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October 15, 2014

Pile at The Burlington Bar – 10/10/14 (Pictorial Review, Video)

Pile X

After the start of the week was gifted a prolific run of great new content, Wednesday kept the trend alive. There was more than enough to warrant another two paragraphs- but today will be devoted to a live review, so, for convenience’s sake, three of today’s strongest item in each category will be listed now and the rest will be covered tomorrow. For full songs, it’s hard to do better than Viet Cong’s darkly hypnotic post-punk bruiser “Continental Shelf“, while nobody bested Roomrunner’s absolute ripper of an EP- Separate– in the full stream category. Kittyhawk rounded out things with their visually striking clip for “Welcome Home”, which probes darker territory than the music might suggest. Now, with all of that out of the way, onto the feature event: site favorites Pile and their show last Friday at The Burlington Bar in Chicago.

Pile are best defined as an elusive band. It’s difficult to pin them on a spectrum or predict their movements; entire songs play out like sweeping overtures, taking sharp lefts when it’d be easier to just keep going straight ahead. While their tour schedule makes sure that it’s relatively easy to find the band playing somewhere, it’s the music that becomes the dominant force in the band-listener connection- a feat more rare than most realize. So, while the band managed to overcome not one but two major van issues (not having one and then having their loaner break down), their absence leading up to the show added a weird mythos to the entire experience. Granted, most of that time they were holed up in Omaha recording a new record- and if the band was clicking for that session as hard as they were at Burlington, everyone’s in for something spectacular.

Opening the show were locals Ling Ling and Fake Limbs, who were forced into a brief delay and a slot switch due to some extenuating circumstances. Fake Limbs delivered a characteristically blistering set, proving for the zillionth time over that they’re one of the Midwest’s most exciting (and most intriguing) hardcore acts. Pulling mostly from last year’s masterful The Power of Patrician Upbringing, vocalist Stephen Sowley led his band through their left-field noise-indebted racket with an abundance of charisma both on and (mostly) off stage, while everyone flashed serious chops throughout a set of genuinely great songs. Engaging throughout, their set had no weak moments and when the guitar cut out in the very last stretch of the last song, it somehow managed to feel appropriate- one half-expected to see smoke billowing out of the cab’s grill.

Ling Ling had a lot to follow after Fake Limbs essentially dismantled the expectations of the uninitiated and set an obscenely high bar. For their part, the band held their own through committed performances that offered a different take on hardcore, this time more rooted in the clean, metallic sounds that Shellac made their stock and trade. Kicking up the levels of unabridged aggression, their set kept a pace that kept most of their audience involved- though by the end of their curiously long set, it was clear that some of Burlington’s patrons were growing increasing anxious for the appearance of the main act. While Ling Ling did manage to bow out on the strongest note of their set, there was no doubt that this was a night that belonged to Pile.

After the necessary set up and take down, Pile took the dimly-lit stage and- with no fanfare- tore into a jaw-dropper of a set that left no shred of doubt that Pile are a band worth catching as many times as possible. Song after song, Pile offered an embarrassment of riches that became welcome reminders of their discography’s deeply impressive scope. The audience seemed to warm up with the band as they plunged further into their set; by the time the chill-inducing 1-2 punch of “Special Snowflakes” and “Pets” hit, a previously stagnant Burlington had become a heaving mass of bodies, railing into each other with no intent of physical violence but caught up in a shared moment of unbridled catharsis. Following that turning point, the band reciprocated the audience’s energy by growing increasingly animated- and impassioned- while continuing to blaze through a set of songs that’d make most aspiring musicians blush. It was an incredibly potent reminder of Pile’s unlikely, but entirely deserved, impact. This is one of the most interesting bands going today and the fact that their music is forging such visceral connections within their audience makes them a band that’s worth embracing as tightly as possible.

Below, watch a clip of the band playing “Pets” and scan through a photo gallery of Pile’s headlining set.

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October 5, 2014

Watch This: Vol. 48

The 48th installment of Watch This reads like a laundry list of this site’s favorite places to cull videos from; Allston Pudding, The Chris Gethard Show, and Little Elephant among them. Live versions of songs that have previously been fawned over resurface with new levels of urgency and old treasures prove their longevity. Every performance that gets featured here is impassioned and clearly illustrates the respective band’s obvious connections to their own music (with a strain of apathy-fueled music growing steadily prominent, this is- unfortunately- more of a rarity than common occurrence). Trying to wax poetic about most of these videos in this paragraph would most likely just wind up doing them a disservice, so: sit back, turn the volume up, ignore the time, lean in, and Watch This.

