Heartbreaking Bravery

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Tag: Holy Shit!

Splitting at the Break: The Live Videos of 2016’s First Half

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2016 is just about at its midway mark and there hasn’t been any live coverage on this site since before the year turned over. There have been a number of extenuating circumstances preventing the live documentation that has been captured this year from being posted (travel, time, other commitments, etc.) but that changes today. Below are ten video packets from ten shows that I was fortunate enough to catch — and shoot — this year.

Normally, as a general rule of thumb, I avoid posting anything from shows I play but am making an exception for the Jungles package because the band’s woefully under-represented in America for their undeniable strength as a live act.  A few other packets may be missing an artist or two but what’s below is the vast majority of what I’ve seen over the past six months.

Whether it’s Meat Wave ripping through a crushing new song on a (freakishly sunny) winter day in Chicago, Beach Slang covering The Replacements two times over, or Torres making everyone’s hairs stand on end with an unforgettable one-song encore, these are worth a look and were a privilege to experience. A photo gallery will be coming within the next few days but for now, enjoy the footage.

American Wrestlers, Eternal Summers, Palehound, and Torres. 

Julien Baker and Charly Bliss. 

Muuy Biien, Meat Wave, The Spits, and Black Lips. 

Runners, Beech Creeps, and Heavy Times. 

Jungles. 

Mr. Martin & The Sensitive Guys, BAG-DAD, Haunter, Miserable Friend, and Heavycritters. 

Yoko and the Oh No’s and PWR BTTM. 

Micah Schnabel, Dyke Drama, Potty Mouth, and Beach Slang. 

Yowler, Eskimeaux, and Frankie Cosmos. 

Oops and Dilly Dally. 

2014: A Pictorial Review, Pt. 5

Speedy Ortiz III

One thing that this site has strived to maintain is its own visual aesthetic. While it’d be impossible to find a photo in the archives for every given band that headlines a post, an original photo will be posted anytime the opportunity presents itself. Upgrading cameras halfway through the year provided a bevvy of new opportunities and the subsequent implementation of a more photo-centric presence. That’s not by mistake. Photography (especially event photography) has always been an important crux of multimedia journalism. It can be a way to implicitly (or explicitly) convey some of the more minute details of a singular moment to a reader- or it can simply act as an intriguing supplement.

Those were just a few of reasons that went into the decision behind a headfirst dive into photography investment (on both a personal and public level) and factored into why one camera or another was brought along to every show this site covered in the past year. Now, with 2015 just around the corner, seemed like as good a time as any to showcase a few photographs from the past 12 months that stood out as personal favorites. Since there are a few too many to go up all at once, they’ll be posted at random as part of installments that will run from now to the start of January. Most of these shots have been published on the site before (or on The Media), though there are a few that will be appearing for the first time.

Pt. 5 will be the final installment of this series and the preceding galleries can be accessed via the links directly below. Enjoy!

2014: A Pictorial Review, Pt. 1
2014: A Pictorial Review, Pt. 2
2014: A Pictorial Review, Pt. 3
2014: A Pictorial Review, Pt. 4

 

2014: A Pictorial Review, Pt. 4

Perfect Pussy VIII

One thing that this site has strived to maintain is its own visual aesthetic. While it’d be impossible to find a photo in the archives for every given band that headlines a post, an original photo will be posted anytime the opportunity presents itself. Upgrading cameras halfway through the year provided a bevvy of new opportunities and the subsequent implementation of a more photo-centric presence. That’s not by mistake. Photography (especially event photography) has always been an important crux of multimedia journalism. It can be a way to implicitly (or explicitly) convey some of the more minute details of a singular moment to a reader- or it can simply act as an intriguing supplement. Those were just a few of reasons that went into the decision behind a headfirst dive into photography investment (on both a personal and public level) and factored into why one camera or another was brought along to every show this site covered in the past year. Now, with 2015 just around the corner, seemed like as good a time as any to showcase a few photographs from the past 12 months that stood out as personal favorites. Since there are a few too many to go up all at once, they’ll be posted at random as part of installments that will run from now to the start of January. Most of these shots have been published on the site before (or on The Media), though there are a few that will be appearing for the first time. Enjoy!

