Uncategorized | Heartbreaking Bravery

August 3, 2016

Minor Victories – Cogs (Music Video)

minor victories

Monday and Tuesday have all but come and gone, gifting us great new tracks from Young Jesus, The Regrettes, Purling Hiss, Drive-By Truckers, Sat. Nite Duets, Hoops, Cheena, Cass McCombs, Virgin of the Birds, Morgan Delt, The Pooches, Mutts, Tall Heights, and Indira Valey. Sweetening the deal were eye-catching music videos courtesy of Cara dal Forno, Boogarins, Numerators, AJJ, Slow Club, and Soto Voce. Rounding everything out was a surprisingly formidable slate of full streams belonging to artists like Stove, Dogbreth, Field Mouse, Good Morning TV, Russian Circles, Restorations, Super Defense, Soul Low, Daniel Kerr, Lungbutter, and Nato Coles & the Blue Diamond Band.

All of the above links contained strong material but none of those titles were as legitimately breathtaking as Minor Victories‘ latest music video, “Cogs”. The band’s been steadily revealing some of the most captivating music videos of 2016 by embracing the virtue of restraint. The best of those — the strangely moving clip for “Folk Arp” — saw them perfecting the art of the static shot, which had defined their prior two clips (“Breaking My Light” and “A Hundred Ropes“).

Following the conclusion of that static shot trilogy, the band’s turned their attention to motion. “Cogs”, which was released Monday, hinges on an exceptionally acute sense of fluidity. Presented once again through a crisp black and white, “Cogs” opens on a slow-panning shot of seemingly empty woods. Before long, a figure enters the frame at full sprint, though the video never wavers in its commitment to slow motion, unfolding at a pace that considerably heightens the tension. It’s an expertly staged trick, allowing the serenity of the setting to take on sinister undertones.

As “Cogs” goes through the motions, the central figure’s pulled tighter to the lens and some disconcerting imagery comes into play. The person assumed to be the protagonist of “Cogs” is a balding man, dressed in a hospital gown, whose movement grows more frantic and erratic with each step. It imbues “Cogs” with a sense of mystery that elevates the tension even further, prompting a series of questions that will go largely unanswered.

One of those question does find an answer at around the halfway mark as “Cogs” expertly stages the man’s exit from frame with the entrance of a figure in a poncho. Its imagery that echoes Yorgos Lanthimos’ The Lobster and winds up benefiting from the association. The similarities serve to expand the scope of the questioning surrounding the contained narrative of “Cogs”, while offering an outcome that similarly manages to become both definitive on a small scale and ambiguous on a much larger one.

Swirling around everything is the bruising maelstrom of “Cogs” itself, a barbed, punishing song that’s one of the band’s most tenacious offerings. Surging forward with a euphoric sense of clarity and purpose, “Cogs” injects its visual accompaniment with so much additional urgency that the clip feels as if its about to come to life. It’s a staggering accomplishment that’s utterly transfixing through every frame, from its unassuming opening to its startling grand finale. In short: it’s a masterpiece.

Watch “Cogs” below and pick up Minor Victories from Fat Possum here.

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July 30, 2016

Glueboy – Yikes (Album Review)

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The past few Friday’s haven’t offered much in the way of new material but this week proved to be an exception, gifting the world new tracks from Earth Girls, Anti Pony, JEFF The Brotherhood, Slow Mass, SLØTFACE, Kindling, Emma Ruth Randle, Looming, Divan, Sheer, Criminal Hygiene, Raury, Buzz Kull, Gothic Tropic, The Raveonettes, Scarlett Saunders, Banks & Steelz (ft. Kool Keith), Sharks Teeth, and Bueno. Additionally, there were full streams from Steve Adamyk Band, Eric Slick, Hollow Sunshine, and an entrancing music video from Massive Attack.

While all of those proved to be worthy titles, it’s Glueboy‘s sophomore full-length debut, Yikes, that earns this post’s featured spot. Following two promising releases, the band fully capitalizes on their potential and lets loose from the record’s onset with the fiery “Foot Soldier”. After a deceptive 40 second buildup, “Foot Soldier” takes off at full sprint and from that moment forward, Yikes never looks back.

