Posts Tagged ‘Wisconsin’

Before we leave for SXSW2019 tomorrow, we thought we’d go ahead and release a lil’ acoustic dual single! So, if you ever wanted to hear what “Power” and “Secret Feelings” sound like Nebraska-style with just me and my tenor guitar,
A dual single featuring acoustic versions of “Power” and “Secret Feelings” from Labrador’s debut EP, “Tell Me About Your Dad” 
released March 10, 2019
Vocals, Tenor Guitar – Hannah Switzer 
All Songs by Hannah Switzer



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The hypnotically snaky guitar line in Slow Pulp’s “At Home” recalls the spare majesty of bands like Bedhead, but lead singer Emily Massey elevates it by lending the song a certain melancholy swirl. She’s the newest member of Slow Pulp, having once been brought in to sing backup and play rhythm guitar. But given that the other three players have been collaborating since elementary school, it’s no surprise that the group performs its dreamy, subtly forceful rock songs with great clarity and chemistry.

Chicago is an inspiring place, and there’s a lot of really good shows happening all the time, it’s invigorating…” Henry says. They bring an electric but dreamy energy to the scene that is quickly at home. Joining the ranks of Lala Lala, OHMME, Grapetooth, and many others, Slow Pulp brings to the table their exploration of dreamy psychedelic punk. And they seem to be taking to it well too—they played their first headlining show in Chicago on January 4th and are in the studio working on a new EP.

Hannah Switzer’s band Labrador describes its songs as “wry and melancholy meditations on all the ways the Patriarchy creeps into relationships and ruins everything.” The group’s debut EP, Tell Me About Your Dad, pairs those meditations with brightly rendered, strangely moody, slightly countrified arrangements that meet somewhere between Neil Young and the stormier reflections of Big Thief. Switzer herself looms largest over the proceedings with a rangy and evocative voice that can haunt, lament and sneer, sometimes all at once.


Hypnotic vocal melodies, intricate undercurrents of drums and bass, and the unusual touch of finger-picking tenor guitar.
Labrador The Band
Vocals, Tenor Guitar – Hannah “Sundance Lass” Switzer 
Drums – Lawrence “Casio Kid” Gann 
Bass – Kent “2 Moist” Genis 
Guitar Solo on “Dumb” – Grant Kempski 
All songs by Hannah Switzer
released November 16th, 2018.

DUSK – ” Dusk “

Posted: October 30, 2018 in ALBUMS, MUSIC
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The Wisconsin based Dusk’s self-titled full-length debut is nothing short of spectacular, a record that combines folk and country music with a slacker pop drawl and a dusty nuance of Americana storytelling. It sounds modern with a call-back to the easy going days of folk music’s roots, a collection of songs that would sound as great being sung around a campfire as they do on your headphones walking through a crowded city. Dusk can transport you from where you are to where you wish you were; the open air, endless freedom, and thick harmonies of a better life. Traveling from red barns to monster trucks, bolo ties to bald eagles, this one plays up their surroundings with gorgeous images and the band’s slow-dripped twang in impeccably lackadaisical form


Band Members
Julia Blair
Ryley Crowe
Tyler Ditter
Amos Pitsch
Colin Wilde

Go Slow Down

Released 25 years ago today, “Go Slow Down” was the fifth studio album from Wisconsin quartet BoDeans. The Slash collection was executive produced by T-Bone Burnett, who’d helmed the group’s acclaimed debut, and the set has a relaxed, acoustic feel well-suited to the dozen Neumann-Llanas originals here. The best-known of these songs is surely opener “Closer to Free,” which became the band’s biggest hit after it was used as the theme to the TV series Party of Five in 1994, but as “Idaho,” “Save a Little” and the title track illustrate, there’s no shortage of fine material here. This hook-filled, heartfelt set is easily among the best BoDeans albums, and Go Slow Down will reward any fan of American roots rock.

The band wanted to return to a simpler more rootsy sound and record an album that they were truly happy with. They began setting up a studio in a rented storefront and called upon T-Bone Burnett who had produced their debut album to work with them once again, this time in an executive producer role. They originally tracked 30 songs live as a full band, but under the advice of their record label, all except for “Closer to Free” were re-recorded with Kurt Neumann playing most of the instruments himself. The resulting album was more acoustic and laid-back.

From the Party of Five Soundtrack.

Justin Vernon and Aaron Dessner Detail New Album as Big Red Machine.

Bon Iver’s Justin Vernon and the National’s Aaron Dessner have detailed their debut album as Big Red Machine. The self-titled LP is set to come out August 31st via their PEOPLE digital platform, as well as on vinyl, CD, and cassette in partnership with JagjaguwarBig Red Machine includes the four songs that Vernon and Dessner released last month (“Forest Green,” “Lyla,” “Gratitude,” and “Hymnostic”).

Vernon and Dessner developed Big Red Machine over the last two years. They produced the album together with frequent collaborator Brad Cook. Big Red Machine was recorded and mixed by Jonathan Low, mostly at Dessner’s Long Pond studio in upstate New York (where the National also recorded much of Sleep Well Beast).

