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Tag: Cogs (Orchestral Version)

16 of ’16: The Best Music Videos of the Year

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It’s been a while since anything’s run on this site but, as always, everything that’s being put on the table is being assessed and evaluated. A Year’s Worth of Memories‘ third edition is just around the corner but before those recollections begin, it only seems fair to take a look back at the best of what 2016 had to offer. This will be the first year where a numerical rankings system is abandoned, a decision that wasn’t made lightly but is being enforced for a variety of reasons specific to this over-stuffed year (meaning that the numerical rankings system may appear again roughly 12 months from now).

For whatever reason, music videos are largely viewed by the general public as having fallen out of favor, which is a genuine shame considering what’s being done with the form. Lemonade seemed to revive some interest and open up potential possibilities for the future but it’s still a format that the public’s left by the wayside. Here at Heartbreaking Bravery, the best of these have been traditionally celebrated because they represent the perfect marriage of music and film. 2016 presented a whole new slate of incredible material, headlined by an unbelievable string of videos from Minor Victories and PUP, that were worth praising.

Here are 16 of the best clips to have appeared throughout the year.

Kevin Morby – Dorothy

Christopher Good has directed a handful of videos that have been featured on this site over the years but may have turned in a career best with Kevin Morby’s “Dorothy“. Embracing Morby’s open road aesthetics, Good allows “Dorothy” to gracefully coast along at a breezy pace, infusing it with an inordinate amount of perfect cues and tongue-in-cheek humor. It’s sublime craftsmanship that not only complements but elevates its already-great source material.

Courtney Barnett – Elevator Operator

After cracking last year’s music video list with the jaw-dropping clip for “Kim’s Caravan”, Courtney Barnett makes another appearance thanks to the fascinating, cameo-heavy video for “Elevator Operator“. Blending Barnett’s signature wit with a staggering moment of quiet existentialism that arrives out of nowhere, “Elevator Operator” sees the celebrated songwriter aiming for new heights and reaching a stratospheric level.

John K. Samson – Postdoc Blues

Former Weakerthans bandleader John K. Samson made an incredibly welcome return with 2016’s outstanding Winter Wheat. One of that record’s highlights, “Postdoc Blues“, received the music video treatment and is the rare clip that benefits from an incredibly direct and literal simplicity. Created for a good cause and executed to a characteristically unassuming brand of perfection, “Postdoc Blues” is a breath of fresh air.

Parquet Courts – Human Performance

No music video from 2016 proved to be more grotesquely haunting than Parquet Courts‘ oddly disturbed, puppet-driven clip for “Human Performance“. It’s intensely human, ridiculously unnerving, and extremely hard to shake. “Human Performance” props up its own ugliness in an effectively defiant act of genuinely brave showmanship. A singular piece from a fascinating directorial voice, “Human Performance” wound up as one of 2016’s most fascinating moments.

Cymbals Eat Guitars – 4th of July, Philadelphia (SANDY)

Easily one of 2016’s best songs, Cymbals Eat Guitars‘ “4th of July, Philadelphia (SANDY)” also served as one of the year’s best music videos. Shot through with nostalgia and an abundance of feeling, “4th of July, Philadelphia (SANDY)” managed the impossible task of both referencing an indisputable classic and standing on its own. A perfect marriage of lyric video and traditional music video, Cymbals Eat Guitars may have created something bordering on timeless.

LVL UP – The Closing Door

The first major music video effort from LVL UP came courtesy of House of Nod, who were given the unenviable task of capturing the searing spiritual search present all throughout the band’s latest effort, Return to Love, and turned in an absolute gem. “The Closing Door” relies heavily on imagery and metaphor but never seems anything less than grounded. “The Closing Door” climaxes in a beautiful final sequence that’s moving, hopeful, and reassuring, three things that become sorely necessary in a difficult year.

Potty Mouth – Smash Hit

There are a lot of ways a music video can achieve greatness, whether it be through breathtaking visuals, inspired direction, a memorable concept, by complementing the song, or, in the case of Potty Mouth‘s “Smash Hit“, being astonishingly representative of the band.  An effective mix of glitz, glamour, and grit, “Smash Hit” finds the trio vamping for the cameras and giving a tenacious central performance. It’s an exhilarating burst from a band that’s attained an assured confidence.

Vagabon – The Embers

“The Embers” served as site favorites Vagabon‘s introduction-at-large for a sizable audience and it’s one hell of an introduction. Utilizing a visual style that’s not too distant from Destin Daniel Cretton’s Short Term 12 (one of the best films of this young century), “The Embers” is immediately gripping. The empowering, symbolism-heavy narrative is as striking as the imagery and all of it clicks into something that verges on the transcendental. In short: it’s unmissable.