Importantly — and largely thanks to the mixing and mastering team of Flagland‘s Nick Dooley and Big Ups‘ Amar Lal — this is the best Glueboy’s ever sounded on record. Following 2015’s impressive Videodrama EP, the band sounds revitalized, attacking every square inch of these songs with a newfound conviction. It’s a trait that’s evident from Yikes‘ opening run of songs and that sense of galvanization never wavers. Whether it’s guitarist/vocalist Jonathan Marty’s frantic, deeply-felt vocal work, bassist/vocalist Coby Chafets’ increasingly sharp lyric sets, or the additional sense of purpose that seems to have elevated Eli Sills’ drumming.

Everything clicks, congealing into a whirling dervish of a record that feels volatile and grounded simultaneously. Even when the band’s being boldly transparent in their influences (the vocal pattern and general construction of “Telescreen”, for example, is incredibly reminiscent of Titus Andronicus’ “Dimed Out“), there’s a genuine spark behind their playing that essentially erases any room for complaint. Helping matters along is that those moments are few and far between, allowing the rest of Yikes to firmly establish the band’s own singular identity.

Yikes also winds up benefiting from its members’ intrinsic musicality [disclosure: I lived with Chafets for half of 2015 and had several opportunities to join in jam sessions with all of the band’s members] and their comprehensive understanding of their chosen genre. Taken as a whole, the level of musicianship Marty, Chafets, and Sills imbue Yikes with is incredibly impressive, conjuring up levels of energy that oscillate but never come anywhere close to stagnancy.

Helping Yikes maintain its pace is the fact that only two of the songs eclipse the three minute mark, keeping things lively. Nearly every song in the collection comes in at a furious tempo, with the band seemingly intent on finding catharsis through destruction. Remarkably, the trio seems to actually achieve that goal at nearly every turn. Personal confessions, declarations, and half-buried desires litter Yikes‘ narrative landscape and breathe an additional level of life into the proceedings, coming to a climactic moment that serves as the record’s finale.

At the end of “Falling Down” everything finally threatens to go off the rails for good, splintering apart into near-chaos as the band lays seemingly everything on the line. Chafets (who trades vocal leads with Marty throughout the record) screams his larynx raw in the song’s closing passage, with the band around him erupting into a hardcore spree before cutting out abruptly. It’s an extraordinary ending to a record that should prove to be monumental to the band’s evolution as well as their reputation. Earnest, uncompromising, and endlessly fascinating, Yikes is more than just a much-needed jolt of pure basement pop adrenaline- it’s one of the year’s best surprises.

Listen to Yikes below and pick up a copy here.

July 28, 2016

Krill – Krill (EP Review)

Krill II

Jay Som, Milked, Pro Teens, The World’s Greatest, Chillemi, Mercy, Belgrado, and Son of Rams all recently had full streams that found their way out into the world but, while all of them were outstanding releases, none of them had the significant impact that accompanied Krill‘s posthumous self-titled EP.

Krill’s name has been a staple of this site for around the entirety of its run. The band’s work didn’t come into sharp focus for me (or many other that eventually treated the band like a religion) until I caught their live show, which left me wide-eyed and astounded. The band’s final full-length effort, A Distant Fist Unclenching, was both their finest work and the closest they’ve ever come to capturing the intangible magic present in their live shows.

Losing the band last year was an extremely tough blow and several A Year’s Worth of Memories contributors wrote about the band’s legacy and learning how to reconcile their loss. The other day, the band unexpectedly resurfaced with a glimmer of hope (one characteristically shrouded in self-doubt and misery) with one final release from beyond the grave.

Krill has a lofty title to live up to but it’s the only one that makes sense; it’s the encapsulation of all the eccentricities that made the band so fiercely and fervently adored by an intensely dedicated following. They made no attempts to hide the grotesque nature of their narratives, their uncompromising approach to songwriting, or the total and complete lack of glamour in their presentation. For all of those reasons (and so many more), the East Coast community that birthed the band became remarkably protective of the trio, placing them on a pedestal that only a few bands have ever managed to near.

When the band was playing their final few shows (one of which I wrote about in detail here), they were playing the songs that would come to make up the astonishing Krill EP. “Meat”, a genuine standout, has the unique distinction of rekindling the fire that the band so effortlessly lit. It’s also one of the first tracks the band wrote to incorporate a baritone guitar and the end result of that decision is one of the band’s most inspired songs.

“Meat” sees the band achieving the full potential of the band, implementing exceptionally thoughtful instrumentation, startling dynamic turns, and brash, confrontational lyrics that directly address loneliness, shame, humiliation, and vulnerability in an arresting, honest fashion. Everyone in the band gives the song everything they’ve got and they wind up with a miniature, self-contained masterpiece and what’s easily not just one of the best tracks in their catalog but one of the best songs of 2016.

