One thing that this site has strived to maintain is its own visual aesthetic. While it’d be impossible to find a photo in the archives for every given band that headlines a post, an original photo will be posted anytime the opportunity presents itself. Upgrading cameras halfway through the year provided a bevvy of new opportunities and the subsequent implementation of a more photo-centric presence. That’s not by mistake. Photography (especially event photography) has always been an important crux of multimedia journalism. It can be a way to implicitly (or explicitly) convey some of the more minute details of a singular moment to a reader- or it can simply act as an intriguing supplement. Those were just a few of reasons that went into the decision behind a headfirst dive into photography investment (on both a personal and public level) and factored into why one camera or another was brought along to every show this site covered in the past year. Now, with 2015 just around the corner, seemed like as good a time as any to showcase a few photographs from the past 12 months that stood out as personal favorites. Since there are a few too many to go up all at once, they’ll be posted at random as part of installments that will run from now to the start of January. Most of these shots have been published on the site before (or on The Media), though there are a few that will be appearing for the first time. Enjoy!
One thing that this site has strived to maintain is its own visual aesthetic. While it’d be impossible to find a photo in the archives for every given band that headlines a post, an original photo will be posted anytime the opportunity presents itself. Upgrading cameras halfway through the year provided a bevvy of new opportunities and the subsequent implementation of a more photo-centric presence. That’s not by mistake. Photography (especially event photography) has always been an important crux of multimedia journalism. It can be a way to implicitly (or explicitly) convey some of the more minute details of a singular moment to a reader- or it can simply act as an intriguing supplement. Those were just a few of reasons that went into the decision behind a headfirst dive into photography investment (on both a personal and public level) and factored into why one camera or another was brought along to every show this site covered in the past year. Now, with 2015 just around the corner, seemed like as good a time as any to showcase a few photographs from the past 12 months that stood out as personal favorites. Since there are a few too many to go up all at once, they’ll be posted at random as part of installments that will run from now to the start of January. Most of these shots have been published on the site before (or on The Media), though there are a few that will be appearing for the first time. Enjoy!
One thing that this site has strived to maintain is its own visual aesthetic. While it’d be impossible to find a photo in the archives, an original photo will be posted anytime the opportunity presents itself. Upgrading cameras halfway through the year provided a bevvy of new opportunities and the subsequent implementation of a more photo-centric presence likely showed. That’s not by mistake. Photography (especially event photography) has always been an important crux of multimedia journalism. It can be a way to implicitly (or explicitly) convey some of the more minute details of a singular moment to a reader- or it can simply act as an intriguing supplement. Those were just a few of reasons that went into the decision of photography investment (on both a personal and public level) and factored into why one camera or another was brought along to every show this site covered in the past year. Now, with 2015 just around the corner, seemed like as good a time as any to showcase a few photographs from the past 12 months that stood out as personal favorites. Since there are a few too many to go up all at once, they’ll be posted at random as part of installments that will run from now to the start of January. Most of these shots have been published on the site before (or on The Media), though there are a few that will be appearing for the first time. Enjoy!
Chicago trio Mutts have been steadily building a deeply impressive resume for over five years. Each time the band steps up to the plate, they improve on their previous best- leaving 2013’s extraordinary (acoustic-based) Object Permanenceas their current high-water mark. As unlikely as it seems considering Object Permanence‘s unfailing grace, the record they’re about to release- Fuel Yer Delusion vol. 4– may surpass it to take up the mantle of career-best. “Everyone Is Everyone” kicked off the pre-release roll-out for Fuel Yer Delusion vol. 4in exhilarating fashion with bandleader Mike Maimone passionately dismantling the politics of negative slurs- a stance that takes on a much more personal meaning considering Maimone spent the last few records grappling with the anxieties and emotional releases that accompanied his decision to come out.
“Black Ties & Diamonds” may not be as fiery as its predecessor but it’s just as- if not more- immediately gripping. Easily the band’s most atmospheric moment to date, “Black Ties & Diamonds” is as fire-and-brimstone as it is smoky haze, a classically noir-ish retreat down a murky riverbank. It’s an entirely new look for Mutts and one that suits them so naturally that it’s easy to forget their standard mode is blistering blues-infused noise-punk. As always, Maimone’s lyrics and keyboard work are just as sharp as Mutts’ rhythm section (which is made up of drummer Chris Pagnani and bassist Bob Buckstaff, respectively)- adding to their easily posited claim as one of the tightest units in the upper Midwest.
