finish (Perfect Pussy, doing their best to thrash their equipment into oblivion). Photos of the memorably unique show can be found below.
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!
Heartbreaking Bravery 