It’s been an insane past few days. Full streams, videos, and songs worth writing about have been emerging at a breakneck pace and making deciding what to feature a near-herculean task of decisiveness. There was a monumentally important music video from Mean Creek‘s Chris Keene for his upcoming solo record as Dream Generation, an interactive piece of unbridled fun from Ty Segall for the title track off of Manipulator, characteristically cinematic videos from both Beverly and Fucked Up– who have each been doing wonders with the visual medium, a video that practically defines Bob Mould’s workmanlike nature, and a Jane Forsyth & Ian Pollard-helmed video for Parquet Courts’ “Bodies Made Of“- which proved to be an astoundingly sensible creative pairing. There were full streams of the gently gnarled She Keeps Bees full-length, the psych-trip of the White Fence and Jack Name split, and a new Greylag song, “Yours to Shake“, that showed some serious teeth. Picking between all of those seemed as if it might be impossible until, once again, LVL UP made the decision fairly easy.
At this point, noting that LVL UP’s upcoming Hoodwink’d is this site’s front-runner for Album of the Year seems redundant. It’s a 15-song masterpiece that sees the band perfecting their best aspects and surpassing an arsenal of lofty expectations in the process. This is something that this site’s touched on in reviews for the first three songs to be teased from the record: “Soft Power“, “I Feel Ok“, and “DBTS“. Now, the band’s released the fourth look at the now-imminent Hoodwink’d with “Ski Vacation” which shows the band expanding their sonic palette yet again. Boasting a tranquil atmosphere and no shortage of jangly guitar tones, the song integrates some subtle-yet-effective surf tendencies into the band’s outsider pop aesthetic- and the end result is spectacular. What jumps out about all of the songs that the band’s been previewing is that they stand on their own extraordinarily well and would warrant serious consideration for pushes as Hoodwink’d singles- but as a collective piece they’re extraordinary and complement each other better than just about anything that even bothers to casually flirt with genre-hopping tendencies. In that respect, Hoodwink’d might be the first record 2014 produces that would be deserving of a title no smaller than masterpiece. “Ski Vacation” is just the fourth of 15 dimensions.
For some essential reading on Hoodwink’d, please go to Sasha Geffen’s Interview piece– where the track premiered- to scroll through a can’t-miss interview that sheds some light on what went into making the record.
Stream “Ski Vacation” below and pre-order Hoodwink’d from Double Double Whammy (which has played host to several of 2014’s best releases and is in the midst of an absurd winning streak)- who will be co-releasing it with Exploding in Sound (see: last parenthesis)- here.
[AUTHOR’S NOTE: First off, just to get this out of the way at the top, this post probably would not have been possible without The Media, a site whose praises deserve to be sung as loudly- and frequently- as possible. Being able to be a part of that place, even just for an issue, was an honor. The fact that I got to spotlight was All Dogs, a band that put out a 7″ last year that I felt very strongly about, ensured that it won’t be an experience I’ll be forgetting anytime soon. All that said, I wound up with an over-abundance of content that, for obvious reasons, couldn’t all be worked into The Media piece. It’d be criminal to let a lot of the material that didn’t run go to waste, so it’ll be running here today. Enjoy.]
All Dogs put out one of this site’s favorite 7″ records of last year, so when word came that they’d be stopping at Bremen Cafe in Milwaukee, not going wasn’t an option. As time progressed and more things got worked out, excitement and anticipation for the show grew incrementally. After the band agreed to an interview (hyperlinked towards the end of the Author’s Note) and guitarist/vocalist Maryn Jones was gracious enough to agree to a small set of acoustic performances, All Dogs’ self-titled 7″ was back to being in near-constant rotation- and wound up being the go-to soundtrack for every editing session this site went through for a few weeks.
During that time, a press email came out detailing an upcoming release from a project called Yowler, which turned out to be a solo vehicle for Jones- and a likely continuation of her excellent early solo material. Somehow, this all came to light during a time that also saw the emergence of Saintseneca’s Tiny Desk Session for NPR (easily one of this year’s finest offerings), all of which pointing to Jones being one of the busiest- and best- songwriters/musicians that we currently have. All of that combined prompted a trip through her discography, which included some absolute gems like the tape from the now-defunct Wolfs (which All Dogs’ bassist, Ama,nda Bartley was also in). As a result of the culmination of all of this, expectations couldn’t have possibly been higher for the band’s live show.