In lyric copy, “Black Ties & Diamonds” becomes a total deconstruction of a myriad of events, eventually revealing itself as a collection of vignettes that illustrate the trials of life’s overwhelmingly mundane nature. There’s a melancholic nature permeating throughout the track, accentuated by organ stabs, mood-heavy drumming, and frighteningly intuitive bass work. Musically, this veers far closer to the realms of Nick Cave & the Bad Seeds than the usually inevitable Tom Waits comparison the band’s so frequently earned in the past. It’s a complete anomaly in the band’s catalog; a minor headphones track in a sea of turned-to-11 explosives.
Production-wise, “Black Ties & Diamonds is the best Mutts have ever sounded electric- something that holds true for the rest of Fuel Yer Delusion vol. 4. This is a record that’s layered, sequenced, and mastered to perfection, with “Black Ties & Diamonds” standing out as the definitive track. Mutts aren’t done experimenting, moving forward, challenging themselves, or progressing. Not by a damn sight. “Black Ties & Diamonds” cements this as inexorable proof in stunning fashion, playing directly into the commendable ethics of one of America’s hardest-working bands. Don’t be too surprised to see their name starting to fight its way into regular conversation- and don’t make the mistake of ignoring something as subtly haunting as “Black Ties & Diamonds”.
Mutts will be throwing an LP release party for Fuel Yer Delusion vol. 4 which will be presented by Gapers Block and feature additional performances from Archie Powell & the Exports, The Kickback, and Pop Goes The Evil. This will take place on December 6 at The Metro. 8 pm. $12 at the door and $8 in advance. Don’t make the mistake of missing this one.
Stream “Black Ties & Diamonds” below and make sure to pick up Fuel Yer Delusion vol. 4 as soon as possible.
Just as the start of this week’s been kind for great music videos, it’s also granted looks and streams at (and of) several upcoming records. NPR’s First Listen series, as reliable as ever, is currently streaming Mr. Gnome’s subtly frenzied The Heart Of A Dark Star, Crying allowed Noisey to let everyone in on the magic that is Get Olde/Second Wind, Stereogum landed the streaming rights to Exit Verse’s brilliantly contained self-titled record, and PIZZA TIME released their latest hard-charging punk free-for-all- 2 KEWL 4 LIFE– as an actual free-for-all via their bandcamp. Every one of those four records is worth a look but the title that should warrant the most excitement is Meat Wave‘s just-announced Brother EP.
After Meat Wave, the band’s post-punk tour-de-force first effort, was released the band started taking apart audiences with their incendiary live shows. One of those shows was captured firsthand via this site when the band played the first Heartbreaking Bravery Presents, which was announced in conjunction with coverage of their frenetic “Brother” video. It hadn’t been announced at the time but the video was to tease the band’s upcoming Brother EP, which was supplied with additional details today. Most notable is the presence of new songs, their first since their instant-classic debut, and the streaming of “Sham King”, which is as fierce of a song as they’ve ever written.
Right from the onset, Meat Wave seem hell-bent on pummeling the listener into elated submission with a vicious riff punctuated by snare blasts and supported by being doubled by the bass. Guitarist and vocalist Chris Sutter sounds particularly inspired on “Sham King”, showcasing a higher register and his characteristically venomous delivery. A simple but piercingly effective solo in the song’s final act ensures that this band’s somehow continuously building momentum (a feat that seemed impossible in the wake of their blistering debut) and- finally- people are starting to take notice. With Meat Wave behind them and the new songs on Brother ahead it’s going to be incredibly easy to make the case for Meat Wave being one of the best bands in the Midwest. All high velocity and high impact, this is music that’s set to destroy anyone not smart enough to willfully surrender.
Listen to “Sham King” below and pre-order the Brother EP from Meat Wave’s bandcamp.
