Fresh Kill – Audiofemme

PLAYING BLOOMINGTON: Live Music Highlights from August

Rarely a night goes by in Bloomington without locals filling the basements of show-houses, bobbing their heads to punk, garage, and grunge riffs. Once a month, Rebecca recounts some of the live music highlights from the previous four weeks. Read and listen below for a bevy of Bloomington bands that should be on your radar.

(8/3) Rich Boy Junkie, Her Again, Paradise, Brian Berger @ the Bishop

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It was an evening of farewells at the Bishop as locals Rich Boy Junkie and Her Again performed their final shows in Bloomington. I arrived at the Bishop in time for Her Again’s set, where a substantial audience showed up to catch the doo-wop infused surf punk sounds of Claudia Ferme (guitar), Jordan Gomes-Kuehner (drums), and Megan Searl (bass), who traded in their typically deadpan delivery for visible emotion as they graced the a Bloomington stage together for the last time. Rich Boy Junkie, the indie synthpop outfit featuring Collin Thomas, Brian Berger, Cole Stinson, Sam Winkhouse, and Nick Kinney, closed down the night. In between intimate lyrics sung with an earnest sincerity, frontman Collin Thomas took time to thank the band’s supporters and reflect on the special place that Bloomington will have in their memory.

<a href="http://richboyjunkie.bandcamp.com/album/neoteny-and-the-grand-gesture">Neoteny and The Grand Gesture by Rich Boy Junkie</a>

(8/5) Jeff Rosenstock and Laura Stevenson @ The Void

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Laura Stevenson (Photo credit: Jennie Williams)

*This review was written by Jennie Williams, a friend, colleague, musician, and fellow local music lover*

The Void, Bloomington’s all-ages collectively operated venue, sold out its largest show yet on Saturday, August 5th. This highly anticipated event featured Jeff Rosenstock and Laura Stevenson, old friends and bandmates from Bomb the Music Industry! (BtMI!). They had been touring all summer together with their own self-titled projects. Pre-sale tickets to this show were not available, which meant that even though I thought I showed up on time, I was already late and at the end of the line.

The first band to perform was a local punk group called Whelmed (an appropriate name to kick off the eagerly awaited and nearly overwhelming event). The lead vocalist welcomed the audience and introduced The Void and its mission to the crowd, which consisted of people from in and out of town. I even overheard that someone drove for over an hour and a half to see the show.

<a href="http://whelmedwhelmed.bandcamp.com/album/whelmed">Whelmed by Whelmed</a>

Laura Stevenson performed next, opening with “Out With A Whimper” from her 2015 album Cocksure. Stevenson was friendly, funny, attentive to the crowd, and played electric guitar with an effortless talent as she sang out devotedly over the sound of the loud speakers. For her last three songs, Jeff Rosenstock joined Stevenson on stage and played a shredding electric lead. The band closed with “Jellyfish” – an instant crowd favorite.

While the Jeff Rosenstock fans pushed forward, readying themselves for the headliner, I went over and introduced myself to Stevenson at her merch table. I bought a t-shirt and we talked about an Elliot Smith cover song she played two Christmases ago and our mutual love for Dolly Parton. Rosenstock fired up the crowd that became a chorus of voices singing every word to his songs. Rosenstock praised the audience for being respectful to one another and thanked the Void for hosting this successful and memorable night.

(8/7) Iron Cages with Beverly Bouncehouse, Laffing Gas, and Twinso @ Jan’s Rooms

The Jan’s Rooms crew stacked the lineup for the final show at one of Bloomington’s most popular house venues. Eager to catch the entire bill, I arrived in the basement in time for local punk band Laffing Gas’s opening set. Although I instantly regretted my oversight in not bringing earplugs along, the infectious energy that emanated from the frenzied instrumentals and fiery vocals made the minor physical discomfort worth it. The second act of the night was Twinso, an Evansville-based hardcore punk duo. Donning matching jumpsuits and orange hats, Twinso visually referenced a Devo aesthetic during their performance. The true surprise came when they began to play their instruments, juxtaposing a whimsical visual with heavy sounds: explosive bass lines and wildly accelerated drum fills.

