Heartbreaking Bravery

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Tag: Cloud Nothings

The Best Records of October 2018

October was an absolutely extraordinary month for record releases, seeing the unveiling of a large handful of Album of the Year contenders. A handful of site favorites offered up new material as well, with several of those titles appearing below. No matter the length (EP, LP, 7″, etc.), there was an abundance of memorable titles. Only one band of the 10 selected below had yet to appear in any of Heartbreaking Bravery’s coverage. As for the rest? They’re further solidifying their respective statuses as some of the most promising acts in music.

1. Stove – ‘s Favorite Friend 

On their sophomore full-length, Stove expand both their ambitions and their skyward sprawl with their most inspired release to date. Comprised of an existence’s worth of longing, fear, anxiety, tenderness, and understanding, ‘s Favorite Friend has the marks of a classic. Devastating and hopeful in turns, the Stove record marks the second astonishing album that Steve Hartlett’s released this year, following Ovlov‘s TRU. Deeply personal and all the more mesmeric for that trait, ‘s Favorite Friend reaffirms Hartlett’s enormous musical talent and provides a reassurance; you might not always entirely defeat your demons but making peace with some of them can go a long way.

2. Strange Ranger – How It All Went By

Strange Ranger have been enjoying a steady evolution that’s already paying increasing dividends. How It All Went By, the band’s latest, is their strongest release to date, continuing an upward trajectory that started several releases back. Unapologetic in its inventiveness, How It All Went By recalls the works of everyone from Joyce Manor to Neil Young, mining a select few genre’s for flourishes that complement the band’s core identity. Oddly hypnotic and abundantly warm, How It All Went By is an EP that’s worth owning.

3. IAN SWEET – Crush Crusher

The last time IAN SWEET released a record, the results were strong enough to catapult them from emergent act to critical darlings. Crush Crusher, the band’s most recent effort, is one of affirmation: the early praise was warranted. Explosive, thoughtful, and genre-resistant, IAN SWEET has crafted something that thrives in near-impossible dichotomies. Tender and violent, explosive and tranquil, urgent and contemplative, every last second of Crush Crusher comes laced with a certain amount of nervous energy, transforming the entire affair into a spellbinding experience.

4. Adeline Hotel – away together

After a few years of playing together, Adeline Hotel is starting to increase their pace. away together is a strong enough record that it could feasibly multiply their audience by some degree. A near perfect soundtrack for the transition from fall to winter, away together‘s indie folk reckonings lend an even greater familiarity to the everyday, giving the mundane greater meaning. Easily the strongest songs of the band’s young career, away together should leave the kind of mark that’s recalled fondly and without malice.

5. Gabby’s World – Beast On Beast

A few name changes have taken place since Gabby’s World was awarded this site’s Album of the Year distinction for O.K. but the band’s heart remains unchanged. Beast On Beast makes that revelation plain from the record’s opening track, the breathtaking “Winter Withdraw”.  Guitarist/vocalist Gabrielle Smith remains one of the more intuitive songwriters working today, gifting the record with airy melodies that carry punch and conviction. Beast On Beast, like the project’s best works, serves as both a rallying cry and a knowing offer of acceptance, doing its best to make sure there’s some warmth when the world gets cold.

6. Interbellum – Dead Pets, Old Griefs

As mentioned in the introductory paragraph, only one project on this list had yet to make an appearance on Heartbreaking Bravery. Enter: Interbellum. Dead Pets, Old Griefs is a fascinating effort from multi-instrumentalist Karl Maltar. Interbellum, Maltar’s project, enlisted several friends for a record that straddles the divides between indie pop, slacker punk, and bedroom pop, giving a distinctly modern twist to the kind of template that used to be a Sparklehorse specialty. For every memorably raucous moment on Dead Pets, Old Griefs, there are several hushed, deeply introspective ones to balance the scales. It’s a staggering work from a name worth remembering.

7. Strange Relations – Sideline Kid

One of the best, if not the best, post-punk projects the upper Midwest has  to offer, Strange Relations keep accelerating their own momentum. Last year the project released Editorial You, a record that showcased the band’s confidence. Just a year later, they’ve returned with their most restrained — and fascinating — effort to date in the 3-song EP Sideline Kid. The EP finds the band being increasingly adventurous with their ambient experimentation while remaining fearless in their bare-bones minimalism. All three tracks are fascinating for different reasons and the cumulative effect is potent enough to give Sideline Kid serious consideration as one of the year’s best EP’s.

8. GABI – Empty Me

A record that’s been anticipated for some time in very specific circles of the art world, GABI’s Empty Me finally arrived in full and lived up to the promise of the surrounding buzz. Haunting chamber pop of the highest order, Empty Me traffics in curious extremes, from emotive weight to the sprawl of the composition that serves as the record’s anchor. For all of the lightness Empty Me exudes in its softest moment, there’s a pervasive sense of doubt permeating its shadowy corners. An astonishingly complete work, Empty Me works its way towards unforgettable as it progresses, slowly immersing its listeners under the weight of the gravity felt at the record’s core.

9. Cloud Nothings – Last Building Burning

The opening seconds of Last Building Burning make one thing extraordinarily clear: Cloud Nothings aren’t fucking around. After what some considered the lightest work of their career since Dylan Baldi turned his project from a one-man affair into a full band ordeal, Last Building Burning immediately lights a kerosene torch and takes off with reckless abandon. “On An Edge” is the most purposeful opener we’re likely to hear this year, with the band in a rare echelon of attack mode. Fortunately, the rest of the record backs its strength up with some of the band’s strongest songwriting. Easily one of 2018’s best outings, Last Building Burning is a potent reminder that aggression can be productive when wielded with care.

10. Yowler – Black Dog In My Path

A strong case can be made for Maryn Jones as one of the most vital musicians of this past decade. Jones has provided invaluable contributions to Saintseneca as a (now former) member, fronted All Dogs, contributed to records from bands like Radiator Hospital, released memorable solo material before and after any of that started happening, and has turned Yowler into a recognizable name. While Jones will inevitably downplay the impact those contributions have had, it’s an astonishing pedigree.

Yowler’s latest record, Black Dog In My Path, in some ways comes across as the sum of that experience: this is the broadest and most ambitious record to bear Jones’ name. It’s also one of the best. Trading in uforgiving self-deprecation and an acute awareness, Black Dog In My Path can be a punishing listen when it fixates on unthinkably low moments but the music breathes just enough optimism and life to make the whole thing feel unflinchingly human. One of the fullest realizations of Jones’ incredible talent, it’s a record that’ll still be worth visiting a decade down the line.

Two Months, 12 Songs

Nearly two months have come and gone since the last true feature article was published on these pages. In that time, thousands of good songs have found release, hundreds of records have made varying impressions, and more than a few music videos managed to snag viewers’ attention. This post looks at a dozen of the finest songs to have come out in that time, from names new and familiar. Dive in below.

Charly Bliss – Heaven

Last year’s pick for this site’s Album of the Year distinction recently made an unexpected return on the back of standalone single “Heaven”, which guitarist/vocalist calls the band’s first attempt at a genuinely hopeful look at romantic love. The band balances that optimism out with one of the heaviest and darkest-sounding songs of their emergent career, demonstrating the band’s range and understanding of overarching dynamics. Exhilarating and powerful, “Heaven” is a welcome reminder of Charly Bliss‘ limitless appeal.

Stove – Mosquiter 

In 2015, Stove walked away with this site’s Song of the Year distinction for “Wet Food”, which remains one of the finest songs of this decade. The band’s been relatively quiet of late, which is understandable considering the re-emergence of Steve Hartlett’s other project, Ovlov. Both Ovlov and Stove had new material planned for 2018 and “Mosquiter” is the first look at Stove’s forthcoming ‘s Favorite Friend. “Mosquiter” is a perfect example of what makes Stove worth celebrating, blending painfully relatable experiences into songs that swirl, seethe, and soothe. In short: it’s life-affirming.

Cloud Nothings – Leave Him Now

Cloud Nothings have developed an astonishing level of consistency, something that should be abundantly clear by the time anyone hits play on “Leave Him Now”. Even with that said, it would’ve been hard to predict the explosiveness of “Leave Him Now” which surges through its run time with the tenacity of the band’s best work. It’s a continuation of a recent trend for the band, acting as something of a career summation, focusing in on various aspects of the band’s earlier records and tethering them into something that walks the line between new and lived-in. Both immediate and thoughtful, “Leave Him Now” is one of the best songs of 2018.

