After almost four full months, regular Watch This coverage is ready to resume. Once again, every Sunday, there will be an examination of five of the preceding week’s strongest live video clips. The live video’s a historically under-appreciated form of multimedia but one of the most difficult to master. Fortunately, this week had no shortage of strong examples, making it difficult to narrow it down to just five selections. While Jason Isbell and Amanda Shires’ lovingly tender Warren Zevon cover and Chastity Belt’s KEXP session aren’t featured in the ensuing collection, they’re both deserving of multiple watches. Joining those two videos in that distinction are the five clips listed below, which cover a very broad genre spectrum. All of them are worthy of praise. So, as always, sit down, lean back, forget about your troubles, and Watch This.
1. Cloud Nothings – I’m Not Part Of Me (Coachella)
Here and Nowhere Else still sounds as vital and as necessary as it did since it was released. “I’m Not Part Of Me”, the album’s closing track (and one of our best songs of 2014), still packs an enormous punch and that’s an aspect of the song that only gets enhanced in the live setting. Dylan Baldi remains a fascinating songwriter (and underrated composer) and Jayson Gercyz still seems nearly inhuman behind the kit, making this Coachella performance a must-watch.
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2. Natalie Prass – Why Don’t You Believe In Me (Bruxelles Ma Belle)
Natalie Prass’ self-titled record was one of the first major surprises of 2015 and, accordingly, was met with universal acclaim. Here, Prass strips the fleshed-out arrangements of the record back to a bare-bones dual guitar setup. Softly lensed and starkly intimate, Bruxelles Ma Belle captures what may be one of Prass’ most captivating performances yet. R&B-inflected folk cascades across a deserted dining hall and fills every inch of the unlikely venue with feeling, rendering this clip unmissable.
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3. Public Service Broadcasting – Go! (WNYC)
Occasionally a band will appear off to the edges on my radar and I’ll forget to check them out before a reminder surfaces in plain view. Public Service Broadcasting were one of those acts and this performance of “Go!” was one hell of a reminder. Starting off as a keys-and-sample led ambient piece before erupting into a monstrous, inventive, forward-thinking beast of a genre-defying song, “Go!” encapsulates close to everything an act primed for a breakout should have. Impassioned, deeply-felt, smartly crafted, and musically boundless, “Go!” provides a feeling of genuine exhilaration. Taking cues from decades’ worth of musical trends, deviations, and subversions, “Go!” quickly becomes unforgettable.
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4. Happyness (KEXP)
Weird Little Birthday was a strange release that never seemed to garner the levels of attention it deserved. Whether this was due to the spaced-out release schedule, the rollout campaign, or just issues with timing is anyone’s best guess but those that were fortunate enough to hear it all seemed to be fully on board (it very nearly cracked this site’s best albums of 2014 list). The band recently stopped by KEXP’s offices to deliver a deeply intriguing set that doubled as a demonstration of the band’s seemingly limitless potential. Running the gamut from spaced-out ambient territory to 90’s-leaning slacker pop, it’s the type of performance strong enough to create converts and reinforce the convictions of the already faithful.
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5. John Davey – Burning and Bright (GemsOnVHS)
When Heartbreaking Bravery was built part of its structure was a keen focus on immensely promising artists who had yet to receive a higher level of recognition. John Davey fits squarely into this category and, as such, has already received coverage on the site. Here, GemsOnVHS turns their cameras on Davey as he makes his way through the gripping “Burning and Bright”, intercutting sweetly homespun footage of the various stages of a shared meal with the performance to create their best video since the stunning Molly Parden turn-in. Imbued with a familial sense that’s emphasized by the song, it’s a genuinely gorgeous final product that also, incidentally, brings this 69th installment of Watch This to a warm, fitting close.
One last time for one last 2014 list: “best” is in no way an attempt to be an objective statement. The terminology is shorthand to reflect personal taste and is not to be construed as anything more. Also, for the purposes of a more personal summary in this year-end coverage period, this site’s regular restriction on first person will be lifted. In 2014, I listened to more music that was released throughout the year than any other in my life. Numbering well upwards of a thousand releases, it proved impossible to keep tracks on everything (I’m already certain a few of these lists are missing more than a few titles that I genuinely loved)- but there were a few items that were worth remembering. Below are 14 records that managed to carve their way into my esteem both instantaneously and through the process of time. Below that is what turned into the most extensive list I’ve ever assembled, one that acts as an unnecessary validation that good music is being created at an excessively high volume (all of which is hyperlinked to either a full stream or a representative portion). We’re living in a golden age for access and music continues to reap the benefits allowed by technology. In that spirit, it’s worth noting that a lot of the names included below won’t always be the most recognizable- this is due to both that volume and the fact this site’s built on a foundation that ensures bands who are marginalized will be given the consideration they deserve. So, with all of that noted, it’s time to move on to the main attraction: 14 of ’14: The Best Albums of 2014.
14. Taulard – Les Abords Du Lycée
2014’s most unexpected gem, Les Abords Du Lycée,is a mesmerizing listening that drives home taut organ/drums/vocals post-punk with a startling amount of verve. Endlessly charismatic and unpredictable, the dozen tracks on display here constantly twist and turn, never once daring to let the listener catch their breath. Mood and tempo changes abound on one of 2014’s most fearlessly unique records. Even for those who aren’t even remotely well-versed in the French language, Les Abords Du Lycée should be a thrilling listen; something like unbridled passion can always translate well enough to near the universal.
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13. La Dispute – Rooms of the House
What’s easily one of 2014’s boldest concepts roots La Dispute’s mesmerizing Rooms of the House, a record that shows La Dispute’s rapid maturation with a weary grace. Centered around a meticulously brilliant narrative device, it’s a record that stunned me on my first few listens before growing into an inescapable force of nature that refused to leave my thoughts. As bleak as anything the post-hardcore has ever produced, Rooms of the House finds its strength through focus and restraint, zeroing in on difficult topics with a keen eye and an abundance of determination. Blisteringly personal and nearly voyeuristic, it stands as one of 2014’s fiercest artistic statements.