<a href="http://turdwurld.bandcamp.com/album/laffing-gas">Laffing Gas by Laffing Gas</a>

DC-based hardcore punk quartet Iron Cages came through for the penultimate act of the night. During yet another heavy and energetic set, vocalist Laura danced in the crowd while instrumentalists Brendan, Joey, and Nate thrashed around onstage. Lastly, local DJ Beverly Bouncehouse facilitated a charming end to the night, singing an eclectic and hilariously curated playlist of covers (“Short People” by Randy Newman and “Sweat” by the Inner Circle were definitely set highlights) on top of the songs’ original backtracks. It seemed fitting to end the house’s final show with a reminder that above all, Jan’s Rooms was a venue for old and new friends to connect to each other and have a good time.

(8/10) Garrett Walters @ The Void

A couple of months back I picked up Garrett Walters’ debut album, I Call My Younger Sister Twice A Day. For some reason I was intrigued by the album art so I decided to take a risk. While you can’t always judge a book by its cover, you might be able to judge an album by its cover art because I Call My Younger Sister Twice a Day played on repeat in my car for a good month or so. Walters’ live show was just as intimate as the recording itself; as the audience formed a semicircle surrounding the singer, who stepped down from the stage to get a little closer to us all, we were treated with a smattering of personal folk punk songs about the good, the bad, and the ugly of life and love Bloomington.

<a href="http://garrettsucks.bandcamp.com/album/at-the-end-of-south-washington">At the End of South Washington by Garrett Walters</a>

(8/10) Amy O’s Elastic Release Party with Bugg and Jacky Boy @ The Bishop

After moseying over to the Bishop from the Void (thankfully Bloomington is relatively small and easy to get around fast), I made it to Amy O’s Elastic release show just in time for the last few songs of Jacky Boy’s set. The room was already packed for the best turnout for a local show that I’ve been to all summer. After grabbing a drink and worming my way through the crowd, I climbed up onto a booth to catch the sludgy yet melodic basslines and nonchalantly slacker vocals of the local grunge outfit Bugg, who was the second supporting act of the night.

The mood was high by the arrival of Amy O’s much-awaited set. She performed most of the songs off of Elastic, which was released earlier this month via local label Winspear. This was Amy O’s return home after a midwest and east coast tour and the tone felt celebratory. In between exchanges with the audience and smiles to fellow bandmembers Madeline Robinson (bass/vocals), Justin Vollmar (drums), Damion Schiralli (guitar), and Aaron Denton (keys/vocals), Amy O delivered a substantial set of tightly composed grungy basement pop.

<a href="http://amyo.bandcamp.com/album/elastic">Elastic by Amy O</a>

(8/15) Charlottesville Benefit feat. Eric Ayotte, Charlie Jones, Byrne Bridges, Fresh Kill @ Boxcar Books

Punks Give Back Bloomington hosted a last minute show at Boxcar Books, Bloomington’s local volunteer-run bookstore and activist center. The event, which featured Eric Ayotte and Charlie Jones, Byrne Bridges, and Fresh Kill, raised over $1000 to assist with medical expenses for the anti-fascist protesters who were attacked and injured by white supremacists in Charlottesville on August 12. While the atmosphere felt understandably somber, Boxcar’s comfortable and inclusive environment became a space for people to come together and begin to process their feelings.

Fresh Kill opened the night with an acoustic set once the audience settled down onto the floor. While I’ve seen these two perform quite a few times in the months since their debut, this more intimate and unplugged version of Fresh Kill provided the space for Jess (drums) and Emma (guitar) to showcase their poignant lyrics and tight vocal harmonies. The next act to perform was Byrne Bridges, a solo project that combines elements of glam and folk punk. Their set included collective moments of catharsis, including a song/social experiment where audience members were given the space to take the stage and offer things that they are sorry about while crowd sang along. Unfortunately I couldn’t stay for the final act, but reports back from people there confirm that Eric Ayotte and Charlie Jones are certainly worth keeping an eye out for more performances to come.

