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September 3, 2014

Grape St. – Free Stuff (Stream)

Today’s been another relatively quiet day for the kind of music that gets covered here, with two notable exceptions. First, there’s the defiantly great corporate sponsorship team-up that saw King Tuff being co-opted by Captain Morgan and produced by Harry Fraud, a prominent talent and product of New York’s rap scene. That the track, “Danger in the Dark” winds up being an easy career highlight for both King Tuff and Fraud is nothing short of weirdly miraculous and could pave the way for more intriguing collaboration possibilities from the King Tuff camp. On the music video side of the spectrum, there was a charming low-budget clip for Menace Beach‘s supremely catchy “Tennis Court“. Then, to top everything off, Burger Records offered up the hard-charging title track off Grape St.’s recently released Free Stuff EP.

“Free Stuff”, had it been released a few weeks prior, would have been a no-brainer inclusion for the Songs of Summer mixtape. It’s a sunny sub-two minute blast of punk-tinged powerop perfection, one that rides a jaunty progression and an energetic vocal performance into a noise-battered solo before bringing everything home with one last chorus. “Anthemic” almost doesn’t do it justice. All in all, it reveals Grape St. as a band with a taut grip on melody and structure, cementing Free Stuff as an EP that’ll be worth the purchase.

Listen to “Free Stuff” below and pick it up from Burger here.

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September 2, 2014

Attendant – Freaking Out (Review, Stream)

By now, everyone who has iTunes should have heard the full stream they’re offering up of Death From Above 1979’s revitalized post-reunion effort, The Physical World. Hopefully, there were a few among that crowd who also found time to stream Nervous Like Me the fantastic new record from Cayetana. Great full album streams weren’t the only things to come out of the last few days, though, in addition to a memorable Pavement cover from PAWS, there were also great new songs from Purling Hiss, Nude Beach, and WULFS. Visually, there was an endearing The Adventures of Pete and Pete homage from Diarrhea Planet and two arresting black-and-white clips that came courtesy of Girl Band and Philadelphia’s Queen Jesus. It’s another act from Philadelphia that made the strongest impression and earned the feature spot today, though: the the stunning debut effort of Radiator Hospital bassist Jon Rybicki’s collaborative project, Attendant.

It’s not uncommon to note that there’s an absurd amount of great music out there that’s overlooked for any number of reasons but it’s always nice to know that sometimes everything lines up and music that may have otherwise gone unnoticed gets an extra push thanks to the people involved. This especially stands true for Attendant’s Freaking Out which features contributions from a murderer’s row of Philadelphia/NYC-based musicians. Mikey Cantor, Radiator Hospital, and Swearin’ (among others) all get a good bit of representation here, lending their considerable talents to one hell of a debut, helping raise an emerging musician’s profile in the process. Rybicki grounds all of these songs with no shortage of gravitas and conviction, mining similar influences to the ones that are so clearly evident in his friends’ projects.

While all of that would likely have proven more than enough to get Freaking Out by, what really puts it over the top is its attention to detail. The production, sequencing, and mastering on this is near-flawless, advancing the release’s personality without being distracting. In terms of composition, it’s frequently thrilling, with songs like the hard-charging “Saturday” providing bursts of near-uncontrollable energy. With all of this taken into account, it’s probably not too surprising that one of Freaking Out‘s closest relatives seems to be Dinosaur Jr.’s classic Bug. Acoustic guitars often provide a base template for each of these seven songs, while shoegaze-leaning levels of reverb and distortion get added to create a sound that’s becoming increasingly prominent in DIY punk circles- one that recognizes the value of looking to the past to push ahead.

That retro-influenced modernity goes a long way in informing Freaking Out, which makes no qualms about utilizing everything at it’s disposal. Every song on here contains at least a few moments of genuine brilliance, whether in the form of lyrics (“I just wanted to be the other people on the bus” is one of the most haunting lines to come out of 2014) or in the song’s structures or compositions. As if all that weren’t enough, it’s varied enough to ensure the listener’s attention and compelling enough to warrant their investment. None of these songs ever eclipse the three minute mark, either, rendering it even more accessible.Yet, despite it’s short run-time, Freaking Out feels like a fully-formed work from a veteran songwriter.

More than a few critics have said that to really gauge an album’s strengths, there should be an extra amount of consideration given to their mid-section. It’s easy to make strong opening and closing cases but it can be difficult to maintain that consistency across a wider spread. In this respect, Freaking Out has virtually no issues. “Dishwasher”, “Call Me Back”, and “Solar Shack” are all mixtape-worthy entries, each holding their own strengths in Rybicki’s frequently mid-tempo world weariness. Even with that taken into consideration, it’d be difficult not to note that a few of Freaking Out‘s best moments do come in the final two songs. From the trumpet-assisted downstroke onslaught of “I Won’t Try to Change Your Mind” to the guest-heavy celebration that is the record’s finale.

