EP | Heartbreaking Bravery

January 2, 2020

The Best Records of October (2019)

Surprise EPs, rapid-fire singles, daring long-form narratives, and more populated the best records of October. All but two of the artists featured in this list have been featured on this site in the past, while the two new entries provided head-spinning introductions that set each respective act up for further exposure. Each record hits different nerves of pleasure, so whether prospective listeners are looking for something a little more streamlined or a lot more frantic, they should be covered by something on the list.

Due to time constraints and the emphasis placed on the upcoming year and decade-end material, this will be an abridged version of what was originally intended. Nonetheless, these are all very much worthy of listeners’ full time and attention. Don’t let the scant review space stand as an indication of worth; a few of these will be mentioned again shortly. In the meantime, enjoy exploring below.

1. Charly Bliss – Supermoon

Explosive, volatile, and a perfect bridge between Charly Bliss‘ first era and their current mode. An unabashedly energetic thrill ride from start to finish, one of the strongest EP’s of the year, complete with some of the best songs from one of the decade’s best bands (“Feed” and “Heaven” alone could’ve powered this into a featured selection).

–

2. Ex-Vöid – Ex-Vöid

One of the more interesting punk bands of the past new years, Ex-Vöid feels like a natural extension of the members’ previous projects (namely, Joanna Gruesome) with a dash of something new. There’s a specificity to both of the songs on this 7″, one more pop and one more hardcore, that points to Ex-Vöid being a more fully realized project than some might think.

–

3. Lightning Bolt – Sonic Citadel

Few bands have gained the type of singular reputation afforded Lightning Bolt. One of noise’s most celebrated duos, the pair matches virtuosic playing with an unmatched, almost feral intensity. Sonic Citadel, their first record in four years, find them in a more polished pop mode (by their own unique set of standards) and yields some of the most immediate and enjoyable work of an already legendary career.

–

4. Black Beach – Tapeworm

Black Beach have appeared on this site a few times in the past and their natural artistic progression continues to make an impression. Tapeworm, the band’s latest, finds them at the top of their game, blending post-hardcore production aesthetics with noise-punk intensity and a deceptively pop-leaning melodic sensibility that tethers everything into a uniquely compelling whole.

–

5. clipping. – There Existed An Addiction to Blood

One of the most interesting acts of the past 10 years, clipping. have carved out a unique niche for themselves through a remarkable consistency. Even as the noise-rap band grows bolder and more adventurous with their artistic choices, there’s an innate quality to both the production and bandleader Daveed Diggs’ astonishing command of narrative that makes the trio’s latest, There Existed An Addiction to Blood, stand out at every unpredictable, terrifying turn.

–

6. Blush Cameron – Ambiguous World

Every once in a while, a bedroom pop record rolls around from a local upstart that is so fully-formed and thoughtful in its concept and execution that it feels as if the artist responsible for its creation has been making waves for years. Blush Cameron’s Ambiguous World falls firmly into that rare category, utilizing a fondness for ’90s alternative to great effect, imbuing an impressive record with a lo-fi warmth that elevates the whole affair from great to irresistible.

–

7. Great Grandpa – Four of Arrows

One of 2019’s most unexpected records for a whole host of reasons, Great Grandpa‘s sophomore effort is a breathtakingly accomplished piece of music. A startling leap ahead in directional sensibility, Four of Arrows finds the band transforming their explosive, pop-leaning math-grunge into a genre-defiant collection of styles. Radiohead, Imogen Heap, The Cranberries, Tom Petty, and Cyndi Lauper all somehow wind up being major points of reference across the record, making it one of the year’s most fascinating listens. Impressively, everything the band throws at the wall here works. An astonishing record.

–

8. Carver Baronda – Spooky Love

Spooky Love, the latest EP from DIY alt-country force of nature Carver Baronda, is the songwriter’s most impressive work to date. Filled to the brim with a romanticized take on the genre’s best strains, Baronda carves out a collection of memorable tracks that are teeming with intricate subtleties and well-articulated nuance (the restrained slide work is especially tasteful). A small but staggering EP from an artist that deserves everyone’s full attention.

–

9. Amy O – Shell

One of the more consistently engaging emergent voices in indie pop, Amy O followed up 2017’s winsome Elastic with a more considered album, allowing it’s thoughtfulness to pay dividends. From the opening title track through the 10 songs that follow, Shell casually invites and thoroughly rewards investment. A small but notable triumph for an intriguing songwriter that never seems to stop getting better.

Leave a comment

April 28, 2019

April 2019: Three Weeks, Four Records

Three weeks into April 2019 and the month’s yielded a staggering amount of good material and a small handful that’s genuinely great. Today, this site will feature the last of what has been a series of quartets: songs, music videos, and full streams. A wide range of genres and styles is on display and everything’s more than worthy of some serious listening and/or watching investment. Art this strong should always be featured in some capacity, as many times over as possible. Scroll down and enjoy the riches.

Patio – Essentials

Patio‘s potential has been evident since the evening they made their public debut at Palisades (RIP). Essentials, the band’s first full-length and second release following their excellent Luxury EP, finds the trio paying off that promise with the conviction that’s always been present beneath their icy exterior. Detachment and post-punk tend to go hand in hand, which is why Essentials‘ willingness to embrace a no-frills directness feels exhilarating. Every move throughout the record feels considered, resulting in a level of precise articulation that many bands spend entire careers trying to match. There’s an exacting nature to both the narratives and the instrumentation Patio wields throughout the record, which finds the trio weaponizing their own restraint. Measured, deadly, and teeming with confidence, Essentials lives up to its name.

