WI | Heartbreaking Bravery

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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7 Comments

August 18, 2014

Space Raft at Crunchy Frog – 8/16/14 (Pictorial Review)

After The Midwestern Charm was able to secure a last-minute spot on an already stacked lineup at Green Bay, WI’s Crunchy Frog, there was no excuse not to go. All of the right ingredients were there for a memorable night: four of Wisconsin’s best bands at one of the state’s best venues. All that was really left to do was see if the show would live up to the expectations. That The Midwestern Charm, Beach Patrol, Midnight Reruns, and Space Raft exceeded those lofty expectations didn’t come as a surprise, though each of their sets packed a few. The Crunchy Frog, as always, managed to near perfection with the sound levels for each band as they tore through their sets.

The Midwestern Charm kicked things off in typically rousing fashion, with longtime drummer Ryan Gracyalny back behind the kit after a move to Florida, delivering their skewed basement pop with some subtle venom escaping through a half-grin. Bandleader Connor S. La Mue continues to be one of the more engaging stage presences in the state, managing to come across as both ragged and controlled in equal measure. Lead guitarist Ryan McCrary took a turn at the mic as well, adding a new dimension to a band that continues to evolve and impress at a stunning rate. By the end of their set, they’d set a fairly high bar for what would prove to be an outstanding night.

Beach Patrol were next to take the stage and were back to their original lineup. After several years and three fairly extraordinary records (It’s Only Greener ‘Til You Get There, Riding Dinosaurs, and Daytime Highs, respectively), the band hasn’t lost a step. On the verge of releasing their fourth, the band spread out their material fairly evenly among their discography. At one point, the band was even joined by Jordan Davis (the guitarist/vocalist of Space Raft) for a number that Davis wrote and had played with the band previously. It was a small moment of camaraderie that defined the night; this wasn’t just another night out with great music- it was a shared experience among a group of close-knit friends. That same familiarity factored heavily into Beach Patrol’s entire set, from their opening Tom Petty cover straight through to their obliging of a request for the hardest-charging song from their first record.

After Beach Patrol had run through a set that hit all the right notes while still maintaining a fairly casual (and welcoming) feel, the stage was set for Midnight Reruns. Now, what Midnight Reruns are capable of pulling off in a live show has already been covered here in some detail but, like The Midwestern Charm, they’re evolving and improving at a rapid pace. That’s no small accomplishment for a band that, one record in, is already responsible for some of the best songs to have been produced by the state of Wisconsin this decade. From an incendiary cover, to Karl Giehl’s memorable outing as a vocalist, to all of the should-be-classic set staples (“King of Pop”, “Summer Smoker”, “Basement Guy”), the band was in rare form. Best of all, though, were the new songs- among them are some of the band’s most challenging- and some of their most direct- material to date. One, in particular, is an earworm-heavy monster with a “na na na” chorus that has the potential to carry them to new levels of name recognition. As the dual-guitar fury of “Basement Guy” brought things to a stunning end, it was difficult to not want more, once again, proving that this is a band that’s got unlimited potential- and they’re only just getting started.

Space Raft has been riding a wave of acclaim since releasing their self-titled debut back in May on the consistently brilliant Dusty Medical Records and had very little to prove. Thankfully, they didn’t play their set with that mindset, laying just about everything they had on the line. Thanks to guitarist/vocalist Davis’ time in Mystery Girls, the band’s already connected to one of the more memorable post-2000’s bands and, among the four members, share a wealth of experience on the live circuit. There were no false notes, no wrong moves, and each song carried both the pace and momentum of their set, essentially becoming a masterclass in the minutiae of consistency. After they’d played a handful of songs from their record- and a few new ones- the crowd begged for an encore and the band obliged that investment by delivering one of the night’s single most blistering performances, providing a fitting end cap to a night full of good friends and great music.

Below is a photo gallery of each band that played the show. None of their live sets are worth missing. Videos are forthcoming. Enjoy.

