Music – Milwaukee Record http://milwaukeerecord.com Music, culture, gentle sarcasm. Mon, 21 May 2018 05:23:59 +0000 en-US hourly 1 https://wordpress.org/?v=4.9.6 http://milwaukeerecord.com/wp-content/uploads/2014/02/cropped-mrapp-32x32.jpg Music – Milwaukee Record http://milwaukeerecord.com 32 32 Here are your 2018 WAMI winners http://milwaukeerecord.com/music/here-are-your-2018-wami-winners/ http://milwaukeerecord.com/music/here-are-your-2018-wami-winners/#respond Mon, 21 May 2018 04:25:35 +0000 http://milwaukeerecord.com/?p=50102 After the April 15 ceremony was rescheduled on account of a blizzard, the 38th annual Wisconsin Area Music Industry Awards (aka “WAMIs”) took over the Appleton Performing Arts Center Sunday night, and what a night it was. Those in attendance were treated to performances by The Cherrypops, Husher, SACRED, and more. GGOOLLDD, Abby Jeanne, Platinum Boys, Soul […]

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After the April 15 ceremony was rescheduled on account of a blizzard, the 38th annual Wisconsin Area Music Industry Awards (aka “WAMIs”) took over the Appleton Performing Arts Center Sunday night, and what a night it was. Those in attendance were treated to performances by The Cherrypops, Husher, SACRED, and more. GGOOLLDD, Abby Jeanne, Platinum Boys, Soul Low, and, um, Vic Ferrari won big at the ceremony. Blues guitarist Billy Flynn, glam metal singer (and Cheeseheads With Attitude frontman) Stevie Rachelle, and jazz trumpeter Bunny Berigan were inducted into the WAMI Hall of Fame. Oh, and Happy Schnapps Combo totally got robbed in the Polka Artist category.

Here’s the full list of winners:

Artist of the Year: GGOOLLDD

Album of the Year: Tre Principesse, Getting To Know You

Song of the Year: Altered Five Blues Band, “Charmed And Dangerous”

New Artist: Tre Principesse

Female Vocalist: Abby Jeanne

Male Vocalist: Kyle Menga

Singer/Songwriter: Tom Thief

Rising Star: Lokke and Jaid Ruffing (tie)

Alternative Rock/Rock Artist: Kyle Megna & The Monsoons

Bluegrass/Americana: Ordinary Heathens

Blues Artist: Altered Five Blues Band

Christian/Gospel: John Paul Larson

Country Artist: Bella Cain

Cover Artist: Vic Ferrari

Folk/Celtic: Warrior Songs

Hard Rock: Black Belt Theatre

Metal: Beatallica

Punk: Platinum Boys

Jazz Artist: Erin Krebs and Jeff Johnston

Polka: Val Sigal Polka

Pop Rock Artist: Soul Low

Hip Hop/Rap Artist: BLAX

R&B/Soul Artist: Porky’s Groove Machine

World/Reggae/Ska/Latin: Unity The Band

Club DJ/Dance/Electronic: NO/NO

Horn/Big Band: Phat Phunktion

Tribute: The Rush Tribute Project

Bass Player: Evil Evans

Drummer: Adam Hatton

Guitar Player: Bobby Evans

Keyboard Player: Mark Chartre

Reeds/Brass Player: Al Falasci

Strings Player: Emily Knutson

Best Studio Engineer/Producer: Tom Washatka

Best Recording Studio: Rock Garden

Best Live Club/Venue: Gibson Music Hall

Best Live Engineer Sound/Lights: Mike Fleury

President’s Award: Ryan Vander Sanden


PEOPLE’S CHOICE AWARDS

(Northeast)
Band: BoomBoxx
Fan: Jaeden Pillar
Venue: Deja Vu Martini Lounge
Radio Station: Razor 94.7
Music Teacher: Mark Budwit

(Northwest)
Band: Spicy Tie Band
Fan: Leanne Booher
Venue: Hodag
Radio Station: Rock 94.7 WOZZ
Music Teacher: Brian McLaughlin

(Southeast)
Band: The Playlist
Fan: Dan Goretski
Venue: The Saloon On Calhoun
Radio Station: 91.7 WMSE
Music Teacher: Daniel Faustmann

(Southwest)
Band: Pat Watters Band
Fan: Mark Breunig
Venue: Fawn Creek Winery
Radio Station: Rock 97.1 WCOW
Music Teacher: Brad Burril

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Detenzione and Rio Turbo do Japan: A tour recap http://milwaukeerecord.com/music/detenzione-and-rio-turbo-do-japan-a-tour-recap/ http://milwaukeerecord.com/music/detenzione-and-rio-turbo-do-japan-a-tour-recap/#respond Fri, 18 May 2018 18:48:56 +0000 http://milwaukeerecord.com/?p=50083 From the last week of April through last week, Milwaukee’s own Rio Turbo and Detenzione were on a Japanese tour together. Since it’s a once in a lifetime opportunity for most Milwaukee bands (unless you’re Holy Shit!, who seem to go to Japan constantly), we thought it would be a good idea to have a […]

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From the last week of April through last week, Milwaukee’s own Rio Turbo and Detenzione were on a Japanese tour together. Since it’s a once in a lifetime opportunity for most Milwaukee bands (unless you’re Holy Shit!, who seem to go to Japan constantly), we thought it would be a good idea to have a member of one of the bands recap the experience. The following is a post-tour diary from Detenzione vocalist/Milwaukee Record contributor Dan Agacki.

