Only a little past its halfway point, 2015’s already been an absurdly strong year for music. Numerically staggering, it’s yielded a handful of classics across a variety of genres and a plethora of outstanding small releases. While this mix skews more towards the latter than, say, Kendrick Lamar’s To Pimp A Butterfly, it’s still worth noting how kind this year’s release schedule has been across the board. To reflect on some of this year’s best offerings so far- and to celebrate this site’s 550th post- a mixtape’s been curated for your enjoyment. Nearly all of these songs and artists have been featured on the site previously, lending this particular mix a more retrospective feel than a few of the past entries in the mixtape series, but they’re all worth celebrating as much as possible. Ranging from folk and ambient flourishes to heavy 90’s influences to thoroughly modern post-punk to spritely basement pop, there’s an entry for just about every genre marker that receives regular coverage on the site.
So, without further ado, here’s a mixtape of some of 2015’s strongest highlights (at least so far, there are still quite a few promising items for the year’s latter half). The tracklist for 2015: Halfway Home can be found beneath the embed. Enjoy.
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1. Girlpool – Before The World Was Big 2. Waxahatchee – Under A Rock 3. Mean Creek – Forgotten Streets 4. Royal Headache – Hgih 5. Radioactivity – Pretty Girl 6. Diet Cig – Breathless 7. Washer – Joe 8. Courtney Barnett – Pedestrian At Best 9. Mikal Cronin – Made My Mind Up 10. Torres – Sprinter 11. Jason Isbell – 24 Frames (Live) 12. theweaselmartenfisher – Empty Bucket List
13. Pupppy – Puking (Merry Christmas!) 14. Christopher Paul Stelling – Dear Beast 15. Fraser A. Gorman – Shiny Gun 16. Young Jesus – Milo 17. Girls Names – Reticence 18. Institute – Cheerlessness 19. Happy Diving – So Bunted 20. Downies – Widow 21. Meat Wave – Erased 22. Connor La Mue – Stargazer 23. Bruising – Think About Death 24. Meredith Graves – Took The Ghost to the Movies 25. Yowler – The Offer
Over the course of the past few weeks, the influx of outstanding live videos has been staggering. Last week the series was put on a brief hold due to other personal obligations but even then, there was the threat of multiple installments for that particular Sunday. Amassing those with the live clips that followed in the subsequent week brings us to this point: there’s simply too much great material to feature to justify relegating anything exceeding the limit of five to the introductory paragraph(s). With this being the case, there will be seven- yes, seven- installments of Watch This to go live throughout the day (and possibly night).
To that end, this very introduction will be running prior to volumes 74-80 to reduce the levels of overall exposition to provide an emphasis on the material at hand. Site favorites Girlpool and Waxahatchee were seemingly everywhere this week, securing multiple entries throughout this run while Faits Divers spread-out documentation of a set from Ought (another site favorite) managed to do the same. As always, each video featured is an exemplary showcase for both artist and host, covering a wide range of sounds and styles. So, as always, sit back, adjust the volume to your preferred settings, sit up straight, lean in (or back), and Watch This.
1. Girlpool – Before The World Was Big (Exclaim!)
Capping off Girlpool’s impressive run of recent live captures is this beautiful take of “Before The World Was Big“, courtesy of Exclaim!. Naturally, there’s a sense of genuine calm that characterizes the clip, the duo’s affability presented clearly. The performance is as crisp as any the band’s delivered; a riveting document of a variety of enviable gifts. The song itself ranks among the year’s best, as does the album, but it’s brought new life given the freedom of the expanse of space provided by a live setting, rendering this clip a can’t-miss prospect.
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2. Las Robertas (KEXP)
While an increasing number of bands are adopting a surf influence, there are only a few that are wielding that influence effectively; Las Robertas is one of those bands. KEXP recently played host to the band and received an impassioned set in return. Sunny pop melodies and a decidedly punk nonchalance keep the session lively as an interview provides some insight to the band’s inner workings (and dredges up some amusing anecdotes). Packaged all together, it’s an exhilarating ride that coasts on the dichotomy of being clearly driven but sounding effortlessly carefree.