2014: A Pictorial Review, Pt. 2

METZ I

One thing that this site has strived to maintain is its own visual aesthetic. While it’d be impossible to find a photo in the archives for every given band that headlines a post, an original photo will be posted anytime the opportunity presents itself. Upgrading cameras halfway through the year provided a bevvy of new opportunities and the subsequent implementation of a more photo-centric presence. That’s not by mistake. Photography (especially event photography) has always been an important crux of multimedia journalism. It can be a way to implicitly (or explicitly) convey some of the more minute details of a singular moment to a reader- or it can simply act as an intriguing supplement. Those were just a few of reasons that went into the decision behind a headfirst dive into photography investment (on both a personal and public level) and factored into why one camera or another was brought along to every show this site covered in the past year. Now, with 2015 just around the corner, seemed like as good a time as any to showcase a few photographs from the past 12 months that stood out as personal favorites. Since there are a few too many to go up all at once, they’ll be posted at random as part of installments that will run from now to the start of January. Most of these shots have been published on the site before (or on The Media), though there are a few that will be appearing for the first time. Enjoy!

All Dogs at Bremen Cafe – 8/19/14 (Pictorial Review, Live Video)

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[AUTHOR’S NOTE: First off, just to get this out of the way at the top, this post probably would not have been possible without The Media, a site whose praises deserve to be sung as loudly- and frequently- as possible. Being able to be a part of that place, even just for an issue, was an honor. The fact that I got to spotlight was All Dogs, a band that put out a 7″ last year that I felt very strongly about, ensured that it won’t be an experience I’ll be forgetting anytime soon. All that said, I wound up with an over-abundance of content that, for obvious reasons, couldn’t all be worked into The Media piece. It’d be criminal to let a lot of the material that didn’t run go to waste, so it’ll be running here today. Enjoy.]

All Dogs put out one of this site’s favorite 7″ records of last year, so when word came that they’d be stopping at Bremen Cafe in Milwaukee, not going wasn’t an option. As time progressed and more things got worked out, excitement and anticipation for the show grew incrementally. After the band agreed to an interview (hyperlinked towards the end of the Author’s Note) and guitarist/vocalist Maryn Jones was gracious enough to agree to a small set of acoustic performances, All Dogs’ self-titled 7″ was back to being in near-constant rotation- and wound up being the go-to soundtrack for every editing session this site went through for a few weeks.

During that time, a press email came out detailing an upcoming release from a project called Yowler, which turned out to be a solo vehicle for Jones- and a likely continuation of her excellent early solo material. Somehow, this all came to light during a time that also saw the emergence of Saintseneca’s Tiny Desk Session for NPR (easily one of this year’s finest offerings), all of which pointing to Jones being one of the busiest- and best- songwriters/musicians that we currently have. All of that combined prompted a trip through her discography, which included some absolute gems like the tape from the now-defunct Wolfs (which All Dogs’ bassist, Ama,nda Bartley was also in). As a result of the culmination of all of this, expectations couldn’t have possibly been higher for the band’s live show.

After taking up temporary residence in Ground Zero (one of Milwaukee’s best basement venues) for the interview session, it was into the band’s van and off to Bremen Cafe. While there wasn’t too much time to spend doing anything other than helping clear out space and running out to get food before the show kicked off, it didn’t seem to matter. Everyone seemed to be in high spirits and a lot of old friends were able to exchange a few words before the show kicked off with a ferocious set from Failed Mutation– who proved to be next to impossible to photograph thanks to their incessant levels of energy. From their live show alone, it wasn’t very difficult to see why they’ve earned a reputation as being one of Milwaukee’s best hardcore bands in an increasingly over-crowded scene (it also probably doesn’t hurt to have members of Tenement and Holy Shit! in your band). Failed Mutation wound up packing an absurd amount of spastic energy into a set that probably only ran 15 minutes, all of which was expertly controlled- likely thanks to each individual members discipline and experience. It was a hell of a way to jump-start what would prove to be a surprisingly formidable bill.

Next up was Sin Bad, a relatively new band that features members of both Night Animals and Rich People. Having never heard Sin Bad, it was difficult to gauge whether trepidation or excitement was winning out as Failed Mutation loaded out. Any notions of disappointment were immediately dispelled following the first few seconds of their first song. Boasting a sound not too dissimilar from All Dogs (with maybe just a few dashes more of a sound found pretty frequently on Don Giovanni Records) and an energy that was relatively comparable to Failed Mutation meant their second slot was a perfect transition between the opener and the headliner, while also simultaneously allowing them a more unfettered interest from the sizable and appreciative crowd. By the time Sin Bad’s set was over, it was very clear they’d left an impression and made converts out of several of the previously unaware.