***

Detenzione is a young band. In our first year of playing shows, there were no tours, so when Yoichi of the Japanese label Snuffy Smiles approached us about touring Japan, it was a bit of a surprise. Of course there was no way we could say no. How many chances does a band get to tour Japan? Rio Turbo seemed to be a strange touring partner, but it came down to the fact that they’re a band people can’t help but love and they’re all really solid people.

The first significant tour happening was Rio Turbo getting interviewed for Japanese TV. Cat Ries is a people person, so she delighted the camera crew with entertaining conversation. Eventually the crew asked to follow us on tour, but that wouldn’t happen. They had no idea how unglamorous a journey it would be.

The nine of us piled into a rental van driven by Sitoru, bassist of Your Pest Band. The first show of tour was in Yokohama and also the last show at the long-running Bar Move. It proved to be a wobbly warm-up for both bands, but we kept the train on the tracks. The biggest takeaway from the night was that people love to smoke indoors in Japan and some of us would need to wear facemasks to make it through.

Post show, we made our first brutal overnight drive—eight hours to Kyoto. This is the drive that got the ball rolling on inside jokes, and also when the van was dubbed Satellite High Dive. With drinking legal in moving vehicles, we established ourselves as a party on wheels. As the sun came up, the sake emerged and a tradition was christened.

We rolled up to our host’s house in time for an impressive breakfast feast, followed by a quick four-hour nap. The hardwood floor was a welcome respite from the cramped van. The slumber was short lived, as the sake temple called. Wandering the grounds, it was our first taste of the wondrous architecture of Japan.


After a short drive to the venue, we had hours to burn wandering the neighborhood. During our journey we discovered that Wendy’s serves highballs. How could we not stop in? Eventually the show at Rinky Dink Studio started in a white walled practice studio. It may have been the smallest show of tour, but it was one of the most fun. Sanhose opened and had definite shades of Crimpshrine. Their guitarist’s Japanese named band played second and were insanely good off the wall hardcore in the vein of Jellyroll Rockheads and The Futures. Detenzione played our first decent set of tour, but this show was all about Rio Turbo. It was their sole headlining slot of the tour and they seized the moment. They were “on” from the get go. The set was a non-stop dance party. When they ran out of songs, the crowd yelled for more, so DJ Kelsey Kaufmann threw songs on a playlist and kept the party going.

Another all night drive ensued. Daybreak sake was passed around the van. We made it to Fukuoka and crashed on the floor at Toshi from U Span D’s place. Rio Turbo turned in an energetic set that people loved. Three shows into tour and it was obvious that that band’s got magic running through them. Detenzione played, quite possibly, our best set of tour. There were fists pumping in my face most of the set, which was great until the mic got slammed into my teeth. To make room, I flung myself into the crowd and they responded by lifting me atop them. U Span D closed the show and made us all happy to not play after them. Their thrashing hardcore made us all look like amateurs.

Back at Toshi’s, we all slept in a row and promptly woke up at 6 a.m. The Kumamoto show was scheduled for a noon start. It was the first “pro” venue of tour with everything mic’d up. The show would be the most awkward of the tour. As Cat danced throughout the audience during the Rio Turbo set, people stepped away instead of joining in. Our set was equally as ho-hum. XL-Fits put in a solid set of noise rock, with an epic deconstructed jammer to close it. The show ended around 3 p.m.

The real action of the day would be at the post-show meal. It was an all-you-can-eat and all-you-can-drink affair. We had our own private room and most of the bands from the show attended. The communal atmosphere was fun as we got to know a handful of new people. Eventually, the drummer of XL-Fits decided it was time to pull down his pants and urinate in a bottle. No urine was expelled, but it opened the door for him to pull his pants down every two minutes or so. Of course he ended up fully naked a short while later. Cat took the opportunity to spit mouthfuls of her drink on him. He followed that up by sticking chopsticks up his butt and breaking them. In hindsight, this is hilarious, but at the time I was considerably less impressed. We topped the night off with karaoke and a 10 p.m. bedtime for all.

We all woke up promptly at 6 A.M. again. After being turned away from three bathhouses because of our tattoos, we finally found one that would let us in. As relaxing as the bathhouse was, the effects would be outdone by another long day in the van. We made it to Kokura close to show time. Rio Turbo added to their string of great sets. Detenzione played well, but it was one of those sets that you can’t really tell if they like it until the cheers at the end. We hopped into the van and made another all-night drive to Takamatsu.