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3. SOAK (La Blogotheque)
Between Courtney Barnett’s recent La Blogotheque turn-in and this deeply felt session for Bridie Monds-Watson’s SOAK project, it’s becoming abundantly clear that the series hasn’t slowed their ambitions. Characteristically gorgeous and surprisingly moving, this pair of songs- “B a Nobody” and “Blud”- become awe-inspiring thanks to both the committed performance and the way the performances are lensed. Monds-Watson exhibits a breathtaking command over control and restraint throughout and, by the video’s end, walks away with one of the most unexpectedly inspiring live moments of the year.
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4. Waxahatchee – Under A Rock (Wichita)
Wrapping up the run of Waxahatchee’s recent St. Pancras set is a characteristically spellbinding take of one of 2015’s best singles, “Under A Rock“. Eschewing all of the anthemic rock trappings that made the song sound so defiantly gigantic in the recorded setting in favor of a bare-bones approach, “Under A Rock” becomes another gorgeous showcase for not just Katie Crutchfield but her twin, Allison (of Swearin’), as well. It’s a fitting end-cap for one of 2015’s most gorgeous video sets and affirms that Waxahatchee is operating at the height of her current powers.
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5. Sleater-Kinney (Later… With Jools Holland)
One of the year’s most welcome surprises was the return of Sleater-Kinney, not just because they were back (which would have been a welcome return) but because they were back with a vengeance. No Cities To Love felt like an evolution of The Woods (one of my picks for best record of the 2000’s), re-establishing not only the band’s identity but their creative restlessness. The band recently stopped by the vaunted UK show Later… With Jools Holland to deliver a trio of fiery performances (“No Cities To Love”, “Gimme Love”, and “Price Tag”, respectively), resoundingly defeating any adjusted expectations in the process. Even in a nearly decade-long absence, the band hasn’t lost a step.
Over the course of the past few weeks, the influx of outstanding live videos has been staggering. Last week the series was put on a brief hold due to other personal obligations but even then, there was the threat of multiple installments for that particular Sunday. Amassing those with the live clips that followed in the subsequent week brings us to this point: there’s simply too much great material to feature to justify relegating anything exceeding the limit of five to the introductory paragraph(s). With this being the case, there will be seven- yes, seven- installments of Watch This to go live throughout the day (and possibly night).
To that end, this very introduction will be running prior to volumes 74-80 to reduce the levels of overall exposition to provide an emphasis on the material at hand. Site favorites Girlpool and Waxahatchee were seemingly everywhere this week, securing multiple entries throughout this run while Faits Divers spread-out documentation of a set from Ought (another site favorite) managed to do the same. As always, each video featured is an exemplary showcase for both artist and host, covering a wide range of sounds and styles. So, as always, sit back, adjust the volume to your preferred settings, sit up straight, lean in (or back), and Watch This.
1. Chastity Belt – Dull (WFUV)
Time To Go Home was one of the unexpected highlights of this year’s first half, securing Chastity Belt a level of recognition they’ve been deserving for some time. Here, the band turns in a blissfully casual of “Dull”, providing a showcase for their dynamic range. WFUV’s black backdrop provides a fitting background to Chastity Belt’s hazy basement pop and elevates the clip into surprisingly immersive levels.
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2. Girlpool – Chinatown (Wichita)
Closing out Wichita’s lovely outdoor trilogy of Girlpool clips is this gorgeous take of Before The World Was Big highlight “Chinatown”. As always, Cleo Tucker and Harmony Lebel-Tividad seem inhumanly connected, playing off each other with an almost telepathic familiarity and ease. Everything comes off as complementary, from the dueling melodies to the timbre of the duo’s vocals. The whole thing exudes a nearly impossible sense of lightness that’s always factored into Girlpool’s music, rendering this a surprisingly revitalizing watch.
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3. Waxahatchee – Blue (Pt. II) (Wichita)
Continuing on with Wichita’s gorgeous presentation of the Crutchfield twins performance under Katie’s Waxahatchee guise at St. Pancras Church, this clip features an aching performance of “Blue (Pt. II)”- another highlight from Ivy Tripp. Nothing more than harmonized vocals and an electric guitar guide the performance, the audience hushed throughout. The soft tones and dim lighting provide a perfect visual accompaniment, allowing the clip to become as mesmerizing as the song at its center.
