7″ | Heartbreaking Bravery

January 2, 2020

The Best Records of October (2019)

Surprise EPs, rapid-fire singles, daring long-form narratives, and more populated the best records of October. All but two of the artists featured in this list have been featured on this site in the past, while the two new entries provided head-spinning introductions that set each respective act up for further exposure. Each record hits different nerves of pleasure, so whether prospective listeners are looking for something a little more streamlined or a lot more frantic, they should be covered by something on the list.

Due to time constraints and the emphasis placed on the upcoming year and decade-end material, this will be an abridged version of what was originally intended. Nonetheless, these are all very much worthy of listeners’ full time and attention. Don’t let the scant review space stand as an indication of worth; a few of these will be mentioned again shortly. In the meantime, enjoy exploring below.

1. Charly Bliss – Supermoon

Explosive, volatile, and a perfect bridge between Charly Bliss‘ first era and their current mode. An unabashedly energetic thrill ride from start to finish, one of the strongest EP’s of the year, complete with some of the best songs from one of the decade’s best bands (“Feed” and “Heaven” alone could’ve powered this into a featured selection).

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2. Ex-Vöid – Ex-Vöid

One of the more interesting punk bands of the past new years, Ex-Vöid feels like a natural extension of the members’ previous projects (namely, Joanna Gruesome) with a dash of something new. There’s a specificity to both of the songs on this 7″, one more pop and one more hardcore, that points to Ex-Vöid being a more fully realized project than some might think.

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3. Lightning Bolt – Sonic Citadel

Few bands have gained the type of singular reputation afforded Lightning Bolt. One of noise’s most celebrated duos, the pair matches virtuosic playing with an unmatched, almost feral intensity. Sonic Citadel, their first record in four years, find them in a more polished pop mode (by their own unique set of standards) and yields some of the most immediate and enjoyable work of an already legendary career.

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4. Black Beach – Tapeworm

Black Beach have appeared on this site a few times in the past and their natural artistic progression continues to make an impression. Tapeworm, the band’s latest, finds them at the top of their game, blending post-hardcore production aesthetics with noise-punk intensity and a deceptively pop-leaning melodic sensibility that tethers everything into a uniquely compelling whole.

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5. clipping. – There Existed An Addiction to Blood

One of the most interesting acts of the past 10 years, clipping. have carved out a unique niche for themselves through a remarkable consistency. Even as the noise-rap band grows bolder and more adventurous with their artistic choices, there’s an innate quality to both the production and bandleader Daveed Diggs’ astonishing command of narrative that makes the trio’s latest, There Existed An Addiction to Blood, stand out at every unpredictable, terrifying turn.

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6. Blush Cameron – Ambiguous World

Every once in a while, a bedroom pop record rolls around from a local upstart that is so fully-formed and thoughtful in its concept and execution that it feels as if the artist responsible for its creation has been making waves for years. Blush Cameron’s Ambiguous World falls firmly into that rare category, utilizing a fondness for ’90s alternative to great effect, imbuing an impressive record with a lo-fi warmth that elevates the whole affair from great to irresistible.

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7. Great Grandpa – Four of Arrows

One of 2019’s most unexpected records for a whole host of reasons, Great Grandpa‘s sophomore effort is a breathtakingly accomplished piece of music. A startling leap ahead in directional sensibility, Four of Arrows finds the band transforming their explosive, pop-leaning math-grunge into a genre-defiant collection of styles. Radiohead, Imogen Heap, The Cranberries, Tom Petty, and Cyndi Lauper all somehow wind up being major points of reference across the record, making it one of the year’s most fascinating listens. Impressively, everything the band throws at the wall here works. An astonishing record.

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8. Carver Baronda – Spooky Love

Spooky Love, the latest EP from DIY alt-country force of nature Carver Baronda, is the songwriter’s most impressive work to date. Filled to the brim with a romanticized take on the genre’s best strains, Baronda carves out a collection of memorable tracks that are teeming with intricate subtleties and well-articulated nuance (the restrained slide work is especially tasteful). A small but staggering EP from an artist that deserves everyone’s full attention.

