A sort of venue guide
By Nick Schurk The good news: the laudable efforts of the booking talent behind large and medium-sized concert venues in Milwaukee have utterly negated our city’s former reputation as the fly-over zone between Chicago and Madison. Even better, Milwaukee’s ever-fertile local music scene now rests within the context of our newly-minted and fast-rising status as a “music city,” our name increasingly bandied about alongside Chicago, Minneapolis and even Austin. Seattle? So 20th century. Now is our time to shine, and in every neighborhood you can barely throw a rock without hitting a favorite spot to experience live local music in the best possible way – up close and personal. Just in case you don’t get out much, here’s a guide to some of the city’s best – or at least most interesting – intimate venues. Are you a poor college student? Does the thought of leaving campus via public transportation frighten and confuse you? The UW-Milwaukee Union Gasthaus (2200 E. Kenwood Blvd.) offers big-name performances most Thursdays by locals like Fever Marlene and Maritime as well as national up and comers like We The Living and Good Asian Drivers. Head up one flight of stairs and catch a show at UWM’s 8th Note Coffee House, which offers free, all-ages rock shows to students and the general public. Riverwest, the bohemian epicenter of Milwaukee’s East Side, supplements its basement-party reputation with a fair share of legit venues. For almost two decades, Mad Planet (533 E. Center St.) has been fueling the neighborhood’s subculture with every kind of music under the sun. From Midwest flavored hip-hop (Mac Lethal, Juiceboxxx) to sludgy, Japanese metal (Boris), Mad Planet books some of the best and most unique acts from around the world. Two things to keep in mind: All shows are 21+ and the club’s Retro Dance Party (held every Friday night) is the best way to get that earful of The Smiths/Split Enz/Bow Wow Wow you would never publicly admit to craving. And it’s just a short stumble to Stonefly, where excellent local and national rock acts regularly share a bill. For a more intimate evening, head over to the Jazz Estate (2423 N. Murray Ave.). This smoke-choked cube on Milwaukee’s East Side hosts weekly performances from artists like folk songstress Amy Rohan and the unruly, improvisational The Erotic Adventures of the Static Chicken. Still, the scene never stagnates thanks to an ever-changing lineup of jazz and jazz-inspired ensembles. Not far, on pretty, gritty Brady Street, the Estate’s kindred spirit The Up & Under (1216 E. Brady St.) offers some of the best blues performances in the area. Of course we would be remiss not to mention The Cactus Club (2496 S. Wentworth Ave.), arguably the crown jewel of Milwaukee’s music venues. This tiny Bay View club has managed to snatch some major headliners (Queens of the Stone Age, Death Cab for Cutie, Interpol, etc.) from the clutches of venues with more pull like The Rave and The Pabst. But more importantly, The Cactus […]
Nov 1st, 2008 by Nick Schurk
Popular mechanic
By Erin Wolf Photos by Kat Berger Receptiveness is a valuable quality in audio recording equipment – and an important trait in the person pushing the buttons. WMSE 91.7 FM’s in-studio performance audio engineer Billy Cicerelli is receptive. He also possesses an innate know-how, provides a patient voice of reason, does his homework on every local and national musician he works with and uses his notes to create the optimal sound for everyone he comes across, from hip hop musicians to acoustic folkies. The age-old saying is “Those who can, do; those who can’t, teach,” but amazingly, Cicerelli is quite capable on both counts. A naturally curious thinker and problem-solver, Cicerelli has used years of absorbed knowledge to push ahead in his subject of choice – sound. Which came first, though – the music or the mechanics? The mechanics Cicerelli starts from the beginning. “I was bright and inquisitive when I was young, [and] I had an early draw to music. I started out with that little plastic flute-thing and moved on to clarinet. I had a teacher who was a Dixieland jazz player.” An inherent collector, Cicerelli graduated from the Marvel comics he loved as a