In that respect, “Wax Pages” does feel like an appropriate end-cap to a release that seemed determined to extol the virtues of healthy collaboration. Jeff Bolt (of Swearin’ and Radiator Hospital) takes over on drums, Sam Cook-Parrott (Radiator Hospital), Cynthia Schemmer (also of Radiator Hospital), and Kyle Gilbride (of Swearin’) all handle backing vocals, while Mikey Cantor takes a solo and all of them seem maniacally driven by Rybicki, who lent his vocals, guitar work, and bass (in spots) to the songs he wrote. To that end, it almost feels celebratory despite it’s heaviness (and make no mistake, this is a relatively heavy record in both terms of sound and subject matter). Packaged all together, the end result is something that feels oddly alive and utterly unique, even with an army of recognizable influences worn proudly on its sleeve. If it doesn’t find a home on one label or another, it’ll come as a shock. Freaking Out is one of 2014’s best surprises.

Stream Freaking Out below and download it on Attendant’s bandcamp.

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September 1, 2014

All Dogs at Bremen Cafe – 8/19/14 (Pictorial Review, Live Video)

[AUTHOR’S NOTE: First off, just to get this out of the way at the top, this post probably would not have been possible without The Media, a site whose praises deserve to be sung as loudly- and frequently- as possible. Being able to be a part of that place, even just for an issue, was an honor. The fact that I got to spotlight was All Dogs, a band that put out a 7″ last year that I felt very strongly about, ensured that it won’t be an experience I’ll be forgetting anytime soon. All that said, I wound up with an over-abundance of content that, for obvious reasons, couldn’t all be worked into The Media piece. It’d be criminal to let a lot of the material that didn’t run go to waste, so it’ll be running here today. Enjoy.]

All Dogs put out one of this site’s favorite 7″ records of last year, so when word came that they’d be stopping at Bremen Cafe in Milwaukee, not going wasn’t an option. As time progressed and more things got worked out, excitement and anticipation for the show grew incrementally. After the band agreed to an interview (hyperlinked towards the end of the Author’s Note) and guitarist/vocalist Maryn Jones was gracious enough to agree to a small set of acoustic performances, All Dogs’ self-titled 7″ was back to being in near-constant rotation- and wound up being the go-to soundtrack for every editing session this site went through for a few weeks.

During that time, a press email came out detailing an upcoming release from a project called Yowler, which turned out to be a solo vehicle for Jones- and a likely continuation of her excellent early solo material. Somehow, this all came to light during a time that also saw the emergence of Saintseneca’s Tiny Desk Session for NPR (easily one of this year’s finest offerings), all of which pointing to Jones being one of the busiest- and best- songwriters/musicians that we currently have. All of that combined prompted a trip through her discography, which included some absolute gems like the tape from the now-defunct Wolfs (which All Dogs’ bassist, Ama,nda Bartley was also in). As a result of the culmination of all of this, expectations couldn’t have possibly been higher for the band’s live show.

After taking up temporary residence in Ground Zero (one of Milwaukee’s best basement venues) for the interview session, it was into the band’s van and off to Bremen Cafe. While there wasn’t too much time to spend doing anything other than helping clear out space and running out to get food before the show kicked off, it didn’t seem to matter. Everyone seemed to be in high spirits and a lot of old friends were able to exchange a few words before the show kicked off with a ferocious set from Failed Mutation– who proved to be next to impossible to photograph thanks to their incessant levels of energy. From their live show alone, it wasn’t very difficult to see why they’ve earned a reputation as being one of Milwaukee’s best hardcore bands in an increasingly over-crowded scene (it also probably doesn’t hurt to have members of Tenement and Holy Shit! in your band). Failed Mutation wound up packing an absurd amount of spastic energy into a set that probably only ran 15 minutes, all of which was expertly controlled- likely thanks to each individual members discipline and experience. It was a hell of a way to jump-start what would prove to be a surprisingly formidable bill.

Next up was Sin Bad, a relatively new band that features members of both Night Animals and Rich People. Having never heard Sin Bad, it was difficult to gauge whether trepidation or excitement was winning out as Failed Mutation loaded out. Any notions of disappointment were immediately dispelled following the first few seconds of their first song. Boasting a sound not too dissimilar from All Dogs (with maybe just a few dashes more of a sound found pretty frequently on Don Giovanni Records) and an energy that was relatively comparable to Failed Mutation meant their second slot was a perfect transition between the opener and the headliner, while also simultaneously allowing them a more unfettered interest from the sizable and appreciative crowd. By the time Sin Bad’s set was over, it was very clear they’d left an impression and made converts out of several of the previously unaware.