Supermilk – Rare Delusions

Jake Popyura‘s made a few of the present decade’s best records as a member of Doe and adds to that winning streak with Supermilk‘s second EP, Rare Delusions. Popyura’s solo project had an enticing debut EP in Hello? Yes this is Supermilk… but Rare Delusions betters it in every aspect. Doe’s recent run has seen Popyura take a considerable artistic leap as a songwriter and that comes through in full on all four of Rare Delusions‘ tracks. Each track detonates and effectively captures a youthful energy that hits like an adrenaline rush. Angst, ennui, and clarification are leveraged into a surging momentum but Popyura never lets Rare Delusions fall apart after it flies off the rails, ensuring its place as one of 2019’s most galvanizing listens.

–

Nightwatchers – La Paix Ou Le Sable

La Paix Ou Le Sable, Nightwatchers’ latest, is a snarling behemoth. Modern, pop-informed basement punk at its most vicious and unforgiving, La Paix Ou Le Sable is an unrelenting tidal wave of unchecked aggression funneled into some of the year’s hardest-hitting songs. An into track provides a moment of peace before the storm’s unleashed and the band really never lets up after that opening minute. Everything hits with a high degree of impact but, impressively, the cumulative effect never becomes desensitizing. A breathless declaration of intent from a band that seems hell-bent on making its presence count.

–

Bleary – Gates

The members of Bleary have been fixtures in Nashville’s local punk scene for some time, which helps explain how Gates sounds so monumentally assured. The band’s still a relatively new act, with only a three-track demo to their name. Gates, the band’s debut EP, is a head-spinning affair that announces the quartet’s arrival with the same clear-eyed determination that elevates the band’s music. Front to back, Gates is pure catharsis. Classic shoegaze gifted some contemporary twists, pitched in all the right keys, Bleary has crafted something that feels genuinely definitive. An extraordinary accomplishment that should find Bleary successfully searing their name into many new converts’ memories.

Leave a comment

January 6, 2019

The Best of December 2018: Songs, Music Videos, and Records

Only a few days have passed since we turned to a new calendar year and everyone’s looking ahead to resolutions. While that’s a natural way to progress, sometimes it’s worth casting a glance back, especially when the recent past was so fruitful. In all three of the major release categories (songs, music videos, and full streams), there were gems unearthed throughout December. This post is one last look at a very specific slice of 2018 before this site catches up to everyone else and reveals its picks for Music Video, Song, and Album of the Year. In honor of a recent series of tweets from Small Albums, all of the reviews below will be two sentences or less. A few of the selections below might even make an appearance. Hedge your bets on which by exploring all the offerings below.

SONGS

1. Very Jazzed – Get A Job

A tongue-in-cheek post-punk rambler that’s as defiantly joyous as it is self-deprecating. “Get A Job” finds Very Jazzed in an immediate, accessible mode that suits them perfectly.

–

2. Guided By Voices – My Angel

One of the most dependable acts of the last few decades keeps surging forward with “My Angel”. A characteristically brief burst of energy, melody, and understanding from Guided By Voices.

–

3. Tørsö – Grab A Shovel

“Grab A Shovel” more than shows why Tørsö have become a revered emerging force on the DIY hardcore circuit. Gnarled, snarling, and unforgiving, it’s a monster of a track from an act worth following.

–

4. The Gentleman Losers – Make We Here Our Campfire

The Gentleman Losers crafted an enigmatic beauty in their recent Make We Here Our Campfire, a record headlined by its spellbinding title track. Melancholic and intuitive, “Make We Here Our Campfire” grips the senses like a vice, pulling the listener in until the very end.

–

MUSIC VIDEOS

1. Eerie Wanda – Sleepy Eyes

A hybrid clip for Eerie Wanda’s “Sleepy Eyes” serves as a perfect complement to the song. Part lyric video, part traditional footage, “Sleep Eyes” takes a simple concept and guides it to memorability.

–

2. Amos Pitsch – Piece of the Season

Tenement and DUSK‘s Amos Pitsch returns to the holiday spirit after 2017’s Lake Effect with “Piece of the Season”. Delivered in tandem with partner Julia Blair’s “Merry Christmas (To the Ones Who Are Lonely)“, “Piece of the Season” sees Pitsch surrounded by quintessential hallmarks of a Wisconsin winter (and delivers one of the year’s best shots in a quick-hitting sledding sequence).

–

3. Spirit Was – Golden Soul

LVL UP‘s dissolution may only be a few months in the past but its members are already going full bore with their new projects, including Nick Corbo’s Spirit Was. “Golden Soul” is a beautiful introduction-at-large to the project, the moody visuals perfectly suited to Corbo’s slow-burn songwriting mentality.

–

4. Noname – Blaxploitation

“Blaxploitation” is delivered not just as a music video but as a film, suggesting Noname‘s visual ambitions are just as bold as the ambition evidenced in the music. Playing off the monster movie film canon to supplement a pointed social commentary, “Blaxploitation” earns the film designation.

–

5. La Dispute – Rose Quartz / Fulton Street I

Every so often, something that’s so tethered to something deeply personal gives me reason to break this site’s “no first person” clause and in the case of La Dispute‘s gorgeously animated “Rose Quartz / Fulton Street I” it’s this: I was in a horrific car accident after a deer jumped a barricade on the interstate and left my partner’s previous car as a total loss. A scene, with some added symbolism, of an extremely similar nature is depicted throughout this clip and explores something that feels unflinching honest in its surreal, gently nightmarish portrayal.

–

6. Phoebe Bridgers – Killer

Phoebe Bridgers‘ Stranger In the Alps is holding strong as one of the better records of the past few years and the sublime, crisp black-and-white clip for “Killer” serves as a stark reminder of its potency. A tender, engaging clip for a song worthy of this kind of treatment.

–

FULL STREAMS

1. Mister Goblin – Final Boy

While Two Inch Astronaut has taken a bow, Sam Woodring is still going strong, a fact evidenced by a sterling debut effort from the songwriter’s newest project, Mister Goblin. Keeping Two Inch Astronaut’s core sensibilities intact but providing them a slightly lighter sheen, Woodring finds a joy in exploring some (mostly) untapped spaces and that joy translates into a rewarding listen.