kid to Marshall music. “When I was in high school, I started really getting into the whole listening part of music, and started to collect stereo equipment. I’d annoy my mom, because I would come home with parts and she’d be like, ‘what do you need that for?’” Collecting led to learning and utilizing with a fateful trip to Flanner & Hafsoos (now Flanners). Cicerelli, always on the lookout for new toys, fell in love with a pair of Klipschorn speakers, amazed by their ‘wall-reinforced’ sound capability. “When I finally got the salesman to give me the time of day, I asked him about the speakers. Next thing I knew, I was filling out a loan application! I had just been dreaming.” Cicerelli’s face lights up with a huge smile. “I come home from work one night … and the whole living room is consumed by these giant boxes. It was kinda like I was on a mission.” That mission lead Cicerelli to twiddling, tweaking and teaching himself – he’d fuss with mix tapes, compose music with his roommate and try his hand at home recording. Eventually, Cicerelli accrued enough experience and equipment to make professional-level recordings at home. Local bands started seeking him out. “I would do demo records for bands at home and was starting to do some really good things out of my house. I learned the ropes at Midwest Studios, but I was able to do stuff in non-studio situations that came out pretty well, and got me noticed. “That tended to irritate people who recorded out of studios,” Cicerelli says. But the gear and the know-how weren’t what turned other audiophiles green. It was his effortless way of interacting with musicians. “You have to be a good people-person to be a good producer. You need to treat people […]
Nov 1st, 2008 by Erin Wolf
More than green beans
By Catherine McGarry Miller Photos by Lynn Allen Chef Partner Dustin Green Fleming’s Prime Steakhouse and Wine Bar flemingssteakhouse.com At 28, Flemings Chef Partner Dustin Green has mounted the corporate cookery ladder like a firefighter rescuing a baby. His love for cooking started at age 10 and lead to two college degrees in culinary arts and hospitality. “The principles of Fleming’s make it the best company I’ve ever worked for,” he says. These values include excellence, hospitality and respect as well as fun, trust and balance. Hierarchy is eschewed in favor of an egalitarian system of associates instead of employees. The fun comes naturally, says Green. “Fun with the menus, using the best products money can buy – in a professional environment. This makes for a happier and more successful staff.” Pumpkin Bread Pudding 6 cups diced baguette 2 cups heavy cream 1 1/4 cups canned pumpkin Five whole eggs 1 1/2 T corn syrup 1/4 cup plus 2 tbsp sugar 1 1/4 t vanilla extract 1/2 t ground ginger 1 1/4 t ground cinnamon 1/4 t nutmeg 1/4 t salt Room temperature butter as needed Extra sugar as needed Whipped cream, walnuts, mint sprig (optional) Orange crème anglaise (below) Dice baguette into ½” pieces and place on a sheet pan. Bake in a 250º oven for 8 minutes to dry out. Place cream in a saucepan and bring to a low simmer. In a large mixing bowl, combine pumpkin, eggs, corn syrup, sugar, vanilla, ginger, cinnamon, nutmeg and salt. Whip to blend well. Slowly add warm cream and baguette; mix well. Allow to sit at room temperature for 5 minutes. Spread butter inside five 12 oz. coffee cups, then coat with sugar. Evenly fill each cup with pudding mix, leaving ½” at the top. Place cups in a 2” deep baking pan and fill the pan with 1” of water. Bake in a 325º oven for 35-40 minutes or until a toothpick comes out dry. Let cool for 5 minutes, then invert the cup to remove the bread pudding. Place 1 ½ oz. orange crème anglaise in the center of a 9” plate. Squirt caramel sauce in a spiral design in the anglaise. Using a toothpick, make a web design. Set the bread pudding on top of the sauce with the crusted side facing up and top with a dollop of whipped cream. Serve with walnuts and a mint sprig, if you like. Orange Crème Anglaise 1 qt heavy cream 1 vanilla bean 1 cup fresh egg yolks 1 cup sugar 2 cups pasteurized orange juice 2 T orange zest In a saucepot over high heat, add cream. Slice vanilla bean in half lengthwise and add flesh and skin to cream. Heat cream for 10-15 minutes to let cream rise to the top of the saucepot, then turn off heat. Separate eggs and place the yolks in a mixing bowl. Combine the sugar with the yolks and mix well. Temper the egg and sugar mixture by gradually pouring a […]
