Continuing on in the quest to get the site caught up on all the things that caught my attention in 2015 affords some unique opportunities. One of them is the chance to celebrate a few of the truly great items that surfaced over the course of this year’s first three months. By the end of tonight, all of those will be featured in some form- be it a list inclusion, a mix, or some words. In this post, there won’t be a lot of material from the past two weeks (with the notable exception of a jaunty tune from The Splits and an absolute stunner of a track from one-time site contributor Johanna Warren) but it should still serve as a healthy reminder of 2015’s formidable early strengths. One of those songs, Sheer Mag’s “Button Up” will be receiving the greatest amount of focus. Below that, as has been custom, are 75 outstanding songs from this year’s first quarter. Now, back to this post’s main draw.
Sheer Mag have been picking up a great amount of notoriety in important circles since the release of their 7″ from last year, which was strong enough to land on the site’s Best 7″ Records of 2014 list. “Button Up”, the band’s first new material since that EP, is a refinement of everything that’s made Sheer Mag so exciting from the beginning. “Button Up” retains the band’s appealing lo-fi punch but their pop sensibilities are sharper than ever, rendering “Button Up” an unlikely heavyweight. Impossibly crunchy guitars, powerful vocals, and a sense of joy permeate throughout this track and provide Sheer Mag with a valid claim as one of the most exciting upcoming bands on the market. If the rest of their upcoming 7″ can hit similar peaks, it’s not unlikely that they’ll be appearing on quite a few December lists (ours included).
Listen to “Button Up” below and keep an eye on this site for more coverage surrounding the band’s upcoming release. Beneath the embed are 75 outstanding songs from 2015’s opening stretch.
With a few days of silence and a Watch This-less Sunday firmly in the past, today’s left with a lot of material to catch up on. Two weeks has provided a lot of great performances spread across a sizable range of styles, from full set in-studio sessions to solo acoustic takes. All but one of the bands featured in what will be the first of three Watch This installments has previously been featured on the site- with a great band from Columbus being the lone debut. It’s a lot to admire, a lot to celebrate, and a lot to analyze. So, as always, sit back, adjust the settings, focus, and Watch This.
1. Big Ups (KEXP)
Big Ups‘ Eighteen Hours of Static was one of 2014’s first great releases. All wild-eyed ferocity and unrelenting momentum, it marked the emergence of one of the more exciting young bands. While it still stands as one of the more notable records of the year, it’s since been overshadowed by the band’s incendiary live performance (it’s not a mistake that they keep showing up in this series). Here, they light up KEXP’s studios with a characteristically fiery five-song performance that should only facilitate their ascension. This is a band that fully deserves their growing recognition, don’t make the mistake of letting them slip by unnoticed.
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2. Frankie Cosmos – Embody (Radio K)
Frankie Cosmos provided one of the most lovely sets of NXNE a few months back and since then, they’ve only grown more poised. Greta Kline’s an enviably gifted and incredibly prolific songwriter with a high ceiling. Nearly every Frankie Cosmos release has been a gem and ensured the band’s continued recognition. Airy pop songs like the excellent “Embody”, which they perform here for Radio K, are perfectly crafted pieces of- to quote the song- grace and lightness. It’s a warm embrace from an old friend, providing comfort and reassurance in equal measure; simply sublime.
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3. Spit (Live at Treehaus)
Spit‘s Getting Lowwas one of the year’s quiet self-released records, exceedingly excellent but completely unheralded. Easily one of the best submissions this site’s ever received, the project’s now evolved from a solo venture to a full band endeavor- and what a band. Completely expanding on the Exploding in Sound-style tendencies that Getting Low hinted at, they’ve come out of the gate swinging with vicious intent. Spit’s only got one real show under their belt and they’re already very much a band to watch. Fuzzed out and appropriately left of center, this is a band worth greeting with high expectations- with this full live show serving as definitive proof.
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4. Day Creeper – The Way You’re Told (The Mug and Brush Sessions)
Columbus, OH has been producing incredible bands at an alarming rate for some time now, with Day Creeper situated firmly in that pack. With a live show that’s just as ferocious as their recorded output, they’re always a great candidate for a feature performance- and the band absolutely lights up The Mug and Brush Sessions’ studio.
“The Way You’re Told” also serves as a tantalizing glimpse at the band’s upcoming Central States. If the rest of the record’s as good as this performance, they’ll have a serious contender on their hands.
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5. Cloud Nothings – Now Hear In (Exclaim!)
A lot’s been made of Dylan Baldi’s vocal takes for Cloud Nothings. In most assessments, Jayson Gerycz’s drumming usually works its way into the central conversation (and rightfully so) but one thing that’s continuously evaded scrutiny is Baldi’s inventive guitar work. Stripped all the way back to a solo acoustic performance, it’s an aspect that’s allowed greater focus and opens up the impressive levels of songwriting happening in Cloud Nothings at present. Here, Baldi’s both restrained and subtly aggressive, providing a commanding performance that contributes to Cloud Nothings’ status as one of today’s most exciting bands.
Part 3 of tonight’s ongoing series of coverage for the great little bits and pieces of entertainment to have surfaced in the past two days operates like its precedents: four items worth looking into and one feature spot. That there is a feature spot to be granted shouldn’t demerit anything that gets mentioned in this space, though. Everything that earns a link on this site is put there for a reason; if it’s linked, don’t make the mistake of missing out on what it leads to- because it would be a massive mistake. Things like Bugs in the Dark‘s visceral gut-punch of a record, Cross My Heart Little Death, don’t come around often and neither do songs like The Chemistry Experiment’s delicate “Channel Light Vessel“, which pulls in aspects of several genres to create a soft-edged psych-pop tapestry. A pair of music videos worth several looks also fought their way out into the world; Medicine‘s aggressively warped kaleidoscopic head trip for “Move Along – Down the Road” and the breezy charms of Quilt’s clips video for “Mary Mountain“. Then, to complete everything, there was the sophomore effort of Brooklyn’s ragtag crew in Slight (for those keeping score at home, that’d be Painted Zeros and Trace Mountains member Jim Hill, LVL UP‘s Greg Rutkin, and Catalonia’s Alberto Casadevall).
Run, which follows the band’s excellent townie490, may take the the track total from five down to two but it certainly doesn’t skimp on the band’s key elements: hooks, melody, fuzz, crunch, personality, and left field basement pop. The title track kicks things off at a full sprint, with promises of remaining level-headed enveloped in the adrenaline rush of the music. Rutkin proves to be a force behind the kit, urging everything forward while Hill’s guitar and synth work seems intent on trying to outstrip everyone, leaving Casadevall to keep everything in check with workmanlike bass lines. There’s a clear 90’s influence culled from the band’s powerpop pull and slacker punk aesthetics but they’re supplied with a modern worldview and a sense of history that supports the contrast that always exists between brave modernity and the tried-and-true.
While “Run” may skew towards a weird, contained combination of Lost Boy ? and Superchunk, the track that follows it- “The News”- veers more towards Sloan with Slight’s fuzz-is-bliss identity starting to punch holes through their influences before too long. Synths serve as a warm bed for a track that darts, cuts, and charges just as fiercely as “Run”, only at a slightly slower clip. After everything clicks and sends it rocketing upward, it fades out in a bout of feedback (and one tastefully subtle synth interjection) leaving nothing but a trail of smoke in Slight’s wake. If the band’s next release is even half as good as this pair of tracks, Slight could be the next in line to break out and make a serious name for themselves.
Listen to Run below and snag the band’s young discography from their bandcamp.
With another traditionally huge Monday just about in the books, it’s time to recap a large portion of the great material that was released. NPR’s First Listen series was typically stocked and contained Bedhead‘s discography as well as the upcoming records from Big K.R.I.T. and Hookworms. There was also the aggressively bleary noise-psych of Energy Slime’s debut 7″, New Dimensional. Stereogum played host to a slew of impressive song premieres: Lemuria‘s sprightly “Froggy Smoke“, Chief Scout’s kinetic basement pop stunner “Oh Shit“, Whirr‘s newest heavy-hitter “Ease“, and Cloakroom‘s Matt Talbott-assisted “Dream Warden“. In other reaches of the internet, The Sidekicks announced a new record and signing with Epitaph with the typically excellent “Deer” and Diarrhea Planet continued to up the anticipation for their upcoming EP, Aliens in the Outfield, with the absolutely stunning closer- and very likely their career-best- “Peg Daddy“. Empty Apartments’ punchy lo-fi treasure “Lefty (Cardboard Box)“, Terrorista’s jumpy basement punk brawler “Darren vs Bag“, and The Coathangers‘ savage Gun Club cover all also found their way into the world.
To round things out there were also outstanding new music videos that included a tantalizing introduction to what will be a multi-part series from Kevin Devine via “She Can See Me“, an intense visual stimuli overload in the form of Naomi Punk‘s “Television Man” video, Desert Sharks’ revenge fantasy in “crazycrazy“, and Elbow’s artful ode to motorcross in the artfully composed “New York Morning“. There was also The Twilight Sad‘s gorgeous black-and-white clip for “Last January“, Yesway’s hauntingly minimalistic “Let Go“, and Appomattox‘s celebratory career-ending exclamation point in the skate-heavy video for “Yr Soul“. While all of those operated on various levels of unique excellence, it’s tough to outmaneuver that towering scope of one of the year’s most powerful albums- especially when the music video for one of its best songs feels so perfectly assembled.
LOSE is a record that carries the burden of the heavy emotions that come with the loss of a close friend. “Warning” is one of its few moments of total exhilaration; a release of the pent up frustration, angst, despair, and complete helplessness in the face of death. It’s a staggeringly powerful moment on the record and hits stratospheric heights when paired with- and accompanied by- the record’s implicit narratives. In the brilliantly directed music video, Cymbals Eat Guitars are reverted back to youth via teenage stand-ins who deliver some commendably impassioned (and entirely convincing) performances as they mimic the song. A sense of well-placed nostalgia is subtly added in through quick cuts revealing some classic posters and albums that likely served as influences for the band (and for Benjamin High, whose early departure was the event that inspired much of LOSE). “Warning” is lovingly edited and gorgeously lensed, it’s a video that manages to evoke a deeply-felt well of emotions. It’s a surprisingly moving complement to a song- and record- that deserved nothing less.
Watch “Warning” below and buy LOSE directly from Barsuk here.
A lot has happened in the four-day leave that this site took- a leave that officially ends with this post- and there are so many things to cover. It’d be foolish to pretend that this week didn’t just belong to Sleater-Kinney, who released a career-spanning box set, a new single (that was accompanied by a lyric video), and announced their official return. As tempting as it was to take a stab at waxing poetic over everything that band and their return means, their reputation’s already been earned and a million similarly-minded sites will be doing that in the weeks to come. Instead, today’s light will be shined elsewhere and ultimately fall on the band that’s earned the most mentions on this site without ever getting the feature spot. Before Girlpool gets their well-deserved due, though, all three of the regular fields will be recapped, in the order that follows: single stream, full stream, and music video.
Legendary Wings teased their upcoming basement punk ripper Do You See with the excellent “Weather Advisory” while Kal Marks did the same for their forthcoming EP with the forward-thinking bruiser “Zimmerman“. Portastatic proved they haven’t lost a step with the surprisingly great indie pop tune “Hey Salty” and Mitski‘s lead-up campaign for Bury Me At Makeout Creek remained perfect with the entrancing “I Will“. VLMA’s “Slime” and Cellphone‘s “Bad Medusa” were both post-punk stompers good enough to snag each act a handful of new followers. Chris Weisman celebrated the completion of his long-gestating album Monet In The 90‘s by previewing the record with the quietly mesmerizing “Working On My Skateboarding“. Vacation put forth an incredible Jesus And Mary Chain cover, Dirt Dress continued their impressive evolution with “Twelve Pictures“, and Caddywhompus continued extending what have become increasingly massive creative strides with the near-perfect “Entitled“. Davila 666 unveiled the tantalizing “Primero Muertas” in advance of their upcoming record, Pocos Años, Muchos Daños, just as Parts & Labor offered a glimpse at their upcoming record, Receivers, with the outstanding “Nowehre’s Nigh“. Art Is Hard’s Pizza Club series entered its final stretch with Broadbay’s newest noise-punk excursion “Plasticine Dream“, Primitive Parts made a rousing case for being a band to watch out for with “The Bench“, and Wildhoney became the latest act on the stacked Deranged roster to start breaking through on the strength of their towering shoegaze number “Fall In“. Circulatory System turned a few heads with the noise-damaged psych-pop of “It Never Made A Sound” and site favorites Saintseneca released a lovely Lucinda Williams cover. To round things out in the more ambient-leaning fields, there was a stunner from James Blake and a gentle new piece from The Greatest Hoax that easily swam its way into the realms of the sublime.
As for full streams, most of the talk in regards to this week will be dominated by the year-end-bound RTJ2, which is to be fully expected when a sophomore effort absolutely topples its heavily acclaimed predecessor- but don’t let that distract from a slew of other investment-worthy releases. Lace Curtains’ A Signed Piece of Paperalso managed to exceed the record it follows in terms of artistic merit- which is a trait that it shares with The Twilight Sad’s Nobody Wants To Be Here And Nobody Wants To Leave. The Unicorns’ Nick Thorburn made his uniquely charming score for the SERIAL podcastavailable via bandcamp and Fleeting Youth Records made their essential 33-track Blooming (A Fuzz-Fucked Compilation) mixtape (which more than lives up to its name) available for streaming via soundcloud. French For Rabbits premiered their arresting folk-inflected Spiritsover at Stereogum while NPR’s First Listen series hosted the premiere of Medicine‘s extraordinary Home Everywhere. The Omecs crafted a winsome throwback punk record which they’re now streaming on their bandcamp. Another record to be released via bandcamp, spit’s Getting Low, came dangerously close to being today’s feature by virtue of being a masterful work from an extremely promising songwriter (John Romano) that expertly straddles a curious line between Exploding in Sound and Orchid Tapes. Easily one of this month’s most fascinating records, it’s currently available over at bandcamp for a generous name-your-price fee. Don’t hesitate; this is music worth being in a wide array of collections.
In the music video category, Hurry had a blast with their clever clip for “Oh Whitney“, Dilly Dally got shrouded in smoke for “Candy Mountain“, and S gave the Tacocat bassist some peace of mind in the video for “Vampires“. Ought danced their hearts out in “New Calm, Pt. 2“, Thurston Moore conducted a nightmarish clip for “Speak to the Wild” (Los Angeles Police Department’s woodland excursion for “Enough Is Enough” was far less menacing), and Split Single inverted normalcy with their positioning for “Monolith“. Broken Water set things up with no shortage of caution in “Love and Poverty“, The Coathangers cheekily provided what’s ostensibly both a puppet-centric video and a left-field visual tour diary in “Drive“, and Beverly cemented their beautiful stylistic approach to the music video format with “Yale’s Life“. DTCV mined a bevvy of filmic influences and utilized them to perfection for “Electrostatic, Inc.” while Public Access TV took a similar route for “In The Mirror“. Allo Darlin’ kept things amusingly (and effectively) simple for “Bright Eyes“, Nano Kino set the airy “New Love” to a hypnotic visual collage, and Mannequin Pussy remained as energetic and unapologetic as ever with their lo-fi production for “My Baby (Axe Nice)“.
Now, that’s a lot of material to go through for just about anyone but none of those items hit with as hard of an impact as Girlpool‘s absolutely devastating animated video for “Plants and Worms”. From this video alone, it’s shockingly easy to see why such a huge subset of journalists and musicians have latched onto Girlpool so fiercely; their world-weariness, entirely relatable socio-political commentary, and compositional skills all suggest both an age and stage of career that’s vastly accelerated from the actuality of their current positions. The duo, Cleo Tucker and Harmony Tividad (17 & 18 years of age, respectively), are moving at an accelerated pace- release follows release, idea follows idea, and there’s barely any time for an active listener to breathe. Impressively, all of those pieces carry their own distinct identity and they’re frequently accompanied by weighty topics that most songwriters experience an immense struggle to present without tipping into the cloying or cliché. It can be hard to resist the temptation of excess when dealing with important messages and this is where Girlpool excels; not only are their thoughts presented articulately- they’re presented in a manner that’s plaintive enough to be devoid of any easy derision. There’s a deep-rooted humanism and empathy that’s present in their work which is something that will always be admirable- and in their deceptively minimal compositions, the music carries the burden of the weight of those topics to a degree that seems to mirror the band’s inherent level of mutual support.
For “Plants and Worms” they wound up pairing with illustrator Catleya Sherbow, whose art here also acts as a double for Girlpool’s processes. In the Rookie premiere of “Plants and Worms”, Tucker and Tividad give an interview that lends some insight to their history, ideals, and intentions, while revealing that “Plants and Worms” is about accepting the world and how much it has to offer once fear and trepidation is reduced to the point of near-elimination. Neither get any more specific than that- but they don’t need to because the illustration makes a variety of specific instances of everyday fear entirely evident: body image issues, self-image, depression, loneliness, and self-destruction. In Sherbow’s illustrations, everything’s presented as it would be in a children’s book; there’s a soft quality that undercuts the severity of the video’s implications providing a thoughtful contrast that suggests the darkest aspects of the song are universal- but also definitively states that they can be overcome. It’s a crushingly powerful video that becomes impossible to shake after one watch and positions Girlpool in the unlikely position of being a young duo who could (reasonably) become two of this generation’s sharpest social commentators. “Plants and Worms” is likely just the beginning- and it’s already too important to miss.
Watch “Plants and Worms” below and pre-order Girlpool (the EP which “Plants and Worms” is taken from) from Wichita here.
[EDITOR’S NOTE: First off, to get this out of the way at the top, there will be no Watch This today. It’s absence will be made up with a unique 50th post next Sunday.]
We recently hit another quarter mark in the year and this site just hit another fifty posts. A digital mixtape- Three Quarters Down– has been curated to celebrate both of these occasions. All 25 songs on display have managed to become favorites in the span of their (admittedly short) existence. It didn’t matter where they came from- splits, records, singles, exclusives- if it was a great song that came out over the course of the past three months, it wound up on the list. However, there are a handfulofothers that were excluded by virtue of not appearing in Soundcloud’s public library- those will likely get their due in December both here and elsewhere. In the meantime, revisit some of the best songs that led us straight into fall by listening to the mix below.
Beneath the 8tracks player is the original listing of the songs in this collection. Enjoy.
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1. Mitski – Townie
2. Two Inch Astronaut – Foulbrood
3. LVL UP – DBTS
4. Little Big League – Tropical Jinx
5. The History of Apple Pie – Jamais Vu
6. Menace Beach – Come On Give Up
7. Thalassocracy – Shimensoka
8. Cellphone – Human Rights
9. Ovlov – Ohmu Shell
10. Mumblr – Sober
11. Trust Fund – Reading The Wrappers
12. Girlpool – Jane
13. Night School – Casiotone
14. Happy Diving – Sad Planet
15. Dilly Dally – Green
16. Washer – Rot
17. Speedy Ortiz – Bigger Party
18. The Midwest Beat – Vortex Hole
19. Bass Drum of Death – For Blood
20. Mannequin Pussy – Sheet City
21. Pity Sex – Acid Reflex
22. Mogwai – Teenage Exorcists
23. Nothing – July The Fourth
24. Dark Blue – Here On My Street
25. Crimson Wave – Say
After a very strong start to the week, today’s bevvy of notable content kept things moving at an aggressive clip. Nots stepped up and made sure their voice was heard with “Decadence“, a searing lo-fi blast from their upcoming record, We Are Nots. The Dead Ships made a mark with the punchy basement pop of “Canyon“, which brought to mind a more refined PURPLE 7. “Candy Mountain” heralded the official arrival-at-large of Dilly Dally, whose Candy Mountain 7″ just got skyrocketed up to “must-own” status. Run For Cover Records look set to continue on with a stunning run of records, if Young Statues’ soaring “Natives” is any indication. On any other day, Crimson Wave‘s extraordinary Say/Calling You 7″ would have earned today’s feature spot and has a very good chance at gate-crashing more than a few year-end lists. Joanna Gruesome and Trust Fund’s decision to release partnering complementary videos to promote their incredible split 12″ proved too intriguing of a prospect to let slide without providing some well-deserved focus.
Now, before getting to the videos the brilliance of Joanna Gruesome and Trust Fund’s split needs to be mentioned here for about the billionth time. Both bands are natural complements to each other, with each accentuating similar tendencies in dynamics and sound on an equal level. All six tracks are stunners and it’s a record that can be incredibly hard to pull away from once it’s started rotating. London-based artist Rose Robbins was the creative force driving the twin videos to their respective enchanting heights (and an even more stunning effect as a whole). In the Impose premiere of both videos, Robbins explained some of the fascinating process behind the bulk of the artistic decision-making that went into the finished product(s).
Joanna Gruesome’s “Jerome (Liar)” sounds as vital as it did the day it was released and the video taps into the band’s sense of fun with great precision. It’s a firecracker of a song that ignites their side of the split, operating in a way not entirely dissimilar from Trust Fund’s “Reading The Wrappers”- which also receives Robbins’ endearingly playful visual treatment. Both videos are injected with cartoon animation that feels naturally suited to Joanna Gruesome and Trust Fund’s partnership. That partnership is an underlying thematic device is a very simple, and affecting, touch that works wonders. Balancing a relatively lighthearted tone with weighty issues is never an easy task but Robbins manages to pull it off with aplomb. It’s a relentlessly entertaining experience that’s all but guaranteed to trigger a few genuine smiles- which is an achievement that should never be undervalued. This isn’t just great entertainment, it’s great art.
Watch “Jerome (Liar)” and “Reading The Wrappers” below- and order their split 12″ here.
Even with recent Monday’s bringing a lot of great new content into the world, today was exceptionally gigantic. Everything that appears in a hyperlink is worth clicking over to experience and choosing what to feature was insanely difficult. Enough with the exposition, though, because there’s a lot to mention- which is why each of these categories will be provided with their own paragraph (starting with this very one). In the world of full streams, NPR’s First Listen series presented Meattbodies’ self-titeld stomper, New Noise Magazine put up a full stream of Heart Attack Man’s excellent Acid Rain EP, Stereogum hosted the first stream of Greylag’s enchanting self-titled debut, and Dark Thoughts posted the blistering (and damn near perfect) ripper of an EP, FourSongs,on their own.
Over in the territory of single song streams, Radical Dads posted the remarkably compelling “Cassette Brain“, Popstrangers continued to excel with a Mack Morrison cover, post-hardcore supergroup Vanishing Life lived up to their promise (and then some) with the vicious “People Running“, The Mantles raised the anticipation for their forthcoming Memory with its jumpy title track, there was the deliriously riffed-out “Mortality Jam” that came courtesy of Hound, another extremely promising look at Night School‘s upcoming EP (following the outstanding “Birthday“), Wilful Boys’ snarling rager “Anybody There“, the pulverizing new synth’ed out post-everything track “10,000 Summers” from the incredibly unlikely group of people that make up No Devotion, and an absolutely breathtaking song from Infinity Crush called “Heaven” that easily ranks among the most gorgeous pieces of music to be released this year (and very nearly took today’s feature spot).
Jumping to the realms of the more visually-inclined medium, things were just as tantalizing with no less than seven music videos worth watching. Greys crafted a creatively animated and hard-hitting skate-heavy clip for If Anything bruiser “Adderall“, Lushes hit a sweet spot with their repetition in “Traffic“, Obits used minimalism to a sizable effect in the low-key clip for “Machines“, newcomer Pix made a splash with a subtly haunting accompaniment for the stunning “A Way To Say Goodbye“, The Wooden Sky raised their profile with a fascinating short film to back “Saturday Night“, site favorites Radiator Hospital premiered a lovely DIY clip for “Bedtime Stories (Reprise)” over at Rookie, and Martha more than lived up to all of their praise with the unabashedly joyous video for “Present, Tense” (another entry that came dangerously close to being today’s feature).
Even with all of that formidable competition nipping at its heels, Screaming Females‘ “Wishing Well” managed to be a clear-cut standout. Boasting one of the most massive choruses the band’s ever had, some of the lightest verses they’ve ever conjured up, and an overwhelmingly sunny melody, it’s impossible to ignore. “Wishing Well”, by all accounts, is an absolute monster of a track and lays waste to the poppiest territory they’ve ever tread. Guitarist and vocalist Marissa Paternoster keeps herself in check, showing surprising restraint and a vice-like grip on total command. It’s no secret that Screaming Females are one of the best live bands currently playing shows- and it’s not even remotely surprising that “Wishing Well” has become both a fan favorite and an undeniable staple of their live set.
As Paternoster noted in the brief segment that ran with the Rolling Stone premiere of “Wishing Well”, a lot of people will likely view this as a departure for the band- despite the fact their regular dynamics are still in tact. Sure, it’s more melodic than anything they’ve done in the past but it’s also unmistakably Screaming Females, definitively proving the group’s unique identity. In terms of aggression, “Wishing Well” skews closer to Paternoster’s Noun project and acts as an exhilarating bridge between both vehicles, suspended by pure determination and innate talent. “Wishing Well” is easily one of 2014’s most thrilling songs and comes backed with what may very well be the band’s personal best- “Let Me In” (another fan favorite and live staple)- rendering this 7″ nothing short of an event.
Listen to “Wishing Well” below and make sure to pick up the 7″ it headlines directly from the band on one of their upcoming tour dates or pre-order it from iTunes.
The 48th installment of Watch This reads like a laundry list of this site’s favorite places to cull videos from; Allston Pudding, The Chris Gethard Show, and Little Elephant among them. Live versions of songs that have previously been fawned over resurface with new levels of urgency and old treasures prove their longevity. Every performance that gets featured here is impassioned and clearly illustrates the respective band’s obvious connections to their own music (with a strain of apathy-fueled music growing steadily prominent, this is- unfortunately- more of a rarity than common occurrence). Trying to wax poetic about most of these videos in this paragraph would most likely just wind up doing them a disservice, so: sit back, turn the volume up, ignore the time, lean in, and Watch This.
1. Little Big League – Property Line (Little Elephant)
There hasn’t been a band in quite a while to pull off what Little Big League achieves by virtue of this placement; this is their third consecutive video to appear in this series- in as many weeks- and they’re all from the same Little Elephant session. So, some straight talk: “Property Line” is one of the year’s best songs and the band’s current career-best effort. Even though the live version doesn’t have the benefit of those chill-inducing horns, it retains its formidable pull. As always, the band reveals themselves to be an excellent live act and provides several reasons to get excited about their upcoming LP, Tropical Jinx.
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2. Sweet John Bloom – Aging In Place (Allston Pudding)
Allston Pudding’s made a habit of making impressive live videos- this outstrips all of their previous work with an assured ease and a new level of confidence that suits them well. An extraordinary live-edit that features a stunning performance from emerging act Sweet John Bloom to promote their upcoming full-length, Weird Prayer. Expertly marrying high-energy basement pop with deliriously frantic post-punk, it’s inclusion would have been an easy decision as an isolated standalone- the additional edits towards the video’s close put it way over the top and render it one of the more artistically inclined live videos to ever appear in this series. Don’t skip out on this one.
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3. Protomartyr (La Blogotheque)
Protomartyr’s Under Color of Official Right was one of the highlights of 2014’s first quarter and it’s held its ground ever since its release. Here, the band teams up with La Blogotheque to film stripped-back live performances of “What the Well Said” and “Scum, Rise!” in the moats of Saint-Malo, a port city in France. It’s a fitting backdrop for the band’s take on post-punk, something that bears the influence of their Detroit home. Unsurprisingly, it’s spectacularly shot and bizarrely compelling, continuing La Blogotheque’s unique penchant for producing live footage that excels on those levels.
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4. Jeff Rosentstock & Friends – Hey Allison! (TCGS)
Don Giovanni comedy darling Chris Gethard hosts a show. These shows host live acts. It seems that nearly every time a video of these performances surfaces, it earns a spot in this series. Jeff Rosenstock‘s “Hey Allison!” has already emerged as one of the more relentless earworms of the past few weeks and the live version is an all-out blitz. Anytime anyone puts this much heart into music this good, it’s going to earn a write-up. The Chris Gethard Show also has the unique advantage of utilizing a crowd of misfits being encouraged to be as weird as possible, turning single song performances into outright events. There are few things more encouraging than watching a band and an audience enjoy each other’s company in equal measure at an absurdly high degree. This is can’t-miss entertainment.
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5. METZ – Get Off! (Pitchfork)
METZ was one of the more unforgettable debuts of the past few years and the band’s live show, easily one of the best around, pushes those songs to exhilarating heights. Employing humanism and sonic annihilation at roughly the same pace, anytime the band takes the stage it’s a small victory for everyone involved. Here, they tear through a fired-up version of “Get Off” and incite some fierce reactions from an adoring crowd. METZ themselves remain as entertaining as ever, putting just about everything they have on the line every time they take the stage- and they’re showing no signs of slowing down.
There are days where it can be difficult to scrounge up enough great new releases to warrant an introductory paragraph round-up and there are days that are so generously overflowing with great material it’s nearly impossible to figure out what to feature. Today fell squarely to the latter. There were no less than four outstanding releases in each of the major categories: single stream, music video, and full stream. Cool Ghouls’ psych-laced basement pop rager “And It Grows” gave some new promise to the upcoming record. Mean Creek‘s Chris Keene unveiled the most recent look at his Dream Generation project with the sparse “The Four of Us” and September Girls teased their upcoming EP with the snarling “Veneer“. Veronica Falls‘ James Hoare and Mazes‘ Jack Cooper started a new project called Ultimate Painting, who instantly turned some heads with the carefree open-road ramblings of “Ten Street“.
Over in the realms of the music video, Grubs, Frankie Teardrop (warning: heavy strobes), and Cloud Nothings all released clips defined by lo-fi experementalism while Snævar Njáll Albertsson’sDad Rocks! project dipped its toes into a gorgeously-lensed narrative involving a heavy existentialist crisis with “In the Seine”. In the space occupied by full streams, Dark Blue offered up their heavy-hitting Album of the Year contender Pure Realityand Tomorrows Tulips did the same for their career-best effort, When. Ex-Breathers made all 12 tracks (and 11 minutes) of their vicious upcoming 7″, ExBx, available for the world to hear, while Zola Jesus occupied similarly dark but incrementally softer territory with her upcoming effort, Taiga. A Winged Victory For The Sullen rounded out the full streams with another ambient near-masterpiece titled Atomos. Of course, there was one another full stream- but the link is being withheld until it’s accompanied by a forthcoming review. In the meantime, today’s focus will be on the song that defines that record: “Against the Moon”.
In an effort not to mince words, one thing should be noted before going any further- namely that Plowing Into The Field of Love is a masterpiece. No record this year has seen a more stunning creative growth or felt more important than Iceage’s new behemoth. Only three records into their still-young career and they’ve already emerged with a full-length that not only operates as a radical left turn but one that rivals anything from the creative rebirth of Nick Cave & the Bad Seeds (or, the Let Love In era). Iceage’s first two records, New Brigade and You’re Nothing, were menacing works that a few people chalked up to exhilarating exercises in intimidation. On Plowing Into The Field Of Love the band relents from that approach and serves a hyper-literate Southern Gothic-indebted masterwork that sees them flexing boldly experimental muscle and an untapped well of what now appears to be endless ambition. No song on Plowing Into The Field of Love illustrates this more than the slow-burning “Against the Moon”, a song that’s well out of the confines of anything the band’s ever done but still feels wholly suited to their identity.
Opening with the quasi-mournful strains of a brass section, it quickly undercuts its brief introduction with shuffling drums and the sustained hums of a chord organ. In those opening 15 seconds, the band manages to establish an astounding grasp on a style that was previously completely foreign to them. By the time the string and piano arrangements kick “Against the Moon” up a few levels into the breathtakingly sublime, it’s one of the bravest things any band this year’s committed to a studio recording. As instrumentally thrilling as “Against the Moon” is, it’s the startling emergence of vocalist Elias Bender Rønnenfelt’s vulnerability that shifts the song from the sublime to the transcendental. For the first time, Rønnenfelt’s lyrics and vocals are given a platform that demands the listener’s unwavering attention and that level of investment is paid off in full. From the song’s arresting opening stanza, enhanced by Rønnenfelt’s world-weary drawl, it’s clear that his personal transition directly correlates with what the band’s accomplished in terms of musicality. “On a pedestal, shining bright. Justify me. Make me right. I can fight it; make it roam- but a fugitive has a tendency to return home.” is the kind of opening line that suggests a genuinely great writer- that the rest of Iceage seems to have embraced and experienced the same level of maturity and rapid artistic growth as Rønnenfelt in the short year that’s followed You’re Nothing is nothing short of mind-bending.
A song that literally arrives with horns, “Against the Moon” stands as Iceage’s definitive entry into the band’s sudden new era, the strongest representation of Plowing Into The Field Of Love‘s myriad of sudden changes, and one of the most immediately striking songs to emerge from the past 4 years. Stripped back far enough to be completely exposed, Iceage shows the world all of its scars, all of its imperfections, and all of its entire being- and it’s a tremendous thing to experience. Even considering all of their previous sonic aggression, nothing they’ve ever produced has hit with a fiercer impact. For a band that’s aim has always been to wound, it’s a devastating reverse that leaves them sounding wounded- but bravely resilient. It’s extraordinarily effective and unflinchingly courageous. Most importantly, “Against the Moon” is the crown jewel of what deserves be regarded as one of this decade’s most important records. Make sure to give this the attention it deserves.
Listen to “Against the Moon” below, pre-order Plowing Into The Field Of Love from Matador here, and keep an eye on this site for a full review at some point in the coming week.
Heartbreaking Bravery 