<a href="http://byrnebridges.bandcamp.com/album/solo-demos-2017">solo demos 2017 by Byrne Bridges</a>

(8/18) Ladycop and Tabah @ The Blockhouse

I walked into the basement of the Blockhouse just in time for the psychedelic dream pop stylings of LadyCop. LadyCop is an eight person project headed by Chelsea Sherman (vocals, keys, synth, percussion) and is comprised of Alex Arnold (guitar, bass, synth, percussion), Kenzie Main (vocals), Biz Strother (vocals), Jonathon Brunnes (bass), Josh Morrow (drums), Charles Roldan (drums) and Patrick Hitchings (violins). While not all eight member of the project were present at this live show, a fullness in sound was provided by the three-part vocal harmonies, one of the core identifying features of Ladycop’s sound.

<a href="http://ldycp.bandcamp.com/album/undercurrent-ep">Undercurrent EP by Ladycop</a>

Finishing the night was Tabah, a Minneapolis-based five piece comprised of Cecelia Erholtz (vocals/guitar), Charlie Bruber (bass), Murphy Janssen (drums), Jeff Ley (guitar), and Andrew Seitz (keys). While psychedelic undercurrents ran throughout the band’s set, Tabah draws from multiple sources. Utilizing elements of folk, country, soul, funk, and hard rock, their music is delightfully difficult to pinpoint in any one genre. One common strand that ran throughout their set, however, was each member’s proclivity towards their instruments. As these elements came together onstage, Erholtz’s soulful vocal timbre weaved into the sonic tapestry with apparent ease.

<a href="http://tabah.bandcamp.com/album/time-will-come">Time Will Come by Tabah</a>
(8/27) Big Huge, Casual Burn, The Bills, and Ghastly @ The Root Cellar

The Root Cellar opened up its doors on a Sunday night for a stacked lineup of local and touring punk music. Kicking off the night was the Bills, a brand new local group. A substantial crowd had accumulated to support this power punk trio, who played a short and sweet set of original tunes. New Orleans-based post punk four piece Casual Burn was the second act of the night. Hopping on the lineup last minute, the post-punk stylings of Monet Maloof (vocals), David Sabudowskly (guitar), Nathan Bluford (drums), and Carlos Knoop (bass) were a welcome surprise. The energy emanating from this group even prompted a small moshpit, a fairly uncommon occurance in Bloomington, where most punks prefer bobbing their head subtly to the beat over heaving their bodies in any which direction.

Touring band Big Huge performed next, delivering rock and roll vibes with a southwest aesthetic. Based out of New York, Big Huge is comprised of Sam Richer (guitar), Dan Reg (vocals) Hannah Nugent (bass), Dave Chase (drums), and Dan Gaetani (guitar). Local favorites Ghastly closed the night with jangley pop punk and emotional, fervently sung lyrics that are personally and politically motivated. Ghastly is A.T. (vocals, guitar), Martin (guitar), Eric (drums, back up vocals), and Kara (bass).

<a href="http://ghastlyindiana.bandcamp.com/album/won">won by Ghastly</a>[/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]

PLAYING BLOOMINGTON: Meet Fresh Kill

Jess Mann and Emma Johnson of Fresh Kill, one of the newest bands to appear on the local scene, began writing songs together almost immediately after Emma started taking drum lessons back in February. In the notably short span of time that has since passed, the two have been busy writing and recording songs, releasing an EP, and playing a string of shows around town. Still, the momentum that Fresh Kill has created over the summer is just ramping up as new music, more shows, and perhaps even a regional tour are on the horizon for this duo. Last week, I sat down with Jess and Emma over cocktails. As we chatted, I learned about their collaborative process, the underlying political motivations of their work, and their hopes to contribute positive changes to the Bloomington music scene and community.

As Fresh Kill is still in its early stages, Emma and Jess hesitate to place their music in any one specific genre. Sometimes it’s hard, sometimes it’s soft, but it always features tight vocal harmonies and poignant lyrics of a vaguely autobiographical sentiment. Beyond these trademark qualities, the two prefer to grow organically as songwriters. Rather than tethering themselves to any one style, Jess and Emma seek the freedom and space to move in whatever directions seem natural. During our chat, Emma reflected on her intent to expand the boundaries of Fresh Kill’s sound as they evolve. “We’re still in such an early stage. We’re still figuring that out and I imagine that the stuff we continue to write is going to change and grow. I’m personally interested in the drums, learning a bunch of different genres and then bringing that into whatever we create.” Jess concurred and added, “Let us have an album first.”