Time to get unnecessarily personal, starting with a number. 365. 365 days, more accurately. It’s a long time to dedicate to anything and it’s the mark that this site hits today, with it’s 365th post. It’s been an insane (and insanely rewarding year), one that’s helped define the past year of my life. I owe this place a lot and it’s given me more than I’d ever hoped for- from one of my closest friends (and patron saint of Heartbreaking Bravery) to an overwhelming amount of support from the labels I genuinely love (especially in the cases of Double Double Whammy and Exploding in Sound) as well as more than a few artists- and guaranteed that this site wouldn’t be relegated to a passing interest. The reason I own a nice camera, the reason I flew out of the country, and a whole arsenal of reasons for my decisions to continue pursuing music journalism by any means possible can all be traced directly back to this site. It’s been humbling to watch it grow (in both size and scope) and it will be fascinating to look back on this very post a year from now as its constant evolution has the potential to open several intriguing doors. Even comparing yesterday’s Halloween post to the very first thing to be published here, there are more than a few noticeable differences.
With a wide set of rules for the site now firmly in place, from the every-50 post Mixtape to the every-Sunday Watch This, this site has kept me on my toes. Gender identifiers don’t get used, ethnicity doesn’t get specified, orientation and preferences are given a deep amount of respect, and everything is treated with empathy because music’s simply that: music. It’s a universal act of artistry that I built this site to support in the best way I could see fit: by shining spotlights on the emerging artists that truly deserved the attention. Granted, their have been a few names to get written up over the year- but that’s only because they either produced something masterful or remained true to a DIY ethos.
Keeping all of that in mind, I was fortunate enough to be gifted an opportunity to celebrate this year-in-existence mark with a showcase. Everything came together at the right time and I wound up putting together the first-ever Heartbreaking Bravery Presentsshowcase, featuring three bands that had earned positive reviews from this site. Meat Wave and Geronimo! were the first two bands to sign on, as they were touring from their home town of Chicago up to New York for CMJ as a predecessor to Geronimo!’s bittersweet goodbye, then- by some weird miracle- Mumblr wound up with a free night and an open tour slot and became a late addition. A Blue Harbor, a band that started off as a solo project and then turned into a band (full disclosure: I play bass in the full band version), provided the local support. Everyone piled into a basement venue called The Powerstrip and all three touring bands played their hearts out to a rotating cast of people that exceeded 100 by some margin. After playing a quick set, I set up camp and filmed the majority of Meat Wave, Mumblr, and Geronimo!‘s sets, which can now be seen below. I’ve played a lot of shows and I’ve seen quite a few more than I’ve played- but none have meant as much as this one. So, thanks to the bands for coming out and playing this, thanks to the readers for reading, thanks to the artists and labels for caring, thanks to the writers who have expressed interest in contributing content, and thanks to literally anyone else that has even been a tangential part of making this site’s continued existence possible. I will always be in your debt and you will always have my gratitude. Thank you. Here’s to another year of growth and positive change.
Without further ado: here’s the footage from this site’s first showcase. Enjoy.
Today Watch This enjoys it’s 50th installment. There have been 245 videos or small playlists featuring great performances up to this point. In celebration of this, today’s entry into the series will take a route that the feature’s only explored twicebefore and revolve around videos that were self-shot. It’s been three months since parting ways with the handheld camera that was responsible for all of the earliest footage in the Heartbreaking Bravery archives. Over that time, a lot of songs have been filmed by a lot of great bands. All of the videos in today’s installment have never been featured anywhere else. Additionally, with this being a more personal endeavor, the restrictions on first-person narrative will be temporarily lifted. Now, with all of that said: sit back, turn the volume up, and Watch This.
1. Mitski (Live at Beat Kitchen)
I’ve made no qualms about my love for Mitski and her upcoming record Bury Me At Makeout Creek but seeing her live set added a new depth to that appreciation. Backed by half of LVL UP, Mitski’s songs were transformed into a force that was as beautiful as it was ragged. Having spent part of the day with Mitski prior to her set, she revealed a gentle nature that helped inform her music to a greater extent- rendering the moments where she strips her emotions raw all the more cathartic. In this set the songs featured are “Townie“, “First Love / Late Spring”, and “Drunk Walk Home”.
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2. Space Raft – Venus In Transit (Live at Crunchy Frog)
One of the best small band bills that Wisconsin’s seen this year was made up exclusively of in-state acts when Space Raft headlined Green Bay’s Crunchy Frog in mid-August. After incredible sets from the likes of The Midwestern Charm, Beach Patrol, and Midnight Reruns, Space Raft offered up a set that firmly cemented their reputation as one of Wisconsin’s most dynamic (live) bands. Here, they take a flawless run through “Venus In Transit“, a highlight from their rightfully acclaimed self-titled debut.