–

2. pting – beep beep

beep beep stands out as a charming effort from pting pting, offering three tracks of punk-indebted slacker pop that are worth every revisit.

–

3. Strange Ranger – etc.

A project that’s been a site favorite for a few years keeps finding intriguing ways to evolve. etc. is a fascinating left turn for Strange Ranger but one that’s in keeping with their recent exploratory bent, finding them in a bed of acoustic warmth that still has room for the electronic-heavy collaborative closer.

–

4. Lrrr & Maxshh – Thank You, Lrrr, You’re Welcome Maxshh

Thank You, Lrrr, You’re Welcome Maxshh is an endearing split release from Lrrr and Maxshh, which finds the two projects squaring off, collaborating, and contributing a Frankie Cosmos cover for good measure. A mid-fi bedroom/basement pop triumph.

–

5. Laura Stevenson – The Mystic & The Master

One of today’s most underrated songwriters returns and offers two strong, heartfelt tracks of contemporary folk pop. Imbued with empathy and subtle artistry, “The Mystic & The Master” and “Maker of Things” are more than deserving of their place in Laura Stevenson‘s discography.

–

6. Spirit Was – Golden Soul

As stated above, though LVL UP’s gone, multi-instrumentalist Nick Corbo’s most certainly not. Golden Soul finds Corbo sinking deep into contemplation while clinging to a torch, ready to set everything ablaze at a moment’s notice.

–

7. Another Heaven – FOR EVER FOR EVER FOR EVER FOR EVER FOR EVER FOR EVER

While FOR EVER FOR EVER FOR EVER FOR EVER FOR EVER FOR EVER is a title destined to have people counting on their fingers, the songs it contains are more likely to make listeners feel a sense of awareness. Urgent, thoughtful, and nearly overwhelming, Another Heaven have released a behemoth of an EP that stands among 2018’s finest releases.

1 Comment

December 28, 2018

The Best Records of November 2018

November had a lot of records competing for attention, covering the various different ends of the spectrum. This post is a look back at some of that month’s best offerings, which seems like a worthy venture even with a new year only a few days out. Whether they were compilations or collections of entirely new material, these are records worth hearing. From local artists to retrospectives from genre legends, there’s a lot to digest. As always, each and every one of these titles are titles worth owning. Dive in below.

1. Wooing – The Clouds

A band that’s making some noticeable moves over the back half of the year finally got a chance to truly show off and seized the opportunity with a stylish fervor. Wooing‘s The Clouds is one of the best post-punk-meets-basement-pop 7″ releases of the year. Both sides come laced with a sense of nervous tension that’s embedded into the band’s icy atmospheric sensibility. Quietly thrilling and uniquely enthralling, The Clouds marks a true arrival for a band that’s living up to their potential.

–

2. The Weasel, Marten Fisher – Real Deal Therapeutic Bullshit

Over the past decade, Colin Bares has released an astonishing wealth of incredible songs through various projects. Good Grief, The Coral Riffs, Mr. Martin & The Sensitive Guys, The Cost of Living, and The Weasel, Marten Fisher have all earned coverage from this site, each tethered in some way to Bares’ unique songwriting sensibilities. Real Deal Therapeutic Bullshit is a compilation of tracks that have been uploaded to soundcloud over the past two years (with a few extra thrown in for good measure) and ably demonstrate Bares’ uncanny ability to acutely plumb the depths of what it is to be human. Whether it’s the melody, composition, lyrics, or vocal delivery, this is music that stays with anyone who has the fortune of listening and definitively stakes a case for Bares as one of the best songwriters operating today.

–

3. The Marked Men – On the Other Side

There’s a case to be made for The Marked Men as the golden standard for the basement pop genre and that case would only be strengthened by On the Other Side, a compilation of odds and ends that span the band’s career. Even the quartet’s outtakes would put most of the bands molded in their shape to shame. A raucous, jittery, adrenaline-fueled burst of energy, On the Other Side isn’t just a reminder of band’s strength but a statement; The Marked Men’s legacy isn’t going anywhere anytime soon.

–

4. Fog Lake – carousel

Shortly after releasing one of this year’s best records, Fog Lake returned with the carousel EP. A fascinating curio that flaunts an incredibly unexpected but entirely welcome ’50s pop influence. As is the case with the best Fog Lake works, carousel is playful, compelling, and haunting in equal measure. Where carousel becomes a singular work is in the commitment, presenting a complex vision that operates as if it’s an artifact that’s out of time. Transfixing and lovely, carousel puts a bow on a breakout year for a worthy artist.

–

5. Rick Rude – Verb For Dreaming

Rick Rude are a band that’s never received the recognition for their work that its strength warrants. Even with that being the case, the band’s giving that untapped audience every chance to latch on, having released a great record a year since 2016, each of them topping the last. Verb For Dreaming is the band’s new career high, an 11-song explosion of inventive, knotty basement punk. A tremendous effort from an incredible band.

–

6. Washer / Bethlehem Steel – Split

Exploding In Sound has been an inspiring source of consistency for many, many years and hasn’t showed any signs of wear. A split release between two of the roster’s finest acts, Washer and Bethlehem Steel only reinforces the label’s status. Washer‘s “Super Pop” kicks things off and rank’s among the duo’s best tracks, while Bethlehem Steel contributes a powerhouse from their end with “Fake Sweater”. Each band takes a turn covering each other, making this an indispensable capsule for any fan of the label or either band.