When Sin Bad had packed up and left the stage open for All Dogs, a strange nervousness crept back in- as it usually does prior to seeing a band (especially for the first time) that’s come to mean something on a personal level. Again, it didn’t take very long for that anxiety to abate. It took All Dogs (in a now-cemented four person lineup that includes NONA guitarist Nick Harris and, as always, Delay‘s Jesse Withers) less than three songs to inspire chills. Starting strongly with both “Farm” (from their outstanding split tape with Slouch) and the shortest song from the 7″, “Snow Fences”, they’d guaranteed the investment of everyone watching. Then on the third song, they offered up the first look at their new material, which they’d previously promised sounded like a much fuller and more fleshed-out version of themselves. Not only did that promise hold up, the expectations that came with it were annihilated as that song, currently written down on the setlist as “Skin”, showcased a heavier side of the band that had been previously been hinted at with their current career-best effort, “Say”.

From that point forward, the band tore through a set with a practiced confidence and relative ease, never once seeming anything less than completely genuine and extremely impassioned. Everything clicked, sounding fantastic in the notoriously loud Bremen Cafe. Making the performance even more memorable was the fact that the crowd was reciprocating virtually all of All Dogs’ energy, creating this back-and-forth that pushed both sides to near-perfect places. A few more songs from the split, the 7″, and (hopefully) the upcoming record, and the band had already nearly obliterated every lofty expectation- and then the band switched into high gear for an unforgettable 1-2 gut punch of an ending. That “Say” became the second song of their set to warrant chills and total immobility probably isn’t too surprising, as the studio version of the song is nearly capable of the same effect- but the band’s closing number, a song so recent that they still haven’t given it a title, went a long way in indicating that their upcoming work will be their best material to date. Both, combined, provided an unpredictably intense (even considering the members’ inability to contain their smiles) ending to an extraordinary set from a band who will almost certainly produce a discography of material worth owning on every possible format.

Below, watch a stunning solo acoustic performance of Wolfs’ “Leading Me Back to You” and All Dogs rip through their currently untitled set closer. A photo gallery of both the interview/performance session and the late show can be viewed beneath the videos.

Keep an eye out for all of the emerging details on All Dogs’ upcoming debut LP, which will be released on the always-extraordinary Salinas Records.

Nervosas at Center Street Free Space and Quarters Rock N Roll Palace – 3/1/14 (Live Review)

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On March 1, 2014, the entirety of Milwaukee was emitting a low hum- the result of hundreds of amps coming to life. There was the East Side Music Festival, which stood as a celebration of local music (Heartbreaking Bravery favorites The Sleepwalkers, Midnight Reruns, and The Midwestern Charm were all well represented), that spanned several participating venues and featured headlining sets from Why? and POS. Beach Patrol, Jake Simmons, and Tim Schweiger & the Middlemen were the bands making up a stellar bill over at Bremen Cafe, outside of the fest. Another non-fest show that was likely worth seeing had Ringo Deathstarr headlining Mad Planet. There was a show in seemingly every venue in the city- and Nervosas played two of them.

First up was a show in the basement of DIY library collective Center Street Free Space alongside Strange Matter and Crowdpleaser. After having some trouble with a faulty mic stand that essentially just gave out before Strange Matter began (both a cinder block and a weighted bucket were used as position anchors) the show started with an incredibly impressive set from Milwaukee hardcore veterans Strange Matter. After a few lineup changes and toting a new 7″, ennui actuation dissolver, the band was in fine form throughout a rapid-fire set. Blending all kinds of influences into a fairly original sound that leans heavily on hardcore, Strange Matter have built a strong reputation for themselves by virtue of their releases. If this show was any indication, though, their live show may have surpassed their recorded output in terms of quality- and that’s saying something.

Next to bat was Crowdpleaser, another Milwaukee band toying with genre limitations in slightly unexpected ways. Pushing their volumes to dangerous heights, the band played passionately and were genuinely excited to be sharing a bill with Nervosas. Their excitement was even more justified by the similarities between the two bands. Both Crowdpleaser and Nervosas share a similarly-mined strand of goth-punk that a lot of today’s bands can’t claim. There’s also a peculiar restlessness to be found in both bands’ music. Neither band is afraid of the unsparingly bleak, either. While there are more than a few differences between Crowdpleaser and Nervosas, and while there were a fair amount of technical difficulties, Crowdpleaser’s set felt like a completely natural precursor for the perpetually anxious Nervosas.

