image courtesy of the band

 Words by Erin Wolf

Atlatl/At Latl, where’ve you been? The band that was all over Milwaukee’s 2008 music scene, its five members packing their heated Modest Mouse-ish, carnivalesque pop over the radio airwaves, at venues such as Stonefly, Mad Planet and Cactus and on location stints at Summerfest and Record Store Day, were MIA for quite some time recently. Most bands have ripples and reconfigurations of some sort if they’re in a long-term musical relationship, and At Latl, although going through two major changes, are bucking the reconfigurations by hitting up Mad Planet on Thursday for a show that leaves them not even skipping a beat, even after skipping out.

Are you officially ‘At Latl’ now, and not ‘Atlatl’?

Yes, There was some guy who lived in California I think who contacted us and told us to change the name. He threatened to sue us and after we talked to some lawyers we found out that because he has sold CDs outside his state residency that he could very well sue us. So adding a space is sufficient, I guess. The name saga has been pretty funny to us. None of us really liked the name in the first place and the idea to have to legally change the name seemed pretty funny to the band.

Besides the name, you had a lineup change: now you’re a three-piece. How’s that?

Jeremy left the band in the summer. It wasn’t anything messy. He joined AmeriCorp and went off to Texas. Although we miss him it did seem like in recent months he wasn’t as connected to the band as maybe he once was. He wasn’t coming to practice as often due to other obligations, and he eventually told us what was going on. We were already used to playing as a three-piece when he told us, so it wasn’t a huge transition. I feel like the three of us have gotten to a great place as a band and I’m really excited to see what we do this year. I do miss JR though — he added a lot. 

You recorded earlier in the year — are any of those recordings out and available?

We have those recordings and they are done. They sound great. We are holding on to them until we have enough money to go back in the studio. I think we have a really good album — it’s just recording the rest of the songs that is the task at hand. Although when we play shows now we have tracks for available that include radio performances, live performances, studio and some home recordings. On the 17th show we will have a compilation disc of all three bands performing that will be sold with the posters from the show — the posters are beautiful screen prints done by Josh Rickun.

What are the details on your show for Thursday?

Show details: we are playing with the Fatty Acids and Fight Suit. 9:00 p.m. Mad Planet. [Thursday] September 17th. Posters and CDs available.

image courtesy of Activities Records

Words by Allen Cote

To say that The Candeliers’ self-titled debut is ambitious is a drastic understatement: from the very first track, “St. Joan Antida,” no fewer than three seamless time signature changes – coupled with pleasantly woozy brass and string countermelodies – signal a departure from the same old two-chord vamp, wall of sound approach often favored by self-styled orchestral bands with more ear than ability.

The ever-capable hands of producer Justin Perkins ensure that little is lost in the sonic spectrum – even with as many as nine musicians playing full-tilt at any given moment – while still suggesting a strongly analog tone to the entire affair.

The fun continues without missing a beat, kicking straight into “Jacob’s Ladder,” reminiscent of late-60s Kinks, albeit with much better guitar licks than Dave Davies could ever muster. Though there are many obvious nods to The Most-Overplayed-Decade-in-the-History-of-Our-Great-Nation, The Candeliers’ saving grace is their ability to almost instantly switch mood, genre, and dynamic (a nuance often lost on many of their contemporaries), at times blending seemingly disparate flavors of classic country and New Orleans street-jazz in with the black-sunny pop, as with the one-two punch of “Only You” and (aptly named) “Bittersweet Sounds.” Many of these influences have been explored to exhaustion by others, particularly groups of the afore-mentioned era; but few have achieved such success in coherence – at times The Candeliers seem damn close to inventing their own genre.

