Heartbreaking Bravery

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Tag: Art is Hard Records

Even Hand – Drifted (Album Review, Stream)

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Now that all of last week’s best single streams and music videos have been given their due, it’s time to move onto a slightly more challenging beast: the full stream. There’s been a monstrous surge of outstanding new releases (often on the small-scale side of things) as 2014 enters its final weeks. Among these were: Dusk (a new project featuring members of Tenement, Black Thumb, and darn it., as well as a handful of other contributors) and their new country-soaked demo reel, Lemuria‘s contribution to the Turnstile Comix series, Currents’ unpredictably intense Mondegreen, Semicircles exquisitely delicate Blown Breeze, Grown Grass And We Are Part of the Earth, King of Cats’ entertainingly spastic Working Out, Big Lonely‘s impressive full-length debut Close Your Eyes, Keep Talking, and Space Mountain‘s unfailingly gripping Wilderness Explorer. All of them stand out as great December releases but there’s one that surfaced seemingly out of the blue worth paying quite a bit of attention to: Even Hand’s sophomore effort, Drifted.

A few months ago, there was a review posted on this site of Even Hand’s arresting self-titled debut, a brilliant record that brought to mind acts as varied as Shellac, The Wipers, and Sunny Day Real Estate. The band fought fairly hard to release it on vinyl this year after it’s original 2013 cassette run on the severely under-appreciated Stupid Bag Records (an excellent label run by Jeff Bolt of Swearin’). Even Hand, by all accounts, was a galvanizing debut. The band’s follow-up exceeds it in fairly stunning fashion. More risks are taken throughout the record and there’s an unrelenting intensity that binds the whole thing together. From the hypnotic instrumental that sets things in motion all the way through the record’s epic closer, the serrated “Lover’s Oath”, Drifted morphs into something that starts feeling like less of a record and more of a show-of-force mission statement.

Even more than the aggressively atmospheric Even Hand, Drifted finds its voice via a balance between abrasion, precision, atmosphere, and unfiltered emotion. Each of these 11 tracks is tied to a loose narrative that operates around a very human frustration with certain social functions and their maladaptation. One of the most striking examples of this device is the vignettes that bandleader Mike Borth presents with “Kid Unkind”, which suggests that the promise of social improvement is just a bittersweet projection that holds nothing but harsh realities at its moment of realization. That pattern of cruel repetition is emphasized with vivid detail in the spoken word stream-of-conscious style ranting in the restlessly foreboding “The Palace Holographic / Dust Bath”, which suggests that the end result will always be the same while Borth punctuates its message with razor-sharp visual imagery that include things like “rapid-cycling trees in a violence of leaves” and “shallow canals, drooling over portraits that hate [him], worshipping darkness”. It’s an existential nightmare ready to swallow any listener whole with virtually no remorse or regret- and, like the rest of Drifted, it’s brilliant in a myriad of subtle, detail-oriented ways.

In terms of technical accomplishment, Drifted also outpaces its predecessor in a number of departments; the sequencing flows just a touch more naturally, the production- as ever- is staggering, the work provided by the rhythm section of Dan Edelman and Dominic Armao is the best of the band’s still-young career, and it feels remarkably unified. It’s an anxious and unnerving masterwork of brutally cynical proportions- and, importantly, it’s a record that belongs in as many collections as possible. Crow Bait‘s Mike Bruno got it right by recently ranking this as one 2014’s best releases– hopefully the rest of the world gives Drifted the attention it deserves and considers doing the same.

Listen to Drifted below and keep an eye on Stupid Bag for the eventual tape release here.

Quarterbacks – Pool (Stream)

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Continuing on with tonight’s coverage of last week’s events in music, this will be the second post dedicated to showcasing the very best single streams that emerged last week (there were technical complications that disallowed much of anything being posted).  With music videos already having earned their showcase and nearly a dozen songs being included in the last post, it’s time to double down on the songs that make up the remainder of last week’s haul. A few of the songs on display here rank among the best these bands have ever produced and deserve quite a bit of attention on their own merit- so, enough talking, let’s cut to the recap.