–

7. The Magic Lantern – To The Islands

Last year, “Holding Hands” provided one of the most breathtaking listening experiences of that time. Devastatingly tender and abundantly warm, the track served as an introduction-at-large to The Magic Lantern. “Holding Hands” acts as the album opener on the project’s newest record, the beautiful To The Islands. A spellbinding run through memorable melodies and narratives, To The Islands is the fullest realization of Jamie Doe’s artistic vision to date. A sublime work from start to finish, To The Islands is a record that’s easy to take in but impossible to shake.

–

8. Hutch Harris – Only Water

The Thermals announced their departure earlier this year but it only took the band’s guitarist/vocalist Hutch Harris a few months after the announcement to release a new record as a solo act. Only Water isn’t as brazen or as confrontational as any of The Thermals’ work but does allow Harris to explore from a more overtly introspective angle. Only Water operates at a slower tempo but Harris’ knack for intuitive narrative structures holds strong, making Only Water an essential record for anyone still heartbroken over the departure of Harris’ old flagship act.

–

9. Ellis – The Fuzz

Ellis has making semi-frequent appearances in this site’s coverage leading up to The Fuzz and now that the record’s finally here, that attention feels justified. A confident, mesmeric presentation of wintry atmospherics, bruising, introspective narratives, and startling dynamic, The Fuzz posits Ellis as a major voice. From dream-pop-tinted opener “The Drain” onward, The Fuzz sees Ellis in a loosely experimental mode that leads to the songwriter’s most memorable work, frequently yielding moments of unassuming brilliance. The Fuzz is a bold statement from an artist that shouldn’t be overlooked.

Leave a comment

October 12, 2018

Two Months, 12 Records

Over the past two months, hundreds of good records have found release. This post takes a look back at a dozen of the most notable titles in that crop. A handful of site favorites make appearances here, with the styles ranging from gentle folk subgenres to incredibly volatile brands of explosive strains of punk. A few records choose to cast their sights on hope, while others embrace an unrelenting heaviness. All of them, of course, are worth owning. Explore, listen through, and find ways to support the records that connect.

Saintseneca – Pillar of Na

A band that has yet to put out a bad record keeps that trend alive with Pillar of Na. Even with a slight lineup change (Maryn Jones parted ways with the band after relocating to the East Coast), Saintseneca‘s identity shines through on another album that finds the band embracing a more prominent Eastern influence within their Appalachian Folk-informed music. Pillar of Na also feels even more contemplative and complete than the band’s previous effort, Such Things, which is a point driven home by near-circular bookends. Not a false note from start to finish, Saintseneca’s records remain an immense joy.

–

Options – Vivid Trace

When post-punk and basement pop exist in harmony, the results typically range from good to incredible. Options’ Vivid Trace makes it abundantly clear from the opening salvo onward that this is a record — and a band — that skew towards the latter. Masterfully composed, produced, and sequenced, Vivid Trace is an important reminder of the potential of a niche subgenre that has direct ties to this site’s very roots. Vivid Trace is the exact type of album that Heartbreaking Bravery was built to celebrate: an astonishing work from a band fighting an uphill battle for greater recognition.

–

Lonely Parade – The Pits

A trio of advance singles suggested that Lonely Parade may have a legitimate Album of the Year contender on their hands, especially within the realms of energetic post-punk. The Pits confirms those suspicions with emphasis. Every song on the record’s teeming with ferocity, hooks, charisma, and conviction, as if the band’s been allowed to unleash all of their unchecked aggression. It’s that sense of purpose that makes how refined The Pits ultimately winds up being even more impressive. Lonely Parade intentionally take the train off the rails and treat us all to an unforgettable ride.

–

Fred Thomas – Aftering

Billed as the final installment of an ongoing trilogy of records, Fred Thomas delivers another record that cements his reputation as one of today’s most thoughtful songwriters. Aftering, Thomas’ latest, also finds the songwriter collaborating with contemporaries far more than usual, a decision that reflects on some of Aftering‘s narrative themes (especially the importance of support structures). As is always the case with a new Fred Thomas release, a few career highlights are thrown in, ranging from sunny, fast-paced basement pop to devastating ambient ballads shot through with a wealth of longing and regret. Being alive brings us to the peaks of joy and cycles us through unimaginable pain but Aftering is good company to keep no matter where the hammer falls.

–

Waxahatchee – Great Thunder

Ever since American Weekend began Katie Crutchfield‘s transition from a DIY circuit staple to an internationally beloved voice, Waxahatchee has picked up an increasing amount of scrutiny. Curiously, Great Thunder — Crutchfield’s project with Keith Spencer (formerly of Swearin’) — managed to get lost in the wake. The duo released two lovely records, before retiring the project, leaving behind some of their best work. Waxahatchee’s latest release pays homage to that project and Crutchfield’s roots as a songwriter, rescuing some of the project’s standout material to present in a new light. Great Thunder winds up as one of Crutchfield’s warmest releases as a result, rendering the EP unmissable.

–

The Sofas – Nothing Major

The Sofas proudly wear their influences on their sleeve from the very jump of Nothing Major, which immediately recalls Sonic Youth’s most pop-leaning moments in their Rather Ripped era. Fortunately, those influences never threaten to overwhelm the proceedings, each track standing firmly on its own, letting the record stand as a collection of noise-leaning, feedback-heavy basement pop triumphs. Every song on Nothing Major has addictive qualities, striking the perfect balance between an influx of energy and an incredibly present sense of melancholy.

–

Mutual Benefit – Thunder Follows The Light

In 2015’s “Not For Nothing”, Mutual Benefit can already claim one of the present decade’s best songs. Anything any artist does from that point forward comes with great expectation and Thunder Follows The Light renders those expectations meaningless. Every song is guided with the same gentle hand, infused with the same sense of calm and tacit understanding that allowed the project’s earlier works to thrive. Every gorgeous, mesmeric second on the record seems to instill a sense of peace, making Thunder Follows The Light a deeply important record in the face of today’s overwhelmingly combative climate.