<a href="http://freshkill.bandcamp.com/album/fresh-kill-demos">Fresh Kill Demos by Fresh Kill</a>
Jess and Emma’s songwriting process is a collaborative one where each provides strengths that contribute to the final product. Emma writes the lyrics, but often enlists the help of Jess with the wording. Their compositions are also the result of a team effort. While their songwriting methods are fluid and varied, Emma generally provides the overall skeleton of a song or idea and Jess fills it in with guitar chords and an arrangement.

As soon as the two have finalized a new song, they waste no time recording it. While Jess originally went to school for audio engineering, she prefers a quick and dirty method of recording and mixing. She explained, “I don’t want to sit on it. Recording can be such a complex and lengthy process; let’s make it as quick and painless as possible.” Emma added, “That’s definitely what we do with our demos. I think maybe in the span of four hours, we recorded all of them. We even took a lunch break. I think they went online that night. I’m always really impatient and as soon as we do something that I’m excited about, I need to share it immediately!”

As our conversation shifted, we began to discuss the Bloomington music scene, and the two explained what they perceive to be its strengths and weaknesses. While Jess and Emma both acknowledged that they feel a great deal of support from many of the individuals who make up Bloomington’s tight-knit scene, it can often feel like a boy’s club, specifically a white boy’s club. Jess remarked, “There are always exceptions, but it’s still a boys club. I mean there are some really rad women, femme, and queer people playing music but most of the people playing music are white dudes. Some of them are cool and conscious of their positions, but a lot of them don’t see the point in actively including people who aren’t like them.” Emma pointed out that in Bloomington, it is still usually considered a novelty to have a show where white men are represented as the minority. “It’s not that there aren’t rad femme folks, queer folks, or nonbinary people making music, it’s that when it does happen it’s exceptional in some way. It’s very rare that there is a show that’s majority of those people playing where it’s not really intentionally curated to be that way.”

According to Emma and Jess, a true push toward making the local scene more inclusive involves both explicitly curating shows and other spaces that feature underrepresented musicians and also normalizing inclusivity at all shows. Jess and Emma are using their positions in the local scene to do just that. Jess was previously part of Missfits, a music collective for women and other gender minorities. Missfits, which ran for about a year and a half, had its final event last summer.

Fortunately, one year later, it seems that similarly motivated projects have risen in its wake and are shaking up the local scene. Both Emma and Jess are fans of Shut Up and Listen, a serial zine created by Jesse Grubb and Bethany Lumsdaine that provides a platform for underrepresented musicians. Jess contemplated the impact of these projects. “Sometimes you have to make a point and be really intentionally clear about why you’re pointing out the music that is made by the people who aren’t dudes, and maybe things have changed a little bit or maybe I just have a different perspective, but it’s cool to be at a point where you can write a zine about underrepresented musicians in Bloomington and not really have to make a big point out of that fact.” According to Emma, the two have a similar perspective when it comes to planning Fresh Kill shows. While Fresh Kill may not have explicitly political lyrics, the political identities of both Emma and Jess motivate all of their creative projects.

When they aren’t working on Fresh Kill, Jess and Emma, who are recent graduates at Indiana University, are busy with other jobs and creative projects. Jess works at Landlocked Music, one of Bloomington’s local record stores, and participates in several activist organizations. Emma co-produces and co-hosts Kite Line, a weekly radio program and podcast about prison issues, which she explained is an “attempt to create a platform and bridge for communication and dialogue with folks who are incarcerated or their families and people who have been affected by the prison industrial system to share their stories and break down certain stigmas.”

When asked about new music, Jess and Emma excitedly assured me that they are writing and recording for a fall release. Although they didn’t divulge too much information about what that would entail, they told me to expect greatness and I’m inclined to believe them.