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12. Two Inch Astronaut – Foulbrood
Two Inch Astronaut’s Foulbrood has come up more than a few times on the site over the past handful of months thanks to its casual brilliance. Wielding an enticing palette of influences ranging from Drive Like Jehu to their contemporaries in Exploding in Sound, Two Inch Astronaut managed to conjure up one of the most impressive sophomore efforts of the year. The title track, “Part of Your Scene“, and “Dead White Boy” all earned themselves individual write-ups on the basis of their appealingly off-kilter and ragged identity. Foulbrood‘s a record that knows exactly what it wants to be and goes straight for the throat, sending a trail of viscera flying it its wake.
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11. Cloud Nothings – Here and Nowhere Else
One of the things I kept coming back to throughout the course of music in 2014 was Jayson Gerycz’s drumming on this record. Not just because it’s a staggering individual performance but because there’s an undefinable, inherent quality that exists within that drumming which drives this record to obscene heights. Impossibly, stripped of the drumming, the record succeeds wildly in an acoustic setting and demonstrates Dylan Baldi’s increasing proficiency as a songwriter, a vocalist, and a guitarist. After losing a member in guitarist Joe Boyer, Cloud Nothings somehow managed to transform themselves into an act that was simultaneously heavier and poppier than when they were a quartet. Importantly, this is a record that’s built to last and it’s only grown on me as the year’s progressed (and that trend’s not showing any signs of slowing).
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10. Ought – More Than Any Other Day
As beguiling as it is bewitching, Ought’s brit-pop influenced post-punk masterpiece was a record that sounded triumphant right out of the gate. Slowly, that triumph turned to transcendence and the songs contained within More Than Any Other Day became unavoidable mission statements. In terms of scope, the majority of More Than Any Other Day feels as epic as LCD Soundsystem operating at their best. Both acts share a penchant for sprawling structures and self-containment, bridging a gap between intimacy and grandeur with a knack for deceptive, intricate songwriting. Anthemic and mundane, More Than Any Other Day was like a shot of adrenaline straight to the heart, waiting for the resuscitated with a sly grin and a memorable, tossed-off joke. Excessively charming and utterly winsome, it’s a record that felt (and still feels) necessary.
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9. Jawbreaker Reunion – Lutheran Sisterhood Gun Club
“E.M.O.”, Lutheran Sisterhood Gun Club‘s thrilling centerpiece, recently appeared in this site’s best songs of 2014 list- but the song’s only one part of a much larger picture. At once, one of the year’s most joyous and pissed off releases, Jawbreaker Reunion tore through a variety of serious issues with aplomb on their absolutely stunning debut effort. Other than distilling songs like “Laughing Alone Eating a Salad” with a wicked sense of humor, the whole affair’s imbued with an enviably powerful sense of songcraft. Lo-fi, DIY, punk, and teeming with an understanding of classic pop, Lutheran Sisterhood Gun Club was one of 2014’s boldest introductions- it was also one of its best.
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8. PURPLE 7 – Jewel Finger
PURPLE 7 boasts a lineup that’s accompanied by an impressive pedigree. Members of the band have previously played in bands like Defiance, Ohio, Landlord, and Hot New Mexicans (whose self-titled record ranks among my all-time favorites and currently leads my “best of decade” selections). Unsurprisingly, their debut LP effort hits a lot of sweet spots, including a gritty middle point between basement punk and basement pop. Simply put, this is a stunning collection of songs that was overlooked by most to a baffling degree after its release. Grounded, humble, and heartfelt, Jewel Finger is one of the records that reminds me of the reasons I started this site. This is music that deserves to be celebrated.
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7. Angel Olsen – Burn Your Fire For No Witness
Arguably 2014’s first truly great release, Angel Olsen’s Burn Your Fire For No Witness saw the songwriter transition from a promising talent into one of the year’s most arresting figures. Embracing a fuller sound and a newfound confidence, Burn Your Fire For No Witness broke Angel Olsen’s career wide open with an onslaught of genuinely haunting tunes. Whether they were relentlessly spare or soaked in noir-ish tendencies, they were uniformly captivating; both the storm and the eerie silence before. Raw, tender, and occasionally antagonistic, Burn Your Fire For No Witness was one thing above all else: unforgettable.
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6. Cymbals Eat Guitars – LOSE
From the devastating opening lines all the way through to the climactic finish, LOSE holds its ground as one 2014’s most frighteningly personal albums. Largely influenced by the death of a friend close to the band, it’s a meditation on loss and the surrounding aspects of something so tragic. Easily Cymbals Eat Guitars’ finest work to date both lyrically and musically, it’s a powerful (and powerfully moving) listen. “Warning”, in particular, cuts deep- which is one of the reasons why it wound up on the best songs of 2014 list just a few days ago. Incredibly impassioned and brave in its sincerity, LOSE finds a level of catharsis in its emotional turbulence, lending it a charge that renders it one of the year’s most human (and most important) releases.
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5. Perfect Pussy – Say Yes To Love
Perfect Pussy, for better or worse, have become intrinsically linked with this site. From Meredith Graves’ insistence on tangential involvement (which I’ll forever be grateful for) to the fact that the band’s greater ascension matched up with the very start of this site, they’re a band I’ve gone step for step with since bringing Heartbreaking Bravery into existence. None of that would have happened if I hadn’t been so fiercely drawn to the things that they were doing, though, which is why I approached them in the first place. Ever since those beginnings, it’s been a privilege to watch them progress, to travel at lengths to watch them play, and to see them release a record as enormously powerful as Say Yes To Love, a collection which houses my favorite song of 2014 (and possibly of this decade so far). Unapologetic, personal, damaged, resilient, powerful, feral, oddly triumphant, and unbelievably intense, Say Yes To Love operates as a perfect reminder for all of the reasons why I fell in love with this band- and why I’ll continue to pay close attention to their movements.