Dirty Dishes came charging out of the gate wild-eyed and swinging with the vicious post-punk burner “Red Roulette“, Kagoule set about achieving something similar via the decidedly off-kilter (and subtly menacing) “Gush“, and Happyness closed the 2014 chapter of the year’s best series- Art Is Hard’s Pizza Club- with the appropriately scuzzy “Jelly Boy (Jesus, Baby)“. Murder By Death made their return to the fore by virtue of the swirling “Strange Eyes“, Munroe made a deep impression with the starkly arresting “Bloodlet“, and Cloakroom advanced previous hints- in support of the increasingly problem claim- that Further Out will be one of 2015’s finest records via the unveiling of “Starchild Skull”. Mope Grooves cooked up the perfect sub-minute basement pop tune with the helpfully instructional “Don’t Sleep In Your Jeans“, Dick Diver released the triumphantly laid-back “Waste The Alphabet“, and site favorites Girlpool continued their impossibly winsome streak with the surprisingly searing “Alone at the Show“, one of the duo’s strongest songs to date.

Today’s feature falls to another site favorite, Quarterbacks, and their newest track, “Pool”. Quarterbacks had previously carved out a name for themselves via their excellent Double Double Whammy release, Quarterboy. Back when that was released, Quarterbacks (led by Dean Engle) was still very much a solo project but, somewhat curiously, for the project’s upcoming self-titled effort, it’s gone the full band route. Adding even more intrigue to this is the fact that the two songs (“Pool” and “Center“) to have been released from Quarterbacks so far already appeared on Quarterboy. Both songs take on a new vitality in the full band setting, though, rendering all of that background information fairly meaningless. “Pool”, in particular, is accentuated in fairly thrilling ways, with the rhythm section playing up the song’s manic neurosis. In typical Quarterbacks form, the whole thing’s over in under 90 seconds- but it still feels resoundingly complete. With the rate Engle & co. have been going, it’s well within the bounds of reason to fully expect Quarterbacks to emerge as one of 2015’s richest treasures. February 10 can’t get here soon enough.

Listen to “Pool” below and pre-order Quarterbacks from Team Love (who are releasing it in association with Double Double Whammy) here.

Beliefs – Tidal Wave (Music Video)

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Now, despite all the content that’s already gone up tonight, there’s still a lot that went down over the past week and a half while the site was dealing with technical complications. To that end, the approach in coverage is going to be slightly different this time around. Full streams, single streams, and music videos will all be covered- but they’ll be branched off into categories. Each entry will get a line or two and then when everything’s been accounted for, there’ll be a feature spot granted to Beliefs’ ridiculously entertaining clip for “Tidal Wave”. So, without further ado…

SINGLE STREAMS

Pet Cemetery – Giants: The newest near-perfect post-punk entry into Art Is Hard’s perfect Pizza Club series. | Deer Tick – White Havoc: A fuzzed-out Holiday stomper courtesy of one of today’s more intriguing acts. | Sun Hotel – Tropic of Cancer: An incredibly compelling and slightly damaged folk-leaning exploration. | Abi Reimold – Workshop: A folksy DIY pop masterpiece that doubles as a perfect contribution to a great compilation series. | The Soft Moon – Black: Nightmarishly menacing ambient music that tilts into industrial territory. | Sleater-Kinney – Surface Envy: Video game guitar lines. Corin Tucker’s vocals. Total madness. Sleater-Kinney is back. | Victoria+Jean – Holly: Seductive art-pop that flirts with expectations and capitalizes on tension. | Menace Beach – Blue Eye: An ambient noise exercise that only gains intrigue as it quietly builds towards its finish. | Deerhoof – Exit Only (Perfect Pussy Remix): A terrifying reimagining of an already terrifying song, courtesy of Shaun Sutkus. | Moon Duo – Animal: Menacing and minimal psych-punk that isn’t afraid to bare its fangs. | Grand Vapids – Aubade: Indie pop that isn’t afraid to subvert or challenge aesthetic expectations. | Howlin’ Rain – Wild Bush: A pastoral folk throwback jam that wears its influences proudly on its sleeve. | California X – Red Planet: Another triumphant, scorched-earth preview of what looks to be a career-best effort. | The Sidekicks – Jesus Christ Supermalls: Subtle, stunning, and lovely. The Sidekicks‘ finest work to date. | Seagulls – Swimmin’: Unbelievably winsome and completely enchanting folk-centric indie pop. | Elephant Micah – Slow Time Vultures: Gently gorgeous and effortlessly arresting ambient folk reminiscent of Vic Chesnutt. | Future of What – Daydream 99: Boldly stylish indie pop that crafts its own brand of magic. |