–

Whitney Ballen – You’re A Shooting Star, I’m A Sinking Ship

The debut record from Whitney Ballen‘s one of many releases on this last that grapples with a challenging dichotomy. What sets You’re A Shooting Star, I’m A Sinking Ship apart from those releases is its operative velocity. A breathtaking record in the truest sense, You’re A Shooting Star, I’m A Sinking Ship finds Ballen grappling with deeply uncomfortable truths, desires, and impulses, while delivering compositions that suggest lighter material. Imbued with genuinely shocking moments, a masterclass in sustained dynamic tension, and a sense of steady control amidst an expressed sea of uncertainty, Ballen’s released one of the year’s most unforgettable records.

–

Dilly Dally – Heaven

One of 2018’s most heartening moments came in the form of Dilly Dally‘s self-resurrection. The band opened up about their own difficulties recently and Heaven is their testimonial offering of those challenges and where they’ve arrived as a band: reborn and with a renewed sense of purpose. Desire was a record that embraced the ugly and the damaged as beautiful, with a suggested distance between the band and those observations. Heaven reframes that dynamic and positions the band dead center in a brutal storm of reckoning, staring out at a sliver of light on the horizon, knowing that the ruins of the world will be theirs for the taking.

–

LOOSE – Haircut

A relatively new band to this site, LOOSE nonetheless make a sizable impression with Haircut, an extremely impressive record that finds them tethering together strains of math rock, emo, basement pop, noise-punk, and bedroom pop. It’s an endlessly fascinating listen that never wavers in its surging momentum, anchoring ambitious compositions with relatable narratives. Head-turning in the best sense, Haircut suggests a wealth of talent and an abundance of promise reside in LOOSE. Unpredictable and unexpected, Haircut is an extraordinarily pleasant surprise.

–

Puppy Problems – Sunday Feeling

Sami Martasian‘s Puppy Problems project has been going for quite some time now, steadily evolving over the years while gaining a small cult following. All of those lessons come to a head on the project’s debut record, Sunday Feeling. As always, Martasian proves to be a commanding lyricist, waxing poetic on meditations about what it means to be a young adult today. Gorgeous folk-leaning bedroom pop compositions abound, echoing traces of (SANDY) Alex G‘s quieter works while containing enough personality to stand on their own. It’s an impressive record from a project that deserves an expanded audience.

–

Advance Base – Animal Companionship

Owen Ashworth’s projects have an infamous penchant for tapping into a sense of overwhelming sadness to create work that ultimately winds up life-affirming. Animal Companionship, Ashworth’s fourth effort as Advance Base, sees this formula ringing especially true. Corpses, both literal and metaphorical, riddle the record’s landscape, with an emphasis on pets. Throughout, Ashworth turns in the best work of an illustrious career, reaching something so human and so intangible that Animal Companionship can momentarily become a difficult listen. In the end, the journey becomes worthwhile, and Animal Companionship stands proudly as one of 2018’s finest, most moving records.

1 Comment

July 13, 2018

The Best Records of June 2018’s Final Half

The final two weeks of June saw a lot of records find their way out into the world but there was a core trio that managed to make a sizable impression. Some site favorites make their returns and the featured records run the gamut of punk from pop-leaning rave-ups to atmospheric mood pieces to subversive, thrash-leaning hardcore. All three are worth all the spins they can get and can be explored below.

Proud Parents – Proud Parents

The Dirtnap records debut for one of southern Wisconsin’s best bands, Proud Parents make good on their newly expanded platform with their strongest release to date. Appropriately self-titled, Proud Parents does feel a lot like an introduction-at-large, clearly showcasing the band’s carefree sensibilities with one irresistible earworm after the other. There’s a strain of ease that runs throughout the highly addictive Proud Parents, which is one of the best releases from the basement pop genre to emerge in 2018.

–

Therese Litner – May

Driving post-punk that cribs from a wider range of genres than one might expect is typically a compelling through line and Therese Litner’s outstanding May takes that formula to insane heights. Brooding, restrained, and refined, each of May‘s four tracks finds a way to be incredibly gripping. All of it coalesces into a bold finished product that reveals new intricacies on each successive listen. May, for all of its modesty, is a towering EP from an exhilarating voice.

–

No Problem – Let God Sort’Em Out

The samples that arrived early were extraordinarily promising but listening to Let God Sort’Em Out, the latest from No Problem, it’s hard to think they did the finished product justice. An absolute monster of a release, Let God Sort’Em Out stands a very good shot at standing out as one of the most subversive basement punk records of the past few years. Touching on everything from grime to powerpop to hardcore, No Problem may have just unleashed a future cult classic.

Leave a comment

June 17, 2018

June’s First Half: Honorable Mentions (Songs, Music Videos, Full Streams)

The first half of June carried plenty of surprises. This month has been, notably, dominated by major hip-hop artists and included the release of several major records that have the capacity to hijack year-end lists. Those releases have never been the focal point of this site and this won’t be the post where that changes. Every item on this list, as always, deserves more attention than it’ll receive. Following this list, there will be a few other key releases that get highlighted but these songs, clips, and records deserve all the support they can get, including the below listings and anyone willing to click their links. Enjoy.

SONGS:

Rob Dickson, Rolling Blackouts Coastal Fever, Dead Sullivan, Henrik Appel, Cuesta Loeb, Protomartyr, Amos and Spencer, Fleabite, Thin Lips, Dumb, The Molochs, Spencer Radcliffe, Kevin Krauter, Bleeth, Everything By Electricity, Scattered Clouds, Susie Scurry, MOURN, The Rareflowers, Clean Spill, Guts Club, Darren Jessee, Orions Belte, Late Bloomer, Laurel Halo, The Ophelias, Freedom Baby, Kaitlyn Aurelia Smith, Alexander BIggs, Manatree, Runtom Knuten, Manchester Orchestra, Sun June, Angelo De Augustine, Ancestors, ShitKid, Icecapades, Deafheaven, Baby Blue, Frida, Cigarettes After Sex, R+R=NOW, Van Common, Hana Vu, The Dirty Nil, Stalagmites, Wild Nothing, Birdtalker, Jon Spencer, Two Meters, Claw Marks, El Ten Eleven, Birds In Row, Color Tongue, serpentwithfeet, Estrons, Echo Courts, Lazyeyes, Death Grips, Mom Jeans, Gold Star, and a massive offering from Ben Seretan (which accompanies a behemoth multimedia art project that’s worth tracking).