1. Little Big League – Property Line (Little Elephant)

There hasn’t been a band in quite a while to pull off what Little Big League achieves by virtue of this placement; this is their third consecutive video to appear in this series- in as many weeks- and they’re all from the same Little Elephant session. So, some straight talk: “Property Line” is one of the year’s best songs and the band’s current career-best effort. Even though the live version doesn’t have the benefit of those chill-inducing horns, it retains its formidable pull. As always, the band reveals themselves to be an excellent live act and provides several reasons to get excited about their upcoming LP, Tropical Jinx.

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2. Sweet John Bloom – Aging In Place (Allston Pudding)

Allston Pudding’s made a habit of making impressive live videos- this outstrips all of their previous work with an assured ease and a new level of confidence that suits them well. An extraordinary live-edit that features a stunning performance from emerging act Sweet John Bloom to promote their upcoming full-length, Weird Prayer. Expertly marrying high-energy basement pop with deliriously frantic post-punk, it’s inclusion would have been an easy decision as an isolated standalone- the additional edits towards the video’s close put it way over the top and render it one of the more artistically inclined live videos to ever appear in this series. Don’t skip out on this one.

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3. Protomartyr (La Blogotheque)

Protomartyr’s Under Color of Official Right was one of the highlights of 2014’s first quarter and it’s held its ground ever since its release. Here, the band teams up with La Blogotheque to film stripped-back live performances of “What the Well Said” and “Scum, Rise!” in the moats of Saint-Malo, a port city in France. It’s a fitting backdrop for the band’s take on post-punk, something that bears the influence of their Detroit home. Unsurprisingly, it’s spectacularly shot and bizarrely compelling, continuing La Blogotheque’s unique penchant for producing live footage that excels on those levels.

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4. Jeff Rosentstock & Friends – Hey Allison! (TCGS)

Don Giovanni comedy darling Chris Gethard hosts a show. These shows host live acts. It seems that nearly every time a video of these performances surfaces, it earns a spot in this series. Jeff Rosenstock‘s “Hey Allison!” has already emerged as one of the more relentless earworms of the past few weeks and the live version is an all-out blitz. Anytime anyone puts this much heart into music this good, it’s going to earn a write-up. The Chris Gethard Show also has the unique advantage of utilizing a crowd of misfits being encouraged to be as weird as possible, turning single song performances into outright events. There are few things more encouraging than watching a band and an audience enjoy each other’s company in equal measure at an absurdly high degree. This is can’t-miss entertainment.

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5. METZ – Get Off! (Pitchfork)

METZ was one of the more unforgettable debuts of the past few years and the band’s live show, easily one of the best around, pushes those songs to exhilarating heights. Employing humanism and sonic annihilation at roughly the same pace, anytime the band takes the stage it’s a small victory for everyone involved. Here, they tear through a fired-up version of “Get Off” and incite some fierce reactions from an adoring crowd. METZ themselves remain as entertaining as ever, putting just about everything they have on the line every time they take the stage- and they’re showing no signs of slowing down.

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September 21, 2014

Watch This: Vol. 46

Part two of this week’s recap (there really was an absurd amount of great material to go through), this installment of Watch This features videos that emerged during the past few days. Between a handful of full sets, a few videos from places that have become series staples, and, above all else, great performances. Everything on display here is worth taking some time to enjoy and a handful of them will likely warrant return visits. All in all, this set seems like a very fitting way to cap off what’s been one of the strongest weeks for new content that we’ve had this year. So, sit back, open the blinds, turn the volume all the way up, focus, and Watch This.

1. The Midwest Beat – Vortex Hole (Milwaukee Journal Sentinel)

“Vortex Hole” was recently featured here as a stream in support of The Midwest Beat’s excellent new full-length, Free of Being. In the video below, the Milwaukee-via-Madison band gets invited to the Milwaukee Journal Sentinel studio to tear through the live version. They tear through it with an enviable amount of verve and a peculiar madcap glee that somehow transforms the performance into something endlessly fascinating. It’s one hell of a rendition.