FULL STREAMS

The Goodbye Party – Silver Blues:  The latest DIY punk-pop gem to grace the impossibly reliable Salinas roster. | Littler – Get A Life: Relentlessly propulsive weirdo punk. | Bonny Doon – Fred’s House Demo: An impossibly overlooked (and impossibly great) folk-tinted basement pop masterpiece. | School ’94 – Like You: Graceful indie pop with gargantuan scope that still manages to come across as refreshingly breezy. | Forth Wanderers – Tough Love: Defiant and subtly venomous basement pop with an unbelievable amount of inherent charm. | SUSAN – Just Call It: Surf-indebted basement pop with enough punk bite to please a purist. | Githead – Waiting For A SignLeftifeld post-punk and new wave from a quasi-supergroup that features members of Wire, Compact, and Scanner. | Furnsss – Silent Gold: Deranged slacker punk and basement pop for the actively lethargic. | Thelma & The Sleaze – Heart Like A Fist: Incendiary basement punk with a heaping of 80’s hardcore influence. | Cave People – Older: Treble-heavy basement pop that leans towards sentiment and presents a genuinely memorable vision. | Terrorista – Purple Tape: Hard-charging basement punk that thrives on the notion that everything could fall apart at any second.

MUSIC VIDEOS

Young Statues – Run The River Dry: Visually stunning and endlessly intriguing, “Run The River Dry” shines a bright light on Young Statues’ promising future in the visual format. | Christian Lee Hutson – Late November: A simple concept that becomes a wrenching experience as it transforms into something inexplicably moving. | Flashlight O – TV Time: Staunchly DIY and weirdly hypnotic in its collage-heavy presentation. | Highway Cross – Open Eyes: Furiously paced and brilliantly edited, this is a perfect example of how emphasizing details can pay off in unexpectedly huge ways. | Luluc – Tangled Heart: Beautifully arranged and enhanced with simple, creative effects, “Tangled Heart” winds up feeling like something worth treasuring. | Johnny Marr – Dynamo: The iconic guitarist has always had a visual flair but those tendencies reach new, modern heights with this clip. | Run The Jewels – Oh My Darling (Don’t Cry): Like the group, this is a video driven by outsize personality- it’s unabashedly weird and it’s absolutely glorious. | Bass Drum of Death – For Blood: Bikers and gangs collide in deliriously entertaining fashion throughout this brilliantly executed tracking shot clip. | Blonde Redhead – Dripping: A sensual and highly stylized video that wields atmospherics and soft touches to stunning effect. | Communions – Love Stands Still: Classically composed and unwaveringly endearing; a perfect reflection of Communions’ indie pop. | A Place To Bury Strangers – Straight: A hallucinatory collage of striking imagery backed by one of the band’s most insistent songs to date. | Liars – Mask Maker (Extended Version): Characteristically bizarre and replete with a whole mess of yarn. | Tinkerbelles – When Puppies Cry: Extraordinarily damaged basement punk made weirder by one of the most insanely warped clips of 2014.

TIDAL WAVE

Okay, so the bold font probably wasn’t necessary but it’s late- and this is a really great video. Beliefs first gained an uptick in notoriety when they paired with the similarly-minded Greys for one of 2013’s best splits. Since then, they’ve been on a tear, steadily building a name for themselves on the strength of their powerful new material and formidable live show. If “Tidal Wave” is any indication, they may be able to add great music videos to that list as well. While it mostly finds inspiration in the trends of classic clips from the 80’s and 90’s there’s a certain playfulness here that’s missing from a lot of homage-style videos. That playfulness comes to a head nearly halfway through when they manage to seamlessly work in something genuinely unexpected and ridiculously perfect. It’s too good of a moment to spoil completely but it’s also one of the more endearingly appreciative moments of recent memory. By the time all the effects have worn down and “Tidal Wave” reaches its tongue-in-cheek epilogue, it becomes abundantly clear that this band has big things in mind for Leaper (the forthcoming album “Tidal Wave” is taken from) and for themselves. Beliefs aren’t a band intent to keep quiet and if they keep going at the pace they are, we’re all in for one hell of a ride.