The rest of Krill sustains the tone set by “Meat” and transforms the EP into an essential release of the band’s sharpest material instead of a victory lap that coasts on past successes. Risks get taken, vocals crack, and the trio fearlessly embraces moments of uncertainty. All of it’s deeply compelling and a significant reminder of the band’s overwhelming value, which remains a sorely missed asset to the DIY music circuit.

Perhaps the best indicator of the band’s uncompromising vision arrives at the EP’s halfway point with the sprawling, winding “The Void”, an unblinking track that challenges and even encourages listeners to confront their failings and limitations. It’s a bold, provocative song that’s guided along by Krill’s masterful musicianship, genuine understanding, and (one of their most overlooked traits) a subtle dash of empathy driven by a commendably complete sense of humanity.

“Billy” closes the collection out and brings the saga of Krill to its official end with an insistence that Krill will never truly be dead. The values the band stood for, the records they left behind, what they accomplished in their time of existence, all of it will always have a rightful place both in their lives and in the lives of the people who gravitated into their orbit. Even as Krill ultimately falls into a trance and disintegrates into a wall of feedback, blown-out distortion, and white noise, the band’s legacy remains intact and their iconic status keeps growing, even after departing. So, it’s time to say, once more, with certainty and feeling: Krill forever.

Listen to Krill below and pick up a copy here. Watch a large portion of one of the band’s final sets beneath the bandcamp embed.

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July 28, 2016

Fern Mayo – Hex Signs (EP Review)

Fern Mayo VI

Full streams from Yours Are the Only Ears, Foozle, Izzy True, The Blue Mooners, Blesst Chest, Cool American, Heavy Drag, and Adam Remnant all found release over the past week and while all of them are worth multiple listens, it was Fern Mayo‘s new career highlight, Hex Signs, to grab this post’s featured spot.

Fern Mayo’s been in these pages quite a bit in the past, thanks to the happy forever EP, their solid live show, various members’ contributions to the A Year’s Worth of Memories series, and their sibling projects (Fits being a great recent example). However, everything always seems to tie back to Fern Mayo, who have been steadily improving as musicians and songwriters over the course of the past few years. Hex Signs, the trio’s latest effort, may only run three tracks but it hits with a staggering amount of force.

Kicking things off with “Pinesol”, the trio sounds reinvigorated, sharper and a lot more focused than they did only a year ago. Guitarist/vocalist and principal songwriter Katie Capri resumes the role of driving force and sets about creating enough momentum to transform into a red-hot wrecking ball, with Brian Orante’s drums and Nicholas Cummins’ bass urging her forward. It’s a reckless and occasionally euphoric track that ranks among the band’s finest work, allowing it to function as both a burst of searing adrenaline and a perfect introductory piece for the uninitiated.

“Pinesol” sets the tone for the two tracks to follow and neither feel out of place, continuing to propel Hex Signs forward with a near-manic sense of unchecked aggression. The EP’s longest track, “New Ketamine”, is perhaps the most representative of the band at large. A unified bridge between the band’s past and present work, the track navigates around several territories but never quite loses its sense of purpose, creating moments that touch on nearly every dynamic that’s been key to the band’s success in the process.

Closing Hex Signs out is “Moonshine Kingdom”, which has been a staple of the band’s live show for some time. Riding an insistent riff at a quick tempo, the song increases the EP’s velocity as it hurtles towards a massive climactic moment that contains just about enough energy to create a gravitational whirlwind. There are a small hosts of other miniature explosions to be found in that track that all lead up to those final exhilarating moments, giving the entire affair the feeling its stability could collapse at any second. It’s a thrilling finale to one of the most memorably vicious, off-kilter EP’s to have emerged from the basement pop (and basement punk) circuit this year. Cue the storm, ignore the tethers, and get carried away.

Listen to Hex Signs below and pick up a copy here. Watch an early live rendition of “Moonshine Kingdom” below the embedded bandcamp player.

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July 28, 2016

Doe – Last Ditch (Music Video)

doe

It’s been a solid week for music videos, a fact evidenced by strong clips from Alexis Taylor, Daughter, Pleistocene, Frankie Cosmos, The Medicine Hat, Teenage Fanclub, The Channels, Okkervil River, Lisa Prank, Clipping., Busman’s Holiday, The Holy Circle, Daniel Woolhouse, Health&Beauty, Luke Roberts, Opposite Sex, VATS, Slingshot Dakota, Atoms and Void, Psychic Ills, Nice As Fuck, Head Wound City, Ziemba, Ryley Walker, and Jaala. Rounding things out with yet another highlight were site favorites Doe, thanks to their mesmerizing clip for Some Things Last Longer Than You highlight “Last Ditch”.