After taking up temporary residence in Ground Zero (one of Milwaukee’s best basement venues) for the interview session, it was into the band’s van and off to Bremen Cafe. While there wasn’t too much time to spend doing anything other than helping clear out space and running out to get food before the show kicked off, it didn’t seem to matter. Everyone seemed to be in high spirits and a lot of old friends were able to exchange a few words before the show kicked off with a ferocious set from Failed Mutation– who proved to be next to impossible to photograph thanks to their incessant levels of energy. From their live show alone, it wasn’t very difficult to see why they’ve earned a reputation as being one of Milwaukee’s best hardcore bands in an increasingly over-crowded scene (it also probably doesn’t hurt to have members of Tenement and Holy Shit! in your band). Failed Mutation wound up packing an absurd amount of spastic energy into a set that probably only ran 15 minutes, all of which was expertly controlled- likely thanks to each individual members discipline and experience. It was a hell of a way to jump-start what would prove to be a surprisingly formidable bill.
Next up was Sin Bad, a relatively new band that features members of both Night Animals and Rich People. Having never heard Sin Bad, it was difficult to gauge whether trepidation or excitement was winning out as Failed Mutation loaded out. Any notions of disappointment were immediately dispelled following the first few seconds of their first song. Boasting a sound not too dissimilar from All Dogs (with maybe just a few dashes more of a sound found pretty frequently on Don Giovanni Records) and an energy that was relatively comparable to Failed Mutation meant their second slot was a perfect transition between the opener and the headliner, while also simultaneously allowing them a more unfettered interest from the sizable and appreciative crowd. By the time Sin Bad’s set was over, it was very clear they’d left an impression and made converts out of several of the previously unaware.
When Sin Bad had packed up and left the stage open for All Dogs, a strange nervousness crept back in- as it usually does prior to seeing a band (especially for the first time) that’s come to mean something on a personal level. Again, it didn’t take very long for that anxiety to abate. It took All Dogs (in a now-cemented four person lineup that includes NONA guitarist Nick Harris and, as always, Delay‘s Jesse Withers) less than three songs to inspire chills. Starting strongly with both “Farm” (from their outstanding split tape with Slouch) and the shortest song from the 7″, “Snow Fences”, they’d guaranteed the investment of everyone watching. Then on the third song, they offered up the first look at their new material, which they’d previously promised sounded like a much fuller and more fleshed-out version of themselves. Not only did that promise hold up, the expectations that came with it were annihilated as that song, currently written down on the setlist as “Skin”, showcased a heavier side of the band that had been previously been hinted at with their current career-best effort, “Say”.
From that point forward, the band tore through a set with a practiced confidence and relative ease, never once seeming anything less than completely genuine and extremely impassioned. Everything clicked, sounding fantastic in the notoriously loud Bremen Cafe. Making the performance even more memorable was the fact that the crowd was reciprocating virtually all of All Dogs’ energy, creating this back-and-forth that pushed both sides to near-perfect places. A few more songs from the split, the 7″, and (hopefully) the upcoming record, and the band had already nearly obliterated every lofty expectation- and then the band switched into high gear for an unforgettable 1-2 gut punch of an ending. That “Say” became the second song of their set to warrant chills and total immobility probably isn’t too surprising, as the studio version of the song is nearly capable of the same effect- but the band’s closing number, a song so recent that they still haven’t given it a title, went a long way in indicating that their upcoming work will be their best material to date. Both, combined, provided an unpredictably intense (even considering the members’ inability to contain their smiles) ending to an extraordinary set from a band who will almost certainly produce a discography of material worth owning on every possible format.
Below, watch a stunning solo acoustic performance of Wolfs’ “Leading Me Back to You” and All Dogs rip through their currently untitled set closer. A photo gallery of both the interview/performance session and the late show can be viewed beneath the videos.
Keep an eye out for all of the emerging details on All Dogs’ upcoming debut LP, which will be released on the always-extraordinary Salinas Records.
Due to yesterday’s hundred-marker mixtape, a lot of great just-released content got glossed over. Today, the amendments kick in, provided via hyperlink. There were incredible songs from Left & Right, Wishbone, The History of Apple Pie, Whirr, The Shivas, and Spray Paint. On the more visual end of the spectrum there was a hypnotic video from Literature, a lovingly-lensed performance clip from emerging artist Greylag, and a typically goofy clip from site favorites Krill. Over the past two days, though, only one could snag today’s feature spot and that honor goes to together PANGEA’s ridiculously fun, homage-heavy clip for the title track off of their excellent LP from this year, Badillac.
It’s been a while since their last music video (which, incidentally, also secured a feature spot from this site) and the only real avenue to continue featuring the band has been Watch This. Considering just how well Badillac has held up as the year’s worn on, it just didn’t seem right. Luckily, the band’s offered up a very good reason to give them another turn at bat; a note-perfect ode to classic horror films. There’s an attention to detail that helps this transcend the medium’s usual attempts at pastiche. All in all, it’s one of the more pleasant ways to spend a few minutes that’s been put forth this year- and that’s something that’ll always be next to impossible to argue against.
Watch “Badillac” here and make sure to order the record from Harvest here.