Watch “Tidal Wave” below and pick up Leaper from Hand Drawn Dracula as soon as it’s available.

Band Practice – Bartending At Silent Barn (Stream)

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The past few days have been incredibly kind for new releases.  So much so that it seems criminal to attempt to contain them all in one post, which is why there will be several appearing throughout the night, each containing a few links to other very worthy items. For this round, that includes a scrappy lo-fi video from Bully for their wonderful “Brainfreeze“, Painted Zeros‘ cameo-heavy clip for their outstanding slacker pop anthem “Too Drunk to Function“, King of Cats‘ newest brilliant lo-fi basement pop outing “Ulcers” (which also features Joanna Gruesome’s Owen Williams behind the kit), and Illusion– a relentlessly spiky post-punk EP from Honduras. While, again, all of those were incredible releases, there was an inherent magic contained in Band Practice‘s slow-building indie pop triumph “Bartending At Silent Barn”.

Spearheaded by Miscreant Records mastermind Jeanette Wall, Band Practice takes Wall’s wealth of hard-won history and sculpts it into arresting presentations-with “Bartending At Silent Barn” being the finest to date. Starting off with nothing but a clean palm-muted guitar, a mid-tempo gait, and Wall’s narration of a rough show at the Brooklyn DIY staple, it slowly delves into inner thoughts and outward apologies as the show continues, always brought back by the refrain “sorry, here’s your beer; sorry i got weird”, making it painfully relatable for just about anyone who’s ever served drinks. It’s that keen eye on a semi-uncomfortable reality that transforms “Bartending At Silent Barn” into an oddly moving experience even before it blooms from a plaintive atmosphere into a towering- and obscenely gorgeous- falsetto-laden indie pop number at the close. Even better: that change is brought about by an inverted refrain- “you say, you say, keep the change” slowly progresses into “you say, you say, things will change”. That those words are brought to vivid life by the music itself is a warm final reassurance; Wall’s an extremely talented songwriter, Band Practice is worth a lot of excitement, and Make Nice– the release “Bartending At Silent Barn” is taken from- is a record that deserves an extraordinarily high level of anticipation.

Listen to “Bartending At Silent Barn” below and keep an eye on this site for updates on Make Nice.

Toby Coke – Face Taker (Stream)

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Over the past few days, the truly great single song offerings have been fairly scant. Sure, there was another career-high effort from Crying and another outstanding entry in Art Is Hard’s Pizza Club series- but apart from the monstrous Two Inch Astronaut slow-burner (more to come on that in a short while), the well seemed to have been fairly tapped. Enter: Toby Coke. Back in December, this site ran a “Best Of” that included some extremely low-key releases, like the solo venture from The Frankl Project drummer (and occasional vocalist) Joseph Frankl. That solo venture, BREAKERS, was seeped in impact-heavy shoegaze that proved tantalizing enough to stand out from a lot of other artists operating in that genre.

Now, Frankl’s changed guises and switched over to Toby Coke, an equally promising project. “Face Taker” is the first look at the new project and it’s a masterfully composed stunner. Written about the extremely controversial Monsanto corporation, it also immediately aligns Toby Coke’s politics with other commendably active, difference-making artists. “Face Taker” itself is a lo-fi, mid-tempo, shoegaze-leaning post-punk gut-punch. Intensely melodic and completely unapologetic in its viciousness, there isn’t a moment that goes by without a noteworthy hook or a clever turn of phrase. It’s too impossibly great to ignore and ranks among the year’s best songs; a gut-punch thrown from the ether. Don’t let it pass by without the attention it deserves.

Listen to “Face Taker” below and purchase it at bandcamp, with all proceeds going to The Edible Schoolyard Project.

