Heartbreaking Bravery

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The Best Songs of June’s First Half

As evidenced by the last handful of posts, the first two weeks of June were not short on exceptional material. Songs, by virtue of length and abundance, had an especially strong showing. The five below include a few career highlights from longtime favorites and a few impressive entries from fresher faces. All of them would be perfect additions to the warm weather playlists being pulled into existence as spring melts into summer. Discover their strength below.

Ovlov – Short Morgan

If anyone had any doubts that Ovlov would be better than they’ve ever been should they return, “Short Morgan” should permanently erase those thoughts. One of the fiercest tracks the band’s released to date, “Short Morgan” is an adrenaline surge that marries the elements that catapulted Dinosaur Jr to cult icons with the frustration-laced introspection that’s come to define Ovlov’s identity. Ragged, vicious, and pointed, “Short Morgan” is more than enough to suggest we might be looking at one of the year’s great albums in their forthcoming TRU.

The Beths – Happy Unhappy

Making a return to the spotlight, The Beths deliver in kind with “Happy Unhappy”, an unexpected summer anthem. Twee-leaning powerpop through a punk-tinged lens, “Happy Unhappy” is a sugar rush of ingenuity, layering hook after hook until the band’s built something as towering as it is irresistible. Everything from the persistent backing vocals to the guitar interplay in the pre-chorus and on the bridge combines to leave “Happy Unhappy” standing tall as The Beths finest work. Give this one the attention it deserves.

The Ophelias – General Electric

Much like The Beths “Happy Unhappy”, The Ophelias “General Electric” is tailor made for a carefree summer afternoon. A hypnotic collage of sounds, “General Electric” expertly blends powerpop with some twee and experimental trappings. Brilliantly produced by WHY?‘s Yoni Wolf and impeccably structured, it’s an immensely welcome introduction-at-large for an incredibly promising act. Every second of this is captivating, creating an enchanting pull that’s difficult to refuse. A collection of clever twist and turns, it marks The Ophelias as a band worth hearing.

Curling – Radio King

Basement pop that’s informed by post-punk and runs slightly askew is a hallmark of Heartbreaking Bravery’s general coverage and is presented in its fullest potential on Curling’s “Radio King”. Utilizing vocals that are more than a little reminiscent of Ted Leo, Curling avoids comparisons to The Pharmacists outright by embracing a more disjointed approach. Falling somewhere in between the genre lines drawn by Flying Nun and Rough Trade, “Radio King” shows Curling are more than comfortable planting their flag in the in-between. “Curling King” is the perfect way to reveal that flag’s mesmeric colors.

Free Cake For Every Creature – Around You

Capping off a trio of songs that expertly blends twee shrapnel with powerpop aesthetics, Free Cake For Every Creature‘s “Around You” is a strong reminder of the talent at the heart of the project. Driven by a hyper-specific narrative and imaginative instrumentation, “Around You” finds Free Cake For Every Creature reaching new heights ahead of their forthcoming The Bluest Star. Destined to be a staple of the project’s live show for years to come, the song offers an embarrassment of riches, from the guitar work that graces the chorus to the restrained delivery. It’s unmissable.

The Best Full Streams of June’s First Half

In the opening half of June, a large handful of worthwhile records found their way into the public consciousness. Most of the five below (with one notable exception), only gained traction among niche audiences but were imbued with the kind of power that can make those numbers grow in increments. All of them, as ever, are more than worthy of purchasing from the band or label responsible for their release. A handful lived up to the hype and at least one seemed to appear from the ether. Give them all the kind of investment they deserve.

Snail Mail – Lush

Easily the highest-profile record on this list, site favorites Snail Mail made good on their early promise with a Matador debut. Debuting at a heartening 56 on the Billboard charts, Lush catapults the project into the public eye. Riding a wave of acclaim for their strong early work, sterling live show, smart marketing, and the strength of their advance singles ensured that Lush would be greeted with fanfare. That it’s devoid of any glaring weaknesses or gaps leaves the record as a testament to Lindsey Jordan’s abilities as a songwriter but more importantly, establishes Snail Mail as a genuine artist.

Flasher – Constant Image

Constant Image, the debut full-length from Flasher is one hell of a coming out party. Taut, hyper-melodic, and genre-blurring, the record’s a perfect encapsulation of a band that’s fully aware they’re coming into their own. Everything from the production to the sequencing here serves a larger whole rather than relegating distinctive sections. Every song on Constant Image is a career high for a band that’s already amassed a fairly impressive discography over a few short releases. Constant Image shouldn’t just put their name on the map but lock itself into the kind of heavy rotation slot that doesn’t get vacated.

Rolling Blackouts Coastal Fever – Hope Downs

Rolling Blackouts Coastal Fever are an act that’s been featured on this site multiple times for a handful of years, which makes it all the more surprising that Hope Downs is their first official album. What’s not as surprising, especially given that time to figure things out, is that it arrives fully-formed and eschews all of the easy traps lesser-versed bands fall into so frequently. The band knows there’s an advantage to risk-taking that doesn’t overreach and has figured out how to fully lock into their open-road identity. Hope Downs applies that wisdom spectacularly and winds up as an Americana-tinged triumph.

The Knees – Stammer

Likely the least recognizable release on this list, The Knees’ Stammer more than earns a spot among its contemporaries. Two songs of great, delirious post-punk that find fascinating ways to ramble with purpose. Aimless bridges on the title track add an impressive amount of hazy atmosphere, while the ridiculously fun “abcdefghijklmnopqrstuvwxyz” offers up a galvanizing version of a childhood classic. Subversive, unexpected, brimming with confidence, and delivered with a tenacious conviction, Stammer is one of the great unexpected surprises of 2018’s middle stretch. Give it a listen and leave it on repeat.

Dusk – Dusk

Dusk is a tricky record to judge on merit, as it’s essentially a glorified repurposing of a demo that was released by the earliest iteration of the band. Four songs are added (including one that’s an alternate take on a song from bassist/vocalist Amos Pitsch‘s other project, Tenement) and provide a layered depth which is welcome but where Dusk earns its spot on the list in its reinvention. Every single one of these songs benefits from what the band has become and to present them as a collective reintroduction makes sense, considering those changes have been so drastic.

As a collective, Dusk leans into soul as much as classic country, congealing all of their influence into something that’s become reminiscent of The Band, which is a far cry from their first recording. All of the songs here prove worthy of longevity, enhancing an aspect of timelessness. Dusk’s a remarkable band that’s found their power through evolution, settling into a final form that’s got a whole host of material up its sleeve. For now, we should all be more than content to sink into the spells these songs weave and be grateful to have another genuinely great record to add to our collections.