Some Things Last Longer Than You, Doe’s forthcoming full-length debut, will confidently stand as one of the year’s most solid records several months down the line. It’s a forceful beast that’s teeming with grit, determination, and conviction. Every song on the record feels like the band’s intent on throwing a knockout punch at any turn. These qualities, while characteristic of the entire record, hold especially true for “Last Ditch”.

A towering anthem of pent-up frustration, the prospect of a visual narrative to accompany the song left a lot of potential doors open. What the band opts for continues their subversive streak and demonstrates their understanding of just how effective that trait can be in the right hands. Instead of playing into the song’s emphatic anger, the trio scales things way back in favor of a slice-of-life presentation that balances “Last Ditch” out beautifully.

Using overlays to the point of near exclusivity, “Last Ditch” gets to create an immersive world that makes peace with the mundane routines that comprise the majority of life. It’s deceptively simple and remarkably beautiful in its tacit tribute to uncompromising realism. The faded, low-saturation visual presentation also tinges the clip with a longing and nostalgia that suit “Last Ditch” to a quiet perfection. In all, “Last Ditch” is just another winsome notch in what should prove to be a monumental year for Doe, who will deserve every last good thing that comes their way.

Watch “Last Ditch” below and pre-order Some Things Last Longer Than You from Old Flame here (if you’re in the US) and from Specialist Subject here (if you’re in the UK).

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July 28, 2016

The Holy Circle – Polaris (Music Video Premiere)

holycircle

Over the years, the tremendous Accidental Guest Recordings label has shown a penchant to skew its focus towards darker works, whether it be via the blown-out, lo-fi feedback hisses of vicious hardcore, bleak post-punk, or found a way to manifest in bold, confrontational lyric sets. Recently, the label started revealing a clip to accompany every track from the forthcoming cassette from ambient/drone/darkwave act The Holy Circle.

Boasting members from acts like Locrian, the band’s deadly serious nature probably shouldn’t come as much of a surprise to anyone. What does manage to surprise, however, is how effectively hypnotic both the tracks and the clips from The Holy Circle have been. “Polaris”, the release’s final track (and video) may stand as the best current example of what the band is capable of achieving.

As an isolated song, “Polaris” teems with desolate atmospherics that manage to be both magnetic and otherworldly all at once. It’s a severely battered version of the ethereal and it becomes increasingly compelling for its cold detachment. Elevating those sensibilities is the simple, absorbing video that operates entirely via silhouettes and overlays. Over the course of the track, the minimal imagery obtains direct meaning and leads to a fiery, disconcerting climax without ever hitting the point of bombast.

Both a beautiful feat of high-impact minimalism and a powerful closing chapter to a quietly extraordinary release, “Polaris” is the kind of work that’s successful enough in accomplishing its goals that it’ll likely be analyzed and dissected even more over time. For now, it’s best to let the disquieting imagery and alluring tone induce a trance-like state before a final, self-contained disintegration puts a note of finality on the type of experience that should warrant multiple return visits.

Watch “Polaris” below and pick up their self-titled tape from Accidental Guest here.

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July 28, 2016

Big Eyes – Behind Your Eyes (Stream)

bigeyes

Yohuna, Communions, Pfarmers, Daphne, Eros and the Eschaton, Cassels, Atlas Engine, Pansy Division, Hamilton Leithauser + Rostam, Esp Ohio, Prudence, The Linedots, Blueheels, and Dog Orchestra all had excellent new songs emerge over the past week and either established or reaffirmed their impressive potential. In addition to that impressive roster, Big Eyes joined the ranks of bands returning in a manner that more than proves they haven’t lost a step.

Kaitlyn Eldridge first caught my attention with Cheeky, back in the mid-’00s. Later on, I’d have the distinct pleasure of sharing a few bills with Eldridge as her ensuing band, Used Kids, went on a long tour with site favorites Tenement. Shortly after that extensive run of dates, Used Kids splintered apart and Eldridge started what would become a new DIY punk staple with Big Eyes and, nearly off the bat, wrote one of the best basement pop songs of the past 16 years.