[Due to a temporary embed issue, this video can currently only be seen here]

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2. Cloakroom – Asymmetrical (unARTigNYC)

“Asymmetrical” is a characteristically slow-burning song from Cloakroom, who seem to be exploring the middle ground between shoegaze and post-hardcore with a frightening amount of precision and clarity. Easily one of the most fascinating bands to have begun a steady emergence over the past handful of months, Cloakroom still retains a sense of mystery- something that factors directly into their music. This is an astonishing performance from a band that’s worth getting to know.

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3. The New Pornographers (NPR)

It’d be easy to argue that, at this point, The New Pornographers are an institution. Between their own releases and their various members solo releases, they’ve put out some of the most highly acclaimed music of this young century. It’s a formidable body of work and the fact that their most recent effort, Brill Bruisers, both lives up to and earns its spot among their long list of triumphs is fairly astonishing. This full, lovingly shot, NPR performance spans their discography and showcases one arguably indisputable fact: they deserve their acclaim and status.

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4. Beverly – Not Ours (BreakThruRadio)

Beverly, the duo made up of Frankie Rose and Drew Citron, released one of the definitive records of the summer with Careers. Ever since that release, footage of the band’s tight-knit live show’s been popping up with an alarming frequency. While Rose is taking some time off to focus on her own solo project, there are still old sessions coming out of the woodwork. Here’s a lighthearted stunner from the always-excellent BreakThruRadio.

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5. Cloud Nothings (Pitchfork)

There aren’t many moments in life that are better than watching a great band with extraordinary people on a perfect day. Cloud Nothings were an easy highlight of Pitchfork’s second day and now their whole set can be relived in full. Culling mostly from their 2014 highlight Here and Nowhere Else, their set went a long way in re-establishing the fact that they’re now a power trio (a term that they fully live up to). Not a lot of bands can lose a member and immediately re-define themselves without losing their personality but it’s evident that Cloud Nothings haven’t lost a step.

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September 21, 2014

Watch This: Vol. 45

As mentioned in the previous post, this has been a tremendous week for new music- and the same can be said for new live footage as well. When Watch This started, Heartbreaking Bravery was already in its third week of operation. To help create a greater consistency, today will feature two installments of Watch This instead of the usual standalone entry. Everything in Volume 45 surfaced during the earliest part of the week but have more than held up to repeat viewings. From site favorites to living legends to new discoveries, this installment covers a spread that encompasses next to everything that this series was designed to celebrate. So, sit back, switch off the lights, warm up, wind down, and Watch This.

1. Tweens – Bored In the City (Faits Divers)

That Tweens wound up being as great as it was shouldn’t have surprised anyone familiar with the band’s early demos or tapes. What was somewhat unexpected was how readily they were embraced by the public. They’re a band that built a lot of their reputation by having consistently impressive live shows so it’s a joy to finally be able to feature one here. Faits Divers recently took them in for a session while the band was touring Europe and “Bored In the City” wound up being an easy highlight.

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2. The Rocketboys – Time Is A Devil (Audiotree)

As far as first introductions go, it’s hard to beat something like The Rocketboys’ Audiotree session for “Time Is A Devil”. While there are an abundance of polished pop/rock elements that are fighting their way to the forefront, the whole song’s underpinned by a brooding anxiety that’s completely antagonistic for most stadium-ready bands. If music like this winds up being the future of the radio, we’ll likely all be better off for it.

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3. The Dream Syndicate (KEXP)

It’s a little disheartening that The Dream Syndicate’s comeback didn’t get as much press as it deserved. The seminal 80’s band has been massively influential for a number of great bands that emerged since the band’s initial departure in 1989. After reforming in 2012, the band’s never paused to look back. Here, they tear through an assortment of classics for KEXP at the Bumbershoot Music Lounge, sounding as vital as ever.

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4. Alice Boman – Lead Me (Allston Pudding)

On rare occasion there are extraordinarily intimate performances that wind up earning features on here by virtue of their impact. Swedish songwriter Alice Boman falls into this category with ease. Performing “Lead Me” for Allston Pudding, Boman carries a stunning solo performance with an easy grace, undoubtedly rendering it an unforgettable moment for anyone that was fortunate enough to be in attendance. All Boman needs is a keyboard and her voice to create something completely ethereal.