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3. Geronimo! – Spitting in the Ocean (Live at The Powerstrip)
Last night, Heartbreaking Bravery presented a basement show in Stevens Point that featured three bands which I’d previously written about within the confines of the site. Geronimo! played last and delivered a blistering set that made their imminent departure all the more bittersweet. Having spent the better part of this year casually fawning to anyone who’ll listen about the band’s extraordinary Cheap Trick, being able to provide a visible platform for both the band and that record was nothing short of an honor. In this clip, the band tears through a particularly vicious version of one of 2014’s best songs, “Spitting in the Ocean“.
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4. Pile – Special Snowflakes (Live at The Burlington Bar)
Another highlight from 2014, Pile’s “Special Snowflakes“, became an emphatic moment of reckoning when the band laid it to waste at The Burlington Bar towards the start of this month. Only one of a very small handful of live songs this year to give me violent chills, it also became the turning point that turned Pile’s set from a strong showcase into an unforgettable event. With the lighting appropriately dim, all it took was “Special Snowflakes” to temporarily transform The Burlington Bar into the river Styx.
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5. LVL UP (Live at Beat Kitchen)
At this point, LVL UP, Double Double Whammy (a label half of LVL UP founded and still runs), and Exploding in Sound may very well be responsible for earning the most words from this site over the past few months. Both labels had a hand in releasing Hoodwink’d, which easily stands out as one of the year’s best records. It was a record I formed a fierce connection with in a terrifyingly immediate manner. Taking all of that into account, my expectations for their live set at Chicago’s Beat Kitchen were high- likely unreasonably high. Any doubts that I had over whether or not they’d live up to those expectations- not to mention that connection- were assuaged before their first song drew to a close. By the end of their set, they’d solidified their status as one of my absolute favorite bands- which is why they’re closing out this set of videos. Contained in these videos are performances of “Annie’s A Witch“, “I Feel Ok“, “Hex“, “Roman Candle“, “Alabama West“, “Black Mass“, and “ELIXR (19)“.
It’s also worth noting that LVL UP recently ran into some van issues that have temporarily derailed their tour- to help combat this and set things right, they’re offering Hoodwink’d as a pay-what-you-want deal on their bandcamp in an effort to help secure the necessary funding to get everything back up and running. Site favorites Big Ups are doing the same with their Flagland split and putting all of the donations towards the repairs as well (Big Ups and LVL UP will be joining up for a tour when everything’s fixed). Donate whatever’s possible to help a great band made up of great people- and get a lot of great music in return. After all that’s said and done, go ahead and come back to Watch This.
Over the past few months, this site has given plenty of coverage to both LVL UP and the label two of its members founded (and run), Double Double Whammy. Included in the ranks of the Double Double Whammy roster was another artist who’s emerged as a site favorite: Mitski. When the two announced they’d be touring together (and, subsequently that LVL UP would be backing Mitski), being in attendance for the nearest show was a foregone conclusion. On October 12, their tour made its way to Chicago’s Beat Kitchen where they headlined a bill that also included local acts Mtvghosts and Staring Problem.
Mtvghosts kicked things off after narrowly avoiding being no-shows and made their way through an energetic set of Strokes-influenced powerpop (not too dissimilar from Locksley). Now a few releases into their career, they made their way through a high energy set and played off each other nicely. Utilizing an abundance of energy and a clear connection, their set succeeded on pure entertainment value- Staring Problem‘s Lauren Owen would later make an amusing remark on the vocalist’s “Paul McCartney head thing”. While it’s clear Mtvghosts have a very firm grasp on composition and how to write a good pop song, not too much of it had any kind of longevity- although there’s enough talent in the band to suggest that point may not be too far down the line.
After Mtvghosts unabashedly pop concoctions, Staring Problem dove headlong into a set of primal post-punk that was tinged with early goth-punk influences. With songs that felt deadly serious and had pulsating undercurrents of the overwhelmingly bleak, they managed to sink into a groove that left most of the audience in a hypnotic trance. Mtvghosts may have had Staring Problem beat in terms of stage presence but Staring Problem’s songs proved to be immensely gripping, if unrelentingly minimal (their drummer’s kit was bare-bones and the only cymbal it made room for was a hi-hat). Impressive bass riffs dueled with intuitive guitarwork and Owens’ tranced-out vocals. Even with an emphasis on the grave, the band found room for humor; a song called “Pictures of Morrissey In Jake’s Locker” wound up being an unexpected highlight. By the time they exited, it was difficult to imagine they hadn’t made a few converts.