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4. Iceage – Plowing Into The Field of Love
No band in 2014 made a more stunning artistic leap than Iceage, who went from a static blur to matching the swaggering heights of Nick Cave & the Bad Seeds after discovering their voice. Plowing Into The Field Of Love was a startlingly radical change of pace for Iceage, who imbue the record with a curious restraint and a sense of deeply haunted Americana. Southern Gothic touch points are littered throughout the record’s bleak landscape, while making room for plaintive ornamentation in the form of brass, string, and piano figures. Darker and more self-aware than anything in the band’s career, Plowing Into The Field Of Love earned them quite a few words of praise from this very site. Augmented by some legitimately extraordinary music videos, Plowing Into The Field Of Love proved to be an unexpectedly rattling experience. Easily one of the year’s most divisive records (as is the case with any left turns this sharp), it suggested Iceage’s ambitions ran way deeper than anyone expected and, subsequently, that they had the know-how to see those ambitions to fruition. In chasing their whimsy they wound up with something I wouldn’t fault anyone for calling a masterpiece.
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3. Mitski – Bury Me At Makeout Creek
My connection with Mitski’s music is something that will always hold a very personal resonance. I’ll leave most of the reasoning behind that statement to a forthcoming piece but it’s worth noting in regards to a record that’s so unabashedly self-exploratory. Bury Me At Makeout Creekwas an enthralling re-introduction for Mitski, who saw it rightfully skyrocket her name recognition. Top to bottom, it’s an extraordinary effort that re-defined her artistic capabilities after a string of meticulously composed records that leaned on chamber pop tendencies. Here, that past gets blown to bits almost immediately. One of my favorite experiences in music listening all year came when “Texas Reznikoff” explodes in its final section- another came while listening to one of the best songs I’ve heard this decade (for obvious reasons, considering that statement). Where Bury Me At Makeout Creek manages to approach the transcendental is in the process of allowing listeners to hear an artist coming into their own. Part of Mitski’s identity is laid bare by Bury Me At Makeout Creek: it’s the unwillingness to accept identity as a static object and the desire to question its cumulative elements. That search is what gives Bury Me At Makeout Creek its bruised heart- and it’s why musicians will use it as a source of inspiration for several years to come.
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2. Radiator Hospital – Torch Song
After the exhilarating highs of Something Wild, Radiator Hospital had a tall order for their follow-up. Fortunately (and unsurprisingly), they obliterated those towering expectations with Torch Song. Sounding more confident- and more polished- than ever before, Torch Song cemented Sam Cook-Parrott’s status as one of this generation’s keenest emerging voices. Paying attention to the minutiae of everyday experiences and injecting them with a self-deprecating sense of poetry laced with pessimism, the songs contained on this record all aim to cut and find their mark with an incredible amount of ease. Having already established themselves as one of today’s more formidable units musically, Torch Song has the added benefit of having four loaded personalities find each other in total harmony, each acting as a complement to the other. Personal diatribes, small journeys of self-discovery, and a sense of empathy inform Torch Song and help cultivate its unassuming charm. There’s not a weak track among the record’s 15 songs and it maintains an assured sense of pace throughout its relatively breezy runtime. By the time it draws to a close, it stands as one of the most fully-formed and rewarding records of recent memory.
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1. LVL UP – Hoodwink’d
I don’t think any record resonated more for me throughout the course of 2014 than LVL UP’s Hoodwink’d, which I revered with literally no reservations. 2014’s strongest sophomore effort, Hoodwink’d saw LVL UP expanding most of the elements that made Space Brotherssuch an incredible release and retained all the others. Unreasonably refined and exceedingly personable, LVL UP have always found a strength in accentuating their members’ unique personalities and that trend got pushed to the forefront for their second full-length (which was co-released by Double Double Whammy and Exploding in Sound). Utilizing a distinctly unique take on their 90’s influences, the band also reveled in the benefits of a cleaner production that allowed them to sound more massive than they ever have in the past. No release felt more timely than Hoodwink’d, either, with the record practically serving as a stand-in voice for a disenfranchised sect of people. Alternately crushingly heavy, viciously poppy, relentlessly personal, and completely worn-out, Hoodwink’d never loses sight of its own mechanics. There’s a level of mutual understanding on display here that separates it from the rest of the year’s releases. Everyone feeds off each other, everyone supports each other, and everyone contributes to one hell of a set without even coming close to overstaying their welcome. Conversely, Hoodwink’d also ranks as one of the year’s most welcoming releases, radiating an empathetic warmth in its tone (and in its tones). As an entry in LVL UP’s catalog, it’s their career best. As a general 2014 release, it’s the best thing I had the privilege of hearing all year.
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[EDITOR’S NOTE: All of the titles below without an accompanying link can be streamed in the order they’re listed via the embedded spotifly player below the list.]
While this may not be necessary at this point since it keeps being repeated, it’s worth stating anyway: “best”, in matters of year-end lists, isn’t made to be an objective statement- it’s a reflection of personal taste. For the year-end coverage period, I’ll also be abandoning the usual first person restrictions as another effort to further personalize these accounts and lists. In 2014, I listened to more music than I’ve ever listened to in my life. During that 365-day span, I mercilessly stalked a rotating cast of sites that posted new music on a near-daily basis. I kept up with NPR’s First Listen series, scoured bands’ schedules to see what other bands were on their shows, kept tabs on bills at venues I admired, and listened to every submission that was sent in to Heartbreaking Bravery. If a friend recommended me new music, I made sure it got heard. There were times when some larger fare would pull me in- especially if it was receiving good critical returns- but, for the most part, I made it a point to explore the smaller titles.
