For years, Young Guv has been experiencing a steady uptick in public recognition. Like so many other artists that get covered here it’s not necessarily due to something like touring harder or being more prolific in terms of releases (in addition to that music both competing and benefiting from existing in the shadow of a wide umbrella), it’s more a matter of an audience catching up to the quality of an artist’s music All that said, the Ben Cook — who also plays guitar in Fucked Up — project’s also quietly improved over its run, an aspect that’s readily apparent on Young Guv’s most recent offerings: “Roll With Me” and “Every Flower I See”.
One feels like a spiritual brother to Rolling Blackouts C.F, the other, Mike Krol. Both come stamped with Cook’s signature vocal tic, which manages the difficult trick of sounding simultaneously weary and completely energized. Both tracks are easy to fall in love with, exuding the kind of charm that characterized acts like Archers of Loaf and Superchunk in their early breakout moments. Every second, no matter which way the genre influences lean, proves winsome, and Cook further solidifies his place among today’s emerging songwriters. “Roll With Me” and “Every Flower I See” both offer up an early look at Cook’s forthcoming Guv I, which could be mentioned on this site come December if the rest of its anywhere close to this good. Don’t miss this one.
Listen to “Roll With Me” and “Every Flower I See” below and pre-order Guv I from Run For Cover here.
Technical difficulties forced Heartbreaking Bravery into an effective hiatus at the start of the year but, even through the visible inaction, behind-the-scenes work continued in earnest. Various outlets depths were exhausted, the site’s inbox maintained its regular flood of releases, and everything else that emerged was meticulously examined. Over the course of 2017’s first quarter (minus a week or so), more than 100 great records were released. 10 will be spotlighted in the very near future and the rest of the releases that caused a positive reaction can be found below. Enjoy.
It’s been a little over two weeks since this site’s run regular coverage. After the 1,000th post, there was a decision to be made over whether to continue on Heartbreaking Bravery in a severely limited capacity, a full capacity, or use the A Step Forward compilation as a final exclamation point. Before long, continuing on with a daily regiment felt like the right decision. This post and the dozen plus posts that will follow will all be a coordinated effort to get caught back up to the present release cycle.
The opening trio of posts will all feature a laundry list of items that are more than deserving of attention while the ensuing posts will be dedicated features for a singular item. A few Watch This installments will be posted and the rest of the coverage will be split into the three major tiers: streams, music videos, and full streams. Kicking things off is this collection of outstanding songs to have emerged during the brief hiatus. Dive in and go swimming.
It’s been about a week since a regular post ran on here, which mostly just means there’s a lot of content to come. A lot of great songs and albums have managed to appear in a very short window of time. All of those will be put on pause as this post gives sole focus to the more visually-inclined main category of this site (though plans are still in motion for film to factor into coverage): music videos.
Fucked Up’s fearlessly experimental multimedia experience for “Year of the Hare“, FIDLAR’s endearing, homage-heavy “40oz. on repeat“, Liza Anne’s absolutely gorgeous “Lost“, Braids’ stunning visual accompaniment to their career highlight “Miniskirt“, and Blur’s immensely enjoyable “Ong Ong” all proved to be notable highlights. Joining them were Pleistocene’s playfully shambolic “Pulp“, Swervedriver’s multicolor, kaleidoscopic “I Wonder?“, Izzy True’s tantalizingly bare-bones lyric clip for “Swole“, Demons’ skate spree in “Radical Cure“, Eternal Summers’ color-bled “Gold And Stone“, and We Were Promised Jetpacks’ beautiful, arresting “A Part Of It“.
Then, there was Johanna Warren’s “True Colors”.
Before diving into the blisteringly intense content of the video itself, it’s worth taking a step back to take a look at the history of the video- one that’s intrinsically intertwined with this site. At some point late last year, I’d latched onto Warren’s music thanks to her tour with site favorite Mitski. At some point during that time, Warren and I began talking and she eventually agreed to contribute a piece to the diaristic year-end segment A Year’s Worth of Memories. Her piece stood out immediately, primarily because it was about something that hadn’t ever materialized.
When I caught up with Warren in Menasha- a small town in the middle of Wisconsin- to profile her for Consequence of Sound, I was eager to discuss the video. I’d been listening to nūmūn religiously in preparation and had a very distinct idea for what I thought the clip- initially intended for “Black Moss”- would be if it was ever resuscitated. Warren assured me it hadn’t escaped her mind (not surprising considering her initial levels of unease- feelings which would return leading up to the record’s premiere) and was still hoping to return to the concept for a future release.