Squid – The Dial

“The Dial” will serve as an introduction-at-large to Squid for many, which will make the impact significantly more forceful. To put it bluntly, “The Dial” is an absolute monster of a post-punk song, finding the band effectively navigate pop appeal and post-hardcore intensity. There’s an ambient interlude, a section where the vocals become unhinged screams, and more than a few interlocking grooves that operate as interstitial threads. “The Dial” is a behemoth of a track, making Squid’s presence known. Keep both eyes on this band and keep this song on repeat.

Gouge Away – Ghost

Gouge Away have quietly become one of today’s best post-hardcore bands, building a name for themselves on a string of outstanding releases. “Ghost” is the latest from the band, which manages to be one of their softest moments and their best track to date. Coasting along at a mid-tempo pace, the band leans into each down stroke with conviction and seem to be operating at the height of confidence, evidenced by the risk involved in a boundary-stretching song. It’s a risk that pays staggering dividends; “Ghost” is the kind of track that makes a whole new audience take notice.

Hovvdy – Easy

Cranberry was a consensus pick as one of early 2018’s great records, giving Hovvdy‘s name considerable weight among a certain section of artists and fans. A few tours later and the band’s followed up that extraordinary release with a gorgeous single, headlined by “Easy”. A soothing slow-burn, “Easy” is characteristic of the band’s best work, drawing in the listener and making sure they stick around to enjoy every subtle nuance embedded into an intoxicating strain of indie pop. Beautiful, meditative, and compelling, “Easy” is a can’t-miss.

Strange Ranger – New Hair

Following up a record that guarantees a cult following, no matter the size, is never an easy feat. Fortunately, Strange Ranger prove up to the task on “New Hair”, the best track of the band’s career. An explosive burst of basement pop, “New Hair” finds Strange Ranger embracing their powerpop tendencies but injecting a level of grit and determination into it that prevent the track from being remotely saccharine, while still finding a way to encapsulate their older prominent influences. It’s impressive and effective, suggesting Strange Ranger aren’t content with cheap trills and searching for longevity.

Pip Blom – Come Home

Over the past several years, Pip Blom have been transforming themselves from a band with promise to a project that’s threatening to break out as an emergent act. “Come Home” suggests that it’s only a matter of time before Pip Blom start making bigger waves, operating as an irresistible slice of insistent indie pop. Informed by post-punk and incredibly aware of effective composition with an expert’s grasp on dynamic structure, “Come Home” is the kind of track that’s tough to shake. It’s also a track that guarantees repeat plays.

Swearin’ – Future Hell

One of the most heartening developments of this past year has been the promise of new material from the recently reunited Swearin’, a band that put out this decade’s best demo and one of its best records. Guitarist/vocalist Kyle Gilbride once again takes center stage, voice teeming with both determination and conviction while the band gives the track their all. Intuitive guitar figures and a solid rhythm section elevate the material further, erasing any doubts that Swearin’ have lost a step in their absence. We should all be thankful they’ve returned.

Gabby’s World – Winter, Withdraw

Recently Gabrielle Smith‘s Eskimeaux project shed that moniker in favor of Ó, which turned out to be a temporary placeholder that’s now made way for what should be the project’s final name: Gabby’s World. With that change, the project seems to have a renewed sense of purpose, something evidenced by the ambition of “Winter, Withdraw”. One of the project’s most gorgeous and most breathtaking moments, “Winter, Withdraw” will be the lead-off track for Gabby’s World’s forthcoming Beast on Beast and sets an extraordinarily high bar when paired with other advance track “Rear View“. Whether or not Gabby’s World can live up to the early precedent shouldn’t even be a question.

Yowler – Angel + Where Is My Light

Maryn Jones is either directly responsible or has played a pivotal role in some of the best records and songs of this decade already, thanks to the songwriter’s involvement in both All Dogs and Saintseneca. Yowler, Jones’ solo project, always can claim an entry or two in that category, and returns this year with Black Dog In My Path. Two of the advance tracks for the record occupy different territory but showcase the project’s shift to a full band. Angel is a tender, wistful track that fits in with the project’s earlier material while “Where Is My Light” is a shock to the system, plunging Yowler into unfamiliar — and incredibly dark — depths, incorporating a sludge influence to breathtaking effect for one of this year’s most thrillingly unexpected turns. Both tracks paired together have more than enough to suggest that Yowler may be on the verge of releasing one of 2018’s most inspired records. None of us deserve Jones’ run but we should all be eternally grateful to bear witness.

Cloud Nothings – The Echo of the World (Stream)

It’s been a while since anything went up on these pages and there are a lot of reasons behind yet another interim but, as ever, the work continues to be done behind the scenes. Five posts were scheduled to go up before that break and will be going live today. This is one of those posts.

On the last Cloud Nothings record, the band effectively presented an amalgamation of the project’s entire history, providing a fascinating bent to an excellent record. The band’s set to return with Last Building Burning, their forthcoming album. “The Echo of the World” is the first peek into what the record has to offer and suggests the band may have pared down their approach to presenting a career summation, this time congealing individual aspects that made their earlier work standout.

It’s an exhilarating and even exhausting listen — even at a relatively scant four minutes — but it provides the music itself a renewed sense of purpose, allowing guitarist/vocalist Dylan Baldi’s pained, existential screaming to once again be underscored by ambient, noise-driven guitar work and punched home by the relentless, unmatched drumming of Jayson Gerycz. “The Echo of the World” is an absolutely ferocious work that finds Cloud Nothings in full-on attack mode, baring newly-sharpened fangs. If this is an indicator of Last Building Burning‘s tone, we should all be looking forward to basking in its fire-lit glow.

Listen to “The Echo of the World” below and pre-order Last Building Burning from Carpark here.

17 of ’17: The Best Albums of the Year

Looking back on 2017 was an exhausting effort that seemed to uncover a surprising truth: a lot of the year’s best records wound up standing out by a fairly wide margin. Not just because of the strength of their singles but because of the herculean overall efforts of the acts responsible for the year’s standout songs. To that end, the considerable overlap between the selections for Song and Album of the Year — by far the most that’s ever occurred in the four years these lists have been running — isn’t too surprising.

After listening to hundreds upon hundreds of records throughout the span of 2017, what was a little surprising turned out to be the endurance levels of the records being considered for this list. Some that seemed like surefire locks in the first few months of their release faded, while a few that lingered on the perimeter seemed to gain strength with each successive revisit. One thing that can be said for all the records included in this list is that they’re forceful works that have already proven to have attained the kind of longevity that will serve them well going forward.

From site favorites to year-end mainstays to new faces, the 17 records below offer up an interesting variety. Mental health, youth, aging, hope, despair, and togetherness are all dissected. Icy post-punk numbers, deeply personal folk, and outbursts of irrepressible energy stand shoulder-to-shoulder here, representing a microcosm of what many rightfully saw as one of the most challenging years in recent memory. Take a look back at these releases and grab hold, they should serve the future well.

Washer – All Aboard

Every release tied to Washer‘s name so far has been worth the listen but the band took a massive step forward in 2017 to release their first truly great record with All Aboard. Over the years, the duo has managed to perfect a very particular strain of post-punk, honing their minimalist setup into a jet-propelled engine. Overflowing with career highs for the band, this 15 track titan of a record proves the project’s range, versatility, and talent. It’s an essential release that managed to stand out among a very crowded field.

Great Grandpa – Plastic Cough

Great Grandpa‘s first official full-length absolutely explodes from the outset, “Teen Challenge” obliterating any lingering doubts that this band was ready to take on the world. Plastic Cough‘s ensuing nine tracks go on to continuously elevate the bar the band continuously sets for itself, running a stylistic gamut that ranged from hushed and burdened introspection to moments of gnarled violence. It’s an impressive show of force that never runs out of steam.

Petite League – Rips One Into the Night

Lorenzo Cook, the driving creative force behind Petite League, has been toiling away in relative obscurity for the past few years despite a string of formidable releases. In 2017, Petite League didn’t just make their biggest push into larger recognition, the band also made their best record to date in Rips One Into the Night. Clever lyricism, thoughtful arrangements, mid-fi production, and a charismatic presence elevated the project to a greater level of recognition that was long overdue (and still lacking, all things considered). A seamless mixture of bedroom and basement pop, Rips One Into the Night more than proves Petite League can play with the heavy hitters.