A few of the names on this list (and all of the others) may not necessarily be the most recognizable but don’t let the lack of recognition dissuade you from investment; let it actively encourage dividend-paying exploration. It was that decision to zero in on lesser known bands that started opening up endless hallways to music that may have otherwise stayed hidden. That’s the foundation that this site was built in and will always strive to encourage- which is part of the reason why these lists exist. Below are the 14 songs that hit me hardest throughout the past 12 months, rounded out by a top four that all deserve to be in the “Song of the Decade” conversation. I won’t be including an auxiliary list for the songs that were in consideration and didn’t make the cut this time around because, frankly, there are way too many (though I will say it’s still paining me to not be including Ought‘s “Today More Than Any Other Day“) and most of those selections’ respective titles are featured on the other lists that this site will be running (or has already run). Now that all that’s said and done, on to the list!
14. Cloud Nothings – I’m Not Part of Me
“I’m Not Part of Me” has been making a dent in this site’s coverage ever since Cloud Nothings teased Here and Nowhere Else at Baby’s All Right. It’s in the realm of career best for a band who’s on their second destined-to-be-classic release. After the departure of Joe Boyer, it’s unlikely that anyone was expecting the band to grow even fiercer- yet, that’s exactly what they achieved. With melodic aplomb and hooks to spare (in addition to 2014’s finest individual turn-in from drummer Jayson Gerycz), the band responded by annihilating any of the barriers that transition left, with “I’m Not Part of Me” acting as their rousing call to arms.
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13. Iceage – Against the Moon
Before “Against the Moon” was given one of the best music videos of the year, it was lingering on the outskirts of one of 2014’s most powerful albums: Plowing Into The Field Of Love. No song underlined Iceage’s startling transition with more emphasis than this somber piano and organ-driven ballad. Quietly intense and relentlessly haunting, “Against the Moon” became an immediate standout on an impossibly gripping record. It’s an entirely new look for Iceage, who embraced it fearlessly. Elias Bender Rønnenfelt’s lyrics, now laced with a noticeable Southern Gothic Americana influence, acted as the perfect complement to a spare, boldly atmospheric track- which was easily one of the year’s strongest efforts.
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12. Band Practice – Bartending At Silent Barn
Make Nice was one of the last truly great releases of 2014 but no moment on the record was as stunning as “Bartending At Silent Barn“. I’d known of Jeanette Wall through her involvement in Miscreant Records but nothing had prepared me for how effortlessly bracing her own songs could be. “Bartending At Silent Barn” starts out simply enough; clean, palm-muted guitar, a memorable melody, raz0r-sharp lyrics, and an immediately recognizable sense of identity. While it revels in defeatism for close to the entirety of its run, there comes a moment towards the end- a single laugh- that offers a pivotal change. In that laugh (which lasts less than a second), there’s a derision targeting the assumptions that everything’s as bleak as the song’s original narrative suggests but, after a very brief pause, the assuaging declaration that “things can change” comes to a stunning fruition with one of the most life-affirming outro sections I’ve ever heard.
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11. Charly Bliss – Love Me
There are times where all it can take is one song for me to be absolutely convinced by a band. “Love Me”, a song that was also my introduction to Charly Bliss, is definitely that kind of song. With an endless amount of charm and appeal, Charly Bliss conjured up a firestorm of a tune that immediately catapulted them into “new favorite band” territory. The tempo changes and stop/start dynamics in the jaw-dropping pre-chorus and chorus sections practically lay everything on the line; for the first time in a while, it sounds like a (relatively) new band is actively daring their listeners to get on their level. In terms of sound and genre, it’s a perfect bridge between basement pop and basement punk, existing in the dead center of the exact space that this site most frequently celebrates. Fiery, propulsive, and casually tantalizing, it’s easily one of my favorite things to emerge from an incredibly stacked year. Most impressively is that “Urge to Purge“, the song that follows it on the band’s extraordinary Soft Serve EP, was its biggest competition in securing a spot on this list- cementing 2014 as a statement year for one of the most exciting bands today.
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10. Screaming Females – Wishing Well
Screaming Females have earned their fair share of coverage on this site by being so consistently excellent in their craft. They’re a band I’ve been keeping an eye on since I started playing shows in basements (a few of their BFG shows are among my favorite WI-based memories) and they haven’t stopped getting better in the years I’ve been following their progress. All of the years they’ve put into fierce touring (never once losing their DIY ethos) have been leading up to the release of their upcoming Rose Mountain, a surefire contender for 2015 Album of the Year. Currently 3 preview songs into the lead-up phase for the record’s release, none have been as powerful as the first official recording of “Wishing Well”, a perennial staple in their live set. Striking a perfect balance between punk grit and an uncharacteristically light pop sensibility, “Wishing Well” is ample proof of the band’s growing ambition and unwavering confidence. It’s also got a chorus for the ages, one even someone’s grandma could love.
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9. Jawbreaker Reunion – E.M.O.
Lutheran Sisterhood Gun Clubwas one of 2014’s most unexpected surprises; a debut effort loaded with determination and personality. Up until “E.M.O.”, it’s an incredibly strong record but that song single-handedly breaks the floodgates wide open and elevates it to the heights of an unforgettable classic. It’s a song that hit me hard on my first listen and hasn’t left my thoughts- or my esteem- since that initial exposure. Easily the most vulnerable moment on a record that’s frequently on the offensive, it offers a voyeuristic glimpse of the mechanics driving Jawbreaker Reunion’s creative forces. “E.M.O.” also has an unexpectedly explosive chorus that lays waste to any harbored doubts about the band’s range. It’s one of the year’s more breathtaking musical moments and it ensures Jawbreaker Reunion’s status as an emerging force.