Somewhere along the way, the song shifted and- during filming- took on a new life. Originally envisioned to be something far more gentle, the concept was adjusted into something much rawer (and, likely, much more important). To go into further details at this point would be relatively pointless as Warren provided an eloquent analysis of its mechanics in a statement issued to Stereogum, where the video premiered. That statement can also be read below.
This song is about traversing and transgressing boundaries: the tenuous lines that separate physical and metaphysical, waking and dreaming, and our moral categories of right and wrong. It’s about walking barefoot down the fertile coastline where binaries touch and exploring what hidden, buried parts of your soul might stir awake and flourish if you free yourself from the shackles of what society deems appropriate. It’s about surrendering to the wild — specifically the wild feminine, which has been so oppressed and forgotten — and communing in a primal, magical way with the powerful forces of nature.
The scene depicted in this video is an initiation rite. Throughout human history, spiritual practices have involved elements of bondage, flagellation, and submission as a means of entering altered states of consciousness/getting close to God. These days, most of us feel like we don’t have access to visionary experiences, largely because organized religions have convinced us they are the gatekeepers to spirituality. But there is a basic evolutionary human need for the expansion of consciousness, and that drives some of us to engage in activities that have been scorned, demonized and/or criminalized by our puritanical society, such as exploring psychedelics, magick, and BDSM—all of which, when done safely and consentually, can be effective keys in unlocking altered/ecstatic states (and all of which, I believe, are the subject of increased mainstream interest right now specifically because of our culture’s gaping spiritual deficit).
The making of this video was an experience I curated for myself with the support and guidance of two trusted, beloved collaborators: Gretchen Heinel, a radical feminist genius whose evocative body of work explores BDSM, body modification, and ritual; and Damon Stang, a highly gifted and learned Witch and practitioner of queer urban folk magic. In light of important ongoing discussions and valid sensitivities around issues of consent and violence towards women, let me clearly state my stance as an empowered creative woman who believes every human has the right to do with his or her body exactly what he or she chooses, short of infringing the rights of a fellow being. The struggle to reclaim that right is at the heart of so many key social issues right now: gay marriage, abortion rights, legalizing marijuana and other controlled substances, etc. For me, making this video felt like a radical reclaiming of my right to do with my body exactly what I want.
On my drive home from the shoot, a critical little voice in my head asked me why the hell I did this, and I happily replied, “Because I fucking wanted to.” It was fun and empowering and sexy and beautiful and deep and magical, I learned so much about myself and I have no regrets. It’s crazy, though, how even knowing all that, watching the video and thinking of others watching it, I find myself judging myself SO HARD and feeling a lot of fear. But just as my anxiety reaches a peak, I hear my own voice sing, “Forget the duality of wrong and right,” and I’m like… “Oh yeah, good point.”
It’s at once a spellbinding look at the psyche of one of the more interesting artists of the moment and an incredibly charged statement. Genuinely unsettling and superbly directed by the team of Gretchen Heinel and Damon Stang, it verges on being an extremely difficult watch but it soon becomes impossible to look away. As a representation of one of Warren’s most successful dichotomies (an inexplicable- and often light- gentleness paired with a searing- and frequently dark- intensity). Operating on the fringes of both dream and nightmare, “True Colors” is one of 2015’s boldest visual works to date.
Watch “True Colors” below and pick up nūmūn from Team Love here.
One last time for one last 2014 list: “best” is in no way an attempt to be an objective statement. The terminology is shorthand to reflect personal taste and is not to be construed as anything more. Also, for the purposes of a more personal summary in this year-end coverage period, this site’s regular restriction on first person will be lifted. In 2014, I listened to more music that was released throughout the year than any other in my life. Numbering well upwards of a thousand releases, it proved impossible to keep tracks on everything (I’m already certain a few of these lists are missing more than a few titles that I genuinely loved)- but there were a few items that were worth remembering. Below are 14 records that managed to carve their way into my esteem both instantaneously and through the process of time. Below that is what turned into the most extensive list I’ve ever assembled, one that acts as an unnecessary validation that good music is being created at an excessively high volume (all of which is hyperlinked to either a full stream or a representative portion). We’re living in a golden age for access and music continues to reap the benefits allowed by technology. In that spirit, it’s worth noting that a lot of the names included below won’t always be the most recognizable- this is due to both that volume and the fact this site’s built on a foundation that ensures bands who are marginalized will be given the consideration they deserve. So, with all of that noted, it’s time to move on to the main attraction: 14 of ’14: The Best Albums of 2014.