Perhaps most surprisingly successful is the ego-less interplay between singers Emily Morrow and Riles Walsh, trading lead vocals throughout (usually from section to section). Though Morrow is by far the stronger singer (at one point on “Corridor of Kings,” with the help of some deep reverb, she even manages to sound a hell of a lot like Neko Case); Walsh occasionally flat vocals appropriately undermine otherwise sunny lyrics and melody (which usually lead to a somewhat darker conclusion, anyway; reaffirming the listener’s earlier unease). When the two work in tandem, the weaknesses of each only strengthen the whole, hinting at the kind of beauty usually achieved by classic Nashville duets.

Though the record clocks in at nearly fifty minutes, the relentless transition  from song to song, coupled with the big, brass closer “Some Zenith Time” (one of the catchiest on the record), leaves the listener almost afraid of the ensuing silence. Here’s hoping it doesn’t last long.

Find more information about the Candeliers’ s/t release at activitiesrecordings.com.

J. Todd’s take on grungy noise-rock kills it. Here’s an interview I did with J. Todd; it was for a different publication, but they edited out a bunch of the best stuff. Before his show with Lookbook, Daylight Robbery and Johnny Prophylactic, I encourage you to read it in full. So, here it is …

J. Todd is the kind of artist that perpetually re-invents himself, working under different names, in different genres, with different people. Part producer, part musician, he’s among the elites of the Milwaukee underground – known for fusing funky electro into hip-hop as Def Harmonic, then applying it to synthy pop-rock as Leo Minor. His latest project Wizard of Cause, he says, explores the direction that Leo Minor had started to gravitate – a turn toward noise rock that trades digital sequences for layers of fuzzed-out guitar and lo-fi sonic texturing. With the release of the self-titled debut earlier this month and a follow-up expected by the end of summer, J. Todd talks about his latest next big thing.

Adam Lovinus: You’re working with two band mates from Leo Minor. The new sound represents the direction Leo Minor had been moving towards. What made you decide to work under a different name with this project?

J. Todd: I think that the whole reason for doing Wizard of Cause was because Leo Minor started taking on two different identities – one in the U.K. and one here – and I just couldn’t reconcile it.

AL: How’s that?

JT: It was weird. We got contacted by Domino Records, a U.K. based label that works with Arctic Monkeys and all that, and set up this really small development deal that in the end kinda didn’t go anywhere. It was something I was focused on for about a year, trying to make it happen. It was a couple years ago when the industry was collapsing; everyone was freaking out, all the A&Rs were getting fired, so it was, like, a horrible time to think you’re getting a record deal. People were interested and not ready to sign. And that’s fine. I wasn’t looking for anything really. I’m an American – I think that’s a strike against me right there, because that doesn’t really work on the U.K. pop scene [laughs].

AL:: So why not keep the name as long as you’re working in the U.S.?

JT: I just needed to have a creative break from that whole project. And I wanted to do something that was just a noise pop/rock, home recorded-style thing. And Leo Minor was very pop-oriented and electronic. I wanted to use guitars and have a band.

AL: There’s a definite lo-fi underground influence, even some shoegaze elements. That’s a new angle for you.

JT: Well, sort of. When I was a teenager, I was really into that. I had a band together that did basically what we’re doing now except way less competent. I was like 17, the band was called Address Unknown. It was a pretty embarrassing group [laughs].

AL: What artists did you look to when returning to that type of sound?

JT: A lot of people are doing really interesting things with it right now. I’m really inspired by Ariel Pink. A Place to Bury Strangers I’m really into right now. Also R. Stevie Moore, a guy from the ‘70’s who was doing home recording stuff is another important influence. Sonic Youth is one of my really old influences

AL: You’re one of the most prolific artists in the city …

JT: [Interrupts] I think it’s just that I’m old …

AL: … or you’re always doing something. Do you ever get writer’s block?

JT: No. Never. Well, for certain styles I do. I can’t write raps anymore. I mean, after you do enough songs feeling the same way, there’s just no real reason to do it anymore. If I don’t change, I’d be that same guy playing in that band when I was 17, and I’d be 37. And that’d be fucked up.

AL: What’s your trick for staying creative?