When Sin Bad had packed up and left the stage open for All Dogs, a strange nervousness crept back in- as it usually does prior to seeing a band (especially for the first time) that’s come to mean something on a personal level. Again, it didn’t take very long for that anxiety to abate. It took All Dogs (in a now-cemented four person lineup that includes NONA guitarist Nick Harris and, as always, Delay‘s Jesse Withers) less than three songs to inspire chills. Starting strongly with both “Farm” (from their outstanding split tape with Slouch) and the shortest song from the 7″, “Snow Fences”, they’d guaranteed the investment of everyone watching. Then on the third song, they offered up the first look at their new material, which they’d previously promised sounded like a much fuller and more fleshed-out version of themselves. Not only did that promise hold up, the expectations that came with it were annihilated as that song, currently written down on the setlist as “Skin”, showcased a heavier side of the band that had been previously been hinted at with their current career-best effort, “Say”.

From that point forward, the band tore through a set with a practiced confidence and relative ease, never once seeming anything less than completely genuine and extremely impassioned. Everything clicked, sounding fantastic in the notoriously loud Bremen Cafe. Making the performance even more memorable was the fact that the crowd was reciprocating virtually all of All Dogs’ energy, creating this back-and-forth that pushed both sides to near-perfect places. A few more songs from the split, the 7″, and (hopefully) the upcoming record, and the band had already nearly obliterated every lofty expectation- and then the band switched into high gear for an unforgettable 1-2 gut punch of an ending. That “Say” became the second song of their set to warrant chills and total immobility probably isn’t too surprising, as the studio version of the song is nearly capable of the same effect- but the band’s closing number, a song so recent that they still haven’t given it a title, went a long way in indicating that their upcoming work will be their best material to date. Both, combined, provided an unpredictably intense (even considering the members’ inability to contain their smiles) ending to an extraordinary set from a band who will almost certainly produce a discography of material worth owning on every possible format.

Below, watch a stunning solo acoustic performance of Wolfs’ “Leading Me Back to You” and All Dogs rip through their currently untitled set closer. A photo gallery of both the interview/performance session and the late show can be viewed beneath the videos.

Keep an eye out for all of the emerging details on All Dogs’ upcoming debut LP, which will be released on the always-extraordinary Salinas Records.

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August 25, 2014

Eugene Quell – A Great Uselessness (EP Review, Stream)

During the mad scramble of post-festival coverage, there was more than a month’s worth of material to go over. So, naturally, some releases slipped through the cracks. What that was attributed to is impossible to definitively state. Now, with today being a relatively slow day for new material (apart from the NPR First Listen streams of the new Blonde Redhead and The Gotobeds, that is), there’s a perfect opportunity to feature what’s proven to be one of the best releases of August: Eugene Quell’s A Great Uselessness.

Continuing on where the delightfully raucous Eugene Otto Quell left off back in January, Quell’s second EP of the year expands on everything that made his debut effort such an unlikely powerhouse. There’s still a weary confidence that roots these songs in something that feels both entirely real and connected to something completely intangible. All of the songs still feel like they’d fit snugly into the Double Double Whammy and Exploding in Sound wheelhouses, full of peculiar melodicism and searing blasts of fuzz. Off-kilter pop gets consumed by a ragged punk influence, resulting in something inexplicably compelling and expertly delivered.

What sets Quell apart from a growing number of like-minded peers is his grasp on songcraft. Every single one of the four songs on A Great Uselessness twists and turns, taking left turns where they could have just gone straight. It’s something that’s evidenced straightaway with the harsh 1-2 punch of “Hell Presidente” and “That One Song”, which both feature a completely unhinged manic energy and a tendency to lean towards the subversive. In the case of the former, it’s an absolutely gorgeous slow-burning bridge that winds up being a calm spot of sea in the middle of an otherwise ferocious onslaught- while “That One Song”, on the other hand, grows even fiercer and more deranged before falling apart into remarkably compelling ambient chaos.

Both of those first two songs also reveal Quell’s grunge, emo (think Sunny Day Real Estate), post-punk, and indie influences, something that A Great Uselessness‘ penultimate track, “Alta Loma” also underscores. Where the EP cements itself as a collection necessity, though, is the elegiac acoustic closer “And There Goes the Drugs”. For that song, Quell presents himself at his most vulnerable, leaning closer to Elliott Smith than Archers of Loaf. It’s a genuinely stunning moment that caps off another extraordinary effort from the Brighton-based musician, closing A Great Uselessness out on a note of intrigue that manages to further his promise. This isn’t just one of the best EP’s of August- it’s one of the best of the year.

Listen to A Great Uselessness below (and read along, as Quell’s graciously provided lyrical copy for each song) and order it from his bandcamp here (for US residents ordering a physical copy, expect to pay shipping).

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June 6, 2014

Jawbreaker Reunion – Lutheran Sisterhood Gun Club (Review, Stream)

Once in a rare while there’s a band that springs up suddenly and immediately hits all the right notes, sweet spots, and pleasure points. They’re the kind of bands that are immediate, engaging, and reveal untapped expanses of potential while still managing to come across as fully-formed just out of the gate. Enter: Jawbreaker Reunion. With only two EP’s to their name, this Annandale-on-Hudson, New York quartet just self-released their debut full-length Lutheran Sisterhood Gun Club and are set for some serious gate-crashing.