Check out Fresh Kill’s acoustic set at Boxcar Books in Bloomington TONIGHT (August 15th) for a benefit show for the Charlottesville Anti-Racist Medical Fund.

PLAYING BLOOMINGTON: Live Music Highlights from July

(7/29) Wife Patrol, Solid State Physics @ The Blockhouse

“We need to see more girls onstage,” Wife Patrol bassist Nicole announced to the audience about halfway through their Blockhouse set last Saturday night. “And people need to get used to it,” she added, before diving into another grunge-heavy number alongside bandmates Natasha (drums) and Greg (guitar, vocals). Indianapolis-based trio Wife Patrol delivered an energetic performance of their original tracks – an eclectic amalgamation of grunge, punk, metal, and pop – with some favorite new wave covers. Before they hit the stage, locals Justin Meier, Constance Marguerite, and Michael Pruitt of Solid State Physics opened up the night’s entertainment on a similarly energetic note. Their tight instrumentals and emblazoned vocals were made all the more impressive as the group played round robin with their instruments, shifting every few songs to present a new arrangement of guitar, bass, drums, and vocals.

<a href="http://solidstatephysics.bandcamp.com/album/on-fire">On Fire by Solid State Physics</a>

(7/27) Post Pink, Big Hush, Ray Creature, Manneqin @ Jan’s Rooms

An impressive crowd came out for one of the last shows at Jan’s Rooms, a popular house show venue that has seen a number of acts come through its basement during its tenure in Bloomington. Local synth punk trio Manneqin opened the night before the touring acts followed. By the time I arrived at Jan’s Rooms, D.C. based quartet Big Hush was gearing up for their performance. Bandmates Genevieve Ludwig, Owan Wuerker, Chris Taylor, and Emma Baker dished out fuzzy and distorted guitar riffs atop multilayered vocals to the pleasure of all of the brave souls that packed into the hot and cramped basement on this especially humid Bloomington summer night. Big Hush was followed by their tour mates, Post Pink, a pop-infused hardcore punk band out of Baltimore.

<a href="http://postpink.bandcamp.com/album/i-believe-you-ok-2">I Believe You, OK by Post Pink</a>
(7/22) Dasher, Skull Cult, Dove, Clue (Dasher Album Release Party) @ the Blockhouse

It seemed like the whole town showed up for this especially stacked lineup in celebration of Sodium, Dasher’s debut full length album. Sodium, which has been in the works for at least a few years now, represents the culmination of drummer/vocalist Kylee Kimbrough’s creative pursuits as she moved from Georgia, Atlanta to Bloomington, Indiana. Kimbrough, along with bassist Gary Magilla and guitarist Derek McCain, brought a fresh intensity to their blend of post-punk and hardcore set, a foundation that had already been laid by the night’s supporting acts.

<a href="http://dasher.bandcamp.com/album/sodium">Sodium by Dasher</a>

(7/22) Her Again @ the Dream

Those who weren’t in the basement of popular house venue the Dream last Saturday night missed the first and last summer show of Her Again, a Bloomington based trio consisting of Claudia Ferne on the guitar, Jordan Gomes-Kuehner on the drums, and Megan Searl on the bass. It’s a shame too, because Her Again’s infusion of punk, doo-wop, surf rock, and twee into pop song structures pairs perfectly with the long summer months. Her Again closed down the live acts of the night after Kevin Krauter, Older Brother, and Wet Mut previously took the stage.

(7/17) Sad Baxter, The By Gods, Fresh Kill @ the Blockhouse

Jess and Emma of Fresh Kill opened the night with another airtight set comprised of graceful harmonies and cleanly sung vocals that bite with a vaguely autobiographical ferocity. As one of the brand new bands on the Bloomington punk scene, the duo has played a string of shows around town this summer and have been hinting at some new recordings in the near future. Sandwiched in the middle of the set were two Nashville-based bands, Sad Baxter and the By Gods. The By Gods (Natalie Pauley, Tye Hammonds and George Pauley) were the first to perform, dishing up some retro garage band entertainment. Lastly, Alex and Deezy of Sad Baxter delivered an infectiously danceable pop sludge and grunge fueled performance.