Nov 1st, 2008 by Cate Miller
Friday Photos Friday, 31. October 2008
The North End Park Lafayette The Edge in the Distance The Edge from the Riverwalk The Edge
Oct 30th, 2008 by Dave Reid
IfIHadAHiFi
Fidelity is a concept by which we measure our pain, to paraphrase John Lennon. For music enthusiasts, there are numerous thresholds: melody, musicianship and production chief among them. In those aspects, Fame By Proxy, Milwaukee band IfIHadAHiFi’s third release proper, is a resounding artistic success. First of all, it’s damn exciting. Virtually every song is a rhythmic treat, with the drums not only laying down some nifty beats, but (in true post-hardcore fashion) actually serving as a lead instrument. Second, it’s well-executed, as opener “Defenestrate Me” demonstrates in tone and template: repetitive phrases tucked within some beautifully captured guitar and bass, overdriven to the max, with drums up the wazoo. Finally, it’s well-crafted. “Paradise by the Paulding Light” is the closest they actually get to full-on fucking a pop hook, otherwise flirting with it for the other 11 tracks. One, “Get Killed, Get Noticed,” is so breakneck and loose it feels like it’s about to just fall apart. Another, “Science Depends On Us,” is downright crafty in its self-realization. With touches of Fugazi (if they’d ever drink and loosen up) and many of Steve Albini’s projects, IfIHadAHiFi show that though they love to dress their music up in glorious noise. Their talents in the three above-mentioned thresholds are just too strong to be denied.
Oct 30th, 2008 by Troy Butero
Weak on Facial Hair?
Former Republican candidate for President and avowed Libertarian Dr. Ron Paul was on Rachel Maddow’s show last night, and something struck my eye while he was on–something that made me squirm and rendered me unable to look away. I immediately texted K, my good friend and fellow political junkie in Chicago to ask, “Does Ron Paul wear fake eyebrows?” Watch the interview for yourself, and keep an eye on Dr. Paul’s right eyebrow. It looks askew to me, as if it is barely covering a much lighter eyebrow underneath, but is about to plummet from his face. Once K was able to view the interview later in the night, she noted that current Libertarian candidate Bob Barr has what can only be considered a most unfortunate mustache: To me, it’s obvious why no one is eager to vote for Mr. Barr. Let’s say through some wild act of god, superhero act of time travel, etc., Bob Barr won the Presidency. Would Americans be ready to watch in horror during the State of the Union address as Bob Barr’s mustache spun a cocoon, only to emerge during the National Security portion as a furry, vibrant moth? K’s text message about Mr. Barr ended with the following question: “Libertarians–weak on facial hair?” I’ve asked my old friend Gary, an avowed Libertarian, to chime in on this. Gary is the poor man’s Skeet Ulrich, who is the poor man’s Johnny Depp, and as a result has a history of tastefully executed facial hair. I will update with his insight when i receive it. In any event, i think it’s patently obvious why the Libertarian Party will never be a viable political force in this country. If you’re going to run for President and have facial hair, it had better be mighty. Witness our nation’s grand tradition of powerful Presidential facial hair: Theodore F. Roosevelt* “Trust busting: It’s the right thing to do, and a tasty way to do it.” William F. Taft The similarity to great baseball relief pitching mustaches illustrates why Baseball remains the national pastime Abraham F. Lincoln I mean, obviously Martin F. Van Buren Wait, that’s not right. Oh, here, sorry… Martin F. Van Buren “I was also Secretary of State, bub” *Obviously, when elected President while wearing powerful facial hair, your middle initial is required to be changed legally to “F,” for “Fucking.” Look it up, i’m pretty sure it’s buried in Article 2, Section 1 of the Constitution somewhere.