When Nervosas finally took over they did it with a manic determination that made their set one of the most cathartic experiences imaginable. Truly looking like that went both ways (band and audience feeding into each other on a barely-controlled loop) they grew progressively more intense as the set went on. Afterwards guitarist, Mickey, would reveal that she was trying to frantically keep up with the rest of her band who purportedly never play that fast. Whether that was a false claim is anyone’s best guess but at various points throughout the set, their drummer, Nick, would lose time and recover quickly with well-timed blast beats. All the while Jeff (their bassist and vocalist) would be careening through songs from the few outstanding releases they have so far, completely caught up in the moment. The only times the weirdly hypnotic and utterly dark spell was broken came when one of them would let the song get away from them (though they all recovered incredibly quickly) and not be able to help a smile. It’s impossible to gauge how long their set was as everyone was completely caught up in the moment, watching the band teeter on the edge of total collapse and reign things in at all the right moments. Making this even more memorable was the low turnout rate for the show- the benefit being that everyone who was there clearly cared enough to make sure that they were there so they could shout along “APAB” at all the right moments and support a band they loved. By the time the band finished tearing through a particularly rousing take on “Poison Ivy” nearly everyone that was present had likely already made up their minds to make their way over to the late show to see them again.

Between the end of the Free Space show and the start of the show at Quarters, a stop was made at Bremen Cafe in hopes to catch one of the three bands playing that night- while that proved to be an impossibility it’s worth noting that Jake Simmons,  Tim Schweiger & the Middlemen, and Beach Patrol all come very highly recommended and wouldn’t have been missed any other night. By the time the short walk to Quarters was made, feedback was already ringing throughout the venue, a half circle had been formed in front of the stage, and Midwives were about to go off. Having just seen Midwives member Graham Hunt lead Midnight Reruns through another energetic set just a week prior it was nice to see him fully embracing the role of a hardcore guitarist, while it was nice to see Sahan Jayasuriya back behind a kit for a band he believes in. Both of them need the band for different reasons; for Hunt it’s the ability to cut loose and be as grimy as possible, something that fronting Midnight Reruns doesn’t afford him- and for Jayasuriya it’s both the advantage of input into creative control and the sense of connection that comes with being part of something from the ground up, instead of coming into the fold late (something he’s experienced surprisingly often).

It was evident throughout Midwives’ set how badly those points counted for them as they poured their fucking hearts into their set by attacking their instruments with the kind of brute force only found in the best hardcore bands. As both Hunt and Jayasuriya lost their respective minds on their instruments, their vocalist was stalking the hell out of the open space in front of the stage shouting for all his worth and their bassist kept everything in check by holding down his parts while furiously nodding his head along. Ripping through the songs from their vicious debut 7″ (they used the night to celebrate its physical release) and a whole lot of new songs (many of which will be appearing on the LP they’ll be recording this week), it started to feel like the band announcing a bigger kind of arrival. While their studio work is already enormously impressive (despite being only four songs), this is the kind of band that lives for a live setting- they didn’t disappoint and hopefully won’t be disappearing anytime soon.

After quite a bit of set up, take-down, and tuning, Technicolor Teeth turned up their amps to typically deafening volumes and greeted the audience with their shoegaze-heavy nightmare pop. Ever since first seeing this band a few years back and watching them evolve, it’s been clear that they’ve tapped into something inherently special. As they’ve progressed they’ve toyed with the boundaries of genre and exploited the buried aspects of a few different styles rather than settling for something as simple as revivalism. They’re pushing things in new and intriguing directions; finding a home in what was once considered a dormant style and looking forward instead of traveling back. Easily the night’s longest set, they nonetheless were as captivating as usual and likely won over anyone they hadn’t. While their set seemed to be heavy on newer material, it all clicked and felt coherent enough to keep the audience interested despite being a band who’s prone to playing up a drowsy-high aesthetic. There were a few blinding flashes of energy that helped push that along and as a collective unit, the band played close to flawlessly, wrapped up in a weird kind of power approach. A large part of the credit for this is likely due to drummer Amos Pitsch (who uses his time outside of the band to do things like front Tenement) who continues to operate on an almost obscene level of musicality (so much so that it prompted a well-intentioned and sarcastic “Thanks for drumming before me, Amos. That sucked.” from Nick) and provides the band with a considerable punch. In any case, Technicolor Teeth played like they meant it and is a must-catch prospect- they’ll be playing the Accidental Guest Recordings showcase at SXSW, don’t miss it.