Mitski‘s been making quite a name for herself lately. After two very strong records of avant pop, the songwriter’s made a sharp left turn into blissed-out noise pop. With the distortion cranked up on the extraordinary soon-to-be-released Bury Me At Makeout Creek it’s afforded Mitski the chance to reignite an already impressive career. “Townie“, “First Love/Late Spring“, and “I Don’t Smoke” all showcase layers of a seriously enviable talent in composition and musicianship (as well as some gorgeous- and expansive- production), which shouldn’t be surprising taking into account Mitski’s SUNY Purchase background. Incidentally, SUNY Purchase was where Mitski would meet the members of LVL UP and forge a connection that would have direct implications for both artist’s respective careers.
Taking into account the high-functioning levels of production that provide Bury Me At Makeout Creek part of its character, a large portion of the pre-set anticipation lay in how Mitski would bring these songs to life with the assistance of LVL UP. Less than a minute into “Townie” any doubts that the songs would lose even a fraction of their appeal were absolutely annihilated. Aided by Michael Caridi on guitar and LVL UP bassist Nick Corbo on drums, Mitski lay into the song with a startling amount of intensity, causing the audience to erupt in bewildered applause by the song’s close.
All it took was that first song for Mitski to expand and win over an entire audience, which raises the stakes considerably on the expected reaction to Bury Me At Makeout Creek once it’s out in the world. Caridi and Corbo both flashed extremely impressive chops as Mitski commanded attention with the kind of effortlessness that suggests much bigger things will be happening for the emerging artist in the very near future. When Mitski’s set closed with Mitski absolutely shredding her vocal cords in bouts of guttural screaming at the end of “Drunk Walk Home”, half the audience seemed to be left speechless- and it was difficult to fault them- Mitski had delivered the kind of set that warrants the highest kinds of praise and ensures that even more people will be drawn into her orbit.
After Mitski’s set, it wouldn’t have been too surprising to see someone leaving thinking they’d seen the headliner- but it wasn’t before long that LVL UP proved that they were up to the task of following a gift of a set with another exercise in killer performances. Having already delivered one of the year’s best records in Hoodwink’dand one of the year’s best songs, “Big Snow“, on an absolutely essential split, their live set had quite a bit to live up to. Boasting a discography that’s bursting at the seams with songs that project a casual confidence and an excess of charisma, LVL UP’s very nature is practically defined by their willingness to embrace each the unique personality of each principal songwriter (Caridi, Corbo, and Trace Mountains‘ Dave Benton).
“Soft Power“, “Ski Vacation“, “DBTS“, and “I Feel Ok” all hinted at LVL UP excelling as a complementary unit that would easily function when stripped back to individual elements. Balancing on the precipice between detached apathy and unbridled energy, the band’s songs came to weird, vibrant life in the live setting. Everyone traded off vocals with a casually practiced ease and a fiery commitment. True to Space Brothers‘ form, several of the songs bled into each other- with a particular highlight (one of a very large handful) being the opening trio of tracks from that very record. In fact, much of their set played out like a contained suite, with everything retaining maximum impact.
There was more than one point through LVL UP’s set where time seemed to be completely lost, as the band kept the audience engaged while they occupied their own world. Song after song, they demonstrated just about every reason why they’re a band worth celebrating- only emphatically enhancing the live elements of that particular spread. Solos were traded, select songs were extended with surprisingly heavy bridges and outros, and- more than anything else- left-field personality was exuded. Hoodwink’d and Space Brothers were about evenly split throughout the set, and both songs from the band’s incredible split with Porches. were represented as well.
While Corbo, Caridi, and Benton all shared a fair amount of spotlight, drummer Greg Rutkin held everything down with brute force and an unfailingly exact precision that made songs like the closing “ELIXR (19)” sound absolutely massive. Just like on record, everything managed to complement everything else in a manner that made all of LVL UP’s songs feel intensely alive. Before their set, each member had voiced various concerns about their headlining slot and thanks for Beat Kitchen’s kind accommodations (including sound, which was pristine throughout the show). When “ELIXR (19)” drew the set to a powerful close, it provided an exclamation point to a stunning set that coursed past their early apprehensions into the realms of the sublime. If there was any reservation about this before, their set ensured one thing: 2014 is LVL UP’s year. Get on board before it’s too late.