Oct 30th, 2008 by DJ Hostettler
Canyons of Static
The impression one gets from Canyons of Static is that their instrumental shoegaze jams would be perfect for a stylized horror film about hyper-fast zombies infected with rage. Sure, that’s a fancier (and nerdier) way of saying that they sound like Godspeed You! Black Emperor, but after repeated spins of the disappearance, the new Canyons disc, it’s clear that the impression goes beyond a superficial band reference — such a film’s driving sequences across washed-out video-contrast countrysides would be a perfect complement to the dreamy soundscapes offered in tracks like the 11-minute “Shelter.” The compositions follow the Godspeed template of theme, variation, but mostly theme. The band establishes a mood and slowly adds layer upon layer as they build to a crescendo a few minutes down the road. Guitars interweave with violin, bells and each other, weaving a patchwork quilt of sound the listener can wrap themselves in to keep warm when the car heater conks out in December. Canyons of Static hail from West Bend, a town with red state politics and poor economy (one of my most recent memories of hanging out there involved punks who had government-issue ham in their kitchen) that doesn’t exactly seem like a breeding ground for quality shoegaze. Then again, Milwaukee isn’t exactly known as a shoegazer town either, yet we have plenty of excellent examples (Brief Candles and White Wrench Conservatory, in addition to the Canyons). But maybe it’s more appropriate than we’d think — after all, the hypnotizing rhythms and melodies on the disappearance are wintery and desolate, yet small-town cozy. In that respect, Canyons of Static are more Wisconsin than zombie-controlled Britain after all.
Oct 30th, 2008 by DJ Hostettler
Various artists
By Eric Lewin While college-rock (for lack of a better term) graduated into grunge and alternative-rock in the early ‘90s, Milwaukee has maintained an interesting relationship with the subgenre: the city’s biggest export is still the Violent Femmes, its most popular record stores are the size of bedrooms and its independent radio stations maintain an army of devoted local listeners. So while Activities Compilation: Volume 1 might play elsewhere as a futile effort to fit ‘88’s sound into ‘08 in another market, its context makes it a refreshing throwback, echoing a citywide love of independent music and its roots – notwithstanding an uneven collection of tracks. For a compilation that features more than 20 local bands, each contributing no more than two songs, Activities is sonically consistent: that is to say, lo-fi as it comes. Whether purposely as a production technique or the result of limited resources (common sense suggests the latter), the results are mixed as to which bands sound charmingly sparse and which just sound unfinished. Farms in Trouble’s “Empty Arrows and Exit Signs” is a wonderful, psychedelic folk romp, and the male-female harmonies of the Candliers’ “Bird Eyes” plays like The Vaselines-meet-Tom Waits’ Rain Dogs. On the other hand, Crappy Dracula barely miss exceptional sleaze-rock with “No Chance with the Mermaid Queen” by cheating themselves with a too-small drum sound. And on the other other hand, “Area Man” by Nothing in that Drawer is simply unlistenable. While the majority of the songs included are rather forgettable, most of them don’t suck, and a few are actually pretty good. That might not seem like high praise, but it’s a claim that most local scenes across the country can’t make. Activities might not stack up against legendary Wisconsin/Milwaukee compilations like Badger-a-go-go, but it certainly holds its own.