14. Taulard – Les Abords Du Lycée
2014’s most unexpected gem, Les Abords Du Lycée,is a mesmerizing listening that drives home taut organ/drums/vocals post-punk with a startling amount of verve. Endlessly charismatic and unpredictable, the dozen tracks on display here constantly twist and turn, never once daring to let the listener catch their breath. Mood and tempo changes abound on one of 2014’s most fearlessly unique records. Even for those who aren’t even remotely well-versed in the French language, Les Abords Du Lycée should be a thrilling listen; something like unbridled passion can always translate well enough to near the universal.
–
13. La Dispute – Rooms of the House
What’s easily one of 2014’s boldest concepts roots La Dispute’s mesmerizing Rooms of the House, a record that shows La Dispute’s rapid maturation with a weary grace. Centered around a meticulously brilliant narrative device, it’s a record that stunned me on my first few listens before growing into an inescapable force of nature that refused to leave my thoughts. As bleak as anything the post-hardcore has ever produced, Rooms of the House finds its strength through focus and restraint, zeroing in on difficult topics with a keen eye and an abundance of determination. Blisteringly personal and nearly voyeuristic, it stands as one of 2014’s fiercest artistic statements.
–
12. Two Inch Astronaut – Foulbrood
Two Inch Astronaut’s Foulbrood has come up more than a few times on the site over the past handful of months thanks to its casual brilliance. Wielding an enticing palette of influences ranging from Drive Like Jehu to their contemporaries in Exploding in Sound, Two Inch Astronaut managed to conjure up one of the most impressive sophomore efforts of the year. The title track, “Part of Your Scene“, and “Dead White Boy” all earned themselves individual write-ups on the basis of their appealingly off-kilter and ragged identity. Foulbrood‘s a record that knows exactly what it wants to be and goes straight for the throat, sending a trail of viscera flying it its wake.
–
11. Cloud Nothings – Here and Nowhere Else
One of the things I kept coming back to throughout the course of music in 2014 was Jayson Gerycz’s drumming on this record. Not just because it’s a staggering individual performance but because there’s an undefinable, inherent quality that exists within that drumming which drives this record to obscene heights. Impossibly, stripped of the drumming, the record succeeds wildly in an acoustic setting and demonstrates Dylan Baldi’s increasing proficiency as a songwriter, a vocalist, and a guitarist. After losing a member in guitarist Joe Boyer, Cloud Nothings somehow managed to transform themselves into an act that was simultaneously heavier and poppier than when they were a quartet. Importantly, this is a record that’s built to last and it’s only grown on me as the year’s progressed (and that trend’s not showing any signs of slowing).
–
10. Ought – More Than Any Other Day
As beguiling as it is bewitching, Ought’s brit-pop influenced post-punk masterpiece was a record that sounded triumphant right out of the gate. Slowly, that triumph turned to transcendence and the songs contained within More Than Any Other Day became unavoidable mission statements. In terms of scope, the majority of More Than Any Other Day feels as epic as LCD Soundsystem operating at their best. Both acts share a penchant for sprawling structures and self-containment, bridging a gap between intimacy and grandeur with a knack for deceptive, intricate songwriting. Anthemic and mundane, More Than Any Other Day was like a shot of adrenaline straight to the heart, waiting for the resuscitated with a sly grin and a memorable, tossed-off joke. Excessively charming and utterly winsome, it’s a record that felt (and still feels) necessary.
–
9. Jawbreaker Reunion – Lutheran Sisterhood Gun Club
“E.M.O.”, Lutheran Sisterhood Gun Club‘s thrilling centerpiece, recently appeared in this site’s best songs of 2014 list- but the song’s only one part of a much larger picture. At once, one of the year’s most joyous and pissed off releases, Jawbreaker Reunion tore through a variety of serious issues with aplomb on their absolutely stunning debut effort. Other than distilling songs like “Laughing Alone Eating a Salad” with a wicked sense of humor, the whole affair’s imbued with an enviably powerful sense of songcraft. Lo-fi, DIY, punk, and teeming with an understanding of classic pop, Lutheran Sisterhood Gun Club was one of 2014’s boldest introductions- it was also one of its best.
–
8. PURPLE 7 – Jewel Finger
PURPLE 7 boasts a lineup that’s accompanied by an impressive pedigree. Members of the band have previously played in bands like Defiance, Ohio, Landlord, and Hot New Mexicans (whose self-titled record ranks among my all-time favorites and currently leads my “best of decade” selections). Unsurprisingly, their debut LP effort hits a lot of sweet spots, including a gritty middle point between basement punk and basement pop. Simply put, this is a stunning collection of songs that was overlooked by most to a baffling degree after its release. Grounded, humble, and heartfelt, Jewel Finger is one of the records that reminds me of the reasons I started this site. This is music that deserves to be celebrated.