From the outset, all of Big Eyes’ releases — including a handful of excellent 7″ entries — have been exceptional and Eldridge has anchored all of them with a distinctive writing voice and a deeply relatable personality. With the band’s forthcoming release, Stake My Claim, looming just over the horizon, there’s plenty of reason to greet its arrival with excitement.

Heightening the anticipatory fervor is the recently-released “Behind Your Eyes”, which boasts a characteristically understated chorus section and some of the band’s best verses to date. Masterfully constructed and meticulously executed, “Behind Your Eyes” is a very welcome reminder of the band’s formidable understanding of their genre and their willingness to bend expectations to create moments that come across as legitimately bracing.

It’s an extraordinarily promising listen from a record that’s already shaping up to be a listen that’s tough to shake, which is a feat that most bands can never manage to achieve. Big Eyes aren’t most bands, though, and “Behind Your Eyes” should be irrepressible proof. Give it a try… and then come back for seconds.

Listen to “Behind Your Eyes” below and pre-order Stake My Claim from Don Giovanni here.

July 28, 2016

Young Jesus – 1 (Stream)

youngjesus

Over the past six days, this site’s experienced another brief hiatus (due to both a conflicting travel schedule and a significant amount of preparation time for a forthcoming project). In that time, there were excellent streams that were unveiled by Left & Right, Russian Circles, Las Kellies, Jenny Hval, Vomitface, Corbu, Wovenhand, Royal Oakie, Grieving, Creative Adult, Kestrels, Dream Cult, Chris Staples, and Liam Betson. Site favorites Young Jesus joined the ranks of bands offering up new songs in spectacular fashion with the aching, bittersweet “1”.

Young Jesus’ recent track record has been astonishing. From delivering two of the finest records to be released in the present decade to turning in a few breathtaking live shows, the band’s provided several reasons to keep their name in circulation. Now, we’re all set to be spoiled. Guitarist/vocalist and principal songwriter John Rossiter has set in motion a plan to record, release, and possibly write a new song for each coming week for an indefinite period of time.

Just a few days ago, the first of those songs arrived in the form of “1”, a track teeming with the half-mournful/half-hopeful quality that marks the best of the band’s work. What starts off as a defeatist lullaby soon exceeds its seemingly stark restrictions and blooms into something magnetic and intangible. With just an acoustic guitar and a gentle vocal pattern, Rossiter conjures up a depth of feeling that slowly pulls the listener down, sinking them peacefully into the song as it progresses.

When everything fades at the end, the overall experience feels nearly spiritual; while “1” barely runs past two minutes its ability to form both a world and a feeling so vividly that it doesn’t feel right to measure it in any standard metric. It’s a gorgeous song from a songwriter operating at the top of his game and deserves to hold coveted spots on playlists, spots in any serious music collection, and more praise than it’ll likely receive. Most of all, it simply deserves to be heard.

Listen to “1” below and download the song here.

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July 28, 2016

Space Mountain – Never Lonely (Stream)

spacemountain

Over the past week or so there have been new songs to stream offered up from a varied cast of characters that included Infinity Crush, Secret Crush, Microwave, Slothrust, Screaming Females, The Only Ocean, The Submissives, Nots, Navy Gangs, Carl Sagan’s Skate Shoes, Aldous Harding, Steady Lean, Fir Cone Children, and IAN SWEET. In addition to those songs there was also a collaborative gem unveiled by Cole Kinsler‘s Space Mountain project that featured a thrilling guest vocalist turn from Forth Wanderers‘ Ava Trilling.

Way back in 2014, Kinsler’s project was making a solid impression and it’s been a privilege to watch (and listen to) Space Mountain grow in both scope and conviction. Recently, that project hit an exhilarating peak with the driving, mid-tempo “Never Lonely”. Easily the act’s finest work to date, it’s enriched by a communal spirit that brings Trilling’s memorable vocals into the fold.

Never before has Space Mountain sounded as expansive or as thoughtful, a mixture that pays massive dividends. By finding a way to bridge both the carefree, open-road atmosphere that permeates throughout some of the most timeless folk records and the dynamics that typically characterize a roster like Exploding In Sound’s, “Never Lonely” creates something that feels refreshing in its modernity while digging its heels deep into the past.

An impressive track at every turn, “Never Lonely” raises the anticipation level for the forthcoming Big Sky full-length a considerable amount. More than that, it demonstrates that Kinsler’s impressive first few works under this moniker were more developmental than most listeners likely realized. If the rest of the record can live up to the standard set by “Never Lonely”, Big Sky may just be one of the year’s finest surprise discoveries.