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August 6, 2014

The Midwestern Charm – Bloodbath (Stream)

Over the past few years Milwaukee-via-Oshkosh act The Midwestern Charm have gone through their fair share of changes. Most immediately evident, though, is the fierceness that characterizes their just-released sophomore full-length, Growing Pains, that was almost entirely absent from their self-titled debut. Trading a prominent Ryan Adams influence in for a sound more indebted to The Lemonheads was a move that paid off, as Growing Pains is easily the band’s finest material to date. While the whole record’s worth several spins, it’s the lead-off track that really stands out.

“Bloodbath”, more than any other song on Growing Pains, is indicative of what the band’s like in a live setting; relatively unhinged, not afraid of feedback, and unashamedly ragged. All of it’s anchored by an emphatic vocal performance from bandleader Connor S. La Mue, whose frequently trenchant lyrics help elevate The Midwestern Charm past a lot of their would-be peers. While it did take La Mue years to settle on finalized lyrics for “Bloodbath”, there was never a bad version of the song. As the band evolved over time, so did “Bloodbath”, with special attention being paid to Ryan McCrary’s searing lead guitar work. Ultimately, the song wound up not just being a personal best for the band but one of the best songs to come out of WI this year (incidentally, a few members of The Midwestern Charm are also directly responsible for a few other truly great WI-based songs from this year thanks to their status as members of The Sleepwalkers). “Bloodbath” is basement pop at its finest.

Listen to “Bloodbath” below and make sure to catch The Midwestern Charm live as soon as humanly possible (a list of tour dates can be found here).

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June 1, 2014

Swearin’ – Live at Memorial Union Terrace – 5/30/14 (Pictorial Review, Video)

There are very few bands that will warrant the subversion of this site’s manifest. One of the rules that this place tends to hold sacred is that the music in question is more important than an individual reaction to it (this eliminates the assumptions involved in writing from a first person perspective). That said, there are a few bands that have managed to flip that script based on the sheer reverence their music has earned. Perfect Pussy and Tenement are the most notable to have it done it so far but today Swearin’ joins their ranks. There’s just something about the band that resonates with me on a really intense personal level. It’s at the point where it’s impossible to distance or separate myself from that reaction. Taking myself out of the equation would, in some way, feel more dishonest than just trying to get across how this band affects me personally- because any time that happens it’s worth dissolving barriers for.

Some exposition: What A Dump, the band’s first demo cassette, is one of my favorite releases of all time. There’s literally nothing in my fairly expansive library that comes even remotely close to matching it for number of plays at this point. Swearin’, the band’s first full-length, is in the top ten of that particular list as well. Despite this being the case, up until last Friday night, I’d never seen the band play live. So, when the opportunity to see the band play for free on a terrace overlooking Lake Mendota came, I dropped everything and jumped at the chance. By the end of that night my enthusiasm and affection for the band and its members had only grown more emphatic. An additional bonus was the fact that the show gave me a chance to finally catch Pretty Pretty live as well, who lived up to their strong early reputation.

Both bands played shortly after the sun finally set on Madison with Pretty Pretty giving a commanding performance that emphasized their strengths as a live act. The Columbus trio”s punk-tinged powerpop never got tiresome and their set only got more impassioned as it went on, gaining a startling momentum until it finally got to a place where the only thing left to do was call it quits for the evening and let Swearin’ take over. Swearin’, for their part, commanded the hell out of their sizeable audience (it’s nice to see free music outdoors on a perfect night proving to be as big of a draw as it’s ever been) and lived up to every ridiculous, lofty expectation I’d been forming for years. A lot of their songs are practically sacred to me at this point and they only grew more vital in the live setting. When their discography spanning set came to a close, strings had been broken, feelings had been poured out, notes had been missed, beer had flowed frrely, an infinite amount of mosquitoes had been swatted, and everyone was all smiles. From “Here to Hear” to “Crashing” to “Dust in the Gold Sack” to “What A Dump” to “Kill ‘Em With Kindness” there was never a moment that felt less than incendiary. My friend Justin summed the whole thing up aptly and admiringly with a simple “Fuckin’ Swearin'”. How right he is.

A video of Swearin’ kicking off their set with “Here to Hear” can be seen below. Below that video is an extensive image gallery of the show. Take a look at both, then make sure to catch them in person whenever they’re in town. It’ll be worth it.