Girlpool – Plants And Worms (Music Video)

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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 Paper also 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 podcast available via bandcamp and Fleeting Youth Records made their essential 33-track Blooming (A Fuzz-Fucked Compilationmixtape (which more than lives up to its name) available for streaming via soundcloud. French For Rabbits premiered their arresting folk-inflected Spirits over 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.

Meat Wave – Brother (Music Video)

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[EDITOR’S NOTE: Apologies for the delay on this post, it was held up pending a confirmation. That confirmation just came through and a regular daily wrap-up of today’s releases will be posted later on in the evening. This post has been edited to reflect its current standing.]

Tuesday was a much quieter today for great new releases than Monday’s mind-boggling output- but the few things that were released managed to hold their ground. Menace Beach’s “Come On Give Up” gave the day a swift kick and got things moving with fuzzed-out basement pop. Happy Diving teased their upcoming full-length Big World with another attention-ensuring track, “Sad Planet“, which provides a glimpse of what’s turning out to be a fairly enviable range (and is one of the year’s better songs). AV Club also contributed to today’s haul with the full stream of the record that’s earned quite a few mentions on this site over the past few weeks: Little Big League’s Tropical Jinx, which emphatically capitalizes on its early promise and is more than good enough to be listened to on a regular basis well into 2015.

Now, admittedly, there’s more than one reason that Meat Wave’s first music video, “Brother”, earned today’s feature spot. Before getting to the auxiliary aspects, two things are worth noting: 1. Meat Wave is a band that’s been on this site’s radar for a long while. 2. “Brother” is one of the more perfect visual representations of a band’s style this year. Those two facts alone would have given it today’s feature spot, with the rest just acting as a sizable bonus. “Brother” is an all-out blitz of a song, reveling in an off-the-rails aggression that’s always guaranteed the band was a serious force to be reckoned with- something the video taps into expertly.

Made up entirely of jagged quick-cuts and stop motion shots, “Brother” is as deliriously frenetic as it is disorienting and ferocious. What makes it stand out is a peculiar sense of humor that the band brings to the clip. It’s also worth mentioning that this is a video for a song that was released two years ago, from a record that’s still holding up impossibly well. With the video providing a reminder that this music is as immediate (and feral) as it’s ever been, Meat Wave’s also managed to bring across a very subtle message in the visual medium: the knives are out and the band’s no longer content to stay still. This is likely part of the reasons as to why the band will be joining site favorites Geronimo! (whose Cheap Trick is one of this year’s best records) on their farewell tour- which is a topic that brings up something else entirely.

Heartbreaking Bravery will be presenting a stop on the tour.

On October 18, both bands will be stopping at a house venue (The Powerstrip) in Stevens Point, WI. Sweetening the deal is the fact that they’ll be joined by Mumblr, a Philadelphia-based band whose recently released Full of Snakes  is full of highlights (“Sober” being one of 2014’s finest songs) and exists in the exact space that this site most frequently celebrates; the perfect marriage of basement punk and basement pop. It’ll be the first of what will hopefully be many forays into live shows (and subsequent documentation). Cameras will be rolling and footage will certainly be appearing at some point in the future. So, stay tuned and try to make it out- this should be a celebration to remember.

Watch “Brother” below, download Meat Wave from the band’s bandcamp, and check out the flyer for the show below the video (as well as all of Meat Wave’s other tour dates).

hbbpres

10-14- Beachland Ballroom- Cleveland, OH^
10-17- Kryptonite – Rockford, IL*
10-18- Powerstrip- Stevens Point, WI*
10-20- Township- Chicago, IL*&
10-21- Mahall’s- Cleveland, OH*
10-22- Sharkweek- Pittsburgh, PA*
10-23- Philamoca- Philadelphia, PA*
10-24- Shea Stadium- Brooklyn, NY
10-25- Silent Barn- Brooklyn, NY*

* = w/ Geronimo!
^ = w/ The Lemons, Lasers and Fast and Shit
& = w/ Dope Body, High Priests


Thalassocracy – Shimensoka (Stream)