Oct 30th, 2008 by Vital Archives
Act on these
Last month a new publication (Alt-) landed on the scene, fueled by a new generation of local artists getting the word out about what they’re up to. The beat continues with a goodly number of small energetic galleries testing their mettle, not the least of which is the Armoury Gallery in the Fortress building. You have until November 15 to see In Contour, showcasing three artists who use strong lines and edges in their work. Two of the participants, Paul Kjelland and Julia Schilling, are MIAD grads; the third, Sonja Peterson, is completing her MFA at the University of Minnesota. The gallery’s website (thearmourygallery.com) is a clutter-free place for a preview. Professional is a key word in their approach. November 15 is also your last chance to immerse yourself in Folliard Gallery’s biennial Open Lands show, depicting the restful scenery of the Midwest. The election is over (whew!), but global concerns grind on. Valerie Christell teaches art at Alverno College, and on November 14 her Contemporary Topics students will install a collaborative, site specific exhibit, on view through December 5 in the college’s Christopher Hall. Last year’s installations included work about genocide. How will you react to this one? Act/React, an interactive art exhibit, is underway in the Baker/Rowland galleries at Milwaukee Art Museum, and in tandem with that, Margot Lovejoy’s November 12 lecture at the Milwaukee Institute of Art & Design addresses interactivity issues. Lovejoy, the author of Digital Currents: Art in the Electronic Age, speaks at 7 pm. Seven winners of the 2007 Mary Nohl Fellowship awards gather at Inova/Kenilworth (through January 18, 2009) in an exhibit curated by Bruce Knackert, an excellent man. Look for work by Faythe Levine (co-owner of the wildly successful Paper Boat Boutique on Howell), Colin Matthes, Kevin Miyazaki, and others. Controversy surrounds this show, but only because it seems short on females. Two made this year’s cut, the aforementioned Ms. Levine and filmmaker Annie Killelea. University of Wisconsin-Milwaukee’s free Visual Art Lecture Series presents Mads Lynnerup in an event titled “You Are The Artist, You Figure It Out.” Mads is a video artist and sculptor, and he’ll present his latest work along with words about it on November 12 in the Arts Center Lecture Hall, 2400 E. Kenwood Blvd, at 7 pm. For more Mads, he’s featured in stop.look listen at the Haggerty Museum now until way into 2009, which is to say February 22. If you get the short end of the turkey wishbone this year, no big deal. Lots of folks got short changed big time. Go sink your teeth into art instead. VS
Oct 30th, 2008 by Stella Cretek
For you, me and everyone we know
Welcome to Inferiority Complex City: Population – me. So indulge me, you painfully skinny punks, you tattooed, bearded, pierced indie-everything hipsters, indulge me from my little film corner, waving my pseudo-hipster white flag because let’s face it – it’s cooler to be a rocker than an actor. I know, stop rubbing it in. And jeez, VITAL, an entire Music issue! I see how it is. GFY Music, GFY. OK, I’m over it. But in the end I’m a team player. And with that in mind I humbly lay before you my own contribution – amazing music from amazing scenes of amazing films. Be Amazed. And no, Pulp Fiction, Garden State, High Fidelity, Velvet Goldmine and 24 Hour Party People will not appear on this list because those soundtracks are on par and at times better than the films they represent and we are looking for moments, people, moments. Now be amazed. MOVIE: The Big Lebowski SONG: “Tumbling Tumbleweeds” by Sons of the Pioneers Let’s jump right in with two feet. Now you’d think it would be the opening credits track of “The Man in Me” by Bob Dylan (we’ll talk Dylan later) or “Just Dropped In (To See What Condition My Condition Was In)” by Kenny Rogers and The First Edition because whenever you are dealing with Dylan or Kenny Rogers in any conversation they automatically are #1, regardless of the topic: everyone knows this. Except when dealing with The Big Lebowski. The opening scene is simple enough. Narrated by Sam Shepard, the camera pans up from a country hillside to reveal the vast valley of Los Angeles. This is when the vintage, crackling country song “Tumbling Tumbleweeds” plays. It has a kid-with-his-blankee effect: you settle in, feel good and realize