After Technicolor Teeth wrapped up and everyone assessed their levels of hearing damage, Nervosas set back up for a final run. Only this time, it wasn’t to 15 people- it was to a packed bar that was threatening to close in on max capacity. As a result, the energy level of the decidedly frenetic show at Free Space somehow got kicked up a few more levels. This time, the audience wound up begging the band for an encore that they never got; and that was alright- Nervosas seemingly left every inch of themselves on that stage. Absolutely ripping through highlights from their best-of-decade worthy self-titled like “Less Than Human”, “Viva Viva”, “Extinct Species”, “Waste of Time”, and (once again) “Stellarcore”, “Poison Ivy” and “APAB” along with some deeper cuts like Rev 45 lead-off track “Junky”. All of this was performed as wild-eyed as possible, with each member being almost inhumanly committed to delivering their songs at maximum levels of impact. None of the three could stay still even between songs, feet tapping and bodies swaying back and forth, anxious to jump into whatever was next. During the songs, that restlessness was even more present as the band would literally throw themselves from side to side (and into the walls on more than one occasion), while attempting to keep themselves in control of the music. Their levels of success on these levels were improbable, as all of the things apart from the audience size were both duplicated and maximized from their set just a few hours before. By the time the calls for an encore were hitting their peak, the band was onstage, packing up, absolutely spent. They’d made their mark and knew their was nothing left to possibly be given.

As the show turned into an afterparty with the assistance of Rio Turbo, friends old and new caught up, got drinks, and found their way into dances, conversations, and the streets. Everyone buzzing on the adrenaline high that accompanies the truly great shows. Everyone that played caught up with each other and their admirers, gave their thanks to each, and bought or traded merch before heading off. Now that all the smoke’s cleared, all that’s left to do is keep both eyes peeled for the next time Nervosas show up- because if these shows were any indication, this is a band that should never be missed.

A few photographs from the shows can be found below.

25 Best Demo’s, EP’s, 7″ Singles, and Compilations of 2013

2013 was an incredible year for music that held a seemingly infinite amount of great releases in nearly every possible genre and sub-genre. Cassettes popularity exploded, vinyl sales increased by more than 30%, and the importance of demo’s finally became apparent. In a sea of widely-publicized releases that got mountains of praise, it was a joy to find what composes much of this list.  While a few spots are technically taken up by more than one release, those ties always come courtesy of a band generous enough to release more than one item and have it live up to whatever had preceded it. So, with that caveat in mind, here are the 25 best demo’s, EP’s, 7″ singles, splits, and compilations of 2013.


25. Split Feet – Fall 2013

Chicago’s Split Feet were one of the upper Midwest’s better surprises of 2013 and this demo announced their entrance authoritatively. The rest of the space could be consumed by an attempt to wax poetic on the demo’s respective virtues but, to spare everyone some time, it’s worth pointing out that’s already been done here. Stream the Fall 2013 demo below.

24. The Hotels – Leslie

Here’s an interesting, barely-relevant fact; The Hotels’ excellent Leslie EP was released on the same day Heartbreaking Bravery started. Leslie incorporates nearly all of the staple items on the musical laundry list that this site celebrates most frequently. There’s an emphasis on the kind of influences that keep it on the fringes of the emo-revival alongside bands like Swearin’ and All Dogs but finds itself living in the moment far too much to be tied to a revival. It’s immediacy pays huge dividends but it’s Leslie‘s precision that landed it on this list. Listen to it below.

23. Globelamp – Star Dust

Like Split Feet’s demo, Globelamp’s undeniable unique EP has already been celebrated here. Despite already having a few releases, this felt like a debut. Star Dust‘s nervous energy felt impossibly grounded and promises bigger things for the duo. Hear Star Dust below.

22. Elvis Christ – And So It Shall Be

No one’s going to deny that Elvis Christ is more likable to be noticed for his contributions to Nobunny than his solo work, which, based on the strength of And So It Shall Be is due for a change in the near-future.  There’s definitely a Nobunny influence coursing through the five tracks on display but they pack enough punch to secure it a spot on this list. One of Burger Records’ best tape releases from their best year. Hear it below. 