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8. LVL UP – Big Snow
The four-song split between LVL UP, Ovlov, Krill, and Radiator Hospital would have likely topped this site’s best splits of the year list even if it hadn’t been grouped in with Ovlov’s other entries. A large reason behind that it LVL UP‘s “Big Snow”, a song that managed to stand out in the band’s catalog even taking the landmark achievement that was Hoodwink’dinto account. “Big Snow“, the rare LVL UP song that features all three vocalists in the group, has been kicked around in some form or another since the band was writing demos for their debut full-length, Space Brothers. In its first release as “Big Snow”, though, it’s a stunner of a track, highlighted by the vocal exchanges and one of the year’s most blistering riffs. Everything lines up in a typically (compellingly) off-kilter way that accentuates the band’s innumerable rough-hewn charms. Constantly shifting and casually brilliant, it’s yet another indicator that LVL UP is one of the best bands currently making music.
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7. Little Big League – Year of the Sunhouse
Another song to appear on a split with Ovlov (it’s literally impossible for me to overstate how incredible Ovlov’s splits were this year), “Year of the Sunhouse” was a career highlight for Little Big League, even taking their outstanding Tropical Jinx into consideration. It’s a song that stunned in a WatchThis-approvedsegment and it’s only grown more appealing with time. Punchy and refined, it takes pinpoint aim and unloads, hitting an elusive target multiple times over. Led by powerhouse drumming and Michelle Zauner’s most ferocious lyrical and vocal outing to date, it’s a song that portrays Little Big League as a band who refuses to back down. As an additional bonus, it also features a second stanza that may very well be the year’s outright best, one that’s punctuated by a life-giving declaration.
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6. Cymbals Eat Guitars – Warning
It’s sincerely doubtful that there was a record in 2014 that was more emotionally charged than Cymbal Eat Gutars’ LOSE, which dealt heavily with the death of a friend. The way that difficult subject’s dealt with is a large part of the reason why the song and it’s accompanying music video earned so many kind words, which also factored into its placement as one of the best music videos of the year. Devastatingly heartfelt and heartbreaking in its vicious nature, it’s propped up by the year’s best single line in the chorus’ “the shape of true love is terrifying enough”. For all of the difficulties, there’s a subtle strain of hope that imbues “Warning”, rendering it a resounding statement of humanism. Deeply tragic and towering in scope, this is the kind of song that’s worthy of inspiring others to start making music on their own terms.
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5. Radiator Hospital – Cut Your Bangs
“Cut Your Bangs” is a song that’s been kicking around on this site since its original bandcamp release. My personal pick for song of the summer, it’s an exacting look at the way Sam Cook-Parrott’s sense of damaged romanticism manifests in Radiator Hospital’s music. There’s an emphasis on the minutiae, every mundane bit is scrutinized and brought to the forefront. Poetic and unflinchingly honest, it’s put in sharp contrast by the music surrounding the story. There’s a swing-like feel to what’s happening in the background, lilting into a reassuring groove as the narrative grapples with everyday loss. Small lies add up to a mountain of mistrust but, if you’re lucky, your friends will always be there to back you up and convince you that everything’s okay.
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4. Speedy Ortiz – Doomsday
Very few songs have ever hit me as hard as “Doomsday”. It’s a personal best for Speedy Ortiz, which is no small claim, and very few songs this decade have come across so honestly. Sadie Dupuis’ vocal take for “Doomsday” is absolutely stunning, wounded and impassioned in equal measure; a desperate and veiled final cry searching for some form of absolution. An impossibly beautiful vocal melody and an atmospheric guitar section are subtly fierce grace notes in a song that sounds embattled and defeated. Released as part of the LAMC series (courtesy of Famous Class Records), it would have been more than enough to land the entry it was included on in the best splits of the year list. Weary and grasping at a sense of triumph, it’s a fascinating classic that deserves to be heard by anyone with even a passing interest in music.
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3. Mitski – Townie
My relationship with Mitski’s music began with this song and that first listen remains one of my more memorable encounters with anyone’s music in 2014. Since then I’ve been fortunate enough to film it twice: once in an intimate acoustic setting (for The Media) and once full-band (with Mitski backed by half of LVL UP). Even putting those personal moments aside, “Townie” was an immediate standout from what turned out to be one of the year’s strongest albums, Bury Me At Makeout Creek. For those who were fortunate enough to be aware of Mitski’s previous work, “Townie” was a sharp left turn for the enigmatic solo artist and it emphasized a growing certainty in her work. This was a hold-no-prisoners, everything out in the open type of track; a watershed moment for an artist whose career was set to skyrocket. By the time the theremin solo kicks in, everything’s already been set on fire and Mitski’s grinning to herself miles away from the maelstrom. A testament to self-reliance and utter conviction, “Townie” is a clarion call from an artist too important to be ignored.
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2. Pile – Special Snowflakes
Pile’s Special Snowflakes 7″ just topped this site’s list for that category. No 7″ had a stronger single song A-side and no song managed to sink into my memory more than that song, “Special Snowflakes“. Pile have cultivated a cult following by refusing to adhere towards any one trend or another and instead opting to follow their own distinctly unique twists and turns. No song felt as monumental in 2014 as the band’s current crowning jewel, a seven minute battering ram of a track. Through a series of exhilarating peaks and crushing valleys, Pile manages to introduce an atmosphere that’s ferociously bleak, refusing to settle into one mode for too long. Pulverizing and epic, “Special Snowflakes” suggests that Pile’s operating at the height of their powers, which bodes well for their forthcoming full-length. It’s also another release that embodies everything great about Exploding in Sound Records and the vast number of reasons the label’s so frequently celebrated here. This is bold, inventive music that thrives on its own conviction, on its own terms, and will be remembered for leaving a trail of well-intentioned destruction in its wake.