–
7. Angel Olsen – Burn Your Fire For No Witness
Arguably 2014’s first truly great release, Angel Olsen’s Burn Your Fire For No Witness saw the songwriter transition from a promising talent into one of the year’s most arresting figures. Embracing a fuller sound and a newfound confidence, Burn Your Fire For No Witness broke Angel Olsen’s career wide open with an onslaught of genuinely haunting tunes. Whether they were relentlessly spare or soaked in noir-ish tendencies, they were uniformly captivating; both the storm and the eerie silence before. Raw, tender, and occasionally antagonistic, Burn Your Fire For No Witness was one thing above all else: unforgettable.
–
6. Cymbals Eat Guitars – LOSE
From the devastating opening lines all the way through to the climactic finish, LOSE holds its ground as one 2014’s most frighteningly personal albums. Largely influenced by the death of a friend close to the band, it’s a meditation on loss and the surrounding aspects of something so tragic. Easily Cymbals Eat Guitars’ finest work to date both lyrically and musically, it’s a powerful (and powerfully moving) listen. “Warning”, in particular, cuts deep- which is one of the reasons why it wound up on the best songs of 2014 list just a few days ago. Incredibly impassioned and brave in its sincerity, LOSE finds a level of catharsis in its emotional turbulence, lending it a charge that renders it one of the year’s most human (and most important) releases.
–
5. Perfect Pussy – Say Yes To Love
Perfect Pussy, for better or worse, have become intrinsically linked with this site. From Meredith Graves’ insistence on tangential involvement (which I’ll forever be grateful for) to the fact that the band’s greater ascension matched up with the very start of this site, they’re a band I’ve gone step for step with since bringing Heartbreaking Bravery into existence. None of that would have happened if I hadn’t been so fiercely drawn to the things that they were doing, though, which is why I approached them in the first place. Ever since those beginnings, it’s been a privilege to watch them progress, to travel at lengths to watch them play, and to see them release a record as enormously powerful as Say Yes To Love, a collection which houses my favorite song of 2014 (and possibly of this decade so far). Unapologetic, personal, damaged, resilient, powerful, feral, oddly triumphant, and unbelievably intense, Say Yes To Love operates as a perfect reminder for all of the reasons why I fell in love with this band- and why I’ll continue to pay close attention to their movements.
–
4. Iceage – Plowing Into The Field of Love
No band in 2014 made a more stunning artistic leap than Iceage, who went from a static blur to matching the swaggering heights of Nick Cave & the Bad Seeds after discovering their voice. Plowing Into The Field Of Love was a startlingly radical change of pace for Iceage, who imbue the record with a curious restraint and a sense of deeply haunted Americana. Southern Gothic touch points are littered throughout the record’s bleak landscape, while making room for plaintive ornamentation in the form of brass, string, and piano figures. Darker and more self-aware than anything in the band’s career, Plowing Into The Field Of Love earned them quite a few words of praise from this very site. Augmented by some legitimately extraordinary music videos, Plowing Into The Field Of Love proved to be an unexpectedly rattling experience. Easily one of the year’s most divisive records (as is the case with any left turns this sharp), it suggested Iceage’s ambitions ran way deeper than anyone expected and, subsequently, that they had the know-how to see those ambitions to fruition. In chasing their whimsy they wound up with something I wouldn’t fault anyone for calling a masterpiece.
–
3. Mitski – Bury Me At Makeout Creek
My connection with Mitski’s music is something that will always hold a very personal resonance. I’ll leave most of the reasoning behind that statement to a forthcoming piece but it’s worth noting in regards to a record that’s so unabashedly self-exploratory. Bury Me At Makeout Creekwas an enthralling re-introduction for Mitski, who saw it rightfully skyrocket her name recognition. Top to bottom, it’s an extraordinary effort that re-defined her artistic capabilities after a string of meticulously composed records that leaned on chamber pop tendencies. Here, that past gets blown to bits almost immediately. One of my favorite experiences in music listening all year came when “Texas Reznikoff” explodes in its final section- another came while listening to one of the best songs I’ve heard this decade (for obvious reasons, considering that statement). Where Bury Me At Makeout Creek manages to approach the transcendental is in the process of allowing listeners to hear an artist coming into their own. Part of Mitski’s identity is laid bare by Bury Me At Makeout Creek: it’s the unwillingness to accept identity as a static object and the desire to question its cumulative elements. That search is what gives Bury Me At Makeout Creek its bruised heart- and it’s why musicians will use it as a source of inspiration for several years to come.