Japanese Breakfast – Everybody Wants to Love You

Another clip from the inimitable House of Nod, Japanese Breakfast‘s “Everybody Wants to Love You” popped up on many of these year-end music video lists and it’s incredibly easy to see why. A celebration of heritage and individuality as well as a moving tribute to a deceased parent, “Everybody Wants to Love You” is loaded with sincerity and meaning. Vibrant with the faintest touch of melancholy, it’s an unforgettable demonstration of personal strength and unerring resolve.

Dilly Dally – Snakehead

Likely the funniest music video to be released in 2016, Dilly Dally‘s “Snakehead” music video skewers its own format at every turn, while clearly being a meticulously crafted clip born out of a deep love and understanding of music videos. Biting captions, self-aware performances, and contextual knowledge make “Snakehead” obscenely endearing and skyrocket its worth in the process. Pointed, snarky, and a hell of a lot of fun, “Snakehead” is nothing less than a knockout.

PWR BTTM – West Texas

2016 was a very kind year for PWR BTTM and one of the duo’s opening shots was the sweeping music video for “West Texas”. Epic in scope and unapologetic in its cinematic debt, “West Texas” is a swaggering blast of bravado that touches on just about everything that’s made PWR BTTM so beloved in such a short amount of time. The identity politics, the showmanship, the willingness to be subversive, and the ability to string everything together with fiendishly sly, self-aware humor.

Hazel English – Never Going Home

Hazel English delivered one of the year’s best EP’s with the exceedingly lovely Never Going Home, which boasted a title track that received an absolutely gorgeous visual accompaniment. While the lyric video for “I’m Fine“, the studio clip for “It’s Not Real“, and the clip for “Control” all merited individual consideration for this list, it was the soft lensing and natural, delicate charm of “Never Going Home” that made the deepest impression. It casts a spell that’s worthy of a complete surrender.

Mitski – Happy

Part of a trio of impressive Mitski clips (including “Your Best American Girl” and “A Burning Hill“), “Happy” packed a powerful enough punch to secure the spot on this list. Paying homage to heritage, race relations, historical tension, military occupation, and a bevvy of classic films,  Maegan Houang brings a fiery directorial touch to an outstanding concept and executes with staggering purpose. By the time “Happy” winds to an end, it’s difficult to wish for anything other than an expansion into a feature length film.

Nick Cave & The Bad Seeds – Trio

While Angel Olsen, The Avalanches, and DJ Shadow (ft. Run the Jewels) were among some of the bigger names making genuinely outstanding music videos, what filmmaker Andrew Dominik accomplished with his clips of Nick Cave & the Bad Seeds playing a trio of clips (“I Need You“, “Jesus Alone“, and “Girl In Amber“) from the band’s shattering Skeleton Tree simply can’t be ignored. This is both performance and performance filmmaking of the highest possible level.

Minor Victories – Cogs (Orchestral Variation)

Only one band could rival what Minor Victories achieved in the music video format in 2016 (but we’ll get to that band in a moment). Minor Victories aggressively established an arresting visual aesthetic and turned in an incredible number of clips that could have very easily wound up in this spot. “Cogs“, “Folk Arp“, “Scattered Ashes (Song for Richard)“, “A Hundred Ropes“, “Breaking My Light“, and “Give Up the Ghost (Orchestral Variation)” were all gripping in various ways, making the most of crisp black-and-white cinematography. Their finest moment, however, came with the release of “Cogs (Orchestral Variation)“, an expansive, intimate character study and the band’s most ambitious offering to date. It’s harrowing, it’s riveting, and it’s easily one of the best clips of 2016.

MUSIC VIDEO OF THE YEAR

PUP – Sleep in the Heat

In 2013, PUP‘s “Reservoir” topped the year-end music video list I contributed to PopMatters. In 2014, PUP’s “Guilt Trip” topped this site’s very first year-end music videos list. In 2015, PUP managed to crack the year-end music video list once again with “Dark Days“. This year, the band continued an unprecedented run of dominance in the format with no less than three legitimate year-end contenders, each wildly different from the other.

From the playful, game-happy lyric clip for “DVP” to the relentless shock-and-awe brutality of the terrifyingly-named “If This Tour Doesn’t Kill You, I Will“, the band was firing on all cylinders. Still, none of that could’ve been adequate preparation for what they and director Jeremy Schaulin-Rioux achieved with “Sleep in the Heat”, a successor to “Guilt Trip” that came several years after filming on “Guilt Trip” wrapped- and after “Guilt Trip” star Finn Wolfhard landed another lucrative starring role in Netflix’s Stranger Things.