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1. Perfect Pussy – Interference Fits
No band has been written about more on Heartbreaking Bravery than Perfect Pussy (a band I traveled considerable lengths to see eight times throughout the course of 2014). No song has meant more to me than “Interference Fits”. Putting aside the fact that vocalist Meredith Graves (who has somehow become this site’s patron saint and is still its sole interview subject) unexpectedly dedicated this song to me in Minneapolis, putting aside the fact that she cried in a comic book store after I alerted her to the fact that it had started streaming on NPR in advance of Say Yes to Love‘s release, and putting aside the fact that she used my original write-up as a reference point for hope, that statement would still hold true. “Interference Fits” soundtracked a lot of bigger moments for me in what was a very turbulent 2014 and the original connection I forged with the song only deepened as the year progressed. Fitting, since it’s a song about making and severing connections; Graves’ most personal outpouring to date. The lyrics, as always, are beyond stunning but the song wouldn’t be anywhere close to as unshakable as it is if it weren’t for Perfect Pussy’s most adventurous musical turn-in to date. Eschewing their normally blown-out mode in favor of something more subtle and restrained, “Interference Fits” proved that Perfect Pussy weren’t, as some naysayers originally suggested, a one trick pony. Easily the band’s most delicate and ornate offering to date, it retained their whirlwind intensity and cutthroat identity. Masterfully wielding a tension and explosion dynamic, “Interference Fits” lures listeners in with its first half before a measure of silence provides a foreboding warning to one of the most cathartic second acts in a song this decade; there’s as much narrative in the music as there is in the lyric set. With raw power lingering in the wings and at the heart of its diarist leader, Perfect Pussy created something that stung deep enough to leave a lasting, curiously endearing scar.
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!
Over the past few days, there haven’t been any posts (discounting today’s Watch This marathon) because material’s been uncharacteristically scarce. That said, it wasn’t a total drought. The Dying Arts released an aesthetic-defining video for “Bed Spins“, SUSAN unveiled the hard-charging “Pancake“, RONiiA (a collaborative project featuring members of Dark Dark Dark and Marijuana Deathsquads) teased their upcoming record with the haunting “Fool’s Game“, and Cellphone provided an advance stream for their excellent upcoming record, Excellent Condtion. All of those are secondary to what today’s all about, though- live performances will always be the focal spot for Sunday’s posts and the third round of today’s series marathon holds a few gems. A lot of familiar faces compose this list, from icons to upstarts, with everyone turning in memorable performances- with the second appearance of a song that’s already appeared once today closing things out in style. So, as always, adjust the settings, lean in, tune everything else out, and Watch This.
1. Curtis Harding – Next Time (3voor12)
Soul Power was one of 2014’s more overlooked records after failing to gain the kind of sustained traction it deserved after Burger did everything in their power to push it into the world. Harding and his band recently stopped by the 3voor12 studios in the Netherlands to deliver a stunning session that was highlighted by this performance of “Next Time”. It’s a perfectly-timed reminder of both Harding’s strength as a songwriter and Soul Power‘s timeless nature. Throwback rock n’ soul has rarely sounded this good.
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2. Girlpool – Ideal World (The Media)
Yes, Girlpool‘s been earning themselves an avalanche of kind words from this site lately- and, no, that’s not going to change anytime soon. Cleo Tucker and Harmony Tividad have tapped into something undeniable and genuinely important, advancing a few small movements that are worth all the support in the world. “Ideal World” is a new song that capitalizes on the duo’s strengths; harmonies, wiry compositions, arresting minimalism, and raw, heartfelt emotion. Better still, this video comes courtesy of The Media (full disclosure: a publication that this one’s collaborated with in the past), a publication that sets an example- and a standard- worth striving to follow.
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3. Sloan (KEXP)
There may not be a band that’s earned more mentions as an influence without being actively featured on this site more times than Sloan. One of powerpop’s most iconic bands, they’ve produced their share of stone cold classics (Twice Removed and One Chord To Another, especially) and have refused to slow down since becoming one of the 90’s more beloved acts. KEXP recently had them in studio and the band tore through four songs from their recent double-record Commonwealth. It’s yet another example of the band aging gracefully at a practically impossible level and never once losing stride.
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4. Delay (Razorcake)
Delay’s Plain Language was one of the better records of the 2000s and while the band’s output following that release was good, they never quite managed to reach the heights of their career-best. That changed this year, with the release of the dynamic Circle Change(both were released by the unfailingly great Salinas Records). One thing that’s never been in doubt: the band’s live show. Razorcake were on hand to capture a few moments from the band’s recent set at The Wulf Den- none better than the video presented here, which includes impassioned turns from the front two and some powerhouse drumming from Jesse Withers (also of site favorites All Dogs).
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5. Cloud Nothings – Now Hear In (Amoeba)
There’s only been one full post that’s happened without mention of Cloud Nothings’ “Now Hear In”, sure, but it’s just too good of a song to not feature at any given opportunity. This week’s Watch This marathon was kicked off with an installment that ended with Cloud Nothings’ bandleader Dylan Baldi delivering an impressive solo acoustic take on the song but here, the whole band gets in on the action. Filmed by Amoeba during the band’s in-store performance, no one holds anything back. Drummer Jayson Gerycz, one of the most formidable talents in today’s music, is near inhuman in the rapid-fire pulverization he delivers from behind the kit- locking in perfectly with bassist TJ Duke. Baldi remains a total anomaly, straddling the line between aggression and apathy in equal measure while becoming a genuinely arresting presence onstage. Cloud Nothings have always been a force to be reckoned with live and they only seem to be getting better as they go, rendering this a clip worth intensive analysis for any aspiring musician. Cloud Nothings have a few tour dates coming up; get to one of their shows as soon as possible- a full set of performances like these deserves as big of an audience as possible.
