Heartbreaking Bravery

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Tag: Dennis Callaci

Proud Parents – Take My Hand (Music Video)

proud parents

Before the long weekend gave us all a nice reprieve, there were music videos to peruse after being released by Blowout, Fascinations Grand Chorus, Yung, Nick Waterhouse, Hockey Dad, Yumi Zouma, and Bat For Lashes. There were also some excellent full streams that emerged and came courtesy of IAN SWEET, The Pooches, Ratboys and Dowsing, Adam Torres, Sneeze, Natural Sway, Tough Tits, July Talk, Dennis Callaci, Yohuna, Allah-Las, Shapes In Calgary, and the miami dolphins. As if all of that wasn’t enough, there was also an incredibly endearing clip from Proud Parents that found its way out into the world.

The band’s got an impressive pedigree among its four members, who are all connected to other prominent projects in the Wisconsin DIY punk circuit. All of that experience — and the knowledge that’s gained via that experience — has shaped Proud Parents into one of the finest basement pop acts in the upper Midwest. A lot of that’s been gained through an open-hearted identity that’s on full display in “Take My Hand”.

A staunchly independent endeavor, “Take My Hand” has a charmingly simple conceit: ramble around, mouth the song, and play with a small army of dogs. By forgoing a more ambitious narrative in favor of something far more grounded, Proud Parents are able to create a compelling hangout clip that remains an absolute joy even after a handful of plays. In playing to their strengths, “Take My Hand” emerges as a definitive portrait of a band that’s more than ready to get their considerable due.

Watch “Take My Hand” below and pick up Sharon Is Karen here.

Noun – Fame and Famine (Stream)

screamales

Over the past 24 hours, there have been quality streams from the likes of Real Numbers, LA Font, Wild Pink, Two Houses, Super Unison, Planes Mistaken for Stars, Dennis Callaci, Tokyo Tea Room, Balance and Composure, Raccoon Fighter, and Turnip King. On top of that, there were a string of music videos that emerged from the camps of Slow Down Molasses, Odonis Odonis, LUH, La Lenguas, Magik Magik, Yohuna, Moses Sumney, Brendan Canning, and Makeunder. Providing the day with a welcome dash of finality were full streams that were unveiled by Magic Trick, Ski Saigon, and The Hecks.

As always, all of those entries linked above are worth jumping over to and exploring with a certain level of intensity. However, they weren’t all that wound up being released Thursday. Screaming Females‘ Marissa Paternoster’s Noun project made an unexpected return with the jagged, lo-fi “Fame and Famine”. Quietly uploaded to Paternoster’s tumblr, “Fame and Famine” winds up benefiting from a pre-established tone of unpredictability.

While Paternoster may get the most recognition for Screaming Females, Noun has proven to be a project just as worthy. 2010’s Holy Hell, a consistently overlooked triumph, may even be Paternoster’s finest record to date (though the last few Screaming Females records have been hitting some exhilarating highs). Noun’s consistently allowed Paternoster a wider range of possibilities, making a new entry into the project’s discography a tantalizing prospect.

For “Fame and Famine”, Paternoster takes a direct, immediate route that fully commits to its lo-fi aesthetic and elevates itself via a comprehensive understanding of the format. There’s a surprising amount of nuance in the ambient beds that swirl beneath the insistent, repetitive main section that serves as the engine of “Fame and Famine”. Enhancing the aggressive disconnect that manifests in the narrative of “Fame and Famine” is the artwork the song’s projected over, one of Paternoster’s characteristically striking chalk-based originals.

Everything packaged together winds up being as disconcerting as it does galvanizing. There’s a nervous undercurrent of stress that imbues every second of “Fame and Famine”, lending it a feeling of completeness that can be rare in demos. It’s a fascinating glimpse towards one of today’s most fascinating, tireless artists and it’s another in a long line of formidable examples of Paternoster’s creativity and commitment. Tenacious, unnerving, and more than memorable, “Fame and Famine” is one of the best surprise standalone releases of recent memory.

Listen to “Fame and Famine” below and keep an eye on this site for more updates on the project.

Young Jesus – Neverending Catalogue of Total Garbage (EP Review)

youngjesus

As another week begins, another slate of new streams finds their way out into the world. DonCat, Public Eye, Joyce Manor, Lydia Loveless, Notches, James Edge and the Mindstep, Midnight Faces, Zula, Swoon Lake, and Naked Giants all unveiled strong tracks. There were also impressive music videos from Teen Suicide and Dennis Callaci as well as formidable full streams from Thee Oh Sees and Puppy. While those proved to be fascinating titles, site favorites Young Jesus secured themselves another headline spot with the surprise release of the Neverending Catalogue of Total Garbage EP, which sees bandleader John Rossiter continuing the influx of new material that was promised with last month’s extraordinary “1“.

In keeping with the pattern set by “1”, all of the song titles are assigned numbers and pick up after “2“. Don’t be fooled by the chronological system, each of these four tracks are imbued with the singular personality that’s defined the band’s past few releases. A recurrent thread throughout that past work has been an intangible sadness that finds intriguing ways to manifest. The most direct examples of that trait tend to be Rossiter’s lyricism, which tends to evoke an empathetic, even contemplative sense of basic understanding.

Right from the outset of Neverending Catalogue of Total Garbage, those characteristics are in full effect. “3” is the kind of genre-defying slow-burner that’s become a Rossiter specialty, melancholic and memorable. “Act like I’m seeing with my eyes, act like I’m bleeding all the time. I’m doing fine, I’m doing fine.” is the line that closes out “3” and one of Neverending Catlaogue of Total Garbage‘s most defining moments. It’s simultaneously an unfiltered look at the fractured psyche of the central narrator and a therapeutic release.

While “4” and “6” both sustain the EP’s sense of trajectory, they’re slightly more experimental affairs (the latter, especially so). Even with that experimentation, there are moments of bruised romanticism, underscoring the potential value of this entire project on a grand scale. “5” may be the most traditional inclusion of Neverending Catalogue of Total Garbage and the first of the new recordings to incorporate any sort of percussion. The song also manages to be one of the EP’s most direct moments and still retains the EP’s sense of poetry.

All told, Neverending Catalogue of Total Garbage is a thing of beauty. As a reaffirmation of Young Jesus’ innate artistic ability, it’s heartening. As a continuation of a standalone project, the EP is fascinating. As its own entity, it’s surprisingly essential. Antithetical to its title at every turn, Neverending Catalogue of Total Garbage winds up being a perfect example of 2016’s unexpected vibrancy. Don’t let this surprise release become a glossed-over footnote, provide it with the investment it deserves and walk away rewarded.

Listen to Neverending Catalogue of Total Garbage below and pick it up here.