Posts Tagged ‘Wisconsin’

The ’90s are remembered for bringing us grunge and alternative music. The era, though, also gave us another great guitar-driven sound and that was sadcore. It was the perfect medium between the heaviness popularized by mostly Seattle-based bands and the dreamy, shoegaze that infiltrated the London music scene. The songs of Red House Painters, Galaxie 500, Mojave 3, and so on were not simply dazzling and intoxicating, but they told powerful stories and uplifting messages. Nearly thirty years later, sadcore is making a comeback thanks to bands like Slow Pulp.

For the past year, the Madison, Wisconsin-bred, Chicago-based quartet of Emily Massey (vocals/guitar), Alexander Leeds (bass), Theodore Mathews (drums), and Henry Stoehr (guitar) have made us contemplate our existence while enrapturing us. On “Falling Apart”, which was released earlier this year, they captured feelings of confusion, anger, and fear due to the chaos in this world. But just as they were about to join us in thinking all has ended, they peel back the curtains and let the light in on “At It Again”.

Like the aforementioned ’90s, sadcore bands, Slow Pulp deliver an unforgettable, dazzling number. While the guitars churn with grit and the rhythms pulse with urgency, Massey’s dreamy, embracing vocals take the track to the heavens. She tells us to keep our heads up and do our apart to be better people. To help make things around us better again. This band, too, gets better with every new release, which makes their debut album, Moveys, a must listen. It will be available in stores on October 9th via Winspear Records

Chicago band Slow Pulp’s debut album Moveys is out now and feels custom-built for the autumnal period. Emily Massey speaks direct to her mom on the the Alex G-esque “Track,” assuring her of a lifetime of love in her own lowkey but heartfelt way.

Shoegaze newbies Slow Pulp from Madison, Wisconsin The band are Emily Massey (vocals/guitar), Alexander Leeds (bass), Theodore Mathews (drums), and Henry Stoehr (guitar) – are gearing up to release their self-produced debut album, and have so far shared three standout singles in “At It Again”, “Idaho”, and last month’s “Falling Apart” .

This week they are sharing one more single from the upcoming record prior to its release, the soft and shimmering “Montana”.

Emily Massey says of the track:

“This song is about moving beyond defining myself in terms of my mental health. I’ve been working through this over the last couple of years and this song is a reflection of this process and where I am now. “Montana” was the first song we finished recording for the album.
Henry’s early demo was kind of heavy and distorted, and when we went to play it together for the first time, it came out a lot slower and cleaner. Our friend Willie Christianson wrote and recorded the slide guitar and harmonica parts.”

A testament to hard-fought personal growth, “Moveys” is a remarkable debut album made in remarkable times, as Slow Pulp powered through health challenges, personal upheaval, and a pandemic. The songs on Moveys took shape while on tour with Alex G in 2019, after the band scrapped an album’s-worth of material following Massey’s diagnosis with Lyme disease and chronic Mono. The obstacles only continued from there, as Massey’s parents were soon after in a severe car crash…one week before COVID-19 shut the country down. Full of blistering energy and emotional catharsis, this compelling 10-track collection highlights the band’s resourcefulness and resilience to come together during unthinkable time.

“Montana” is taken from ‘Moveys’ – out October 09th on Winspear Recordings: Slide guitar and harmonica by Willie Christianson

“Zola Jesus Live At Roadburn 2018” is Zola Jesus first ever live album. Recorded at Roadburn Festival 2018 where Zola Jesus was invited by Jakob Bannon of Converge to play at his curated day. The album was released on May 8th 2020 on all other digital channels.

Also on May 8th 2020 pre-sales will start for the double vinyl and cd version. For a June 2020 release.

Zola Jesus is the stage name of Russian American musician Nika Roza Danilova. Under the name Zola Jesus, she has released a number of genre bending EPs and albums. Her approach is a cross pollination of electronic/industrial, classical, and gothic sounds. All of it coming together as a dark and emotional artistic experience.
Jacob Bannon (Converge) about inviting Zola Jesus for his curated day at Roadburn Festival 2018.

“I first heard Nika’s work on the “Stridulum”  EP (Sacred Bones, 2010). Every aspect of the release connected with me and it soon became a daily listen. The record (and all of her work) was relatable and infectious. I’ve been an avid listener ever since. Watching her artistry grow and deepen over time has been inspiring. “Okovi”, the current release from Zola Jesus is such a powerful album. I am truly honoured to have Nika and Company at Roadburn 2018 as part of my curation.”

Released May 1st, 2020

Zola Jesus:
Nika Roza Danilova – vocals, synth
Alex Degroot – guitar, electronics

For over a decade, Nika Roza Danilova has been recording music as Zola Jesus. She’s been on Sacred Bones Records for most of that time, and “Okovi” marks her reunion with the label.

Fittingly, the 11 electronics-driven songs on Okovi share musical DNA with her early work on Sacred Bones. The music was written in pure catharsis, and as a result, the sonics are heavy, dark, and exploratory. In addition to the contributions of Danilova’s longtime live bandmate Alex DeGroot, producer/musician Wife, cellist/noise-maker Shannon Kennedy from Pedestrian Deposit, and percussionist Ted Byrnes all helped build Okovi’s textural universe.