JT: It’s more like a nervous habit, to go in the studio and record. I try to stay in touch with what’s happening in music to keep myself inspired. It’s hard to explain: Trying to find a sound you’ve never heard before, something that’s familiar but new, but not a totally cop-off or totally experimental.

AL: Any plans for touring with this band?

JT: I don’t know. Touring is very expensive. I would totally do it if I had the right hookup. I would totally do a tour of basement shows before I would do anything else. Maybe two or three weeks. I’ve done supporting tours for bigger acts and it’s kinda disheartening – people aren’t there to see you, and sometimes booking agents book really terrible shows at weird bars. Mostly I just want to play Milwaukee.

AL: Are you hoping to get signed to a label?

JT: Absolutely not.

AL: So you’re not shopping the record to A&R types or anything like that?

JT: I wouldn’t know how to do that. I’ll mail it to everybody I have contacts with, but I don’t think labels would know what do with this. I’m totally uninterested in playing that game – writing material, having it get rejected, trying to make music for the radio. When that’s on my mind trying to write music, that fucks me up. I can’t work that way. I’m really just about having a band in my hometown.

AL: Do you feel like you’ve maxed out in Milwaukee as an artist?

JT: I don’t think so. Like, I don’t have any way to play for the basement show scene here, the kids that are younger than me. I’m really going to try to do that. So we’re playing the Borg Ward in July and I would love to take this band into a basement setting eventually. I fucking hate playing in bars for ever show. It sucks. As far as Milwaukee goes, I feel like there’s a lot more for me to do here.

AL: Do you consider moving somewhere else to pursue music?

JT: I lived in the San Francisco and New Orleans, but I’m really not interested in that. I’m running a restaurant and that’s a huge part of my life. Moving somewhere for music right now honestly wouldn’t do me any good. It’d be like playing to a different set of 100 people, all these people I don’t know, and having to re-make new friends. It’s like, eh, I’d rather be here. If what I’m doing is good enough, those people there will hear it. And if they don’t that’s fine.

image courtesy of the bands

In music, navel-gazing might be considered an undesirable quality, squashing out the typically attractive aspect of teamwork and humility. In local band Navelgazer’s case, it turns out a name is just part of the fun and not a definitive classifier. The five-piece sounds about as unassuming as could be, taking messy qualities of Beat Happening, early Beck, a bit of Velvet Underground and old-timey music with a pop twist. Friday sees the group offering up a new release to the public as they play alongside like-minded locals the Brothers GERD and Absolutely for a 9:30 p.m. show at Linneman’s. Take a listen to Navelgazer’s music at their web site and hear what the new self-absorption sounds like.

Navelgazer’s CD release along with Brothers GERD and Absolutely takes place at Linneman’s (1001 E. Locust) on Friday, September 11th at 9:30 p.m. 21+

video of Free Energy courtesy of YouTube

The same folks who brought you the carefree pop stylings of Hockey Night are back at again as Free Energy. Bringing a little Bowie and T. Rex swagger to their MGMT leanings, the band from Philly offers up a more classic sound than is usually heard on their home label, DFA. Tonight, they join forces with two Milwaukee dance/electro/pop mainstays, Juiceboxxx and Big Fun 4Ever, for a show that will have more than enough energy to throw at the crowd, and then some. 

Free Energy plays tonight at the Mad Planet (533 E. Center). With Juiceboxxx and Big Fun 4Ever. 10 p.m. 21+

photo of Mondo Drag courtesy of MySpace

The Borg Ward, 823 W. National Avenue, may be only two years old, but with that two years under their belt, they’ve done a lot to give local and touring acts a welcoming home for their amps, guitars, keyboards and drum kits. To celebrate their natural philanthropic spirit, the Borg is hosting a free show at 6 p.m. on Sunday, September 6th with The Butts, Cartilage Party, Dear Astronaut, Mondo Drag and Slob Donovan: who doesn’t like free presents? Don’t say the Borg Ward never gave you anything.