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Today saw the release of three fuzzed out songs. Two were heavily indebted to shoegaze while the other was a wiry post-punk bruiser. In the case of the former, one of those songs marked one of the most interesting anomalies of Mogwai’s considerable career. “Teenage Exorcists” found the band sidling up to a sound that wasn’t too dissimilar from The History of Apple Pie. Bratty vocals, fuzzed-out riffs, swirling guitars, bright vocal melodies, and a killer middle eight all add up to one of the most intriguing sidesteps any major name’s made this year. Joining Mogwai in the ranks of great bands releasing strong shoegaze-leaning basement pop songs today was The Lees of Memory, a band that features at least one ex-Superdrag member. That 90’s influence pays huge dividends on the towering “Little Fallen Star“, a slow-burning six-minute cut from the band’s just released Sisyphus Says. In the territory that wasn’t overtly occupied by a punk-laden ambient sprawl Thalassocracy‘s “Shimensoka” bared teeth sharp enough to ensure that it’d get noticed.

“Shimensoka” is aggressively minimal without also blending in the increasingly trendy chaos a la Parquet Courts and Naomi Punk (not to mention an endless amount of others setting up camp with that formula). It’s Thalassocracy’s contribution to Art Is Hard’s increasingly on-point Pizza Club singles series. Opening with a few light touches of organs, that soft palette is quickly cut to shreds by a jackknife rhythm section and a threatening guitar line, which is fitting considering the song’s title (shimensoka is a Japanese word with a meaning that roughly translates to “facing extreme hostility; defeat is inevitable”). Populated by genuinely strange moments, it becomes an incredibly compelling look at what Thalassocracy is capable of achieving. They’ve already got an impressive pedigree, thanks to a lineup that boasts members of Grubs and Slothboat. Easily the darkest track of today’s trio of tunes- it’s also the most hypnotic, aptly showcasing the band’s penchant for quiet ferocity. “Shimensoka” is a remarkable step forward for a band that seems intent on making a run of things. Expect to be hearing more about them in the future.

Listen to (and download) “Shimensoka” below and sing up to be a member of The Pizza Club here.

Little Big League – Property Line (Stream)

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With another day drawing to a close, there’s another array of riches to examine. Full streams were made available for two very different releases; It Must Be Love threw their hat into the “Best EP of the Year” ring with their just-released self-titled effort, Art Is Hard’s Jam Kids: 20 Years since Crooked Rain, Crooked Rain, an excellent compilation which featured contributions from a few site favorites (PAWS and Trust Fund, most notably) and- on the heavier, more doom-oriented side of things- Windhand’s side of their upcoming split 10″ with Salem’s Pot, which shows the band hasn’t lost a step last year’s outstanding Soma. Vacation shared an unmastered demo of their highly-anticipated upcoming record and Negative Fun Records made No Other’s exceptional contribution to their ongoing Singles Club series publicly available. As for music videos, any day PUP releases something, it’s going to be a notable day- and their demolition derby-centric clip for “Mabu” kept them in the conversation for “band with the best music videos”. Eugene Quell also released a charming, low-key video for A Great Uselessness highlight “Alta Loma“. In addition to all of that, recent Watch This act Little Big League unveiled the latest look at their upcoming record, Tropical Jinx; “Property Line”.

Following the easygoing basement pop of the title track, “Property Line” finds the band digging a little bit deeper and unearthing something spectacular. There’s a sense of unease on display throughout “Property Lines” that ultimately gets outweighed by the song’s underlying determination, making it an unexpected spiritual companion to All Dogs’ “Say“. As if that dynamic wasn’t enough, the song showcases the band’s creative growth in each members’ various roles. Everything from the composition to the lyricism is sharper than anything Little Big League’s produced to date (which shouldn’t detract from an immensely impressive body of work), rendering the expectations for Tropical Jinx a few levels above where they previously were. When the cathartic brass-assisted climax kicks in, one thing becomes abundantly clear; Little Big League have officially arrived. “Property Line” is a career-best from an emerging band that’s still young enough to improve- though it’ll be difficult to top something as sublime as this.

Listen to “Property Line” below and pre-order Tropical Jinx from Run For Cover Records here.