We made it to the venue, Too Nice, at 6 a.m. We all slept on the floor for a few hours before setting out to see what secrets the city held. We ate ramen before wandering to a castle. Next, we walked to the port and saw jellyfish swimming everywhere. Eventually, we ended up at a garden that had a sign posted informing us that all the fish had herpes. Once back at the venue, I was exhausted and the show hadn’t even started. Rio Turbo played early in the show, which was a bummer, but they ruled anyway. Sister Paul played fourth and their glam punk pop was thoroughly loved by everyone but me. It was my first instance of feeling alienated from the group.

We stayed in Tokushima with a member of the opening band. Stopped at a Lawson convenience store on the way that was filled with roaches and a puke covered toilet. We showed up to blankets covering the floor of the house, a definite step up from the venue floor. The next morning, we had a barbecue at the house. I was surprised to see hot dogs alongside the fish and noodles being grilled. It drizzled all day, which was a bummer, but it didn’t stop us from going up to a mountain looking over the city.

The Rio Turbo set went well, as people are naturally drawn to them. The Thirsty Chords played before us and were very well-received, so the bar was raised for our set. The fact that I was already in a bad mood made for the perfect mindset for a good set. Most of the set is a blur, but I do remember that during the encore I was tired and forgetting the words so I dove onto the crowd. I aimed for Joey Turbo because I knew he’d catch me. Post show was a bummer. I was hoping for a shower and sleep, but the party followed us back to the house.

We were up and out by 8 a.m. and back in the van for another eight hour drive. It was nice to do a long drive in the daytime because Japan is a beautifully lush country. The show in Yokkaichi was at Vortex, a stylish punk store with a venue upstairs. Rio Turbo’s set was plagued with sound issues, but they pulled through like the bosses that they are. The crowd rewarded them with screams and butt shaking. The Detenzione set got better as it went, but was still one of the worst of the tour. The show, once finished, immediately turned into a dance party. I went to a bath house around the corner to unwind and then crashed out on the van seat while everyone eventually slept at the venue.


Yoichi knocked on the van window at 6 a.m. We got coffee and talked. It felt good to sit down one on one with the person to whom we owed the whole tour. By 8 a.m. we were back on the road, headed for Kanazawa. Nothing really sticks out about the show. Both bands played well and were well-received. They had a squatter toilet in the bathroom which is always troublesome.

The overnight drive took us from the west coast of the island to the eastern side, specifically Satoru’s apartment in Tachikawa. The drive was mostly through curvey mountains. With a shortage of rest stops, we pulled onto the shoulder and most of the band members relieved themselves streaming down the roadside. Eventually the mountains were gone and I passed out until Tachikawa.

After a quick nap at Satoru’s, the rental van was returned and we loaded everything into Fumito from Your Pest Band’s car. The show in Akihabara was at Ikebeck and it looked like we were playing inside a Guitar Center. Daiei Spray opened and were the best Dag Nasty-influenced band I’ve ever heard. X is Y followed with a jazzy Saccharine Trust influence and Boredoms-styled vocals. Spy Master and Groaning Groove played sets of pretty straight forward hardcore. It made for an odd match for Rio Turbo, but of course they had no problem winning the audience over. All the hardcore guys were dancing throughout the set. Detenzione played well. During the encore, I crowd surfed again. When thrown back onto the stage, I knocked the P.A. tower over. Luckily nothing broke, but the crowd still demanded another song.

We hopped onto a usually-busy train to Tachikawa and found it was surprisingly empty. Then we noticed the puke puddle streaming down the car. Not ideal, but we enjoyed the space. Later that night, Kelsey and Cat returned to the house in Tachikawa and they also had a puke car on the same train.

The next morning was the last day of tour and people were slow to move. Yoichi cooked a big breakfast and everyone feasted. We headed to the show on foot. The show being a Snuffy Smiles showcase, we had already played with half of the bands on the tour. It was great to see all these new friends again. Of the bands we hadn’t seen, Deathro was the most impressive. Their singer described their sound as The Ramones with New Romantic vocals. He’s a true showman. In a better world they’d be huge. Moonscape are a violent-sounding hardcore band in the vein of Japanese greats Gism and modern U.S. hardcore favorites Hoax. Their chain-wielding singer’s confrontational presence commanded attention. Rio Turbo closed out the tour with another stellar performance. Detenzione did not. Our stumbling set was underwhelming. The best part of the set was Rio Turbo joining us on stage to sing Happy Birthday to Yoichi. Your Pest Band closed the show with a perfect drunken set. With that, tour was over.

On tour, there’s bound to be ups and downs. Despite my occasional doldrums, touring Japan was easily one of the best experiences of my life. We drove through the majority of the country on a guided tour and we got to play shows while doing so. People pay a lot of money for that kind of service, and we got it for the price of plane tickets. Along the way, we met so many amazing people and also bonded as a group. In such close quarters it’d be hard not to.