21. Joseph Frankl – Breakers

Joseph Frankl released two great records on very different platforms this year. As the drummer for The Frankl Project, he was a part of one of 2013’s (and perhaps the decade’s) best pop-punk records. Not too long after he uploaded this two-song single to his bandcamp as a self-release. Breakers exists along the same lines as yesterday’s On the Up honorees Technicolor Teeth. This is driving shoegaze that feels authentic and well-informed and not like a pale imitation. Both songs are among the year’s best and deserve way more attention than they’ve received. Hear Breakers below.

20. The Orwells – Other Voices/Who Needs You

2013 was a breakout year for these young Chicago scrappers. From Jam  in the Van sessions to NPR music video premieres, it was hard to go more than a few months without hearing about them. A lot of this, of course, was due to both of the outstanding EP’s they gave to the world in 2013 (as well as a split cassingle with FIDLAR for Record Store Day), all of which were given a tape release via Burger Records. A production assist from TV On the Radio’s Dave Sitek undoubtedly piqued a lot of interests even further than they had been but that wouldn’t mean anything if the music didn’t actually live up to the hype. Thankfully, it has. Hear both EP’s in full below. 


19. Dead Beach – Purple Scissors/Cool Mutants Split

Let’s Pretend released a lot of incredible material in 2013 but this was easily their best in the short-form department. Both Purple Scissors and the Cool Mutants split were recorded by PURPLE 7’s Patrick Jennings (who formerly fronted Hot New Mexicans) and both bands’ influences are evident throughout both the EP and the split. They both carry the slightly off-kilter, raw, and insanely melodic traits that nearly all of Let’s Pretend’s roster has come to be known for. Hear both releases in their entirety below.




18. La Luz – Damp Face

Anyone who’s been following this site probably won’t be too surprised at finding yet another Burger release on this list but it’s hard to argue against placements for any of the label’s releases; they’ve been consistently excellent and positioned themselves at the forefront of basement pop. La Luz had a turbulent year, suffering both triumphs and devastating setbacks. As horrific as their accident was, people are more likely to associate 2013 with both of the band’s outstanding releases rather than personal tragedy. Both their It’s Alive full-length and Damp Face EP have managed to jumpstart a promising career for their band and they’re already showing no signs of slowing, fighting back relentlessly at whatever obstacles come there way. Hear some of that fight bleed into their music by listening to Damp Face below.

17. Midwives – Midwives

Midwives’ self-titled debut is another of the entries on this list that’s already been covered and the thing’s got some serious legs. Its staying power has been incredibly impressive and went a long way in securing it a spot on this list. Get familiar with Wisconsin’s best new hardcore act by listening to Midwives’ introductory piece below.

16. Lemuria – Brilliant Dancer

As good as The Distance Is So Big was, this 7″ teaser the band released ahead of it may actually exceed it in terms of greatness. Both “Brilliant Dancer” and “Helloing” rank among the best songs in Lemuria’s impressive catalog, providing them the b/w format cuts out any excess and lets them operate as a sharp adrenaline shot that emphasizes the band’s best qualities. Brilliant Dancer is about as precise as Lemuria gets and sacrifices none of their sugar-rush basement pop. Hear it below (and catch them live whenever possible).

15. Summer Twins – Forget Me

As has been mentioned before and is likely to be mentioned again, Burger Records had an absolutely monstrous 2013, as far as EP’s are concerned the label didn’t put out anything better last year than the Summer Twins’ near-perfect Forger Me. Mining a 50’s doo-wop and 60’s girl group influence in equal measure, they offered up five of the most assured and gorgeous songs of the year, with the title track being one of the year’s outright best. While the rest of the songs don’t quite match the heights of “Forget Me”, they come close enough to more than justify a spot on this list. Hear Forget Me below.



14. Huge Face – Huge Face

Huge Face are yet another band that may occasionally find their name tossed into the emo-revival conversation that’s happening right now despite leaning closer to Guided by Voices and late-era Wipers than Sunny Day Real Estate. In the grand scheme of things, though, it really doesn’t matter. Huge Face stands up just fine on its own. The most modern touchpoint here would be Wolf Parade, as the bands share several similar sensibilities, even if the execution on how their lensed varies ever-so-slightly. No matter how it’s looked at, it’s fairly clear that this is a great release. Listen to it below.

13. Pusrad – Modern Anatomi

Clocking in at just over four and a half minutes, these ten songs refuse to fuck around. That steadfast commitment is an integral part of all great hardcore bands’ aesthetic, Pusrad included. Already moving at an incredibly prolific pace, Pusrad keep getting better with each one. Modern Anatomi is an exhilarating blast of fierce, old-school hardcore that’s as relentless as it is creative. One of the genre’s best releases in any format in 2013. Hear it below.