MUSIC VIDEOS:

Clearance, Strange Relations, Death Bells, LIFE, oso oso, The Essex Green, White Woods, Devon Welsh, NEEDS, Thirsty Curses, lemin., Spiritualized, Cold Fronts, Empath, Dirty Projectors, Anna Calvi, VedeTT, The Beths, Cornelia Murr, King Princess, The Fur Coats, Stringer, The Due Diligence, NOTHING, Howard, White Denim, Animal House, and Sad Baxter.

FULL STREAMS:

Miranda Winters, Petal, Spiritual Cramp, Deux Trois, Dark Thoughts, Dos Santos, Some Gorgeous Accident, Johnny Conqueroo, Tancred, Blushh, Juliana Daugherty, Giant Peach, Hala, Anthony Green, Two Meters, Cold Meat, June Gloom/Rock Solid, CASCINE and Stadiums & Shrines’ Dreams compilation, Palberta, Bloody Knives, Will Henriksen, Surf Dads, God Bless Relative, GRLWood, and Ana Egge.

Leave a comment

June 5, 2018

Good Grief – Here Come the Waterworks (EP Review, Stream, Live Video Presentation)

Before getting too far into this specific review/essay, a slew of disclaimers are in order. First, I play drums in a band that includes a member of Good Grief. Second, all four of these members became close friends and supporters of my work in and outside of Heartbreaking Bravery and are tethered to the same self-created family that we all desperately needed to survive in a small, isolated city in the middle of Wisconsin. Third (and possibly the most important of these three): I didn’t know any of these people until I saw Good Grief play for the first time nearly a decade ago, an instance that immediately registered as one of those world-caving experiences of startling discovery; I knew these were my people before they allowed me into their family.

If entertainment truly lives and dies at the intersection of talent, connections, and insistence, I will go to bat for this band long after they hang up their cables.

That last statement is one I can say with an abundance of conviction, as I was still screaming recommendations at people in passing (and in person) in a four and a half year absence. For a long while it seemed like the band would be permanently dissolved, leaving behind a memorable legacy for the people who were there the first time around, packing in basements and losing their voices screaming along to songs like “Basic Math” and “Flirting With Death“. All that was left was a distant, desperate hope for a reunion or for the songs that never got recorded at the end of the run to find their way to a posthumous release (while holding on to the several hours of live footage I’d amassed with a white-knuckle grip).

In late 2016, the band returned and filled out a local bar that was packed with enough pent-up longing and energy from both the band and the audience that the place nearly disintegrated in the moment. Shortly after, there was a promise of more shows and new material. Here Come the Waterworks is the fulfillment of both that promise and the platform for a handful of songs that were nearly lost apart from that previously mentioned footage (along with the scattered clips of a select few other people).

A handful of post-reunion shows and the band’s picking up right where they left off, a little more poised, a little more learned, and more willing to challenge themselves. All of those points are made abundantly clear on “State of Disbelief”, “Blood and Kin”, and “Gumming Up the Works”, the half of the EP that’s entirely new material. The other half belongs to the songs that were rescued (“High Society”, “Holy Smokes”, and “In Through the Outhouse”), which have been brushed up and injected with a startling sense of galvanization.

Here Come the Waterworks also represents the most evenly split release of the band’s discography, which now spans 2 EP’s and 2 full-length efforts. Half of these songs are led by Colin Bares, who continues to astonish here as he has in previous projects The Coral Riffs, The Weasel, Marten Fisher, The Cost of Living (a project that was born out of Good Grief’s initial dissolution which also retained drummer Jess Nowaczyk), and Mr. Martin and the Sensitive Guys (another project that Good Grief bassist Jarad Olson lent his considerable talent [in addition to spearheading a solo project]). The other half are headed up by Dirk Gunderson, who carved out a name for himself through not only Good Grief but Heavy Looks (which also features Olson) but also by way f some impressive solo work by way of The Deadly Vices.

Across six songs, everyone lays it on the line, committing to their material with a newfound understanding of what they can create. Guitars are left out of tune in spots to create dissonance, vocal overlays enhance the atmosphere in multiple spots, and when the harmonies hit, they hit hard. Gunderson and Bares both provide some of the best work of their respective careers. Their off-kilter pop and unrepentant punk influences still thrive at an intersection that owes a meaningful debt to acts like The Unicorns and The Libertines while offering enough distinct personality to create its own category.

Smart composition, clever hooks, and no shortage of attitude are littered across this EP, which is comprised of nothing but high points. The band’s thoughtfulness is evident throughout Here Come the Waterworks but never sacrifices the immediacy that’s drawn so many people into their circle over the years. There’s no room for error or filler and each member has an intrinsic understanding of how the others work, which translates into a tight-knit formula that elevates the material to a significant degree; Bares’ pained vocals are served by Gunderson’s ambient leads while Gunderson’s unbridled tenacity is enhanced by a characteristically busy and propulsive rhythm section (and so on).

All of it works just as it’s always worked, only this time around the band’s fully aware of their most minuscule machinations and have fine-tuned every facet of their operation. It’s a level of dedication that’s created a snarling behemoth; the years where they stepped away are met here with a vengeance. “Gumming Up the Works”, especially, feels like a declaration of intent; this is a band that’s here to strengthen their own sizable mark. Here Come the Waterworks is a new chapter for the band, and their future, suddenly, has risen from absence and bloomed into an open boundlessness.