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5. Little Big League – Year of the Sunhouse (Little Elephant)

There haven’t been very many bands on Little Elephant that have been as easy to fall in love with as Little Big League. “Year of the Sunhouse” is punk-leaning outsider pop at its absolute finest. Unsurprisingly, they’ve been running with the Exploding in Sound family (“Year of the Sunhouse” originally appeared on a split with Ovlov) and making some waves as a result. Of course, that never would have happened if they hadn’t been conjuring up some of the most likable music being released today. Watch their Little Elephant session below and get converted (or have everything reaffirmed).

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September 12, 2014

Tenement at Mickey’s Tavern – 9/9/14 (Pictorial Review, Live Video)

To get this out of the way at the top: there are very few bands that mean as much to me as Tenement. Without the support of that band when I was starting to do things like book and play shows, I probably wouldn’t have been affected as much by the DIY-centric artists and spaces that Heartbreaking Bravery was designed to bring into focus and celebrate. They’re a band that I’ve been filming fairly consistently over the course of the last six and a half years with an increasing amount of admiration. I’d book them to play shows in my city; they’d return the favor and invite the band I was playing in at the time to drive an hour to play their basement (The BFG) and, in doing so, opened a cultural door that allowed me to invest in the community shared by the other bands that played there. A few of the bands that wound up playing The BFG had a massive effect on my musical growth and now regularly snag features on this site- Swearin’, Screaming Females, The Hussy, Sundials, Delay, and an impressive selection of other bands that now populate labels like Don Giovanni, Dead Broke, and Salinas. Whether I was just fortunate enough to be at (or play on) the right shows, I’ll never know, but the amount of support and easy camaraderie surrounding the bulk of those shows was something that made me feel like I’d found a home.

Over the course of those early years- and on the back of playing host to consistently strong bills and relentless touring- Tenement began to build their reputation as one of the Midwest’s best bands. Amos Pitsch, the band’s guitarist and vocalist, had spent more time behind a kit as the drummer for Social Classics, than writing songs in front of it. While at that point, it was already clear Pitsch was a preternaturally gifted musician, it was likely difficult to know what to expect. Unsurprisingly, the most visible role in a band was one that felt naturally suited to Pitsch- and, importantly, allowed him to more fully demonstrate his music’s personality. Lyricists who are characterized more by novelists than other songwriters tend to be the ones that feel the most worthy of acclaim and Pitsch falls squarely into that category. Utilizing a wealth of musical knowledge and integrating it into stanzas and vignettes with a literary grounding, Pitsch has been able to create a sound that’s as influenced by John Steinbeck, Flannery O’Connor, Tennessee Williams, and William Faulkner as it is Husker Du, Dinosaur Jr., Hickey, and The Figgs (who once played a very memorable set in The BFG’s living room).

There’s an additional allowance for the abstract that helps further differentiate Tenement from other bands that are attempting to play their hands at similar combinations, which has caused both emphatic celebration from some sets and scathing derision from others (the latter usually tends towards the genre-specific). After years of touring and playing host (before The BFG was forced to cease their venue operations), word started to spread pretty quickly and the band was able to leave with another fiercely-loved WI act, Holy Shit!, for a fairly lengthy tour in Japan. During their time spent in Japan, they played with two of Japan’s finest basement pop acts: Sanhose and Your Pest Band. Fortunately, both of those bands wound up finding their way Stateside not too long after that tour ended, allowing the possibility of all three bands playing a show on Tuesday night at Mickey’s Tavern in Madison, WI.

Mickey’s has long been a staple of Madison’s live music scene, consistently booking shows that would have made sense at a place like The BFG. The fact that it’s small plays well to the bands that have a fondness for eardrum-shattering volume levels and to the people who actively seek out more intimate settings. It’s essentially a 21+ basement venue with proper business licensing. All of which meant that it was a perfect fit for the night’s bill. Riff-happy trio Sanhose played first, going full-speed from the outset and only pausing to adjust or add extra weight to the cinder block positioned in front of the bass drum to prevent the whole thing from toppling over. While that issue was eventually solved by having a friend leave a foot planted firmly into the block while they played, Sanhose couldn’t bother to be too distracted by it. All throughout their set, there was a very palpable sense that the band loved to simply play their music- which wound up being a great reminder that earnestness in punk-leaning music isn’t completely dead. From 20-second blitzes to three-minute anthems, Sanhose left just about everything they had at Mickey’s and got the night off to an excellent start.

