Heartbreaking Bravery

stevenmps2@gmail.com | @steven_mps | @hbreakbravery

Tag: homage

Doe – Sincere (Stream)

doe

Heart Attack Man, Mild High Club, Wymond Miles, Pill, The High Curbs, Sannhet, TTNG, Uni Ika Ai, Mosquito Ego, and Justin Peter Kinkel-Schuster were just a small handful of the acts responsible for some of the best songs to surface over the past two weeks. As always, each and every one of those songs are worth as many listens as they’re granted. A song that deserves all that and more also arrived, courtesy of site favorites Doe. The trio’s currently preparing to release their debut full-length — following a string of outstanding EP’s — entitled Some Things Last Longer Than You.

The record’s title is a nice reflection of the band; melancholic, tongue-in-cheek, and relatively straight-forward in its blunt honesty, which also ties into the record’s lead-off track, “Sincere”.  Opening up with a steady, insistent mid-tempo drive, the song quickly bursts into the kind of catharsis the band’s been carefully perfecting attaining for several years. Guitarist/vocalist Nicola Leel (who penned an impassioned entry on recent accomplishments by influential women for the 2015 crop of A Year’s Worth of Memories) imbues “Sincere” with the kind of steely-eyed confidence that starts fires.

“Sincere” proves to be an incredibly apt title as the song ambles along, riding a fiendishly clever narrative that’s both forthright and sneakily reflective. There’s incendiary guitar work, a fully committed vocal performance, explosive dynamics, and a murderer’s row of hooks. Catchy, smart, subtle, and fiercely relatable, “Sincere” sets the tone for what could eventually become one of this year’s most celebrated and subversive basement pop records.

As an outpouring of energy, the song’s an immediate head-turner but as a complete song, it’s an absolute triumph. Easily one of the band’s finest works to date, “Sincere” is a very promising look towards the future. Should the rest of Some Things Last Longer Than You live up to the standard set by “Sincere”, we may not only have an Album of the Year contender on our hands but a stone-cold genre classic. In the meantime, the best thing to do is just keep this thing on repeat, screaming along with every syllable like it’s a declaration of solidarity, love, and unflinching support… then looping back around to do it all again.

Listen to “Sincere” below and pre-order Some Things Last Longer Than You from Old Flame here.

Watch This: Vol. 95

Over the past few weeks, this site hasn’t been keeping its daily update regimen due to ongoing business largely unrelated to the site. While there may not be immediate posts, the content is still being collected as it appears. A handful of catch-up posts will be running on the site tonight and tomorrow starting with this slightly belated installment of Watch This, which runs on Sunday and celebrates the best performance captures to have been released in the given week. Two weeks ago this collection was a more subdued, low-key affair than usual and some of that’s carried over to this entry. Considering the advent of fall, it almost feels appropriate that the bulk of the standout performances find themselves locked into an autumnal mode. Only one of the videos featured today is a full, electric band while the rest are solo performances that carry a considerable amount of weight. All of them are worth a high degree of investment. So, as always, lean back, adjust the screen, set the volume, focus up, and Watch This.

1. Izzy True – Absolute Troll (Don Giovanni)

Once again, Watch This finds itself kicking off with an Izzy True clip that comes courtesy of Don Giovanni. Isabel Reidy’s solo project conjured up a very subtle kind of beauty on this year’s outstanding Troll, the young songwriters arrival-at-large. Proving once again to be a commanding presence, Reidy delivers a fierce performance of the EP’s almost-titular track, providing enough artistic flourish to render the performance deeply compelling.

2. Nils Frahm – 4’33” (John Cage Cover Version) (Pitchfork)

“4’33″” is one of the most divisive pieces of music in history. Conceived by John Cage as a commentary on the nature of silence and the human inability to ever fully experience it at its purest state, it’s measures consisted of nothing but rests. Nils Frahm, an accomplished ambient figurehead, took the crux of Cage’s piece and expanded on it in a piece that functions more as a rumination or homage than it does as a straight cover. Unsurprisingly, it’s elegiac, sincere, and more than a little stunning.

3. Craig Finn (KEXP)

Throughout the years, Craig Finn’s won accolades and legions of fans for his work in The Hold Steady and (the still vastly under-appreciated) Lifter Puller. More recently, he’s stepped out on his own as a solo artist, offering up largely acoustic works that zero in on his recent work’s inherent tenderness. Warm and rustic, this quartet of songs feels like a collection of devotionals; Finn’s offering up personal prayers in the dressings of song. Unflinchingly honest and completely uninhibited, this session’s a perfect example of a songwriter whose found completely comfort in their own voice.

4. Beach Slang – Get Lost (Cozy Couch Sessions)

Few bands have made as immediate of an impression as Beach Slang managed to with their first few releases. Drawing deserved comparisons to acts like The Replacements tend to achieve those kinds of results and that particular influence hasn’t ever shown as strong as it does here, in a solo acoustic rendition of “Get Lost”. Rough in all the right places, the whiskey-soaked ballad takes on a broken new life where the cracks grow deeper and the uncertainty stretches out towards eternity- and Cozy Couch affectionately captures its bruised heartbeat with a startling amount of empathy.