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3 Comments

May 10, 2014

Midnight Reruns at Polack Inn – 5/7/14 (Pictorial Review, Video)

[EDITOR’S NOTE: The images in the gallery are currently overlaying themselves. A fix is currently being worked on. Until then, the pictures can be viewed in static form over at flickr and the kaleidoscopic overlaps will remain in the gallery below.]

There are certain towns in Wisconsin that exist slightly off the beaten Madison-Milwaukee path but retain a sense of industry, rather than the sprawling scenery the state’s often noted for. Wausau is one of those towns. Farther North than most major show destinations, it’s managed to carve out its own little niche in terms of tour stops based on the strength of the venues. One of the city’s most noted non-house venues is the Polack Inn, a bar perfectly suited for DIY level acts.

Last Wednesday it was used to its fullest capabilities hosting We the Heathens and Midnight Reruns. The former acted as local support and played a lengthy well-received set which offered up an inviting blend of traditional Gaelic, folk-punk, and 90’s pop-punk. Each member of the Wausau power trio proved to have very capable control over their respective instruments (guitar, mandolin, and violin) and their audience. A late start saw much of the crowd dispersing after their set- which they’ll likely be kicking themselves for after learning what they missed out on.

Midnight Reruns, now comfortably positioned as one of Wisconin’s best acts (both in studio and live), played a typically incendiary set that featured no less than five new songs. It’s worth pointing out that after the last Midnight Reruns show in Stevens Point, a person close to the band noted that their new songs were “redefining the parameters of rock n’ roll”. That sentiment proved to be more true than expected, as the new songs ably merged distinguishing characteristics from the last handful of decades. A few of the structures were borderline progressive but overall, they gave off of a vibe more vintage 70’s (while remaining impossibly modern) than the 90’s powerpop that seemingly every review wastes no time administering. It’ll be interesting to see how the new material is met once it’s officially released, to say the least.

After a blitz through all that material (which made time to include several songs from their self-titled debut, which should be considered a state classic, and “Too Tall” from their Central Time EP), they packed up. Or, rather, they began to pack up until a friend of the band requested one last song: “Basement Guy”. No one could blame her for the request; any time there’s the potential for that song to be heard, that opportunity’s worth seizing. Her request was graciously obliged (under the warm, well-intentioned reasoning of “Guys, it’s Claire [requesting the song], come on.”) and the performance that followed can be seen below. It’s the first video to be put up under the now-officially-rebranded Heartbreaking Bravery video section and it’s impossible to imagine anything being better for a first entry.

Scan through the photographs and watch the video (select 1080p for best quality) below.

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2 Comments

May 6, 2014

Cloud Nothings at the High Noon Saloon – 5/2/14 (Pictorial Review)

On Friday Night, the High Noon Saloon played host to Fire Retarded, Protomartyr, and Cloud Nothings for one hell of a show. Fire Retarded were as spastic as anyone could ask for, flexing some serious punk muscle, while Protomartyr found their footing in smoldering intensity. Cloud Nothings more than proved they’d earned their headlining slot; their set played out like a constant highlight reel. These thoughts will be expanded more later elsewhere- but for now, take a look at the first set of official Heartbreaking Bravery photography (and expect a lot more of this to be featured on the site in the upcoming months). Enjoy.

4 Comments

April 10, 2014

Watch This: Vol. 20

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.

No matter what it was, whether it be powerpop legends The Figgs playing Tenement’s living room, Thee Oh Sees taking apart one of Wisconsin’s best venues, Desaparecidos returning to the stage for the first time as an official band again, Okkervil River playing to a criminally sparse outdoors crowd in the middle of an absolutely gorgeous day, The Mountain Goats taking a victory lap, The Antlers entrancing a room of strangers on a stormy night, Mutts stripping way back for a radio performance, or finding myself in a bar, restaurant, or basement with the likes of Big Eyes, Technicolor Teeth, The Cost of Living, Buffalo Moon, Sycamore Smith & the Gray Beast, The Midwestern Charm, Ramma Lamma, The Sleepwalkers, Wett Nurse (shrouded in an impossible amount of fog, at that), Heavycritters – and yes, Perfect Pussy (along with a handful of others)- filming these has always been something that’s been extraordinarily gratifying.