Cayetana – New Kind of Normal

For decades, mental health was something that artists seemed more inclined to subvert in their art, presenting it in a sly sideways glance rather than opting for something more direct. Over the past few years, that approach has noticeably shifted and brought to light some of the best works since the turn of the century. Cayetana‘s most recent effort — their career highlight New Kind of Normal — can now proudly join their ranks. As complete of a record as anything that’s come out this decade, it’s a harrowing confrontation with limitation, impulse, and the kind of desire usually left to the shadows. It also boasts the best arrangements of the band’s discography. A triumph.

Young Jesus – Young Jesus

Three full-lengths to their name and Young Jesus still has a perfect record, each three of those wildly different releases landing the continuously-evolving band a spot in the Album of the Year lists. With that kind of pedigree, self-titling a record would seem like a bold gambit to most but Young Jesus seems to suggest that the band’s in full control of its voice, having radically shifted its lineup and moved clear across the country. Poetic, thoughtful, euphoric, and devastating, Young Jesus easily set itself apart in 2017, thanks in no small part to the record’s towering final three songs, which may well have constituted the year’s most ambitious — and memorable — runs of music.

Deep State – Thought Garden

One of the year’s more overlooked records was also one that proved to have an excess of verve. Bristling with feeling, Deep State‘s Thought Garden was a masterclass in how to effectively translate kinetic energy without losing narrative focus. In lashing back at ennui with a concentrated frustration, Deep Thought created one of 2017’s most unexpectedly fiery releases. Brash and necessary, Thought Garden was — and remains — a record worth remembering, especially in larger conversations.

Weaves – Wide Open

Following a breakthrough record that catapults you from “best-kept secret” status to critical darlings is never an easy task but it was one Weaves had no trouble side-stepping with the breezy, playful Wide Open. Drawing influence from some of Americana’s high watermarks, the band melded and warped those traits into something tantalizingly singular, marrying those cues with tempos and structures that owe slightly more to the East than the West. Genre-melting and world-conquering, Wide Open more than proved Weaves to be one of the premier bands of the moment.

Landlines – Landlines

A small, self-released record that more than held its own against records with more fanfare, Landlines‘ self-titled found its plays incrementally increasing after its September debut. Beautifully combining the finest points of post-punk and basement punk into a cohesive whole that owed as much to Pavement as it did to Parquet Courts, Landlines never stopped impressing. One of the most exquisitely crafted records on this list, Landlines comes jam-packed with little delights that ensure each song is differentiated from the next but that the record stands as a complete whole. It’s a remarkable work that richly deserves a much, much larger audience.

Strange Relations – Editorial You

Few things are as thrilling as a band that’s confidently taking the type of measures that will push them to greater heights. Whether that’s expanding their ambition, increasing their levels of fearlessness, openly experimenting with ideas that may seem counter-intuitive, or simply spending more time on their craft, the end product typically winds up being something of note. In the case of Strange Relations‘ Editorial You, which encapsulates each of the tactics listed above, it’s also wildly successful. Editorial You is unmistakably the sound of a promising act finding their voice and confidently surging forward, fully equipped and ready for whatever might lie in wait

Fred Thomas – Changer

The clarity of voice on Fred Thomas‘ Changer is legitimately astounding. Thomas being one of this generation’s best lyricists hasn’t really been that much of a secret for a while but Changer takes those writing gifts to stratospheric highs with meditations on isolation, aging, individuality, and trying to feel alive. Changer doesn’t just survive on cleverness or memorable turns of phrase though, elevating itself through instrumental composition, demonstrating Thomas’ expanding palette in breathtaking fashion. Far and away the songwriter’s most direct work, Changer also stands proudly as an exhilarating career high. Not just the record that boasted 2017’s best book of lyrics but easily one of the year’s finest all-around efforts as well.

Big Thief – Capacity

One of 2016’s most promising breakout acts didn’t take long to issue a follow-up strong enough to eliminate any lingering doubt over their considerable talent. Big Thief‘s Masterpiece was touted by many at the end of 2016 as one of the year’s best, even more publications followed suit with Capacity in 2017. Retaining the grand sweep of their breakout work, Big Thief got a little more exacting with Capacity. Deeply informed by tragedy and difficult circumstance, Capacity plays like more of a rallying cry than a death rattle, the band finding the heart and humanity in every broken shard of their past and clinging to it in the present as a means of knowing there will be hope for the future.

Cloud Nothings – Life Without Sound

Like Young Jesus, Cloud Nothings have registered a placement on the Album of the Year lists with each of their last three full-lengths. Ever since reforming as a full band, Cloud Nothings have been on an absolute tear, pushing their own limitations at every step (having slightly different lineups for each record likely necessitated a certain level of adaptation). Life Without Sound, however, is the first record the band’s made where it feels like they’re drawing from their past for inspiration. Typically, that glance backwards indicates a band running out of ideas but Life Without Sound is subversive and unpredictable enough to suggest that couldn’t be further from the truth for Cloud Nothings. This is a monstrous, career-encapsulating effort from a band that will always refuse to go quietly.

Tica Douglas – Our Lady Star of the Sea, Help and Protect Us

Over the past several years, Tica Douglas has quietly become one of our best songwriters. Joey went a long way in earning Douglas a reputation as a songwriter worth watching and Our Lady Star of the Sea, Help and Protect Us should further strengthen that argument. It’s a gorgeous record full of unsparing self-examinations and hard-won moments of hope and contentment. Each song taken as an individual piece is riveting but packaged together as a whole, the effect toes the line of being overwhelming. A complete listen is an immersive experience, with all of the scars and all of the healing being felt at every step. When all is said and done, Our Lady Star of the Sea, Help and Protect Us stands as a proud testament to both Douglas’ singular vision and resilient character.

Cende – #1 Hit Single

A band that was gone far too soon at least stayed long enough to gift the rest of us with their only proper full-length, #1 Hit Single. Cende — which boasted members of LVL UP and Porches — has been playing most of these songs out for years before this release and found exhilarating ways to do them justice. Whether it was through string arrangements, guest vocalists, or the production sheen, everything clicked and #1 Hit Single became one of the most winsome basement pop records of this decade in the process. Whip-smart composition, note-perfect execution, and attitude to spare ensured that Cende had enough through one EP and one full-length to leave a legacy that mattered.

Palehound – A Place I’ll Always Go 

One of a handful of artists on this list whose releases have gotten incrementally more impressive with each successive release, it’s hard to imagine how Palehound will top what they’ve achieved with A Place I’ll Always Go. Bandleader Ellen Kempner is in fine form throughout the record, delivering career highs across the board when each compositions is broken down (lyrics, guitar riffs, etc.). A Place I’ll Always Go is also massively successful in terms of pace and tonality, helping the record secure a position as the band’s most fully-formed and complete work. As enthralling as it is captivating, A Place I’ll Always Go solidifies and reaffirms Palehound status as an act worthy of our full attention.

Mo Troper – Exposure & Response

One of last year’s Album of the Year selections, Mo Troper returned this year with the startlingly bold Exposure & Response, that sees the songwriter taking enormous strides forward. From the opening cascade of Beach Boys-esque overlapping vocals on both “Rock and Roll Will Change the World” and “Wedding” to the unexpected grandeur of album highlight “Your Brand” to just about every other surprising minuscule detail on Exposure & Response, Troper finds ways to not just surprise but engage.

Everything that made Beloved seem as if it was destined to earn a rabid cult following and be hailed as a lost genre classic is still intact while other facets of Troper’s formidable songwriting talent has been expanded. Exposure & Response resides comfortably at the intersection of classical maneuvering and modernist delivery as Troper anchors the proceedings with trademark bursts of self-deprecating self-awareness. It’s a landmark record from a burgeoning talent that begs to be left on repeat. Somehow, it gets better every time.

Album of the Year:

Charly Bliss – Guppy

A record that’d been lingering in purgatory for nearly three years finally saw the light of day in 2017 as Charly Bliss set out to light the world on fire. Guppy, at every stage of its development, has always been a knockout record. In its first iteration, it was a growling monster full of low-end bite and emphatic force. The band stripped it back a little, polishing the edges and swapping out a few songs to present something more refined while still retaining a certain edge.

The record’s immediate success came as a surprise to virtually no one that had been paying a lick of attention to the band over the past several years. Touring with high-profile bands — whether they were storied bands with rabid fanbases or exciting upstarts — ensured their range of listeners would be wide. Every step the band’s taken over the past 5 years has been savvy, something that was already evidenced with what remains this decade’s best EP, 2014’s Soft Serve.