There’s a very unique, very distinct mixture of intelligent humor, depth, and an incredible amount of pop sensibility on display throughout Lutheran Sisterhood Gun Club that sets it apart from a lot of its peers. All the songs are catchy as hell, bristling with attitude, and manage to pack a knockout punch in just under 18 minutes. From album opener “Empire” onward, it’s made abundantly clear that the band’s tapped into something special by utilizing a fairly original approach to combining key characteristics of great soul, surf, doo-wop, powerpop, and punk (for that fact alone, if this record doesn’t wind up getting pressed to wax by someone, it’ll be a travesty).

While most of the songs on Lutheran Sisterhood Gun Club only run about a minute and a half, a few managed to break the two minute mark- including the incredible highlight “E.M.O.”. Riding a crest of gently propulsive riffs, the band explore territory that’s just a few shades darker than the rest of the record and wind up with not just the best song on the record but one of the best of the year. When the chorus of “I don’t want to wait anymore, you don’t have to wait, accepting that there is no cure” rings out a final time, it feels unflinchingly honest. It’s a rare moment where the band allows their guard to fall down- and instead of cloaking their missives in biting humor, they opt for a brave vulnerability. It’s extraordinary.

They don’t let the moment linger too long, though. In the very next song, there’s the gleeful couplet of “So just go ahead and try it/I’m a fucking pussy riot!” buried in a song that’s built around challenging gender identity. Most of the songs on Lutheran Sisterhood Gun Club are either socially or politically pointed and all of those points are exceptional- and exceptionally well made. It’s a record that’s not afraid to back down from a fight, which is a fact that’s never more crystallized than it is on than on profanity-laced closer “Jeggings”. Tapping into a deep well of anger and frustration, their final rallying cry gets directed at body image discrimination and winds up summarizing everything Lutheran Sisterhood Gun Club stands for.

After “Jeggings” throws it out its final “Ass” chant, the band’s torn through 10 tracks and wound up with a perfectly paced, masterfully sequenced, and astonishingly great debut (one that’s made even easier to love after finding out it was recorded in a living room and bathroom). Shots get fired, a wide selection of earworms get revealed, an endless amount of smiles are more than earned- and Lutheran Sisterhood Gun Club stands tall as one of the very best of 2014. Don’t be surprised if this one winds up on more than a few folks’ year-end lists. It’s already approaching a direct guarantee for one of them.

Listen to Luthan Sisterhood Gun Club below and get inspired.

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June 5, 2014

Pretty Pretty – Leather Weather (Stream)

Pretty Pretty has been a name that’s appearing with greater frequency in the “bands to follow” conversation. Apart from their blistering 2012 demo, the band hasn’t released any music. That’s changing soon with the release of their upcoming Leather Weather 7″. From the early sounds of it- and from the way the band’s been playing live– their band’s not going anywhere soon. They’ve upped their fidelity and tightened up their songcraft, as a result their music feels more vibrantly alive than sterile. “Leather Weather” was an easy highlight from their recent set with Swearin’ and the recorded version holds up. All sunny melodies and hard-charging punk-tinged powerpop, the song’s sharp teeth show through its disarming smile. A guitar solo cuts its way into the mix at around the halfway point and reinvigorates the whole thing just as it should be getting old. Following that, the song’s explosive second half indulges in spoken overdubs, a primal bridge, and general fierceness. By the time it plays itself out, the song feels vital enough to make this a must-buy release whenever Mandible and Let’s Pretend deem it fit for release. Keep both eyes peeled for that one- until then just play the title track as many times as possible (and revisit their demo for maximum enjoyment).

“Leather Weather” can be heard below.

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May 29, 2014

Sam Coffey & the Iron Lungs – Calgary Hill (Music Video)

[EDITOR’S NOTE: At the top: apologies for delays are once again in order. There have been an increasing amount of technical problems in regards to access that are being fielded and, at the least, shortcuts to enable regular posting are being established. Regular posting will resume shortly and, hopefully, the days of silence followed by explosions of content will be over soon.]

Last week Sam Coffey and the Iron Lungs offered up a tantalizing look at Gates of Hell, their forthcoming record (and their first for the excellent Southpaw Records). This look came in the form of a modest small venue performance clip video for “Calgary Hill”, a song that plays up both how brash their music can be and how well-informed it is. Tearing through a powerpop tune that takes cues dating back to the beginnings of the genre and wrapping it up in a no-frills/no-pressure aesthetic, they wind up with a perfect feel-great representation that’s an equally perfect slice of the DIY community. It’s a short blast that packs a lot of impact and is another great reason to get on board with the band.

Watch “Calgary Hill” below and explore the band’s impressive discography over at their bandcamp.