everything is gonna be alright because The Big Lebowski is on. Again. MOVIE: Napoleon Dynamite SONG: “Canned Heat” by Jamiroquai This scene might be the greatest school talent show scene since Lindsay Lohan took the bull by the horns and busted out “Jingle Bell Rock” in Mean Girls. Right people?! Who’s with me?! This is scene is also the reason why I kinda want to see the Pedro actor deejay at Cans. We’ve all seen the ads but no one admits to going. Sinners. MOVIE: Trainspotting SONG: “Born Slippy” by Underworld This song legitimized the whole early-90s, skinny, heroined-out/ecstasy-infused art world in one scene. This dance floor classic plays at the culmination of a drug deal between friends and enemies in a seedy London hotel. The song soundtracks the only silent part of an otherwise dialogue-heavy, narrated film, punctuating the drama and conclusion of the story. Makes we wanna organize a Take Back the Night walk with glowsticks. MOVIE: Dazed and Confused SONG: “Tuesday’s Gone” by Lynyrd Skynyrd I challenge you to name a better 70s song to play during your teenage convertible drive into the sunrise after the greatest night ever. “Loving Cup” by The Rolling Stones, you say? OK, I challenge you to name a third. MOVIE: […]
Oct 30th, 2008 by Howie Goldklang
John the Savage
Six-piece John the Savage ain’t afraid of no ghosts — the ghastly and sinister are this debut full-length’s bread and butter. From Mexican standoff (“Me & the Warden: Standoff”) to murder ballad (“Ballad of a Killman, pt. XI”), it’s thematically dark, and though the vocals are most often indecipherable wailing, the band’s ability to incarnate stories instrumentally and transport listeners to distinct settings is just genius. In “Sinking Ship,” for example, a near-eight minute epic noisy with trumpet, violin pizzicato, accordion and then some, panic pools at the first sight of leakage, the crew yo-ho-hos like rum-filled pirates and the vessel plunges deeper and faster into oblivion. Similarly, piano-driven “Market Day” vividly recalls art squares of Paris and “Dope-Ass Fade from Jose” could have been just another dinner at Chi-Chi’s had the funk guitar and cowbell not keenly come into play. Their musicality isn’t a fluke — Kitchen Voodoo was largely recorded live to capture the spirit of a John the Savage performance. But within that good idea is vulnerability: all opportunity for nuance is lost. Players are on the same plane, all equally determined to be heard. Under relentless uproar, the arrangements suffer. Why blanket over hard work? Had they explored musical dynamics beyond just “loud,” even more of the band’s competence could have shone through. John the Savage may not be particularly restrained in subject matter or sound, but the year-old band has victoriously created its own genre-bending authenticity. Too many cooks or not, Kitchen Voodoo is still spellbinding. Disagree? A plague of locusts is probably already on the way.
Oct 30th, 2008 by Amber Herzog
The Celebrated Workingman
Putting a sparkling veneer on struggles and giving them buoyancy takes chutzpah. Adversity in music has mostly been relegated to the sad, dark corners of the mope-ish and the forlorn, with abundant minor chords and enough terrible renditions of proverbs to make even a schoolteacher blush. The Celebrated Workingman’s Herald The Dickens is a joyful example that ups and downs can be positively high-spirited. The almost non-existent minor chord, exuberant use of slide-guitar and glockenspiel, shared vocal duties and driving percussion contradict the words prominently and emotively displayed by front man Mark Waldoch. “Now, I’m no bird who’s battered …you’ll get better offers / I’m your worst, and I’m rehearsed,” Waldoch announces on “Islands,” his Morrissey-on-steroids vocals displaying no signs of cracking or caving, but retaining the hope that propels each song on the album forward at industrious speeds. Rough times are a powerful catalyst for the driven and triumphant displays of musicians, yet taking those rough times and creating some of the most sparkling indie-pop to grace the Milwaukee musical landscape since the recent likes of Maritime and Testa Rosa is admirable. Not only does it contain the same sparkle, but also it manages to have a bit of brawn behind all the pretty bells and whistles. The band that’s six people strong sounds like it, and then some.
Oct 30th, 2008 by Erin Wolf