With a few days of silence and a Watch This-less Sunday firmly in the past, today’s left with a lot of material to catch up on. Two weeks has provided a lot of great performances spread across a sizable range of styles, from full set in-studio sessions to solo acoustic takes. All but one of the bands featured in what will be the first of three Watch This installments has previously been featured on the site- with a great band from Columbus being the lone debut. It’s a lot to admire, a lot to celebrate, and a lot to analyze. So, as always, sit back, adjust the settings, focus, and Watch This.
1. Big Ups (KEXP)
Big Ups‘ Eighteen Hours of Static was one of 2014’s first great releases. All wild-eyed ferocity and unrelenting momentum, it marked the emergence of one of the more exciting young bands. While it still stands as one of the more notable records of the year, it’s since been overshadowed by the band’s incendiary live performance (it’s not a mistake that they keep showing up in this series). Here, they light up KEXP’s studios with a characteristically fiery five-song performance that should only facilitate their ascension. This is a band that fully deserves their growing recognition, don’t make the mistake of letting them slip by unnoticed.
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2. Frankie Cosmos – Embody (Radio K)
Frankie Cosmos provided one of the most lovely sets of NXNE a few months back and since then, they’ve only grown more poised. Greta Kline’s an enviably gifted and incredibly prolific songwriter with a high ceiling. Nearly every Frankie Cosmos release has been a gem and ensured the band’s continued recognition. Airy pop songs like the excellent “Embody”, which they perform here for Radio K, are perfectly crafted pieces of- to quote the song- grace and lightness. It’s a warm embrace from an old friend, providing comfort and reassurance in equal measure; simply sublime.
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3. Spit (Live at Treehaus)
Spit‘s Getting Lowwas one of the year’s quiet self-released records, exceedingly excellent but completely unheralded. Easily one of the best submissions this site’s ever received, the project’s now evolved from a solo venture to a full band endeavor- and what a band. Completely expanding on the Exploding in Sound-style tendencies that Getting Low hinted at, they’ve come out of the gate swinging with vicious intent. Spit’s only got one real show under their belt and they’re already very much a band to watch. Fuzzed out and appropriately left of center, this is a band worth greeting with high expectations- with this full live show serving as definitive proof.
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4. Day Creeper – The Way You’re Told (The Mug and Brush Sessions)
Columbus, OH has been producing incredible bands at an alarming rate for some time now, with Day Creeper situated firmly in that pack. With a live show that’s just as ferocious as their recorded output, they’re always a great candidate for a feature performance- and the band absolutely lights up The Mug and Brush Sessions’ studio.
“The Way You’re Told” also serves as a tantalizing glimpse at the band’s upcoming Central States. If the rest of the record’s as good as this performance, they’ll have a serious contender on their hands.
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5. Cloud Nothings – Now Hear In (Exclaim!)
A lot’s been made of Dylan Baldi’s vocal takes for Cloud Nothings. In most assessments, Jayson Gerycz’s drumming usually works its way into the central conversation (and rightfully so) but one thing that’s continuously evaded scrutiny is Baldi’s inventive guitar work. Stripped all the way back to a solo acoustic performance, it’s an aspect that’s allowed greater focus and opens up the impressive levels of songwriting happening in Cloud Nothings at present. Here, Baldi’s both restrained and subtly aggressive, providing a commanding performance that contributes to Cloud Nothings’ status as one of today’s most exciting bands.
With the entirety of yesterday’s post dedicated to Mitski’s miracle of a record, Bury Me At Makeout Creek, there’s quite a bit to catch up on today. There were a bevvy of single streams that included Le Rug’s blown-out rager “Dudley“, Ghastly Menace’s vibrant pop confection “Closing“, and The Dodos’ triumphant return single “Competition“. There was also a sprawling, punchy piece of anthemic open-road folk in the form of Small Houses’ outstanding “Staggers and Rise” as well as another look at YAWN bandleader Adam Gil’s solo project, Dam Gila, via “Home Again“. Rounding things out for the single stream category was a demo from The Guests (a new band featuring members of Sheer Mag), a typically bold Liars b-side, and a Girlpool cover of one of the most achingly romantic songs ever recorded.
In the realms of the music video there was an equally plentiful pool of treasures that included Diarrhea Planet’s oddly compelling fantasia in “Kids“, Metronomy’s stunning woodland-set magic surrealism in “The Upsetter“, and Spider Bags’ subtly nightmarish visual effects collage “Eyes of Death“. Additionally, there was Dream Generation’s stark “The Spirit of America“, She Keeps Bees’ gorgeous “Owl“, Owen Pallett’s inexplicably powerful “In Conflict“, and Corners’ masterfully executed “The Spaceship“. As if that wasn’t enough, the full streams that appeared over the past few days matched the rough output of both the single song and music video output with some truly outstanding efforts coming to light- like Caddywhompus‘ strong bid for Album of the Year contention with Feathering A Nest. The Paperhead emerged with their latest throwback-heavy gem, Africa Avenue, while Parkay Quarts built on their renewed buzz with the wiry Content Nausea. Open Wide released a demo of quietly stunning folk-leaning ballads, Ex Cops threw a darkly-tinted dance party with Daggers, The Jazz June resurfaced with some shockingly strong material in After the Earthquake, and Nots left burn marks with the scalding punk tantrums of We Are Nots.