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4. Ought – The Weather Song (Faits Divers)
Closing out Ought’s run, courtesy of Faits Divers, is yet another inspired performance of one of More Than Any Other Day‘s several highlights; “The Weather Song”. As always, the band’s animated throughout and delivers a crisp performance that fully demonstrates the band’s enormous live appeal. It seems like every time the band launches into a song, they transform into an unstoppable whirlwind of pure energetic force. Unable to stay still and brimming with manic passion, it makes for compelling viewing and- more importantly- powerful performances.
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5. Torres – A Proper Polish Welcome (WFUV)
One of the most delicate songs to emerge out of 2015 is Torres’ jaw-dropping “A Proper Polish Welcome”, a piece of serene beauty characterized by a sense of yearning. It’s Sprinter‘s most breathtaking moment and, in a live setting, it’s powerful enough to freeze blood. WFUV turned their cameras on Mackenzie Scott and co. as they conjured up the slow-burning showstopper, capturing something approaching the levels of transcendence in the process.
Over the course of the past few weeks, the influx of outstanding live videos has been staggering. Last week the series was put on a brief hold due to other personal obligations but even then, there was the threat of multiple installments for that particular Sunday. Amassing those with the live clips that followed in the subsequent week brings us to this point: there’s simply too much great material to feature to justify relegating anything exceeding the limit of five to the introductory paragraph(s). With this being the case, there will be seven- yes, seven- installments of Watch This to go live throughout the day (and possibly night).
To that end, this very introduction will be running prior to volumes 74-80 to reduce the levels of overall exposition to provide an emphasis on the material at hand. Site favorites Girlpool and Waxahatchee were seemingly everywhere this week, securing multiple entries throughout this run while Faits Divers spread-out documentation of a set from Ought (another site favorite) managed to do the same. As always, each video featured is an exemplary showcase for both artist and host, covering a wide range of sounds and styles. So, as always, sit back, adjust the volume to your preferred settings, sit up straight, lean in (or back), and Watch This.
1. Ought – Gemini (Faits Diver)
Continuing on with Faits Diver’s recent documentation of Ought, this clip finds the band confined to a warehouse space delivering another energized and insistent performance of “Gemini”. Restless and unrelenting, it finds Ought in top form, uninhibited by anything other than their own outsize charisma. It’s electrifying.
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2. Chastity Belt – Time To Go Home (WFUV)
Chastity Belt hit their current career peak with their revitalizing Time To Go Home which boasted one of the band’s best moments throughout an already-impressive discography in the title song. WFUV recently hosted the band for a session and allowed them to cut loose on a few songs, “Time To Go Home” included. Tempo shifts, a distinctly 90’s influence, and a lingering sense of unease ensure that this clip transforms into something surprisingly hard to shake.
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3. Waxahatchee – Blue (Wichita)
As outstanding as Katie Crutchfield’s project can be when it blooms into the full band setting, it’s just as effective- and occasionally even more effective- when it strips itself back to a rawer intimacy. Wichita recently gifted the world a session with just Crutchfield and her twin sister Allison (who she’d played with in both P.S. Eliot and Bad Banana), delivering a few of the songs from Ivy Tripp in a quiet setting (in this case, a shattering take on “Blue”) – and the results are magnetic.
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4. Girlpool – Cherry Picking (Wichita)
Another Wichita session worth looking into that pares back an artist’s sound (though this time the change is significantly more slight) finds site favorites Girlpool playing acoustic guitars in open air. As always, the vocal interplay between the duo helps ground the song at hand- “Cherry Picking” this time around- and their uncanny sense of melodic sensibility elevates a modest performance to something indefinable. Eyes closed in a blissful determination, Cleo Tucker and Harmony Lebel-Tividad deliver another deft knockout.
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5. Christopher Paul Stelling – Dear Best (ANTI-)
There are few joys that can compare to finding an outsider artist that delivers nothing but grace notes. Christopher Paul Stelling fits that bell and in this clip, courtesy of ANTI- Records, his performance skills prove to be transportive. Stelling’s a calm master of a haunted subset of rustic folk, wielding both his guitar and voice with a nuanced skill that will continue to serve Stelling well as his star inevitably rises. While he may be operating in a niche field, Stelling’s talent is boundless and here, he’s found himself in the dead center of one of 2015’s most unexpectedly stunning live clips.
Over the course of the past few weeks, the influx of outstanding live videos has been staggering. Last week the series was put on a brief hold due to other personal obligations but even then, there was the threat of multiple installments for that particular Sunday. Amassing those with the live clips that followed in the subsequent week brings us to this point: there’s simply too much great material to feature to justify relegating anything exceeding the limit of five to the introductory paragraph(s). With this being the case, there will be seven- yes, seven- installments of Watch This to go live throughout the day (and possibly night).
