For nearly twenty years, Milwaukee’s Cactus Club has been among the finest live music venues in the Midwest, featuring such acts as The White Stripes, Queens of the Stone Age, Interpol, Death Cab for Cutie, The Sword, High On Fire, The Faint, Bright Eyes, Eyedea & Abilities, Red Fang, Sylvan Esso, Redd Kross, Sharon Van Etten, Polica, Russian Circles, King Tuff, and countless other national, international, and local bands.
Tim Kasher, with his bands Cursive and The Good Life or as a solo artist, has continuously pushed musical boundaries over his career, which has produced 17 LPs and EPs over 20 years. His fearless attitude is easily evident: he’s known for switching up sounds between his bands or his solo work (even switching up sounds on each project’s albums), crafting intricate concept albums (two of which – Cursive’s 2003 LP The Ugly Organ and 2012 LP I Am Gemini – featured play-like stage directions), and transforming songs originally conceived as a soundtrack for his self-penned screenplay into a standalone album (The Good Life’s 2007 release Help Wanted Nights).
Kasher’s forthcoming third solo album No Resolution (which will also be the first release from 15 Passenger, the new label founded and run by Cursive) is no exception, delivering what is arguably his most ambitious and intrepid work to date.
It's been a long couple of years for John Bradley. His band, Dads, went through an abrupt split in the Spring of 2015, but even more jarring was all the personal turmoil that soon followed, including family and health concerns. Throughout these ordeals, he wasn't sure how music would play a role in his life or even if it would be in it at all. Fortunately, the inspiration gradually came back as things began to look up, fueled by an entirely fresh perspective and plenty of songwriting fodder.
Bradley's long-time collaborators 6131 Records released the first sampling of these new songs in March 2017 with the appropriately titled "Demo" EP. Featuring five songs recorded at home by Bradley himself, these demos bridge the gap between where Dads was headed and the new-found, more mature approach afforded to a musician seeing the world in a renewed way.