Still, making smart business decisions can’t generate any sort of impression if the product is subpar. Fortunately, for everyone, Charly Bliss’ insane musical pedigree (all four members have degrees in musical fields) essentially ensures that they’ll be operating at an extraordinarily high level when it comes to actually writing songs. Guppy provides an excess of proof that Charly Bliss — in addition to being masterful at their craft — have held onto an internal fire that’s fueled their music since their modest beginning.

“Percolator” kicks Guppy off with an insane surge of adrenaline, taking the band from 0 to 200 in one quick crescendo, leaving everyone else to catch up to the trail of dust the band leaves in its wake. Memorable song to memorable song, the quartet rips through their winsome brand of bubblegrunge with aplomb. Mixing twee asides with moments of vicious reality, the band creates a 10 course feast that somehow manages to feel both of the moment and timeless all at once.

A record that brings self-loathing, friendship, earnest sincerity, self-empowerment, and the way they all manage to connect into startling focus, Guppy is as much of a success as a narrative as it is in the instrumental arrangement department. The record’s ridiculously powerful — and surprisingly heavy — “Julia” even sees the band flexing its range, proving that they’ve got quite a bit more up their sleeves.

When all the smoke’s cleared and Guppy has disappeared into the ether, the impression it left in the moment never fades and keeps pushing for rediscovery. It’s a record full of hooks that dig in and stay. It’s a record that’s as willing to open scabs as it is to mend wounds. It’s a record that knows how to have several cakes and eat every last one. Finally, it’s a record that stands out as an easy pick for 2017’s Album of the Year.

17 of ’17: The Best Songs of the Year

2017 was a staggeringly balanced year in terms of memorable musical output. To honor that consistency, the typical run of 17 songs will be complemented by a list — in no particular order — of 83 other great songs to find release throughout the year. As usual, the “best” tag simply acts as shorthand for the music I was fortunate enough to consume from January through December, which had an individual song list that tallied well into the quadruple digits.

Names that are already familiar to year-end lists on this publication reside comfortably alongside artists who are still looking to make a larger impression. Non-singles are included with some of the year’s strongest advance tracks and songs that tip towards hardcore rub shoulders with some quiet basement pop numbers. There’s a lot to contemplate — both inside and outside of the top 17 selections — and even more to celebrate.

These are the 17 best songs of 2017.

Enjoy.

Great Grandpa – Teen Challenge

One of the great album openers of 2017, “Teen Challenge” reintroduced a noticeably more explosive version of Great Grandpa that wasn’t afraid of hairpin turns or controlled catharsis. From the outset of “Teen Challenge” the band is swinging for the fences but it’s not until the enormous final section where something deeply impressive transforms into something legitimately inspiring. It’s a celebratory song that comes loaded with conviction and is delivered with the type of determination that refuses to be held back.

Mo Troper – Your Brand

One of this site’s picks for last year’s Album of the Year honors, Mo Troper returned this year with two records. One, a collection of older material reworked for Troper’s current band, the other, an inspired effort of new material that saw Troper expanding his ambitions to legitimately unexpected degrees. The elevation of both songwriting and production on Exposure & Response is particularly evident in career highlight “Your Brand“, which finds Troper turning his gaze towards the brand-obsessed inhabitants of social media, people who treat themselves as corporate entities and flaunt varying levels of entitlement.

Occasionally, those same denizens find the levels between tongue-in-cheek mockery and unwitting sincerity blurring into an unrecognizable definition. It’s a richly-deserved skewering that’s shot through with a resigned understanding. The tasteful string and brass arrangements that adorn “Your Brand” send the song to euphoric heights even as Troper is weighed down in the bog of a tragicomic reality. It’s a masterful outing that positions Troper as one of the most promising pop songwriters of this generation.

Cende – What I Want

Cende‘s first and final full-length effort was an enticing effort headlined by a slew of singles that all warranted consideration for placement on this list (and earned individual write-ups). None of them wound up impressing quite as deeply as the song boasting the record’s most challenging — and towering — arrangement, the Greta Kline-featuring “What I Want“. Falsettos, a lilting string arrangement, and an incendiary bridge showed off Cende’s formidable range, tilting from something approaching the saccharine to a vicious instrumental outburst at the click of a hi-hat.

Charly Bliss – Westermarck

Few bands have earned as much attention and praise from this site as Charly Bliss over its four-year existence and it was heartening to watch the band break out in 2017 with one of the year’s most affirming releases in Guppy. While every track on that record is noteworthy for one reason or another, it was “Westermarck” that kept revealing deeper facets of itself. A rousing meditation on uncertainty couched in an unapologetic joy of simply being alive, the song became an unlikely anthem for anyone questioning their partner’s motives (especially in significantly skewed familial setting).

Common Holly – Nothing

Tender, sparse, and wrought with longing, Common Holly‘s “Nothing” proves how adequately minimalist formulas can maximize difficult emotions. It’s a bare-bones run through a personal affirmation, rendering something that appears delicate at first blush searing at second glance. More than that, “Nothing” introduces Common Holly as a deceptively powerful artist with the capacity to deliver breathtaking turns in the quietest rooms.

Weaves – Puddle

Riding a wave of critical adulation and having earned the respect of their contemporaries, Weaves returned in 2017 with Wide Open, an aptly named run that they billed as their Americana effort. While the record takes a lot of notable cues from that genre, the band’s wildly erratic, genre-obliterating core remained intact with the barn-burning closer “Puddle” acting as the clearest indication that the band’s unpredictable firepower was still fully intact.

Fred Thomas – Misremembered

Following a record as momentous as All Are Saved will always be a difficult task but to surpass high expectations in the way that Fred Thomas managed with Changer is a rarity. From the record’s dynamic opening track, Thomas proves to be more focused than ever, spinning barbed tapestries of lived-in realism with unmatched verve. “Misremembered” isn’t just a testament to Thomas’ lyricism, either, the fiery music that serves as its backdrop propelling it to stratospheric heights.

Big Thief – Breathe In My Lungs

A lot of outlets gave Big Thief‘s breathtaking “Mary” a deserving amount of love, ranking both the song — and the record it resides — as the year’s best. Meanwhile, the band’s devastating B-side, “Breathe In My Lungs”, flew under the radar. As is often the case with bands as prolific and talented as Big Thief, “Breathe In My Lungs” is so much more than just a castaway or afterthought, it’s one of their most heartrending numbers, expertly using the considerable weight of guitarist/vocalist Adrianne Lenker’s singular voice to turn in some of the year’s most unforgettably damaged romanticism.

Cayetana – Bus Ticket

2017 saw a very large handful of bands taking the next step in their evolution but few seemed to take their strides forward with as much assurance as Cayetana, who zeroed in on what’s long been the crux of their songwriting: mental health. No song conveyed this more than their staggering “Bus Ticket“, which saw the band slowing the tempo and accelerating the force the trio’s always put into their compositions. Managing to be direct and atmospheric simultaneously, “Bus Ticket” stands proudly as a career high for a band that’s found their voice.

Yucky Duster – Elementary School Dropout

One of the year’s most unabashedly exuberant records came in the form of Yucky Duster‘s latest EP, Duster’s Lament. Headlined by the effusive “Elementary School Dropout”, the band offered up an irresistible slice of joyful basement pop that grounded it’s more playful elements with some effective self-deprecation. Expertly toeing the balance between the light and the bleak, “Elementary School Dropout” stood out as 3 of 2017’s most outright fun minutes in a year where that sort of thing was desperately needed.

Strange Relations – Say You

One of the boldest re-introductions of 2017 came by way of Strange Relations‘ enormously confident Editorial You, which was teeming with memorable bursts of icy post-punk that saw the band considerably elevating their grasp on composition. One of the most significant individual outings for the project comes on the record’s second track, “Say You“, which conjures up a steely demeanor and enhances it with fiercely jagged musical interplay. Both minimalist and towering, it’s an obscenely impressive song from a young band that seems determined to continuously reach for greater heights.

Covey – Call Home

There were a lot of songs that came out over 2017’s 12 months that occupied a similar space as Covey‘s “Call Home”: laid back, lovely, unassuming, and tinged with regret, loneliness, and despair. None of them wound up staying the way “Call Home” managed to stay; the song’s melodies and gorgeous chorus humming along and dominating unexpected spaces of memory when it could’ve just as easily rescinded into oblivion. Every return listen offered a new take and at some point, the song migrated from being a pleasant curiosity to something far more essential: one of the year’s best.

IDLES – Mother

Recently given Music Video of the Year honors, IDLES‘ “Mother” also comes off as a ferocious head-turning effort when stripped from its hyper-intense visual accompaniment. Vocalist Joe Talbot repeats several mantras throughout “Mother” — written as a tortured tribute to his own late mother, whose portrait graces the record’s cover — each of them decrying two evils: one political, one sexual, both too frequently intertwined into a nightmarish whole.