To that end, this very introduction will be running prior to volumes 74-80 to reduce the levels of overall exposition to provide an emphasis on the material at hand. Site favorites Girlpool and Waxahatchee were seemingly everywhere this week, securing multiple entries throughout this run while Faits Divers spread-out documentation of a set from Ought (another site favorite) managed to do the same. As always, each video featured is an exemplary showcase for both artist and host, covering a wide range of sounds and styles. So, as always, sit back, adjust the volume to your preferred settings, sit up straight, lean in (or back), and Watch This.
1. Torres – Sprinter (WFUV)
Torres’ Sprinter isn’t just one of 2015’s best songs; it’s also one of 2015’s best albums. The product of Mackenzie Scott’s unforgiving self-examination of her upbringing, Sprinter came loaded with powerful moments. “Sprinter” was one of the most gripping, detailing how Scott, like many notable artist prior, would turn to running as an escape. There’s a genuine sense of voyeurism that manages to subtly settle in, becoming unsettling in the process. It’s an experience that becomes even stronger as the song translates over to the live setting, creating a deep sense of unease before offering a cathartic release- and WFUV captures one of those performances magnificently, doubling the song’s murkier tones with the clip’s visual aesthetic. Don’t miss it.
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2. Girlpool – Before The World Was Big (Wichita)
Another stunning title track, Girlpool’s Before The World Was Big, sees the duo continue their relative domination of this stretch of coverage in a clip that comes courtesy of their label, Wichita Recordings. One differentiating factor of this session compared to Girlpool’s others is the fact both Cleo Tucker and Harmony Lebel-Tividad play acoustic guitars rather than their standard bass/guitar setup and the payoff is beautiful. One of Girlpool’s most appealing traits is that their affection for each other is so palpable, permeating nearly every note (and frame) of their work together. In this no-stakes session, the duo’s simply allowed to lean back and enjoy each other’s company, providing some of the lovelier live clips of 2015.
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3. Yuck – Middle Sea (Chalk TV)
A lot of speculation surrounded Yuck after they lost a key member, they responded with some of their best material to date. Among the myriad of highlights that came following guitarist/vocalist’s Daniel Blumberg’s departure was “Middle Sea”, a searing burst of revitalized energy. Chalk TV was on hand to capture the band performing the song at a show earlier this year and the creative restlessness that made the song so compelling bleeds through effortlessly.
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4. Ought (Faits Diver)
Only one album into their career and Ought have already established themselves as one of the most fascinating acts. Comparisons to LCD Soundsystem, Talking Heads, and David Bowie have all been lobbed at the band and while each comparison’s likely warranted, they only scratch the surface. Deceptively intricate and surprisingly intuitive, Ought have made their mark by crafting the kind of genre-defying hook-filled music that leans towards enormous appeal. “Today More Than Any Other Day” and “Habit” are two perfect examples of this dynamic and Faits Diver now has exhilarating proof of the band’s live prowess (presented in a manner that betrays a likely fascination with David Lynch, rendering it a surprisingly mysterious watch).
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5. Waxahatchee (KEXP)
The current touring iteration of Waxahatchee is the finest Katie Crutchfield’s ever assembled, enlisting members of Swearin’ (including her twin, Allison Crutchfield) and other members of the Philadelphia music scene to round out a continuously expanding sound. Here, the band tears through a selection of highlights from one of this year’s gems, Ivy Tripp (Waxahatchee’s first release for Merge Records). Sublimely pure at times, willfully discordant at others, it’s a measured showcase for Crutchfield’s vast range as a songwriter, anchored by an unforgettable voice all the while.
Over the course of the past few weeks, the influx of outstanding live videos has been staggering. Last week the series was put on a brief hold due to other personal obligations but even then, there was the threat of multiple installments for that particular Sunday. Amassing those with the live clips that followed in the subsequent week brings us to this point: there’s simply too much great material to feature to justify relegating anything exceeding the limit of five to the introductory paragraph(s). With this being the case, there will be seven- yes, seven– installments of Watch This to go live throughout the day (and possibly night).