With Okovi, Zola Jesus has crafted a profound meditation on loss and reconciliation that stands tall alongside the major works of its genre. The album speaks of tragedy with great wisdom and clarity. Its songs plumb dark depths, but they reflect light as well. Nika Roza says Last year, I moved back to the woods in Wisconsin where I was raised. I built a little house just steps away from where my dilapidated childhood tree fort is slowly recombining into earth.  Okovi was fed by this return to roots and several very personal traumas.

While writing Okovi, I endured people very close to me trying to die, and others trying desperately not to. Meanwhile, I was fighting through a haze so thick I wasn’t sure I’d find my way to the other side. Death, in all of its masks, has been encircling everyone I love, and with it the questions of legacy, worth, and will. Okovi is a Slavic word for shackles. We’re all shackled to something—to life, to death, to bodies, to minds, to illness, to people, to birthright, to duty. Each of us born with a unique debt, and we have until we die to pay it back.  Without this cost, what gives us the right to live? And moreover, what gives us the right to die? Are we really even free to choose?

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This album is a deeply personal snapshot of loss, reconciliation, and a sympathy for the chains that keep us all grounded to the unforgiving laws of nature. To bring it to life, I decided to enlist the help of Alex DeGroot, who has been the only constant in my live band and helped mix the Stridulum EP back in 2010. It will be released on Sacred Bones, the closest group of people I’ll ever have to blood-bound family. Zola Jesus signed to Sacred Bones in 2008. In the seven years that followed, we released eight albums together (three LPstwo EPs, two 7”s, a CD-R, and even a DVD). We discovered her via Myspace, which was the common A&R vehicle of the early- to mid-Aughts. Nika is the sole member of Zola Jesus.

Originally released September 8th, 2017

Slow Pulp’s remarkable full-length debut “Moveys” is a testament to hard-fought personal growth. In the process of making their new record, the Chicago-based indie rock band powered through health challenges, personal upheaval, and a pandemic, all while learning how to be better songwriters and friends. Full of blistering energy and emotional catharsis, this compelling 10-track collection highlights the band’s resourcefulness and resilience to come together even when they were states away.

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Slow Pulp is Alexander Leeds, Emily Massey, Theodore Mathews, Henry Stoehr

All songs written and performed by Slow Pulp

From the album Moveys, releases October 9, 2020

Introducing our cover of Jeff Tweedy and Wilco’s “I Know What It’s Like.” We always love throwing a cover or two in the set, and were gearing up to learn this one as a band so we could play it on our Collector release tour, but we all know what happened to that. We hope that somebody might find some comfort in our version of this song like we’ve found comfort in Mister Tweedy’s original. I’ve been a big Wilco fan for the past few years and picked up Jeff Tweedy’s album Warm after Brendan had played it in the car a few times the track- “I Know What It’s Like” really stood out to me as a great pop/rock song that I could put my own spin on- the minimal structure of the original gave room for creative license. I sped up the original recording a decent amount so I’d have something to play along to and off I went. We decided it’d be fun to present the finished product as an interim release; post-Collector and pre-whatever’s next.

We always love throwing a fun cover or two in the set, and were gearing up to learn this one as a band so we could play it on our Collector release tour, but we all know what happened to that. My hope is that somebody who is a fan of Disq or Wilco (or both, or neither) could find some comfort in our version of this song.
Isaac deBroux-Slone
June 2020

Released on 30th June 2020 Saddle Creek Composer: Jeff Tweedy

Disq have assembled a razor-sharp, teetering-on-the-edge-of-chaos melange of sounds, experiences, memories, and influences. “Collector” ought to be taken literally—it is a place to explore and catalogue the Madison, Wisconsin band’s relationships to themselves, their pasts, and the world beyond the American Midwest as they careen from their teens into their 20s. This turbulence is backdropped by gnarled power pop, anxious post-punk, warm psych-folk, and hectic, formless, tongue-in-cheek indie rock.

Collector, like the band itself, is defined and tightly-contoured by the ties between the five members. Raina Bock (bass/vocals) and Isaac deBroux-Slone (guitar/vocals) have known each other from infancy, growing up and into music together. Through gigging around Madison, they met and befriended Shannon Connor (guitar/keys/vocals), Logan Severson (guitar/vocals), and Brendan Manley (drums)—three equally dedicated and adventurous musicians committed to coaxing genre boundaries.

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Produced by Rob Schnapf, “Collector” is a set of songs largely pulled from each of the five members’ demo piles over the years. They’re organic representations of each moment in time, gathered together to tell a mixtape-story of growing up in 21st century America. The songs are marked by urgency, introspection, tongue-in-cheek nihilism, and a shrewd understanding of pop and rock structures and their corollaries—as well as a keen desire to dialogue with and upset them.