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Listen to Devil Met Contention “Take A Chance” with bold new sound http://milwaukeerecord.com/music/devil-met-contention-take-chance-new-sound/ http://milwaukeerecord.com/music/devil-met-contention-take-chance-new-sound/#respond Fri, 18 May 2018 05:50:33 +0000 http://milwaukeerecord.com/?p=49959 evil Met Contention needed a change. “We’d been playing the songs off of our last album for a while,” says DMC frontman Ehson Rad. “We did some small tours in the Midwest for them, and then we recorded them and then we played a lot—quite a bit—last year. It just felt like if we wrote […]

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Devil Met Contention needed a change.

“We’d been playing the songs off of our last album for a while,” says DMC frontman Ehson Rad. “We did some small tours in the Midwest for them, and then we recorded them and then we played a lot—quite a bit—last year. It just felt like if we wrote any more the same way, we would just be repeating ourselves.”

Those songs Rad and company (guitarist David Schuyler, bassist Max Nemer, drummer Nez) were afraid of repeating had certainly served them well. Beginning with a self-titled 2012 album and culminating in 2016’s Fuel The Lights, Devil Met Contention had successfully mined a dark, sepia-toned Americana folk-rock vibe full of hardscrabble towns and hardscrabble love. On stage, the band presented itself as identically dressed troubadours—all shiny blue suits and tightly coiled energy. But the suits were fraying and Rad was evolving. Something had to give.

“With things changing personally, you’re writing different songs,” he says. “The subject matter of the new songs I was writing didn’t fit the whole formula of this brooding, dark, heavy-hitting, Southwest stuff. It didn’t feel appropriate.”

Enter “Take A Chance,” a bold reinvention of Devil Met Contention sound, a terrific pop tune, and a glimpse of things to come. Recorded and mixed by Daniel Holter at his Wire & Vice studio, the song replaces the band’s dusty outlook of old with a sleek, smoldering, synth- and sax-flecked jam. Previous influences like Dylan and Springsteen are still there, but they’re now crammed next to Bowie and ’80s New Wave.

“I love The Kills, and they love Iggy Pop, and I started getting into ’70s Iggy Pop,” Rad says. “I had somehow never heard The Idiot before, and then I found out David Bowie produced it and co-wrote a lot of the songs on there. For the longest time, I just thought that Bowie had a lot of hits, everyone loved him, he’s from outer space, and that’s great. I kind of wrote him off, because he was just everywhere. And then I realized how much darkness and pain and isolation can be in those songs that everyone loves to sing along to. New Order has that. Classic country western music has that. Everyone is crying in their beer but they’re having a great time listening to it. I really love that.”

The decision to record with the on-a-hot-streak Holter, who has recently worked with the likes of WebsterX, Lex Allen, Abby Jeanne, and many more, didn’t come easily. It took a fortuitous run-in with another Milwaukee music star to seal the deal.

“Daniel was giving me the tour, and I wasn’t sure,” Rad says. “He had these spare rooms and I asked, ‘What’s that room? There’s nothing in there.’ And he says, ‘Oh, Chris Porterfield is moving in that room. He’s going to use it as a studio.’

“I love Chris’ songwriting. He’s the best. I just respect him and his songwriting so much,” Rad continues. “And then he came in! ‘Oh, Ehson! What are you doing here? Are you going to make something here? You should make something here! You guys should do it! I’m so pumped you guys are working together!’ And then he just left! And I was like, ‘Okay, let’s do it.'”

Even with Porterfield’s blessing, there was some apprehension within the band about changing Devil Met Contention’s tired-and-true formula.

“We were sitting around and someone said, ‘Do we really want electronic instruments? I don’t feel like they belong in our band,'” Rad says. “I said, ‘Whatever we want can belong in our band. We shouldn’t just limit ourselves to “All we can have is a violin because we’re a western rock band.”‘ I just thought that’s bullshit. If we were going to do that, we might as well just be a cover band.

“From there, once everyone realized that we could do whatever we wanted, that we could push it farther, we just kind of went for it,” Rad says.

“Take A Chance” is currently one of two new songs Devil Met Contention has recorded with Holter (the second will be released this fall), though the band will be going back to the studio in the near future. A full-length album is planned for sometime next year.

“We’re moving towards something a little more energetic and less broody,” Rad says, “even though this song is broody as hell.”

Devil Met Contention’s next two shows are May 19 at Linneman’s (playing in support of Tigernite’s record release show), and June 19 at The Cooperage.