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9. Amy O – Shell

One of the more consistently engaging emergent voices in indie pop, Amy O followed up 2017’s winsome Elastic with a more considered album, allowing it’s thoughtfulness to pay dividends. From the opening title track through the 10 songs that follow, Shell casually invites and thoroughly rewards investment. A small but notable triumph for an intriguing songwriter that never seems to stop getting better.

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December 28, 2018

The Best Records of November 2018

November had a lot of records competing for attention, covering the various different ends of the spectrum. This post is a look back at some of that month’s best offerings, which seems like a worthy venture even with a new year only a few days out. Whether they were compilations or collections of entirely new material, these are records worth hearing. From local artists to retrospectives from genre legends, there’s a lot to digest. As always, each and every one of these titles are titles worth owning. Dive in below.

1. Wooing – The Clouds

A band that’s making some noticeable moves over the back half of the year finally got a chance to truly show off and seized the opportunity with a stylish fervor. Wooing‘s The Clouds is one of the best post-punk-meets-basement-pop 7″ releases of the year. Both sides come laced with a sense of nervous tension that’s embedded into the band’s icy atmospheric sensibility. Quietly thrilling and uniquely enthralling, The Clouds marks a true arrival for a band that’s living up to their potential.

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2. The Weasel, Marten Fisher – Real Deal Therapeutic Bullshit

Over the past decade, Colin Bares has released an astonishing wealth of incredible songs through various projects. Good Grief, The Coral Riffs, Mr. Martin & The Sensitive Guys, The Cost of Living, and The Weasel, Marten Fisher have all earned coverage from this site, each tethered in some way to Bares’ unique songwriting sensibilities. Real Deal Therapeutic Bullshit is a compilation of tracks that have been uploaded to soundcloud over the past two years (with a few extra thrown in for good measure) and ably demonstrate Bares’ uncanny ability to acutely plumb the depths of what it is to be human. Whether it’s the melody, composition, lyrics, or vocal delivery, this is music that stays with anyone who has the fortune of listening and definitively stakes a case for Bares as one of the best songwriters operating today.

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3. The Marked Men – On the Other Side

There’s a case to be made for The Marked Men as the golden standard for the basement pop genre and that case would only be strengthened by On the Other Side, a compilation of odds and ends that span the band’s career. Even the quartet’s outtakes would put most of the bands molded in their shape to shame. A raucous, jittery, adrenaline-fueled burst of energy, On the Other Side isn’t just a reminder of band’s strength but a statement; The Marked Men’s legacy isn’t going anywhere anytime soon.

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4. Fog Lake – carousel

Shortly after releasing one of this year’s best records, Fog Lake returned with the carousel EP. A fascinating curio that flaunts an incredibly unexpected but entirely welcome ’50s pop influence. As is the case with the best Fog Lake works, carousel is playful, compelling, and haunting in equal measure. Where carousel becomes a singular work is in the commitment, presenting a complex vision that operates as if it’s an artifact that’s out of time. Transfixing and lovely, carousel puts a bow on a breakout year for a worthy artist.

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5. Rick Rude – Verb For Dreaming

Rick Rude are a band that’s never received the recognition for their work that its strength warrants. Even with that being the case, the band’s giving that untapped audience every chance to latch on, having released a great record a year since 2016, each of them topping the last. Verb For Dreaming is the band’s new career high, an 11-song explosion of inventive, knotty basement punk. A tremendous effort from an incredible band.

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6. Washer / Bethlehem Steel – Split

Exploding In Sound has been an inspiring source of consistency for many, many years and hasn’t showed any signs of wear. A split release between two of the roster’s finest acts, Washer and Bethlehem Steel only reinforces the label’s status. Washer‘s “Super Pop” kicks things off and rank’s among the duo’s best tracks, while Bethlehem Steel contributes a powerhouse from their end with “Fake Sweater”. Each band takes a turn covering each other, making this an indispensable capsule for any fan of the label or either band.

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7. The Magic Lantern – To The Islands

Last year, “Holding Hands” provided one of the most breathtaking listening experiences of that time. Devastatingly tender and abundantly warm, the track served as an introduction-at-large to The Magic Lantern. “Holding Hands” acts as the album opener on the project’s newest record, the beautiful To The Islands. A spellbinding run through memorable melodies and narratives, To The Islands is the fullest realization of Jamie Doe’s artistic vision to date. A sublime work from start to finish, To The Islands is a record that’s easy to take in but impossible to shake.