Another hundred posts in and this site’s still humming along. As tradition dictates, today is one of the only days that doesn’t get dedicated to the outstanding just-released content (though there was an incredible amount, which will be covered tomorrow)- and features a digital mixtape instead. There was a lot of talk over what the song of the summer was and no real general consensus in any type of forum. In the spirit of that surprisingly diverse conversation, the mixtape features the songs that resonated throughout this place most strongly during what proved to be an incredibly memorable summer (covering both NXNE and Pitchfork festivals among the many highlights). As the season approaches its end, it only felt right to shine a light on some of those songs one more time before the year draws to a close.
A few of these have been featured in previous playlists but that should only stand as a testament to their longevity. While a few weren’t even released in summer, they definitely struck a deeper chord as the surroundings finally caught up to the mood they inhabited. Every single one of them can be streamed below (a tracklist is also provided) and, being that this marks another hundred posts- and in the event anyone was curious in catching something they missed, hyperlinks to posts No. 200-299 are given beneath the tracklist. So, turn the volume all the way up and enjoy some great music while the warm weather’s still here.
Stream Songs of Summer: 2014 below and feel free to navigate through any of the listed hyperlinks.
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1. Lost Boy ? – Hollywood
2. LVL UP – Soft Power
3. Radiator Hospital – Cut Your Bangs
4. The Coasts – I Just Wanna Be A Star
5. The Yolks – You Don’t Live Here No More
6. Tweens – Forever
7. The Sleepwalkers – My Best Was Never Good Enough
8. Bent Shapes – 86’d in ’03
9. The Freezing Hands – Good Morning Takeout
10. Happyness – Anything I Do Is All Right
11. Dead Stars – Summer Bummer
12. Joanna Gruesome – Jerome (Liar)
13. Perfect Pussy – Leash Called Love (Sugarcubes Cover)
14. Eugene Quell – Hell Presidente
15. Happy Diving – Weird Dream
16. Mean Creek – My Madeline
17. Cymbals Eat Guitars – Warning
18. Left & Right – Low Expectations
19. Mulligrub – Canadian Classic
20. Dude York – Believer
21. Cayetana – Scott Get the Van, I’m Moving
22. Lenguas Largas – Kawasaki Dream
23. Wyatt Blair – Girls!
24. Jawbreaker Reunion – Empire
25. Reigning Sound – Falling Rain
After a surprisingly slow Monday, Tuesday’s offered up an expanse of riches that included (but weren’t limited to) an incredible Beat Happening cover by Girl Band, a spectacularly lush new offering from Kevin Morby, a stunning demo from the dearly-missed Jason Molina’s Songs: Ohia project, a fierce first look at Vetter Kids’ upcoming Logan, and a strangely hypnotic- and extremely visual- music video from Bear In Heaven. Even with all of that factoring in, it just wouldn’t feel right to neglect LVL UP’s “DBTS” today’s featued spot. After all, it’s entirely likely that Hoodwink’d will wind up as this site’s pick for Album of the Year (if it doesn’t scratch the top 3, then everyone’s in for one hell of a last quarter).
Following both “Soft Power” and “I Feel Ok“, “DBTS” showcases yet another side of LVL UP- one that’s influenced by sludge as much as it is outsider pop, which is something that’s especially visible in the song’s outro. Somehow, it winds up working as well as anything else the band’s ever done. There’s a brutality to “DBTS” that, while not entirely absent from their past work, is emphasized heavily here. Distortion and low-end get pushed to their breaking point, crackling and hissing with a determined relentlessness as everything surges forward. “DBTS” brings Hoodwink’d to its midpoint and goes a long way in setting the stage for what’s to come- but makes a big enough impression to ensure that it gets a very large number of repeat listens. September 23rd can’t get here soon enough.
Stream “DBTS” below and pre-order Hoodwink’ddirectly from Double Double Whammy (who, incidentally, are having an absurdly strong year) here.
Over the past few days, there’s been a lot of great content to be unveiled. This is including, but certainly not limited to, a great new Dead Soft video “Everything”, a stream of a new Parlour track for an upcoming compilation from the always-outstanding Marshall Teller imprint, a look at the upcoming album from the deservedly legendary Blonde Redhead, and a new stream from Big Mess (courtesy of Allston Pudding). There was a great new self-titled EP released by Crossed Wires, a first look at Trust Fund‘s side of their impending split with Joanna Gruesome, a new song from Colleen Green, and an engaging music video from The History of Apple Pie.
Now, 2014’s already seen a treasure trove of genuinely great releases bearing the Double Double Whammy stamp and they’re adding to that already enviable streak with an impending split between Wishbone and Follies. The latter of those two bands has raised anticipation for this release considerably by offering a glimpse at their side by offering a stream of the damaged, feverish “I Make Sense”. It barely eclipses three minutes but packs so much raw lo-fi weirdness into them that it’s difficult to gauge the run time at all.