Just as “If This Tour Doesn’t Kill You, I Will” intercut footage of “Reservoir” to establish a sense of history to ground its narrative and supply additional meaning, “Sleep in the Heat” opens with the startlingly vivid footage of its natural predecessor. The actors that were assembled in “Guilt Trip” resume their posts as stand-in’s for PUP’s members in their earlier days and each of them — particularly Wolfhard, who turns in what’s easily the best work of his burgeoning career in this clip — give committed performances.

Taking on the role of a scrappy touring band, the young cast find themselves navigating the frequently dire circumstances that are all too familiar to anyone that’s ever hopped in a van to drive four hours to play a show in a basement to five people. There’s a sense of lived-in realism that bolsters everything in the clip, which seeps in from the onset and never relinquishes its hold. Early on, “Sleep in the Heat” takes a curious turn when a stray dog takes a shining to the band’s food and follows them to their next brief stop, endearing itself to the band to the point where they bring it on board as a rescue.

Here’s where the narrative crux of “Sleep in the Heat” — a song written about guitarist/vocalist Stefan Babcock’s deceased chameleon — begins to sink in and all anyone can do is prepare for devastation. Not too long after that sudden, sinking realization, things in the video begin to get bleak. The dog gets sick and needs a surgical procedure, unable to cover the expense, Wolfhard (as the young Babcock) pawns a guitar mid-tour to provide for the animal that’s quickly become a new best friend. The surgery goes forward but it isn’t enough.

In one of the most emotionally shattering music video montages of recent memory, the band members of PUP are photographed holding their own deceased pets, lending a heartbreaking reality to an already emotionally charged clip. Several stages of the process of dealing with death all collide at once and it’s a forceful, resonant moment that immediately registers as singular.

As brilliant as that moment is, it’s not until the final passage where everything’s really driven home. Wolfhard’s back to the front of the band, guitar slung across his body once more (a perfect shot revealing he’d broken through the pawn shop glass to steal it back is just one of many grace notes scattered throughout the clip), looking delirious, hollow, and broken as footage of the wounded dog being tended to is intercut with Wolfhard overcome with emotion while screaming the song’s final chorus: Yesterday I went back to my apartment to see how you’d been holding up, you hadn’t been eating, I thought you were sleeping but you’re not waking up. I want you to know that I’d spend every bit of my pitiful savings and loans just to see you again… but I know I won’t.

The screen fades to black and resumes after a brief pause only to reveal rocks being piled on top of a freshly-dug patch of dirt. The camera pulls back and reveals one word, spray painted on the rock pile’s surface: PUP. Another pause and another cut to black occurs before “Sleep in the Heat” offers one final nod to its prequel and closes with a shot of the van moving forward down an open road, looking ahead to new triumphs, heartbreak, and everything else life has to offer. 

Minor Victories – Cogs (Orchestral Version) (Music Video)

minor victories

EDITOR’S NOTE: This series of posts reflects back on some of the best material to be released over the past few weeks. Each post with this heading is a part of this series. After this series has concluded regular coverage will resume.

No band this year has managed to string together a run of music videos more astonishing than Minor Victories. “Cogs” and “Folk Arp” both earned featured slots on this site while “Scattered Ashes (Song for Richard)” and “A Hundred Ropes” both appeared in collective round-ups that covered two specific stretches of time. All four of those clips came laced with an electrifying intensity that the band presented in different ways.

“Cogs”, arguably, was the most effective in establishing that intensity, tracking a man fleeing a hooded figure wielding a rifle in a patch of woods. Tension-fueled and riveting beyond measure, the prospect of a follow-up act would’ve been daunting in the hands of less capable filmmakers. In “Cogs (Orchestral Version)”, the concept present in “Cogs” is flipped on its head, as the narrative focal point becomes a murderer coming to grips with his actions.

“Cogs (Orchestral Version)” is part of an upcoming record entitled Orchestral Variations that presents orchestral interpretations of the songs on the band’s impressive self-titled debut. The conceit that lays the foundation for the record taps into an emotive core that winds up emboldening the visuals of “Cogs (Orchestral Version)”, which is the most expansive of the band’s videos to date.

There’s a bleak, daunting story that’s painted in several exquisitely lensed black-and-white frames, capitalizing on the band’s penchant for vivid imagery and meticulous detail. Virtually every shot in “Cogs (Orchestral Version)” is gorgeous and the pain present in the central character becomes increasingly unbearable as the clip asks us to examine, scrutinize, and even empathize with a monster. It’s absorbing, disturbing, and shockingly effective. It’s also one of the best music videos of the year.

Watch “Cogs (Orchestral Version)” below and keep an eye on this site for more information regarding Orchestral Variations.