Viciously opposed to a system that uses a weighted system to the benefit of the people who are afforded privilege, the song is a startling reminder of the seething anger and frustration of the people who oppose those systems. It’s a clarion call delivered with an excess of venom, using it’s hardcore leanings to drive a message home hard enough that the ramifications of our choices are left lingering in the smoke.

Palehound – If You Met Her

A beacon of consistency over the past several years, news of a new Palehound record was welcome when it was first announced. The first few singles were packed full of the band’s usual tricks but then “If You Met Her” arrived and decimated everything. A hard-hitting look at how the loss of someone you know can affect your own perception of what it means to die, “If You Met Her” immediately registered as not just Palehound’s darkest effort but the project’s best as well.

It’s a gripping, grounded meditation on life itself and it’s delivered with such empathetic understanding that it’s nearly impossible to listen to the song in full without running through an avalanche of feeling. Anything that inspires that level of emotional response and visceral reaction is worth noting — and in the case of “If You Met Her”, it’s more than worth celebrating.

Young Jesus – Feeling

A longtime staple of this site’s coverage, Young Jesus have continuously found exciting ways to evolve as a band in the face of a slew of obstacles that leave lesser bands stumbling. From nearly complete lineup shifts to a refocused experimentation to a relocation that took them from the upper Midwest to the West Coast. The band’s latest effort saw a quick self-release suddenly disappear only to be re-released shortly after by Saddle Creek.

All it takes to understand why such a revered label would take on the band is one listen to “Feeling”, a sprawling 10-minute opus which beautifully showcases the band’s remarkable range, guitarist/vocalist John Rossiter‘s penchant for blending memorable poetry with unforgettable melody, and a growing fearlessness. It’s a heart-stopping moment on what remains one of 2017’s most woefully overlooked records and reaffirms Young Jesus’ place as one of today’s best bands.

The Magic Lantern – Holding Hands

Easily one of 2017’s outright loveliest moments, The Magic Lantern‘s “Holding Hands” casts a spellbinding magic all its own within its opening figures, as a yearning vocal is laid on a bed of gentle saxophone figurines. As the notes and vocals hold — with as much purpose as the imagined goal of the narration, no less — the song winds up with enough power from two core elements to elicit chills.

When the body of “Holding Hands” takes shape as the drums kick in, providing yet another one of 2017’s most perfectly-realized moments, it becomes abundantly clear that something miraculous is happening on the track. By the time it all winds to a ghostly close, “Holding Hands” has left a mark that deserves to be called upon fondly in the days to come. In all of it’s warmth and care, “Holding Hands” pushes forward from a simple greatness and achieves something far closer to transcendence.

SONG OF THE YEAR:

Mount Eerie – Real Death

When Mount Eerie‘s “Real Death” first arrived, it was set to get a standalone feature. That post never arrived as I personally struggled with the decision to attempt to bring any sort of discourse to something so nakedly personal, which held true for A Crow Looked At Me (the record it’s from) as well. As time passed, that decision lingered, though it became increasingly difficult to listen to both the song and the record, famously written about the death of the songwriter’s wife and recorded in the studio she’d built in their house, on the instruments she left behind.

Even without being able to listen to the song, the memory of the song stayed as strongly as the feelings that accompanied the first listen (as well as the subsequent ones). It’s the sound of Phil Elverum tearing his own wounded heart out of his body to present to the world so that they can understand what kind of grief accompanies something so tragically world-shifting.

While every moment of “Real Death” is shattering, the weight of it becomes nearly unbearable when Elverum shifts the lyrics from oblique poetry to a hyper-specific narrative, recounting one moment of singular heartbreak that arrived with a package that has late wife had secretly ordered for their daughter. In that retelling, Elverum envisions his wife, living with the knowledge that her wife would be ending, thinking ahead and wanting to provide comfort for the people she loved.

Not only does that specific moment touch upon why Geneviève was someone he loved so fiercely but, in doing so, provides the song’s listeners a glimpse into her character as well. It effectively shifts the tonality of the record even further toward heartbreak by painting such an intimate portrait, making “Real Death” come across as even more unmistakably, painfully human. It’s a tribute to an artist that so many of us wish we knew and stands as a stark reminder to cherish the ones we do know while we can and to strive to match their gifts with our own.

By positing real-life implications alongside meaningful execution, “Real Death” became something much larger than the sum of its parts. In plumbing the depths of personal loss, Elverum’s Mount Eerie projected gifted us something hard to experience and impossible to forget. With any luck, it will steer us towards more effectively demonstrating our love when it can be appreciated by the people for which it’s intended.

 

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The Best of the Rest

18-21

22-26

27-32

Middle Children – Baby Boom
Joyce Manor – NBTSA
Thurst – Forever Poser
The New Years – Recent History
Monomyth – Puppet Creek
Hermetic – Strategic Default

33-100

Protomartyr – A Private Understanding
Alexander F – Call Me Pretty
Pile – Dogs
Vagabon – Cold Apartment
Cloud Nothings – Internal World
Prom Queen – Blonde
Holiday Ghosts – Can’t Bear To Be Boring
Washer – Dog Go Bark
Grouper – Children
Slaughter Beach, Dog – Fish Fry
Fits – Ice Cream On A Nice Day
Meat Wave – Run You Out
The Spirit of the Beehive – Ricky (Caught Me Tryin’)
Walter Etc. – April 41st
Chemtrails – Deranged
Juila Louise – Brat
See Through Dresses – Lucy’s Arm
Amy O – Lavender Night
Modern Baseball – This Song Is Gonna Buy Brendan Lukens A New Pair of Socks
Girlpool – It Gets More Blue
The Total Bettys – Stay Here All Night
Tica Douglas – Same Thing
Midnight Reruns – Warm Days
WHY? – Proactive Evolution
Hand Habits – Sun Beholds Me
Long Neck – Mine/Yours
Julien Baker – Appointments
Anna Burch – Asking 4 A Friend
Palm – Walkie Talkie
Single Mothers – People Are Pets
Lydia Loveless – Desire
Deem Spencer – Soap
Two Inch Astronaut – Play To No One
Blessed – Headache
Diet Cig – Maid of the Mist
Madeline Kenney – Big One
Dream Wife – Somebody
Bethlehem Steel – Finger It Out
Strange Ranger – House Show
Miya Folick – Trouble Adjusting
Jesca Hoop – Pegasi
Fiji-13 – Mansplain It To Me BB
Idle Bloom – Dust
Florist – What I Wanted To Hold
Beachheads – It Feels Alright
Fruit & Flowers – Out of Touch
Ratboys – The Record
Schlotman – Holy Basil
Lost Balloons – Numb
John Rossiter – Mom Guitar
Lomelda – Interstate Vision
Walter Martin (ft. Matt Berninger) – Hey Matt
Jay Som – The Bus Song
Japanese Breakfast – The Body Is A Blade
Screaming Females – Glass House
Phoebe Bridgers – Smoke Signals
Open Mike Eagle (ft. Sammus) – Hymnal
Half Waif – Frost Burn
Petite League – Pocketknife
Say Sue Me – Bad Habit
Petal – 15
Waxahatchee – Silver
Jason Isbell & the 400 Unit – If We Were Vampires
Siobhan Wilson – Whatever Helps
Sammi Lanzetta – Circles
Deep State – Nothing Speaking
Saintseneca – Moon Barks at the Dog
Lithuania – 5000 Year Leap

The Best of the Rest: Honorable Mentions

More than two months have come and gone since the last post went live on this site. True to form, the collection of materials never ceased in that time. A disparity between collection and production grew more intimidating and adjustments were being made continuously as new angles for Heartbreaking Bravery were (and still are) being considered. This remains a one-person operation and it can be a daunting task to take on the level of commitment that was required to keep this place going in its established direction.

More than once, I contemplated just ending its existence but could never escape the thought that representing under-represented music remained a vital necessity, especially in a climate where our tastes are now curated and formed more by coldly computed algorithms than actual human interest. All of the year-end lists overlapped, certain streaming giants heightened the exclusivity of their arrangements with major distributors to the point representing emerging artists without major representation borders the impossible.