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Here’s the lineup for the 2018 Summer Soulstice Music Festival http://milwaukeerecord.com/music/lineup-2018-summer-soulstice-music-festival/ http://milwaukeerecord.com/music/lineup-2018-summer-soulstice-music-festival/#respond Thu, 17 May 2018 05:30:30 +0000 http://milwaukeerecord.com/?p=49926 For nearly two decades, the East Side’s annual Summer Soulstice Music Festival has marked the first day of summer with music, food, drinks, and that one guy who always shows up carrying a giant lizard. On Saturday, June 23, from noon until midnight on East North Avenue (between Oakland and Prospect Avenues, and on Murray […]

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For nearly two decades, the East Side’s annual Summer Soulstice Music Festival has marked the first day of summer with music, food, drinks, and that one guy who always shows up carrying a giant lizard. On Saturday, June 23, from noon until midnight on East North Avenue (between Oakland and Prospect Avenues, and on Murray Avenue), the fest will return for its 18th installment. It will come complete with a musical lineup that practically screams “Milwaukee 2018”: Abby Jeanne, B~Free, Devil Met Contention, Space Raft, Vincent VanGREAT, Paper Holland, Negative/Positive, and more. (Also coming to the fest: East Side food, live art, a Nine Below mini-golf hole, BMX demos, Adventure Rock demos, a Milwaukee roller-skating dance troupe, and more.)

Check out the entire lineup below, smash that PLAY button on our 2018 Summer Soulstice playlist, and get your Milwaukee-themed tank-tops and/or giant lizards ready.

EAST STAGE

2 p.m.
School Of Rock

3:30 p.m.
Paper Holland

5 p.m.
Bo & Airo

6:30 p.m.
Sat. Nite Duets

8 p.m.
Greatest Lakes

9:30 p.m.
Jaill

11 p.m.
Rusty Pelicans

WEST STAGE

2:30 p.m.
Negative/Positive

3:45 p.m.
Soulfoot Mombits

5 p.m.
TBA

6:30 p.m.
Vincent Van Great

8 p.m.
B~Free

9 p.m.
Kal Berghdal Project

10:30 p.m.
Abby Jeanne

MURRAY STAGE

1:30 p.m.
Paladino

2:15 p.m.
Devil Met Contention

3:30 p.m.
Kevin Hayden Project

5 p.m.
Amanda Huff

6:30 p.m.
Kyle Feerick

8 p.m.
Chicken Wire Empire

9:30 p.m.
Space Raft

11 p.m.
The Young Revelators

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20 edgy album covers from Milwaukee music past http://milwaukeerecord.com/music/20-edgy-album-covers-from-milwaukee-music-past/ http://milwaukeerecord.com/music/20-edgy-album-covers-from-milwaukee-music-past/#respond Wed, 16 May 2018 05:55:55 +0000 http://milwaukeerecord.com/?p=49850 The album cover is a dying art form. Once relied upon to be a gateway to attract customer attention, album art seems more expendable than ever these days. Imagery that, until recently, was used to help sell records and provide a visual component to pair with the music itself now appears most often as a […]

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The album cover is a dying art form. Once relied upon to be a gateway to attract customer attention, album art seems more expendable than ever these days. Imagery that, until recently, was used to help sell records and provide a visual component to pair with the music itself now appears most often as a small collection of pixels on a phone or computer screen. Yes, artists sometimes go all out for vinyl releases, but for every meticulously-crafted gatefold or painstaking illustration in modern music, there’s a dozen photos or sketches that seem to be selected by bands at random.

Recently, while getting things together for last month’s Broken Up Band Bazaar fundraiser, we took note of some Milwaukee bands that tried to get their point across with intense imagery like demons, guns, patriotic symbols, religious relics, and skulls. Lots of skulls. As we prepare to say goodbye to album art as we know it, let’s look back on some edgy CD covers from Milwaukee music’s recent past.

9mm Solution — The Trial
Just in case you thought the name 9mm Solution was referencing an answer you could figure out with a ruler or something, the band’s album, The Trial, brazenly sets you straight. We think it might have something to do with a gun.

Bar Whore — Sick Song Sampler
On name alone, Bar Whore already pulls few-to-no punches to let you know they’re edgy as frick. Add a beer-bellied devil barfing Beast Ice onto the flames of Hell and the edginess levels are off the charts.

Belial Records — Compilation
A woman and a girl seem to be enjoying themselves in a flowery field until…oh god! This comp also has a song called “All Holes Filled With Hard Cock” by a band called Fecal Alcohol Syndrome. Whoa.

Chaoscontrol — J.F.K. Case Closed
Remember J.F.K.? He was the President who was killed in Dallas. Anyway, Chaoscontrol—a band too G.D. edgy for spaces between words—made an album of J.F.K. speeches, assassination interviews and news coverage, and a 21-gun salute. Music? Debatable. Edgy? Totally.

Crepitus — Crepitus
Brash name: check. Severed mutant ear: check. Edgy album cover: You tell us.

Dirty Kid Discount — A Life Amongst The Ruins
If you thought imagery of a demon fondling the breast of a topless woman brandishing a dagger in medieval times was edgy enough, Dirty Kid Discount has upped the edginess ante tenfold. That’s right, the demon is a naked woman!