photo courtesy of the band

After fourteen years apart, Milwaukee’s Loyal Order of the Water Buffalo are cozying up stage-side to play a show at Shank Hall with The Carolinas. The twang-rockers were part of Milwaukee’s Don’t Records scene back in the late 80s and early 90s and featured bassist/guitarist brothers John and Dan Bitenc, guitarist Jeff Benske and drummer Matt Liban. The band made an impression enough to score shows with The Stray Cats, Uncle Tupelo and The Jayhawks at the height of their popularity. Catch ‘em at Shank Hall tonight at Shank Hall (1434 N Farwell) for a show with The Carolinas at 8 p.m.

photo by Andy Junk

Words by Erin Wolf

The mother of all garage shows is set to smack Milwaukee upside the head this Friday. An explosion of snappy and sweet, scuzzed-up sounds will be hitting Club Garibaldi as the joined forces of locals Sticks N Stones and Gut Reactions and out-of-towners Brimstone Howl, Woven Bones and The Spits shake up the crowd and cause a little good-natured rock and roll-induced chaos.

Newcomers, Sticks N Stones, comprised of the now-defunct sugary garage pop outfit Tuff Bananas, has played only a handful of shows under their new guise, but are more than ready to play the leader. Fan-belt talks to guitarist Paul Kalfahs about ‘guitar/bass/drums’ set-ups, playing with The Ponys and about flipping the bird to the proverbial sticks and stones.

Who’s in the band and when did you start playing together?

Paul plays guitar and sings, Natalie plays bass and sings, and Jon plays the drums.  We got together in spring and started regularly practicing and writing songs.  A few months later, we set up our first show at Franks Power Plant on June 19th.

Have any of you played together before, in any capacity?

Jon and I have been playing in bands together since we were fifteen (Teenage Rejects, Catholic Boys) and Natalie was in a band called the Tears that Catholic Boys played with often. We were all in the band Tuff Bananas and also played together in a Bay City Rollers cover band on Halloween of 2007.  The three of us actually started playing together a few years ago, but when Tuff Bananas started we sort of put it on hold.  Some time after Tuff Bananas broke up, we decided to get together and sort of re-start that band with different songs.

Why keep the band as a three-piece?

It just works out really well with just the three of us.  We’ve all known each other and been good friends for a long time, so it’s really comfortable.  We originally wanted two guitarists, because we were writing songs with lots of leads, but we came to realize the band would work better as a three-piece.  Natalie had never played bass before and decided she wanted to give it a try, so that’s what happened.

Sticks N Stones formed not too long ago, so it’s pretty cool that you’ve got some shows already lined up with some bigger bands like the Spits, Thomas Function (October) and the Ponys (October). How did all this fall into place so quickly?

Catholic Boys played with the Spits a couple times before (in NYC and Milwaukee) and also with Jered of the Ponys other now-defunct band the Hot Machines, and we’ve been friends with the Thomas Function guys for nearly eight years now, ever since Josh and Travis first came to Green Bay with their old band the Panic Buttons, so they asked if we’d play. We’ve been fortunate to get on the bills we have.

What’s the news on your show this Friday?

The show starts at 9 p.m. with us playing first.  Our friends Gut Reactions play second, followed by Brimstone Howl (NE), Woven Bones (TX), and the Spits (WA).

Planning to commit anything to recording in the near future?

We have plans to record a demo in the near future and then record for our first single on Dusty Medical Records shortly after that.

With your name, as a band, do you believe the saying, ‘sticks and stones may break my bones, but words will never hurt me’ (someone was bound to ask this) rings true for you?

Totally.  Or in the words of Suzi Quatro “Sticks and stones can break my bones, but ya’ can’t take my rock ‘n roll!”

Sticks N Stones play alongside Gut Reactions, Brimstone Howl, Woven Bones and The Spits for a 9 p.m. show at Club Garibaldi. Club Garibaldi is located at 2501 S. Superior Street in Bay View. 21+