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February 3, 2014

Saintseneca – Happy Alone (Music Video)

Between the streaming of Terrestrials the behemoth of a collaborative album between Sunn O))) and Ulver, the announcement of a Bad Banana reunion show, John Dwyer releasing his first material post-Oh Sees hiatus, Big Air publicly unveiling their excellent debut tape, Buds, Fear of Men releasing a very promising sneak peek of their upcoming debut full-length Loom, a surprisingly punchy new track entitled “Any Wonder” from Yellow Ostrich, Mary Timony’s newest project, Ex Hex, offering up a hard-charging sample of their upcoming Merge debut, the cleverly constructed first music video to come out of the pairing of Nada Surf’s Matthew Caws and Julianna Hatfield for their Minor Alps project, an NPR Tiny Desk Session from The Pixies, the energetic black-and-white music video premiere of The Orwells’ “The Righteous One“, a live performance video of an all-acoustic run through of upcoming Drive-By Truckers track “Made Up English Oceans“, and Angel Olsen‘s absolutely stunning smoky, seductively noir-ish music video for upcoming Burn Your Fire for No Witness track “Hi-Five“, it’s been one hell of a Monday. Then, to top it all off, there’s the video that managed to edge out all of this to become today’s focus piece; Saintseneca‘s extraordinary clip for upcoming Dark Arc track “Happy Alone”.

Dark Arc, at this point easily one of the year’s most anticipated albums, should officially herald the arrival of Saintseneca, a band that was previously best known for being a conglomeration of two excellent Ohio basement punk bands; All Dogs and The Sidekicks. They’ve been maintaining an entrancing (and incredibly effective) rollout campaign for Dark Arc, their Anti- records debut, and seem poised to continue rewarding the investment of anyone who’s paying attention. “Happy Alone” has officially elevated their art form even further. The Christopher Good clip is clearly indebted to a vast array of arthouse influences and features stunning handheld cinematography, a gorgeous (magic hour-infused) color palette, inspired editing, yet another great song from the band, and band member Zac Little’s head in a giant bubble as he makes his way through everyday tasks.

It’s borderline dadaism and dips in and out of some Warhol-level pop art as it goes along to the most weirdly entrancing effect. It works as a surface level piece and as a light commentary on the nature of loneliness. There’s really absolutely no reason for any of it to add up to the inexplicably powerful whole that it is but it manages to do that and a little more. On its own, “Happy Alone” is definitive enough to act as a perfect introductory piece to the uninitiated while being singular enough to plausibly rank as one of the bands most important moments in their continuing evolution during this much-deserved groundswell of success. Above all else, though, it’s just a beautiful piece of art. That’s something that will always be worth rewarding. Watch it below.

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January 8, 2014

25 Best Demo’s, EP’s, 7″ Singles, and Compilations of 2013

2013 was an incredible year for music that held a seemingly infinite amount of great releases in nearly every possible genre and sub-genre. Cassettes popularity exploded, vinyl sales increased by more than 30%, and the importance of demo’s finally became apparent. In a sea of widely-publicized releases that got mountains of praise, it was a joy to find what composes much of this list. While a few spots are technically taken up by more than one release, those ties always come courtesy of a band generous enough to release more than one item and have it live up to whatever had preceded it. So, with that caveat in mind, here are the 25 best demo’s, EP’s, 7″ singles, splits, and compilations of 2013.

25. Split Feet – Fall 2013

Chicago’s Split Feet were one of the upper Midwest’s better surprises of 2013 and this demo announced their entrance authoritatively. The rest of the space could be consumed by an attempt to wax poetic on the demo’s respective virtues but, to spare everyone some time, it’s worth pointing out that’s already been done here. Stream the Fall 2013 demo below.

24. The Hotels – Leslie

Here’s an interesting, barely-relevant fact; The Hotels’ excellent Leslie EP was released on the same day Heartbreaking Bravery started. Leslie incorporates nearly all of the staple items on the musical laundry list that this site celebrates most frequently. There’s an emphasis on the kind of influences that keep it on the fringes of the emo-revival alongside bands like Swearin’ and All Dogs but finds itself living in the moment far too much to be tied to a revival. It’s immediacy pays huge dividends but it’s Leslie‘s precision that landed it on this list. Listen to it below.

23. Globelamp – Star Dust

Like Split Feet’s demo, Globelamp’s undeniable unique EP has already been celebrated here. Despite already having a few releases, this felt like a debut. Star Dust‘s nervous energy felt impossibly grounded and promises bigger things for the duo. Hear Star Dust below.

22. Elvis Christ – And So It Shall Be

No one’s going to deny that Elvis Christ is more likable to be noticed for his contributions to Nobunny than his solo work, which, based on the strength of And So It Shall Be is due for a change in the near-future. There’s definitely a Nobunny influence coursing through the five tracks on display but they pack enough punch to secure it a spot on this list. One of Burger Records’ best tape releases from their best year. Hear it below.