Dirty Pawz — My Lack Of Faith
When in doubt of your album art’s edginess, work in a bible somehow. That’s what Dirty Pawz did on the cover of My Lack Of Faith. There, you see a typical suburban family of four has sprouted horns and the smiling mother figure is holding, get this, THE BIBLE. That image combined with the band’s blatant disregard for the proper spelling of “paws” makes for one edgy album cover.

Disciples Of Mockery — Prelude To Apocalypse
Gas masks always equate to intensity. That, and flat out saying “apocalypse” in the album’s name makes Disciples Of Mockery edgy as fudge. This isn’t your grandpa’s CD cover, okay?!?!

Floor Model — Humiliation Payday
When making a vague statement about society’s reliance on technology, consider replacing people’s head with televisions. It worked well the first 20,000 times people did it. It will work for you too. Trust us here: TV heads.

New Society Of Anarchists — Gagged By The Flag
Take this, America.

Nocturnal Processions — (Can’t read album name)
Either this is a Rorschach test and we’ve failed or the Nocturnal Processions record cover depicts a person hanging from the bare branches of a tree. We can’t read what the album title says. If anyone out there is fluent in Metal, let us know what it says. We see the pentagram, too. DOUBLE-EDGE ACHIEVED!

Psychedelicasi — Psychedelicasi
Wow, that dog looks piiiiiiissssed.

Rictus Grin —Resurrection
An album cover showing a zombie attack at a wedding seems pretty metal, but it’s hard to determine for sure. Oh, never mind! It says “metal” on the cover. So it’s settled, this is a metal album with edgy art.

The Rustbelt Boys — Honky Tonk TNT
This one is more “creepy as hell” than edgy. What the hell, The Rustbelt Boys? Act like The Rustbelt Adults.

Scott Finch And Blackwolf — I Hate Love
“How can I get across that my heart is hurting and I don’t like love?”

Shamus O. Eukey — Swing State Songs For The New Reich
Oh man! That war statue with the US Life billboard in the background is powerful. From the back of the album: “Shamus O Eukey’s song ‘Waltzing Attila’ brought down Milwaukee’s Mayor Maier in 1985. Let’s hope his new songs on this CD bring down George W. Bush in 2004.”

Terry Tanger — Vicodin Sessions
Damn! It seems like Terry Tanger got a prescription to Vicodin at some point. If the cover and album name are too subtle for you, the CD itself is emblazoned with a photo of a Stewart’s Pharmacy pill bottle cap.

Thin The Herd — Thin The Herd
Skullbees.

Truth Squad — Superkiller
Another gun.

Quadraphonic Junkie — Demo 2011
Another bible, this time with snakes to really drive the point home.

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David Byrne lives up to his legendary status (obviously) at Riverside Theater http://milwaukeerecord.com/music/david-byrne-legendary-status-riverside-theater/ http://milwaukeerecord.com/music/david-byrne-legendary-status-riverside-theater/#respond Wed, 16 May 2018 05:30:32 +0000 http://milwaukeerecord.com/?p=49966 In recent years, David Byrne has made more headlines for his activism than his music; based on his new solo album, American Utopia, this might be a good career development. Byrne has never shied away from making political statements with his music, it’s just that his gifts for metaphor and lyrical finesse seem to have […]

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In recent years, David Byrne has made more headlines for his activism than his music; based on his new solo album, American Utopia, this might be a good career development. Byrne has never shied away from making political statements with his music, it’s just that his gifts for metaphor and lyrical finesse seem to have faded a bit. For instance, here’s the chorus from an American Utopia cut called “Dog’s Mind”: “We are dogs in our own paradise / In a theme park of our own / Doggy dancers doing doody / Doggy dreaming all day long.” Deep!

Fortunately for his fans, Byrne already had a decade’s worth of songs from his old band, Talking Heads, to mine for his current tour, which he has called “the most ambitious show I’ve done since the shows that were filmed for Stop Making Sense.” Tuesday night’s sold-out performance at Riverside Theater was indeed an impressive production, but the visuals and technological marvels probably aren’t the primary factors that will stand out in fans’ memories of the show.

Byrne’s last visit to Milwaukee was during his 2012 duo tour with St. Vincent, and his current choice of tourmate, Benjamin Clementine, suggests he’s still at least in touch with pop music’s cutting edge. Clementine won the 2015 Mercury Prize for his debut album At Least For Now, which, in countries other than the U.S., is kind of a big deal. Last year’s I Tell A Fly is an equally compelling though perhaps even stranger album. Alone at the piano, Clementine took great liberties with his compositions; his rendition of “Phantom Of Aleppoville,” for instance, was barely recognizable from its studio version, and he often took the theatrics beyond reason to the point of virtual crowd-baiting. Clementine’s pleas for social justice were powerful but rarely blunt, and the crowd (other than a handful of inconsiderate loudmouths) received his set enthusiastically. Byrne and his entourage had a lot to live up to.

Er, scratch that. Byrne had a full, choreographed production at his command, a myriad complement of percussionists and singers and dancers. He had Milwaukee’s own Angie fucking Swan on guitar. Byrne had a few decades of legendary status to live up to. That was about it.