Those aspects of the industry need a corrective, something that my friends, contemporaries, and publications worthy of aspiration have all but made their mission (and to that end, I would like to extend another round of personal thanks to bandcamp, GoldFlakePaint, Post-Trashdimestore saints, The AlternativeThe Grey Estates, ROOKIE, She Shreds, Various Small Flames, Swell Tone, and a host of others, along with every alt-weekly in existence). As those correctives became noticeably more impassioned during the brief hiatus from publishing, I found myself getting progressively more inspired to continue on with Heartbreaking Bravery and found myself constantly combing through back catalogs of publications that clearly cared about unheralded voices.

Of course, there are still established voices of note making worthwhile art and they deserve representation (some even staked out their names through hard-fought battles instead of buying their way into recognition) and those artists will be mentioned. However, the scales here — just as was the case in the past — will never be exponentially weighted to favor that recognition. Something that will be profoundly clear below in the list I’ve compiled across these 2+ months of songs, music videos, and records worth experiencing. I don’t expect anyone to actually comb through all of these but please, click around, and hopefully those random clicks will lead to a discovery of a new favorite. Enjoy the list and keep an eye out for more posts in the days to follow.

SONGS

Courters, Mirah, Mush, The Cabin Fever, Unlikely Friends, The Number Ones, Hater, Moonwalks, Lost Boy ?, Gladshot, Kal Marks, The Royal They, Palm, Strand of Oaks, Rosie Carney, Littlefoot, Dirty Fences, Bee Bee Sea (x2), Spice Boys (x2), Leggy, Barren Womb, No Age (x2), Canshaker Pi, The Holy Dark, Oneida, Jane Church, The She’s (x2), Chastity (x2), Lemuria (x2, 3), The Fluids (x2, 3), CIVIC, Luxury Death, Lauren Ruth Ward, Vundabar, Kindling (x2, 3), Sunflower Bean, Curls, Guided By Voices, OCS, The Dazies (x2), Gleemer, HOLY (x2, 3), Big Heet (x2), QWAM, Common Holly (x2), Leah Calvert (x2), Superchunk, Curtis Harding (x2)

Bed Wettin’ Bad BoysNation of Language, A. Savage (x2), Hayley Hendrickx, Kevin Devine (ft. Half Waif), Screaming Females, Ryan Power, Passed Out, Pope, ShitKid (x2), Chemtrails (x2), Whelpwisher (x2), GROUNDS, Skye Wallace, Salad Boys, Cut Worms, Doe PaoroNilüfer Yanya, Protomartyr, Fuzzystar, Miss World (x2), Luggage, Cloud Nothings, St. Vincent, Johanna WarrenYØUTH (x2), M.A.G.S., Son Little, FRAME (x2), Adults, Makthaverskan, The Growlers, The Van T’s, ALCABEAN, Emerson Star, blis. (x2), Surf Rock Is Dead, Tennis Club, The Nickajack Men, Small Forward, Casper Skulls, NE-HI (ft. Jamila Woods), Gestures (x2), Mansions (x2)

Shopping, Monster Rally (x2), The Presolar Sands, Lola Pistola, Who Is She?, The Golden Boys, Lean Year, Jr. Thomas & The Volcanos, BIRDS, CO SONN, Lasse Matthiessen (ft. Sarah Hartman), ghostel, Holy Motors, Ty Segall (x2, 3), Sound of Ceres (x2), Bodies Be Rivers (x2), Jessica Boudreaux (x2), STRFKR, Lull, Invisible Minds, Keto, Goat Girl, Wax Mistress, Deathlist, Mr. Yolk, Poppy Ackroyd (x2), Anamon, Ephrata, The Tin Can Collective, The Violet Whispers, Mean Motor Scooter (x2), Plastic Flowers, Longface, lkffct, Twist, Worriers, Strange Ranger, Table Scraps, Hunter & Wolfe, The County Liners, Elan Noon, Karl Blau, Jesse Jo Stark, The Yada Yada Yadas

OxenFree, Petal (x2), ESSi, Yeah Yeah Yeahs, Tough Age, Gregg Kowalsky, The Saxophones, Century Thief, NADINE, Cina Polada, Line & Circle, Angelica Rockne (x2), Floral Print, Angel Olsen (x2), King Khan, Blush (x2), Fox Face, Runaway Brother, sleeping in, Pistoleros, Moderate Rebels (x2), Sam Michael Trowse, Duncan Kissinger, DMA’s, Peter Matthew Bauer (x2), PONY, Jennie Vee, Joey Sweeney, Mimicking Birds, Andrew Hung, They Might Be Giants (x2), Mavis Staples, Long Neck, Reptaliens, Plush, Krief, Half Waif, Twain, Jessie KivelMichael Jablonka, New PortalsAnne Müller, Birthing HipsAxel Flóvent, Mineral Girls, Major Love, Emily A. Sprague

And The Kids, Hidden Places, Warbly Jets, Mattiel, Joint Effort, Renata Zeiguer, Forced Random, Tobias Reif, Joey Sweeney, Gabrielle Shonk, Sarah Clanton, Dead Leaf Echo, Lankum, Whitney, The Echo Friendly, Meernaa, Gunn-Truscinski Duo, Iron Chic (x2), Gingerlys (x2, 3), Bad History Month, The Gloomies, Jordan Klassen, Bedouine, Daniel Tanghal, Graham Coxon, Cock & Swan, Marine, Aldous Harding, Circuit des Yeux, Glen Hansard, Michael Jablonka, Tempesst, Palo Duro, Small Leaks Sink Ships, FriendshipMÄRVEL, Mt. Doubt, Headroom, Lake Jons, Mister Heavenly, Pearla, Camp Cope, Bat Fangs, Eagle Johnson & Clean Machine, Crater, Memnon Sa

Mallrat, Ora Cogan (x2), Clara Stauch, Feather Beds, Grieving, Refrigerator, Lake Jons, The Clydes (x2), Jaye Bartell, Anna St. Louis, Arielle LaGuette, Erthling,, Execution/Rise, Wilderman, Dream Nails, Tree House, This Will Destroy You, Tracy Bonham (ft. Sadie Dupuis), First Aid Kit, Michael VM, Thom Gillies, Young Mister, Peacock Affect (x2), Kinjac (ft. Kathryn O’Shea), Baths, John K. Samson, Hey Elbow, Racquet, Kenneth Aaron Harris, Jerry Joseph, The Go! Team, Jesse Merchant, Ezra Feinberg, Water From Your Eyes, Airpark, Jerry David Decicca, Leon of Athens, Paddy Hanna, Ride, The Captain of Sorrow, Charlotte Gainsbourg, Purling Hiss

Tenderfoot, Everything By Electricity, I, Alexander, Prurient, S. CareyWalter Martin, Lowpines, Sulky Boy, Glass MuseumClub 8, Mildlife, Vern Matz, Mick Jenkins, Edan Laniado (ft. Orin Jacobson), Benjamin Jaffe, Tangerine, Stonefield, Haily Taylor, swim good now (ft. Half Waif & Georgian Bay), Tim Heidecker (x2), Anna Tivel, Maria Kelly, Balkan Bump (ft. Paul Bertin), Curtis Roush, Fruition, Telete, Loma, Pinkshinyultrablast, Gary War, The Rural Alberta Advantage, Coucheron, avalon, red steppes, LeyyaTrès OuiHit Like A Girl, EMA, Holly Miranda, ILUKA, Magic Wands, Garden City Movement, True Blue, Underwater BoysJason S. Matuskiewicz, giant gutter from outer space, Sundrops, SELLARS, Alice Boman, The Rentals, No Wine For Kittens, Tennis, Eric Slick, Cara Salimando, and Slothrust.