Considering Your Pest Band has most of their discography available at any major punk distro worth their salt, it’s a relatively safe bet to say that they’ve built themselves a strong following and a considerable reputation. Their music is frequently celebrated on both sides of the ocean and frequently featured in blogs, zines, and publications. Nearly all of their releases over the past few years have been heavily anticipated by very specific communities and subsequently met with acclaim- so, their live show had a fair bit to live up to. Any doubt those elements cast on high expectations were thoroughly obliterated by the end of their first song. It doesn’t matter what mode this band is in, whether it’s the unabashed 50’s pop stylings of “Time to Go” or the ferocious basement punk onslaught of “Dice“, they always tear into their songs with manic glee. Those efforts are doubled live. Every member of Your Pest Band was constantly in motion during their songs, working themselves into a sweat as they grew more frenzied. Towards the end of a set that was graciously spread throughout their seriously impressive discography, it seemed like they were practically jumping out of their own skin, totally alive and incredibly impassioned before ending it all with one of the strongest performances of the evening (which can be seen below).

Tenement played last (likely to ensure as many people as possible were there for Sanhose and Your Pest Band) and tore through a set of songs that they’ve now been playing for about two years. Not that it mattered or worked to their detriment- the songs that they’ve been playing are some of the best songs in any genre of those past few years and Tenement’s consistently been one of the best live bands that today’s music has had to offer. Any opportunity to see them play any song should be jumped at whenever possible and their set at Mickey’s wound up being yet another one that wound up giving additional weight to that opinion. Playing with the knowledge that this set would be one of the last they play before a scant few others (at least before their upcoming record’s released) may have pushed them to play with even more gusto than usual- or maybe they knew they had to be in their rarest form to follow Your Pest Band’s stunner of a set- but their short set found them hit a near-perfect stride. Blazing through material from their last two records with next to no pauses and a laser-sharp focus and intensity, they left absolutely no doubt that they are one of the best bands of the moment (for further proof of this, watch the supercharged set-ending take on “Stupid Werld” below). Factor in the fact they have a few records on the horizon (including their debut for Don Giovanni, which is projected for a Spring 2015 release) and will have a new set under their belt shortly after those releases and the set they offered up at Mickey’s instantly becomes one worth remembering. Tenement are nearing the end of a chapter in their career before bigger doors start opening for them- and they’re making sure that it ends on the right notes.

Sanhose, Your Pest Band, and Tenement will all be playing in Milwaukee (along with So Cow, Holy Shit!, and a handful of others) on Sunday, September 14. If at all possible, don’t miss it.

A photo gallery of all three bands can be seen below and videos from each band’s set can be viewed below that.

Enjoy.

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September 11, 2014

Radiator Hospital at Cocoon Room – 9/8/14 (Pictorial Review, Video)

When Radiator Hospital announced Milwaukee as a stop on their tour, not going wasn’t an option. After all, Torch Song has 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.

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September 1, 2014

All Dogs at Bremen Cafe – 8/19/14 (Pictorial Review, Live Video)

[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.

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August 31, 2014

Watch This: Vol. 42

Well, another week has come and gone, leaving a great set of live sets in its wake. From a pair of performance pairs courtesy of Jimmy Kimmel Live, another extraordinary edition to the Exploding in Sound takeover of BreakThruRadio’s excellent Serious Business series, a newly-surfaced trio of beautifully-lensed performance clips from Pitchfork, and a typically incendiary blast to the gut from one of Canada’s finest emerging artists, it was a great week for the long-form. There were, of course, a few other excellent videos that surfaced over the course of the past seven days- ranging from an excellent KEXP session from The Fresh & Onlys to performances that had personal stakes at hand (more on this tomorrow). There was a lot more to take in than usual but the five sets below earned their spots by virtue of approaching the transcendental. So, kick back, don’t dare turn the volume down, focus up, and Watch This.