–
2. Radiator Hospital – Torch Song
After the exhilarating highs of Something Wild, Radiator Hospital had a tall order for their follow-up. Fortunately (and unsurprisingly), they obliterated those towering expectations with Torch Song. Sounding more confident- and more polished- than ever before, Torch Song cemented Sam Cook-Parrott’s status as one of this generation’s keenest emerging voices. Paying attention to the minutiae of everyday experiences and injecting them with a self-deprecating sense of poetry laced with pessimism, the songs contained on this record all aim to cut and find their mark with an incredible amount of ease. Having already established themselves as one of today’s more formidable units musically, Torch Song has the added benefit of having four loaded personalities find each other in total harmony, each acting as a complement to the other. Personal diatribes, small journeys of self-discovery, and a sense of empathy inform Torch Song and help cultivate its unassuming charm. There’s not a weak track among the record’s 15 songs and it maintains an assured sense of pace throughout its relatively breezy runtime. By the time it draws to a close, it stands as one of the most fully-formed and rewarding records of recent memory.
–
1. LVL UP – Hoodwink’d
I don’t think any record resonated more for me throughout the course of 2014 than LVL UP’s Hoodwink’d, which I revered with literally no reservations. 2014’s strongest sophomore effort, Hoodwink’d saw LVL UP expanding most of the elements that made Space Brotherssuch an incredible release and retained all the others. Unreasonably refined and exceedingly personable, LVL UP have always found a strength in accentuating their members’ unique personalities and that trend got pushed to the forefront for their second full-length (which was co-released by Double Double Whammy and Exploding in Sound). Utilizing a distinctly unique take on their 90’s influences, the band also reveled in the benefits of a cleaner production that allowed them to sound more massive than they ever have in the past. No release felt more timely than Hoodwink’d, either, with the record practically serving as a stand-in voice for a disenfranchised sect of people. Alternately crushingly heavy, viciously poppy, relentlessly personal, and completely worn-out, Hoodwink’d never loses sight of its own mechanics. There’s a level of mutual understanding on display here that separates it from the rest of the year’s releases. Everyone feeds off each other, everyone supports each other, and everyone contributes to one hell of a set without even coming close to overstaying their welcome. Conversely, Hoodwink’d also ranks as one of the year’s most welcoming releases, radiating an empathetic warmth in its tone (and in its tones). As an entry in LVL UP’s catalog, it’s their career best. As a general 2014 release, it’s the best thing I had the privilege of hearing all year.
–
[EDITOR’S NOTE: All of the titles below without an accompanying link can be streamed in the order they’re listed via the embedded spotifly player below the list.]
Once again, this will began with the two necessary prefaces to all of the year-end list coverage: “best” is a term used loosely as it’s a reflection of personal taste and the first person restriction will be lifted so that these lists can be as direct- and as personal- as possible. Over the past few weeks I’ve gone through thousands of releases (revisiting in most cases but discovering in a few others), organizing, reflecting, and ranking every single one that caught (or continued to catch) my ear. This list and all of the ensuing lists have been condensed to 14 selections representing the very best of 2014 and, in addition to those picks, there’ll be an auxiliary list of every release (with hyperlinks provided when applicable) that I considered putting into the top 14. After all of these lists have gone up, there will be a multi-part project that provides a fitting end-cap to this site’s 2014 coverage. Since the title’s somewhat ambiguous, it’s probably worth noting that the releases taken into consideration for this particular list included flexi’s, plexi’s, CD-R’s, demos, online singles, and other titles only available digitally (or on cassette). Additionally, there will be a few other singular “best” efforts in niche categories above the long list. So, without further ado, here are the 14 best online singles (and other assorted oddities) of 2014.
14. New York – 20 Minutes From Here
20 Minutes From Here is the exhilarating sound of what happens when you throw members of Iron Chic, Shang-A-Lang, Low Culture, and Jonesin’ into a room with instruments. It’s a hastily recorded and scrappy as hell collection of fiercely energetic basement punk songs that (even with the unabashedly lo-fi aesthetic) rank among the best entries of the considerable careers of everyone involved.
–
13. Dan Webb and the Spiders – September Demos, Perfect Problem
One of the first things I noticed about Dan Webb and the Spiders’ two 2014 releases is that they have a distinctly Midwestern feel, despite the band’s Boston residence. While that may stand out as a curious anomaly (if not entirely unprecedented- Springsteen’s from New Jersey, after all), it’s a small fact that pales in comparison to the band’s casual brilliance. Both their demo reel and Perfect Problem suggest this is a band that’s latched onto something that should open quite a few traditionally sought-after doors.
–
12. Grubs – Dec 15/Gym Shame
It’s unsurprising to learn that Grubs and Joanna Gruesome share at least one common member; both bands exist in the exact center of Reeks of Effort’s wheelhouse. Sly, somewhat cynical, partially twee, and entirely vicious, Grubs’ teaser effort’s an extraordinarily tantalizing appetizer. If the album they’re currently recording lives up to what they’ve achieved here, 2015 will be due for a very strong highlight.
–
11. Sea Ghost – Spokes/Gold Teeth, Cave Song
Sea Ghost are another band who, like Dan Webb and the Spiders, turned in a few unexpectedly powerful efforts to start their careers off in 2014. Between the gently propulsive trio of “Spokes”, “Gold Teeth”, and “Cave Song”, they’ve come out swinging. With those three songs, they’ve already managed to exude a greater sense of identity and refinement than most bands manage to conjure up in their careers. Operating with subtlety, nuance, and verve, they’ve more than earned a status as a band worth following.
–
10. Earth Girls – Demo 2014
More than a few outstanding demos surfaced over the course of 2014, Earth Girls’ punchy take on the bridge between basement punk and powerpop managed to exceed even those high standards. Dark undertones permeate throughout each of these five songs, which are recorded in a way that accentuates their formidable atmosphere and relentless power. Reminiscent of Nervosas with an extremely heightened affinity for powerpop, it’s no surprise that the band’s next release is due out on a label as revered as Dirt Cult.
–
9. Dark Thoughts – Four Songs
One of the strongest basement punk releases over the course of the past 12 months was a four song demo debut that embodied some of the genre’s best qualities. Incendiary guitar work, venomous vocals, ferocious (and ferociously short) songs, and a palpable level of varying frustrations and unease. It’s brisk, it’s to the point, and- importantly- it’s memorable.
–
8. Broadbay – Demo(n)s
I can’t stress enough how strong the crop of demos from 2014 wound up being. That Broadbay’s insanely strong Demo(n)s isn’t even the highest ranked demo release in this list should say quite a bit about this very welcome aspect of the past year. Visceral, engaging, and powerfully dynamic, Demo(n)s is a resounding announcement heralding the arrival of Broadbay- and it’s one hell of an arrival.
–
7. Mulligrub – Canadian Classic
Over the course of this site’s 14 month existence, I’ve been fortunate to receive a handful of emails from bands containing great music that didn’t get the amount of press it deserved. Mulligrub’s Canadian Classic was one that connected with me immediately. As such, nearly every reason for why this is appearing in this list has already been laid out. Those reasons haven’t changed.
–
6. Toby Coke – Face Taker
Last year, Joseph Frankl (also of The Frankl Project) wound up cracking one of these lists with a strong solo release. Frankl outdid himself this year with another solo project, this time operating under the moniker Toby Coke. “Face Taker” may only be one song but it more than illustrates Frankl’s enviable skills as a songwriter and hints at Toby Coke being a project that could pay massive dividends. It’s also yet another instance of my initial thoughts growing even more certain.
–
5. Trifles – Demo
Trifles’ Demo seemed to come out of nowhere but when it hit, it made sure everyone felt its mark. Dark and unforgiving, this is the crowning jewel of a very specific new, emerging breed of post-punk. Taking all of the aesthetic and emotional cues from bands like Pleasure Leftists and integrating them with something easily accessible (while also managing to take some cues from hardcore) made this one of 2014’s most fascinating releases in any format. Unsurprisingly, it’s also one of the best.
–
4. Infinity Crush – Heaven
One of the year’s finest songs was relegated to a modest tumblr post, which somehow fit the song’s nature to a tee. “Heaven” may be the quietest song on here but it’s also the most emotionally-charged (and devastating) to have come out in 2014. As a public self-examination, it’s alarmingly brutal and frighteningly heartfelt. “Heaven” is a deceptively cruel title for a song that’s dressed up beautifully but is secretly bruised all to hell.