Listen to “Never Lonely” below and pre-order Big Sky here.

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July 21, 2016

Happy Diving – Electric Soul Unity (Album Premiere)

For the past several years, this site’s been tracking Happy Diving with a fair amount of scrutiny. Ever since the band’s scintillating debut, they’ve been making frequent appearances on year-end lists and — more importantly — growing sharper with each successive release. Recently, there was a post that spotlighted “Holy Ground“, a towering single from the band’s forthcoming sophomore full-length, Electric Soul Unity. Today, it’s my distinct pleasure to be hosting the debut of that record, which stands as a new career high for the project.

Opening with “Bigger World” — a winking nod towards their outstanding debut LP — the band makes no bones about the fact that they’ve dramatically increased the size of their scope. Everything from the production to the songwriting indicates the band’s set loftier goals for themselves from the very outset of the record. Moreover, they’re dead-set on viciously attacking those goals until they’ve been all but completely demolished.

There’s a greater nuance in nearly every facet of their operation, whether it be atmospherics, production design, or reduced to something as simple as the guitar figures that propel Electric Soul Unity skyward. After only a scant few years of existence, Happy Diving have locked into something that feels like a deeply formidable culmination of their already-enviable body of work. It’s an astonishing feat that’s demonstrated in full by Electric Soul Unity‘s opening salvo, a trio of tracks that pack enough punch to flatten any prospective listeners.

When the title track hits, Happy Diving manage to not only strengthen their melodic approach but escalate the velocity of Electric Soul Unity‘s momentum considerably, creating the kind of magnetic pull that can be genuinely intimidating. By immediately scaling back to one of their most gentle moments to date in the following track, “Head Spell”, the band illustrate the depth of their understanding in creating and dissolving tension through sequencing, a trait that benefits the record enormously.

Of course, “Head Spell” only maintains that relative quiet for so long before launching a cavalcade of the kind of heavily bruised slacker-punk-informed shoegaze they’ve all but perfected with this record. The feedback comes surging in and Happy Diving continue to unleash a series of blows that are effectively heightened by the moments where it rescinds its attack in favor of something a lot more calming.

It’s a brief reprieve that carves out an area for the band that Happy Diving all but annihilates with a series of tracks in the record’s mid-section that match, if not outstrip, the ferocity of its opening trio. Before that memory’s gone completely, the band returns to the less forceful side of things with the laid-back opening half of the deeply compelling “Pain Country” that continues to expand the band’s musical range in ways that are both fascinating and surprisingly meaningful, pushing the boundaries of a very niche genre in a manner that fully illustrates why Happy Diving deserves to be set apart from the majority of their contemporaries.

“Pain Country” also sets up the record’s lone acoustic ballad, “Unknown Feeling”, with tremendous clarity, heightening both songs by virtue of placement. In “Unknown Feeling”, guitarist/vocalist and principal songwriter Matt Berry’s allowed the room to both showcase his improved gifts as a lyricists and underscore the narrative themes of Electric Soul Unity, capitalizing on both opportunities with the kind of understated grace that drives much of the record.

“Holding up my head to see the view, with you / but I don’t feel the way I want it to, it’s true” is the couplet that opens “Unknown Feeling”, hinting at the longings, frustrations, self-loathing, and near-irreparable romantic damage that constitutes the half-shared, half-abandoned bed of Electric Soul Unity‘s surprisingly emotional narrative core. By the time the grand finale rolls around in the form of the characteristically explosive “River Will Flow”, it feels celebratory due to not only its surface elements but because its, in part, the piece that both completes and frees the overwhelmingly down-trodden, world-weary cycle that precedes the track.

In all, Electric Soul Unity is a record that examines the human condition in dire moments, yet recognizes that there’s so much more than some small modicum of life-giving moments that also comprise those stretches. Happy Diving specifically targets that dichotomy and emphasize the tempered clarity that can accompany the self-discovery typically attained in those moments.

The record derives a considerable amount of power from exploiting those divides and then expands them outwards through exceedingly thoughtful arrangements that establish the band as contemporary heavyweights. Thanks to its consistency, its depth of intelligence, and its staggering comprehension, Electric Soul Unity doesn’t just stand as one of 2016’s finest records but one of its most essential. It’s an extraordinary effort from a band that’s more than ready to take on any challengers and it won’t go down without putting up an unforgettable fight.

Listen to Electric Soul Unity below and pre-order the record from Topshelf here.

Category: Uncategorized