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 surprisingly touching exception 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.

5 Comments

February 27, 2014

Technicolor Teeth – Can You Keep Me Out of Hell (Stream)

Up until this point, there has only been one band to get me to break the self-identifier exclusion rule that Heartbreaking Bravery is normally held to- but when something as monumental as Technicolor Teeth‘s Can You Get Me Out of Hell tour-only tape comes along, it’s worth throwing caution to the wind. Another reason I’m allowing myself the small indulgences of first person narrative is that this is a band I’ve had the privilege of watching evolve since they formed (which was back when Harlequin Kid, a band that featured two Technicolor Teeth members, was still going strong). After one practice, the band had “Station Wagon” to their name and not much else- but that song was strong enough to put me on notice and ensured my attention.

At one of their first shows, guitarist Zacc Baehman blew a fuse while tuning and it took a good ten minutes for everything to get reset. It was one of those weirdly thrilling moments that preceded an even stranger set, with the volume pushed to punishing levels throughout. Back then, Colin Wilde (who appears on the covers of both Teenage Pagans and Can You Keep Me Out of Hell) was still drumming for the band after original drummer Dan Wolfe bowed out and their current drummer- Tenement‘s Amos Pitsch- was on tour. A few very strong 7″ records, a couple of official releases for Teenage Pagans through a few different labels, an inclusion on the incredible Beyond Inversion compilation, and a whole ton of shows later, the band’s now set to unleash the staggeringly brilliant Can You Keep Me Out of Hell cassette, which will only be available to purchase directly from the band on their March tour (track them down at SXSW and pick one up).

Can You Keep Me Out of Hell is a major step forward for the band in almost every way imaginable (an odd feat considering it’s ostensibly a compilation of past 7″ releases with new material tacked on); it’s the most fully-realized version of their shoegaze-meets-nightmare pop aesthetic, both the songwriting from bassist/vocalist Matt Stranger and in-house production are stronger than they’ve ever been, and the pacing is nothing short of extraordinary for this ultimately being a collection of new and previously-released tracks. There are moments of genuinely startling inventiveness littered all over Can You Keep Me Out of Hell as well, each one working as well as the last. It doesn’t just extend to a reliance on one instrument either, whether it’s the hauntingly minimal organ and echoing bells that provide “My Darkest Love” its foreboding atmosphere or the vocal manipulation that leads “Nocturnal Remission” in its descent to nightmarish chaos to provide that song its third quarter, Technicolor Teeth infused this release with almost everything they’ve got and as a result wound up surpassing even the loftiest expectations.

As for the already-released material, “Sage”, “Vaporous”, “Stolen Things and the Starving Man”, “Blood Pool”, and “Drips”, they all hold up as well as ever- only they’re given extra life surrounded by the new material. Everything here works as complement to everything that surrounds it, never once falling into staid territory. Baehman, Stranger, and Pitsch are all playing at the top of their respective games and seem to be pushing each other to greater heights with this project. Ultimately, Can You Keep Me Out of Hell sees the band clicking at the right time, in all the right ways. That’s likely one of the reasons they’ve caught the attention of the likes of Impose and Pitchfork, who have undoubtedly boosted the band’s profile in the past few weeks. Their continued ascension has been surprisingly rewarding to watch unfold and leaves me with this thought; it’s about damn time.

Listen to Can You Keep Me Out of Hell below and don’t lose track of this band- they’ve got a few tricks up their sleeve that should prove they’re far from done.

2 Comments

February 5, 2014

The Sleepwalkers – My Best Was Never Good Enough (Stream)

Yesterday USA Today premiered the first song from The Sleepwalkers’ upcoming record Lost My Mind in Stereo (due out April 8 as a self-release), “My Best Was Never Good Enough”. For a few years now, it’s been one of The Sleepwalkers’ strongest songs during their live sets and the finalized studio version certainly lives up to expectation. The Sleepwalkers have been a band that’s deserved familiarization since before their first official release, The Reckless Kind, back when they were known as Ian Olvera and The Sleepwalkers and long before they moved to Milwaukee. They’re a band that’s consistently found itself in tune with an all-american longing. Open roads, baseball, apple pie, BBQ’s, fireworks, and basement shows all effortlessly evoked in their minutiae.