(7/13) Sleeping Bag, Fresh Kill, & Cliffs @ the Bishop

Dave Segedy, Peter Doyle, and Nick Harley of Bloomington based trio Sleeping Bag dub their music “nowtro.” That is, Sleeping Bag draws heavily from a combination of 90’s grunge, emo, and indie, but provides twists and turns to propel their sound into the 21st century. Their performance at the Bishop this summer night was saturated with tight instrumentals and a relaxed atmosphere that had been established by the night’s supporting acts, Fresh Kill and Cliffs.

<a href="http://sleepingbag.bandcamp.com/album/deep-sleep">Deep Sleep by Sleeping Bag</a>

(7/6) The Cowboys @ the Blockhouse

Local rockers the Cowboys are quickly becoming a favorite on the Bloomington show circuit. And for good reason, too. Their trio, which consists of March McWhirter (guitar), Zackery Worcel, (bass/vocals), Jordan Tarantino (drums), and Keith Harman (vocals) is dripping with a casual charisma that is worth the live experience. The Cowboys’ relaxed yet upbeat poppy melodies paired with tight instrumentals has come to define their sound, which was in full effect this summer night at the Blockhouse.

(7/4) Byrne Bridges, The Katatonics, and Franknfuker @ the Backdoor

This Fourth of July, I decided to escape the fireworks, parades, and cookouts for a night of punk music at the Backdoor, a local performance venue, dance club, and bar that provides a safe space for members of the LGTBQ+ community and allies. Byrne Bridges was the first act to perform, opening the set with “glam-ish solo pop through a queer/trans/radical perspective.” In what ended up being the most interactive and cathartic act of the night, Byrne Bridges implored the audience to interject with things that they are sorry about during a song that was all about asking for apologies. The Katatonics, a local punk surfabilly band, was the second act to perform. Utilizing some classic surf rock techniques – a heavily defined stand up bass line, lightning fast twists, and constant guitar temolo – one could (almost) forget that Bloomington is about as landlocked as you can get in the US. Elijah Frank (piano, synth, vocals), Davey Watson (guitar), Tristin Holiday (guitar) and Jeremy Johnson (drums) of Franknfuker, a local glamboyant experimental punk outfit, was the final act of the night. Franknfuker, who performed on a stage decked out with skulls covered in glitter and feathers, honed in on an aesthetic that married the visual and sonic components of their performance.

<a href="http://byrnebridges.bandcamp.com/album/solo-demos-2017">solo demos 2017 by Byrne Bridges</a>

(6/30) No-Men and Buttzz @ the Blockhouse

Chicago-based noise rock group No-Men stopped by the Blockhouse to play a late set alongside local rockers, Buttzz. No-Men is Pursley (drums and vocals), DB (guitar), and Eric (drums). As one would expect of a band that is two-thirds drummers, No-Men was loud and intensely percussive. While sloshy drum grooves, hyperfast fills, and interlocking polyrhythms were certainly set highlights, No-Men is much more than just a one-trick-pony. Pursley delivered an engrossingly gloomy yet energetic vocal and stage performance in between explosive drum instrumentals. Meanwhile, DB and Eric tore into their respective instruments, never missing a beat.

Buttzz finished the night in a celebratory fashion with their signature combination of garage rock and surf punk. Charmingly retro emo vocals, shredding guitars, and speedy drums competed with each other as the audience bopped awkwardly to the music. It was a punk rock hootenanny. The band’s second album release, Summer Luvin, is available for streaming via Bandcamp.

<a href="http://buttzz.bandcamp.com/album/summer-luvin">Summer Luvin by Buttzz</a>[/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]

PLAYING BLOOMINGTON: Live Music Highlights from June

(June 24) Jacky Boy @ the Void

Bloomington locals Mark, Stone, and Steve constitute the trio of secular rockers known as Jacky Boy that opened up the night at Punks Give Back #4. Punks Give Back! Bloomington is a local branch of Punks Give Back!, a national, not-for-profit organization that supports local artists and organizers to raise money for local nonprofit organizations. Punks Give Back! Bloomington organizes a monthly event with music and poetry in order to channel funds into various organizations that support local underserved and underprivileged populations.