It was an unusual melting pot of kids and curmudgeons in the audience; fans of all stripes filled the theater with a palpable excitement even before Byrne emerged for a solo rendition of “Here,” as a shimmering enclosure of silver thread rose from the stage floor up to the rafters. As the musicians emerged, all visible equipment was hand-held or strapped to the performers; there was no drum kit, no monitors, no mic stands. “Lazy,” from Byrne’s 2004 album Grown Backwards, was a somewhat unremarkable choice to ease into the performance, but he followed it up with “I Zimbra,” which brought the entire crowd to its feet for the rest of the night.

Perhaps predictably, Byrne’s newest material came to life onstage in a way that listening to mp3s could scarcely hint at. Despite its baffling chicken-based imagery, “Every Day Is A Miracle” came off like a lost Talking Heads classic as a good percentage of the crowd belted out “You’ve got to sing for your supper / Love one another,” and studio trifle “I Dance Like This” became a quasi-industrial show-stopper late in the set.

Byrne’s onstage persona was much less demure for this show than when he’d played here with St. Vincent; he was quirky but animated and fully engaged. He didn’t need to lean heavily on the oldies, but peppered judiciously throughout the set, the Talking Heads tunes brought down the house every time. “Once In A Lifetime” and “Born Under Punches” were delirious reminders of how well the band’s catalog has aged, and “Burning Down The House” was the perfect closer for the regular set.

The moment at least some Milwaukeeans had been waiting all night for, though, arrived at the end of the first encore segment: Swan, bathed in spotlight, center-stage, tearing up the guitar to finish off “The Great Curve.” It was an absolute knockout, only rivaled by the night’s final song: a militant take on Janelle Monáe’s little-known tribute to victims of police violence, “Hell You Talmbout.” The entire crowd shouting the names of Jay Anderson and Dontre Hamilton, among many others, amounted to an incredible catharsis.

The communal experience that ended the show could potentially have broadened a lot of people’s perspectives. What if scoffing at those lyrics about doggies is a pathetically elitist attitude to take? What if Byrne’s bluntness crosses across a few social and political divides when combined with his obvious passion? What if he’s actually reaching people, while the rest of us simply promote ourselves in the digital echo chamber of our chosen comfort zones? Rock and roll still isn’t going to save the world, but in the hands of a master, it does have the power to bring us together, at least for a night.

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Questlove’s “Symphonic Celebration of Prince” is coming to Riverside Theater (without Questlove) http://milwaukeerecord.com/music/questloves-symphonic-celebration-of-prince-riverside-theater-without-questlove/ http://milwaukeerecord.com/music/questloves-symphonic-celebration-of-prince-riverside-theater-without-questlove/#respond Tue, 15 May 2018 15:00:58 +0000 http://milwaukeerecord.com/?p=49905 It’s been more than two years since Prince left this plane of existence, but his spirit and his music live on. Purple Rain will forever remain Purple Rain. The Batman soundtrack will forever remain the Batman soundtrack. Unreleased music will soon be released. We’ll always stay wet. Now, the one and only Questlove—Roots drummer, Tonight […]

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It’s been more than two years since Prince left this plane of existence, but his spirit and his music live on. Purple Rain will forever remain Purple Rain. The Batman soundtrack will forever remain the Batman soundtrack. Unreleased music will soon be released. We’ll always stay wet.

Now, the one and only Questlove—Roots drummer, Tonight Show drummer, Prince superfan—has curated “4U – A Symphonic Celebration of Prince.” A full symphony orchestra will present Prince’s hits and deep cuts “like never before” in this estate-approved show, and a live band “including amazing musicians and vocalists” will play alongside the orchestra. Questlove will not be among those amazing musicians, but he helped curate the thing, so that’s something.

The tour will make a stop at the Riverside Theater on Friday, October 11. Reserved seating tickets are $40, $50, $60, and $75, and go on sale Friday, May 18, at 10 a.m.

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Listen to another single from Surgeons In Heat’s upcoming LP, ‘Bored Immortals’ http://milwaukeerecord.com/music/another-single-surgeons-in-heats-upcoming-lp-bored-immortals/ http://milwaukeerecord.com/music/another-single-surgeons-in-heats-upcoming-lp-bored-immortals/#respond Tue, 15 May 2018 05:50:11 +0000 http://milwaukeerecord.com/?p=49895 Back in February, we gave you a sneak peek of the upcoming Surgeons In Heat album, Bored Immortals. Here’s what we had to say back then when we premiered the record’s first single, “Why’d You Start?”: This time around, [singer-songwriter Johnathon] Mayer and bandmates Ryan Reeve, Bradley Kruse, and Michael Stewart both tweak and refine […]

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Back in February, we gave you a sneak peek of the upcoming Surgeons In Heat album, Bored Immortals. Here’s what we had to say back then when we premiered the record’s first single, “Why’d You Start?”:

This time around, [singer-songwriter Johnathon] Mayer and bandmates Ryan Reeve, Bradley Kruse, and Michael Stewart both tweak and refine the group’s chilled-out-Spoon sound: adding bits of sax and electronic drums here and there, but ultimately nailing down a hazy and almost regal sense of aloofness. Produced by The Fatty Acids’ Josh Evert at Silver City Studios, it’s Surgeons In Heat’s most cohesive, most front-to-back satisfying record to date.