When all’s said and done, the last note played, Good Grief resuscitated from the urn’s ashes, this EP stands as a spotless example of what this site was built to celebrate, something that doesn’t come as much of a surprise given that Good Grief were a fundamental part of this entire site’s creation and will continue to be an integral part of Heartbreaking Bravery going forward. It’s a band that’s entwined with the DNA of everything this place — and like-minded places — hope to accomplish: to serve as a platform where elevating hidden or overlooked voices becomes not only possible but the desired goal.

Geographical privilege, lack of funds, lack of notoriety… none of those things matter. All that matters is the music and the people responsible for the music’s creation. This is a band of people doing their best to be kind, writing songs that could go toe-to-toe with an entire arsenal of forgettable acts who are gifted late night TV slots, but there’s a modesty to what they do that none only makes it difficult to gain traction but be seen or heard at all. Hopefully, this post doesn’t wind up being the only piece to attempt a richly-deserved course correction.

Still, Here Come the Waterworks stands proudly as an astonishing release that deserves a far wider audience than it’ll likely get as it’s forced to stare down disappointingly arbitrary mitigating factors. Even with that being the case, the EP’s a testament to the bands who know that making a noticeable impact in the macro doesn’t matter if you can meaningful shape the lives of the people who are present enough to be reached. It’s a record that’s been around five years in the making and it’s a record that makes me proud of the people I chose to align myself with: a piece of art that re-enforces those decisions with abandon.

Good Grief were one of a very select handful of bands who changed the direction of my life and these six songs casually reflect those moments. They made my hometown feel more like an actual home. We lived in basements, we drank together, we suffered with each other, we celebrated with each other, and we did our best to make something meaningful, not just on our own but together. It’s beyond heartening to have that indomitable spirit not only survive an extended break but be rekindled into the roaring fire that is Here Come the Waterworks.

Listen to (and watch) Here Come the Waterworks below, pick it up here, and keep an eye on this site for more updates on one of the best bands more people deserve to know.

Leave a comment

May 13, 2018

Ex-Vöid – Ex-Vöid (EP Review, Stream)

Over the past 7 days, there have been full streams that found release with names like Yours Are The Only Ears, Adrian Teacher and The Suits, Boys, Liminal, Fennesz, Ivy Lab, Gutterbawl, The Body, Utah, Samara Lubelski, and Neighbor Lady attached. The recently-featured Ex-Vöid also got to unveil their new EP (which isn’t a single, a seemingly prevalent misconception), a self-titled three song burst of addictive post-punk shot through with confetti.

Fresh off the release of Ex-Vöid‘s effortlessly charming lead-off track “Boyfriend”, the trio wasted no time in ushering out a concise EP. All of the sensibilities that Alanna McArdle and Owen Williams showcased as (now ex-) members of Joanna Gruesome are back on full display in Ex-Vöid. Gorgeous harmonies, a pitch-perfect balancing act of harsh noise and pristine tones, and a sense of playfulness embedded into relentless aggression, Ex-Vöid are more than winsome at first blush but reveal a surprising amount of layering, as does their first release.

Both “Anyone (Other Than U)” and “(Angry At You) Baby” are assured pieces of basement pop injected with enough punk bite to satisfy the genre’s die-hard loyalists. McArdle and Williams play off of each other to perfection, their voices working in tandem to strengthen each other. It’s the dichotomies, scales, and unity that defines Ex-Vöid, which presents the band as fully-formed, incredibly assured, and ready to conquer whatever comes their way. Easily one of the year’s strongest EP’s and unquestionably one of our best new bands.

Listen to Ex-Vöid below and pick it up from the band here.

Leave a comment

March 19, 2018

The 10 Best Records of 2018’s First Two Months

One day into 2018, the year already had a ridiculously strong record thanks to a clever release strategy for the latest from Jeff Rosenstock. Not a lot of time had passed before the year saw more record’s join that record, POST-, in talks about the ceiling for what this year can produce. Over the first two months, 10 records — including POST- — managed to make a lasting impression, from records that showcased what their genres can offer at their peak to records that do away with genre subscriptions entirely. A long list of records managed to connect but these 10 managed to stand out. Dive in and enjoy the swim.

1. Evening Standards – Evening Standards

For anyone who found themselves dismayed at the news of Purple 7‘s dissolution, Evening Standards is a perfect reassurance. Chris Mott’s newest project, Evening Standards takes the torch from his old act with a clear-eyed assurance and presses its foot on the accelerator with a little more aggression. Already a viable contender for being the year’s best basement pop record (it would’ve been in last year’s conversation without question), Evening Standards is a relentless debut that refuses to pull punches. From the powerful opening track to the stratospheric heights of “Lil Green Man” to the well-earned finality of its closer, it’s a record that deserves to be delivered at maximum volume.

–

2. Anna Burch – Quit the Curse

One of the first breakout records of 2018 was Anna Burch‘s confident Quit the Curse, which found a way to intertwine a carefree sound with pointed narratives that touch on everything from anxiety to uncertainty to self-empowerment. Sculpting elements of surf, powerpop, folk, and slacker punk into an intoxicating sound that echoes Sleeping in the Aviary‘s later era, Burch fashions something that’s familiar, fresh, and winsome. Delivered with a smirk, a wink, and an I-dare-you-to-even-try-it smile, the songs on Quit the Curse go a long way in establishing Burch’s artistic identity. When it ends, it’s enough to have most eager for the inevitable extension.