–
3. Dweller On The Threshold – Decimal Spaces, Ollie Ox & Free, Barnfire
Looking at Dweller On The Threshold’s lineup (and their respective correlating pedigrees), it shouldn’t be surprising that the music they’ve been slowly unveiling has been masterful. Members of Parquet Courts, Kindling, Ampere, Death to Tyrants, and Daniel Striped Guitar are all involved in this project that blurs the lines between post-rock and shoegaze more successfully than just about any band making similar attempts. All three songs the band’s made publicly available have been towering genre masterpieces leading up to what’s promising to be a breathtaking full-length debut.
–
2. Bent Shapes – 86’d in ’03
“86’d in ‘o3” isn’t just the best song of Bent Shapes’ career, it’s one of the best powerpop songs to emerge from the past few years. Backed with “Bridgeport Lathe” on a lathecut picture plexi disc, it’s also one of the year’s more curious limited run items. I’ve already detailed my love for the A-side but “Bridgeport Lathe” has managed to sneak its way into my subconscious. Both songs complement each other in odd ways, demonstrating the considerable range that makes Bent Shapes one of Boston’s more celebrated local acts and both songs are strong enough to land them a spot on this list.
–
1. Slight – Run
Between this and LVL UP’s Hoodwink’d, drummer Greg Rutkin had an absurdly strong 2014. No two-song release was stronger than Slight’s follow-up to their excellent townie490EP. With members of site favorites Trace Mountains and Painted Zeros also involved, it probably shouldn’t be too surprising that this wound up taking this spot. In the review I originally posted, the emphasis fell on the influences the band turned to as touch points but largely eschewed the band’s unwavering sense of atmosphere. I don’t know if it’s the production, the tones, or just a happy accident but it’s hard not to think of the band practices and basement shows where everything just clicks while listening to both of these songs. There’s grit, determination, sweat, and an unfiltered sense of joy and affirmation reverberating throughout all five minutes and forty seconds. Run is imbued with a celebratory sound (whether the intention was willful or not) and it’s a release well worth celebrating.
*This is an extended recording of the session that Live at Splendour in the Grass, which is no longer publicly available, was taken from for its official release.
2014 releases from this category that deserve to be heard:
With another week behind us (and a few milestones), it’s time to look back at some of the best live videos that surfaced during that time. Unsurprisingly, there were a fair few videos vying for contention- and, in a rare case, there were too many worthy of feature spots to contain to just one installment of this series. To that end, these are the first five entries in what will be another two-part showcase for great live footage. A few bigger names make appearances in volume 52 but, as ever, their performances are characteristically exemplary and impossible to ignore. From a few revered songwriters to the emerging acts, there’s a lot to love. So, as always, sit back, dim the lights, lean in, and Watch This.
1. Two Inch Astronaut (BreakThruRadioTV)
Foulbrood, with all of its sharp left turns and subtle nuances, has a claim as one of 2014’s best records. With the title track and “Part of Your Scene” already hinting at just how much creative muscle’s being flexed on Foulbrood, one of the only real questions was how these songs would hold up in a live setting. With their Live Studio session for BreakThruRadio they put any doubts to rest; this is a band that’s ready to leave a lasting mark.
–
2. Restorations – Tiny Prayers (Little Elephant)
Restorations have been building up a steady buzz around their name over the past few months and a large part of that’s due to their powerhouse live performances. Little Elephant proves to be the perfect venue to showcase their towering, Midwest-inflected basement punk. With LP3continuing to make the rounds and live turn-ins like the one featured here, a great future for Restorations is theirs for the taking.
–
3. Nick Cave & the Bad Seeds – Stagger Less (Austin City Limits)
By this point one thing should be entirely evident; there will never be enough words to do Nick Cave & the Bad Seeds proper justice. Cave’s a freakish force of nature, a preacher who’s actually made of brimstone and fire, and the band he’s assembled behind him are talented enough to match Cave’s genius (a term that’s not used lightly). PBS’ notoriously white bread Austin City Limits series recently made the commendable decision to feature Cave and his collaborative partners for their most recent episode. Understandably, they saved the (brilliantly edited) profanity-riddled Murder Ballads classic “Stagger Lee” as a web exclusive. As can be safely expected, the performance is a killer.
–
4. Jenny Lewis – Slippery Slopes (KCRW)
The Voyager is one of this year’s great road trip records, Jenny Lewis’ tour-ending show at Minneapolis’ famed First Avenue was an unforgettable display of charisma and raw talent, and Lewis remains one of this generations finest songwriters. Having already established a reputation as one of the more celebrated independent songwriters, Lewis could have easily relegated the rest of her career as a victory lap after various successes with both Rilo Kiley and as a solo act. Thankfully, for everyone, Lewis isn’t one to stay still- and will always be up to the task of providing a stunning performance, like this run through “Slippery Slopes” for KCRW.