Changing at the drop of a dime, there’s a myriad of fascinating influences all gnawing at each other in the forefront of “I Make Sense”, rendering it a winsome mess that’s utterly entrancing. Whether it’s outsider pop through a psych lens or a new breed of shoegaze-influenced post-punk or just an unfiltered version of Phil Hartunian’s personality (he’s the driving voice behind the Follies project), “I Make Sense” still stands as a gripping piece of music that, like all of the best art, is impossible to completely define. There are very few songs that have been released in the past month to be this courageously weird- or this unrelentingly hypnotic.
Stream “I Make Sense” below and make sure to pre-order the split from Follies’ bandcamp.
LVL UP are drawing closer to the release date of Hoodwink’d, an album that’s loaded with the band’s best material to date. To celebrate its impending release, and to tease just a little bit more of how insanely good this thing is, they’ve offered up another glimpse in the form of the rollicking outsider pop tune “I Feel Ok”. It’s a deceptively complex song that manages to underscore just how capable this band is of writing great songs to anyone willing to invest the time in deconstructing all of its individual elements.
There’s a feeling of ease and weightlessness to “I Feel Ok” that’s not uncommon for LVL UP but taken to new heights on this particular outing. From the song’s ornate percussive features to the twinkling guitar tones and floating vocal melody, it’s an outsider pop gem courtesy of a band that seems to have a ceaseless supply of them. “I Feel Okay” also stands out for stripping away a lot of the band’s gnarled fuzz (something they hit new heights with on “Soft Power“) without shedding any of LVL UP’s immediacy or innate charisma. Never over-reaching or overbearing, “I Feel Ok” is the sound of a band living up to increasingly heightened expectations with aplomb. What’s almost terrifying about the pairing of “Soft Power” and “I Feel Ok” is that between the two of them, they’ve barely scratched the surface of what LVL UP is capable of.
Listen to “I Feel Okay” below and make absolutely certain to pre-order Hoodwink’d from site favorites Double Double Whammy (a label run by two members of LVL UP) here.
Towards the end of last month, Liam Betson quietly released the absolutely stunning The Cover of Hunteron the increasingly impressive Double Double Whammy, who are now in the midst of one of 2014’s hottest release streaks (one that’s set to continue with LVL UP’s impending Hoodwink’d). It’s a record that’s continuing to strike a deep chord with a lot of people across a variety of scenes. Trading in his Liam the Younger moniker in favor of his given name proved to be an effective move when provided with the context of the album, Betson’s rawest and most honest work to date.
While the entire record is good enough to rank among the very best of the year, it’s the closing track that provides The Cover of Hunter with its most startling moment. Opening with the line “Bobby, coming out is scary and any advice doesn’t feel right” all but guarantees the full attention of the listener. On a record where coming to terms with a variety of things is a recurring motif, “Rapture in Heat” is the one that confronts it the most directly, to an absolutely devastating effect. A tragic melody plays out in both the instrumental and vocal composition, even when the song switches gears from the piano-assisted beginning and turns into a mid-tempo basement pop number, there’s still a sense of loss that permeates through the song.
One look at the lyrics of the last stanza only confirms how weighty the subject matter that closes The Cover of Hunter out is. Any song that ends along the lines of “You want to be loved but say that you don’t” is capable of rendering discerning listeners temporarily speechless- and any song that does it half as well as “Rapture in Heat” will always be worth listening to. Ultimately, it’s the subtle bravery that defines “Rapture in Heat” which also helps it become something more transcendental and lends a powerful sense of closure to one of 2014’s best records.
Listen to “Rapture in Heat” below and order The Cover of Hunter from Double Double Whammy here.
As mentioned previously, this site’s month-long dedication to festival coverage meant missing a lot of great material during that interim. While a few have since been covered, there’s still a lot to catch up on- and one of the select few ranking among the very best, once again, belongs to a Double Double Whammy release (in conjunction with Old Flame Records, no less): Lost Boy ?’s “Hollywood”. The song’s the first single to be released from the band’s forthcoming full-length, Canned.
Brimming with an unfettered energy, “Hollywood” starts with a sprint and doesn’t concern itself with looking back. As much an exercise momentum as it is a cathartic release, the song’s sent the levels of anticipation for Canned skyrocketing to heights completely unprecedented for the band. If “Hollywood” and the recently unveiled Canned B-side, “Graves“, are any indication, this is a record that will have a lot of people talking- and willfully damaging their speakers. As a stylistic marriage, there are few things that work better than off-kilter basement pop and spiky post-punk- and Lost Boy ? already seems to have that blend perfected. Watch out for this band.
Listen to “Hollywood” below and pre-order Canned here.
Heartbreaking Bravery 