In a press release, Dessner stated, “I don’t think the record would exist without the community that came together to make it.” He continued, “We took the music to a certain point, and then we reached out and sent it far and wide, inviting friends to contribute any and all ideas. We’ve viewed the record and the process from a community standpoint. We’re incredibly excited about it, as excited as we would be for any album we might make in another situation that’s more conventional. But this feels like something new the process felt different and the outcome felt different.”

Releases August 31st, 2018

Zola Jesus signed to Sacred Bones Reords in 2008. In the seven years that followed, She has released eight albums together (three LPstwo EPs, two 7”s, a CD-R, and even a DVD).  Discovered by her via Myspace, which was the common A&R vehicle of the early- to mid-Aughts. Nika is the sole member of Zola Jesus.

Sacred Bones is proud to present “The Spoils” from Zola Jesus. Hailing from the unsuspecting locale of Madison, WI, Zola Jesus—the alter ego of Nika Roza Danilova—occupy a sphere of sparse industrial rhythms, no-fi drones, and ethereal femme vocals. Those who have seen her handful of live shows, heard her WFMU set, or caught any of the acclaimed, sought after, and now mostly out of print releases on Die Stasi or Troubleman Unlimited already know. For those uninitiated The Spoils may be the most fully realized representation of her sound. Zola Jesus have two previous releases on Sared Bones, the Souer Sewer single and a limited CD of a live performance from WNYU. The CD contains the entire “Soeur Sewer” 7-inch as well as the three songs from the Die Stasi single.
Released June 21, 2009

Zola Jesus signed to Sacred Bones in 2008. In the seven years that followed, she has released eight albums together (three LPstwo EPs, two 7”s, a CD-R, and even a DVD).  Zola Jesus’ Okovi: Additions LP offers a new angle on her 2017 album, Okovi. The collection pairs four previously unreleased songs from the Okovi sessions with four remixes by a diverse cast of artists.

Johnny Jewel turns “Ash to Bone” into a late-night cinematic torch song, Tri Angle composer Katie Gately’s “Siphon” is a dark choir of warping angels, black metal band Wolves in the Throne Room turn “Exhumed” makes the pounding industrial anthem even denser and heavier, and Toronto producer Joanne Pollock (formerly one half of Poemss with Venetian Snares’ Aaron Funk) makes “Soak” feel like an aching classical standard— until it starts warping in on itself and goes somewhere else entirely.

“The songs on Additions traverse a vast amount of sonic ground, but taken together, they cohere remarkably well as an album, all while serving to enrich the experience of Okovi.”

“These four new songs were intended to be on Okovi,” Nika Roza Danilova explains. “Each of them represents a snapshot of my journey in making the record, and are just as precious to me as the songs that made it onto the final track listing. The remixes are beloved in their own way, as most were born from organic circumstances, and have drawn the original songs into completely new atmospheres.”

Released April 6th, 2018


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The third full-length album from Wisconsin singer/songwriter S. Carey  finds him grounded comfortably in his skin, but still with one foot in the stream. More direct than ever, there is a wellspring of confidence in this new batch of songs that lays bare the intricacies of life while keeping its ideas uncomplicated.

Trained in jazz, Carey’s astute musicianship has never been in question nor taken for granted, and the execution of Hundred Acres‘ new ideas is seamless. He intentionally unburdened himself from a more complicated instrumentation palate for these ten songs, and, in effect, this modification to his approach brings the content of the work much closer to a living reality. By giving equal status to the indifference of nature and the concerns of a material world — while employing more pop-oriented structures a new balance is struck that creates something unique. This in turn provides equal status for the feeling that created each song, and the feeling each song creates. Almost impossibly, there is more air between the bars; Carey and his contributors sway like treetops in the wind, remaining flexible enough that they never threaten to break.

S. Carey“More I See” taken from ‘Hundred Acres,’ out February 23rd, 2018 on Jagjaguwar Records

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Field Report have been one of the most steadfast contributors to the Wisconsin music scene that birthed Bon Iver. (Head honcho Chris Porterfield played in DeYarmond Edison with Justin Vernon in the years before Vernon’s fateful cabin trip.) The band will return this year with third album Summertime Songs, and lead single “Never Look Back” signifies some subtle but significant changes in their approach. It’s the sort of hearty folk-rock we’ve come to expect from Porterfield, but also, is that a talkbox I hear on the bridge? Like the song says, we must plunge fearlessly into the future. OK, technically, the title does not refer to musical evolution, as Porterfield explains:

“Never Look Back” is about those people we find ourselves inexplicably drawn to and then entangled with. The narrator tries to give this other person the benefit of the doubt, because, hey, something about them was appealing in the beginning. But the constant drama and disappointment leads them to discover that if you can walk away from the car crash, you have to walk away. And never look back. It’s a celebration of self-preservation.​

‘Summertime Songs,’ out March 23rd: