Heartbreaking Bravery

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Tag: 89.3 The Current

Watch This: The Best of 2016’s First Quarter, Vol. VI

[EDITOR’S NOTE: Each of the seven volumes that comprise this Watch This package contain 25 clips apiece. Due to the sheer volume of live videos that have come out during January, February, and March all of the packages will have the same introductory paragraph. Regular Watch This segments will resume on Sunday.]

It’s been a tremendous first quarter for live videos. While Watch This, Heartbreaking Bravery’s weekly series celebrating the very best of the live video format, hasn’t been in operation for roughly three full months, the information required to keep this thing humming (i.e., checking through hundreds of subscriptions and sources for outstanding new material) has been collected at regular intervals. If they were full sessions, single song performances, studio-shot, DIY captures, transcendent songs, or transcendent visual presentations, they were compiled into a massive list. 175 videos wound up making extraordinarily strong impressions, those videos will all be presented here, in the Watch This: The Best of 2016’s First Quarter extended package, one 25-clip presentation at a time. 

Watch the sixth collection of those videos below.

1. Lady Lamb – Dear Arkansas Daughter (Audiotree)
2. Lithuania – God In Two Persons (WXPN)
3. Jason Isbell – Something More Than Free (The Current)
4. Lever – The Nerve (DZ Records)
5. Mothers – Burden of Proof (Paste)
6. Kississippi – Googly Eyes (WXPN)
7. Savages – Adore (Colbert)
8. The Dirty Blondes – Because (VHS Sessions)
9. Saintseneca – Sleeper Hold (KUTX)
10. Lucy Dacus – I Don’t Wanna Be Funny Anymore (Radio K)
11. ARNO – Dance Like A Goose (Bruxelles Ma Belle)
12. Devon Goods – Michigan (VHS Sessions)
13. Little Yellow Dog – Time Machine (DZ Records)
14. Two Inch Astronaut – Personal Life (bandwidth.fm)
15. Tangerine (KEXP)
16. Kitten Forever – Cannon (The Current)
17. Eleventh Dream Day – Cheap Gasoline (Sound Opinions)
18. Catbath – Jellyfish (Radio K)
19. Andy Shauf – The Worst In You (La Blogotheque)
20. Choir Vandals – Ghostly (Little Elephant)
21. New Ruin – Disappearances + Del Rosa + Negative Dialectics (Razorcake)
22. Left & Right – Sleep Show (Do512)
23. The Thermals – Thinking of You (Jam in the Van)
24. Blah Blah Blah – Soon as I Get Home Tonight (DZ Records)
25. Julia Holter – Sea Calls Me Home (Strombo Sessions)

Watch This: 2015, Vol. 1

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Familiar faces. Single Songs. Full sets. New bands. It’s been 15 weeks since the last Watch This ran on this site and that’s far, far too long. To help get things up to date, the next three days will see a trilogy of video mixtapes containing 25 of the best live clips to surface from 2015 so far. Next week, the installment will resume its normally paced functions- but for now, clear out some time and get lost in the exciting performances compiled in the embed below. Lean back, turn the volume up, breathe deep, and Watch This.

1. Waxahatchee – Under A Rock (Pitchfork)
2. Tenement – Dreaming Out Loud (Don Giovanni Records)
3. Crying – Sick (BreakThruRadio)
4. Beach Slang (NPR)
5. Speedy Ortiz – The Graduates (Pitchfork)
6. Francisco the Man – In the Corners (Audiotree)
7. Single Mothers – Overdose (Radio K)
8. Sleater-Kinney – Modern Girl (Sound Opinions)
9. Nude Beach + Jody Stephens – My Life Is Right (Don Giovanni Records)
10. Mutts – Five of a Kind (Audiotree)
11. Sun Club – Beauty Meat (Audiotree)
12. Crow Bait – Separate Stations (Don Giovanni Records)
13. Courtney Barnett – An Illustration of Loneliness (Sleepless in New York (Pitchfork)
14. Matthew E. White – Rock & Roll Is Cold (The Current)
15. Makthaverskan – Witness (Pitchfork)
16. Chief Scout – Rollercoaster (Audiotree)
17. Mal Blum – San Cristóbal (Don Giovanni Records)
18. DYGL – Let’s Get Into Your Car (Out of Town Films)
19. American Aquarium – Losing Side of Twenty Five (Jam in the Van)
20. Charles Bradley – The World (Is Going Up In Flames) (Coachella)
21. Sue the Night – The Whale (3FM)
22. Kevin Devine – Bubblegum (Little Elephant)
23. Ride – Vapour Trail (Coachella)
24. The Dodos (KEXP)
25. Cloakroom – Lossed Over + Moon Funeral (Little Elephant)

Watch This: Vol. 30

Well, it finally happened. Waatch This is officially back on track and back to its regular every-Sunday rotation- and this week was particularly stacked. There was an incredible Serious Business feature from BreakThruRadio on Hive Bent, a beautiful Allston Pudding session with Saintseneca, and Mansions turned in what was arguably their best performance for an absolutely incendiary run for Little Elephant. None of them made this week’s installment. There were various reasons that kept each of them out and what wound up being featured was a fairly eclectic mix of full sets, single songs, old favorites, and at least one face that’s completely new to this site. So, sit back, relax, continue on with some day drinking, and Watch This.

1. Bob Mould – I Don’t Know You Anymore (The Current)

Bob Mould should be a household name by now. One of the most influential and well-respected songwriters to emerge from the 80’s/90’s DIY punk/hardcore heyday, he’s already amassed an army of untouchable classics that have his name on them and he’s in the midst of a staggering resurgence that’s currently seeing him match his past glory. Beauty & Ruin is one of 2014’s best and isn’t in danger of losing that position by year’s end. It’s driven by gems like “I Don’t Know You Anymore” which Mould recently deliver a commanding solo performance of for Minneapolis’ 89.3 The Current. That can be seen below.

2. Archie Powell & the Exports – Everything’s Fucked (Jam in the Van)

This isn’t the first time that this song’s appeared on this site and the feelings towards it haven’t changed. “Everything’s Fucked” is a song that aims to scorch the earth that surrounds it and shows a total disregard for anything attempting to get in its way. Here, the band delivers a fierce, ragged performance of it for Jam in the Van during their SXSW stay and hold absolutely nothing back. It’s a jolt of energy that’s strong enough to inject a jump-start into any dreary Sunday; keep it on file for those occasions.

3. Hop Along (unARTigNYC)

unARTigNYC is back in a big way this week: this is the first of three videos the channel posted that will be featured as the extended closing sequence for this week’s Watch This. Now, this will come with a touch of Deja Vu for any longtime readers of the site as Vol. 15 also featured a full Hop Along set that was also posted by unARTigNYC that was also captured at Saint Vitus. Lightning can strike twice. The only real differences are the sets and the fact that this was a Pitchfork showcase that also featured Pleasure Leftists, Frankie Cosmos, and the band occupying this installment’s fifth slot All of the new material Hop Along has been playing out is pointing towards one thing; whenever that record drops, it’s going to be a big deal that a lot of people will be very passionate about. Expect to see a stream of praise coming from sites like this one the moment that happens. For now, just enjoy the fact there are things like this out there to keep everyone excited (and deeply impressed).

4. Charles Bradley – The World Is Going Up In Flames (unARTigNYC)

Are there any stories in music from this decade more inspiring than the ascension of Charles Bradley? It’s sincerely doubtful. Plucked from obscurity during his days as a James Brown impersonator, he impressed all the right people and wound up signing a deal with Daptone Records, the most influential label in soul. Before that moment, and during the interim, the now-65 year old Bradley went through some extraordinarily harsh times. Almost dying and experiencing great personal tragedy didn’t deter him, though, and in 2011 his debut record No Time for Dreaming was met the same way his sophomore effort, 2013’s Victim of Love was: they both garnered immediate acclaimed and helped elevate Bradley to being one of the biggest names in his genre. Now affectionately known as “The Screaming Eagle of Soul”, Bradley has greeted any kind of interest with overwhelming appreciation and humility. If there’s one thing to feel good about in music, it’s his success- a success driven by charisma and raw natural talent.

5. Perfect Pussy (unARTigNYC)

Perfect Pussy, the band whose name makes Hop Along’s Frances Quinlan blush every time she says it, headlined the recent Pitchfork showcase at Saint Vitus. They also now have a commanding lead as the band featured most on this site, which should mean that close to everything’s already been said about them here. While that might be the case, I’m not even close to done talking about Perfect Pussy and I doubt I’ll ever be. Part of the reason for this is their high-velocity live show. Each of their shows is its own beast, though they all seem to clock in at around 20 minutes, which are infused with the most blistering whirlwind of sound and unrepentant aggression anyone could imagine (this fact has caused a lot of confusion from people who aren’t familiar with hardcore and the people that don’t understand how quickly high-intensity physical exertion can lead to dangerous levels of exhaustion). Vocalist Meredith Graves greets the triviality of those complaints the only way she knows how: with a smile (for proof of this, check the :40 mark for a memorable quip). Her lyrics are some of the most unflinchingly honest I’ve ever encountered and, impossibly, stand as both a complement and contrast to the band’s performance. In prose, Perfect Pussy can come off as slightly withdrawn and full of guarded desperation- but even then, it’s so forward that it feels like that same gut-punch the live show so readily and consistently provides. Here, the band’s in fine form, Graves is the physical manifestation of an internal maelstrom or three; Shaun Sutkus project a steely, detached calm to provide some stability behind his setup of synths; the rhythm section of Greg Ambler and Garrett Koloski both make sure they’re as physically present as Graves is and guitarist Ray McAndrew keeps his head down while providing an additional thrashing body. If it sounds chaotic, it’s because it is- it’s also all so improbably controlled that it makes their sets unforgettable affairs- no matter how long or short they wind up being. Add all of these qualities to the fact that Graves is currently one of the most outspoken public figures in an ongoing fight against multiple kinds of oppression and Perfect Pussy winds up exactly where they should be: as one of the most important bands that we’ve got. See them (and support them) as soon as humanly possible.