–
5. Fucked Up (Exclaim!)
Fucked Up are one of the more fascinating anomalies in music, a hardcore band that pisses off purists and appeals to people that aren’t normally into harsher genres. A band that makes records tethered to ambitiously sprawling narrative arcs, usually seeped in religion and heavily influenced by epics. Literary, self-aware, and visceral, their records hit like an anvil and their live shows tend to facilitate a palpable sense of community. A few recent performances and interview snippets are featured here in the excellent Coastal Frequencies series, courtesy of Exclaim!. It’s an excellent profile of one of the most interesting bands of the past 15 years.
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.
We’ve hit the approximate 2/3’s mark of the year 2014 and this very post is the 250th to run on this site. Over the course of its duration Heartbreaking Bravery has included a fairly strong emphasis on the music video and this year’s offerings made that commitment a complete non-issue by virtue of their excellence. Songs in Screens: A Look Back is a visual-based “mixtape” and serves as a reminder of a lot of the videos that earned acclaimed here- and a few that, whether due to time or an overabundance of other predetermined material, were egregiously overlooked. For all of the videos that have been featured, there will be a hyperlink leading to their respective write-ups. Those that didn’t receive a write-up will get a very brief one below the mix itself. All of these videos came out in 2014 and made an impression- and they all deserve to be remembered. Let’s give them the recognition that they deserve.
While Thee Oh Sees’ “The Lens” did land itself a nice write-up, “Drop” was unfairly pushed to the side during its release. Arguably the better of the two videos (and songs), it gets the most out of its constantly evolving, simplistically animated black-and-white presentation and felt like a more appropriate inclusion for this list.
It’s almost cruel that both this song and this video were overlooked due to festival coverage. Both are either perfect or near-perfect and embody just about everything this site loves most. “I Just Wanna Be A Star” is a joyous celebration on record and the video gets one hell of a performance out of its unlikely lead. Make sure to not skip this one.
This spot was always intended to feature an anomaly- an act or style that doesn’t regularly earn a feature spot on this site. clipping. came a hair’s breadth away from claiming it with their mercilessly arresting video for “Work Work” but Anna Calvi & David Byrne made something so staggeringly beautiful and emotive with their video for their “Strange Weather” cover that it would’ve been criminal to ignore it. No video this year had cinematography this stunning- or a mood this anxious. A genuine work of art.
No video from 2014 had this amount of unrelenting tension. From its bare-bones premise to the engaging execution, it’s something with the potential to be permanently embedded into the brain of anyone lucky enough to come across it.
24. Cloud Nothings – Psychic Trauma At this point, it’s fairly evident that Here and Nowhere Else will stand as one of 2014’s best records. The video for “Psychic Trauma” comes as a welcome reminder of that fact and features some basic (albeit eye-catching) visual effects. That combination’s enough to land it a spot in this list.
25. White Lung – In Your Home
Of all the 2014 music videos to be released so far, very few approach the levels of insanity attained by White Lung’s fiery “In Your Home”. Mixing a lot of the items featured prominently throughout this list (unexpected psychedelic imagery, contained animation, and the black-and-white aesthetic, especially) with something that’s uniquely their own, “In Your Home” stands tall as a testament to the fact that being weird is way more fun than being standard. And it offers up a perfect wrap for this mix. Roll credits.
Marvelous Mark (known humanly as Mark Fosco) made his name in the Marvelous Darlings and The Roommates, two essential powerpop acts. In both, he played partner to Ben Cook (most famously known for his work in Fucked Up) but here, he showcases what he can do on his own. There are blissful melodies that are layered as pristinely as possible- yet they don’t overshadow his gift for a quick turn of phrase. That it’s as simplistic as it is winds up being part of the point, which is emphasized even more strongly in the song’s accompanying video.
Capitalzing on the downtrodden mood buried beneath the otherwise spritely tune, the Ben Cook-directed and Nick Marian-shot video just focuses on one man enabling his most lethargic tendencies, never leaving the confines of his room. It’s a smart companion piece to a perfect first outing from Marvelous Mark and only ensures its longevity. There’s remarkable restraint and a fair amount of finesse wrapped up in the tiniest details, which makes this a project to watch.
“Bite Me” b/w “Paralysed” is currenly available as a very limited lathe-cut clear 7″ flexi from Bad Actors (which is Cook’s label, making it seem pretty difficult to separate these two), who also have the single available as a cassette.
Heartbreaking Bravery 