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8. Hutch Harris – Only Water

The Thermals announced their departure earlier this year but it only took the band’s guitarist/vocalist Hutch Harris a few months after the announcement to release a new record as a solo act. Only Water isn’t as brazen or as confrontational as any of The Thermals’ work but does allow Harris to explore from a more overtly introspective angle. Only Water operates at a slower tempo but Harris’ knack for intuitive narrative structures holds strong, making Only Water an essential record for anyone still heartbroken over the departure of Harris’ old flagship act.

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9. Ellis – The Fuzz

Ellis has making semi-frequent appearances in this site’s coverage leading up to The Fuzz and now that the record’s finally here, that attention feels justified. A confident, mesmeric presentation of wintry atmospherics, bruising, introspective narratives, and startling dynamic, The Fuzz posits Ellis as a major voice. From dream-pop-tinted opener “The Drain” onward, The Fuzz sees Ellis in a loosely experimental mode that leads to the songwriter’s most memorable work, frequently yielding moments of unassuming brilliance. The Fuzz is a bold statement from an artist that shouldn’t be overlooked.

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July 20, 2018

Mike Krol – An Ambulance (Stream)

A whole pile of incredible songs emerged this week, including new entries from: Florry, Mothers, Henry Chadwick, Sauropod, Notches, Strawberry Mountain, Lost Boy ?, Muncie Girls, Harvey Trisdale, Thin Lips, Sketti Tangles, Gon von Zola, Michael Michael Motorcycle, Found Wild, Joey Sweeney, Rosie Thorne, Claw Marks, Paul Collins, Bilge Rat, Memory Bells, The Chills, Jane’s Party, and Leland and the Silver Walls. They’re all worth a listen. Another artist to join the party was site favorite Mike Krol.

Just a few years ago, Krol put out the incredible Turkey, a record teeming with blistering basement pop strong enough to land it a spot as Heartbreaking Bravery’s pick as one of 2015’s best albums. Krol hasn’t released much of anything in the interim that’s followed but did see a spike in popularity after an unexpected, joyous appearance as an in-show character on Steven Universe. Rebecca Sugar’s show — and the fervent fan base its amassed — seems in perfect keeping with Krol’s sensibilities, which manage to simultaneously suggest immediacy and thoughtfulness.

Which brings us to “An Ambulance”, a characteristically scintillating surge of punk-tinted basement pop from an artist that’s built a career out of mastering that exact genre. From the jump, “An Ambulance” flaunts its blown-out giddiness, exploding in an adrenaline rush of melodic aggression. A catchy-as-hell guitar riff forms the foundation for one of the summer’s best hooks, accelerating the song from a controlled cruise to reckless abandonment. The song’s vintage Krol, suffusing the past with credible meaning and blowing the doors to the future wide open.

Listen to “An Ambulance” below and pre-order An Ambulance b/w Never Know from Merge here.

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April 13, 2018

Dusk – The Pain of Loneliness (Goes On and On) b/w Go Easy (7″ Review, Stream, Live Videos)

A solid round of full streams (or expanded samplers) have arrived over the past couple of days, coming from acts as varied as Say Sue Me, Bacchae, Spring Onion, Oceanator, The National Jazz Trio of Scotland, DEWR, Marbled Eye, and Playboy Manbaby. However, just as was the case in the last post, the focus here will shift to a release that’s been out for a bit but only recently became available for full streaming: Dusk’s new 7″ — and their first release for Dirtnap Records — The Pain of Loneliness (Goes On and On) b/w Go Easy.

Made up of a laundry list of some of central Wisconsin’s finest musicians, Dusk’s most unenviable task is likely distinguishing themselves from bassist/vocalist Amos Pitsch‘s main vehicle, Tenement. Making things a little hazier was the decision to tour the US as an expanded version of Tenement, suggesting that the distinction might not matter to them as much as the connection. It’d fit Pitsch’s history, which has long leaned more towards a familial collective than compartmentalized separation.