Now comes another single, “Falling In A Row.” It’s a touch more original-formula Surgeons In Heat than “Why’d You Start?” but that doesn’t mean it isn’t a stunner. Dig the familiar glazed-over vibe, Mayer’s always-welcome falsetto, a rubbery-as-hell bass line, and a scorching little guitar solo in the song’s final moments.

Bored Immortals will be released June 22 on Maximum Pelt/Shuga Records. Wanna pre-order it? Here you go. A hometown release show is set for June 29 at Cactus Club, with Jaill, Cafe Racer, and Ravi/Lola in tow. Can’t wait until then? Check out Surgeons In Heat this Saturday at High Dive, during Gloss Weekend 3.

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Liz Phair rules and she’s coming to Turner Hall October 12 http://milwaukeerecord.com/music/liz-phair-rules-turner-hall-october-12/ http://milwaukeerecord.com/music/liz-phair-rules-turner-hall-october-12/#respond Tue, 15 May 2018 05:40:31 +0000 http://milwaukeerecord.com/?p=49891 Liz Phair rules. Liz Phair’s debut album, Exile In Guyville (which is celebrating its 25th anniversary this year), rules. Liz Phair’s pre-Guyville Girly-Sound tapes rule. The rest of Liz Phair’s career ranges from “yep, still rules” (Whip-Smart) to “huh” (2003’s Liz Phair). But whatever. Liz Phair rules. And now, hot on the heels of the recent release of […]

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Liz Phair rules. Liz Phair’s debut album, Exile In Guyville (which is celebrating its 25th anniversary this year), rules. Liz Phair’s pre-Guyville Girly-Sound tapes rule. The rest of Liz Phair’s career ranges from “yep, still rules” (Whip-Smart) to “huh” (2003’s Liz Phair). But whatever. Liz Phair rules.

And now, hot on the heels of the recent release of Girly-Sound To Guyville: The 25th Anniversary Box Set, Liz Phair is coming to Milwaukee (for the first time in seven years, if memory serves). To Turner Hall on Friday, October 12, to be exact.

General admission tickets are $29.50, and go on sale Friday, May 18, at 10 a.m. YES.

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Here’s who’s playing Locust Street Festival 2018 http://milwaukeerecord.com/music/heres-whos-playing-locust-street-festival-2018/ http://milwaukeerecord.com/music/heres-whos-playing-locust-street-festival-2018/#respond Mon, 14 May 2018 05:30:15 +0000 http://milwaukeerecord.com/?p=49885 The annual Locust Street Festival of Music & Art is one of the city’s best street fests, celebrating all that is good, right, and drum circle-y in Riverwest. On Sunday, June 10, the 42nd installment of the neighborhood fest will kick off at 11:30 a.m. with the ever-popular 1.8-mile Beer Run (or walk), followed by […]

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The annual Locust Street Festival of Music & Art is one of the city’s best street fests, celebrating all that is good, right, and drum circle-y in Riverwest. On Sunday, June 10, the 42nd installment of the neighborhood fest will kick off at 11:30 a.m. with the ever-popular 1.8-mile Beer Run (or walk), followed by eight hours of food, drinks, crafts, and stellar people-watching.

As great as all that is, live music is always the main attraction for Locust Street Festival. Last week, we told you who would be gracing the Riverwest Public House stages at this year’s event. Today, we’ve learned the rest of the acts that will be playing Locust Street Festival. Set times and individual stage lineups haven’t been announced, but here’s everyone playing the 2018 installment:

Tigernite
Snag
Ruth B8r Ginsburg
Rocket Cat
Dirty Canteen
Matt Moud
Steve Hubler
Veteran’s Showcase
Weary Road
Guilty
Karma Shotgun
DJ Dripsweat
VoodooHoney House Band
The Dollhouse Show
Dashcam
Soup Moat
(ORB)
Karaoke host Morgan leads mass sing-a-long of “Don’t Stop Believin'”
Taj Raiden
Loud Sun
Detenzione
The Mic (comedy) with Greg Bach and Dan Ehrmann
Negative/Positive
Bootleg Bessie
Armchair Boogie
Paladino
Write A Catchy Title
Sam Llanas
Joseph Huber Band
Another One
Sigmund Snopek’s Beer Show
Lovanova
Chris Haise Band
Katzsass
Matthew Hendricks
PrideFest Wom!nz Spot Collaboration
Chicken Wire Empire
Vincent VanGreat
Whips

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