21. Joseph Frankl – Breakers

Joseph Frankl released two great records on very different platforms this year. As the drummer for The Frankl Project, he was a part of one of 2013’s (and perhaps the decade’s) best pop-punk records. Not too long after he uploaded this two-song single to his bandcamp as a self-release. Breakers exists along the same lines as yesterday’s On the Up honorees Technicolor Teeth. This is driving shoegaze that feels authentic and well-informed and not like a pale imitation. Both songs are among the year’s best and deserve way more attention than they’ve received. Hear Breakers below.

20. The Orwells – Other Voices/Who Needs You

2013 was a breakout year for these young Chicago scrappers. From Jam in the Van sessions to NPR music video premieres, it was hard to go more than a few months without hearing about them. A lot of this, of course, was due to both of the outstanding EP’s they gave to the world in 2013 (as well as a split cassingle with FIDLAR for Record Store Day), all of which were given a tape release via Burger Records. A production assist from TV On the Radio’s Dave Sitek undoubtedly piqued a lot of interests even further than they had been but that wouldn’t mean anything if the music didn’t actually live up to the hype. Thankfully, it has. Hear both EP’s in full below.

19. Dead Beach – Purple Scissors/Cool Mutants Split

Let’s Pretend released a lot of incredible material in 2013 but this was easily their best in the short-form department. Both Purple Scissors and the Cool Mutants split were recorded by PURPLE 7’s Patrick Jennings (who formerly fronted Hot New Mexicans) and both bands’ influences are evident throughout both the EP and the split. They both carry the slightly off-kilter, raw, and insanely melodic traits that nearly all of Let’s Pretend’s roster has come to be known for. Hear both releases in their entirety below.

18. La Luz – Damp Face

Anyone who’s been following this site probably won’t be too surprised at finding yet another Burger release on this list but it’s hard to argue against placements for any of the label’s releases; they’ve been consistently excellent and positioned themselves at the forefront of basement pop. La Luz had a turbulent year, suffering both triumphs and devastating setbacks. As horrific as their accident was, people are more likely to associate 2013 with both of the band’s outstanding releases rather than personal tragedy. Both their It’s Alive full-length and Damp Face EP have managed to jumpstart a promising career for their band and they’re already showing no signs of slowing, fighting back relentlessly at whatever obstacles come there way. Hear some of that fight bleed into their music by listening to Damp Face below.

17. Midwives – Midwives

Midwives’ self-titled debut is another of the entries on this list that’s already been covered and the thing’s got some serious legs. Its staying power has been incredibly impressive and went a long way in securing it a spot on this list. Get familiar with Wisconsin’s best new hardcore act by listening to Midwives’ introductory piece below.

16. Lemuria – Brilliant Dancer

As good as The Distance Is So Big was, this 7″ teaser the band released ahead of it may actually exceed it in terms of greatness. Both “Brilliant Dancer” and “Helloing” rank among the best songs in Lemuria’s impressive catalog, providing them the b/w format cuts out any excess and lets them operate as a sharp adrenaline shot that emphasizes the band’s best qualities. Brilliant Dancer is about as precise as Lemuria gets and sacrifices none of their sugar-rush basement pop. Hear it below (and catch them live whenever possible).

15. Summer Twins – Forget Me

As has been mentioned before and is likely to be mentioned again, Burger Records had an absolutely monstrous 2013, as far as EP’s are concerned the label didn’t put out anything better last year than the Summer Twins’ near-perfect Forger Me. Mining a 50’s doo-wop and 60’s girl group influence in equal measure, they offered up five of the most assured and gorgeous songs of the year, with the title track being one of the year’s outright best. While the rest of the songs don’t quite match the heights of “Forget Me”, they come close enough to more than justify a spot on this list. Hear Forget Me below.

14. Huge Face – Huge Face

Huge Face are yet another band that may occasionally find their name tossed into the emo-revival conversation that’s happening right now despite leaning closer to Guided by Voices and late-era Wipers than Sunny Day Real Estate. In the grand scheme of things, though, it really doesn’t matter. Huge Face stands up just fine on its own. The most modern touchpoint here would be Wolf Parade, as the bands share several similar sensibilities, even if the execution on how their lensed varies ever-so-slightly. No matter how it’s looked at, it’s fairly clear that this is a great release. Listen to it below.

13. Pusrad – Modern Anatomi

Clocking in at just over four and a half minutes, these ten songs refuse to fuck around. That steadfast commitment is an integral part of all great hardcore bands’ aesthetic, Pusrad included. Already moving at an incredibly prolific pace, Pusrad keep getting better with each one. Modern Anatomi is an exhilarating blast of fierce, old-school hardcore that’s as relentless as it is creative. One of the genre’s best releases in any format in 2013. Hear it below.