Still, even in the face of their similarities (and not to mention the fact that virtually every member of Dusk also spends time playing in other projects), Dusk sounds so wildly different from most of the band’s associated acts that they seem to have garnered a sterling reputation solely on their own merit. It’s been interesting to track their progress, with many people surprised to find out which members of the band they’ve seen and heard before, but it’s also been deeply worthwhile.

Dusk’s songs tilt in a more classically country-leaning direction than anything else, each release laced with the requisite amount of attitude to bring their singular charisma through the recordings. They inflect their songs with a little bit of a lot of genres, from Motown to soul to honky tonk to basement punk, creating something that’s simultaneously enigmatic and familiar. There’s a sense the band’s striving to create the sounds that they love and don’t hear enough anymore, re-contextualizing the influences of separate eras by viewing them through a decidedly modern lens.

They’ve tapped into something that’s given their name some weight and it shows again on their latest 7″, The Pain of Loneliness (Goes On and On) b/w Go Easy. Both songs are full of the well-worn charm and conviction of the band’s past releases but ably showcase how comfortably they’ve embraced their identity. The harmonies are as gorgeous and ever and they’re still finding ways to pull new tricks out of their sleeves, with guitarist/vocalist Tyler Ditter taking a turn on lead vocal duties in “Go Easy”.

Both tracks are imbued with the same kind of breezy, wide-open road feel that the band’s successfully touched on in the past. Pitsch lends a trademark bite to the A-side while Ditter anchors “Go Easy” with a honeyed sweetness that serves the band’s sound extremely well. Packaged together, it’s another strong entry in a discography that hasn’t stopped improving since the band’s staggeringly strong demo. Easily one of Wisconsin’s best acts, this kind of release suggests they’re well on their way to being regarded as far more than a local act.

Keep their name and their releases filed away somewhere safe, there’s no telling what they might wind up being worth.

Listen to The Pain of Loneliness (Goes On and On) b/w Go Easy below (and watch a package of videos of the band playing live beneath the stream) and pick it up from Dirtnap here.

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July 31, 2017

A Month’s Worth of Records Worth Hearing

Just like the songs and music videos that came filtering out over the extended interim of this site’s regular coverage hiatus, killer records didn’t stop revealing themselves over that stretch of time. While, by their very nature, the titles that jumped out proved to be fewer than their more individually-minded counterparts, there was still a lot of outstanding material packed into the compilations, splits, EPs, 7″s, and full-lengths listed below. While this list — or any list — can’t claim to be truly representative of everything that came out, these acts are responsible for some of the best titles to have crossed this site’s path over the past six weeks:

Lushloss, Wet Lips, Talking Dog, Johnny Utah, See Through Dresses, Tundrastomper, Demure for Sure, VOIGHT-KAMPFF, STRFKR, City of Caterpillar, Horse Girl, Crumb, Friends of Cesar Romero, The Deslondes, Juiceboxxx, Ben Morey & The Eyes, The Crashers, Colour of Spring, Lillian King, Nearby Pastures, Cody & Danz, Siobhan Wilson, Fallow Land, Teddy and the Rough Riders, tunic, Flowers of Evil, Dream Version, Dove Lady, Eerie Gaits, Pill, Pawns, The Good Graces, Liam J Hennessy, [.que], Triptides, Aviator, and splits from Jeff Rosenstock and SkaSucks, Hinds and Los Nastys, Black Beach and Nice Guys, as well as an outstanding new compilation entry from Genius Loci.

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March 21, 2017

Full Streams of the First Quarter: The Honorable Mentions

Technical difficulties forced Heartbreaking Bravery into an effective hiatus at the start of the year but, even through the visible inaction, behind-the-scenes work continued in earnest. Various outlets depths were exhausted, the site’s inbox maintained its regular flood of releases, and everything else that emerged was meticulously examined. Over the course of 2017’s first quarter (minus a week or so), more than 100 great records were released. 10 will be spotlighted in the very near future and the rest of the releases that caused a positive reaction can be found below. Enjoy.