1. Greys (Radio K)

Greys tore it up every time they took the stage during the whirlwind week that was NXNE. They’ve earned a fair amount of words from this site by not just making great music but by putting on great performances- and, in both cases, revealing a visible passion for what they’re doing- an increasing rarity. Here, they stop by the University of Minnesota’s student-run radio station, Radio K, to deliver a non-stop barrage of a performance. Turn the volume up and hold on to yr lid.

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2. Sharon Van Etten (Jimmy Kimmel Live)

Are We There has proven to be one of the year’s most engaging quieter records and has firmly established Van Etten at the forefront of her contemporaries. It’s a welcome development that feels as if it’s been justifiably earned. Van Etten was a force to be reckoned with right out of the gate, delivering performances like this attention-ensuring take of “Give Out” for BaebleMusic or lending even more emotional gravity to one of the most emotionally charged records of all time. So, after keeping an eye on Van Etten’s progress for the past six years or so, it’s thrilling to see her commanding as much attention and acclaim as she over the past few years. With more performances like these two stunning takes on “Tarifa” and “Break Me”, that critical and commercial ascension’s unlikely to change anytime soon.

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3. Slowdive (Pitchfork)

Slowdive was one of the more quietly celebrated shoegaze bands before their recent revival, allowing others to catch up on what many had known all along; this is a band worth holding onto. When Pitchfork announced that the band would be playing on US soil for the first time in over 20 years, there was reason for nonsensical levels of excitement. Not only did Slowdive meet those ridiculous levels of expectations, they temporarily turned the festival grounds into something completely undefinable. There wasn’t a set that weekend that inspired more looks of sheer awe. Fortunately, Pitchfork has their cameras rolling and lovingly documented a moment that’s not likely to be forgotten by anyone lucky enough to take part in it anytime soon.

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4. Bob Mould (Jimmy Kimmel Live)

That Bob Mould is still cranking out masterful records probably shouldn’t come as a surprise, considering his enviable track record of all-time classics (Zen Arcade, New Day Rising, Copper Blue, etc.). What does come as a welcome surprise is the commercial success he continues to maintain throughout what’s proving to be one of the more inspired solo resurgences since Dinosaur Jr.’s. Jimmy Kimmel recently invited Mould onto his show and received a masterclass in how to deliver great performances in return. With the serviceable Taylor Hawkins standing in for the inimitable Jon Wurster, Mould more than proves it only takes one revered elder statesman to carry the hell out of a live show.

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5. Pile (BreakThruRadio)

The Exploding in Sound takeover of BreakThruRadio’s Serious Business has yielded some of the series’ best entries. Pile continuing this trend shouldn’t be that shocking- the band’s currently boasting one of the most impressively consistent discographies in music. Special Snowflakes was one of the year’s best releases in any format, Dripping and Magic Isn’t Real both deserve to be considered classics, and somehow the band’s live show manages to blow the studio versions of those songs out of the water. “Tin Foil Hat” is the featured song here while both “Special Snowflakes” and “Fear of Drunk With” are intercut with some humorous banter about their long-standing issues with one specific city. Packaged together, this becomes absolutely essential viewing material.

August 10, 2014

Watch This: Vol. 39

Now that Watch This is actually up to speed and back to its regular Sunday rotation, the five videos to earn spots will likely be a little more varied than usual. That’s certainly the case for the 39th installment, which features another set of videos from Pitchfork, two full sets from KEXP, and a handful of stunning performances. From hazy folk-leaning psychedelia to frantic, unhinged post-punk, there’s a little something for everyone. So, grab a cup of coffee, let it cool to optimum drinking temperature, take a sip, cue up the speakers, and Watch This.

1. Speedy Ortiz (Pitchfork)

There were a lot of great sets at NXNE and Pitchfork, several of which came from Speedy Ortiz. The band’s live show has been growing increasingly sharp and Pitchfork had their film crew on hand to capture incendiary performances of “Oxygal”, “Tiger Tank”, and “Everything’s Bigger”. All three of the videos contained in this playlist sound as good as they look, which is more than a little impressive. Once again, the clips are stunning and the takeaway is simple: don’t pass up any opportunity to see this band live.