12. Upset/Swearin’/Waxahatchee/Screaming Females – Guided by Voices Tribute 7″

All anyone really needed to do for this one was look at the title. Upset, Swearin’, Waxahatchee, and Screaming Females are four of the better bands going today and each paying tribute to a specific Guided by Voices track is an undeniably sensible move. This is as much of a four-band pairing as it is a five and it exceeds its own promise. That’s one hell of an accomplishment. Unfortunately, no streams of this are currently available but it’s available for purchase (highly recommended) via the link below.

Purchase the Guided by Voices Tribute 7″ from Salinas Records.

11. Sundials – Always Whatever (A Collection of Songs from 2009-2012)

Releasing a set-year retrospective can be a tempting prospect for any band that feels it’s entered a new stage; rarely do they exceed on the levels of Sundials’ Always Whatever (A Collection of Songs from 2009-2012). By forgoing the inclusion of several songs from their two main releases, First 6 Songs and When I Couldn’t Breathe, there’s an allowance for the unexpected which infuses Always Whatever with a vitality it may have sorely lacked. This is a stunning collection of melodic basement punk songs that should only help the anticipation build for whatever the band’s next move is. Get familiar with Sundials by listening to Always Whatever below.

10. Technicolor Teeth – Blood Pool

There aren’t very many bands out there who can claim to be as exciting as Technicolor Teeth. Only a few years (and two releases) into their career, they’ve managed to make a deep impression on a lot of their peers and grab the attentions of people that may help elevate them to infamy. They’ve essentially been posited as the new forefront of shoegaze by embracing it as fully as possible while still thriving to make it their own. After the rousing success and tonal darkness of Teenage Pagans, it’s unlikely that anyone thought the aspect they’d play up the most for their follow-up was their warm dream-pop influence. Granted, they haven’t sacrificed much of their morbidity or dark atmosphere and instead reinvent that side of themselves as well. As a result, they’ve wound up with the best nightmare-pop 7″ of 2013. It’s difficult to say how long this band will stay buried but expect to be hearing their names a lot more sometime soon.

9. The Dirty Nil/Northern Primitive – Split

The Dirty Nil’s split 7″ with Northern Primitive was one of the more unique splits of 2013 just for the variance of style on display. Both bands tend to err towards doom without actually crossing that bridge completely, with the former keeping at least one foot very firmly planted in early 90’s indie a la Dinosaur Jr. and The Pixies while the latter perilously straddles multiple genre lines at once. Of the two, The Dirty Nil takes the more straightforward route (and is none the less thrilling for it) while Northern Primitive throws everything they’ve got into their side, riding an eerie atmosphere into a crushing crescendo before gracefully falling back out. An absolutely stunning display piece for two of Canada’s best-kept secrets. Hear it below.

8. Jeff Rosenstock – Summer

Over the years, IYMI has become one of the most trusted sources out there for on-the-rise bands playing the basement punk circuit and have frequently offered early glimpses at bands like Swearin’ and Jason Anderson in the bandcamp “optional donation” mode (the site also is responsible for the incredible Pink Couch Sessions series). This year, they went ahead and added Jeff Rosenstock to the list by featuring his incredible Summer 7″, which managed to be one of the most explosive scuzz-pop 7″ singles of 2013. An absolute must-own. Hear both “Teenager” and “Go On Get” below.

7. Tweens – Demo CD-R

Tweens were one of the great breakout successes of the gutter circuits in 2013, releasing nothing but demos which were subsequently devoured and praised at a rate fast enough to give anyone whiplash. The Cincinnati trio have become one of the more talked-about and sought-after prospects in recent memory based solely on the strength of a demo CD-R which is impressive enough in itself. The fact that their bandleader, Bridgette, had only recently learned guitar before before starting Tweens is a completely different level of impressive. Tweens are set to release their debut full-length in March and that day can’t get here fast enough. Until then, listen to a few selections from the now-sold out demo below.

6. All Dogs – 7″

One of Salinas’ most exciting new prospects has already drawn comparisons to seemingly half of that label’s roster, which is precisely what makes it so appealing. Over the past few years Salinas has carefully cultivated a sound that prides itself on a lo-fi 90’s indie punk influence. All Dogs profile is set to get another boost with the impending release of Saintseneca’s upcoming LP on Anti-, as the bands share members. A lot more could be said about this release but, once again, it’s worth noting that much of it has already been said. Listen to All Dogs’ triumphant 7″ below.

5. Various Artists – Beyond Inversion: A Benefit for Rachael’s Women’s Center in DC

Over Heartbreaking Bravery’s short existence, the release that’s garnered the most coverage from this site is undoubtedly Accidental Guest’s incredible Beyond Inversion benefit compilation. It’s a compilation that has its heart squarely in the right place, while perfectly adhering to the best aesthetics of the basement scene. There’s a selflessness that’s on display here through the involved bands’ naturally camaraderie. It’s also a perfect representation of its time, culminating in a capsule-worthy artifact that sheds this generation in the most positive light imaginable. Which is precisely why there was more than just one article devoted to it. Beyond Inversion may be seeing a vinyl release at some point in the near future but the initial cassette release sold out in pre-orders. Thankfully, the whole thing is available for streaming and can be heard below.