–

3. Jeff Rosenstock – POST-

Despite being a prominent genre name for years, Jeff Rosenstock‘s career took a massive stride into wider recognition with 2016’s outstanding WORRY.. In typical punk fashion, it didn’t take Rosenstock long to craft a follow-up effort. What’s surprising about POST-, which was surprise-released on the first day of 2018, isn’t its success but it’s wild ambition. Best exemplified by the seven-and-a-half minute “USA”, POST- finds Rosenstock at both his most visible and his most fearless. Every song on this thing is approached at full-tilt and delivered with the desperation of someone fighting for their life. It’s raucous, it’s unpredictable, it’s shockingly complete, and it will always stand tall as 2018’s first great record.

–

4. The Royal They – Foreign Being

The Royal They find themselves in the relatively unique position of finding themselves launched into much larger conversations because of their extraordinary sophomore album, Foreign Being. All but weaponizing a genre-obliterating mixture of post-punk, post-hardcore, basement pop, spoken word, indie pop, and a host of other influences, the band lets fly from the onset with the exhilarating 1-2 combo of “C.N.T.” and “Sludgefucker”, firmly establishing their authority and digging in their claws with no reservation. Vicious, experimental, and engrossing from start to finish, Foreign Being has the early distinction of being one of the first quarter’s strongest surprises.

–

5. Ought – Room Inside the World

Now three records into their career, it seems as if Ought is incapable of making an errant move. They’ve slowly expanded their identity, scope, and ambitions over the course of each of those successive records and seem incredibly comfortable in forging their own path. Tim Darcy‘s foray into solo work even seems to have invigorated the songwriter’s main vehicle, allowing Room Inside the World more space to breathe. Ought are at their most polished here but there’s still that strain of tension and neurotic nerves that defined their earlier material. Room Inside the World is the perfect next step for a band that seems determined to be the authoritative voice in their corner of post-punk.

–

6. Royal Brat – Eyesore

A common trend among acts who are revered for their live act is an inability to craft a record that does their set justice. Royal Brat curb that trend with Eyesore, a record as explosive as they are on stage. Eyesore‘s songs sit around a 100-second average but that’s more than enough time for the band to get their message across. A record about finding redemption and power in living as a survivor, Eyesore finds meaning in its pointed outbursts. Buoyed by attitude and conviction, it’s a dogged triumph that announces the band as a force that’s hellbent on being granted a reckoning.

–

7. JACK – Alchemical Rounds

Brittany Costa has a long history as a songwriter and musician but has never seemed more at home than she has when positioned at the forefront of JACK. A collection of demos and a genuinely moving EP already under the project’s belt, Costa dives forward and continues to reckon with questions of character, mortality, and certainty. It’s an unwieldy record that conjures up a storm as unwieldy — and unyielding — as the questions that fuel its dark, unapologetic narrative. Costa continues to impress at every level and has delivered yet another fully-realized masterstroke that kicks away the cobwebs from some rooms that people less bold still aren’t willing to explore.

–

8. Screaming Females – All At Once

“Glass House” — one of last year’s most powerful songs — was one of the first looks at Screaming Females‘ All At Once and serves it well as the lead-off track. The band’s aggression, present even when showing restraint, is one of the most potent keys to their continued success. The placement of “Glass House” sets the tone for what’s to follow, which winds up being the trio’s most decisive work to date. All At Once wears its many bruises like badges of honor, as the band draws from past wounds and experiences to determine its stance and braces for the worst. Chaotic in theory but precisely controlled, All At Once is another masterstroke from a group of vaunted prizefighters.

–

9. Ratboys – GL

A long-held but underutilized tradition among bands is releasing an EP as an addendum to a larger body of work. When they work, the end result can’t only just make a project more comprehensive but strengthen it’s foundation (see: Okkervil River‘s Black Sheep Boy Appendix EP). Ratboys joins that select pantheon of acts with the extraordinary GL which rivals its formidable predecessor, GN, as a complete work. Containing some of the finest work of the young band’s career, GL exudes the same kind of sprawling, wide-open humanity that’s provided their discography a beating heart. Electric and captivating, GN finds a memorable way to hit all the right notes.

–

10. Long Neck – Will This Do?

During Jawbreaker Reunion‘s brief but exceptional run, guitarist/vocalist Lily Mastrodimos emerged as an incredibly engaging voice. Fortunately, Mastrodimos had a solo vehicle to keep those talents sharp in Jawbreaker Reunion’s absence. Now that project, Long Neck, has taken the leap that’s served acts like Cloud Nothings and Car Seat Headrest extraordinarily well and gone the full band route. After a handful of extremely strong releases that saw Mastrodimos alone in the spotlight, Will This Do?, as challenging and bleak as it can seem, also comes with a twinge of celebration.

A handful of the finest work of Mastrodimos’ already exceptional discography gets a home in Will This Do?, an incredibly versatile and assured record that explores the themes that have populated the work of both Long Neck’s first iteration and Jawbreaker Reunion. Mortality is confronted head on, self-doubt tugs at the corners of the fabrics keeping the tapestry intact, and a resilient determination shines through the uncomfortably heavy thematic meditation. Joy is in short supply — but still present — on Will This Do? but a hard-earned understanding seems boundless in both its quiet moments and its moments of naked reckoning.

Tethered together by humanity and empathy, Will This Do? benefits from both its fearlessness and its persistent uncertainty. Explosive dynamics and inspired compositions keep it interesting on the surface but its in the many carefully constructed layers — both lyrically and musically — where it evolves into something genuinely gripping.

The record also has the benefit of starting strong but ending with one of the strongest four songs stretches anyone’s produced in recent memory (a run that boasts some of the most vivid and haunting imagery imaginable, especially in the unforgettable closing moments of “Milky Way”) that propels Will This Do? past the conversation of simply being one of 2018’s best and position it as one of the strongest records of this present decade. In what seems to be a time of crisis, Long Neck have flipped the script, seized their own direction and left a trail of smoke in their wake.

3 Comments

Tag: EP