MUSIC VIDEOS 

Twist, CIVIC, Hovvdy (x2), Human People, The Van T’s, Sorry (x2), Petite League, Anna Burch, Shannon & The Clams, Gleemer, OxenFree, Club Night, Moaning, Common Holly, Prom Queen, Liza Anne, Shopping, Good Boy, Robot, The Tin Can Collective, Wavves & Culture Abuse, The Spook School, The Breeders, Oh Sees (x2), Quicksand, Phoebe Bridgers, Vagabon, Deerhoof, Open Mike Eagle (ft. Sammus), Kevin Krauter, Bully (x2), Sego (x2), Pure Violet (x2), Sweater, Marlon Williams (ft. Aldous Harding), The Go! Team, Airpark, Francobollo, Lionlimb, Table Scraps, Anamon, AllegrA, Angel Olsen, PINS, Reptaliens, Flat Worms, Lost Boy ?, L.A. Witch, Anna Tosh

Darkbird, The Prids (x2), Longface (x2, 3), The She’s, Demons, Mt. Doubt, Cherry, Palm, Olden Yolk, Miya Folick, Walrus, Yumi Zouma, Stella Donnelly, Johnny Marr and Maxine Priest, Hatchie, Everyone Is Dirty, The Cheap Thrills, Jesca Hoop, Becca Mancari (x2, 3), The Coathangers, Julie & The Wrong Guys, Madeline Kenney (x2), Miss World, Born Ruffians, Varvara, Soft Fangs, Paul Cherry, Aesop Rock, Typhoon, Hayley Hendrickx, Winter and Trabants, Worriers, Escobar, The Velveteins, The Go! Team, Beatriz, Beliefs (x2), Calexico, Bonnie ‘Prince’ Billy, Tim Kuhl, Stillwave, TR/ST, Dream WifeBjörk, Malk, Weaves (x2), Courtney Barnett + Kurt Vile

Avery Tare, Wiki, SAVAK, Trupa Trupa (x2), Tune-Yards, Mauno (x2), Beechwood, Ron Gallo, David Ramirez, MAUDLIN, Hearken, Porches, Julien Baker, Charlotte Gainsbourg, The Magic Lantern, Canshaker Pi, Django Django, Shame (x2), Ocean Wisdom, Legendary Shack Shakers, Duncan Lloyd, Littlefoot, BOYO (x2), Sam Coffey & The Iron Lungs (x2), Wolf Parade, Good Boy, Three Conductor, Se’A (ft. Cellus Hamilton), Single Mothers, Pretty Lights, Charles Howl, NE-HI, Melkbelly, Ought, Steady Sun, Fake Palms, Candace (x2), Dude York, Big K.R.I.T., Blasteroid, Jessica Lea MayfieldMoral High Horses, Emily Haines & The Soft Skeleton, M.R. Bennett

Sprinters, The Horrors, Molly Burch, Tempesst, Montero, VOWWS, Mondo Cozmo, Deca, Strawberry Runners, Dutch Party, Gun Outfit, The Coathangers, Panteon, Nicole Atkins, Moses Sumney, Lower Pink, Sloan Peterson, Lina Tullgren, Monk Parker, Birthing Hips, Guantanamo Baywatch, Derde Verde, Wild Ones, Liars, BADBADNOTGOOD, Wes Montgomery, Alissia, Fufanu, Pale Grey, liv, Turnover, AmplineDan Deacon, The Morelings, The Exbats, The Weather Station, ELETTRODOMESTICO (x2), The Ah, Brenda, Death By Unga Bunga, Billy Woods, Lionlimb, King Krule, New Candys, Hoops, Outsider, Joy Again, Heaven, Romantic States, Quicksand, The Darts

Alex Lahey, Suno Deku, H.C. McEntireFirst Aid Kit, India Ramey, Grounds, Prom Queen, The Soft Moon, High Waisted, Flying Lotus, Alexandra Savior, Underwater Boys, Courtship Ritual, Dude York, St. Vincent, Hunter & Wolfe, King Gizzard & The Lizard Wizard, Cloakroom, Ephrata, Kat Myers & The Buzzards, Holy Wars, Soft Swells, Downtown Boys, Prude Boys, Odonis Odonis, CHUCK, Broken Social Scene, Baronen & Satan, Dances, Glitches, Chelou, Teenage Feelings, The Staves, Cool American, Mikko Joensuu, Son Lux, Twinsmith, NEWMEN, Shipping Forecast, HALFNOISE, Sound of Ceres, WHIMM, Mono Club, Michael Nau, Diet Cig, Astronautalis, Tycho, Stillwave, The Pains of Being Pure at Heart, Ice Balloons, Sparks, Torres, Freedom Fry, and Howard Ivans.

FULL STREAMS

Panoptique Electrical, Gingerlys, Fox Face, Surrounder, The Drafts, First BaseMatty Ann, Slothrust, STRFKR, Floral Print, Miss World, dreambeaches, Slight, Foolish Atoms, Permahorn, Bloodsport: The Movie, The Band, Idle Empress, Littlefoot, Dead Hero, Courtney Farren, Bartees & The Strange Fruit, Shamir, Superchunk, Birthing Hips, Gestures, EiS: Live At Shea Stadium, deathlist, Casper Skulls, Jessica Boudreaux, CD-ROM, Colby Miller, Patsy, Robot Apocalypse, False Flag, Bad Daddies, SAVAK, Spiritual Cramp, Covey, WHIMM, Brainstory, Deva Mahal, Angelica Rockne, The Sight, High Waisted, Slanted, Pool Holograph, Mansions, Pura Mania

Mister Heavenly, Lady Parts, Suno Deku, Sob Stories, The Persian Leaps, After Hours Radio, No Vacation, Forest Swords, RAZZ, FURY, Big Heet, Bad Galaxy, King Khan, Rakta, Leor Miller and Francie Cool, Haunted Summer, The Hague, Thought Balloon, Blasteroid, The Telly, Gunn-Truscinski Duo, Longface, Cina Polada, Strawberry Runners, Shoeb Ahmad, Fairy Godmother, Beliefs, Becca Richardson, Roz and the Rice Cakes, Sad Baxter, Hidden Bay Records, Zapoppin’, Rainwater, The Mountain Goats, Sauna Accident, Prawn, Raleigh, Exquisite Ghost, M.R. Bennett, Paperhaus, Nervous Dater, Fool Heavy, Intergalactic Lovers, Omni, and Landlady.

The Honorable Mentions of August 2017

A lot has happened over the past month and the time to get this site back on track has nearly arrived. On a quick personal note: Heartbreaking Bravery is now based in Madison, WI and will likely expand on some forms of coverage — and feature selections — in the very near future. Before all of that can happen, it’s imperative that the events of the past month be taken into stock. We’re now arriving at a time where the AotY-caliber material descends like a waterfall and it can be overwhelming. To that end, this post will highlight all of the new songs, music videos, and records that made a sizable impression over the past month. A few more posts will follow but if anyone’s looking for a wide-ranging variety of outstanding new music, it’d be best to bookmark this page and spend hours clicking around. It’ll be worth the time.

RECORDS

The Obleeks, Honeyrude, Thanks for Coming, Duncan Fellows, UV-TV, SOAR, The Anatomy of Frank, Tyler Ditter, Big Fred, Half Gringa, Little Kid, Guggi Data, Dina Maccabee, Small Reactions, Noon, At Zero, Dude Elsberry, Guided By Voices, The Ocean Party, Rick AshtrayFrøkedal, Faith Healer, Winston Hightower, Rose Hotel, Maneka, Ice Balloons, Black Mekon, WALK, Luke Rathborne, Mosquitos, Limp Wrist, The Homeless Gospel Choir, Club Night, Sunrot, Judders, No Museums, DieAlps!, Howlin’ Banana, and Ruination.

MUSIC VIDEOS 

David Ramirez, The Coathangers, VARSITY, Potty Mouth, Cody & Danz, St. Vincent, Courtney Barnett & Kurt Vile, Phoebe Bridgers, Black Kids, Los Angeles Police Department, Omni, Melkbelly, Mauno (x2), Curtis Harding, Trupa Trupa, Amy O, Jessica Lea Mayfield, OxenFree (x2), Ritual Talk, Palehound, Small Reactions, Land of Talk, Nnamdi Ogbonnaya, People Like You, Hurray For The Riff Raff, CHUCK (x2), Sam Coffey and the Iron Lungs, Oak House, Liars, ayo river (x2), Jason Isbell and the 400 Unit.

Kane Strang, Peach Pit, Manchester Orchestra, Elettrodomestico, Black Lips, Circuit des YeuxSløtfaceFilthy Friends, Hellrazor, Quiet Hollers, Fake Palms, Partner, Folkvang, The By Gods, Sorority Noise, Cloud Nothings, Young Boys, Annie HartDaniele Luppi & Parquet CourtsThe Safes, Small Culture, The Mynabirds, Sparks, Gallery 47, ALA.NI, Poppies, BABY!, Briana Marela, Pile, Hope, Ellen and the Degenerates, Wild Honey, Early Riser, Baby Jesus, Cassels (x2), Midnight Sister, Alex Lahey, Sono Oto.