4. Acid Fast – Rabid Moon

While Rabid Moon finally was given a proper vinyl release last week, it’s been available as a cassette for several months, courtesy of Stupid Bag Records. Far and away one of the most impressive cassette-only full-length’s to be granted a 2013 release, it allowed for a monumental build-up to it’s run as a 2014 record. In the span between the two official releases, the band’s picked up press from Punknews, the AV Club, and earned On the Up honors from this very site. Rabid Moon is an absolute monster of a record that channels the spirit of Archers of Loaf, has the unhinged energy that made Big Kids so great, and it deserves every accolade that’s undoubtedly coming its way. Hear the first three songs from the record below.

3. LVL UP – Extra Worlds/Porches. Split

LVL UP prove themselves again and again with each consecutive release. How this band isn’t fucking huge yet is anyone’s best guess and it still seems like that’ll happen in due time. One of the most thrilling and accessible bands going right now, LVL UP absolutely crushed 2013 with an outstanding EP and a split with Porches. that was every bit the EP’s equal. In both cases, this is full-throttle basement punk with powerpop flourishes that doesn’t skimp on aggression or melody. Flashes of everything from The Replacements at their best to Weezer at their best are all present and filtered organically enough to come across as an influence and not an imitation. It seems unlikely that LVL UP will be slowing down anytime soon. Hear both Extra Worlds and their split with Porches. below.

2. Perfect Pussy – I have lost all desire for feeling

There were no releases last year that felt as harrowing and personal as Perfect Pussy’s demo tape. It didn’t matter which way it was spun, the listener’s reaction, vocalist Meredith Graves’ determined confessionals, or the cultural dialogue it inspired; this was a personal affair. It was also an incredible piece of music, relentlessly energetic and unabashedly unapologetic in composition, production, and lyrical content. It was a demo (and band) that meant a lot to this site, which is why Meredith Graves was chosen (and graciously agreed to be) Heartbreaking Bravery’s first interview. I have lost all desire for feeling also earned one of this site’s very first reviews and set off a chain reaction of positive effects that have extended into 2014. Listen to I have lost all desire for feeling below.

1. Tenement – Screaming Females Split + More Compilation/Puke and Destroy #2/Sick Club Vol. 3/Something to Dü

Sometimes things are predictable for a reason; this site hasn’t been shy about its feelings for Tenement. Despite not releasing any official LP’s or EP’s in 2013, they experienced one of their most successful years to date on the strength of their 7″ releases. There was their unbelievable entry into the Sick Club series on Cowabunga!, their stellar section of Puke & Destroy alongside Holy Shit!, Gleam Gardens, and The What-A-Nights, and an unbelievable (and entirely unexpected) compilation on bandcamp centered around their attention-demanding split with Screaming Females. Additionally, the band also contributed to do the excellent Something to Dü five-band tribute on Dead Broke Rekerds offering up a volume-shifting take on “Obnoxious”. Throughout all of it, the band manages to show their full range from the battered and haunting “Ants and Flies” demo to their usual hardcore-tinged basement pop- as well as their usual lo-fi freakouts. It didn’t matter what mode they were in, everything from “Books on Hell + Sermons on T.V.” to “Twig” deserved an infinite amount of listens and serious year-end considerations. The scariest part of all this is that it still feels like this band is just getting started, especially considering the band already has two LP’s lined up for release on Grave Mistake and Don Giovanni, respectively, for next year. Hear all four of the band’s major 2013 releases below.

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December 16, 2013

Burger to Release Night Drives Debut

Night Drives cover art

Has any label done as much this year as Burger Records? At this point, it’s sincerely doubtful. As a testament to their restlessness, the fact that there are only two weeks left in the year has done absolutely nothing to slow them down. They’re also not ones to dabble in the politics of AotY lists and, as such, the quality of their most recent projects hasn’t been detrimental to their normal standard.

Burger has recently announced that they will be releasing the debut tapes from The Bam Bams and Night Drives. While the former is a worthwhile entry into their catalog, the latter is an absolute monster reminiscent of Thomas Function’s best work. Night Drives’ debut packs enough hooks, originality, and quality songwriting into the 11 songs on their debut that a lot of people might be upset they published their year-end lists as early as they did. It’s another must-purchase from a label that has a seemingly endless wellspring of them.

There’s no word on an official physical release for either yet but both The Bam Bams and Night Drives debuts are available for streaming in full over at Burger’s bandcamp (also referred to as their Dig It All site). Night Drives’ incredible self-titled effort can also be streamed below.

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Tag: Bandcamp