All of those items are worth sitting down and spending time with but it was recent Carpark Records acquisition Chandos’ “..Pretty Sure it’s ‘Tang Top'” that gets today’s feature spot. It’s a vicious piece of sharp, 90’s-indebted punk, equal parts Acid Fast, PS I Love You, and Speedy Ortiz, “..Pretty Sure it’s ‘Tang Top'” flies along, never bothering to do anything but build momentum through its myriad twists and sharp left turns. Tempos shift, personality gets exuded, and Chandos (formerly Chandeliers) wind up with something that sounds as raw as it does inspired. On Carpark’s ridiculously impressive roster, Chandos falls somewhere between Cloud Nothings and Popstrangers, which is really just shorthand for saying that Chandos’ upcoming record- Rats In Your Bed– is well worth an extremely high level of anticipation. If “..Pretty Sure it’s ‘Tang Top'” is any indication, Chandos is in the midst of a creative peak that will likely yield the band’s strongest material to date. If everything clicks as well as it does in this song, Rats In Your Bed could very well be the first great release of 2015 when it’s released on January 27. Mark the calendar now.
Listen to “..Pretty Sure it’s ‘Tang Top'” below and pre-order Rats In Your Bed from Carpark here.
There are days where it can be difficult to scrounge up enough great new releases to warrant an introductory paragraph round-up and there are days that are so generously overflowing with great material it’s nearly impossible to figure out what to feature. Today fell squarely to the latter. There were no less than four outstanding releases in each of the major categories: single stream, music video, and full stream. Cool Ghouls’ psych-laced basement pop rager “And It Grows” gave some new promise to the upcoming record. Mean Creek‘s Chris Keene unveiled the most recent look at his Dream Generation project with the sparse “The Four of Us” and September Girls teased their upcoming EP with the snarling “Veneer“. Veronica Falls‘ James Hoare and Mazes‘ Jack Cooper started a new project called Ultimate Painting, who instantly turned some heads with the carefree open-road ramblings of “Ten Street“.
Over in the realms of the music video, Grubs, Frankie Teardrop (warning: heavy strobes), and Cloud Nothings all released clips defined by lo-fi experementalism while Snævar Njáll Albertsson’sDad Rocks! project dipped its toes into a gorgeously-lensed narrative involving a heavy existentialist crisis with “In the Seine”. In the space occupied by full streams, Dark Blue offered up their heavy-hitting Album of the Year contender Pure Realityand Tomorrows Tulips did the same for their career-best effort, When. Ex-Breathers made all 12 tracks (and 11 minutes) of their vicious upcoming 7″, ExBx, available for the world to hear, while Zola Jesus occupied similarly dark but incrementally softer territory with her upcoming effort, Taiga. A Winged Victory For The Sullen rounded out the full streams with another ambient near-masterpiece titled Atomos. Of course, there was one another full stream- but the link is being withheld until it’s accompanied by a forthcoming review. In the meantime, today’s focus will be on the song that defines that record: “Against the Moon”.
In an effort not to mince words, one thing should be noted before going any further- namely that Plowing Into The Field of Love is a masterpiece. No record this year has seen a more stunning creative growth or felt more important than Iceage’s new behemoth. Only three records into their still-young career and they’ve already emerged with a full-length that not only operates as a radical left turn but one that rivals anything from the creative rebirth of Nick Cave & the Bad Seeds (or, the Let Love In era). Iceage’s first two records, New Brigade and You’re Nothing, were menacing works that a few people chalked up to exhilarating exercises in intimidation. On Plowing Into The Field Of Love the band relents from that approach and serves a hyper-literate Southern Gothic-indebted masterwork that sees them flexing boldly experimental muscle and an untapped well of what now appears to be endless ambition. No song on Plowing Into The Field of Love illustrates this more than the slow-burning “Against the Moon”, a song that’s well out of the confines of anything the band’s ever done but still feels wholly suited to their identity.
Opening with the quasi-mournful strains of a brass section, it quickly undercuts its brief introduction with shuffling drums and the sustained hums of a chord organ. In those opening 15 seconds, the band manages to establish an astounding grasp on a style that was previously completely foreign to them. By the time the string and piano arrangements kick “Against the Moon” up a few levels into the breathtakingly sublime, it’s one of the bravest things any band this year’s committed to a studio recording. As instrumentally thrilling as “Against the Moon” is, it’s the startling emergence of vocalist Elias Bender Rønnenfelt’s vulnerability that shifts the song from the sublime to the transcendental. For the first time, Rønnenfelt’s lyrics and vocals are given a platform that demands the listener’s unwavering attention and that level of investment is paid off in full. From the song’s arresting opening stanza, enhanced by Rønnenfelt’s world-weary drawl, it’s clear that his personal transition directly correlates with what the band’s accomplished in terms of musicality. “On a pedestal, shining bright. Justify me. Make me right. I can fight it; make it roam- but a fugitive has a tendency to return home.” is the kind of opening line that suggests a genuinely great writer- that the rest of Iceage seems to have embraced and experienced the same level of maturity and rapid artistic growth as Rønnenfelt in the short year that’s followed You’re Nothing is nothing short of mind-bending.
A song that literally arrives with horns, “Against the Moon” stands as Iceage’s definitive entry into the band’s sudden new era, the strongest representation of Plowing Into The Field Of Love‘s myriad of sudden changes, and one of the most immediately striking songs to emerge from the past 4 years. Stripped back far enough to be completely exposed, Iceage shows the world all of its scars, all of its imperfections, and all of its entire being- and it’s a tremendous thing to experience. Even considering all of their previous sonic aggression, nothing they’ve ever produced has hit with a fiercer impact. For a band that’s aim has always been to wound, it’s a devastating reverse that leaves them sounding wounded- but bravely resilient. It’s extraordinarily effective and unflinchingly courageous. Most importantly, “Against the Moon” is the crown jewel of what deserves be regarded as one of this decade’s most important records. Make sure to give this the attention it deserves.
Listen to “Against the Moon” below, pre-order Plowing Into The Field Of Love from Matador here, and keep an eye on this site for a full review at some point in the coming week.
Heartbreaking Bravery 