To that end, this very introduction will be running prior to volumes 74-80 to reduce the levels of overall exposition to provide an emphasis on the material at hand. Site favorites Girlpool and Waxahatchee were seemingly everywhere this week, securing multiple entries throughout this run while Faits Divers spread-out documentation of a set from Ought (another site favorite) managed to do the same. As always, each video featured is an exemplary showcase for both artist and host, covering a wide range of sounds and styles. So, as always, sit back, adjust the volume to your preferred settings, sit up straight, lean in (or back), and Watch This.
1. Girlpool (Consequence of Sound)
Over the past year, Girlpool have been experiencing a quiet, rapid ascension in notoriety thanks to a singular take on songwriting. More than just about any other band operating, the duo have established a legitimate identity that manages to feel both familiar and singular. Here, in a lovingly shot session for Consequence of Sound, they provide some insight to their process and deliver two characteristically strong performances of Before The World Was Big‘s title track and “I Like That You Can See It”. It’s a powerful reminder of their seemingly limitless strengths and a perfect document of a young band on the cusp of reaching spectacular heights.
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2. Diet Cig – Harvard (Play Too Much)
There’s a joy inherent to Diet Cig‘s music that translates so effortlessly into their live presentation that practically guarantees them a Watch This feature spot every time a video surfaces. Over Easyremains one of the year’s best- and most endlessly listenable- releases, while Diet Cig’s live show continues to gain velocity. It’s an explosive combination that renders the duo one of the more exciting prospects in today’s music. Manic energy, genuine passion, and their visible love for their craft are given a defining image towards the clip’s closing minutes as guitarist/vocalist strikes a power stance, perched on the top of her amp and Noah Bowman’s bass drum, practically bursting with joy. All together, it’s the exact kind of thing this site was built to celebrate.
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3. Screaming Females – Shake It Off (AV Club)
Back in the 22nd volume of Watch This, The AV Club’s Undercover series took all five spots in a featured retrospective. One of those five selections was Screaming Females‘ incendiary Sheryl Crowe cover. The band and the series recently partnered up again, the band once again applying their unlikely brand to an even more unlikely cover; Taylor Swift’s inescapable “Shake It Off”. Played (mostly) straight with a fiery verve, the standout moment- unsurprisingly- is a deviation that allows guitarist/vocalist Marissa Paternoster to tear into a solo after a perfect breakdown. It’s one of the year’s most unexpectedly endearing moments.
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4. Courtney Barnett – Depreston (La Blogotheque)
Courtney Barnett‘s Sometimes I Sit And Think, And Sometimes I Just Sit will almost certainly hold true as one of 2015’s most delightful titles. As enjoyable as the record is, though, there are moments of arresting pathos and gravitas that appear throughout. One of the most fascinating is Barnett’s treatsie on suburban malaise; “Depreston”. Barnett recently met up with the usually-great La Blogotheque for a performance capture that manages to transcend the bulk of the series’ considerable output. Simply put: it’s unforgettable.
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5. Hop Along (KEXP)
One of the year’s most welcome breakout success stories was that of Hop Along’s sudden increase in exposure, recognition, and acclaim (all of which the band’s deserved since before the release of Get Disowned). Instead of being daunted by the attention, the band seems to be thriving off it- pushing themselves to go even further. That drive’s reflected in this full session for KEXP that finds Frances Quinlan and co. front and center for a lively outdoor showcase featuring songs from both Get Disowned and 2015 Album of the Year candidate Painted Shut. As if all of that wasn’t enough reason to watch (and the fact that the band’s live show’s been so powerful that they’ve been a staple of this series since it started), this set also features a back-to-back pairing of “Waitress” and “Tibetan Songs”, which will always be a moment far too perfect for words.
Allyssa Yohana’s tenderly constructed and affecting clip for the title track off of Girlpool’s upcoming Before The World Was Big was one of the most intrinsically human pieces of art unveiled over the last few days. In an age that so readily celebrates bombast, grandeur, and general post-production gloss to achieve greater accessibility, when something that feels as deeply personal as “Before The World Was Big Arrives” arrives it becomes even more arresting than it would have been stripped of industry context. That’s not to say there weren’t other pieces of multimedia that made an impression over the past few days. As always, there was a steady influx of material worth hearing, both in the single and full stream categories.