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2. Idiot Genes (Allston Pudding)

Allston Pudding continues an impressive video streak with this take of Idiot Genes blazing through “Randy” and “Drunk Consistently” at their practice space. Playing to nobody but a film crew can occasionally affect a band’s energy but it’s a non-issue for the post-punk rippers. Both performances are as weird and engaging as the band themselves, making for necessary viewing.

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3. Woods (KEXP)

Very few bands have a discography as consistent as Woods’, especially taking into account how far along into their career they are. Here, the band stops by KEXP for a full set highlighting their most recent effort, the quietly remarkable With Light and With Love. All of the songs here drift by in a dreamlike state, tinged with bits of Americana, folk, psych, and subtle hints of post-punk. It’s as fascinating as it is entrancing and definitely not worth missing.

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4. Happy Fangs (BreakThruRadio)

“Excuse me, do you have a minute to talk about rock n’ roll?” was the strangest introduction anyone had to offer at NXNE and it came courtesy of Happy Fangs’ singer, who was armed with a business card and no shortage of determination. That same confidence ties over to her performance as the San Francisco-based trio’s relatively fearless vocalist, which is a fact that’s clearly evidenced in this session for BreakThruRadio that features a fiery performance (from all members) of the attention-demanding “Hiya Kaw Kaw”.

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5. Parquet Courts (KEXP)

Sunbathing Animal is in a prime position to appear on a slew of year-end lists and Parquet Courts are likely aware of that fact. They’re certainly playing with the verve of a band that’s on an ascending trajectory of interest and acclaim. Recently, the band stopped by KEXP and delivered a blistering five song set that only re-affirmed their status as one of the more exciting bands around. All wiry post-punk, unease, and nerve, Parquet Courts seem to have no intention of stopping and are content to just keep humming along, never looking back to see who (or what) they’ve left in the dust.

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July 29, 2014

Watch This: Vol. 32

Well, festival coverage has officially ceased. This site will now be resuming its regular features. One of the few recurring segments, Watch This, was largely overlooked and sorely missed in the pursuit of getting as much NXNE and Pitchfork Festival material up as possible. That all changes today. This will be the first of several Watch This installments to go up in the very near future. With more than a month’s worth of material to look back on, there was a treasure trove of videos that couldn’t be whittled down to a definitive five. So, while some videos from outside forces that were connected to NXNE and Pitchfork will earn a few spots, the emphasis will be on the videos that left the deepest impression in this features absence. Now that all that’s been said, sit back, prepare for the best, and Watch This.

1. Cloud Nothings – Pattern Walks (Pitchfork)

Cloud Nothings’ set at the Pitchfork Festival was one of a staggering number of highlights. One of a very small number of bands that thrive on aggression to be featured in the lineup wound up working to their advantage and the crowd paid them back in full. It was a triumphant showcase for a band that continues to get better as a live act. Missing them whenever their close would be a major disservice.

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2. Courtney Barnett – Scotty Says (Chart Attack)

There were very few lower-key sets that stood out more than Courtney Barnett’s Sonic Boom appearance during NXNE and, thankfully, Chart Attack was on hand to capture a great performance of “Scotty Says” that’s intercut with a delightful mini-interview. The whole thing’s worth watching and can be chalked up to another emphatic mark in the win column for the emerging Australian songwriter.

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3. Flagland (BreakThruRadioTV)

Another strong entry in BreakThruRadioTV’s Serious Business series is this entry for New York City’s Flagland. Mixing performances with some raw live footage that culminated with a great performance of “Awesome Song Kerry Yawn”. From that alone, it’s easy to see why both Nirvana and Weezer are name-dropped in their introductory paragraph.

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4. Dinosaur Jr. – Freak Scene (unARTigNYC)

There’s not a lot to say about Dinosaur Jr. that hasn’t been said already. The trio’s one of the more influential bands of the past several decades and responsible for a handful of classic albums and singles. Among them is “Freak Scene”, which sounds as vital now as it did when it was first released.

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5. White Mystery – Good Girl / Smoke (Audiotree)

Chicago duo White Mystery has been flying just under the radar for what feels like years, despite appearances on late night talk shows and a healthy amount of critical acclaim. Over that amount of time, their reputation’s steadily grown and the band’s sharpened their live act considerably. Audiotree was wise enough to not overlook all of this and bring the band in for a feature performance. It’s hard to imagine anyone was disappointed.

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Tag: Video