Cool American, Alexander F, The Courtneys, Single Player, Schlotman, Street Stains, Thurst, Teenage Wedding, oso oso, Sam Skinner, Thelma, Wild Pink, Toby Reif, Omni, Pissed Jeans, Baked, WHY?, Neutral Shirt, Hideout, SSWAMPZZ, Boosegumps, Maryn Jones, Luxury Death, UV-TV, Ron Gallo, Matty Ann, Communions, Hanni El Khatib, Vagabon, So Stressed, The Paranoyds, Middle Kids, David Bazan, Toner, minihorse, Fucked Up, Olive & The Pitz, Boreen, Two Moons, wayde, The Spirit of the Beehive

Lunch Ladies, Heavy Pockets, Layperson, Little Person, Laura Marling, Chick Quest, Tobin Spout, Tall Friend, Caitlin Pasko, The Molochs, Trust Fund, Pinegrove,
Radula, Sinai Vessel, CARE, Michael Chapman, Jamie Wyatt, The Modern Savage, Analog Candle, Louise Lemón, Heart Attack Man, Matthew Lee Cothran, Retail Space, The Cherry Wave, Frederick the Younger, No Thank You, Railings, Crushed Stars, Fragrance., ShitKid, Joan of Arc, Jim O’Rourke, Black Kids, Knife in the Water, bvdub

The Ocean Party, VICTIME, Career Suicide, Dead Man Winter, Lindenfield, Loess, Redshift Headlights, Balto, Angelus, Fufanu, French Vanilla, The Wild War, Turn to Crime, Souvenir Driver, Stinking Lizaveta, Matteo Vallicelli, Milk Music, Caroline Spence, NAVVI, Cody Crumps, Exasperation, Xiu Xiu, Damaged Bug, Winston Hightower, Kim Free, Kikagaku Moyo, Lilah Larson, Appalache, Eric Burnham, Party of One, Noveller, sir Was, R. Missing, Yawn Mower, Moral Panic, Auditorium, The Pantheon, The Obsessives

Dakota Blue, Skullflower, My Education, Lowlands, Half Waif, Trevor de Brauw, Strange Ranger, Once & Future Band, DONCAT, The Visis, Blank Range, Transona Five, 100%/Joyce Manor, and Dead Tenants/Drome.

A special mention should also be given to these five compilations, all supporting worthy causes: Our First 100 Days (at the time of this writing, this release is still being updated), Sad! A Barsuk Records Compilation for the ACLU, Is There Another Language?, Save the Smell, and Don’t Stop Now: A Collection of Covers.

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December 1, 2016

Nothing Stops In November: The Month’s Full Streams

A lot changed over the course of November, on national, global, and intimate scales. The results of the latter category led to a near-absence of posts over the past 30 days on this space. No matter how much the personal landscape changed, the tracking of new releases remained a constant. While the last post documented some of the best music videos to emerge over the course of that run, the attention here falls to the full streams that were unveiled in that same interim.

As is typically the case with these types of roundups, everything here deserves more praise than it can possibly receive here and is likely best sifted through at a leisurely pace. Feel free to bookmark the page and make return visits to hear some outstanding music because these aren’t releases that people will want to miss. Dive in and enjoy.

Permit, Lawn, Swampmeat, Minihorse, Deerhoof, Retail, The Momotarōs, Spelling Reform, Very Fresh, Dark Blue, Skin Lies, Nine of Swords, Harmony Tividad, Miracle Sweepstakes, Monomyth, Pure Moods, if i die in mississippi, Mustardmind, Frank Weysos, Tuffy, Dr. Dog, Jess Williamson, Pastel Felt, Floating Room, Mark Sultan, Landing, Psychic Love, His Clancyness, Blank Range, Dogs At Large, Mr. Universe, Carroll, Warm Ouroboros, NGHTCRWLRS, Ava Mendoza/Maxime Petit/Will Guthrie, You Blew It.

Burial, Justin Carter, Cold Country, Gloria, Brave Timbers, Split Single, Amp, Deadaires, Cameron AG, Estrons, The Superweaks, My Education, Genders, Elle, Perfect Human, Fujiya & Miyagi, The Immoderate Past, Holy Golden, and Quit + Wuss. An outstanding GoldFlakePaint compilation and an exceptional Z Tapes compilation rounded things out in memorable fashion.

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October 16, 2016

Three Weeks, Eight Records

Over the past three weeks there have been an impressively large volume of outstanding records to find their way out into the world. A large handful of them were covered in a recent round-up post but there were some that genuinely stood out. With the extent of material involved in this particular format, the best option was to highlight them in one post. While this decision will come at the expense of exhaustively exploring what makes these records so great, know that they’re all more than worth a heavy amount of investment. So, without further ado, here are eight incredible records from the past three weeks.