5. Ought – Men For Miles (3voor12)

Over the past year or so, this site’s written a lot about Ought, who are currently celebrating the release of a strong sophomore effort, Sun Coming Down. One of the record’s fiercest highlights is the insistent “Men For Miles”, which 3voor12 captured the band performing at Into the Great Wide Open. Operating with all of their typical wiry verve intact, the quartet also delivers a blistering take on their kinetic, melancholic “Passionate Turn”- another one of Sun Coming Down‘s more triumphant moments. Played back-to-back with an uncommon level of passion, the two-song take is enough to cement the band’s status as one of today’s most electric live acts.

Attendant – Freaking Out (Review, Stream)

attndnt

By now, everyone who has iTunes should have heard the full stream they’re offering up of Death From Above 1979’s revitalized post-reunion effort, The Physical World. Hopefully, there were a few among that crowd who also found time to stream Nervous Like Me the fantastic new record from Cayetana. Great full album streams weren’t the only things to come out of the last few days, though, in addition to a memorable Pavement cover from PAWS, there were also great new songs from Purling Hiss, Nude Beach, and WULFS. Visually, there was an endearing The Adventures of Pete and Pete homage from Diarrhea Planet and two arresting black-and-white clips that came courtesy of Girl Band and Philadelphia’s Queen Jesus.  It’s another act from Philadelphia that made the strongest impression and earned the feature spot today, though: the the stunning debut effort of Radiator Hospital bassist Jon Rybicki’s collaborative project, Attendant.

It’s not uncommon to note that there’s an absurd amount of great music out there that’s overlooked for any number of reasons but it’s always nice to know that sometimes everything lines up and music that may have otherwise gone unnoticed gets an extra push thanks to the people involved. This especially stands true for Attendant’s Freaking Out which features contributions from a murderer’s row of Philadelphia/NYC-based musicians. Mikey Cantor, Radiator Hospital, and Swearin’ (among others) all get a good bit of representation here, lending their considerable talents to one hell of a debut, helping raise an emerging musician’s profile in the process. Rybicki grounds all of these songs with no shortage of gravitas and conviction, mining similar influences to the ones that are so clearly evident in his friends’ projects.

While all of that would likely have proven more than enough to get Freaking Out by, what really puts it over the top is its attention to detail. The production, sequencing, and mastering on this is near-flawless, advancing the release’s personality without being distracting. In terms of composition, it’s frequently thrilling, with songs like the hard-charging “Saturday” providing bursts of near-uncontrollable energy. With all of this taken into account, it’s probably not too surprising that one of Freaking Out‘s closest relatives seems to be Dinosaur Jr.’s classic Bug. Acoustic guitars often provide a base template for each of these seven songs, while shoegaze-leaning levels of reverb and distortion get added to create a sound that’s becoming increasingly prominent in DIY punk circles- one that recognizes the value of looking to the past to push ahead.

That retro-influenced modernity goes a long way in informing Freaking Out, which makes no qualms about utilizing everything at it’s disposal. Every song on here contains at least a few moments of genuine brilliance, whether in the form of lyrics (“I just wanted to be the other people on the bus” is one of the most haunting lines to come out of 2014) or in the song’s structures or compositions. As if all that weren’t enough, it’s varied enough to ensure the listener’s attention and compelling enough to warrant their investment. None of these songs ever eclipse the three minute mark, either, rendering it even more accessible.Yet, despite it’s short run-time, Freaking Out feels like a fully-formed work from a veteran songwriter.

More than a few critics have said that to really gauge an album’s strengths, there should be an extra amount of consideration given to their mid-section. It’s easy to make strong opening and closing cases but it can be difficult to maintain that consistency across a wider spread. In this respect, Freaking Out has virtually no issues. “Dishwasher”, “Call Me Back”, and “Solar Shack” are all mixtape-worthy entries, each holding their own strengths in Rybicki’s frequently mid-tempo world weariness. Even with that taken into consideration, it’d be difficult not to note that a few of Freaking Out‘s best moments do come in the final two songs. From the trumpet-assisted downstroke onslaught of “I Won’t Try to Change Your Mind” to the guest-heavy celebration that is the record’s finale.

In that respect, “Wax Pages” does feel like an appropriate end-cap to a release that seemed determined to extol the virtues of healthy collaboration. Jeff Bolt (of Swearin’ and Radiator Hospital) takes over on drums, Sam Cook-Parrott (Radiator Hospital), Cynthia Schemmer (also of Radiator Hospital), and Kyle Gilbride (of Swearin’) all handle backing vocals, while Mikey Cantor takes a solo and all of them seem maniacally driven by Rybicki, who lent his vocals, guitar work, and bass (in spots) to the songs he wrote. To that end, it almost feels celebratory despite it’s heaviness (and make no mistake, this is a relatively heavy record in both terms of sound and subject matter). Packaged all together, the end result is something that feels oddly alive and utterly unique, even with an army of recognizable influences worn proudly on its sleeve. If it doesn’t find a home on one label or another, it’ll come as a shock. Freaking Out is one of 2014’s best surprises.

Stream Freaking Out below and download it on Attendant’s bandcamp.