Watch a clip of LVL UP playing “Soft Power” and “Bro Chillers” below. Underneath that, view an extensive photo gallery of the show.
After the start of the week was gifted a prolific run of great new content, Wednesday kept the trend alive. There was more than enough to warrant another two paragraphs- but today will be devoted to a live review, so, for convenience’s sake, three of today’s strongest item in each category will be listed now and the rest will be covered tomorrow. For full songs, it’s hard to do better than Viet Cong’s darkly hypnotic post-punk bruiser “Continental Shelf“, while nobody bested Roomrunner’s absolute ripper of an EP- Separate– in the full stream category. Kittyhawk rounded out things with their visually striking clip for “Welcome Home”, which probes darker territory than the music might suggest. Now, with all of that out of the way, onto the feature event: site favorites Pile and their show last Friday at The Burlington Bar in Chicago.
Pile are best defined as an elusive band. It’s difficult to pin them on a spectrum or predict their movements; entire songs play out like sweeping overtures, taking sharp lefts when it’d be easier to just keep going straight ahead. While their tour schedule makes sure that it’s relatively easy to find the band playing somewhere, it’s the music that becomes the dominant force in the band-listener connection- a feat more rare than most realize. So, while the band managed to overcome not one but two major van issues (not having one and then having their loaner break down), their absence leading up to the show added a weird mythos to the entire experience. Granted, most of that time they were holed up in Omaha recording a new record- and if the band was clicking for that session as hard as they were at Burlington, everyone’s in for something spectacular.
Opening the show were locals Ling Ling and Fake Limbs, who were forced into a brief delay and a slot switch due to some extenuating circumstances. Fake Limbs delivered a characteristically blistering set, proving for the zillionth time over that they’re one of the Midwest’s most exciting (and most intriguing) hardcore acts. Pulling mostly from last year’s masterful The Power of Patrician Upbringing, vocalist Stephen Sowley led his band through their left-field noise-indebted racket with an abundance of charisma both on and (mostly) off stage, while everyone flashed serious chops throughout a set of genuinely great songs. Engaging throughout, their set had no weak moments and when the guitar cut out in the very last stretch of the last song, it somehow managed to feel appropriate- one half-expected to see smoke billowing out of the cab’s grill.
Ling Ling had a lot to follow after Fake Limbs essentially dismantled the expectations of the uninitiated and set an obscenely high bar. For their part, the band held their own through committed performances that offered a different take on hardcore, this time more rooted in the clean, metallic sounds that Shellac made their stock and trade. Kicking up the levels of unabridged aggression, their set kept a pace that kept most of their audience involved- though by the end of their curiously long set, it was clear that some of Burlington’s patrons were growing increasing anxious for the appearance of the main act. While Ling Ling did manage to bow out on the strongest note of their set, there was no doubt that this was a night that belonged to Pile.
After the necessary set up and take down, Pile took the dimly-lit stage and- with no fanfare- tore into a jaw-dropper of a set that left no shred of doubt that Pile are a band worth catching as many times as possible. Song after song, Pile offered an embarrassment of riches that became welcome reminders of their discography’s deeply impressive scope. The audience seemed to warm up with the band as they plunged further into their set; by the time the chill-inducing 1-2 punch of “Special Snowflakes” and “Pets” hit, a previously stagnant Burlington had become a heaving mass of bodies, railing into each other with no intent of physical violence but caught up in a shared moment of unbridled catharsis. Following that turning point, the band reciprocated the audience’s energy by growing increasingly animated- and impassioned- while continuing to blaze through a set of songs that’d make most aspiring musicians blush. It was an incredibly potent reminder of Pile’s unlikely, but entirely deserved, impact. This is one of the most interesting bands going today and the fact that their music is forging such visceral connections within their audience makes them a band that’s worth embracing as tightly as possible.
Below, watch a clip of the band playing “Pets” and scan through a photo gallery of Pile’s headlining set.
[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 Trickis one of this year’s best records) on their farewell tour- which is a topic that brings up something else entirely.
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 Snakesis 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).
Heartbreaking Bravery 