Lubec – Cosmic Debt

The first of several wild-eyed basement pop records to appear on this list, Lubec‘s Cosmic Debt really emphasizes the band’s frenetic approach to songwriting. Where Cosmic Debt stands out is its coherent fluidity, tethering all of their most erratic moments to an identity that’s teeming with purpose. Front to back, Cosmic Debt‘s an oddly exhilarating record, drawing strength from its cracks, swinging to the end.

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Glider – Demos

A collaborative, multi-country recording project, Glider’s existed in some form or another for years. The act, comprised of Tom Lobban and Louie Newlands, finally released the handful of demos they’ve been recording to the public. Demos features an extraordinary range of two gifted, versatile songwriters who pull cues from powerpop, post-punk, ambient, and a variety of other genres and work them into something legitimately memorable. One of 2016’s most extraordinary surprises.

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Poppies – Double Single

“Egghead” and “Mistakes” constitute the entirety of Double Single but Poppies make every second of each song count. Wistful indie pop at its absolute finest, the band coaxes a subdued magic out of familiar terrain, enlivening both songs with a tantalizing personality. Neither song ever breaks above mid-tempo and the music draws the listener in with a calm assurance, suggesting a very bright future for the quartet.

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Greys – Warm Shadow

Having one 2016 triumph under the belt already in the excellent Outer Heaven, Greys seize the opportunity to capitalize on some growing momentum with another outstanding collection of tracks. Considerably poppier and more lo-fi than it’s counterpart from earlier this year, Warm Shadow succeeds as both a GBV-style look at the band’s approach and as an attention-grabbing record that’s incredibly hard to leave. While it may wind up as an anomaly or outlier of Grey’s already extremely impressive career, it’s bound to be one that’s looked upon with fond admiration.

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Navy Gangs – Navy Gangs

Navy Gangs have been coming on strong this year, with their self-titled EP serving as the current culmination of some impressively intuitive decision-making. Battered, punk-informed basement pop will likely always be the calling card of Heartbreaking Bravery’s coverage and Navy Gangs experiment with that dynamic to quiet perfection on Navy Gangs. Immediately memorable and capable of rewarding close investment, Navy Gangs should go a long way in ensuring its namesake’s reputation as one of the finest acts in the market.

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Sonic Avenues – Disconnector

Since before this site existed, Sonic Avenues have been a personal favorite. The band’s expertise lays in hyper, sugar-coated punk laced with classic pop sensibilities shot through with nods to noise and post-punk. Disconnector, their latest, finds the band continuing to perfect that mixture. Every song’s laced with an unwieldy adrenaline that renders Disconnector surprisingly forceful without ever losing sight of what makes the record — and the band — tick. Tightly wound and characteristically thrilling, it’s another cause for celebration.

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Never Young – Singles Tape II: SoftBank

Easily one of 2016’s most ferocious, hyper-charged basement punk EP’s, Never Young‘s Singles Tape II: SoftBank is never anything less than exhilarating. All five of these songs grit their teeth, bare some fangs, and unleash a series of incrementally vicious bites. “I’m washing up with soap”, an unforgettable hook from “Soap”, not only manages to be one of the year’s strangest rallying cries but one of its strongest as well. To dive even further into the band’s extreme tenacity and overabundance of feeling (and “Soap”), just take a look at the last installment of Watch This. If that doesn’t sell this band — and this EP — properly, nothing will.

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Crying – Beyond the Fleeting Gales

One of the most eclectic, unique, and electrifying releases in recent memory, Crying’s Beyond the Fleeting Gales calmly trouts out a series of never-ending ideas, all of which feel genuinely inspired. No band is currently attempting what Crying’s accomplished with this insane pastiche of a record. Each song varies wildly in the instrumental mixes incorporated into the mix, sounding like Sleigh Bells one second, New Order the next, and Tobacco the next. To its credit, Beyond the Fleeting Gales‘ restlessness never gets tiring. On the contrary, Crying have released what will likely not just be a career-defining record with Beyond the Fleeting Gales but one of 2016’s most genuinely inspiring works. Have a listen and start making music.