12. Upset/Swearin’/Waxahatchee/Screaming Females – Guided by Voices Tribute 7″

All anyone really needed to do for this one was look at the title. Upset, Swearin’, Waxahatchee, and Screaming Females are four of the better bands going today and each paying tribute to a specific Guided by Voices track is an undeniably sensible move. This is as much of a four-band pairing as it is a five and it exceeds its own promise. That’s one hell of an accomplishment. Unfortunately, no streams of this are currently available but it’s available for purchase (highly recommended) via the link below.

Purchase the Guided by Voices Tribute 7″ from Salinas Records

11. Sundials – Always Whatever (A Collection of Songs from 2009-2012)

Releasing a set-year retrospective can be a tempting prospect for any band that feels it’s entered a new stage; rarely do they exceed on the levels of Sundials’ Always Whatever (A Collection of Songs from 2009-2012). By forgoing the inclusion of several songs from their two main releases, First 6 Songs and When I Couldn’t Breathe, there’s an allowance for the unexpected which infuses Always Whatever with a vitality it may have sorely lacked. This is a stunning collection of melodic basement punk songs that should only help the anticipation build for whatever the band’s next move is. Get familiar with Sundials by listening to Always Whatever below.

10. Technicolor Teeth – Blood Pool

There aren’t very many bands out there who can claim to be as exciting as Technicolor Teeth. Only a few years (and two releases) into their career, they’ve managed to make a deep impression on a lot of their peers and grab the attentions of people that may help elevate them to infamy. They’ve essentially been posited as the new forefront of shoegaze by embracing it as fully as possible while still thriving to make it their own. After the rousing success and tonal darkness of Teenage Pagans, it’s unlikely that anyone thought the aspect they’d play up the most for their follow-up was their warm dream-pop influence. Granted, they haven’t sacrificed much of their morbidity or dark atmosphere and instead reinvent that side of themselves as well. As a result, they’ve wound up with the best nightmare-pop 7″ of 2013. It’s difficult to say how long this band will stay buried but expect to be hearing their names a lot more sometime soon.


9. The Dirty Nil/Northern Primitive – Split

The Dirty Nil’s split 7″ with Northern Primitive was one of the more unique splits of 2013 just for the variance of style on display. Both bands tend to err towards doom without actually crossing that bridge completely, with the former keeping at least one foot very firmly planted in early 90’s indie a la Dinosaur Jr. and The Pixies while the latter perilously straddles multiple genre lines at once. Of the two, The Dirty Nil takes the more straightforward route (and is none the less thrilling for it) while Northern Primitive throws everything they’ve got into their side, riding an eerie atmosphere into a crushing crescendo before gracefully falling back out. An absolutely stunning display piece for two of Canada’s best-kept secrets. Hear it below.



8. Jeff Rosenstock – Summer

Over the years, IYMI has become one of the most trusted sources out there for on-the-rise bands playing the basement punk circuit and have frequently offered early glimpses at bands like Swearin’ and Jason Anderson in the bandcamp “optional donation” mode (the site also is responsible for the incredible Pink Couch Sessions series). This year, they went ahead and added Jeff Rosenstock to the list by featuring his incredible Summer 7″, which managed to be one of the most explosive scuzz-pop 7″ singles of 2013. An absolute must-own. Hear both “Teenager” and “Go On Get” below.



7. Tweens – Demo CD-R

Tweens were one of the great breakout successes of the gutter circuits in 2013, releasing nothing but demos which were subsequently devoured and praised at a rate fast enough to give anyone whiplash. The Cincinnati trio have become one of the more talked-about and sought-after prospects in recent memory based solely on the strength of a demo CD-R which is impressive enough in itself. The fact that their bandleader, Bridgette, had only recently learned guitar before before starting Tweens is a completely different level of impressive. Tweens are set to release their debut full-length in March and that day can’t get here fast enough. Until then, listen to a few selections from the now-sold out demo below.



6. All Dogs – 7″

One of Salinas’ most exciting new prospects has already drawn comparisons to seemingly half of that label’s roster, which is precisely what makes it so appealing. Over the past few years Salinas has carefully cultivated a sound that prides itself on a lo-fi 90’s indie punk influence. All Dogs profile is set to get another boost with the impending release of Saintseneca’s upcoming LP on Anti-, as the bands share members. A lot more could be said about this release but, once again, it’s worth noting that much of it has already been said. Listen to All Dogs’ triumphant 7″ below.