Frankie Rose, The Homeless Gospel Choir, Shabazz Palaces, Warm Body, doubleVee, Sound of Ceres, Beliefs, Rainbrother, Arrows of Love, WAND, Demure for Sure, Emily Haines & The Soft Skeleton, Dead Heavens, DieAlps!, Grey Gersten, Ride, Wolf Parade, Kevin Morby, Prism Tats, Cristobal and the Sea, Becca Mancari, The New Pornographers, Surrounder, Houg, Mount Kimbie, High Bloom, Ian Randall Thornton, Michael Charles Smith, Steve Martin and the Steep Canyon Rangers, Mr. Muthafuckin eXquire, Rookin, Ibeyi, Marlon Williams, Black Beach, At The Drive In, Douse, Anthony, Open Mike Eagle, Your Old Droog, Girl Ray, and Superet.

SONGS

Beachtapes (x2), Partner, The Willowz, Julie & The Wrong Guys, Slothrust, The Pains of Being Pure at Heart, Dream Wife, Karl Blau, Petite League, Florist (x2), Lean Year, Worst Place, Fits, METZ, Prom Queen, Lina Tullgren, Strawberry Runners, Slaughter Beach, Dog, A. Savage, Covey, Dava Gavanski, Bully, Cherry, floral print, Floating Action, Anti Pony, Soft Fangs, Queen Moo, Strawberry Runners, VV Torso, ORB, Gleemer, Holy Wars, Ephrata, Ben Grigg, Reptaliens, Sam Evian, Looming.

Hope Sandoval & The Warm Inventions, Holiday Ghosts (x2), OCS, Pardoner, Friendship, Top 8, Strange Relations, Lomelda, The Tin Can Collective, Graham Hunt, Mini Dresses, Versing, Caracara, A Giant Dog, Makthaverskan, Pool Holograph, Jack Cooper, Noah Engel (x2), Tall Friend, Mercy Weiss, Monogold, Sick Feeling, Temple of Angels, Duds, Allah-Las, Mutts, Hand Habits, Silver Torches, Twist, Honeyrude, Tapeworms, The Jesus and Mary Chain, Ripped Genes, Liars (x2), Dead Stars (x2), Philip Selway.

Jude Shuma, The Persian Leaps, Rick Ashtray, Small Circle (x2), Twain, Car Seat Headrest, Everyone Is Dirty, Protomartyr, Black Beach, Smoke Rings, John Dylan, Maneka, Club Night, Nassau, Plastic Pinks, David Ramirez (x2), Weird Owl, Cults, Hercules & Love Affair, Charles Howl, The Duke Spirit, BIRDS, Pale Honey, The Dream Syndicate, Cina Polada, Alex Calder, Ruby Fray, Camp Counselor, Linda Perhacs, IDYLLS, The Dig, Nora Jane Struthers and the Party Line, WHIMM, PictureHouse, Duncan Kissinger.

S. Carey, The Dodos, Pinkshinyultrablast, Yumi Zouma, Deerhoof, Son Little, Haunted Summer, Quicksand, The Cribs, Death From Above, Mirah, Walter Etc., Ben Stevenson, L.A. Witch, Trevor Sensor, Francis, Wild Ones, Blank Range (x2), Cloning the Mammoth, King Khan, STACEY, The Darts, The Duke of Surl, Siv Jakobsen, North Lynx, Looms, Sauropod, Plateau Below, Out Lines, Joey Sweeney, Deradoorian, Parentz, Norma, Surf Rock Is Dead, Freedom Baby, The World Is A Beautiful Place & I Am No Longer Afraid To Die.

ExSage, The Sighs, The War On Drugs, DDCT, Hudson Bell, The Side Eyes, EMA, Knighstown, Fuzz Queen, LOSANGE, Andi, Loyal Lobos, OMD, Hypnotic Kingdom, Happy Hollows, After Hours Radio, Peter Oren, Andrew Weatherall, A Valley Son, Far Lands, Tree House, Faith Healer, Diamond Thug, DestroyerMÄRVEL, Seasonal Beast, clipping., Cape FrancisGunn-Triscinski Duo, Four Tet, Smash Boom Pow, Acid Tongue, Black Pistol Fire, NVDES, Midnight Sister, Kid Midnight (Charly Bliss Remix), MOURN, and Petal.

Cloud Nothings – Enter Entirely (Music Video)

The last half of last week turned up a handful of great music videos from the likes of Japanese Breakfast, Starcrawler, Adult Mom, gobbinjr, Black Lips, Boogarins, Honus Honus, Gillian Welch, Tiny Eyes, Pallas, Walter Martin, Littler, and Sprinters. As always, there was a range of innovation present in those clips and each of them is well worth watching. Another chance to take a look back at one of 2017’s best records so far — Cloud Nothings‘ Life Without Sound — proved too tempting and the featured slot fell to the long-time site favorites.

Following the release of 2011’s Attack on Memory, Cloud Nothings have released a small handful of critically-acclaimed, widely-adored records that kept them on the road and continuously pushed the band to evolve. Life Without Sound, their most recent effort, found them bridging the band’s history for their most definitive release to date. One of the several highlights on that record came in the form of “Enter Entirely”, which has just been a deep-saturation, nostalgia-drenched visual presentation. Simple, effective, intuitive, and surprisingly absorbing, it’s just another indication that the band’s going to continue making the exact right moves as they careen forward through what looks to be an impressive — even important — career.

Watch “Enter Entirely” below and pick up Life Without Sound here.

Watch This: The Best of 2017’s First Quarter, Pt. IV

In the final segment of the Watch This revival spread, the focus — as it was in part three — continues to be placed on sessions that deserving artists did for quality outlets. Only this time around, the sessions aren’t encompassed into one video, they’re sliced up into individual clips, which have been strung together here for the sake of expediency. While the video counter may show a very intimidating 71 for the amount of videos featured, it’s really only 25 performances (with most being only two or three songs overall). Even if it’s unlikely that someone will find the time to watch through every last one of these clips, there’s an equally likely chance that someone may wind up finding a new favorite band or song. All of it’s worth exploring to a great extent and each clip — and performance — deserves praise. So, as always, sit up straight, adjust the settings, take a deep breath, lean in, focus, and Watch This.

PART IV

1. Cloud Nothings (KCRW)
2. Screaming Females (Moschcam)
3. Fraser A. Gorman (World Cafe)
4. Hazel English (KCRW)
5. NE-HI (JBTV)
6. Sad13 (Paste)
7. Heat (Indie88)
8. Potty Mouth (JBTV)
9. Ovlov (Little Elephant)
10. The Regrettes (Jam in the Van)
11. Ron Gallo (World Cafe)
12. Stef Chura (Paste)
13. Nnamdi Ogbonnaya (Audiotree)
14. Diet Cig (Paste)
15. Hockey Dad (Moshcam)
16. Slaughter Beach, Dog (Little Elephant)
17. Death By Unga Bunga (Paste)
18. Slow Mass (Audiotree)
19. Lady Lamb (Paste)
20. AJJ (Little Elephant)
21. Jesca Hoop (WFUV)
22. Ratboys (Little Elephant)
23. Alejandro Escovedo (WFUV)
24. Kate Davis (ONE ON ONE)
25. Strand of Oaks (World Cafe)

Watch This: The Best of 2017’s First Quarter, Pt. III

The first two parts of this four-part series shedding light on some of the finest live videos to see the light of the day over 2017’s first three months largely focused on single song takes, with a few two-song performances for good measure. The latter two of this series turns the attention to full sessions. Part three, specifically, focuses on long takes of these sessions encompassed in a single video, an area that places like KEXP — who are featured here multiple times — have wisely made their calling card. All of the performances and bands featured in this third installment of this review are worthy of celebration. So, as always, get excited, try to keep calm, lean in, hit play, and Watch This.

PART III

1. Car Seat Headrest (KEXP)
2. PWR BTTM (NPR)
3. Sad13 (WKNC)
4. Cloud Nothings (KEXP)
5. Mannequin Pussy (Audiotree)
6. Hazel English (Rough Trade)
7. Alvvays (CBC Music)
8. Big Thief (NPR)
9. The Spirit of the Beehive (WKNC)
10. Jeff Rosenstock (Little Elephant)
11. Crying (Audiotree)
12. Priests (PressureDrop.tv)
13. Lee Fields & The Expressions (KEXP)
14. Horse Jumper of Love (Audiotree)
15. Angel Olsen (KEXP)
16. The Regrettes (PressureDrop.tv)
17. Thee Oh Sees (KEXP)
18. Mall Walk (PressureDrop.tv)
19. Los Campesinos! (KEXP)
20. Fai Baba (KEXP)
21. Terry Malts (PressureDrop.tv)
22. Haley Bonar (KEXP)
23. Let’s Eat Grandma (KEXP)
24. Valgeir Sigurðsson & Jodie Landau (KEXP)
25. Explosions In The Sky (Moshcam)