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October 13, 2016

A Two Week Toll: Full Streams

Bringing an end to the opening trio of posts to amend some of the time lost during the hiatus that followed this site’s 1,000th post, the following links will be dedicated to some of the finest full-length streams that appeared over the past two weeks. From site favorites to new names, there’s a wealth of material here that’s worthy of investment. A handful of these may even be legitimate Album of the Year contenders. Carve some time out to listen or just hit play and turn the volume up while working, either way, make sure not to miss some extraordinary records.

Terry Malts, The Exquisites, Lola Kirke, Fake Limbs, Halfsour, Lilac Daze, Kuroma, Violence Creeps, Computer Magic, Emily Yacina, Male Bonding, Jenny O, Wild Pink, MONO, Spellbinder, Clorox Girls, Infinity Crush, Ryan Allen and His Extra Arms, Fraternal Twin, Kestrels, Elephants, Hello Shark, Trash Gendar, (ghost), Shana Falana, Suburban Living, Trails and Ways, Lara Yuko, Batz, Goat, Peaer, Henry Jamison, Bad Noids, Bellows, The Fabulous Johnsons, Sleeping Lessons, Big Bill, Shelf Life, The Meltaways, Dog, Paper, Submarine, Balcanes, Warehouse, Kadhja Bonet, Axis: Sova, Funeral Blues, This Frontier Needs Heroes, Letters to Cleo, Mr. Martin & The Sensitive Guys, Panoptique Electrical, Exotica, Howardian, Bonzo, Justin Peter Kinkel-Schuster, and the Punkinhead 2016 compilation.

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September 11, 2016

Melkbelly – Mount Kool Kid b/w Elk Mountain (7″ Review)

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When last week came to an end, it gifted the world great new tracks from the likes of ESP Ohio, Cross Country, Marissa Nadler, Field Music, Pamphleteers, Fond Han, WTCHS, Death By Unga Bunga, Grandaddy (x2), Sonic Avenues, Black Marbles, Hello Shark, Peaer, Pony Hunt, Oathbreaker, Computer Magic, Jason Isbell & Amanda Shires, Sean Rowe, Ricky Eat Acid, and Francie Moon. Those weren’t the only things this week’s left in its wake. Along with those titles, there was also (finally) the release of the Mount Kool Kid b/w Elk Mountain 7″ from Melkbelly.

The band first teased this release more than a full year ago by uploading an early, unfinished version of “Mount Kool Kid” to their bandcamp. That version’s been pulled in the time that’s elapsed since its quiet release and its absence has finally been amended with the release of the band’s latest 7″. “Mount Kool Kid” remains an absolute beast of a song, echoing shades of the very best noise, basement punk, and hyper-spastic pop acts in one fell swoop.

Even though it wears all of those influences proudly, “Mount Kool Kid” is still very distinctly Melkbelly. The enhanced production brings out a near-feral rawness in the track that was previously buried, albeit still evident. Everything hits tremendously hard in this more polished version, utilizing Albini-esque tactics for the drum sounds and providing some layers that allow it a more expansive sound.

The flip-side of the 7″ is “Elk Mountain”, which dials back the ferocity to expand on the band’s penchant for grunge and sludge-leaning moments. While the tempo recedes, the abundance of feeling remains in tact. Not a moment of “Elk Mountain” is anything less than exhilarating. Guitarist/vocalist Miranda Winters helps set these songs apart by infusing them with a surprising amount of delicacy that elevates both of these tracks into the realm of the sublime.

Both “Mount Kool Kid” and “Elk Mountain” are incredibly dynamic, compelling tracks that near the four-minute mark. For virtually every second of their run-time, there’s an admirable choice that manifests in the songs. Whether it’s a drastic tempo change, a vocal run, a runaway drum break, or a sudden commitment to overwhelming heaviness, those choices enliven both tracks, leaving Mount Kool Kid b/w Elk Mountain as one of the best 7″ releases anyone’s likely to hear in 2016. So, stop reading, hit play, surrender to the band’s chaos and get swept up in the frenzy.

Listen to Mount Kool Kid b/w Elk Mountain below and pick up a copy here.

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Tag: 7″