Released March 6th, 2020

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Madison power-pop five-piece Disq have spent the past couple of years stealing hearts. The young band’s impressive debut single for Saddle Creek back in 2018, plus a strong showing at last year’s SXSW festival, made them a band to watch, but their forthcoming debut album, “Collector”, crowns them with staying power. Painting with various shades of pop, punk and indie, Disq delivers guitar flare and emotional sincerity. With a retro sheen, guitars crumple, chime and squawk while lead singer Isaac deBroux-Slone brings his own vocal versatility.

As a rock band of young millennials, there’s an understandable amount of existential dread and self-doubt, but their playful charm softens the blow. When songs like “Fun Song 4” and “I Wanna Die” are also on the same album, you know you’re in for a good time.

DisqLoneliness From the album “Collector” – out March 6th, 2020

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Plenty of bands have long histories, forged from bonds of friendship formed in a distant childhood past. Shared upbringings, shared surroundings — these can provide good raw material for a couple artists to come together and define their identity within and against the rest of the world. In the case of Isaac deBroux-Slone and Raina Bock, the duo behind Disq, those roots go way back. In fact, the two met when they were still babies.

For a while, she and deBroux-Slone were more like family friends, seeing each other on holidays and such. As they approached their teenage years, it became clear that their musical interests and ambitions didn’t line up with a lot of their peers. So they began playing together and set off to establish their name in the local scene in Madison, Wisconsin.

As it turns out, that origin story doesn’t start all that long ago. Neither deBroux-Slone nor Bock is yet 20 years old. The two of them work on Disq music together, with deBroux-Slone serving as frontman and often bringing in the skeletons of the songs; live, Bock plays bass in a band that’s now grown to members onstage. Over the last couple of years, they’ve been expanding their songwriting range and gradually garnering attention around the States. Bock focused on the latter, attending music camps and workshops from a young age but quickly discovering she didn’t have much of a taste for technical traditions and theory. Meanwhile, deBroux-Slone taught himself to produce in his mom’s basement, using demo software given to him by his father, who used to run a theater in Madison.

Disq’s new sound was evident on two recent singles, “Communication” and “Parallel.” The tracks were released as part of Saddle Creek’s Document series, Compared to the reverb- and effects-laden sounds of Disq I, “Communication” and “Parallel” are more of a hint at where deBroux-Slone and Bock are now as songwriters. The former begins as a fizzy alt-rock jam that eventually bursts into a plaintive chorus grappling with the inherent distance between us even as try to relate to one another. “Parallel” carried their older aesthetic forward, a blooming psych-rock track in which deBroux-Slone’s sunny vocals are underpinned by more ragged instrumentation than in the past.

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This is the first album we made, it has 8 songs which appear here. Disq I was a psych-pop recording of above-average competence considering what you might picture when something’s described as “a pyshc-pop album heavily inspired by Tame Impala made by small-town teenagers.
In the early press Disq have received, they’ve often cited or been compared to names like the Beatles, Todd Rundgren, Weezer, and Big Star. (The latter was more of an influence attributed to them, which has since spurred deBroux-Slone to dig into Big Star’s catalog, in turn promising even more power-pop in the Disq material to come.) “When we wrote that first album we were in 8th grade, freshmen,” Bock remembers. “[We’re in] a much different place with our musical influences now for sure.”

released July 11th, 2016

Songs written by Isaac deBroux-Slone and Raina Bock

Superb 1995 broadcast recording from PAGE & PLANT Initial plans for a reunion of Jimmy Page and Robert Plant were made in 1993, with discussions between the two of collaborating emerging from casual small talk and then an invitation to perform on MTV Unplugged. Music producer Bill Curbishley, who had been managing Plant since the 1980s and who assumed management of Page in 1994, was integral in the reuniting of the pair. Despite failed attempts by others to reunite Jimmy and Robert, Curbishley was able to persuade the previously reluctant Plant into working with Page again.

On 1st May 1995, Page and Plant performed at the Bradley Centre in Milwaukee for a show that was recorded for live FM Broadcast around the greater Wisconsin area, and which proved to be one of the finest on the tour. Featuring a sterling selection of Zeppelin classics, the odd solo-cut and even a cover of The Cure s Lullaby , the show was a roaring success which is available finally for fans to hear via this delightful  2 cd set, available now for the first time.

The gig itself contains many classics and some deep cuts and i’d love to know how Jimmy Page got Plant to agree to perform the Coverdale/Page track ‘Shake My Tree’.overall the sound quality as is with most of these releases average and you wont listen to it over and over again but it does highlight a missed opportunity from Page/Plant they should have had an official live album issued.

Jimmy Page & Robert Plant Live at the Bradley Arena, Milwaukee, Wisconsin, USA May 1st, 1995

Set: The Wanton Song Bring It On Home Ramble On Thank You Shake My Tree Lullaby No Quarter Gallows Pole Hurdy Gurdy Solo When The Levee Breaks Hey, Hey What Can I Do The Song Remains The Same Since I’ve Been Loving You Friends Calling To You (Break On Through/Dazed And Confused) Four Sticks In The Evening