Joe Westerlund & Trever Hagen Unfurl 'Parallel Pathways' In Album Release
Eau Claire multi-instrumentalists debut four-track record 'Grotto,' will perform at LIVE at LEONA's Feb. 21
Born from a childhood friendship in Eau Claire, the duo ensemble of Joe Westerlund (percussion) and Trever Hagen (trumpet) will once again merge their respective arts into a distinct landscape and world of their own.
Their latest collaboration and debut record, Grotto – released on Feb. 6 – yields “electroacoustic textures” which are equally rhythmic as they are melodic.
While the four tracks on Grotto will act as the duo’s first dedicated intersection – released with independent label Totally Gross National Product of Minneapolis, Minn. – the duo celebrates decades of solo and ensemble work both regionally and internationally.
“These two instruments (percussion and trumpet) have long sat side by side during the ancient theater of warfare… (serving) as another departure point between these kindred spirits,” the duo shared. “This album is an engraving of an aesthetic pairing forged over lifetimes.”
During a previous Wisconsin tour in December 2024, Trever and Joe were welcomed into the Mary Nohl residence near Milwaukee. This experience captivated both artists – particularly Nohl’s own “grotto” and the artist-built residence she enveloped herself in.
Soon after, the “Westerlund//Hagen” record took shape, recorded over a single night and early morning during the duo’s visit to a “sanctuary” of their own: A family cabin.
In anticipation of the debut record, the Westerlund//Hagen duo announced a record release tour across the Midwest and will close it out right here in Eau Claire at an increasingly popular venue: LIVE at LEONA’s (406 Galloway St.).
The duo last performed at Leona’s during an improvisational session back in spring of last year – yet another example of their tether to collaboration.
We shared space with Westerlund and Hagen to explore how artist residencies, childhood memories and Eau Claire’s evolving music scene shaped tracks like “Wrapped In Plastic,” “Liberation Bells” and others featured on Grotto.
V1: Local listeners might recognize you both have been running parallel on life’s course since early childhood. Are there any key memories from your youth which highlight the beginning of your shared musical vocation, prior to Grotto?
JW: We share a lot of formative firsts, like we went to Shell Lake Jazz Camp together, our first Phish show together, were in our first band together… but I think the biggest highlight is that the two of us used to make these cassette tapes for our friends’ birthdays. They were sort of radio drama-esque, but made by two very hyper kids, brimming with imagination and a knack for chaotic, non-sequitur humor. We were sort of like Tim and Eric before they even knew who they were.
Music always played a role in these sessions, but perhaps even more importantly, we were discovering our own personal style of improvisation by exploring things like timing, flow, give and take, theme and variation, identifying form and shape spontaneously. It all sounds borderline academic, but really we were just having fun and blowing off steam after school and tapping into our collective spontaneity.
V1: Grotto is described as an homage to little-known artists, specifically referencing the Mary Nohl house. Beyond her physical “grotto,” what ethos' of this Midwestern creative resonates with you most deeply and influenced the tone of this album?
TH: The intent of the work, for Mary Nohl. She created and sustained an environment within which she felt inspired and connected. I think there are a lot of folks who are making art, caring for their environment, and not even thinking about it as a role or a career, and that is badass.
V1: Eau Claire continues to see significant growth in the arts and music scenes – particularly in experimental and indie genres. Looking back at your time in this city, what are your thoughts on how the environment you came up in has evolved? How might the current scene compare to what you experienced as young musicians?
JW: A similar conversation has been popping up with myself, Trever and a handful of other friends over the past few years. It’s very hard to compare things when you’re young and fresh and discovering the possibilities of life and creative expression, compared to the way you interact with those things as a 45-year-old. I can safely say I think there is a special thread through all of it, and when I think about Eau Claire, I picture it’s natural environment: the rivers and bridges, the seasons, and also the indoor spaces where music is created. The landscape of opportunity to publicly gather has changed quite a bit from when we were kids, but also maybe not, because we created our own spaces when we needed to back then.
But, through it all there seems to be a certain type of curiosity that is often very active in the people who live and work here, then and now. There is a current of creative exchange and a robust work ethic to propel it, and it all feels very familiar to me.
V1: This album was recorded at a family cabin, and songs seemed to overflow through you both as the tracking process unfolded. How did the familiarity of that environment and its surrounding landscapes shape the spontaneous, or even specific sounds on Grotto?
TH: Because it was dead of winter, it was absolutely still. That kind of scared vibe of silence surrounded the recording, as a frame. It was peaceful and familiar.
V1: Tell us more about the intentions behind the hand-painted design of the record itself, and how that physical expression of visual art connects to the values and intentions of this record?
TH: The record is such a great collaborative release. It is released by Totally Gross National Product, a Minneapolis record label that was established and set up by two other Eau Claire natives, Drew Christopheron and Ryan Olson.
Also Nick Gulig, Eau Claire native and Poet Laureate of Wisconsin, wrote a beautiful essay for the album. So the whole thing came about through a D.I.Y. process with a lot of talented friends from our childhood. The hand-painted covers top off a wonderful group effort.
V1: You both have pursued intentional musical careers outside of your shared hometown. When you return for a project like this – whether to record or tour – does the spirit of the area manifest in your instrumentation?
TH: There are far more enduring aspects to Eau Claire than anywhere else in the world that have nothing to do about the trumpet or music. It’s about being close to loved ones or being able to go to Forest Hill (cemetery) and lay flowers or walking by Banbury and thinking about my Grandpa… it’s an entirely different set of memories that don’t fit into any precise compartment because they are everything.
Grotto by Joe Westerlund and Trever Hagen is available to listen on analog vinyl and streaming online via Bandcamp. To purchase tickets ($15/advance; $20/doors) to their final tour stop on Feb. 21 at LIVE at LEONA's (406 Galloway St., Eau Claire) visit volumeonetickets.org.