Representing the single streams were Heyrocco’s spiky basement pop rave-up “Loser Denial“, Looming’s compellingly dark “Onwards“, Nots’ manic “Virgin Mary“, Mutoid Man’s oddly punishing “Reptilian Soul“, Future Death’s frenetic “Familial Tremors“, Sitcom’s intuitively layered “Ginger Ale“, The Velvet Teen’s triumphant return in “The Giving In”, and an absolute monster of a collaboration between Ghostface Killah, Adrian Younge, Raekwon, and RZA entitled “Return Of The Savage“. While the full streams didn’t quite match the sheer volume of that collection of songs, they matched their strength. Dustin Lovelis’ sprawling punk-leaning psych-pop Dimensionsrevealed all the makings of an unexpected contemporary classic, Nocturnal Sunshine’s brooding, glitchy self-titled, and Town Portal’s restless The Occident. For music videos, there was Girlpool’s “Before The World Was Big” and that was more than enough.
Girlpool have earned their fare share of written content on here over the years and a lot of the reasoning for that can be clearly evidenced in “Before The World Was Big”. Both in the song, which is an exquisitely rendered burst of well-placed nostalgia, and the video, which eschews any unnecessary distractions to present something heartfelt and honest. While the home-movie VHS aesthetic has been to death in music videos at this point, it can still maximize emotional impact when paired with the right content. Here, the visuals act in perfect tandem to their soundtrack, emphasizing both the yearning and uncertainty present in the lyrics while simultaneously relaying the duo’s joy of simply being together to share in their experiences. It’s a deceptively complex structure that winds up with an unshakable resonance thanks to the abundance of care and genuine feeling. It’s a short, sublime piece of work that feels perfectly representative of the band and their ideologies while retaining an atmosphere that suggests Before The World Was Big is going to be something truly special.
Watch “Before The World Was Big” and pre-order the album of the same name from Wichita here.
Over the course of the past few months, there have been hints towards this site expanding its coverage in new directions. One of those will be an emphasis on film and film coverage, much of which may branch away from things with a decidedly musical pull- but it’d just feel wrong to not use one of those films as a starting point. Since 2015’s started there h, ave been three outstanding music documentaries, the short-form Pops Staples “Don’t Lose This”, the monumentally affirming Richard Gin-directed long-player The Epoch Is __., and the Cory McConnell-helmed piece of magic that gets tonight’s feature: Girlpool: Things Are OK. All three are deserving of as much attention and affection as anyone can generate but what sets Things Are OK apart from the rest of its early-year companions is its sense of craft.
As central figures go, Cleo Tucker and Harmony Lebel-Tividad are inherently compelling central figures. When they’re on screen (which is for the majority of the film), they’re as brashly honest as their music suggests, never shying away from self-examination or pointed commentary. McConnell likely had a lot of great material to work with and the fact that Things Are OK wound up coming across as so complete in just over 25 minutes is a fairly astonishing indicator of the director’s raw talent and deft touch (especially in terms of composition). Utilizing small ambient movements for maximum effect, like creating a sense of urgency with the travel shots to establish the momentum of both the film and its compassionately-portrayed subjects, McConnell manages to turn this into a subtle filmmaking showcase without ever impeding the film’s central aim: to provide a definitive portrait of an incredibly important band in the early stages of their career.
While the majority of the film is composed of the band’s genuinely stunning live performance, when it allows itself to switch gears to provide those performances a narrative by presenting an exacting portrayal of Tucker and Lebel-Tividad’s psyches, it takes on an unexpectedly emotional pull. Girlpool, at their very best, cut to the hearts of their listeners with exacting precision, conjuring up some fierce emotions (in a manner not too dissimilar from Big Star at their most devastatingly vulnerable). It’s one of the core reasons why this site continues to loft praise at the band and it’s something that Things Are OK manages to make a focal point without ever overselling that particular aspect of the band. It’s also worth noting that Things Are OK chooses its vantage points carefully, allowing a cautiously brave elevation of Girlpool through cleverly-constructed cinematography (which is consistently gorgeous throughout the film’s duration), until they finally appear larger-than-life in their last performance, offering nothing but grace notes until the film’s quiet conclusion. It’s a fitting tribute to the duo, who continue to impress, deeply, as their career progressively blooms into something that’s already threatening to be unforgettable.
Watch Girlpool: Things Are OK below and buytheir powerful self-titled EP from Wichita Recordings here.
Heartbreaking Bravery 