5. Various Artists – Beyond Inversion: A Benefit for Rachael’s Women’s Center in DC

Over Heartbreaking Bravery’s short existence, the release that’s garnered the most coverage from this site is undoubtedly Accidental Guest’s incredible Beyond Inversion benefit compilation. It’s a compilation that has its heart squarely in the right place, while perfectly adhering to the best aesthetics of the basement scene. There’s a selflessness that’s on display here through the involved bands’ naturally camaraderie. It’s also a perfect representation of its time, culminating in a capsule-worthy artifact that sheds this generation in the most positive light imaginable. Which is precisely why there was more than just one article devoted to it. Beyond Inversion may be seeing a vinyl release at some point in the near future but the initial cassette release sold out in pre-orders. Thankfully, the whole thing is available for streaming and can be heard below.



4. Acid Fast – Rabid Moon

While Rabid Moon finally was given a proper vinyl release last week, it’s been available as a cassette for several months, courtesy of Stupid Bag Records. Far and away one of the most impressive cassette-only full-length’s to be granted a 2013 release, it allowed for a monumental build-up to it’s run as a 2014 record. In the span between the two official releases, the band’s picked up press from Punknews, the AV Club, and earned On the Up honors from this very site. Rabid Moon is an absolute monster of a record that channels the spirit of Archers of Loaf, has the unhinged energy that made Big Kids so great, and it deserves every accolade that’s undoubtedly coming its way. Hear the first three songs from the record below.

3. LVL UP – Extra Worlds/Porches. Split

LVL UP prove themselves again and again with each consecutive release. How this band isn’t fucking huge yet is anyone’s best guess and it still seems like that’ll happen in due time. One of the most thrilling and accessible bands going right now, LVL UP absolutely crushed 2013 with an outstanding EP and a split with Porches. that was every bit the EP’s equal. In both cases, this is full-throttle basement punk with powerpop flourishes that doesn’t skimp on aggression or melody. Flashes of everything from The Replacements at their best to Weezer at their best are all present and filtered organically enough to come across as an influence and not an imitation. It seems unlikely that LVL UP will be slowing down anytime soon. Hear both Extra Worlds and their split with Porches. below.


2. Perfect Pussy – I have lost all desire for feeling

There were no releases last year that felt as harrowing and personal as Perfect Pussy’s demo tape. It didn’t matter which way it was spun, the listener’s reaction, vocalist Meredith Graves’ determined confessionals, or the cultural dialogue it inspired; this was a personal affair. It was also an incredible piece of music, relentlessly energetic and unabashedly unapologetic in composition, production, and lyrical content. It was  a demo (and band) that meant a lot to this site, which is why Meredith Graves was chosen (and graciously agreed to be) Heartbreaking Bravery’s first interviewI have lost all desire for feeling also earned one of this site’s very first reviews and set off a chain reaction of positive effects that have extended into 2014. Listen to I have lost all desire for feeling below.

1. Tenement – Screaming Females Split + More Compilation/Puke and Destroy #2/Sick Club Vol. 3/Something to Dü

Sometimes things are predictable for a reason; this site hasn’t been shy about its feelings for Tenement. Despite not releasing any official LP’s or EP’s in 2013, they experienced one of their most successful years to date on the strength of their 7″ releases. There was their unbelievable entry into the Sick Club series on Cowabunga!, their stellar section of Puke & Destroy alongside Holy Shit!, Gleam Gardens, and The What-A-Nights, and an unbelievable (and entirely unexpected) compilation on bandcamp centered around their attention-demanding split with Screaming Females.  Additionally, the band also contributed to do the excellent Something to Dü five-band tribute on Dead Broke Rekerds offering up a volume-shifting take on “Obnoxious”. Throughout all of it, the band manages to show their full range from the battered and haunting “Ants and Flies” demo to their usual hardcore-tinged basement pop- as well as their usual lo-fi freakouts. It didn’t matter what mode they were in, everything from “Books on Hell + Sermons on T.V.” to “Twig” deserved an infinite amount of listens and serious year-end considerations. The scariest part of all this is that it still feels like this band is just getting started, especially considering the band already has two LP’s lined up for release on Grave Mistake and Don Giovanni, respectively, for next year. Hear all four of the band’s major 2013 releases below.