“My Best Was Never Good Enough” find this aspect of their music reaching new heights, as it seamlessly and simultaneously recalls the likes of The Replacements, Elvis Costello, Big Star, The Heartbreakers, and the Old 97’s. It’s littered with tones that have just enough crunch to make the music sound as dirtied up and hard-learned as Olvera does when he spits out the song’s title in the chorus. From the springboard intro through to the memorable riff that appears throughout and closes the track, “My Best Was Never Good Enough” packs one hell of a punch. Inspired guitar work, a propulsive rhythm section, and Olvera’s masterful lyricism (the entire second verse is a knockout blow) all get propped up to the levels they deserve through pristine production. There’s a down-home aesthetic, some fiery bursts of instrumentation (including one in that miraculous second verse that goes off like a stick of dynamite), and more than a few individual moments that threaten to become inescapable earworms. If anything, give this a listen to remind yourself that rock n’ roll is timeless.

Hear “My Best Was Never Good Enough” over at USA Today and keep up with the band on their Facebook.

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February 1, 2014

The Trucks – Space Famous (Demo Review)

Between The Trucks’ Space Famous demo, the PRIVILEGE demo, EP’s from Miserable Friend, Green Kid, and teasers of the upcoming cassette releases for Black Thumb and Technicolor Teeth, Wisconsin’s had a reasonably insane past few weeks. While all of those titles are worth a listen or two, the first one’s going to be the one discussed today. There’s only so much room and so much time to provide coverage for a release influx as formidable as this slate’s been, so even if there’s a release that picks up a central focus, listening’s encouraged for every listed title. Now, with that out of the way, on to The Trucks and Space Famous.

Having started only a short while ago with a scrappy one-song demo to their name, the Appleton-based band had started playing out more consistently prior to the release of Space Famous, wisely finding their niche comfort zone before committing to recording. With a sound that falls somewhere between Superchunk and Archers of Loaf, there’s always a tough balancing act to overcome; how to sound impassioned about being relatively passionless. The Trucks are well on their way to finding that precise point and Space Famous indicates pretty strongly that they’re looking to perfect it.

With this being a demo, the band’s sound, already considerably thick, is made even thicker through the lo-fi production. It’s something that’s immediately evidenced on the title track, when one of the first noises blasting out is a guitar tone that sounds suspiciously like a brass section. What follows is a quick-witted and hard-charging powerpop song that carries a noticeable amount of 90’s indie punk influence. In that regard, the lyrics (courtesy of lead personality Jake Royer) frequently and appropriately recall those of Robert Pollard during Guided by Voices first classic lineup run.

Following the promising opener is “So She Says”, Space Famous’ longest track, which allows more space to provide emphasis on the talents of the members surrounding Royer; Danzo Clavers, Luke Crowe, and Ryley Crowe. This spread-emphasis continues to an even greater extent on closing track “Heartbreak Motel”. Throughout both tracks, there’s a palpable almost acerbic energy that’s anchored and held in check by the power drumming of Ryley Crowe (who also drums on the releases from Miserable Friend and PRIVILEGE mentioned above, likely on the upcoming Black Thumb cassette as well).

By the time “Heartbreak Motel” wraps up Space Famous in an inspired burst of cross-vocal performances, it’s clear that The Trucks are doing more than a few things right- chiefly, resurrecting the 90’s slacker punk sub-genre in a way that feels honest instead of forced. There are traces of early-era Weezer and their kin throughout that promise this band’s got a lot of interesting things to offer musically, many of which may very well be hidden up their sleeves. If they’re all as consistently great as Space Famous then there’s a very good reason to keep both eyes on them. During the wait to find out, relax, find some junk food, turn the volume up, keep an eye out for their upcoming shows (they’re absolutely on the mark live) and take a trip through Space Famous below.

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