Punks Give Back #4 raised funds for Exodus Refugee Immigration, an organization based out of Indianapolis that makes it its mission to “serve the resettlement needs of refugees and other displaced people fleeing persecution, injustice, and war by welcoming them to Indiana.” Although they admitted that this was their first show in over three months (which I guess is a while for the band), Jacky Boy delivered their trademark grungy dream pop sound: jangly and distorted guitar effects, infectious hooks, and saccharine vocals.

<a href="http://jackyboyband.bandcamp.com/track/closer">Closer by Jacky Boy</a>

(June 22) The Bishop Presents: Fresh Kill: with Clue, Oscilla, Jennie Williams, Poems of T.K. Williams, Jasper Wirtshafter, and Alexandria Hollett.

This show, which featured the debut of new local group Fresh Kill, had an especially stacked supporting lineup of music (Jennie Williams, Clue, Oscilla) and poetry (T. K. Williams, Jasper Wirtshafter, and Alexandria Hollett). After three poetry sets opened the night, local singer-songwriter Jennie Williams grabbed the audience with raw and personal tunes sung in a rich tone that seamlessly shifted from one octave to the next. Following Williams was Clue, a three piece synth punk group comprised of Bloomington locals Jessie (synth and vocals), Nia (bass), and Ian (percussion). With a cool and deliberate energy, the bouncy, syncopated rhythms and Jessie’s half-sung vocal performance provided a lively counter to the other acts of the night.

Headlining group Fresh Kill was the second-to-last band to perform. Fresh Kill is Emma, who sings and plays the drums, and Jess, who sings and plays guitar. Aside from occasional bursts of energetic instrumentals, their performance was minimal, which showcased the hauntingly personal nature of their lyrics. The audience was especially supportive for the debut of this band, who had family and friends in the audience for the special night. Lastly, Oscilla wrapped up the evening with ambient dance tunes that were as emotive as they were hypnotic.

<a href="http://freshkill.bandcamp.com/album/fresh-kill-demos">Fresh Kill Demos by Fresh Kill</a>

(6/21) Dream Probe, Livin’ Thing, Skull Cult, Doozie @ Kroger Castle

When I descended the stairs to the basement of the house venue Kroger Castle, Dream Probe had already started playing their set. Dream Probe is a Champaign-based hardcore punk band featuring Vince (guitar), Olguie (vocals, bass), and Tyler (Drums). Dream Probe performed the songs off of their spring demo, bringing even more intensity and energy to their politically charged, anti-colonial, Spanish language punk. Although all of the instruments were turned up to max volume, Olguie’s powerful vocals managed to cut through the chaotic wall of noise.

<a href="http://dreamprobe.bandcamp.com/album/demo-2017">Demo 2017 by Dream Probe</a>

Local punk group Skull Cult closed the night with another energetic punk set. Their sound contains elements of new wave, synth punk and hardcore but is difficult to define and characterize. Luckily, it seems like Skull Cult is more interested in creating an environment that is both boisterous and merry than in defining their sound. While their performance was abrupt, it was packed with turbulent music and uninhibited dancing.

<a href="http://skullcultusa.bandcamp.com/album/vol-2">Vol. 2 by Skull Cult</a>

(6/21) Jordan Victoria @ the Blockhouse

“This is my first time playing the guitar in public,” admitted Jordan Victoria, the drummer of Her Again, about halfway through her opening set at the Blockhouse. While her nerves may have been apparent when it was time to address the audience between songs, her vulnerability paired well with the intimate and autobiographical nature of her music. As Victoria’s subtle vibrato coaxed the lone meandering electric guitar through rises and falls in intensity, it felt less like a performance than a gathering among friends.

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Tag: Fresh Kill

PLAYING BLOOMINGTON: Live Music Highlights from August

PLAYING BLOOMINGTON: Meet Fresh Kill

PLAYING BLOOMINGTON: Live Music Highlights from July

PLAYING BLOOMINGTON: Live Music Highlights from June

Ticket Giveaways

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